Issuu

~ommuni~ation Art~ 2QOO

Illustration - Annual

Volume 42, Number 3 www.commarts .com

COMMUNICATION ARTS, (ISSN 0010-3519) is published eight times a year (January/February, March/April, May/June, July Illustration Annual, August Photography Annual, September/October, November Design Annual and December Advertising Annual) by Coyne & Blanchard, Inc., 110 Constitution Drive, Menlo Park, CA 94025-1107. Periodicals postage paid at Menlo Park, CA and at additional mailing offices. Copyright 2000 by Coyne & Blanchard, Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the contractual arrangements with their clients . Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

SUBSCRIBER SERVICES: Subscription: 1 year, $53 ; in Canada, $70; All other coun tries, $110 . All payment in U.S. dollars, Canadian GST: 127848620. Direct inquiries, address changes, subscription orders, etc., to: COMMUNICATION ARTS P.O . Box 51785, Boulder, CO, 803221785. Via phone: 800-688-1 971; 303-678-8475 ; fax: 303-661 - 1181 ; or e-mail: subscription@commarts.com. Please allow six weeks for changes. For back issues, please contact the editorial and business office. EDITORIAL AND BUSINESS OFFICE: 110 Constitution Drive, Menlo Park, CA 94025 -1107. Phone : 650-326-6040; fax: 650-326-1648; e-mail: ca@commarts.com POSTMASTER: Send changes of address to: COMMUNICATION ARTS PO. Box 51785 Boulder, CO 80328-1785

..f)ABC

~ommuni~ation Art~ 2000

llustration - Annual _ __,, •

cate s 30

Books

Editorial

For Sale

113

Institutional

124

Self-Promotion

134

Unpublished

July 2000 Volume 42, Number 3

Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne

tee

Managing Editor Anne Telford Associate Editor Rebecca Bedrossian Associate Designer Mark Eastman

172

Design Technology Gary Ouehr urges taking back our public spaces.

178

Technology Reviews Gary Priester tests Macromedia FreeHand 9.

188

Technology Resources Books, tools, resources and educational opportunities .

193

Opinion/Commentary Kathleen Maher presents an Apple update.

Production Manager Scott Perry Production Ron Niewald Technology Director Jeff Stafford Interactive Media Art Director Bonnie Smetts Interactive Media Associate Designer Tricia Seibold Interactive Media Editor Sue Garibaldi Interactive Media Developer Gary Wium

D__esign ls.sues David Sterling challenges designers to put their money where their mouth is.

211

Freelance Barbara Gordon offers insights on the changing freelance scene.

214

Legal Affairs Leonard 0. OuBoff gives insurance advice.

220

Advertising Paulie Boutlis's theory of zen advertising .

224

Opinion/Commentary Lisa L. Cyr discusses challenges which create new opportunities for illustrators.

Interactive Media Production Assistant Khader Yanni Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann General Manager Advertising/Circulation Michael Krigel Circulation Director Perry Fotos Retail Sales Manager Gloria Rosario Subscriptions Priscilla Brooks

dep

co1umn f i

Office Manager Nina Kitching Administration Darcie Niewald

160

Contributors

Controller Ronald Auger, CPA

162

Letters to the Editor

Assistant Controller Gayle Gregorius

234

Book Reviews

242

Materials, Available Literature

Traffic Manager Wil Talton

248

Clubs, Conferences, Seminars

250

Index of Featured Illustrators

258

Index of Art Directors, Design Firms, Agencies and Clients

260

Directory

Contributing Editors Tad Crawford, Legal Affairs; Barbara Gordon/Maria Piscopo, Freelance; DK Holland, Design Issues; Sam McMillan, Technology Resources; Tom Monahan, Advertising; Wendy Richmond , Design Technology Founder Richard Coyne (1926- 1990)

ILLUSTRATION

ANNUAL

2000

Advertising Joe Sorren, illustrator John Rafferty, art director Evans Drumheads, client Point-of-purchase poster, A Space Between . 24 X 36, acrylic on canvas. 2 (series) Jose Ortega, illustrator Ludwig Gayanilo, designer Upshot, ad agency Absolut Vodka, client Banners, posters, in-store display. 11 X 17, digital. 3 Bart Forbes, illustrator John Snow, art director PGA Tour Tournament Services, design PGA Tour, client Poster for the 1999 Players Championship at Sawgrass. 27 X 38, oil on canvas . 4 Rene Milot, illustrator Anilda Ward, art director Telarc, client CD cover for the Beethoven opera Fidelio, about a woman who tries to free her wrongly-jailed husband . 27 X 38, oil on canvas.

COMMUNICATION

ARTS

&A.

ILLUSTRATION

ANNUAL

2000

Advertising (series) Anja Kroencke, illustrator Sazaby, design by the in-house advertising department Sazaby, client Film packaging. 17 X 61/4, mixed media . 2 Ivan Abreu Ochoa, illustrator/ art director/designer Imagen lnteractiva, design Imagen lnteractiva-Discos Corason, client CD package of popular Mexican music, "otro ratito no mas" [just a little more]. 18 x 18, acrylic on wood, mixed media, digital. 3 Gregory Manchess, illustrator Tracy Noe, art director Time Life Music, client

Mahalia Jackson CD cover. 16 X 16, oil on gesso.

COMMUN I CATION

ARTS

Advertising Joe Sorren, illustrator Jeff Bartel, art director/designer Nemo Design, design firm Morrow Snowboards, client Base graphic for Escape snowboard line, Portrait of Earl Grey. 15 X 48, acrylic on canvas . 2 Cathie Bleck, illustrator Steve Blair, art director/designer Maclaren Mccann Canada Inc., ad agency Bacardi-Martini Canada, Inc., client The logo runs as a billboard in Canada, Bat Tango. 14 X 16, scratch board. 3 Martin French, illustrator Suzy Slonaker, art director Martin French Studio, design firm Northwest Reach, client Poster promoting a lecture on the musical traditions of Peru. Mixed media, digital. 4 Mieczyslaw Gorowski , illustrator/art director/designer The Collection of Denis Canteux, client Poster promoting Polish poster exhibition in Avignon, France. 40 X 28, watercolor.

I L L U S T R AT I 0 N

A N N U A L

2 0 0 0

COMMUNICATION

ARTS

Advertising (series) Richard Borge, illustrator Kathleen Stevens Moore/Sharon Azula/ Terry Rietta, art directors Wendy Erwin Sigler, writer Jim Noble/Brian O'Neill, creative directors Goldberg Moser O'Neill, ad agency Fatbrain .com, client 17 X 11, mixed media .

I L L U S T R AT I 0 N

A N N U A L

2 0 0 0

COMMUNICATION

ARTS

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

Advertising Peter Sylvada, illustrator Lia Chee, art director Spot Design, design firm Theater Works, client Playbill for the presentation of The Box Car Children. 16 X 20, oil. 2 (series) Chip Wass, illustrator Kevin Daley, art director PSK, design firm Maax Visors, client Point-of-purchase posters for Harvey Visors . Digital. 3 Bill Mayer, illustrator Harry Hartofelis, art director Mintz & Hoke Inc., ad agency Hartford Stage, client

A Christmas Carol poster. 15 X 20, gouache. 4 Larry Moore, illustrator/art director Steve Carsella, designer Back Bone Design, design firm The Orlando Opera Company, client Poster for Casi fan tutte, Mozart's opera about two men who conspire to seduce each other's fiancees . 16 x 20, pastel on sanded paper.

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

A R T S

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

Advertising (series) John Ritter, illustrator Lilly Lee, hand lettering Tye Bergeson, art director Rubin Postaer and Associates, design/ ad agency American Honda Motor Company, Inc., client Brochure covers. 22 X 11, mixed media, ink on paper.

C 0 M M U N I CAT I 0 N

ARTS

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

Advertising (series) Mark Summers, illustrator Kent Joshpi, art director Saatchi & Saatchi Business Communications, ad agency DuPont Company Agricultural Products, client Ads for DuPont Row Crops, corn and soybean. Headlines: The seasons. The weather. Interest rates. Prices. Everything changes. Except what you ' re doing it for. ; I didn't get into this business because I loved having people tell me what to do. 18 X 12, scratchboard . 2 Mike Benny, illustrator Bob Beyn, art director Seraphein Beyn, ad agency First Northern Bank, client Anniversary poster. Acrylic . 3 Coco Masuda, illustrator/designer Bill Courtney, art director Bernstein -Rein Advertising , Inc., ad agency Healthy Start, client Poster. 19 X 27, airbrush and colored pencil.

C 0 M M U N I CAT I 0 N

ARTS

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

A N N U A L

2 0 0 0

Advertising Mark Hess, illustrator Kit Hinrichs, art director Brian Jacobs, designer Pentagram Design Inc., design firm Dreyer's Grand Ice Cream, Inc., client Dreamery package, Cuppa Joe. 21 X 9, oil and acrylic on canvas. 2 Gary Kelley, illustrator David Bartels, art director Gary Kelley/David Bartels, designers Bartels & Company, ad agency Mississippi Delta Blues Festival, client Poster. 13 X 27, pastel on paper. 3 Larry Moore, illustrator/art director Steve Carsella, designer Back Bone Design, design firm The Orlando Opera Company, client

Poster for the Flying Dutchman by Richard Wagner. In return for his challenge of heaven and hell , the Dutchman is doomed to sail forever on his ship until redeemed through the love of a faithful woman. 18 X 24, pastel on paper. 4 Richard Borge, illustrator Christer Manning, art director/designer Xster.com, design firm Capricorn Records, Government Mule, client CD cover for "Life Before Insanity." 8 X 8, mixed media. 5 Rene Milot, illustrator Anilda Ward, art director Telarc, client Digital CD cover for George Gershwin's Porgy & Bess. 20 X 18, oil on canvas.

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

A R T S

Advertising Daniel Craig, illustrator Mark Oliver/Patty Devlin Driskel, art directors Patty Devlin Driskel, designer Mark Oliver Design, design firm Breeder's Choice, client Cat food package. 15 X 22, acrylic on canvas . 2 Ken Joudrey, illustrator Jerry May/Mike Schroeder, art directors/designers Spiker Communications, ad agency Montana Power Company, client Poster to sponsor Thursday night football. 26 X 15, oil. 3 (series) Max Gabl, illustrator David Kujda, art director SDI Development, Inc., design firm Sony Corporation, client Illustrations for the Moebius Airtight Garage at Sony Metreon, San Francisco, California. Various sizes, acrylic and airbrush.

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

A N N U A L

2 0 0 0

CJ) CJ) CJ)

c Q)

a. 0

> Q)

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

A R T S

Advertising Joe Sorren, illustrator Rich Brown/Jane Williams, art directors/ designers Universalia Jane, client In Her Silent Way used as a CD cover. 30 X 30, acrylic on canvas . 2 Marco Ventura, illustrator Mette Thelin, art director Hiort & Design, ad agency Toft, client Ad portrait of English economist Adam Smith . Headline: www.ask-smith .dk. 71/2 X 7, oil on paper. 3 Brad Yeo, illustrator Patrick McCarthy/Tomaso Milian, art directors Book of the Month Club, client Ad for City of God by E.L. Doctorow. 24 X 13, acrylic. 4 Lee Ballard, illustrator/art director Doug Cunningham, designer Mind at Large, design firm 688 Sutter Gallery, client Flyer announcing the show benefiting homeless Jack Montgomery. 511/2 X 28, oil.

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

A N N U A L

2 0 0 0

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

2 0 0 0

Advertising (series) Anja Kroencke, illustrator Heidi Fener, art director/designer Studio Tangerine, design firm New York City Opera, client Used on billboards throughout New York City. 1 Q1/2 X 14, mixed media. 2 Dan Cosgrove, illustrator Dave Bolton/Michael De Young, art directors Walkers Advertising, ad agency Fresh Food Services, client Ad headline: Fly twenty-five friends into the new millennium aboard a classic DC-3. 16 X 11, digital. 3 (series) Douglas Fraser, illustrator Ken Giddon, art director Rothman 's, client Ad headlines: The Rothman's man enjoys ultimate Frisbee, eats his veggies and thrives on extreme market volatility. The Rothman's man has a corner office, a hit album in Europe and never missed a putt. The Rothman's man protects the ozone layer, never interrupts and knows precisely when to sell . 113/4 X 163/4, alkyds on canvas.

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

A R T S

Advertising Michael Schwab, illustrator/designer Dave Sanchez/David Brown, art directors Sanchez, Lonchar & Flynn, ad agency Michael Schwab Studio, design firm Gloria Ferrer, client Retail poster celebrating Gloria Ferrer champagne . 25 X 38, pen and ink, digital. 2 Gary Kelley, illustrator/art director/designer Algona Public Library, client Fund-raising campaign . 14 X 22, pastel on paper. 3 Martin French, illustrator/art director Martin French Studio, design firm Blues Extra, client Poster portrays Blind Willie Johnson, a central figure of the holy blues genre of the 1930s, to promote a series of workshops in the historical tradition of the blues. Mixed media, digital. 4 Jack Unruh, illustrator Sara Forbes, art director Studio Graphixs, design firm Salesmanship Club, client Poster of golfer Byron Nelson . Ink and watercolor. 5 Mieczyslaw Gorowski, illustrator/art director/designer The Poster Gallery, client

Poster for the fifteenth anniversary of The Poster Gallery in Krakow, Poland. 40 X 28, watercolor.

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

A N N U A L

2 0 0 0

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

2 0 0 0

Books (series) Andrej Dugin/Olga Dugina, illustrators Andrej Dugin, art director Olga Dugina, designer Esslinger Verlag J.F. Schreiber, client Illustrations for A Little Brave Tailor by the Brothers Grimm. Various sizes, watercolor 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

2 0 0 0

Books Paul Cox, illustrator Roseanne Serra, art director Penguin Putnam, client Cover illustration of Home Truths by David Lodge. 12 X 9 , watercolor. 2 Nicholas Wilton, illustrator Melanie Kroupa, art director/designer DK Publishing, design/client Cover for The Hermit Thrush Sings by Susan Butler. 81/2 X 11 , acrylic on wood . 3 Frances Jetter, illustrator/designer Gerrilee Hundt, editor Chicago Review Press, client Book jacket for My Bloody Life, The Making of a Latin King, by Reymundo Sanchez. A young Latino looked for a place to call home and found it in a violent gang . 141/4 x 191/s, collage including monoprint, rusty metal and glass. 4 Joe Sorren, illustrator Mark Murphy, art director/designer Murphy Design, design firm/client Interior illustration from Guapo y Fuerte [handsome and strong], celebrating the art of Mexican wrestling . 24 X 48, acrylic on canvas. 5 Jody Hewgill, illustrator Kathy Kikkert, art director Mario Pulice, creative director Doubleday, client Book cover for Redemption Song by Bertice Berry. Two strangers fall in love when unusual circumstances bring them together to read the diary of a slave woman and her estranged lover. 11112 X 121/2, acrylic and ink on gessoed board.

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

A R T S

Books Gianni De Conno, illustrator Nadia Maestri, art director Cideb Editrice, client American Horror: The Black Cat/The Oval Portrait/The Tell-Tale Heart. Three Terrifying Tales by Edgar Allan Poe. 2 (series) Genevieve Cote, illustrator Stephane Jorisch, art director Andree Lauzon, designer Les 400 Coups, client Children's book, L'Affreux. 101/2 X 81/2, mixed media .

•

• •

•

·9._ ., .

•• •

•

•••

•

w.... . t

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

A N N U A L

2 0 0 0

•

,,-'·

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

2 0 0 0

Books (series) Raul Colon, illustrator Harriet Barton, art director Matt Adamec, designer HarperCollins Publishers, client Secrets from the Doi/house by Ann Warren Turner. Various sizes, watercolor, colored pencil and Litho pencil on paper.

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

A R T S

Books Tim O'Brien, illustrator Atha Tehon, art director Dial Books, client Book cover for Playing Solitaire by Nancy Antle. A young girl is stalked by her violent father. He had previously cut off some of her fingers, hence the hidden fingers on the cover. 11 X 15, oil on panel. 2 Bernie Fuchs, illustrator Sue Dennen, art director/designer Little, Brown & Co., publisher Opening page for Ghost of the Southern Belle by Odds Bodkin, a children's book about an adventure at sea with a ghost ship. 22 X 30, oil on canvas. 3 (series) David Lance Goines/Lynn M.J. Gregory, illustrators David Lance Goines, art director/designer Saint Hieronymus Press, Inc., design Chez Panisse Cafe/HarperCollins Publishers, clients Illustrations for the Chez Panisse Cafe Cookbook by Alice Waters and the Cooks of Chez Panisse in collaboration with David Tanis and Fritz Steiff. Various sizes, blockprint and Photoshop.

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

A N N U A L

2 0 0 0

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

A R T S

Books (series) Yan Nascimbene, illustrator Rita Marshall, art director Creative Editions, client Illustrations for Ocean Deep, a children's book written and illustrated by Nascimbene. Various sizes, ink and watercolor.

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

A N N U A L

2 0 0 0

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

A RT S

Books Alain Pilon, illustrator Gianni Caccia, art director Bibliotheque Ouebecoise, client Cover of Nine Days of Hatred, a story of a Canadian soldier during World War II. 10 X 13, acrylic. 2 Martin French, illustrator Jennifer Phillips, art director/designer International Bible Society, design/client Image from Prisoners of Hope, a retelling of stories from the Bible of women who had personal encounters with Jesus, from a chapter titled "Outcast." Mixed media, digital. 3 Chris Gall, illustrator Alan Dingman, art director St. Martin's Press, client Book cover of Murder in Central Park by Michael Jahn, a murder mystery centered around a crow expert as the suspect. 9 X 12, scratchboard and dyes. 4 Michael J. Deas, illustrator Irene Gallo, art director Richard Deas, designer Tor Books, St. Martin's Press, client Cover illustration for Richard Matheson's Hell House, a tale of the supernatural. 16 X 26, oil on panel.

5 Gregory Manchess, illustrator Yook Louie, art director Random House, Bantam Books, client Cover for a collection of short stories by Louis L'Amour, Off the Mangrove Coast. 19 X 14, oil on gesso.

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

A N N U A L

2 0 0 0

COMMUNICATION

ARTS

Books (series) Balvis Rubess, illustrator Balvis Rubess/Duncan Bock, art directors Melcher Media, packager Rob Weisbach Books, William Morrow, client Series of spreads for The Pop-Up Book of Phobias by Gary Greenberg. Since original art only exists as little bits and pieces, the finished illustration is the printed book. Various sizes, mixed media.

........................ ......... ____ :.:-:: ~.:.:::::-;!":...-.::--...,:: u...-• acrophobia w. ~ ... ,.....,..,., •

.._.._.."'~

~''"-

. . . _,...,... _ _ _ ! # _ .......

............ ,.,...._-b_fl/u..~ ..

.............. c-..i..-a.,.....16'Gr"6,..,m,_t

ILLUSTRATION

ANNUAL

2000

C O 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

2 0 0 0

Books {series) John Thompson, illustrator Rita Marshall, art director/designer The Creative Company, client Illustrations for Freedom Like Sunlight by J. Patrick Lewis. This celebration in poetry reveals the experience of courage and human struggle in the lives of thirteen Black Americans. Various sizes, acrylic.

2 Joel Nakamura, illustrator Ted Engelbart, art director/designer Alfred Publishing, client Cover of Hand Drums for Beginners by John Marshall. 11 X 14, acrylic on Masonite!S!

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

2 0 0 0

Books (series) David Slonim, illustrator Golda Laurens/Al Cetta, designers Susan Pearson/Alix Reid, editors HarperCollins Publishers, client Illustrations from Moishe's Miracle , a Hanukkah story by Laura Krauss Melmed. 18 X 11 , oil on linen .

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

2 0 0 0

Books Martin French, illustrator David Uttley, art director/designer David Uttley Design, design firm Multnomah Publishers, client Cover image for Along the Road to Manhood edited by Stu Weber, a nostalgic look at the journey of a man 's life. Mixed media, digital. 2 Jean-Manuel Duvivier, illustrator/ art director/designer Art Box Amsterdam , design/client Image from a book about cows, Bertha. Colored paper, pencil. 3 Marco Ventura, illustrator Atha Tehon, art director Nancy Leo-Kelly, designer Dial Books for Young Readers, client Cover of a children's book, The Strange Adventures of Blue Dog, by Jean Van Leeuwen . 12 X 101/2, oil on paper. 4 Leslie Wu, illustrator Pamela Moore, art director/designer Steve Diggs & Friends Marketing Communications, design firm Zonderman, client

Interior illustration for the poem "Footprints " from the book of the same name by Margaret Fishback Powers. 24 X 24, pastel on paper. 5 Melanie Marder Parks, illustrator Louise Fili, art director/designer Louise Fili Ltd., design firm Hyperion Books, client Book jacket for A Garden in Lucca, Finding Paradise in Tuscany by Paul Gervais, an enchanting, funny and touching memoir of the making of a Tuscan garden. 63/s x 41s11s, gouache.

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

A RT S

Books Ken Joudrey, illustrator Krista Olson, art director/designer St. Martin' s Press, client Cover for an Em Hanson mystery, Mother Nature. 9 X 16, oil. 2 (series) Russ Wilson, illustrator Stephen Wirt, Harcourt Brace, art director Dennard, Lacey & Wood, design firm Harcourt Brace, client Illustrations for Number the Stars by Lois Lowry, a story set in Nazi-occupied Denmark for sixth grade readers . Various sizes, pastel on paper.

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

A N N U A L

2 0 0 0

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

2 0 0 0

Books Christian Northeast, illustrator Monte Beauchamp, art director/designer Blab! Fantagraphics Books, client No. 10 cover of Blab! an anthology of fiction, humor and art. 20 X 20, acrylic on board . 2 (series) Gregory Manchess, illustrator Nancy Leo-Kelly, art director Dial Books for Young Readers, client Illustrations from Nanuk, Lord of the Ice by Brian J . Heinz. Story of a day in the life of a polar bear as he hunts and is hunted by a young Eskimo boy. 14 X 19, oil on linen.

Editorial 3 Anita Kunz, illustrator Deanna Lowe, art director/designer Equity, client Magazine end paper, "It's all in your head." 10 X 14, mixed media, digital.

.4 Michael Schwab, illustrator Joan Ferrell, art director The American Lawyer, client Cover, "Rum Warriors. Bacardi and Pernod's Nasty Battle Over a Label and a Legacy." 91/4 X 113/4, pen and ink, digital.

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

2 0 0 0

Editorial Milt Klingensmith, illustrator Jim Starkey, art director Milt Klingensmith/Kim Wynn, designers The Grand Rapids Press, client Newspaper piece covering an exhibition of work by contemporary Cuban artists, "Greetings From Havana." 8 X 13, mixed media. 2 Scott Laumann, illustrator Mark Shaw, art director Arem K. Duplessis, designer Blaze, client Magazine portrait of Lauryn Hill, "This Just In." 121/2 X 14, mixed media . 3 Brad Holland, illustrator Nan Christensen, art director Steve Powell, designer Steve Powell Design, design firm Stanford Business, client "The Perils of Internal Competition ." When employees have to compete for the company carrots, only a few can win . That means that everyone else loses. 19 X 121/2, acrylic on board . 4 Brad Yeo, illustrator Mark Wood, art director Pomona College, client

5 Pomona magazine article about the Asian studies program,

"Learning from Asia." 16 X 19, acrylic. 5 Braldt Braids, illustrator Thomas Bonnie, art director Stefan Kiefer/Oliver Peschke, designers Der Spiegel, publisher/client Cover illustration for German magazine, "Mephisto Goethe." 18 X 22, oil on canvas .

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

A R T S

Editorial Roberto Parada, illustrator Linda Root, art director Sports Illustrated, client Oil on canvas. 2 Tim O'Brien, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Lenin circa 1999, "Russia in Crisis." 18 X 13, oil on panel. 3 Loren Long, illustrator Steve Hoffman, art director Linda Root, designer Sports Illustrated, client Painting for an article about a colorful and much-loved man who coached a boys' baseball team in a Utah mining town in the 1920s, "Bailey's Boys." 22 X 17, acrylic.

4 Cathleen Toelke, illustrator Barbara Kostner, art director Black Dog Graphics, design firm University of Minnesota, client University of Minnesota Alumni Magazine story about a teenager who doesn't want to deal with the hand dealt to her, "Our

Sometime Sister." 91/4 X 15, pastel on paper. 5 Theo Rudnak, illustrator Carol Ann Stutzman, art director/designer Harvard Business Review, design/client "Co-evolving: At Last, a Way to Make Synergies Work."

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

A N N U A L

2 0 0 0

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

2 0 0 0

Editorial Edward Sorel, illustrator Frani;oise Mouly, art director The New Yorker, client Cover art. 14 X 17, pen, ink and watercolor. 2 Joseph Salina, illustrator Faith Cochran, art director Joseph Salina Ill. Inc., design firm Cottage Life, client Feature article praises the regal qualities of the loon, "Our Grand Obsession . Why the Common Loon Reigns Supreme?" 1 Q1/2 X 14, acrylic. 3 Tim O'Brien, illustrator Minh Uong, art director The Village Voice, client Cover featuring Mumia Abul Jamal and his pending execution . 12 X 16, oil on panel. 4 Dale Stephanos, illustrator Rachelle Cohen, art director The Boston Herald, client Illustration for an article on the rise of Jesse Ventura in the Reform Party. 10 X 13, acrylic.

5 Brad Yeo, illustrator Rachel Morton, art director Middlebury College, client

Middlebury Magazine illustration for "A Really Big Thing," concerning adoption in Bulgaria. 13 X 17, acrylic. 6 Mark Summers, illustrator Joan Ferrell, art director The American Lawyer, client Lawyers of the Century, special issue. " The Intractable Justice," portrait of Oliver Wendell Holmes. 73/4 X 101/4, scratchboard and watercolor.

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

2 0 0 0

Editorial (series) Etienne Delessert, illustrator Dominique Roynette, art director Le Monde, client Series of folktale images for the Paris newspaper: Dracula, Wilhem Tell and King Arthur. Watercolor. 2 Roberto Parada, illustrator Rommel Alama, art director Entertainment Weekly, client Steve Martin as a writer, "All About Steve." Oil on canvas. 3 Guy Billout, illustrator Robin Gilmore-Barnes/Judy Garlan, art directors The Atlantic Monthly, client Canyon. 67/s X 91/2, watercolor and airbrush. 4 Jim Tsinganos, illustrator Rhys Morris, art director/designer Inside Sport, client Magazine article about child abuse on the international tennis scene, namely how parents push their children too hard to succeed, "The Sins of Their Fathers." 133/4 X 191/2, pastel.

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

2 0 0 0

Editorial (series) Melissa Szalkowski, illustrator Kristi Anderson, art director Utne Reader, client Magazine article on brain damage, "Me, My Brain, & I." Various sizes, digital. 2 Roberto Parada, illustrator Alex Suarez, art director Genesis, client "Kathy Kinney Shows Off Her Drewelry." Oil on canvas . 3 Craig Frazier, illustrator Paul Carstensen, art director US Airways, Inc., Attache, client In-flight magazine article about paradoxes. 10 X 12, cut paper, digital. 4 Jeffrey Decoster, illustrator James Nelson, art director Minneapolis/St. Paul Magazine, client Portrait of Joseph Ture Jr., on death row for killing as many as six young women, "How Bad Can Joe Ture Be?" 18 X 30, acrylic.

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

2 0 0 0

Editorial John Cuneo, illustrator David Cox, art director/designer Outside, client Magazine article on President Clinton 's effort to create a conservation legacy by guarding the wilderness from loggers and Congress, " Public Property: Keep Out! " 93/4 X 61/2, ink and watercolor.

2 Simon Shaw, illustrator David Beverage, art director Quality Publishing, client Office Systems magazine article on data mining and moving offices, "On The Move." 10 X 201/2, oil on board. 3 Gerard DuBois, illustrator Melany Deforest, art director Civilization, client Magazine illustration, "Sedated by Stuff." Are our children bored with stuff? 8112 X 9, acrylic. 4 Clemente Botelho, illustrator Marilyn Bishkin, art director Dallas Morning News, client Newspaper article about sex offenders in the neighborhood, "The Criminal Next Door." 10112 X 131/2, acrylic and oil.

5 Cynthia von Buhler, illustrator Ronn Campisi, art director/designer Campisi Design, design firm Federal Reserve Bank of Boston, client Full-page illustration for the feature story "Justice" in Regional Review magazine. 20 X 24, gouache.

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

A R T S

Editorial Roberto Parada, illustrator John Walker, art director Entertainment Weekly, client "Dead Zone." So what if you're gone. Here's living proof you can still be a creative force beyond the grave. Oil on canvas. 2 Alain Pilon, illustrator Nadine Arsenault, art director National Post Business, client Article on cyberspace gambling, "Net Losses." 9112 X 91/2, acrylic. 3 Mick Coulas, illustrator Holly Grunden, art director Scholastic Publications, Choices, client Article, "How To Drive Your Boss Crazy." The magazine is designed to help youths deal with life issues. 143/4 X 8, digital. 4 Leo Espinosa, illustrator Tom Staebler, art director Kerig Pope, designer Playboy, client Fiction about a man being pursued by a voicemail program, "Lucy." Digital.

5 Michael S. Wertz, illustrator Scott Kroser, art director Ft. Lauderdale New Times, client "Poetry Slam ." 4 X 6, pastel, digital.

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

A N N U A L

2 0 0 0

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

A R T S

Editorial Sergio Ruzzier, illustrator Orlie Kraus, art director The Wall Street Journal, client "Taming the Tax Monster." 8 X 11, watercolor, pen and ink. 2 (series) Charles S. Pyle, illustrator Janet Michaud, art director The Boston Globe, client Images for a series on hockey's greatest betting scandal: "The Bust"; "The Scheme"; "The Call." 16 X 10, oil on board.

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

A N N U A L

2 0 0 0

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

A RT S

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

A N N U A L

2 0 0 0

Editorial Wesley Bedrosian, illustrator Michael Valenti, art director The New York Times, client Arts and Leisure section, "The Thrill of Discovering an Unheard Sound ." 81/2 X 6, mixed media.

2 Jennifer Hewitson, illustrator Michael Canepa, designer San Diego Union Tribune, client Newspaper article, "Fool Time." The Internet provides a fast new venue for con artists and hoaxes. 61/2 X 91/2, scratchboard and watercolor dyes. 3 Cathy Gendron, illustrator J .P. Beaudoin, art director/designer C-E Publishing, design IBM AS400, client Magazine cover, "Enough Already." Several factors must be considered when an organization determines its security needs. 111/2 X 15, oil. 4 Melissa Szalkowski, illustrator Kristi Anderson, art director Utne Reader, client

Article about the census, "Down With the Count." People feel that participation means putting their life on stage. 9 X 9, digital. 5 Brad Lethaby, illustrator/art director Portrait Society of America, client Portrait of Phil Shively for an article in

International Artist. 36 X 36, oil.

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

A R T S

__ , .1.~ /

I I

\ I

Editorial

/ /

Brian Cronin, illustrator Aldana Charlton, art director

..... /

Janell Genovese, designer Inc., client

)

,.. I .I

2 Michelle Chang, illustrator

I,. -

-...!

" How Not to Cheat on Your Wife." 11 X 15, oil on board . 3 Jack Unruh, illustrator Lisa Schreiber, art director

Washington Post Magazine, client The fall and rise of an American empire, " Short Modern History of Detroit." Ink and watercolor.

' 2

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

,_ --

Kevin Beard, art director Penthouse, client

.,,. /

Magazine article, "So Near... And Yet So Far." Going public is a big deal. So is almost going public. 7 X 91/4, pencil and acrylic.

A N N U A L

2 0 0 0

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

A R T S

Editorial Tim O'Brien, illustrator Martin Musker, art director AdWeek, client "The Next Century in Advertising." 2 Roberto Parada, illustrator Rockwell Harwood, art director John Korpics, design director Esquire, client The Screen, column by Tom Corson, "The Godfather, Part IV: Reconsidering Francis Ford Coppola." Oil on canvas . 3 Anita Kunz, illustrator Arthur Hochstein/Cynthia Hoffman, art directors/designers Time, client Science article, "What Mother Nature Teaches Us About Motherhood," based on the anthropological research of Sarah B. Laffler Hrdy. 11 X 14, watercolor. 4 Guy Billout, illustrator Robin Gilmore-Barnes/Judy Garlan, art directors The Atlantic Monthly, client Dateline. 67/s X 91/2, watercolor and airbrush. 5 Douglas Fraser, illustrator Matthew Herrick, art director Source, client Magazine article about creating a union for rap artists in Cuba, "Hip Hop in Cuba. " 121/4 X 10, alkyds on canvas.

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

A N N U A L

2 0 0 0

COM MUN I CATION

ARTS

Editorial Chris Gall, illustrator Gary Kelley, art director North American Review, client Winter literature issue. 10 X 13, scratch board, dyes. 2 Anthony Ventura , illustrator Julie Frady, art director Chicago Tribune, client Newspaper article, "Chew on this: How to reduce that tax bite."

11 X 151/2, acrylic . 3 (series) Eric Hanson, illustrator Diana LaGuardia, art director Gary Stewart, designer House & Garden, client Magazine article, "Literary Furniture."

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

A N N U A L

2 0 0 0

Robe,.f Be.heh fey Re.cl111e,,.. and

Wet Ba~

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

A N N U A L

2 0 0 0

Editorial Jose Luis Merino, illustrator Lauren Irwin, art director Gourmet, client Essay, "Building Character at the Table. " A writer always incorporates food into her novels. 2 Tim Zeltner, illustrator Jackie Shipley, art director Today's Grandparent, client Magazine article, "A Time for Tradition," about seasonal holiday outings. 12 X 161/2, acrylic. 3 Roberto Parada, illustrator Rockwell Harwood, art director John Korpics, design director Esquire, client Magazine article on Geraldo Rivera's campaign for respect, "Baad TV." Oil on canvas. 4 Pol Turgeon , illustrator Darlene Simidian, art director The American Lawyer, client The corporate tax dodge business is booming, thanks to questionable help from some big law firms, "Gimme Shelters." 91/2 X 131/2, ink, gouache, oil , collage, varnish . 5 Brad Yeo, illustrator

Meg Birnbaum, art director The American Prospect, client The Pew Foundation's initiative for a national cultural policy turned into performance art, "Among the Philistines." 15 X 20, acrylic.

C 0 M M U N I C AT 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

2 0 0 0

Editorial (series) Tim O'Brien, illustrator Arthur Hochstein, art director Sharon Okamoto, designer Time, client Portraits of finalists for Time's Person of the Century. Various sizes, oil on panel. 2 Thomas Reis, illustrator Mark Shaw, art director Blaze, client Magazine feature article outlining the tragic deaths of rappers Tupac Shakur and Notorious B.l.G . 8 X 10112, acrylic. 3 Anita Kunz, illustrator Liliane Vilmenay, art director/designer Entertainment Weekly, client Portrait of Gwyneth Paltrow in Shakespeare in Love. 81/2 X 11, watercolor.

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

A R T S

Editorial Brad Holland, illustrator Edel Rodriguez, art director Time, client How "Natural" is Rape? 9 X 10, pastel on paper. 2 Jeroen Heeman, illustrator Carl de Vaal, art director Ode, client Short story, "Journey's End," by Nik Cohn. Two hustlers are trying to sell a sawduststuffed polar bear in the drowsy underworld of Manchester. 9 X 10, acrylics and collage. 3 Jordin Isip, illustrator Mignon Khargie, art director salon.com, client "Spreading Death" shows an individual responsible for an AIDS epidemic. 8112 X 103/4, mixed media on paper. 4 Irena Roman, illustrator Ann Sack, art director

Choice Design, design firm Hartford Hospital, The Record , client Magazine cover. 18 X 24, watercolor. 5 Roberto Parada, illustrator Rockwell Harwood, art director John Korpics, design director Esquire, client Magazine article about Being John Malkovich, "The Last Great Movie of the Century." Oil on canvas.

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

A N N U A L

2 0 0 0

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

2 0 0 0

Editorial Stina Wirsen, illustrator Dagens Nyheter, Lordag Sondag, client Newspaper Saturday supplement fashion article on overcoats, "Classic Duffel Coats:· 8 X 10, watercolor on paper.

2 David Bowers, illustrator John Thompson, art director/designer Cigar Aficionado, client Cover illustration. J.P. Morgan and the tycoons who shaped America . 15 X 201/4, oil on Masonite.

3 Jacques Cournoyer, illustrator Francis Tanabe, art director The Washington Post, client Cover illustration for the Book World section of the newspaper, book review of The Fine Art of Murder. 12 x 9, oil. 4 John Kachik, illustrator Traci Churchill, art director/designer Fortune Small Business, client

Our man on the front line shows how to revive your product line, "My Brand Fix." 8112 x 9, acrylic. 5 PJ Loughran, illustrator Evan Gubernick, art director Harris Publications, Guitar World, client "The Ax Museum: Portraits of Guitar Heroes." Portrait of Muddy Waters. 10 X 101/2, mixed media .

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

2 0 0 0

Editorial Jody Hewgill, illustrator Shauna Wolf Narciso, art director Amazing Stories, client "The Bride" is a short story loosely based on the novel Frankenstein. Written in the first person, this is an account of the bride's discovery of her own unusual appearance, her increasing thirst for knowledge and freedom , and her mounting frustration of the constant surveillance by the doctor and her husband, the monster. 181/2 X 83/4, acrylic on gessoed board . 2 Jack Unruh, illustrator Fred Woodward, art director Gail Anderson, designer Rolling Stone, client Table of contents page featuring an illustration of Tom Waits. Ink and watercolor. 3 C.F. Payne, illustrator Joan Ferrell, art director The American Lawyer, client Lawyers of the Century, special edition. Portrait of Ralph Nader, "The Lone Ranger." 1 Q3/4 X 141/2, mixed media .

4 Gerard DuBois, illustrator Robin Gilmore Barnes, art director The Atlantic Monthly, client Short story, "The Deacon ." 9112 X 1 Q3/s, acrylic. 5 Brad Holland, illustrator Shaul Tsemach, art director Johns Hopkins Magazine, client "Prone to Panic," a first-person account of life lived in terror. 14 X 141/2, acrylic on board .

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

2 0 0 0

Editorial (series) John Cuneo, illustrator Joe Kimberling , art director Ellene Standke/Jennifer Procopio, designers Entertainment Weekly, client Hear & Now column. Music from Busta Rhymes and Ozzy Osbourne collaboration , " The Sopranos " soundtrack and Rolling Stones music online. Various sizes, ink and watercolor. 2 Brian Cronin, illustrator Hannu Laakso, art director/designer Reader' s Digest, design/client Big Brother on the Internet in the office. "Who is Reading Your E-Mail? " by Charles J. Sykes, excerpt from The End of Privacy. 45/a X 67/a, India ink and acrylic on paper. 3 Andy Rash , illustrator Steven Heller, art director The New York Times Book Review, client Cover featuring The Peculiar Memories of Thomas Penman , a novel by Bruce Robinson . A schoolboy in the 1950s plays with explosives, learns how to smoke and reads pornography. 8 X 16, gouache and ink.

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

A R T S

•...•••• . • • ...• ••.•.. ... • •

•

· ·~.

.. .....•• .··... ..·.• ·.

•• •••~ • ••

Editorial

Melinda Beck, illustrator Cara Dubroff, art director/designer New York, client

•.

Magazine editorial illustration, "Scent of a Woman." 4 X 5, ink and Photoshop~

For Sale 2 Braldt Braids, illustrator Braldt Braids/Scott Usher, art directors/designers The Greenwich Workshop, client Limited-edition print, Catastrophy. 34 X 40, oil on wood panel. 3 (series) Steve Buchanan, illustrator Carl Herrman, art director/designer United States Postal Service, client Series of four stamps depicting tropical flowers . 12 X 9, digital. 4 Louis M. Police, illustrator/art director/client Gallery sale, Spring Branding. 55 X 22, pastel.

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

~~.

••

•

A N N U A L

2 0 0 0

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

A R T S

For Sale Richard Borge, illustrator John Borge, art director/designer Gravityworkshop.com, client Birthday card. 9 X 12, mixed media . 2 Gary Kelley, illustrator/art director Worthington House, client Limited-edition print. 20 X 26, pastel on paper. 3 (series) Etienne Delessert, illustrator Fran(_fois Rochaix, art director Rita Marshall, designer Feta des Vignerons, client Ceres Pleure sa Fille Disparue [Ceres Crys Over Her Kidnapped Daughter]; Arlevin [King of the Wine Makers]; Fete des Vivants et des Morts [Celebration of the Living and the Dead]; and Le Jardin D'Orphee [The Garden of Orpheus] . 18 X 24, acrylic.

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

A N N U A L

2 0 0 0

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

2 0 0 0

For Sale (series) Joseph Lorusso, illustrator Meyer Gallery, client Gallery show in Scottsdale, Arizona . 12 X 16, 20 X 18, 30 X 24, oil. 2 Lawrence Duke, illustrator Jim Ales, art director/designer Monterey Bay Aquarium, client

Deep Sea poster for sale in the Aquarium store. 11112 X 171/2, scratchboard and watercolor dyes.

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

2 0 0 0

For Sale (series) Steven Adler, illustrator Steven Schutz, founder Blue Mountain Arts, art director/client Electronic musical greeting cards. 18 X 24, oil on linen . 2 Princess Hart, illustrator/art director Stoneyhill Studio & Press, client Gallery sale, Abraham's Legacy... the eve of /du/ Adha. 48 X 36, acrylic, wax pencil, transparent glazes on canvas .

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

A R T S

For Sale (series) David Uhl, illustrator Harley-Davidson, client Nostalgia paintings sold as limited-edition prints. Various sizes, oil. 2 Lorena Pugh, illustrator Limited-edition print, Innocence . 36 X 12, oil.

100

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

A N N U A L

2 0 0 0

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

A R T S

101

For Sale Vincent Mcindoe, illustrator/art director/designer Gallery Revel, client Limited-edition print. 18 X 24, oil. 2 John Rush , illustrator Eleanor Ettinger Gallery, client Study of a Petticoat for gallery sale. 26 X 26, oil on canvas.

3 (series) Bridget Ohlsson, illustrator/art director/client Reid Ohlsson Pty Ltd, design firm Series of note cards. 16 X 16, oil on canvas .

102

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

A N N U A L

2 0 0 0

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

A R T S

103

104

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

A N N U A L

2 0 0 0

For Sale (series) Mark Bischel, illustrator Marshall Arisman/Carl Titolo, art directors Limited-edition prints. 22 X 141/2, silkscreen on paper.

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

A R T S

105

106

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

A N N U A L

2 0 0 0

For Sale Craig Nelson, illustrator/art director Print for sale, The Magazine. 20 X 16, oil. 2 (series) Paul Van Ginkel, illustrator/art director Van Ginkel Visuals, client Paintings for gallery sale: North, South, East, West; King of Kings; Crowded House; and Breaking Free. 60 X 40; 60 X 40; 60 X 40; and 65 X 43, oil on canvas.

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

A R T S

107

For Sale (series) Morgan Carver, illustrator Mendenhall Gallery, client Gallery paintings: Rocket Ride, The Aristocrat, Closed Sundays, Passing By and Speedster. Various sizes, acrylic on panel.

108

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

A N N U A L

2 0 0 0

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

A R T S

109

For Sale Gregory Manchess, illustrator/art director Witham Gallery, client

Michele's Thoughts . 18 X 20, oil on linen. 2 Tom Graham, illustrator Gas Graphics, client Poster for Vietnam War Memorial in Washington, DC. 13 X 19, acrylic and Photoshop. 3 (series) Maria Carluccio, illustrator/designer Julie McFarland, art director Hallmark Cards, Inc. , client Greeting cards . Pen and ink with Photoshop.

110

ILLUSTRATION

ANNUAL

2000

•

COMMUNICATION

ARTS

111

112

I L L U S T RAT I 0 N

A N N U A L

2 0 0 0

Institutional (series) Chris Gall, illustrator Simuflite, client Images for display in the corporate offices of Simuflite, a major pilot training facility. 16 X 12; 14 X 12; alkyds on paper. 2 Will Wilson, illustrator The John Pence Gallery, client Catalog cover, Restoration . 14 X 16, oil. 3

Fran~ois Roca, illustrator Gerard LoMonaco, art director Albin Michel Jeunesse, client

Invitation to the new office of the children's book publisher in France. 11112 X 161/2, acrylic.

COMMUN I CAT I ON

A R TS

113

Institutional Chris Sheban, illustrator Michael Rosen , art director American Kennel Club, Museum of the Dog, client Illustration used in a museum exhibit. 10 X 10, watercolor and pencil. 2 Tim Jessell, illustrator Bo Wilson, art director/designer WilGraphix, design firm Phillips Petroleum, client A multipurpose image to help promote the involvement of Phillips Petroleum in the arts, environment, education and the long-running OK Mozart Festival. 18 X 20, pastel and mixed media . 3 John Rush, illustrator Mitch Markovitz, art director Northwest Indiana Forum/Tradewinds Affirmative Industries, clients Poster depicting the achievements of handicapped workers. 28 X 42, oil on linen.

114

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

COMMUNICATION

ARTS

115

116

ILLUSTRATION

ANNUAL

2000

Institutional (series) Rafal Olbinski, illustrator/art director/designer Olbinski Studio, design firm Patinae Inc., client Calendar images. 20 X 30, acrylic on canvas. 2 Dugald Stermer, illustrator/designer Mimi Farina, art director Bread & Roses, client Poster for an organization that brings entertainment to shut-ins. 18 X 24, pencil and watercolor on Arches®paper. 3 Brad Holland, illustrator/art director/designer The Center for the Book Arts, client Poster. 91/2 X 13, pen and ink on paper.

f~·r11J ft'{.., .. 1°+7 . vie'\-:"'; ~ho t~pr-r!.f ~tii &>'; ~ "rr "+:sf.s. )• •nt j"Ys ;, p~ ·'Jo-i

1y~• t,(rd.LJ" +~fll\J'tf11'".r 01) s~;d ro-dhd• t-ol,

c"en .C• .. s~,.,, e~1 '"~ 111--\-,/fa .., ~t'1 +~~

-.y;;r~Jf +itff>\fl'{v.o· 'i'I f~t;~ ;~lec~·H '1

a.f: c'"'"' oJ,'~;e.r.

- Ue ~~J f''ffe l1fi

w ~ .. sre--. ~f

\"\•+ ~

v+.'ff;

Ho11ANP

COMMUNICATI O N

ARTS

117

118

ILLUSTRATION

ANNUAL

2 000

Institutional (series) Anja Kroencke, illustrator James Pyott, art director Pyott Design, design firm British Airways, client Images for duty-free catalog. 9 X 10, mixed media . 2 Dan Cosgrove, illustrator Burkey Belser, art director Jeanette Nuzum, designer Greenfield/Belser, Ltd., design firm Spaulding & Slye, client Semi-annual report cover. 9 X 12, digital. 3 Leslie Wu, illustrator Michael Mooney, art director Chrissy Pagano, designer Buck & Pulleyn, Inc., ad agency YMCA of Rochester, New York, client Annual report. 23 X 30, acrylic on canvas.

C O MMUN I CAT I ON

ARTS

119

120

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

A N N U A L

2 0 0 0

Institutional (series) Steve Musgrave, illustrator/designer Craig Davis, art director City of Chicago, client Portraits of Illinois writers for the Near North branch of the Chicago Public Library: Nelson Algren , Ernest Hemingway, Black Hawk, Richard Wright and Carl Sandburg . 30 X 36, oil on canvas . 2 Janet Atkinson , illustrator Kristy Vandekerckhove, art director Karnes Prickett Design, design firm Greater Chicago Food Depository, client Annual report cover. 11 X 14, acrylic. 3 Craig Frazier, illustrator Conrad Jorgensen , designer Conrad Jorgensen Studio, design firm Redwood Residential Funding, client Capabilities brochure . 10 X 12, cut paper, digital.

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

A RT S

121

122

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

A N N U A L

2 0 0 0

Institutional Nanette Biers, illustrator Michael Braley, designer Cahan & Associates, design firm M.H. de Young Museum, client Painting of Stowe Lake in Golden Gate Park used in a fundraising book sent to donors to raise money for rebuilding the museum in San Francisco. 28 X 22, oil on canvas . 2 Bart Forbes, illustrator Cannon Green/Troy Phillips, art directors Preston Trail Golf Club, client Poster honoring seven members of the club who have been past captains of the U.S. Ryder Cup teams. 50 X 26, oil on canvas . 3 (series) Michael Gelen, illustrator/designer Inkwell Studios, design firm Irish Classical Theatre Company, client Images used in a variety of printed applications for the theatre. 8 X 12, digital.

ALUSWELL THAT

WELL Williani

Smk.espcare

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

A R T S

123

Self-Promotion Printed promotion for members of the graphic design industry such as design firms, printers, paper companies, illustrators and art/design clubs, etc.

Gregory Manchess, illustrator Richard Solomon Artists Representative, client Source book ad. 18 X 24, oil. 2 Joseph Lorusso, illustrator Mailer. 16 X 20, oil. 3 Robert Crawford, illustrator Irene Gallo, art director Society of Illustrators, client Call for entries poster for the paperback show. 12 X 16, acrylic. 4 John Vogt, illustrator Postcard mailer. 22 X 30, acrylic and graphite pencil. 5 Anthony Morrow, illustrator/art director/designer Morrow Design, design firm/client Brochure. Digital.

124

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

A N N U A L

2 0 0 0

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

A R T S

125

126

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

A N N U A L

2 0 0 0

Self-Promotion (series) Dan Cosgrove, illustrator Michael Guthrie, art director Oden Marketing & Design, design firm International Paper Co., client Calendar used to promote Accent Opaque paper. 11 X 15, digital. 2 Hayes Henderson, illustrator/designer Troy Tyner, art director Henderson Tyner Art Co ., design firm American Advertising Federation, client Call for entries poster for the Addy Awards . 30 X 42, mixed media. 3 Dale Stephanos, illustrator Portrait of Tom Waits for a directory ad. 15 X 20, mixed media.

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

A R T S

127

128

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

A N N U A L

2 0 0 0

Self-Promotion James Way, illustrator/art director/designer/client Direct mail. 24 X 13, acrylic and colored pencil. 2 Merritt Dekle, illustrator/art director/designer/client Mailer. 81/2 X 12, acrylic. 3 Art Valero, illustrator Source book ad. 24 X 30, acrylic on board. 4 (series) Bill Tsukuda, illustrator Created for the Web site www.tsukuda.com. Various sizes, acrylic and mixed media.

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

A R T S

129

130

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

A N N U A L

2 0 0 0

Self-Promotion (series) Richard B. Farrell, illustrator/art director/designer/client Portraits of " NYPD Blue" actors used for portfolio and Web site. a112 x 11112, oil. 2 Sharif Tarabay, illustrator Kathryn Cole/Sharif Tarabay, art directors Stoddart Publishing Co. Ltd., client Source book ad. 8 X 10, acrylic. 3 Richard Borge, illustrator/art director/designer Richard Borge Studio, design firm/client Source book ad. 9 X 12, mixed media .

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

A R T S

131

Self-Promotion Jim Burke, illustrator Character study, Elizabeth, painted to benefit the Student Scholarship Christmas Auction 2000 for the New York Society of Illustrators. 12 X 161/2, oil on board. 2 John Jude Palencar, illustrator Arnie Fenner, art director/designer Spectrum Design, design firm Spectrum Fantastic Art, client Call for Entries poster for the annual Spectrum Fantastic Art competition. 33 X 30, oil. 3 Gary Kelley, illustrator/art director Worthington House, client Source book ad, Cafe Europa. 24 X 18, pastel. 4 Craig Nelson, illustrator/art director Gallerie Gabrie, client Brochure for the gallery, Espresso To Go. 24 X 18, oil.

132

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

A N N U A L

2 0 0 0

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

A R T S

133

Self-Promotion Jacob Escobedo, illustrator/art director/client Portrait of Woody Allen for a postcard mailer. 8112 X 11, collage and acrylic. 2 Joel Nakamura, illustrator K.J. Allen, art director/designer Georgia Pacific Paper, design/client Creative Dream was used to promote Georgia-Pacific Carrera White paper as a poster for the AIGA Conference in Las Vegas.

16 X 20, acrylic on copper.

134

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

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

A R T S

135

136

I LL Vsy

RAT I 0 N

ANN VAL

2 0 0 0

2 Bill Thomson, illustrator Diann Thomson, art director Thomson Illustration & Design, design firm

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

A R T S

137

138

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

A N N U A L

2 0 0 0

Unpublished (series) Lori Koefoed, illustrator Freya's Temptation , Viking goddess of sex and death. 10 X 10, oil on paper; Hyndla's Magic Horn of Mead, Viking giantess who possessed magical powers and potions. 13112 X 131/2, oil on paper. Freya's Feline, Freya's pet cat. 11 X 12, oil on paper; The Alchemist, Viking goddess of medicine and healing . 18 X 20, oil on panel; The Seeress, Viking goddess of fertility. 14 X 21 , oil on canvas . © 2000 Lori Koefoed

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

A R T S

139

;~::J A N

3 Rae Ecklund, illustrator/art director Florence, Italy, street scene . 14 X 11, watercolor.

~ .

THE ASS IX THE LION'S .!Bsop

140

I L LU S T R AT I 0 N

A N N U A L

Ass, finding inc skfo of a Lion, put 1 on; Y -,. and, going into the woods and pa tures. threw -! -.... 1=, all the flocks and herd into a terrible consternation . .$ At last, meeting his owner, he would have frightened him also; but the good man, seeing his long ears stick out, presently knew him, and with a good cudgel made him sensible that, notwithstanding his being dressed in a Lion's skin, he was really no more than an Ass. l ~ /11 ' •t,.. r. t

~ ~ r\.

2 Pamela Eklund , illustrator

2 0 0 0

KIN

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

A RT S

141

2 Gerald Chin, illustrator Lawrence Murray, art director Illustration to be used as the video cover of the history of the San Francisco Fire Credit Union . 7 X 4, acrylic on canvas . © 2000 Gerald Chin

3 Greg Shed, illustrator/art director

142

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

A N N U A L

2 0 0 0

C 0 M M U N I CAT I 0 N

ARTS

143

144

I L L U S T R AT I 0 N

A N N U A L

2 0 0 0

Unpublished (series) Greg Copeland, illustrator/art director/designer Portraits of John Singer Sargent, Edgar Degas, Jackson Pollock and Pablo Picasso. Various sizes, oil on canvas except Degas, oil and pencil. © 2000 Greg Copeland

• 2

• 0

..... •

. ...

• •••••

•

••

• C 0 M M U N I C A T I 0 N

A R T S

145

146

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

A N N U A L

2 0 0 0

3 Donald A . Smith, illustrator/ art director/designer The Adsmith, ad agency

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

A RT S

147

148

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

A N N U A L

2 0 0 0

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

A R T S

149

150

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

A N N U A L

2 0 0 0

2 Brian Lancaster, illustrator/designer Kathy O'Neill, art director Rocky Mountain Arsenal's Black Employment Program Committee, client Poster celebrating Black History month. 63/s X 10, Adobe Illustrator~ © 2000 Brian Lancaster

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

A RT S

151

~!l'-~"1!1.! I ~

During the French expedition to Egypt under Bonaparte, the illusion of the mirage was oft.en a. source of grievous disappointment to the 11rmy. •

152

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

A N N U A L

2 0 0 0

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

A R T S

153

2 Eric White, illustrator Nam! 1949 RKO Radio Pictures. 72 X 36,

154

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

A N N U A L

2 0 0 0

1 centura

GLOSS+ DULL

RECYCLED

blank

Editor's Column BY PATRICK COYNE

fter last year's record number of submissions, we saw

Any juror could place an illustration in the finals by hand-

an II. 5% drop in entries this year putting us about

ing a printed piece to a member of the CA crew. Slide entries were screened by checking the "in" or "out" column

where we were in 1998. While economic indicators

are still strong, we think the decline may have more to do

on prepared scoring sheets.

with the changes we made in promoting this year's com-

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

petition. We cut costs and saved paper by dropping the bound-in entry forms (used by only iYo of the entrants) and encouraged participants instead to download the forms from our Web site. That decision may have been pennywise and pound-foolish. We'll have to wait and see how this decision affects the other competitions this year. Regardless, the 6,414 entries we received this year are still significant. The trend toward more tightly rendered illustration continues as does the impact of digital technology on the field-of the 244 entries selected, 50 entries were received as digital files for reproduction. This year's annual was also the first print-based competition held in our new offices, and I'm happy to say that every-

down to the right of the pieces. The jurors voted by putting a different colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every judge. Finalists submitted on slides were again voted on by each juror checking "in" or "out" on scoring sheets. A simple majority was required for acceptance. While the total number of selected entries was up only slightly from last year, we did have to add an eight-page form to accommodate the increase in series entries selected this year.

thing ran smoothly. While many aspects were new (i.e.,

I would like to thank each of the judges for their conscien-

hotel, conference rooms, catering, etc.), we are fortunate to

tious efforts in selecting our 41st Annual Exhibition.

have the continuity of the same staff and judging process we've used for years.

Jack Anderson is one of the founders of Hornall Anderson

This year's jurying began on Sunday morning, April 9th. We worked in two large conference halls, each equipped with a projector for slide entries and six rows of tables for tear sheets 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 half of the entries submitted. The judges alternated between viewing a carousel of slides and then a set-up of print entries.

Design Works, Inc. in Seattle, Washington. A partner with John Hornall since 1982, Anderson graduated from Montana State University-the only school where students study logo design by creating cattle brands-with a major in design and a minor in architecture. His background includes experience in virtually all areas of graphic design: corporate and brand identity, collateral material, packaging, sports graphics, exhibits and environmental graphics. Jack has been repeatedly recognized in annual competitions by the American Institute of Graphic Arts, Communication Arts, the New

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

A R T S

157

Editor's Column

York Art Directors C lub, Print and the Society of Typographic Arts among many others. Jef Capaldi has been the art director at the Chicago,

Illinois-based American Medical News since 1994· Prior to that he was a designer for the Detroit Free Press and the Nashville Banner. Capaldi is a graduate of the Newhouse School of Public Communication at Syracuse University and has been a guest lecturer at the School of Visual Arts

Anderson

Leo-Kelly

and the Rhode Island School of Design. His work has appeared in Applied Arts, Communication Arts, Print, Step-ByStep Graphics, the Society of Illustrators exhibitions and numerous other design and illustration annuals. Joyce Kitchell's watercolors have graced packaging and

advertising, calendars and book covers, catalogs and publications for clients as diverse as Disney and Pepsi, Seiko and Nabisco, Kraft Foods, Knottsberry Farm, Hewlett-Packard, Gilette, Pfizer, Harlequin Books and LL. Bean. Kitchell is a member of the Society of Illustrators in New York and San Diego. A graduate of San Diego State University, she also exhibits regionally and nationally and recently had a solo

Stovall

exhibit in Southern California. Joyce paints and lives in San Diego, California, with her husband, Harry MacDonald, her greyhounds, Blue and Khianti, and her cats, Jenny and Ignatz. Nancy Leo-Kelly is associate art director at Dial Books

for Young Readers, a division of Penguin Putnam in New York City. She has been working with children's books since 1982. As a designer and associate art director, Leo-Kelly has

received a number of gold and silver medals from the Society of Illustrators. Nancy is a member of the Typophiles and the American Printing History Association, where she serves as production editor for their quarterly newsletter. She and her husband divide their time between Manhattan and Pomona, New York. Both are avid book collectors.

Frank Stovall has been a senior art director at Trone Advertising in Greensboro, North Carolina for the past eight years . Graduated from East Carolina in 1985 with a B.F.A. in Communication Arts, Stovall has done national television for Uniroyal Tires, regional television for Austin Snack Food, national print for Interpath, Novartis Crop Protection and The Moorings (sailing yacht charters). Prior to Trone, Stovall worked at Long Haymes Carr in Winston-Salem, North Carolina, for five-and-a-half years on print and television for Wrangler Jeans, Lifesavers Company and Hanes Apparel. His work has received both local and regional Addys and was included in the Communication Arts Illustration Annual. • 158

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

A N N U A L

2 0 0 0

Kitchell

Capaldi

No matter what you're reproducing, you'll get accurate color with the Imation Matchprint™ Inkjet System. Now art directors can have comps that simulate our industry-standard Imation Matchprint™contract proofs. This means that the color will be accurate and consistent, revision after revision. And if the client falls in love with the color in the comp, don't sweat it. That's the color that will appear in your final proof. For a minimal investment, the Imation Matchprint Inkjet System gives you a software and paper solution that enables a typical inkjet printer to turn out Matchprint-quality PRECISE

concept proofs. Call 1-877-IMATION (l-877-462-8466) or visit IMATION.COM. Now you can be the King-of color.

Contributors Technology

Writing for Interactive Multi-

Gary Duehr is a poet, who has

University's Department of

published two books of verse; a

Multimedia Studies, McMillan

visual arts critic for Arts Media in Boston and Art on Paper in

writes frequently about topics concerning the interactive multi-

New York, a contributor to

media design industry. He wrote

journals such as Public Culture;

the Technology Resources col-

media'' at San Francisco State

husband Christopher Short, illustrator and 3-0 animator. She wrote an Opinion/Com-

She heads her own firm, Barbara

mentary piece on reinvention

Gordon Associates, in New York

in the field of illustration.

City. She has written on freelance issues for CA since 1982.

Dr. Joseph Webb is a nine-

teen-year veteran of the graphic Leonard DuBoff is the author

arts industries. A recognized

of The Art Business Encyclopedia;

marketing expert and leading

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

with a wide range of firms ,

industry figure, he has consulted

a photographer who exhibits

umn and profiled Richmond,

nationally in galleries and muse-

California-based Pixar Anima-

ums; and the co-director of

tion Studios for the Tech-

all from Allworth Press. He wrote the Legal Affairs column,

Invisible Cities Group, which

nology Feature.

edited by Tad Crawford.

Donnelley, Scitex, Sun Chemical

Paulie Boutlis is currently

and Xerox. In 1995, Dr. Webb founded the TrendWatch reports

creates large-scale urban detours combining installations of visual art with performance. He also works as a graphic designer for the graduate school of Tufts University and teaches at local universities. His awards include grants from the NEA and New England Foundation for the Arts, and fellowships from the Massachusetts Cultural Council. He wrote the Design Technology column, edited by Wendy Richmond.

Kathleen Maher works for

Northern California graphic

Heidelberg, International Paper, Kodak, Polaroid, Potlatch, R.R.

torn between copywriting and

Tiburon, California. JPA is a

account planning at Young &

consulting and research firm

Rubicam Mattingly, Melbourne,

specializing in graphics and multimedia. As a freelance

Australia. His interests include writing, conceptual art, the

writer, Maher has contributed

enlightened philosophies of

national small business strategist

to many publications including

Nietzsche , Machiavelli and

and marketer with 25 years expe-

Communication Arts, Software Development Magazine and 3D Design. In this issue, she wrote

Spinoza, Italian splatter films

rience in industry and manage-

(big fan of Lucio Fulci) and

ment consulting. Prior to starting

professional wrestling (the best

his consulting firm in 1985, Mr.

an Opinion/Commentary piece

creative work going around).

on Apple.

He wrote the Advertising col-

Whittington was a marketing executive with Times Mirror's

umn, edited by Tom Monahan.

aviation publishing company,

Lisa L. Cyr is a freelance

Jeppesen Sanderson. He has also held executive and man-

David Sterling makes money

illustrator, writer and national

He is the author of Looking

doing graphic design. He is also

lecturer. Her clients include

Good in Color, Ventana Press, and co-author of CorelDRA W Studio Techniques, Osborne/

founder and president of World

advertising agencies, corpora-

Studio Foundation, a nonprofit

tions and publishers. She holds a

designer, author and journalist.

including: 3M, Agfa, Fuji, HPS,

Jon Peddie and Associates of

Columns

Gary W. Priester is a

organization whose programs

B.F.A. from The Massachusetts

McGraw Hill. Priester worked

include publications, scholar-

College of Art and an M.A.

for 25 years as an advertising art

ships for economically disadvan-

from Syracuse University, and

director before making the tran-

taged and minoriry students of

sitions to graphic design, where

art, architecture and design, and

he is a principal in The Black

mentoring programs for at-risk

Point Group, and then to writing.

youth. He wrote the Design

Priester is a regular contributor to Efuse.com, GoBizGo.com,

Issues column, edited by DK

Designer.com, WebDevelop-

Irene Small for the research for

ersJournal.com, Unleash.com

this article.

Holland. Special thanks to

and other .corns. He is host of

has also studied at The Boston Museum School and The North

and established TrendWatch as a new business in 1997 with partner James Whittington. James R. Whittington is a

agement positions with Union Camp, US Industries and National Graphics.

Book Reviews Byron Ferris has written for

CA for over 30 years. As a former college design instruc-

London Polytechnic, London,

tor and creative director at

England. Cyr is an artist mem-

McCann-Erickson, his interests

ber of the Society of Illustrators, NYC, and is involved in the

are in design, advertising, letterform and typography.

education and newsletter committees. She speaks actively in

Angelynn Grant is a Boston-

the industry about illustration,

based graphic designer, writer

Barbara Gordon, an artist

design and self-promotion at

and educator. She has taught at

he creates monthly tutorials in

and photographer representative

universities and professional

Rhode Island School of Design ,

the Trompe L'Oeil Room for

since 1969, is a past president of the Society of Photographers and Artists Representatives, a mem-

organizations. Cyr organized and moderated the "Education: Teaching the Industry" panel at

Simmons College and Massachusetts Institute of Technology.

the XaraXone at i-us.com where

Xara X. In this issue, he reviewed Macromedia FreeHand 9.

the Art Institute of Boston,

ber of the Society of Illustrators

the 1999 Illustration Conference

Her freelance work ranges from

Sam McMillan is associate

and the Graphic Artists Guild

in Santa Fe. She writes for many

compact discs to Web site design.

creative director for marchFIRST

and also the author of two books:

trade publications on current

You can view her work on her

in San Francisco, California. In

Opportunities in Commercial Art and Graphic Design Careers

issues that face the industry. Cyr

own site at www.shore.net/ .... agrant.

addition to teaching "Real World 160

(Vgm Career Horizons) and

How to Sell Your Art and Photography (Writers Digest Books).

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

A N N U A L

2 0 0 0

works in partnership with her

Letters to the Editor Who Owns the Work?

communications media is illusionary

sociery from its complacency. This is more

Maria Piscopo's response to Janice Hagey-Schmidt's letter [March/April

and that the narrower unmediated

relevant now than ever because the mass

view is a blessed state should seem as

media "white noise" that surrounds us is

2000, p. 20] seemed to concentrate on

quaint today as their idea of industrial

overwhelmingly anti-intellectual and

freelancers' or employee's rights (or

society as an aberration was a half

rarely questions or shows any alternatives

lack thereof) to include printed pieces

century ago.

to our "media cocoon. "

in their portfolios. What about

It probably shouldn't be surprising

I agree with Gunnar Swanson that ''spec-

agencies? Every agency in the world

that specious physiological lessons about brain development aren't followed by careful analysis. Vienne reduces complex political and economic questions to a comic book world of "cheerful pranks" vs . Agents

tator''and "docile" need not be synonyms,

has conference room walls plastered with work they have created for their clients. In showing "their" work, are agencies in violation of copyright laws? BILL FITZGERALD

radical and innovative messages to make even the slightest impact on the spectacle of "the bland leading the bland" to consumer paradise. As many radical and innovative

our spirit guides, then it might be

of Cultural Imperialism, leaving us with a choice between shopping and a Joie de vivre that seems to be defined by pranks and long hours smoking Gitanes at the cafe. During the World Trade Organization riots, she tells us, designers didn't talk about Seattle. I must have imagined that the graphics e-mail list did little else for a week or two. Maybe that conversation didn't exist because the Internet, like all mass media, is part of a conspiracy of spectacle Debord warned us against.

time to rethink.

If handicraft and occasional rock throw-

Illustration Conference [March/April

Forgetting for a moment that the

ing are our only weapons against imprisonment in the Mall of America, then we are doomed. The romantic in me has to embrace the notion that the designers are in the position to make something very real-opportunities for people to control their own destinies. This will involve embracing the media Debord rejected (and a few he couldn't have imagined) and not assuming "spectator" and "docile"

2000, p. 162] captured well some of

CREATIVE GROUP HEAD

CJRW, INC LITTLE RocK, ARKANSAS

Closet Situationist

If Veronique Vienne's point [Design Issues, March/April 2000, p. 26] is that the mall is not the best place to seek real happiness, then who can argue?

If, on the other hand, she seriously suggests Guy Debord and his crew as

Situationist International devoted as much time to denouncing and expelling each other as they did to their clever rearrangement of furniture, their stance played to leftist politics but was basically reactionary. Their rejection of the "spectacle" may have seemed like a good fight for the authentic in a mid-20th century that hadn't come to terms with the electronic mass media, but even then it was framed in

must be synonyms.

messages have already been co-opted by the media to lend buzz to consumer durables maybe the real power for dissent lies outside conventional media channels. I don 't know what the way forward is, but wonder if the anti-rationalist posturing of the original Situationists is an untapped wellspring of workable ideas.

Illustration Conference Matthew Porter's take on the

the salient moments, curious ironies and empowering mood of Santa Fe. Too bad he didn't stay 'til the end. The Graphic Artists Guild's position and the Society of Illustrators' position were succinctly explained. Straightforward, honest, warts and all. By law, given its 501 (c) (3) tax status, the Society is limited as to the degree of grass roots lobbying, member-only programming and non-educational

a rejection of industrial production

GUNNAR SWANSON

that sounded like 19th century romantics who couldn't decide whether to be

GUNNAR SWANSON DESIGN OFFICE

Marxists or Dadaists when they grew up.

VENTURA, CALIFORNIA

activities in which it can engage. Lobbying for copyright reform, fee enhancement and other business issues may jeopardize that tax status. On the

that 18th century European village life

Veronique Vienne replies: I am not an apologist for Debord, but find his provocative philosophy worthy ofanalysis. I think the most important lesson to be

is somehow God-given and mass

learned from the study ofSituationist

great collection, a permanent head-

culture a simulacrum of actual life.

ideas is to make us think about uncon-

quarters and over $IOo,ooo in grants

The notion that experience through

ventional and non-linear ways to shake

to students annually.

Their rejection of spectacle in search of a lost veracity leaves the impression

162

but feel that the influence of mass media is so strong that we spectators require quite

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

A N N U A L

2 0 0 0

upside, as I explained at the Conference, the Society can accept tax-deductible donations which have resulted in a

Others will fight for your rights, the Society will be the one place where your art is appreciated and respected. Were we absent? ... hardly. Sixty-four of our members attended. The Society was a sponsor, but passed on hawking memberships with a booth. That has never been our style.

Minnesota German, spoken by 600, ooo

This letter is not an attempt to win over new fans of Kenny's music or to change anyone's opinion of it. It is simply to reinforce Bruce Turkel's other option: three basic rules for success:

"Germasotans. " Unknown to many

r. Do work yo u're proud of. 2. Make

residents of Germany, words often suffer

money. 3. Have fun.

As an American citizen and a patron of the Black Forest Inn (voted Best German restaurant for 30+ years), it is my patriotic duty to defend the dialect known as

in translation when languages and cultures collide. These words are not spelled

And add my own rule number 4. Prepare for criticism when you're very successful and your work appears in all the trades or you're number one with a bullet on the charts.

Lastly, 550 illustrators gather once a year, every year, have for years. It's called the Society of Illustrators Annual Exhibition Awards Galas. American Showcase has been the exclusive sponsor of those events for several years . Those events are about the art.

Minnesotan German, and perhaps loosen

Santa Fe was about your rights.

his lederhosen in our beer garten.

SEATTLE, WASHINGTON

Beyond the Kenny G School of Advertising

Errata:

TERRE

incorrectly, but are made readable to fit with their new culture (i.e., Spaetzel or Geschnitzeltes). In any case, on behalfofour client, we'd like to invite Mr. Behringer to sample

TONY GABLE PRINCIPAL/DESIGN DIRECTOR GABLE DESIGN GROUP

CE BROWN ' DIRECTOR

SOCIETY OF ILLUSTRATORS NEW YORK, NEW YORK

I'm writing to comment on the recent

Black Forest Inn Board As a CA subscriber living in the southern part of good old Germany, it's my patriotic duty to correct some errors that

Bruce Turkel article [Advertising, March/April 2000, p. 176]. I am a friend of Bruce's and a fan of his-he has great advice and knowledge of our industry. His business recommenda-

occurred on page 105 of your March/ April issue. Amy Vroom talks of authenticity, but their [Gabriel Diericks Razidlo] efforts in adding a German

friend, "creates pabulum, and mass

touch should include using the right spelling. "Spaetzel" is not the correct

millionaire" gives the wrong impression.

spelling of that famous Swabian pasta, in fact it's Spaetzle. Neither is there anything that is called "Geschnitzeltes." This term is obviously mixed up from "Schnitzel," a specially prepared steak and "Geschnetzeltes," meat cut into strips to produce a thick sauce. Another error is on the outdoor board itself. "Guten food" could sound kind of German. In fact it does not make any sense at all. You wish "Guten Appetit." So if yo u should ever enter a real German restaurant, keep this in mind. STEFAN BEHRING ER MARKGROENI

GEN

GERMANY

Amy Vroom, account executive of Gabriel Diericks Razidlo replies:

tions have worked for my firm. However, suggesting Kenny, who is also my markets it to become a bloody multi-

Unlike those of us in design and advertising, Kenny G is an artist-he doesn't create music for hire or for a particular assignment. Like a fine artist, he creates original music from his heart and talent. There is no demographic or strategic planning involved when he picks up his horn or plays the piano. Then, like the work of a fine artist, if you like the

We erroneously printed an uncorrected earlier version of the Design Issues column, edited by DK Holland, "First Things First: A Second Look" (page 21) in our May/June issue. Meticulously researched and written by Carolyn McCarron, the piece was based on numerous interviews with noted designers. Ms. McCarron provided us a final version which corrected some facts and titles, as well as amended a few quotes . While this version was edited in-house, and formatted for production, an earlier version used to determine space requirements was unfortunately substituted for the correct text. We wish to apologize to Ms. McCarron and those quoted in the article. Please visit our Web site www.co mmarts.co m and read the correct version of the article.

music you buy it. Millions of people love his music and

Address correspondence to: Letters to the

buy it. Yes, the record company does a

Editor, no Constitution Drive, Menlo

great job of marketing and promoting

Park, California 94025-no7 or e-mail letters@commarts.com. We reserve the

his product. Look at the success Santana enjoyed this year. Unfortunately, when

right to publish letters and to edit for

a musician or artist becomes extremely

clarity and length. Please include your

popular, he or she becomes an icon used

name, address and phone number.

for metaphors and comparisons.

Anonymous letters will not be published. C 0 M M U N I C A T I 0 N

A R T S

163

Thinking Smaller at Pixar BY SAM McMILLAN

he secret life of toys, the hidden world of ants-on

standing on their seats, screaming, "Get in the truck! Get

the face of it, these don't sound like the raw mate-

in the truck! " -not thinking about polygons and phong

rial for blockbuster Hollywood films. But in the

shading. As Jan Pinkava, the writer, animator and director

hands of the master storytellers at Pixar Animation Studios,

of the Academy Award-winning short, Geri's Game says,

Toy Story, A Bug's Life and Toy Story 2 have established them-

"The story is number one. You don't want to be looking at

selves as some of the best-loved work in American cinema

a technology show-the story should pull you in and

and, accordingly, huge successes at the box office.

entertain you. "

The first Toy Story earned more money than any other film in 1995, and was nominated for an Academy Award for best original screenplay. The second won a Golden Globe award as the best film of 1999-the first animated film ever to do so-and as of January 2000 had become the second-highes t grossing animated picture of all time. And A Bug's Life, released during the same crowded holiday season that saw the animated films Antz, The Rugrats Movie and The Prince of Egypt, racked up $361 million worldwide. Meanwhile the employees of Pixar, a publicly- traded company with more than 450 people on staff, have won 18 Academy Awards for Scientific and Technical Achievement. Not a bad track record for a company that began life in 1986 as a spin-off of Industrial Light and Magic designing special effects for television commercials. What catapulted Pixar from the ranks of production houses trying to keep their heads above water doing computer graphics effects and turned them into a motion picture juggernaut is their steadfast belief in the primacy of the story. John Lasseter, executive vice president for creative at Pixar and director of Toy Story, Toy Story 2, as well as A Bug's Life, has been famously quoted saying, that at Pixar, "Art challenged technology, and then technology challenged art." It means, despite the best computer graphics tools in the industry, stacks of Sun Microsystems computers

Ralph Eggleston, art director on Toy Story, who has created his share of color scripts, defines them as a series of "linear, stream-of-consciousness drawings that map out the emotional content of the film, in color, lighting and design." Intended to tell the story in a series of broad strokes, while providing a sense of atmosphere and set design, color scripts can fill up a good-sized wall. For Toy Story, Eggleston created 35 boards over a period of several weeks. Bill Cone, the co-production designer for Toy Story 2, explains the financial reasoning behind a color script. "It's relatively cheap to do paintings and drawings. It's expensive to make movies." Production designer Jim Pearson elaborates, "You can only show them an approximation of the finished product until the product is finish ed." So color scripts will have to do. In addition to hitting the "story beats," that is,

Right: Buzz Lightyear logo studies by Bob Pauley.

humming away 24hours a day on the

Painted interior of Pizza Planet truck by Tia Kratter.

render farm, technology is nothing with-

Woody head sculpture by Shelley Daniels, which was scanned into the computer.

out a good story. So at the climax of Toy Story's

Color script of Sid's house for Toy Story by Ralph Eggleston.

big chase scene, the audience should be I L LU S T RAT I 0 N

For Pixar, every movie begins with a pitch to the executives at Disney, with whom Pixar has a five-year, five-picture deal. And every pitch involves a "color script," a 5-inch strip of pastels about 30 feet in length. There's so m ething of P.T. Barnum in the pitch, a meeting in which someone has to stand up in a room of executives who are about to commit millions of dollars to a film, point to the color script, and say, "Trust us , you're going to love it! "

This page: Rendered image of Buzz Lightyear confronting Woody in Andy's room from Toy Story, 1995.

and the racks and

164

Every picture sells a story

A N N U A L

2 0 0 0

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

A R T S

165

ir )

~ \0-~ ~ c

~ ,.....

Fe.it-

the dozen or so crucial points of action that propel the story

John Lasseter, "The best thing you can do is surround your-

forward, an effective color script will create lighting situations

self with better people, then listen to their advice."

that help tell a story and provide the subtle emotional under-

Jim Pearson explains the working relationship, "Directors

pinning for the plot. As an example, Eggleston points to the

are our clients-it's their movie. " At Pixar, teams of illustra-

color scripts for the original Toy Story in which Woody

tors, animators, modelers and renderers work behind the

throws Buzz out the window, and how during the scene the

scenes to bring the director's ideas to life. "Everything in

warm lighting scheme transitions to cold blues and greens.

the movie has to be designed," Pearson says. "Every leaf,

Creating a colo r script for Eggleston is "cathartic." Once

every blade of grass, every rock. It all has to be built." As an

the color scripts are complete, he says, "production can hit

example, Pearson uses the pages of chairs designed for the

high gear. And then yo u trust everyone to do his or her job.

mid-century modern decor of the evil toy collector, Al, in

You have to let each department bring the quality to the

Toy Story 2. "We'll work up concepts for chair designs, show

next level. By the time your concepts are in animation, you're

them to the director and ask, ' OK, which do you like?' The

saying, 'This is so cool! It's animated!"'

drawings must then be reworked to a more precise model

That kind of kid in a candy shop enthusiasm seems typical

packet level as reference for the people who are going to

for Eggleston, who joined Pixar in 1993, on the day produc-

build the models ."

tion for Toy Story began. Seven years later, Eggleston still gets so excited about his work he literally waves his arms while describing the collaborative efforts at Pixar. "I love working with these people," he says. "They inspire you, they egg you on. You couldn't make one of these films on your own. "

Stars aren't discovered, they're built Once the color scripts are approved, the designers at Pixar begin creating model packets. These are detailed drawings that explain to the computer modelers how a character can be built. A cross between a blueprint, an architect's elevation drawing, and a cartoon, model packets specify articulation

It takes a village to make a movie

and dimensions for each character. "Yo u break everything

These films are literally years in the making-from the initial

down into little bits, " Bill Cone says, and "at the same time

story development to release can take as long as five years

still try to keep personality in the drawing."

and involve legions of people, from illustrators and computer artists to shaders, modelers and programmers. All must buy into a single person's creative vision. Jan Pinkava describes the director's role. "As a director, you are largely leading the

166

This page: Character design sketches of Jessie, from Toy Story 2 , by Jill Culton. Sketch of Woody's horse Bullseye with materials and shader information by Ash Brannon . Right: Morning exterior study of Al's apartment building by

team. You are the keeper of the vision behind the story. You

William Cone.

make the key creative decisions, inspire the team and direct

Color script of the interior of Al's apartment by William Cone.

their effort . You discuss the role with the animators, help

Color script of the interior of Al's Toy Barn for color, lighting and

them to create their best performance. " While the director

atmosphere by Jim Pearson.

has the final word, Pinkava is quick to quote his mentor,

Morning exterior pastel of Al's Toy Barn by William Cone.

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

A N N U A L

2 0 0 0

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

A R T S

167

Model packets are handed off to the sculptors who create 3-D maquettes. These are given to the computer modelers who use them as reference-for scale, mass, articulation, the reflection of light on their surface-before building wireframe drawings polygon by polygon. The results hardly resemble a finished product. "You design something and it comes back from modeling looking like it's made out of plastic," Cone says. "It needs to be shaded and lit before it looks and feels right. "

most successful film, was initially conceived as a video release, and not coincidentally, an inexpensive way to reuse the digital characters and props from the original movie. Months into production, Disney realized Toy Story 2 demanded a theatrical release, and John Lasseter came on as director. To accommodate the higher resolution required for film, props from Toy Story had to be converted, shaders were upgraded, models and backgrounds had to be retooled and the script was overhauled. At one point someone decided that Al, the evil toy collector, should be a '50s freak. As Pearson recalls, "There was a great

Painting on digital clothes Now the computer artists go to work, using SGI computers and a software paint program called Amazon. Bringing a model to life with digital paint is a time-consuming process. An average model can take from one to five weeks to paint, light and animate, depending on the complexity. "There's lots of tweaking along the way," painter Laura Phillips says, of a process Pixar calls "3D Paint. " Phillips explains: "You take a model, and since it is built in three dimensions, Y?U can access it from any view, then sculpt with paint. You can paint in reliefs , etchings, create the surface quality. It's as if you are displacing the skin of the model with details. " She freely admits to having no computer illustration experience before she was hired. Phillips, who painted Jessie, the Prospector and Bullseye for Toy Story 2, claims learning wasn't difficult. "Amazon was pretty straightforward," she says. "You just apply everything you know about painting in the new 3-D environment." The finished product still astonishes Phillips. "It's totally magic to paint something and see the results in the next phase when it has gone through animation and lighting-it's just stunning." Bud Thon, one of the computer artists on Toy Story 2, who designed Al's Toy Barn interior and packaging, recalls a "certain amount of slack in what you had to know about a computer" at Pixar. A former airbrush artist, Thon has learned to love working in a Unix-based environment. "There's no cutting frisket , no clearing the airbrush between colors. The changes are so much easier on the computer. Plus, there's less to clean up, " Thon says. "Working in layers

sound of slamming brakes

These films are lit- while we shifted from an Art Deco theme to a miderally years in the century modern look. It makinCT---from the 6 meant we threw out the initial story develop- model packets, shifted our ment to release can color palettes and redesigned sets. It's a bit maddening. take as long as five our Even while the production years and involve work is going on, the script legions ofpeople, is still evolving." from illustrators and "You have to get accustomed comnuter artists to to consta~t change,:' Pierson r d says, notrng there is a way shaders, mo elers to protect against it, if only and programmers. a little. "You have to ask as many questions up front as possible. Then hope the directors don't change their minds." It is demanding work. Toward the end of the design phase of the original Toy Story, Cone clocked six weeks of twelvehour days . "It was crunch time," he says. On A Bug's Life, for which he had even more responsibility, Cone worked ten to twelve hours a day for over a year. "To get any work done , I had to get in early, before the meetings started, do pastels for a few hours , and then it was nonstop meetings for the rest of the day. "

Still, the work and the working environment do have their rewards. Bud Thon, with twenty years as an independent

means if you don't like it, you just dump it." Right: Seasonal leaf shader studies and grasshopper shader studies by Tia Kratter.

Adapting to change That kind of flexibility is key at Pixar where constant, unpredictable change seems the order of the day. Bill Cone admits it "takes an enormous amount of patience to see your work through to completion." Case in point: Toy Story 2, Pixar's 16 8

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

A N N U A L

0 0 0

Concept art. Translucency with a leaf and framing by William Cone. Lighting study for P.T. Flea's Circus by Tia Kratter. Bottom six images: Master lighting tableau with pastel studies by lighting artist Jean-Claude Kalache and pastel artist William Cone.

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

A R T S

169

freelance illustrator, was accustomed to coming and going as he pleased. He admits, "I was afraid of the structure at first. But I gave it a shot. There's very few days when I wish I co uld just keep driving to Yosemite. For a corporation, it's really loose-no dress codes, no time clocks. You are trusted to come in and do yo ur work. It's refreshing"

Hire for talent; train for skills There's also the excitement that comes from working with the best and the brightest in the industry. Jan Pinkava, who holds a Ph.D. from the University of Wales in theoretical robotics, enthusiastically claims, "We have three of the biggest brains in clothing simulation working here at Pixar." To nurture the talent, and keep these big brains interested, Pixar created its own on-campus university. Originally designed to provide a three-month crash course on computer animation for all incoming illustrators and technical directors, Pixar University now serves as a continuing education and cross-training program. More than 25% of its employees find the time to take formal, 2-hour-long classes in everything from animation to sculpture, computer software to life drawing. Call it enlightened self-interest but this cross training seems to be working. Laura Phillips, for one, loves the variety of work she encounters at Pixar. "Some days," she says, "You'll be painting conceptual art and working with the paintbrush, the next day

This page: An Ant Island exterior from A Bug 's Life .

yo u might be doing 3D Paint on the computer. There are

Mosquito Mariachi Band in Hopper's Hideout from A Bug 's Life.

always new projects. That's what keeps it interesting. "

Flik and Dot on Ant Island from A Bug 's Life .

Of course, Phillips is keen to see her work projected on a giant screen. She admits to a secret thrill "seeing the details only yo u know about." But there's more to making art at Pixar than inserting an Easter egg or a sight gag that flies by at 24 frames a second. Ultimately, there's the joy of the work itself. As Phillips says, "You put the effort into it because you love it." • 170

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

A N N U A L

2 0 0 0

Right: Slides comparing an unlit, unshaded shot with the fully lit, shaded version. Flik's view of the city from A Bug 's Life. Box graphics include the names of many Pixar staff members and their children .

C 0 M M U N I CAT I 0 N

A RT S

171

Taking Back Public Space BY GARY DuEHR

turf war is being waged for the last sliver of human attention. On one side stands the monolith of corpo-

rate advertisers, shrink-wrapping buses with

movie ads, sticking TVs in subways and sneaking Internet-fed messages onto gas pumps. On the other side gather the erratic forces of artists, armed by the recent surge of funding for public art. They are splashing video art across the Astrovision screen in Times Square, slapping images on milk cartons and strafing parks with 50-foot banners strung from airplanes. The mission of these artistic rebels:

Overhead view of Minotaur 's Maze , 2000 by Kelly Kaczynsk i, i n t he Bost o n Public Library, funded by Visible Republic

to take back public space for the p ublic.

172

Two new Boston programs for public art, Vita Brevis and Visible Republic, are the latest of a handful around the coun-

and forgotten and call them as witnesses into the trial. While many "Townies" in the community vehemently resisted the

try supporting work that's temporary, subversive and woven into the urban fabric. Rather than raise donations for an

artwork's testimony, feeling that Charlestown was being

abstract sculpture on a plaza, these agencies hand funds to contemporary artists dealing ad hoc with the Zeitgeist.

unfairly singled out, Vita Brevis program director Carole Anne Meehan recalls how some spectators were brought to tears by the eerie impression of the granite softening and

"I enjoy subverting the desire people bring to advertising;'

coming to life.

muses sculptor Ellen Driscoll. Her project this summer for Vita Brevis, a program of the Institute of Contemporary Art, will fly enigmatic images on banners above Boston's Emerald Necklace. Designed by Frederick Law Olmsted in the 19th century, the Necklace was intended to circle the city with parks and greenways. In Driscoll's piece, strollers and joggers will glance up and see a fiddlehead fern or star nebula:.

Similar to the way that Wodiczko's piece animated a public

Instead of what Driscoll describes as the steamy innuendo

Theseus. They could follow the string-like the mythic hero,

of pages of ads leading up to Guess? Jeans, she wants to interrupt that expectation and deliver nothing but itself, in this case symbols relating to Olmsted's philosophy, where a connection is made between micro and macro forms.

who used it to retrace his steps after killing the Minotaur at the center. Tucked away here and there were horn-like chairs

Another Vita Brevis project, Let Freedom Ring in 1998, projected video footage of mothers grieving for their murdered

later tried to escape with his son, Icarus, on wings of feath-

sons onto the obelisk of the Bunker Hill Monument. The monument is located in Charlestown, a tough, blue collar

"How to engage the audience, outside of galleries, is a new

city that has suffered a high unsolved murder rate due to

Fenner. Visible Republic is a unique creation itself. The

an insular Code of Silence. Krzysztof Wodiczko's ghostly images linked the Code to the Revolutionary War struggle for freedom of speech.

initiative is administered by the New England Foundation for the Arts, and supported by a collaborative of funders

"It is necessary to actualize the past," states Wodiczko, "and

While Vita Brevis commissions well-known national and

the present's relation to the past must be visible ." He wants

international artists to insert cutting-edge works into the

to rescue monuments from being silent, useless, unemployed

fabric of the city, Visible Republic sends out an annual call

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

A N N U A L

0 0 0

touchstone, Kelly Kaczynski's Minotaur's Maze, presented last spring by Visible Republic, energized the atrium of the Boston Public Library through ancient history (see figure). Her elegant abstraction of the labyrinth in curved Plexiglas® and polished steel, with arcs of string rising three floors overhead like the rigging of a sail, gave passersby the role of

to rest on, and drawers full of downy feathers in reference to Daedalus, the imprisoned creator of the labyrinth who ers and wax.

orientation for artists," says program coordinator Liesel

including the LEF Foundation and the Boston Foundation.

Sometimes it's unmistakable and unforgettable. Sometimes it's here and gone again before you even notice. Keep your eyes open.

Beckett. Spec It. This is Beckett Cambric Linen, Arctic, 80 pound text (n8 g/m 2

for proposals to local artists. Its emphasis is on building community. Other upcoming projects include Denise Marika's Crossing Paths, photo projections on concrete buttresses

England, leans toward community-based work but not, according to associate director Lyda Kuth, at the expense of <Esthetics, "There shouldn't have to be a compromise."

along a bike path, developed in conjunction with youths in the cycling group Bikes Not Bombs; and Ean White and

Two national programs, the Gunk Foundation and Creative Capital, foster the ambitiously experimental. The Gunk Foundation, based in Gardiner, New York, funds projects that catch people by surprise and politicize the public realm. ''A lot of people do a nine-to-five life, " observes director Nadine Lemmon. "They don't encounter many things which cut into their routine and give them another perspectivecertainly not the media. We want to make them stop and think. " Creative Capital, whose home is New York City, has created a model in which the profits from artworks are recycled to support future endeavors. Its politically subversive projects have included "Eminent Domain, " a line of paints distributed nationally in 6,ooo True Value Hardware stores that mimics the colors of housing projects, such as "Robert Taylor Homes Brick"; and Tijuana 2000 , a digital mural along the U.S./Mexico border that addressed the human fallout of immigration reform laws.

Jed Speare's Interstices, video projection on a Jersey barrierlike screen downtown. By showing behind-the-scenes footage of the notoriously over-budget Big Dig, a decades-long project to bury the central expressway, Interstices hopes to bring public works construction into the open. Having gotten a reputation for ungainly historical bronze statues , "Boston is ripe for a new kind of public art," enthuses Fenner. Throughout the country over the last decade, agencies for public art have spread and grown. Responding to the Black Friday of National Endowment for the Arts censorship, as well as to the corporate takeover of America's mindset, these organizations put money into the hands of individual artists to directly impact the surrounding community. They moved artists to the front line. Artists sponsored by Creative Time in New York City, the granddaddy of the agencies at 28years old, have done pieces on bridges, beaches and landfills, and in subways, storefronts and bars. Because director Anne Pasternak believes that in New York there is no such thing as neglected public space anymore, with every available surface covered by corporate advertising, Creative Time artists have sought new niches. One project fought domestic abuse with 1-800 numbers on milk cartons, another hijacked ATMs for art withdrawals and deposits, and new ones may involve deli coffee cups, satellites and sky writing. Its companion agency in Manhattan, Public Art Fund, has become equally desperate for viewing space. Kirsten Masher's Ball Park Traffic painted a baseball diamond in a busy intersection to critique society's rules, and Pipilotti Rist's Open My Glade co-opted the big screen in Times Square to show a sixteen-minute video of a TV bursting into flames. In Minneapolis, so far, tactics for public art have been less aggressive. Still in the initial planning stages, the People, Places and Connections program of Intermedia Arts wants to place citizen-artists in the driver's seat as city planners, according to director Tom Borrup. Possible pieces include decorating a freeway bridge with diverse cultural icons or creating graffiti-like billboards from neighborhood questionnaires. In San Francisco, the Creative Work Fund also falls on the community-building side of public art. A good example is Ruth O 'Day's ceramic tiles on planters that formed a bright yellow ribbon. She worked closely with neighbors to reclaim a battered park from drug dealers. The LEF Foundation, which supports projects in the Bay Area as well as in New

So who is winning the war for America's public consciousness? Creative Time's Pasternak believes it's already been lost, and has sought truce-making sponsorships from tobacco companies and fashion magazines. Other agencies in Boston and Minneapolis have, like John Paul Jones, just begun to fight. And while Gunk Foundation's Lemmon steers away from what she calls nice, warm community art, funders such as Intermedia Arts and Creative Work Fund strive for change from the grass roots up. Whatever strategy is employed to try and take back public space, the battle has been joined. At stake is who owns our common territory and, more critically, what part we want to play in our own lives: as consumers or participants. • Vita Brevis: www.icaboston.org Visible Republic: www.nefa.org Creative Capital: www. creative-capital.org Gunk Foundation: www.gunk.org Creative Work Fund: www.creativeworkfund.org Intermedia Arts Fund: www.intermediaarts.org Public Art Fund: www.publicartfund.org Creative Time : www.creativetime.org LEF Foundation: Lyda Kuth, kuthlef@earthlink.net

Editor's Note: Gary's thoughts are eye-openers: we can be creative participants in shaping our public spaces. -WENDY RICHMOND

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

A R T S

175

XEROX PRINTERS MAKE IT HAPPEN.

Tektronix Phaser 780 Tabloid Color Laser Precision Color Matching, up to 1200 dpi $4995.

THEl?J~T COMPANY

XEROX

NETWORK PRINTERS

In color matching, "close enough" just doesn't cut it. When color is critical, count on the Tektronix Phase 780 tabloid color laser printer,

now part of the Xerox family. With PhaserMatchT" I[[ custom profile software, you can match the output of a specific press, paper or ink. And with built-in automatic color calibration, you'll get accurate, photographic-quality color at up to 1200 dpi from your first print to your last, on everything from postcards to 12" x18" full bleeds. To see what a difference precise color can make, call 1-877-362-6567 ext.1714 or visit us at www.xerox.com/ officeprinting/match1714 Copyright C 2000 XEROX CORPORATION. All rights reserved. Xerox", The Document CompanY". Phaser°, and PhaserMatch™ are trademarks of XEROX CORPORATION. Tektronix" is a trademark of Tek1ronix, Inc. licensed to XEROX CORPORATION. 'Estimated U.S. retail starting price. Reseller price may vary.

Macromedia FreeHand 9: A Flashy New Release BY G ARY W . PRIESTER

lthough Macromedia's FreeHand®has often outpaced Illustrator in terms of innovative features

and ease of use, Illustrator dominates the professional graphics market. My explanation for this is that for most graphics professionals, who do not read software manuals in bed, and learned to use a computer kicking and screaming, the computer is just a tool. Many cut their computer teeth on Illustrator and remain stubbornly loyal. New, attractive and more powerful features in competitive products are not reason enough to switch. Especially if it means, God forbid, having to learn a new way of doing things!

While Adobe's Illustrator®and Photoshop®are the industry

standards for Web and multimedia design. So it makes

vector illustration and layout solution for its suite of Web and multimedia publishing software. With this new positioning, Macromedia is hoping to woo from Illustrator, Web and multimedia designers who already use Macromedia's Flash

sense that Macromedia is repositioning FreeHand 9 as the

and other Web and multimedia publishing applications.

standards for print and image editing, Macromedia's Flash®, Fireworks®, Dreamweaver®and Director®are the industry

Ilees twww.il osightcom.au Australian

email illosight@kbdnet.net.au

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

A N N U A L

This appears to be a wise strategy. Illustrator users, who design for the Web, have been forced to create Web graphics in Photoshop. (Illustrator 9 has just added pixels as a unit of measurement!) While Photoshop excels in creating and editing bitmap images, its drawing tools are understandably skewed more towards image editing. FreeHand offers Web and multimedia designers a set of excellent illustration and layout tools, and it can measure not only in pixels, but in inches, decimal inches, points, picas, centimeters, millimeters, feet, yards, meters, kilometers, miles (both land and nautical), Didots and Ciceros. FreeHand can create bitmaps for the Web in GIP, JPEG and PNG (8, 16, 24, 48-bit, and 32 and 64-bit with alpha channel transparency) file formats. URLs can be assigned to objects and image maps can be created and exported to HTML pages in a step-by-step process. Users can convert print pages to HTML output in the popular Dreamweaver format. Multi-page PDF creation with font embedding, and Flash files and movies round out FreeHand's munificence of multimedia publishing features. Acknowledging Photoshop's popularity, Macromedia has added more Photoshop support. Documents with layers created in FreeHand and exported in Photoshop 5's native PSD file format, can now be imported into Photoshop with FreeHand's layers intact. On the other hand, many GIP export features, found in Macromedia's popular Fireworks, have found their way into FreeHand and might cut down on the traffic to and from Photoshop.

phone +61 2 9438 3805

178

The ability to blend several objects at one t ime has been enhanc ed to include objects with composite paths, such as the number 4 . Objects are blended according to layer. Blends can be " Released t o Layers " and exported as an imations or Flash movies with eac h object in the blend becoming a separate frame .

2 0 0 0

ADOBE GOLIVE ADOBE PHOTOSHOP

ADOBE LIVEMOTION ADOBE ILLUSTRATOR ADOBE PREMIERE ADOBE AFTER EFFECTS ADOBE WEB COLLECTION

Adobe LiveMotion. Web animation. Tight integration. Killer. Push your content to the extreme with Adobe® Live Motion™software - a brand new application for creating web graphics and interactive animation. Developed for seamless integration, LiveMotion shares the familiar Adobe interface you know from Photoshop®, Illustrator~ Golive™ and After Effects®. Which means a fast learning curve. And some insane animation . It even supports a variety of file formats, including Flash™(.swf). See LiveMotion in action at www .shredtheweb.com

Adobe

Inspiration becomes reality:--'

1!18

Increased Flash Support Flash files and movies created in FreeHand 9 can be

-....

.. '""'

lt-:=-----r-,,..,,.,.,-,-=-:--,...,,....,,.----,.,:-:-1. R"'lttr41t lM

i.=:::==~============11 : : ::~ OOCCR-Or-2'H9Slb HOOU-ISJrO,S I • Ctrr00• 2'<>'r ~a.>

uploaded directly to the Web, or opened in Flash for additional editing and sound addition. In the past, I've been reluctant to use Flash because not all Web browsers supported it. But according to Macromedia, the current number of Web browsers with built-in Flash support has grown to 89.9%.

In addition to releasing a blend to layers to create a Flash animation (shown here in the Flash player), FreeHand can create a custom palette from all the colors in the blend by selecting Name All Colors from the Xtra panel. Named colors are automatically placed in the Color List panel.

I discovered the benefits of Flash recently when I converted an animated GIF logo, that was about 90KB in size, to a 5KB Flash movie. Because of the bandwidth-hogging file size, the GIF animation was

4 A · 4

ing points far enough apart to avoid distortion. Today, FreeHand's new customizable Perspective Grid feature could get me off the floor. You can choose from 1, 2 or 3-point perspective and unlike static perspective grids, FreeHand's are dynamic. The vanishing points can be dragged any distance and in any direction, 2-D objects can be snapped onto th e grid and into proper perspective with a single keys troke. Once on the grid, objects can be dragged to new positions (and duplicated) while maintaining their perspective. If the grid is modified, objects, or groups of objects, snapped to the Perspective Grid, redraw accordingly.

Pushing the Envelope While envelopes are nothing new, FreeHand's implementation permits real-time editing where each change to the envelope automatically redraws the image . The twenty preset envelopes, circles, squares, stars and so forth , also can be modified. Control points (corner, curve, connection) can be moved, added or deleted. Custom envelopes can be named and saved as presets and applied to another obj ect.

unusable on the Web. As Flash images are vector, they can be scaled up or down without adding to the file size or loss

New Views

of image quality. And because they are device dependent,

FreeHand now offers an antialiased display mode. Antiali as-

they can be commercially printed at high resolution.

ing smoothes the screen display creating sharper images and

Flash keeps file sizes small by designating an object that is used more than once as a Symbol. Instead of recreating a

Export Document I ~ ~nnlic:h : r..1r

duplicate object each time it is needed, Flash reuses the Symbol (called an instance) and makes only the necessary Image:

as with Flash, commonly used objects can be stored, reused

Dither: WebSnap Adaptive 256 Palette: .I WebSafe 216 Colors I 64 32 Colors 16 Colors Macintosh System Windows System 3-3-2

mation will look in a Web browser. PDF files can be viewed in Adobe's Acrobat reader. A checkbox option, Protect from

!if Transparent Background

181181181181181

Import, prevents Flash images and movies from being down-

New Perspectives In my pre-computer Magic Marker®days, when I was struggling through perspective drawing at Art Center, I have memories of using the entire kitchen floor to set my vanishI L L U S T R A T I 0 N

A N N U A L

2 0 0 0

••••••• ••••••• •••••••• •••••• ••••••• ••••••• 181181181181181181181 181181181181181181181

Grays.act

Index:

I Cancel J II

loaded and reused. Given the ease with which most content on the Web can be downloaded and reused without permission, this is a welcome option .

·.a.·•!.1.1 ..... ..-, •• - .

••••• ••••• ••••• ••••• ••••• ••••• •••••

Upon export, Flash files and movies , PDF files and bitmaps can be opened automatically and viewed in an application of your choice. Web designers can see how an image or ani-

...

e Maluna

Exact Palette WebSnap Adaptive 16

changes . FreeHand 9 has added its own Symbol library where, and modified. Changes to a Symbol in a multi-page document can be applied to all instances with a click of the mouse.

180

c:J aro1

More ... J L Cancel J l

@1J OK

•

The GIF export options dialog has been expanded and now includes 4 antialiasing settings and 3 dithering settings. Palettes may be optimized to remove unused colors, and a wide range of palette options are offered including WebSnap Adaptive (currently found in Fireworks), Web Safe, Mac and Windows System, and more.

1200 dents and 800 scratches. Make that 1200 dents and 798 scratches.

A beat-up negative impresses no one. Fortunately, the Super Coolscan®2000 film scanner uses Digital ICE"' technology to automatically remove scratches and other surface defects.And of course there are superior Nikkor optics for great image quality, Nikon's Color Management

Nikon.

System that ensures color matching, hot swappable film adapters, and auto-feed. This isn't just www . n i ko n us a . c o m

a scanner. This is one mean machine. 1-800-NIKON-UX. N ikkor Optics • Multi-Sample Scanning • Exclusive LED Technology • 3.6 Dynamic Range • Altamira Genuine Fractals~ 2.0 LE software

C2000 Nikon Inc. Digital ICE™is a trademark of Applied Science Fiction.

more readable text and shows how an image will look in Flash's antialiased display mode.

OJITJITJ

FreeHand has added the ability to name and save up to eight

ITJITJITJ

different views. This is helpful when you are working on a complex drawing and need to zoom to a small section for detail work, then zoom out to see the whole image, then zoom to another area and so forth . Now you can name each view, and select the appropriate named view from the Magnification drop-down list.

Multi-page, Multimedia Publishing Environment FreeHand 9 offers an extremely flexible multi-page environment. Creating new pages is effortless in the Page Inspector. And each page can have a different size and page orientation. Numbered pages appear in the Inspector and can be reordered and automatically renumbered. Double click on any page icon in the Page Inspector and that page appears on screen . If you zoom out beyond the page border, the pages appear as thumbnails on the pasteboard. Double click on any thumbnail with the new Page Tool and you can change the page size and orientation. Pages and their contents can be duplicated using the drag and duplicate method. Designers of complex multi-scene Flash productions can use the multiple pages to create storyboards which can be converted to Flash movies and shown to clients for approval

IT] 0

lIJ

- 1~ x:~y : ~

!custom

Bleed:

E:=:J

Printer resolution :

l2s40

l•I dpi

A Page tab has been added to the Inspector. Pages can be added , duplicated and removed. Page icons can be dragged to a new location and the pages will automatically renumber.

tion. There is enough typographical control and page layout flexibility to make FreeHand a viable alternative to Quark for ads and multi-page documents. Unlike Illustrator, which can only create single-page PDF files, FreeHand 9 can create multiple page PDF files with multiple page sizes and embedded fonts.

Time-Saving Features Text and graphics attributes can be defined as Styles streamlining the repetitive task of formatting text or applying multiple attributes to objects. Modifying a Style,

instantly updates all instances of the style throughout the entire document. Find and Replace can be used with text, and graphic attributes, allowing for example, all instances of PANTONE 199 red to be changed to PANTONE 187 red, including all tints and shades of the selected color. In this way, a drawing of a red automobile can be changed to a green automobile in seconds. A Copies box has been added to the Transform panel making it easy to apply the same transformation-scale, rotate, mirror,

before actual production begins. Pages can also be "released to layers" and exported as Flash movies. Native Flash desk-

skew and so forth, a specified number of times.

top presentations can be created in FreeHand and viewed on the computer screen, or exported with the self-contained

and skew a selected object from the mouse with an additional click, reducing the need to go to the Transform panel except when precise transformations are needed. When it is necessary to transform an object, FreeHand's Transform panel contains all the transformations; move, scale, rotate, skew and reflect. I especially like the Align menu where the most common alignments such as center on center, or center top, align left and so forth, can be accomplished with one

Flash player and sent via e-mail attachment to another loca-

I .~

...::s 0

u.. G>

D..

In drawing mode, FreeHand has the ability to resize, rotate

mouse click in the appropriate area of the preview grid.

Have it Your Way As I theorized in my opening text, most graphics professionals are reluctant to learn new software unless it is absolutely necessary. FreeHand can remove some of this angst by allowing users to customize keyboard shortcuts to resemble the ones with which they are already familiar. This can make

Using the new Page tool, thumbnails of the pages in a document can be viewed and edited right on the pasteboard . Pages can be duplicated and repositioned using drag and duplicate.

182

I L L U S T R AT I 0

ANN U AL

2 0 0 0

migrating to FreeHand easier for Illustrator and CorelDRAW users. The Pointer tool (FreeHand's name for the selection

Seeing is Believing

CorelDRAW®9 Graphics Suite With a fully integrated set of high-end tools for vector drawing, page layout, photo

• CorelDRAw• 9

editing and painting, Corel DRAW~ 9 Graphics Suite is almost too good to believe.

• Corel PHOTO-PAINT* 9 • Canto• Cumulus• Desktop LE 4.0

Thisacwenisementwas<Jesignedandcreateduslngawanl-winninl;/Core/DRAW"(lfaph/cssolrwate.

Copyright C 2000 Corel Corporation All rights reseNed Corel, CorelORAW, Corel PHOTO-PAINT and lhe Go lurther logo are kad<mar'<s or regislered kademar'<s ol Corel Corporalion or Corel Corporalion Umiled Canlo and Curoolus a1e regislered lrademar'<s ol Canlo Sollware. In<:. All olller oroduct, lonl and company names and logos are kademarks orregisteredlradematksollheirrespect1vecorporalions.

( :COREL: Go further··

Pumpkin Eye Bats Bafs Eyes

Up to eight custom views (magnifications) can be named and saved with the document. The custom views appear in the Magnification drop-down list and make it easy to work in multiple magnifications.

tool), and new Lasso selection tool, now have a Contact Sensitive option which operates like Illustrator's selection tool selecting entire objects when only a portion of the object is covered with the selection marquee. FreeHand enables users to customize the existing tool bars, by adding buttons or dragging buttons from one toolbar to another. And users can now create their own keyboard shortcuts for

The addition of Flash's antialiasing display (shown on the right) produces cleaner screen images, especially in the case of text that has been converted to paths. The image on the left is the standard Preview mode. FreeHand offers five display modes: Flash Antialiased, Preview, Fast Preview, Keyline and Fast Keyline. Fast Preview and Fast Keyline show a simplified number of objects, thus decreasing screen redraw time. The Flash Antialiased preview shows how objects will appear in Flash's antialiased display mode.

most commonly-used functions. I've covered most of the new features but there are a few more worth noting. With the new Trace tool, bitmap images can be traced into RGB, CMYK or grayscale color space right in FreeHand. The Blend Too l has been enhanced permitting composite paths to be blended with non-composite paths. Blends can be "released to layers" and exported as Flash movies which can be posted directly to the Web, or opened in Flash for additional editing. A smoothness con-

create illustrations, charts and text-based projects, as well as Web and Flash graphics all in the same application. Finally Macromedia is offering an attractive price for a FreeHand 9/Flash 4 combo. •

trol added to the Freehand tool permits the user to deter-

Macromedia, Inc.

mine the amount of smoothing for drawing freehand paths,

(800) 457 -1774; (415) 252-2000 www.macromedia.com/software/freehand System requirements : Cross-platform : 50MB disc space (70+ recommended); CD-ROM drive ; 800 x 600 color monitor; Postscript printer (recommended) . Macintosh : Power PC Processor; System 8.1 or later; 4M B of appl ication RAM (32+ recommended). Windows : 120 MHz Intel Pent ium Processo r or higher; Windows 95, 98, NT 4 (with Service pack 3) ; 32MB of application RAM (more RAM improves performance) .

useful for drawing smooth curves with the mouse.

Should You Switch or Upgrade to FreeHand 9? The new features and improvements should persuade current users of FreeHand to upgrade. Multimedia designers currently using Illustrator should definitely look at FreeHand and how well it meshes with Macromedia's Flash and other multimedia and Web publishing applications. Technical illustrators will find the Perspective Grid an invaluable, timesaving tool. Designers creating multi-page documents 184

will appreciate being able to export multi-page PDF files without using Adobe's Distiller. Cartographers will appreciate the customizable scaling and choice of units. Art directors and graphic designers will welcome the ability to

I L L U S T RAT I 0 N

A N N U A L

2 0 0 0

Pricing : FreeHand/Flash Studio $499 (Upgrade in one box $199); FreeHand 9 Boxed $399 (Upgrade from any previous vers ion $149); FreeHand 9 via ESD (electronic software download) $399 (Upgrade $149); Competitive Upgrade $169 .

At Viant, we ' re constantly pushing ourselves and our clients to look beyond conventional wisdom. From concept to strategy development, principal investing to designing, we help build and grow digital businesses every step of the way. Helping Global 1000 companies and entrepreneurial clients to think bigger. Work smarter. And continue to question: Is the big idea big enough?

~ VIANT BUILDING DIGITAL BUSINESSES

Same great name. More great uses. Scotchprint®Graphics. The brand that builds your bran

Scotchprint®Graphics IC 3M (IPC) 2000. Scotchprint is a registered trademar1< of 3M. 75-5100-2003-7

Jr details call 1-800-374-6772, ext 550. Or visit our website at www.3M.com/uslgraphicarts.

3M Innovation

Books

in this book are academic, dared

PhoroShoor p software, enabl-

applications, the native resolu-

and insular.

ing in-camera control of density

tion is 1,280 x 1,024 for the

range, exposure index, color

VP181 and 1,024 X 768 for the

adjustment and gamma. For

VP151. For more information,

Information Design

-SAM McMILLAN

Edited by Robert Jacobson Foreward by Richard Saul Wurman 356 pages, hardcover. $35 Published by The MIT Press Five Cambridge Center Cambridge, Massachusetts 02142 (800) 356-0343 www.mitpress.com

If ever a concept was ready to be unleashed on an unsuspecting public, it is Information Design. Behind the scenes, infor-

more information, visit www.

call (800) 888-8583 or go to

mega-visio n.com

www.viewsonic.com

Digital prepress

Custom ICC profiles

Go with the flow. PixelSrream

Color Savvy Systems Limired's

By Constance Sidles 96 pages softcover, $17 Published by Rockport Press 33 Commercial Street Gloucester, Massachusetts 01930 (978) 282-9590

WorkFlow combines all rhe

ColorControlStation automates

With more than 25 years in the

integrated source. PixelSrream

ColorCon rrolStarion measures

industry, author Constance

brings together a lightning-fast

colormetric data to create cus-

Sidles bring her considerable

Harlequin ScriprWorks RIP

tom profiles that can be used

experience to bear on the cre-

and in-RIP OPI image replace-

with Photoshop~ Illustrator®,

ative use of prepress techniques

ment software that lets a page

lnDesignT"' and QuarkXPress®.

to reinforce and communicate

layout program use low-res files

Users can simply print the

great design efforrs. Within its

that are later swapped for hi-res

target, insert the target page

scant 96 pages, hundreds of

files when rhe Postscript file

into the ColorControlStation,

ideas are presented, explained

is RIPed. Three modules of

press a button to begin the

and illustrated in full color. The

impos2000 includes client,

illustrations are sumptuous, the

server and plug-in architecture

Pre-Press: Building Innovative Design Through Creative Pre-Press Techniques

mation designers have become the heroes of Web design, carving out a realm of expertise beyond mere graphic design. They've got the clout and the salaries to march. Already, small subsets are fissioning off from the core, with the hottest of the hot now calling themselves User Experience Designers-pronounced in the .corns near San Francisco's South Park as "You Ex." All of which makes the publication of Infor-

mation Design from MIT Press a big step backward. Nor only is it revealed that most informa-

the process· of generating custom

workA.ow for trapping, imaging,

printer ICC profiles. Combined

rendering, imposing and creat-

with CompassProfile Printer

ing film or plates into a single

software from Praxisoft , the

advice authoritative and concise,

to complete the package. For

limited to a single explanatory

more information, visit the Web

paragraph. Ir makes a great book

site at www.screenusa.com

to browse through-and because there is no table of contents, and

Monitor

seemingly no central organizing

Flat is where it's at, as far as

tion designers (well, at least the

principle-that's just what read-

ViewSonic is concerned.

ones that contributed to this

ers will be forced to do.

ViewPanel flat-panel monitors,

can't create charts and graphs

Tools

multiple digital, analog and

worth a lick either. My favorite

Digital camera

book) can't write their way our of a paper bag, it turns our they

188

elements of the digital prepress

the VP 181 and VP 151, combine video inputs in 18-inch and 15inch screens. According to

is an earnest little chart that

Bigger is better when it comes

ViewSonic these monitors are

indicates "Poorly Focused

to professional high-resolution

the first to feature picture-in-

Attention" leading directly to

digital cameras. Mega Vision's

picture capability, which means

"Boredom." What, no low-grade

new T32, a three-pass digital

you can work on Photoshop

sexual fantasies involving Pamela

camera back that mounts to

files while simultaneously

measurement and walk away. For more information, check out www.colorsavvy.com

Image-editing software PDF lmageworks, from Lantana, enables native image editing and manipulation of PDF images from within Acrobat. Interactive and automated features provide control over image selection, integration and appearance. With PDF lmageworks , users can edit image content and perform operations on entire images. Files can be output to various formats including TIFF, EPS and JPEG. Macintosh and Windows

Anderson? With the exception

any 4 X 5 view camera, uses a

watching a DVD movie, a video

of Nathan Shedroff's "Informa-

3,072 X 2,048 pixel resolution

or the latest installment of

tion Interaction Design: A

CCD sensor to capture 36-bir

"The Sopranos." On-board

Unified Field Theory of

RGB color images at a final file

USB connectivity allows you to

Design, " and Romedi Passini's

size up to 36MB. Developed for

plug scanners, digital cameras

The MediaBin platform from

seminal "Sign-Posting Informa-

studio image capture , the T32

and printers directly into the

Iterated Systems provides cor-

tion Design, " the various essays

includes Mega Vision

monitor. To support demanding

porations, e-commerce and

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

A N N U A L

2 0 0 0

demo versions can be downloaded at www.lantanarips.com

cross-media publishers with an

rarely on FireWire-equipped

for projects, media-even sepa-

Online RAM calculator

efficient, integrated image pro-

Power PC G3 and G4

rate clients. Folders are secure

Seems like you always need

('t)

duction system. MediaBin is

Macintosh systems. Echo Fire

and can be made avai lable to

more RAM. But how much

(./')

designed to perform as a high-

colleagues and clients with a

plugs directly into Adobe After

is enough? RAM Profiler, a

volume application server to

Effects®and Photoshop to dis-

password. It's a quick, cost-

new tool available at www.

support and automate image-

play current compositions in

effective way to bring together

RAMmatters.com , lets you cal-

processing chores for large num-

After Effects or Photoshop

remote work gro ups and project

culare how much RAM you will need for specific applications.

lo;

n ('t)

(./')

regardless of pixel aspect ratio

reams. If they have access to the

expandable library of image

or composition size. For more

Web, they can review works in

editing-functions orchestrates

information, check out the

progress instantly. Check it out

Just enter the amount of RAM currently onboard your PC

demo version at www.

at www.driveway.com

and your processor speed,

Domain name search engine

applications you intend to

All the good ones are taken! Ir's

cally tallies how much more

an age-old complaint, made

memory you need .

hers of distributed clients. An

the process in image-editing workflows . Automated

synthetic-ap.com

MediaBin tasks can be incorporated into Web production, prepress, print and digital pho-

Content management software

tography workflows. For more

Media Center Plus from Jase

information, call (800) 437-2285 or see www.mediabin.com

Web page permanence Blink and you miss it. That's

Software is a Web and desktop content management solution that gives Web developers a quick way to organize, publish and share digital photos, Web

how fast the Web changes.

graphics, multimedia files

SurfSaver allows users to permanently save Web pages on their own hard drive in a searchable database of folders. Web sites can be stored in their entirety, on multiple levels or as single pages. Selected links and all linked pages can also be

including sound and video formats such as MP3, MPEG and AVI. Media Center Plus can

acquire images from scanners and digital cameras and post

database of links on your own

.corns in the search for a good

Printing publication

domain name. Now there's

The Graphic Arts Technical

Quester, a program designed to

Foundation and Printing Indus-

search for available domain

tries of America have jointly

names, generate the greatest

assembled a catalog of their

possible word combinations

publications covering all seg-

and then select the best possible

ments of the printing industry.

combination for naming a

This comprehensive 50-page

business on the Net. Ir is as

catalog lists more than 300

simple as entering a list of

publications and includes titles

keywords on the Quester Web

on productivity benchmarks,

site at www.internet-soft.com/

job descriptions, print buying,

DEMO/domains.zip

sheerfed and web offset opera-

mation, visit www.jasc.com

Cross-platform invoicing

For more information, call

Resources

Invoicing made easy. Time

them to the Web, and create slide shows and multimedia

computer. SurfSaver requires Windows 95, 98 or NT and

use. RAM Profiler automari-

more plaintive by startups and

presentations. For more infor-

saved, creating a searchable

rions, paper and ink and more.

Tracker, a shareware utility for

(800) 662-3916.

Online storage

Windows and Mac users is

Education

You are what you store. And

expressly designed for indepen-

Workshops

lately, it seems, there is never

dent professionals who must

Barry Haynes and Wendy

Video plug-in

enough storage space. Drive-

account for their time when

Crumpler offer small (no more

Ir's a fact of life. Computer

way, a San Francisco-based

they bill projects. Time Tracker

than four students at a rime)

screens are different than video

startup aims to change that

makes it easy to track billable

custom Photoshop, Illustrator

monitors . Interlacing, RGB color

with up to IOOMB of free stor-

time spent on the computer to

and Painter workshops in their

vs . printable CMYK, and smaller

age space online. Graphics,

client projects, then generate an

studio in Corvallis, Oregon. For course desriptions and sched-

Internet Explorer 4.X or higher or Netscape 4. Download a free copy at www.surfsaver.com

190

then check off the types of

color gamut available on video

photos, animations, illustrations,

invoice for that project. Time

makes it nearly impossible to

sound and video files-if you

Tracker fills in rhe invoice with

ules, or to join their mailing list,

preview and evaluate video pro-

can digitize it, you can store it

your billable hours, rate and

check out www.maxart.com or

jeers on a computer monitor.

on the Driveway server. A nifty

total amount of invoice. Time

call (541) 754-2219 . •

Now Echo Fire, from Synthetic

interface makes it simple to set

Tracker may be downloaded at

Aperture makes it possible to

up your own personal folder,

www.tiac.net/ users/ fkane/ time

preview video projects accu-

then begin making subfolders

tracker/

ILLUSTRATION

ANNUAL

2 0 0 0

-S.M.

*visit our new website

9 GMUND

stock: rea ction , alpine sparkli ng water, 210 g/ m' des ign : 1

www.gmund.com specifier 17 brands samples swatch boo ks i gadgets+tools

news+info mill tour distributors

GMUND Biittenpapierfabrik Gmund GmbH & Co. KG Tel: 1-888-88-GMUND (USA)

CULTURE

Postfach 1187 IN

83701 Gmund am Tegcrnsee

PAPERMAKING

SINCE 1829

Germany

E-mail: info @ gmund.com

Apple Update BY KATHLEEN MAHER

teve Jobs has reinvented Apple in its own image. Where once the company strayed too far into competing with the PC on terms it could not win, now it is

defining its own terms. As far as Steve Jobs and Apple are concerned the plan is working and don't expect to see much in the way of deviation from the plan.

So what is the plan? Apple will win back and hold its core users in the arts and it will win consumers, especially among first-time buyers. Certainly, selling consumer products has not hurt Apple. The company sold r.35 million Macs during the last quarter of 1999· Jobs pointed out that that was more Macs in one quarter than any quarter in Apple's entire history. More important, the company is gaining converts. Many first-time computer buyers are gravitating towards the Macintosh; also, the Mac is redefining categories. Apple has almost singlehandedly created the consumer portable. In the PC world, portables were primarily manufactured for the corporate market, the so called "road warrior" segment. According to the data presented in Jobs's San Francisco Macworld speech, 56% of iMac purchasers were buying their first portable for the home. In Tokyo, at the Macworld Expo held in February, Apple introduced new iBooks including the iBook Special Edition, which has a new 366 MHz processor. Significant hardware products have been slow in coming from Apple and, primarily, these iBooks feature increased system memory and hard-drive storage. The popular portables now come with 64MB of system memory and a 6GB hard drive. Apple relies on graphics processors from ATI, and these new models use the ATI Rage Mobility graphics controller with 4MB of SDRAM to handle movie playback, and 3-D graphics for games. These iBooks are available in Tangerine and Blueberry and retail for $1,599 and the Special Edition comes in Graphite and has a retail price of $1,799. The biggest push for Apple in the first half of 2000 has been overwhelmingly for video. In the last quarter of 1999, Apple shipped three new iMacs including the IEEE 1394 enabled iMac DVD and the iMac DV Special Edition. Both products shipped with Apple's iMovie software carry a premium price tag for a consumer computer. Nonetheless, Jobs told attendees, "We can't keep them in stock." Video is the bridge application. Once there was a time when desktop publishing carried Apple computers into households and corporations, now the company is looking to video to do the same thing. The company owns FireWire, the fastest link between peripherals available for consumer

and professional use. It owns QuickTime, a format that is competing successfully with RealNetworks RealPlayer and Microsoft's Media Player. The emphasis, for the moment, is on video over the Internet and consumer video. Apple has been slow to respond to the DVD revolution with products in DVD's native format MPEG-2. MPEG-2 is a compressed format, the same format used by broadcast TV, and it's at the heart of PVR, personal video recorders. So far, most of the professional video applications on the Mac are for MJPEG and DV formats. And most of the video applications on Apple are capture and editing.

14%

11 11 53%

8.9 million Real Player 5.5 million QuickTime 2.4 million Media Player

Source: Nielson

Apple says they have gained sign ificant market share in streaming media pl ayers since Ou ickTime's introduction in May 1999.

These formats are still heavily used by video professionals. For home video and digital video, DV is the format of choice since it's built into the digital cameras being sold and users can transfer video directly to the computers via FireWire. Video editing isn't easy, it requires a lot of time and even more drive space. It's uncertain that consumers will really want to commit a great deal of time and effort to video editing. But let's say it firmly and unequivocally, if a consumer video market develops it will be strongly Mac-based and in fact, Apple will be the company that builds that market. Apple is pulling out all the stops. Steve Jobs told attendees at Macworld in January, "If ever there was a killer app, this is it." Most analysts see the real potential for consumer video editing to be for the Internet. The other major push for Apple is into the game developer world. The Mac has seriously lost ground in game development. The last important game developed on the Mac was Riven by the Miller brothers who are true believers . However, the heathens of id, Electronic Arts, Activision, etc. have been developing games on PCs because most games C 0 M M U N I C A T I 0 N

A R T S

193

are being played on PCs. Apple intends to change that and has added support for OpenGL, a sophisticated 3-D graphics language favored by game developers, but downplayed by Microsoft in favor of its own DirectX approach. (Microsoft is gradually enabling various degrees of OpenGL implementation in the Windows-based operating system, but Apple has definitely stolen the march by making OpenGL native to the Mac OS.) In the past, Apple has been guilty of the same dangerous mindset as Microsoft. It can be described as "our format is better than yours" and the users be damned, but Apple learned an important lesson when it lost the game developers, a market it once owned. To the professional, the influence of the games segment in the Apple market might seem irrelevant. Far from it-as has become evident in PCs, games drive graphics. Ironically, it's the demand driven by games players that has pushed PC graphics to be on a par with some of the most powerful Unix-based graphics visualizations systems of only three years ago. OpenGL opens the door to advanced 3-D applications on the Mac including products for digital content creation. For graphics accelerator companies, the Mac is wide-open territory. Apple relies on ATI, a mainstream graphics company for its consumer and professional products alike. Most of the companies supplying graphics power to the Macintosh platform have withered and died, including Radius's graphics accelerator division, lxmicro, Mactell and RasterOps. However, inspired by the Mac's rebirth, other companies are rushing in to take up the slack. European-based Formac has established a beachhead in Silicon Valley. The company sells TV boards that enable video capture and TV viewing, and they build graphics accelerators using 3Dlabs graphics chips well suited for CAD and high-end visualization. On the PC side, Nvidia reigns as a provider of high-end graphics at very competitive prices. Formac is the company most likely to bring graphics boards sporting Nvidia's new GeForce and Quadro chips to the Mac market. Game champions 3Dfx are bringing their very fast gaming acceleration to the Mac via their Voodoo platform. Even though 3Dfx's products are best known as game accelerators, the company says their new boards-the Voodoo4 4500 and Voodoo5 5500 which at press time had been introduced and were slated for shipment in the second quarter-will offer great 2-D performance for image processing and illustration. There could be more entrants into the graphics sweepstakes. It depends on Apple's quixotic CEO Jobs. Companies building peripherals have been burned before by Apple's willing194

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

A N N U A L

20 0 0

ness to compete against suppliers. At the end of 1999, Apple bought a graphics company, Raycer, and there is speculation that the company will build its own graphics processors. The bottom line is this: no matter who the supplier is, ATI, Formac, 3Dfx or Apple, it's clear that Macintosh-based graphics professionals will have choices for advanced visualization hardware tools. Graphics professionals are already getting a snazzy new monitor. One of the key introductions at the start of this year, was the Cinema Monitor, a giant 22-inch monitor with a l,600 x l,024 resolution, the same size as SGl's flat panel, which was made available to Mac users last year. Like the SGI flat panel it has an aspect ratio that allows desktop publishing users to see a full spread. With its chrome and translucent case, the monitor is a beautiful complement to the G4. The Cinema is not sold separately, it costs $4,000, but there are professionals who will be happy to pay the price for the real estate.

Apple does the Internet Ever since Steve Jobs took over as CEO, Apple has been optimizing the Macintosh platform for the Internet. Apple has gone further than any other company in using their Web site to communicate the company's corporate message. In fact, the company handles the problem of the media by being the media. The Apple site [www.apple.com] publishes reviews of Apple products, criticizes reviews or articles it doesn't like, and, in general, attempts to be the only resource a user needs for information about Apple products. To look at Apple's Web site is to appreciate the company's philosophy. Apple's site is designed as a closed playground. There are features for kids that offer them approved links for sites to visit. To ensure kids don't feel trapped, Apple has made sure that there are hundreds of varied links available. In the same way, Apple also protects adults from "harmful" information by offering them all the news that's fit. Apple's customers can also buy products online. One feature that professionals and corporate users of Macintoshes will appreciate is the availability of extra memory on the Internet. Users of the Macintosh OS are rewarded for their loyalty with 20MB of memory that can be accessed through an icon on the user's desktop. Online memory isn't new and it isn't restricted to Macintoshes, but the service has primarily been offered by sites as a storage repository for photos. Apple is unique in tying it to the operating system and putting an icon on the desktop. Also, the memory can be used for anything, such as pictures, video or even C 0 M M U N I C A T I 0 N

A R T S

195

files. Workers can store files they need online for access

layer for audio, video and live Internet streaming. These

from home or on the road. Apple also provides a free Web

layers enable developers to build powerful and compatible

site maker online with built-i n photo albums and video

hardware and software products for the Macintosh plat-

links that automatically accesses users' online folders for

form. 3Dfx, for example, told us that they're finding it very

content. People can upload photos and videos to their

easy to build a hardware graphics accelerator that will drive

online folders and the Web page builder will access that

2-D performance through Quartz.

content to build Web pages.

Apple will provide three APis to make the lives of develop-

Two things happen through Apple's Internet initiatives:

ers easier by giving them different approaches to compati-

the company corrals users in their attractive Web site and is

bility with OS X. The three APls are Classic, Carbon and

able to maintain a relationship with them. In this way, Apple can notify users of new products and sell them

Cocoa. Developers can quickly port their apps via Classic and they'll run on OS X, but won't have access to new

plenty of peripherals.

features. Carbon is also an interim API that will let developers port their applications reasonably quickly and have

Mac OSX

compatibility with new features. At the end of the day, how-

In an elegant bit of confluence, Apple signaled the year

ever, the Cocoa API will be the API that carries on with OS

2000 as their rollout year for the long-awaited Mac OS X.

X because it will enable application development specifically

Beta testers and developers have been working with the

for OS X rather than adaptations to the new environment.

operating system for some time. In contrast to the confusion that reigns in the PC world with the introduction of Windows 2000 for professional users, and later in the year, Windows Millennium for consumers, Apple's plans call for one clean interface for all. Apple's goals for their operating system looks like this:

For most users , though, the most important part of any user OS is the part you can see and Apple has spent quality time designing Aqua, the interface for OS X. Apple chose the name Aqua because the company is striving for the beauty, fluidity and transparency of water. There is a 3-D feel to the OS-buttons look like drops , scroll bars look like tubes of water. Jobs admitted that the traditional Apple

One OS for all Apples

interface spawned an annoying amount of windows and a

State-of-the-art plumbing

bewildering level of embedded windows. The new interface

Killer graphics Designed for the Internet with Internet standards used throughout

has clean navigation features that always let users know where they are in a file hierarchy.

Gentle migration path

The new OS is getting rave reviews , and just like everything

The most important goal for the new software is that it be

Next OS was originally bought by Gil Amelio, Apple's fo r-

else in Apple-land, it's possible to find subtext here. T h e ready at the end of the year, just in time for the real start of

mer CEO, to help bridge the M ac OS and the Windows

the millennium. Jobs pledges to have a new operating sys-

OS. With Next OS , Amelio got Jobs and, eventually, his

tem up and ready to go with a full complement of software. Also, Jobs managed to play the Linux card by announcing

own walking papers. The idea of making peace with W indows, of opening up Apple to clones, of PC-ing the Macintosh, if

the new OS will be "Linux-like." Apple is making the

you will, has been anathema to Jobs (God only knows what

source code for the new operating system openly available

he told Amelio, to get his foot in the door). With th e intro-

to developers.

duction of Mac OS X, Steve Jobs also announced h is accep-

The architecture of the new Mac OS X bears some resemblance to earlier promised versions derived from the Next OS , which was once owned by Jobs's company Next, and purchased by Apple. The architecture has several layers of hardware access for developers including Quartz, an OpenGL and PDF-based layer designed primarily for the 2-D based desktop publishing segment of Apple's audience; an OpenGL layer for 3-D applications and acceleration and a QuickTime 196

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

A N N U A L

2 0 0 0

tance of the permanent position of CEO at Apple, and clearly there will be no accommodation to the W indows world. As it was in the good old days, the M ac OS will exis t as a refuge from the arcania of computer use. To judge from the company's success, that's just the way Apple's customers want it to be. •

peeOple real

liVe~

moments

in time

Nothing inspires creativity like actual events. Their timeless spontaneity, their passion, their genuine emotion. Call Hulton Getty today: 800-644-7781. Search and purchase your own inspiration at www.hultongetty.com and www.gettyone.com.

HULTON GETTY

Go Wide. Introducing the new HP DeskJet 1220C printer designed for the Mac. If your work demands a wider range of capabilities, the Mac-compatible HP DeskJet 1220C delivers the big picture - up to 13" x 19" including 11" x 17" full bleed - right out of the box. It features HP's enhanced Color Layering Technology for true-to-the-original printouts and an alternative 2400 x 1200-dpi mode using photo paper. With speeds

n v e n t

Go Wild! Big, brilliant color printouts up to 13" x 19'~

HP DeskJet 1220C

up to 11 ppm for black and 9.5 ppm for text and graphics, you can go as wild as you want and still print faster than you ever thought possible. Look for the HP DeskJet 1220C/PS PostScript printer, available with Adobe® PressReady™ Basics for $599. Stop by your HP retailer today. Discover how wide great printing can be. True to the Original. ©2000 by Hewlett-Packard Company

www.hp.com/gotdj1220

*Estimated U.S. retail price

Step One: Put Money Where Mouth Is BY DAVID STERLING

alk's cheap. Never have those words rung so true as in the recently exhumed First Things First Manifesto 2000-a call-to-arms for designers to stop

pandering to greedy corporations, take the world by the

axis and steer it toward a brighter tomorrow. The manifesto was signed by a handful of design "celebrities," presumably to alert the rest of us to the import of its message. [See Design Issues, page 21, May/June 2000] Graphic design is a process, but it is also a tool. You can use it to provide important information, to give directions or to sell widgets. What graphic design is not, however-which the FTF does not admit-is UNICEF (The United Nations Children's Fund), the Red Cross or the Peace Corps. But, hey, it's a job. Usually a fun one. And graphic design can help the world: when we're providing information, we are hopefully enlightening others; when we are providing directions, we are helping people find their way through the world; and even when we're selling widgets, we're boosting

the economy and providing jobs. Furthermore, when created with the right heart, graphic design can have a powerful social impact. Still, why do we feel a need to make graphic design more important than it is? It's a job. Perhaps every profession wrestles with ego issues, but it seems a particularly exhausting struggle in our case. Let's face it: graphic design as we know it is tightly interwoven with free enterprise. You might say the two even grew up together. Most of us work on a daily basis to help our clients sell stuff, whether it's something as earthly as widgets or as heavenly as tickets to a church social. And even when we're designing information or wayfinding projects, we are still tied closely to our clients who, after all, are paying us. To try to purify our work of the smell of money is both hypocritical and in vain. We are hypocritical in other ways, too, particularly about our profession's profound narcissism, which Freud would tell you is the flip side of idol worship. For one thing, if we wanted to "help the world," we'd probably already be doing it. After all, the ideas in FTF are nothing new. They've been around for at least 40 years, and yet we're still talking about them. For another, you have to admit that helping the world just isn't very, well, sexy. But apparently-judging from the buzz it has created-circulating manifestos signed by leading stars in the design firmament is , and attending FTF roundtables featuring prominent names announced in edgy posters by hip designers is. If we get close enough to these stars, some of the magic dust from them just might rub off on us. And we won't really have to do anything. Ask yourself this question: if you were at a national design conference where Stefan Sagmeister was speaking in the same time slot as Sue Crolick-which would you attend? What? You say you never heard of Sue Crolick? My point exactly. She just isn't box office. But her mentoring projects in Minneapolis have had a profound impact on the lives of hundreds of local youth over the past several years . People, the problem is us. The design media feature too much about trends and not enough about work of real social substance; our professional conferences give too much air time to the same name brand designers (over and over again) and not enough to content beyond the merely formalistic; and-worst of all-we designers , the audience for the magazines and the conferences, support the system wi th our dollars. In this tail-chase of idolatry and narcissism, we pay dearly to be close to the star dust in the hopes that one day

200

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

A N N U A L

2 0 0 0

responsibility to the public. He has organized and produced poster projects and public art works protesting economic inequalities, showing solidarity with the Zapatistas in Mexico, and most recently with the Maximum Security Democracy Project, which addresses the inequalities and injustices of the United States prison system. After printing, the posters are distributed to various activist groups, educational organizations and disseminated to the public.

it will work its magic on us, and we, too , might be-important. And popular. We invest so m uch of ourselves in aggrandizing our profession and its more colorful practitioners because they represent idealized visions of ourselves. The danger is that, like Narcissus, we become enchanted by our own reflection. We're not slaves to corporations, as the late Tibor Kalman once suggested. We're slaves to the stars, one of which Mr. Kalman succeeded brilliantly in fashioning himself into. No, if you want to change the world, come down to earth. You have to roll up your sleeves, pick up a shovel and dig in. Caution: you migh t get dirty. And very, very tired, as Crolick

Part of the Maximum Security Democracy project implemented by Resistant Strains to shed light on such prison issues as labor, race, youth and political imprisonment, this poster is a tongue-i n-cheek manifesto urging white supremacists to "occupy the cells." David Thorne, designer.

will tell you. Perhaps the most glaring shortcoming about the First Things

First Manifesto is that its very position assumes there are no designers working to help improve our lot. But then, I suppose such an assumption is like a ridiculously unbelievable plot point in a B-movie: if you take it away, there wouldn't be a story. The good news is that there are people down here on earth who are already doing what First Things First urges us to do from on high. Plenty of them. Sue Crolick is one. These are the doers , as distinguished from the commentators (Kalman) and the critics (FTP). They are using their talents to strengthen community, to help survivors of disaster, to share with children from marginal neighborhoods the healing power of creativity. And yet, you probably haven't heard of most of them. This, then, is your chance to meet a dozen inspiring people who are proving that the creative professions can make a difference. Most are graphic artists; some are from other creative fields. And although their work may not wind up in an annual or at the next design powwow, its sheer human content makes it very, very sexy. Most important, instead of signing a credo that is eerily symptomatic of that enchanting reflection, each of these people is putting their money where their mouth is.

Wendy Brawer

Graphic designer, biker and environmental activist, Wendy Brawer is on the forefront of the environmental design movement. She developed the innovative Green Map system, which allows communities to take stock of and easily locate environmental resources and activities in their areas through an internationally recognized system of symbols. She is also an active member of 02, a global collective of designers interested in ecological concerns, which makes particular effort to use mechanisms of new technology such as the Web to disseminate information and coordinate their activities.

Tim Rollins/Kids of Survival Artist Tim Rollins has had a long history of combining his craft with activism. In the 1980s, he was cofounder of Group Material, a political artists' collective active in the downtown arts scene. A few years later, while a special education teacher in the South Bronx, he formed his "Kids of Survival. " KOS seeks to harness the power of art to help kids from the most disadvantaged communities learn about their history, the systems of oppression that they experience on a daily basis and how art can help them overcome these barriers . His collaborative projects with kids result in powerful art on such topics as Malcolm X and Martin Luther King, Jr. Rollins was also a participant in the many healing workshops for survivors that took place after the bombing in Oklahoma City. Since 1991, he has been working to found an institute of fine art in the South Bronx that would provide free schooling for artistically-gifted high-school students from the local community.

David Thorne Graphic designer, activist and founding member of Resistant Strains, Thorne believes that art and design have a political 202

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

A N N U A L

0 0 0

Sue Crolick/Creatives for Causes Sue Crolick had a full career in advertising and design when

is welcome and an atmosphere of support and community is encouraged. Of central importance to Blackburn is to make the tools of art accessible for anyone who wants to use them, and to create cross-

a year of health problems forced her to slow down and reexamine her priorities. The result of this redirection was Creatives for Causes, a community outreach program founded by Crolick in order to provide a much-needed resource for

cultural dialogue in an open and nurturing environment. Efforts are made to accommodate lower-income artists. He also has initiated an outreach project with third-graders from New York's public schools, in

children in her area. The organization runs a program called ''Art Buddies" which brings at-risk children from various after-school programs together with adult mentors. The pairs create portraits of themselves and explore various occupations to stimulate the children's imagination and belief in their own potential.

Ram Rahman/Sahmat

Sahmat, a political activist group in India, stages projects primarily to counter the intolerance and bigotry of India's powerful religious right. For one project, protest poetry was handwritten on thousands of the pedicabs that clog New Delhi streets.

Yale-educated graphic designer Rahman is one of a group of some 4,000 artists, architects and designers who form Sahmat, a political activist group in India. Sahmat stages projects primarily to counter the intolerance and bigotry of the country's powerful, often violent, religious right. For one project, Rahman created posters and portable exhibits to protest a well-publicized Muslim bombing of a Hindu temple. Other productions of Sahmat have included everything from staging vast carnivals and performance pieces that condemn the religious right, to having protest poetry handwritten on thousands of the pedicabs that clog New Delhi streets.

Alfredo Jaar Chilean-born artist Alfredo Jaar is a conceptual artist of wide international acclaim. Formerly an architect, his projects deal in direct graphic terms with issues of human rights and freedom. Now living in New York and working all over the world, Jaar often uses photography as a starting point for visual content, but then constructs an extremely layered temporal and spatial experience for the full impact of the works' meaning. Projects include those surrounding the Rwanda crisis, political dictatorship and oppression, sociopolitical issues of first- and third-world countries, and most of all, the surviving human spirit.

Bob Blackburn African-American printmaker and artist Bob Blackburn started his nonprofit printmaking workshop in 1948. The studio is a community-based artist workshop where anyone 204

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

A N N U A L

0 0 0

which children create prints about poems that they have written. His model of community-based, nonprofit printmaking workshop has been the inspiration of a similar workshop begun in Namibia by a former student.

Judith Baca Graphic muralist and activist Judith Baca has been creating murals in the urban landscape of Los Angeles for over 25 years. She organized her first mural project in predominantly Latino Eastern Los Angeles in order to help young people from warring gangs find a way to work together toward a collective positive goal. In 1974, she founded the Citywide Mural Project, which provided a means for a number of artists to produce murals in their communities, and then two years later founded SPARC (Social and Public Art Resource Center), a multiethnic community arts center that creates public art for the community. SPARC's ongoing youth workshops consist of having middle-school students conceptualize public banner projects addressing various social problems.

Jim Hubbard Photographer Jim Hubbard has called himself an "advocacy journalist" and an "issue artist." Based in Minneapolis, his work is centered on documenting social issues. In the 1980s, he started photographing the homeless, portraying with humanity and compassion people and communities that national agendas were trying their best to ignore. In 1989, he started the Shooting Back Education and Media Center in Washington, DC, to teach skills such as photography, writing and media literacy to homeless and at-risk children. Nine years ago, Hubbard started the Native American Youth Project, emulating his DC model in Minneapolis. He is the author of Shooting Back from the Reservation: A Photographic View ofLife by Native American Youth and Lives

Greatest hits

Photographer PETE McARTHUR is a guy who knows his way around the still-life. Think smart concepts rendered in richly saturated colors and you get the picture. ASSIGNMENT work delivers deluxe custom concepts on commission. And now he offers a stock option too. All shot by PETE McARTHUR in his signature style, hundreds of images are available to you online as right s-protected LICE SEO TOCK. Combine and coordinate if you like. To find out how, pick up the phone and speak to the man himself. ( 3 I 0 ) 8 I 5- I 9 5 I.

pete

mcarthur.com focus on an idea

Turned Upside Down: Homeless Children in Their Own Words and Photographs.

alleyway between two buildings-home of drug dealers and users-became "Angel Alley," as she called

REPO History

upon the neighborhood's

Current Members: Neil

jobless and children to help

Bogan, Jim Costanzo, Tom

her clean it out. Lily decided

Klem, Janet Koenig, Lisa

that what the space needed

Maya Knauer, Cynthia

more than anything else

Liesenfeld, Chris Neville,

Lily Yeh 's Angel Alley in Philadelphia .

Jayne Pagnucco, Leela Ramotar, Greg Sholette and George Spencer. REPO History was formed in the late 1980s by a group of artists, educators and writers who were interested in making public art projects based on the relationship of history to society and culture. Using the actual urban space as their canvas, their work aims to "re-read" and "re-map" spaces with an attention to issues of race, class and sexuality. The first project in 1992 explored the history of Columbus's discovery of America; subsequent projects have addressed gay politics, women's rights and gentrification. Often the work consists of signage projects and public installations .

Pat and Greg Samata/Evan's Life Foundation Following the tragic death of their two-year old son, the Samatas-established graphic designers in the Chicago area-turned their loss into a positive force by forming a foundation to help children in need across the country. The stories are heart wrenching: a young girl living on the streets of San Francisco wanted desperately to escape a life of prostitution and the shadow of her drug-addicted parents. The solutions are simple, yet brilliant: the foundation bought her a plane ticket to fly to another state to live with her grandmother. Many of the requests are just as compelling and direct: a young boy who wanted to go to after-school programs was afraid to walk across gang lines-so, the foundation supplied him with tokens to bus there. Board members, a multidisciplinary group of designers, clergy and legal experts, vote on grant distribution. Often, however, the stories are so gripping that they decide to fund the grants

was protective angels , so together the group created on the walls African-inspired mosaic angels out of discarded bathroom tiles. The transformation was remarkable: no more a blight, the space was now a welcoming place to be walked through from one part of the neighborhood to another. From there , her work was clear: she decorated more walls with murals; she converted an abandoned building into a community center; she transformed bombed-out lots into vegetable gardens and a training area about nutrition for the neighborhood's impoverished and malnourished. And every summer now a harvest festival fills the streets with neighborhood children in costumes and masks as they carry the garden's bounty from home to home. Yeh's Village of the Arts and Humanities is no longer just a mosaic in an alley or a mural on an abandoned building; it is a five-square block neighborhood that is colorful, full of life and home to the many families whose lives have been utterly turned around by her vision, vigilance and love. The people whose stories you have just read are really down in the trenches, working with children, working with the homeless, tackling social issues mano a mano with the most powerful tool they know-their art. While these represent only a handful of the many engaged in such projects, it remains a rare breed who has the luxury of time or money to commit themselves to this work full-time-or who have somehow been lucky enough to figure out how to have it all. But if we were to include all the countless studios and individual artists and designers who make a practice of giving of themselves regularly through volunteerism, mentoring or pro bono work, then collectively the number of these stars would crowd the others right out of the skies. •

out of their own pockets.

Lily Yeh Painter, muralist, sculptor, educator and healer, Lily Yeh has virtually single-handedly restored to life a devastated quarter of Philadelphia's north side. Entering it in 1986, Yeh looked around, saw what needed to be done, and found close at hand the resources with which to do it. A notorious 206

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

A N N U A L

2 0 0 O

Editor's Note: This is the last in a series ofarticles pertaining to the issues raised by the First Things First Manifesto. Respond with your thoughts and ideas by letter (or e-mail) so that we may continue the dialog. -DK HOLLAND

> NEW WEBSITE >> advanced search engine > search capabilities >> >> >>lightbox tools e~nded

>20000NEW ON[INE IMAGES >>added weekly >>> images contem~rary

----------

> smart billing >> via choice of credit card or account > >

m®"''"'

Business Challenges & Opportunities

ince the beginning of summer

of agencies involved in cross media listed this as a challenge. Under-

90 %

1998 , keeping up with technological changes has been gradually declining (from a high of 76%) as a major business challenge, suggesting that design firms are integrating new technology into their workflow and

standing where business will go in the future remains a top business challenge fueled by Internet-related opportunities and issues . D esign firm owners have been wrestling with how much Web

employees are learning how to use new

design capability to add to their staff,

technology profitably. For ad agencies, though, it's a different story-almost

while clients have been pushing them to provide fully-integrated services .

Billing for electronic services (i.e. , creating PD F files, converting files into different forma ts, etc.) is the third greatest challenge cited by both ad agencies and design firms. Increasingly, clients think these services sho uld be free, or at minimal charge, since these services require "only a few mouse clicks" to perform. O ne-third of th e agencies surveyed are having tro uble finding Web design freelancers to meet client demands, while a third of all design firms are having tro uble fi nding qualified print-design freelance rs. T h is may increase as more business moves toward the Web.

Survey participants were asked to list the greatest business challenges for their firm in the next twelve months. Keeping up with technological changes Understanding where our business should go in future Finding qualified employees

Web page design and collateral print projects are competing closely for the top sales opportunity among creative firms . D esigners are increasingly involved in projects where they are expected to execute their design solutions over a variety of media. E-commerce continues to provide significant op po rtun ities for agencies as their clien ts expect th em to provide integrated services.

Equipment that goes out of date too quickly Using Internet more effectively Pricing Putting up our own Web site Billing for our electronic services Getting paid for creative Developing an Internet strategy

Another emerging trend for design firms and agencies is making color copies for short print runs . Some creative shops are providing this service in-house and using the revenue to help offset lost markups on outside services.

Survey participants were asked to list the best sales opportunities for their firm in the next twelve months. Collateral print projects

Digital photography studio services and selling stock images are emerging as the top opportunities for photographers. One in four photographers will foc us on selling images on "spec" in 20 00. Another emerging trend for photographers is desktop color proofing. Supporting this trend is a growing market for third-party color management software for specific color printers. •

Web page projects Direct mail projects Corporate identity projects Digital photography Catalog design, creative Electronic services Annual report, 1OK, corporate brochures "On demand" creative/design Web site strategy services for clients

TrendWatch

www.trendwatch .com

0% 208

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

A N N U A L

20 2 0 0 0

pa rtners@trendwatch.com (401) 568-9899

Amy keeps her clients happy by using a print shop with a Heidelberg Quickmaster DI. The Quickmaster DI is a fourcolor digital offset press that provides high-quality materials in record time. With all the performance characteristics of conventional offset lithography, it af SO Offers: • High quality, fast turnaround for print runs between 200 and 20,000 • Direct imaging on press that eliminates time-consuming, costly prepress procedures • Produces ink on paper on a wide range of stocks • Chemical-free, environmentally-friendly printing • Flexible sizing for jobs ranging from postcards to posters p The Quickmaster DI uses Presstek's patented PEARL®imaging technology and PEARLdry plates.

To find a Quickmaster DI printer near you, please visit www.heidelberg.com/di, or call 800-850-2307, x461 .

+15 1D5 LB5 RGA dec ision for q ua lity. Printed on a Quickmaster DI, four process colors.

sapp1• The word for fine paper

Printed on Sappi Opus Gloss Text 1001b./148gsm. Sappi is the world's largest producer of coated woodfree paper.

More Insights on the Changing Freelance Scene BY BARBARA GORDON

few months ago I wrote a column on the rapidly

It was also noted that there was some tension with reps as

changing freelance scene. There was also an illustra-

well as tension with freelance photographers by some of the

tors' conference in Santa Fe attended by freelancers

conference attendees. SPAR is setting up discussions between

and reps where this subject was discussed and debated. The

the groups about rep-talent relations so that there will be

dialogue hasn't ended and is going on very actively in New

more appreciation, as well as understanding, of the skills

York City. As a representative and fellow freelancer, I'd like

each group brings to the relationship. In this same vein, there

to keep everyone abreast of some of the recent discussions.

could be seminars between artists and photographers about

The most lively meetings are coming out of SPAR, the

why each medium is used and that photography and illustration are not necessarily in competition with each other.

Society of Photographer and Artist Representatives. This nonprofit national organization has been in existence for

Art directors too, could benefit from SPAR-led discussions

over twenty years. As reps, selling and marketing talent to

about using and finding the right artists and photographers

an international market, SPAR has always presented some

for their work projects. SPAR feels strongly that educational

of the most realistic, as well as provocative, ideas about

outreach by representatives would help ease tensions between

what is happening-as well as what should be happen-

all of these groups in a rapidly-changing marketplace, as

ing-in the business.

well as enhancing the art director's skills when employ-

Since many representatives attended The Illustration Confer-

ing freelancers.

ence in Santa Fe last October, a great deal of interchange took

Another plan-in the embryonic stages, but one that could

place about what happened at that conference. The consen-

be very beneficial to the entire freelance community-is to

sus was that of the 500+ attendees many were very concerned that freelancers are not benefiting from an era of unprecedented prosperity and are looking for answers and ways to change the situation. The artist group acknowledged that in just a few years technology and a vast influx of new freelancers, along with the shrinking field of freelance work, completely changed the once stable freelance field into one of uncertainty. There was some panic, some complaining about reps, some anger, some despair, but the majority of people were looking for answers and ways to once again gain control of their business and adapt this new work environment to their skills and abilities. There was also a sense of community-"we're not alone"-"we'll have a greater impact if we stick together." Because reps know that nothing happens until a sale is made, SPAR has started some plans to improve today's freelance situation. One of the first items to emerge was the need for current information in art schools. Right now, in a large number of art schools, there is a division between art direction and illustration. Many reps feel this is not an ideal situation for art directors who will be hiring illustrators and freelancers in the workplace when they graduate. Ideally, art directors [in training] should be involved with these other areas in combination with their own studies. SPAR is initiating a group of volunteer reps to lecture to graduating students about the pros, cons and practicalities of making a

Portfolio Center The School for Art Direction, Writing Design & New Media, Illu stration & Photography 125 Bennett t. Atlanta, GA 30309 1.800.255 .3169 www.porrfoliocenter.com

living in freelance. C 0 M M U N I C AT I 0 N

A RT S

211

put out a newsletter for freelancers from the reps on the

The speakers bureau could also include persons willing to

marketing/selling aspects of the field. SPAR currently puts out a newsletter that covers areas of concern to reps, i.e.,

lance scene. The motto of this decade seems to be knowledge

pricing, copyright, marketing, selling strategies, etc., but it

is power, and considering the diversity of experience among

is available only to SPAR members. A broader newsletter put out by SPAR would be able to deal with issues that

the membership, SPAR is in an ideal position to share that

affect a larger audience.

knowledge with as wide an audience as possible. One last suggestion: I would like to see SPAR have a series

In the past, SPAR also ran a nonprofit consulting service. Reps volunteered their time to review artists' portfolios as well as help agencies and publishers in their search for talent. The recipient of these services paid a fee to SPAR and got the expertise of an experienced rep. The service proved invaluable to both freelancers and clients, and there has been discussion of reviving some form of this consultation service. As a representative and SPAR member, I find it encouraging and exciting to find SPAR enthusiastically moving ahead with plans to help all of us freelancers deal with a changing and compelling marketplace. And, because I'm a rep and a columnist, I'd like to take this opportunity to suggest a few other directions to SPAR. I'd like to see SPAR hold some seminars on promotion and public relations, not just on directory and direct mail advertising, but on how to evaluate when one is doing something newsworthy that has publicity value. In this session it would help to show how to do a press release, assemble a press kit, etc. In today's world of spin, every freelancer and rep should be made aware of the value of publicity. Also, I'd like to see SPAR hold some "brainstorming" sessions among reps and reps; reps and talent; talent and talent; art directors , reps and talent. Often it is difficult to judge one's own accomplishments, but it is easy to see them in others. Brainstorming is just that, we look at each other's work, techniques, presentations. Being a creative person, I

of showings of the portfolios of the decade. In my travels , I find that many reps, artists and students, would love to view the portfolios of some

There was some panic, some complaining about reps, some anger, some despair, but the majority ofpeople were looking/or answers and ways to once again gain control oftheir business and adapt this new work environment to their skills and abilities.

of our superstars (we all know who they are)-the top five photographers, artists , designers. There is a huge audience for this and it can't hurt the superstars. I would like to close with this note: I know that there were some artists at The Illustration Conference in Santa Fe who had negative things to say about reps , but they seem to be a very small minority. In all of the SPAR meetings I've attended, the reps spoke highly of the people they represented and were very loyal and devoted to those

people and proud of representing their work. And although technically, reps are in competition with each other, the majority are very supportive and helpful to each other. In that spirit, I would like to thank George Watson of Watson

can probably offer you very valuable suggestions on your

& Spierman, president of SPAR, and Sally Heflin of Sally

work, style, etc., and you can do the same for me. There is

Heflin & the Artworks, first vice president of SPAR, for

nothing like personal interchange of knowledge and opinions to get one stimulated and thinking.

wishing more information on SPAR, e-mail them at

I know that SPAR is planning to organize speakers for art schools, but I would like them to set up a speakers bureau that could cover a wide audience. In fact, it could include people who can act in the capacity of expert witnesses. In this era of copyright questions, infringement, rights and usages, there seem to be more lawsuits and more requests for expert testimony in this arena. 212

talk to clients' art departments about all aspects of the free-

I L L U S T RAT I 0 N

A N N U A L

2 0 0 0

giving me access to information to share with you. For those bpsgroup@home.com. •

AQUENT the official .

talent agency

eb opportunities you previously couldn't touch. Because you will know ners, architects, and HTML coders with more top clients than anyone else. , call 1-877-PARTNER (1-877-727-8637) or visit us at aquent.com. Snap.

What You Should Know About Insurance BY LEONARD D. DuBoFF

ost graphic designers, photographers, illustrators and others involved in communication art

the law firm, but the summary judgment was recently over-

are diligent in attempting to avoid legal con-

lectual property firm should have known about insurance

flicts. Despite such care and diligence, some problems do arise, and even good people can wind up becoming embroiled

was a triable iss ue, and the case was set for trial. This case is

in bad problems.

be aware of the possibility of insurance coverage when

so notorious that by now all knowledgeable attorneys should

When the unthinkable does happen and you or your busi-

d efending an intellectual property case, and failure to make

ness is sued for copyright infringement, trademark infringe-

a timely tender would likely be summarily resolved against

ment or the like, what can you do?

an attorney.

The most appropriate thing for you to do when you are

In ad dition to providing coverage for creative people who

served with a complaint in a lawsuit is to immediately con-

are sued for covered claims, such as copyright infringement,

tact an experienced attorney. If your lawyer is, in fact, experienced, then the case will be tendered (submitted) to your insurance carrier for coverage. This means that the insurance will likely fund the defense, and the insurance company will probably be responsible for any recovery against you. Unfortunately, few creative people realize the fact that the standard general-business insurance policy does have a clause known as advertising injury, which covers claims for copyright, trademark, invasion of privacy and the like . It has even been held to be broad enough to cover some claims for patent infringement. In a recent New York case, a major intellectual property law firm, Darby and Darby, was sued for malpractice because it failed to tender defense of a patent infringement case to the client's insurance company for coverage. In that situation, the client was sued for patent infringement and its presti-

trademark infringement and

By keeping up on the like, most insurance policies also cover situations current developwhere a counterclaim is ments in law, most filed. This means that if, for problems can be example, you sue someone avoided, and by hir- in order to recover your fees for work performed and ing knowledgeable they file a counterclaim attorneys when issues against you alleging that do arise, most cata- you defamed them by telling people that they are deadstrophic legal p rob- beats who do not pay their lems can be avoided. bills, the counterclaim may also be covered, and the insurance company will likely be required to fund the cost of the defense, as well as having to pay any possible recovery.

gious attorneys defended the case at the client's expense and ultimately settled it. After the case was settled for a

As of this writing, there is a split of authority between the

substantial amount, the client asked whether there was any

different states as to whether the "advertising injury" pro-

possible insurance coverage. The attorneys then tendered the case to the insurance company for the first time, and

vision of a standard business insurance policy always covers

the insurance company declined coverage. The client was

copyrights or trademarks that they are not covered. In fact,

patent infringement or whether patents are so different from

informed by its insurance company that had the case been

the confusion is so rampant that in one state the federal court

tendered when it was first filed, as the insurance policy required, a defense would have been provided and the settle-

has held that patent infringement is considered a covered claim, while the state court in the same jurisdiction has ruled to the contrary.

ment would have been paid for by the insurance. Regrettably, delaying tender until after a settlement was completed, said

A possible trap for creative people who license their work

the insurance company, prejudiced its rights, and thus the

occurs when they enter into licensing arrangements in which

client had waived the insurance protection. At that point,

they agree to indemnify and hold harmless anyone licensing

the client sued its intellectual property law firm for malpractice in not advising it of potential coverage. The case was summarily resolved in favor of the client against 214

turned with the appellate court stating that whether an intel-

I L L U S T RAT I 0 N

A N N U A L

2 0 0 0

their work. Most of the standard business insurance policies exempt from coverage contract liability which is not agreed to by the insurance company. Thus, if a photographer licenses

©Ro be rt Karp a

{Only at Masterfile}

www. mast e rfil e. com ExcLus1vE

STOCK

IMAGES

RESEARCH

1-800-387-9010

AND

DowNLOAD

the reproduction of a photograph by a calendar company and the model in the photograph has not consented to the photograph, a claim for invasion of privacy or, if the person is famous, violation of the right of publicity, may be brought against both the photographer and the calendar company. The photographer will likely have coverage under the advertising injury section of the general-business liability policy for the claims filed against her/him, but if the photographer agreed to indemnify the calendar company and hold it harmless from and against any and all liability that may result from the calendar company's use of the photograph, then this contractual liability may not be covered by the insurance. Most general-business liability policies exclude contractual liability entered into by the insured party unless the insurance company agrees to this additional risk.

It would, therefore, be wise for any creative person who enters into a contract which contains an indemnification provision to ask her/his insurance agent or broker to add the party being indemnified as an additional insured. Most often, this additional coverage will cost nothing or, at most, only a nominal amount. If this practice is adopted, then the party who is contractually indemnified will also be covered by the insurance policy in the event of a claim. An important question to consider is whether there is any benefit in having a publisher provide additional insurance when negotiating for an arrangement with that publisher. Indeed, if the advertising injury section of the general-liability policy provides insurance coverage, then is there any reason to invest time , energy and negotiating effort in demanding additional coverage when negotiating a contract with a publisher? The answer is yes. To begin with, every claim on a policy will be considered when establishing new rates for policy renewals. Thus, if the publisher's policy is used for purposes of defense, there will likely not be a rate hike for the photographer, illustrator or graphic designer at policy renewal time. In addition, most publisher liability policies are broader in scope and they cover more risks than the general-business liability policies do. Finally, and perhaps most importantly, insurance policies have limits, and if the claim exceeds the artist's general-business liability policy's limits, then the publisher's policy's limits will increase the ceiling of coverage. In fact, the way different insurance companies participate in a claim varies from state to state, but the point is clear: Two policies are better than any one of them alone when defending a lawsuit. 216

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

When a lawsuit or a counterclaim is tendered to an insurance company for coverage, the company may either accept responsibility without more, decline coverage and reject the claim, or assume responsibility for defending the claim but reserve the right to decline to pay any adverse award or even to reconsider the situation when the case is ultimately resolved. In the unusual situation when an insurance company assumes full responsibility for the case without more, then it will pay the full cost of defending the case, as well as any settlement or adverse judgment.

ance company was acting in bad faith , then the insurance company must reimburse the complainant for attorneys' fees incurred, but if the insurance company wins, no attorneys' fees will be recoverable by the insurance company.

Most companies do not provide this type of blanket defense. The most common situation when an insured is sued and the claim is likely covered by the insurance policy is for the company to accept responsibility for defending the case, paying the attorneys and other costs, but reserving the right to refuse to pay any adverse judgment or settlement. This is known as a reservation of rights, and a letter generally spells out in complex detail why the insurance carrier is reserving its rights.

injured party to settle the case for a modest amount in order

In this situation, some courts have found that there is a conflict between the insurance company and the individual who purchased that insurance when one lawyer handled the case. In fact, in a leading California case, it was held that the attorney representing the insured party in the underlying claim could focus attention on those claims which are not covered and compromised claims which are. In this event, the insured would have no insurance coverage since all of the so-called covered claims would have been dismissed from the case. The California court felt that in order to protect the insured when a so-called reservation-of-rights situation arises, the insurance company must hire a second lawyer to represent the insured party in monitoring the case and advising the insured party. The insurance company, thus, would have to pay for two lawyers if it reserved its rights with respect to coverage of any claim.

If the insurance company denies coverage, then the insured party should determine whether the denial is correct. In many situations, the insurance companies accept years of premiums and then, when a claim is made, coverage is denied. In a number of cases handled by my office, when insurance coverage was denied, a lawsuit was filed against the insurance company alleging that the denial was in bad faith. More often than not, the courts have agreed with the insured and imposed liability on the insurance company, requiring it to pay the attorneys' fees and costs incurred, enforcing it to accept responsibility for a case tendered to it for defense. In fact, many jurisdictions provide that if the insurance company loses in a case where it is alleged that the insur-

Some insurance companies have become so aggressive in dealing with their insureds, as well as third parties, that they have begun having nonlawyer claims representatives intervene for the purpose of attempting to compromise claims. In a recent Washington State case involving a personal injury claim, an Allstate representative advised the to avoid the expense of hiring a lawyer. The claims representative said that the victim was being treated like a "customer, friend and confidant" when attempting to settle the claim. Later, the injured party Unfortunately, few learned that the settlement creative people real- was far below that which ize the fact that the would have likely been recovered if the case was standard genera/handled properly, and business insurance potential claims against the automobile manufacturer for policy does have a a seatbelt defect were comclause known as promised by the modest advertising injury, accident settlement as well. which covers claims The Allstate claims reprewas criminally for copyright, trade- sentative charged with the unauthomark, invasion of rized practice of law in purprivacy and the like. porting to represent the injured victim, and Allstate may have to pay the amount which would have been recovered had this questionable activity not occurred . It would seem that you may not always be "in good hands" when dealing with Allstate. Creative people should practice their profession without fear or intimidation. By keeping up on current developments in law, most problems can be avoided, and by hiring knowledgeable attorneys when issues do arise, most catastrophic legal problems can be avoided. The general-business liability insurance carried by most businesses provides protection that may not have been appreciated in the past, and if appropriate procedures, such as identifying others with whom contracts are entered into as additional insureds, are followed, even more protection is possible. Being aware of your rights and taking appropriate advantage of them is important in today's business climate. • © 2000 Leonard D. DuBoff

218

I L LU S T RAT I 0 N

A N N U A L

2 0 0 0

FISH EYE

Short-sightedness is now a thing of the past, our new catalog and CD will give you 360 degrees of inspiration.

Order by phone, fax, e-mail or @ www.pictor.com

Website winner

CLI O

PICTOR see the di fferenee

AWARD

LA Toll Free: 888 864 7468 FAX: 310 319 5306 EMAIL: la@pictor.com

Washington DC Toll Free: 800 345 0546 FAX: 202 338 5578 EMAIL: dc@pictor.com

NY Toll Free: 800 225 4060 TEL: 212 627-4060 FAX: 212 645 9619 EMAIL: ny@pictor.com

Zen Advertising, or How to Catch a Great Fish with a Straight Hook BY PAULIE BouTLIS

'1n the ad game, the days are tough, the nights are long and the work is emotionally demanding. But it's worth it, because the rewards are shallow, transparent and meaningless." -UNKNOWN

eing initiated into the Ad Game is a lot like learning Zen Buddhism. In the Ad Game, creatives are typically given a brief to grapple with; and whatever they produce is invariably picked apart by the client, the client's immediate and extended family and agency staff from CEO to mail-room attendant alike.

(I chink it was Leo Burnett who equated such irksome and widespread nit picking to being nibbled to death by ducks!)

The humiliating (and compulsory) beatings are supposed to teach students the maddening ways of Zen. Only when a student is at his wit's end will the teacher tell him he's finally beginning to understand what Zen is all about! In the same way, the inevitable beating you get in the Ad Game is instructive. I'm convinced chat creatives who accept the ultimate and infuriating fickleness of the biz are able to produce better copy and layout for it. For one, there's never a single, correct approach to something as subjective as a creative problem. Don't necessarily feel pissed if someone rejects an idea you chink is Cannesbound. There's probably an even better idea you haven't thought of yet.

Similarly, Zen students at the start of their training are supplied a koan or an impossible riddle to work through. They're asked to go away and come back with a killer response. And when they chink they've done just chat, they're summarily beaten and pilloried by their teacher!

www.planetpoint.com

220

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

A N N U A L

2 0 0 0

Good creacives have the ability to see something in an infinite number of ways. In Zen, enlightenment begins when the student appreciates there is no right or wrong approach to the koan , just as

web site: www.adschool.edu email: beth@adschool.edu

programs: art direction copywriting graphic design

there is no all-purpose solution, according-to-Hoyle rulebook, magic escape-clause to (big-L) Life. (Remember the belated answer to life's meaning given in The Hitchhikers Guide to the Galaxy? 42! Ask a silly question ... ) Zen groupies are known to endlessly ponder the sound of one hand clapping, an Escher-like path to nowhere and around again (unless, of course, you're Bart Simpson, in which case the concept is quite elementary-just fold over your three-fingered, yellow paw!). "The Simpsons" aside, the ability to contemplate such absurd self-contradiction is signature Zen. Another koan asks you to describe what you looked like before you looked like anything! This little doozy alludes to the selfless self: being is becoming; we're never complete, but in a constant state of being reborn, evolving, striving to

Like Zen, advertising is the art of the unexpected, the enigmatic, the bathetic. This is the only way to engage people. If you're overt, literal or too self-important, you will turn them right off. But if you proceed with soft, self-deprecating steps, you just may slip under their well-worn defenses. The advertised product is always the ubiquitous "strawberry" in the above tale: what you're promoting goes beyond the mere, incidental object for sale. You're essentially asking people to forget their worries, to willfully suspend disbelief and enjoy the passing moment, splurge, indulge, give in, fool themselves.

make something of ourselves.

This reminds me of another koan:

Zen encourages amused self-detachment, fatalism. But this doesn't mean turning your back on life or your life's work.

For many years, a lone fisherman used a straight hook when fishing. Others laughed at him, asking what kind of fish could be caught with a straight hook. "A great fish, " he would answer. Word of this fool eventually spread to the Emperor, who asked that he be summoned to the palace. The Emperor asked the fisherman when he expected to catch this "great fish" of his. "I've already caught him, " the fisherman replied, "it's you."

Instead, Zen grads are told to reenter the big, bad world with their new self-awareness and sense of humor; to exploit all of life's possibilities and improbable turns; to take events in stride, since nothing amounts to much anyway. Am I making a connection with all you stressed, ready-topack-it-all-in, it's-not-worth-it ad-people? Look, there's no black-and-white to the Ad Game-just as there's no black-and-white to life. Advertising appeals are less about straight-up-and-down facts and functions than fashion, finesse and fluff. (Even when you use the "rational" approach, this is just another rhetorical touch!) It's true that much advertising is functional, crude and boring, hammering home an expedient selling point. But lately, savvy consumers are eliciting more sophisticated, subtle advertising. In the end, to be successful in the Ad Game (as well as on the client-side) is to understand that you're not just selling boring old "things;' but magical, intangible and, ultimately, superfluous images. Forget the steak. Bottle the sizzle! In our postmodern consumer society, everything is constructed in the air, in fantasy-land.

A man, chased by a ferocious tiger, arrived at the edge of a cliff. Trapped, he clasped onto a vine and swung down over the precipice. Below him, another hungry tiger awaited! Two mice, one black and one white, began gnawing on the vine. Just then, the man saw a plump strawberry in a nearby bush. He reached over, plucked the strawberry and popped it in his mouth. It was delicious! I L L U S T R A T I 0 N

A N N U A L

A good deal of advertising, and many a client, insists on the bent hook. But great advertising, effective advertising, always comes in the form of a straight hook. Leo Burnett (who apparently had as many aphorisms up his proverbial sleeve as Buddha himself) once said: "Too many ads that try to not go over the reader's head end up beneath his notice." It all boils down to what you think of people. If you don't think much of them, they will repay the favor. Speaking of Mr. Burnett, cigarette ads of late have been full of Zen apologetics. My favorites are the award-winning "Happiness is a cigar called Hamlet" commercials produced by CDP (London, UK). These cinema and television ads follow the "strawberry" syndrome: a hapless guy caught in a generic bind decides to give up trying and light a Hamlet. Life's absurd, we're all going to hell, so have a puff on us , wink-wink!

Recently, I chanced upon this Zen koan:

222

Revelation: a good ad is like a good Zen proverb. It must intrigue, entertain, play on, redirect expectations before finally blind siding the audience with the selling proposition.

2 0 0 0

The ads not only admit to, but celebrate the folly of smoking. (On a much darker level, they brazenly out the historic trickiness and subterfuge of Big Tobacco and its PR machine.) This is tobacco advertising's final , unrepentant hurrah, proudly laying bare the cheeky insidiousness of its enterprise. Smoking-the art of dying! •

TRADITIONAL LICENSING

I ROYALTY-FREE

The creative director wants something fresh, something edgy.

The account executive wants something royalty-free.

The client wants something Monday.

ro em. More than 25 million images. 1.5 million online. Contemporary, historical, celebrity, fine art. 1-800-260-0444.

,- .

ll' u· tu.

c o r h 1 s i 111 a g e s . c o nz

orbis and the

orbis logo are trademarks o r registered trademarks of Corbis Corporation in the United States and other counrries. Photo: Roya lty-Free/CGE0039.

~ Corbis·

Reinvention: Challenges Create New Opportunities for Illustrators BY LISA

L. CYR

he field of illustration is going through yet another

call the shots. We are going through a shake out period and

reinvention . There is a lot of uncertainty and

sometimes the good gets damaged along with the bad. "

distraction and the terms of the illustration busi-

The traditionally-accepted role of an illustrator is being

ness have changed. With the advent of aggressive competitive forces in an ever so fragmented marketplace, the

redefined. Relying on the commission of an intermediary is no longer the norm. This is an enormous change. Creative

illustrator must find new ways to maintain viability. Artist

entrepreneur Milton Glaser agrees, "Since the familiar sources

representative and author Barbara Gordon observes, "We

of work have become diminished, there has to be alterna-

are undergoing great change and upheaval right now. We

tives for people to invent ways for their work to enter into

are in the most noncreative period in advertising. In publishing, they have cut way back on midlists, there are all these acquisitions and a lot of things are being done inhouse. Editors also have much more say in regards to art direction. We used to have very powerful art directors who would go to the client and insist on using a particular illustrator. Right now, art directors are so overworked and overburdened that they go with the flow allowing others to

the culture. Illustrators need to begin to think in terms of other vehicles and initiatives for selling their work rather than waiting for a magazine, for instance, to call them up and give them a story to illustrate. Illustrators have to find a way to penetrate the indifference of the marketplace. Start by not narrowly defining yourself as somebody that provides a service only when the telephone rings. This , to some extent, immediately establishes a passive relationship to somebody else's authority. Initiate, start things , invent things, write books, start companies and so on so that you no longer have to depend on an intermediary to sell your

Order CA

work. Don't define yourself as just being an illustrator. Definition, to some degree , is limitation and it can be very hard

b--

to get past those definitions because they have become institutionalized as part of the practice. Open your mind up. Try to find out where the field is now and try to find out where the opportunities really are. Do not 'parochialize' yourself into thinking in narrow terms." Author, art director and educator Steven Heller adds , "Ultimately, the illustrator working for the single im age is doomed to be locked into a ghetto and is going to be looked upon as a diminished player. Now, if the illustrator extends the narrative process, then that illustrator becomes

Order available back issues now, direcdy from the CA Web site:

more of an integral part of a project. The illustrator who thinks that all they want to do is sit around and paint a picture on an easel is going to limit him or herself down the road. The reality is that you have to go to the next step. You have to be a little more entrepreneurial so that you can control, in many ways, how your work gets into the marketplace and how much you will earn from that. Illustrators need to become providers as well as interpreters. Reinvention is the lack of delineated borders. " The working relationship between illustrator and art director has also changed. Today's buyers have many alternatives

224

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

A N N U A L

2 0 0 0

when it comes to seeking imagery. Economics and conve-

ative desires. Many of our predecessors throughout history

n ience have created a bypass to assignment work and have opened up a market for generic, prefabricated and market-

have shown great resourcefulness and have set the stage for

tested images . Heller explains, "The creative relationship

definitions. In the 21st century, we need to continue to be

between illustrator and art director has been eclipsed. With

as astute, maybe even more so. I think that illustrators have

the advent of stock, there are a large number of buyers in

to broaden their own self-concept of what they bring to

the market that are using pre-made illustration and are not

the table. In doing so, the marketplace will eventually have

contemporary artists to break the confines of traditional

assigning. I think that the role of the illustrator is going to

more respect for those offerings and the illustrator will be

depend upon another generation of designers and buyers.

seen less as a person who is good with a pencil or paintbrush

This is most problematic because many people who are in the positions of making final decisions do not have the visual

and more as a thinker. It's imperative that illustrators strive

literacy to allow an illustrator to grow within a context.

work both financial and otherwise by maintaining more

to reap more of the benefits that can be derived from their

Illustration is only good when the illustrator is allowed to introduce and contribute his or her interpretation. Illustrators are just not being used the way they should be used as visual storytellers ." The struggle to survive in this increasingly fragmented and volatile marketplace should not discourage, but encourage

control and by self-initiating

"Reinvention is the lack of delineated borders. "

the opportunity for illustrators in this changing

-STEVEN HELLER

Taking on an entrepreneurial

solely on traditional sources for work but instead venture

mindset involves not only an

out on their own initiatives. Self-initiation generates the

openness to learn and attempt new skills, but the ability to

opportunity to design one's creative path and make a living on one's own terms. According to illustrator and writer

exercise creative and innovative thinking. Entrepreneurial initiatives have allowed illustrators to explore skills and inter-

Brad Holland, "Our industry is reinventing itself and that's

ests that they would not have if they were to adhere to the

what makes it so interesting. I think that for the first time

traditional nomenclature. Also, when an illustrator deter-

in the last roo years, we have the opportunity to rewrite the

mines the artistic content and direction of a project, the illus-

rules of the game. We have to go out, take risks and try to

trator gains independence and full artistic control over the

reinvent the future instead of sitting around complaining

creation, marketing and distribution of that project. There

while other people are walking away with the future. I think

is a tremendous amount of power that is gained when one

that we have to start thinking like winners. We have to take

is able to clarify, define and set direction to one's efforts.

charge of our own affairs instead of just waiting for other people to come and hand us what we need. The Illustration

Illustrator and self-initiator Mark McMahon was born into

Conference in Santa Fe was about changing attitudes and building self-confidence and empowerment. What came out of the conference is the sense that we can start acting with momentum on our own behalf."

the entrepreneurial spirit. McMahon's credits include numerous public art projects , editorial reportage work of major sporting events, world tours, documentaries and NASA space projects. His work is reproduced in limited-edition prints, cards and various other merchandising products.

Marketing strategist and project developer Jackie Gale-

McMahon operates his own fine art gallery and is involved

Vaillancourt details, "Pre-twentieth century artists like

with e-commerce endeavors. Coming from a family of artists and self-initiators , McMahon shares his thoughts ,

William Hogarth, William Morris and even Albrecht Durer

226

one can offer in the problemsolving process, the greater

environment. "

illustrators to be more inventive, to tread new ground and cross over existing boundaries. Illustrators must not rely

projects. The more attributes

proved themselves by broadening their experiences not only

"I was raised by my father, Franklin McMahon, who spent

in the artistic realm but also in the business and marketing

his entire career doing self-initiated projects and selling them

arena. Even Matisse was astute enough to survey the dynam-

to magazines and such. He came out of WWII, went to the

ics of the marketplace and respond with artwork that

Art Institute of Chicago and then started selling his work.

appealed to collectors. Writing, craft, business: they did

My father is now 78 and he just did some paintings in South

what was necessary to survive and what fulfilled their ere-

Africa where he had work on

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

A N N U A L

2 0 0 0

[C O NTINUE D o N

PAGE 229]

Super ...

STARWHITE® the p erformer

Starwhite has legendary status, and delivers on its promise of premium performance, flexibility and reliability. Now available with the new Sirius, our brightest blue white sheet with a 98 brightness, our superstar has the range of finishes, weights and shades to make it an even better performer. enjoy the p erformance

FOX RIVER* PAPER CO.

Printed on Starwhite NEW Sirius, Smooth, 65 lb. Cover (176 g/m 2 ) For samples contact us at 1·800·558·8327, option 3 wwwfoxriverpaper.com

display at the World Religious Conference. He was recently given the Martin Luther King Civil Rights Award for all his drawings on civil rights he did in the 1960s. Pope John Paul II gave my dad the Silver Star from Rome for his drawings

the illustrator gains not only leverage for future projects but gains valuable public recognition in a particular area. McMahon recalls , "My career began when I convinced the editor of the local paper to allow me to do some drawings

of Jerusalem and the State of Illinois has made him a living treasure. That takes effort!

hired me and we did the story together. From that job, I

"You are reinventing yourself everyday. You're making those

did the Virginia Slims Tennis Tournament when they came

of the city workers cutting down the Dutch Elm trees. He

lists and you're chasing those dreams and some work and

to town. I got a press credential and while I was there, I

some do not. But, I've never waited for the phone call. I

hustled the CBS guys to use my work as lead-offs on the

can't. I'm an 'A: type person and for some reason I have a

national news. I was also in all the press conferences doing

personality that causes me to drive forward everyday. Before

drawings and that led to more work later in the men's

I finish one project, I'm negotiating the next. There is an

circuit. I've done the Indy 500 for Sports Illustrated. I did

ongoing effort in my marketing and it all has to be inter-

the illustrations, wrote the story and then sold it.

twined to fit like a glove. I have always had a fever for the

"The first piece I ever self-published was a poster of the

printed page. There is a mind massage for me when a piece

Wrigley Building in Chicago that later ran in the Society of

is published. It gives me the energy to continue. "

Illustrators Annual in 1977· Originally, I tried to get someone else to print the poster and

Today's illustrator is learning that being business and market savvy is essential in order to maintain viability. Many times that can be as simple as illustrators recognizing the public relations potential of their work. Gordon shares, "I've always been a great believer in promotion, especially public relations. It's the best kind of advertising and I've gotten a lot of business from doing it. Everybody has something that has publicity merit to it. If you are doing a show or are working on a project that involves something that is

'~ .. Whatever you

can do, or dream you can, begin it. Boldness has genius, power and magic. " - GOETHE

couldn't. So, I financed it myself. I sold them to retail outlets and frame shops covering my cost in about four weeks. Once I started producing and selling posters, people started coming to me to do posters. Currently, I have

do a story. I think illustrators always have to be thinking

about twelve posters. My wife, Caroline, and I also have a card

along those lines. There is something that happens when

company called Highland House Designs. We started with a

you are recognized in the press. All of a sudden, you take

black-and-white line and later extended it into a full-color

unusual or different, try to write it up and get someone to

on a stature you didn't have before. " McMahon is also a

line. At one point, we had 30 reps across the country. But,

strong believer in the power of the press. When he is involved

we have since simplified. All the museums own our cards,

in producing murals, he hires a public relations firm to help

including the Chicago Historical Society who bought out

him gain notoriety that is invaluable when it comes to nego-

our black-and-white line just for their archives. Our biggest

tiating future works. McMahon notes, "I have a PR firm that

client was Marshall Field's department store. They would

I hire and they promote and coordinate all the documen-

buy thousands of boxes at Christmas time every year. We

taries , press conferences and news coverage on my murals.

just did a deal with W. H. Smith stores at the airport where

I've been at anchor tables for NBC, CBS and ABC. When

I designed mugs and T-shirts with my images on them.

I did the State of Illinois mural a few years ago, every news

"My first mural was in the Chicago airport. Since then , I

station covered it. I also had a huge show and gave a series

have done nineteen murals in the Chicago area. Currently,

of talks and all the newspapers covered that. When compa-

I'm a finalist for a big public art project in Denver and

nies have their own PR, you have to tie into them. They

am in discussions about the Salt Lake City Olympics. "

are always looking for stuff to promote the company."

McMahon is a brilliant example of how taking initiative

McMahon has been able to capture momentum in his

and risk can open up possibilities that would not have

marketing by using his projects to the fullest potential.

existed otherwise.

When a successful initiative is put out into the marketplace,

To put one's ideas in the marketplace takes an investment C 0 M M U N I C A T I 0 N

A R T S

229

230

in time and a commitment both financially and emotionally. In order to take on a self-initiated project, illustrators

utilize the derivative potential of their work and distribute it worldwide. Because of the options available today, illus-

must passionately believe in their abilities, have a willingness to learn from their mistakes and an openness to grow

trators can affordably self-publish and don't have to rely on acceptance from established publishing outlets. Illustrators

from the experience. McMahon offers his philosophy, "You

are also getting more involved in the merchandising and

have to fight off, in your mind, the idea of failing. The trick

collectibles markets. They are discovering that such avenues

is not to believe your press. I prefer not to be plugged in so

popularize the work to the general population in such a

chat it doesn't cut any of my horizon lines down . I pretty much am running my own race. " Holland adds, "It's all an

way that it creates a demand for extended product lines and

act of faith in the end. You have to have faith in what you

into the collectible market, they go up in value substantially

are doing even when you don't know where you are going.

because of the secondary market potential. Illustrator Mary

You have to have faith that when the time comes, you'll

Engelbreit's achievements are a premier example of the

know what decisions to make and that you'll correct the

impact that merchandising has. Her work drives a multi-

wrong decisions." The great thinker, Goethe, said it best

million dollar empire of products including household

the development of other products. When products move

with, "Until one is committed there is always hesitancy, the

decorative items, cards, calendars, mugs , gift wrap , T-shirts,

chance to draw back, always ineffectiveness. The moment

her own magazine, books that detail her endeavors and the

chat one definitely commits oneself, the providence moves

list goes on. Gail-Vaillancourt notes, "Mary Engelbreit did

too. All sorts of things occur to help one that would never

things her way all the way. She's taken her own unique style

otherwise have occurred. A whole stream of events and

and created products with an identity all her own. "

issues from the decision, raising in one's favor all manner of

Choosing to self-initiate projects is a personal and individ-

unforeseen incidents and meetings and material assistance,

ual choice where each illustrator must look within the struc-

which no man could have dreamed would come his way.

ture of their own capabilities and appraise chem. They also

Whatever you can do, or dream you can, begin it. Boldness

have to have not only the energy but the market sensibility

has genius, power and magic."

to put their ideas into play. Glaser details, "Self-initiation is

Gordon remembers how a simple self-initiated marketing

not the case for all people. Some do not have the breath,

endeavor paid off big, "When I first went into the business,

interest or energy. On the other hand, they have to recognize

I'd call on people and no one would give me an appoint-

the reality of the work situation and what it means to make

ment. So, I started to put out a free one-page newsletter

a living as an illustrator if you depend on the accepted form

once a month. I did this for about eight years. In the news-

of being an illustrator. There is just not enough work to go

letter, I would write my comments on the current scene in

around and there are an enormous amount of illustrators

advertising. It was a big hit and the art directors loved it. Later, when I'd call on potential clients they would recog-

that are not making a living by virtue of that. " Heller agrees, "Not everyone can be an entrepreneur. It's based upon what

nize me as Barbara Gordon the newsletter lady. At the time,

one needs and what one must do to succeed. I think ulti-

I'd only been in the field for about three years when

mately you need a lot of self-confidence and you've got to

Communication Arts did a big article on top reps in New

be willing to accept that you learn from your mistakes. Bue,

York City. Because I did the newsletter, someone recom-

if you want to do it, go out there and do it and try and find

mended me. After that article came out, I was inundated

ways in which to master other skills and abilities. If some-

with calls. The newsletter was a tremendous amount of

body knows what they want to do and they go after it, there

work, but it paid off in spades. I always tell people try some-

is a good chance that they will get it. I think chat an illus-

thing at least once. If it doesn't work, don't do it again. But, at least, take the initiative to try, keep an open mind and

trator who decides to focus on what it is they want has a leg up. "

give things a shot. " Gordon continues to promote herself

Not all illustrators will have the courage, insight or stamina

and her group through writing articles in major industry

to be self-initiators, so they must seek other outlets to

magazines as well as several books.

survive. With the advent of technological breakthroughs in

With the convenience of prepress and reproduction avail-

media, alternative market venues have opened up to illus-

able on the desktop, illustrators can now cost-effectively

trators. Animation and new media are areas for illustrators

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

A N N U A L

2 0 0 0

to move and grow offering both freelance and full-time

on the stock houses to change their contracts. I do think,

positions. Projects include animated films, commercials ,

however, that we have a fairly narrow window to get in

games, presentations, Web graphics and more. Technology

before corporations run off with it. In 1969, Steve Heller

has not brought about the demise of illustration but,

and I tried to start a licensing agency. We got together with

instead, has led us into a new era of opportunities .

another cartoonist and tried selling syndicated pictures to

The future will also bring about more options available to illustrators to sell their work's secondary rights. Artist-

hippie newspapers. It was a disastrous failure. We didn't have the business sense to market .what we were doing and

controlled collective licensing models are being formed as

we were selling cheap pictures to people who didn't have

alternatives to the stock house situations. Holland states,

money and who thought it was cool to rip off stuff anyway.

"It's clear to me that if large companies are trying to get

In 1975, I proposed a licensing idea at a conference men-

into the illustration business, they see money in it. The

tioning the whole concept of ASCAP and BMI but there

only people that have not seen money in the future of illus-

was absolutely no response. When I saw what was happen-

tration-in the last few years-are artists. The reason for

ing in the business in the last few years with stock houses, it

this is that artists have been beaten into a corner for so long

became clear to me that we now have the technology to do

that they have begun to think like losers. This is beginning

it and the business is frightened enough that people are

to change. There are a couple of things going on right now

willing to try things. Twenty-five years ago the illustration

and we are working on a lot of fronts. The more options

business was still profitable and guys at the top saw no

that we get out there the better because then we are going

interest in what I was talking about. But, all the elements

to be able to work out models putting competitive pressure

are here right now. " Illustrators have to protect their rights. They have to know what they are giving away when they enter into stock house or royalty-free situations or when clients ask for buy-outs. Gordon remarks , "I don't think twice on turning down jobs that force me to work on set terms and conditions. Unless it's for something that we don't own the rights to anyway, I keep pushing for good fees. It has been my experience that if you push, a lot of times compromises can be made. I think that if more illustrators pushed it would m ake a big difference. Can you imagine if Rockwell had given away all his rights? It's something that we all have to be aware of. " The illustrators' ability to covet their copyright is their insurance policy to the future. Today, the illustrator has many challenges. But, for the ones that are willing to embrace the challenges rather than being threatened by them, prosperity will reign with growth and

Change your subscriber address now, direcdy from the CA Web site:

renewal. Opportunities abound and are available to those who are willing to try new things. Whether it be through self-initiated projects, licensing, merchandising, collectibles, animation or in the multitude of options available through the new media arena, illustrators will continue to flourish and they will do so on their own terms. • © 2000 Lisa L. Cyr

232

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

A N N U A L

2 0 0 0

Paper that Speaks for Itself Nothing matches the smooth clarity of Glama Natural®Translucent Paper to deliver your printed message with a voice all its own . Totally chlorine-free and acid-free, Glama Natural®text and cover weights come in a variety of distinctive finishes, as well as matching Glama-lope®Translucent Envelopes and new Glama Natural Prisms™brilliant colors. As part of The Fine Paper Collection"' from CTI Paper USA, Inc., Glama Natural®and Gia ma Natural Prisms"' are readi ly available throughout North America from select paper merchants and retail stores. For samples and local distributor information, call CTI Paper USA, Inc. at 800 .284.7273, or visit our web site at www.thepapermill .com .

THE FINE PAPER COLLECTION'"

~ www.thepapermill.com

aCTI PAPER USA, INC.

THE BROADEST SELECTION OF UNIQUE SPECIALTY PAPERS • Fedrigoni'" Splendorlux'" Cast Coated Colors and Embossed Papers • Fedrigoni'" Constellation'" Jade and Snow Coated and Uncoated Embossed Papers • Fedrigoni'" Pergamenata• Translucent Papers • Bindakote* Cast Coated Papers • Glama Natural* Translucent Papers, Glama Natural Prisms'" Brilliant Color Translucent Papers and Glama-lope• Translucent Envelopes • Favini'" Seaweed Papers and Envelopes • MegaMoola Greenbacks'" Money Paper and Moala-lope• Money Envelopes

Book Reviews Sight & Insight: The Art of Burton Silverman

Art and the Brigham Young Museum in 1999· For years I have admired his drawings for the N ew Yorker's

Memo ir by Burton Si lverm an 160 pages, hardcover, $59 Madi son Squa re Press 10 East 23rd Street New York, New York 10010

"Profiles" features and his painterly portraits for Time magazine covers. They show the insight of this book's title and capture the look of power, intelligence, pensiveness and com-

At the end of last year, conversation among art-interested people was "Is

petence of the subject more than the greatest photographs could. An ability to show non-verbal body language in his

the work of Norman Rockwell 'Art' or

painting is very much a part of his talent. "I do feel that

just 'illustration'?" Rockwell took his

I'm tuned in to the interior state of mind of m y subjects.

p lace as an American folk hero, but

The cast of a head, the sharpness of particular features , the

his storytelling was chat of sentimen-

way a mouth is pursed-these details all work to suggest a

tal and glorified Americana, sort of

great deal that's otherwise unspoken. "

highly-crafted cartoons .

There are over roo pieces shown; sketchbook drawings, pastel

Now comes a book on the work of Burton Silverman, now in

portraits and full oil paintings, and Silverman writes his

its second printing, a book in which he treats the "Arc/illus-

thoughts about his development intentions for each. Such

tration" question in a beautifully written essay of his "odyssey"

thoughtful insights about "realist" subjects; people at work,

as a painter. His career is recorded in clear-minded writing

dancers backstage, noshers seen through a cafe window,

from a nine-year-old's inspiration at the 1939 World's Fair

beach scenes, friends at rest, all help the viewer see into real

international paintings exhibit through 80 years of work in

people and how they can come alive at the hands of a skilled

realist imagery. This is a long and interesting story from his

artist. These are scenes chat are not slick. Silverman rej ects

student days in Brooklyn and New York to chis book's catalog-

the fantasies and postures of the fashion world and its dis-

ing of his art exhibitions at the Bueler Institute of American

dain of what you really look like in the bathroom.

~ Creatives

Accounting

EVERYBODY NEEDS CLIENTS AND PROFITS NAG. NAG. NAG. Every day, accountants everywhere nag creatives for their time slips. And every day creatives resist. In the battle of the business side vs. the creative side, call a truce with Clients & Profits. It's the only software your shop needs to track clients, jobs, time, costs, billings, and profits. It's software for the business of being creative. For Mac and Windows.

(800) 272-4488 get a f r ee t r i al demo at www.cllentsandprofits.com Software 10< Ille bu•ness ol bern& aeal,,. rs I ltli~ered trademark ol Cl ..ls &l'lofils, Inc. ~I n&hts ltSOMd.01999 Cl"'1ts & l'lofrts. Inc.

234

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

A N N U A L

2 0 0 0

NEW IMAGE

RESOURCE

156 original works commissioned by NATIONAL GEOGRAPHIC. Featuring N.C. and Andrew Wyeth, Gregory Manchess, Davis Meltzer, Roger Tory Peterson, Charles Santore, Jerry Pinkney, Greg Harlin, Fred Otnes and Kinuko Craft. A new catalog from one of the most comprehensive and unique collections of photographs and artwork in the world.

NATIONAL GEOGRAPHIC IMAGE COLLECTION COMMERCIAL 10

MILLION+

TRANSPARENCIES I

EDITORIAL

BLACK-AND-WHITE

ASSIGNMENT SERVICES PRINTS I

GLASS

PLATES I

ORIGINAL ART I

TEXT

National Geographic Image Collection 1145 17th St. NW Washington, DC 20036 202 .857.7537 800.434.2244 FAX: 202 .42 9.5 77 6 or 800.363 .942 2

Email: images@ngs.org

New York Advertising Office 212 .790. 9030 www.nationalgeographic.com/imagesales Coming soon to

gettyone.comN

Book Reviews

Silverman was elected to the Illustrators Hall of Fame in 1991, just at the time realist magazine illustration was pretty much drying up. We're pleased that he is now so honored with gallery exhibitions where his paintings, done with true hand and sure eye, can be studied full size. In an increasing silicon world, his humanity and power of delineation is a lift to the spirit and an assurance that American art lives. Children's book illustrator/portraitist Dick Wiley says, "That guy can sure paint! " -BYRON FERRIS

Fonts & Logos By Doya ld Young 400 pages, hardcover, $65 Published by Delphi Press 13957 Valley Vi sta Boulevard Sherman Oaks, Califo rn ia 91 423 (818) 990-1 635 fax doya ld@pacbe ll.net

\I)( J . ).j...

G(JNTS l~)C~C)S ( ) I\) "" \

I ; -- --~-:

left-handed pens or brushes. To be able to work with the variety of letterforms that we've sanctioned by use as readable has required study and indepth analysis. Type started, of course, with Gutenberg's Textura German blackletter which we don't much use, but by the late 1400s Roman Oldstyle faces were being cut by Jenson and Griffo based on the incised letters of ancient Rome. In the 2,000-year history of the Roman alphabet, nothing has changed the basic shapes of the letters. Over the centuries, hundreds of font letterstyles have been cut, each as individual as a fingerprint, reflecting times and varying cultures. They are our typographic heritage and, to the educated eye, project character and beauty.

terwork about letter-making comes

Doyald enlarges selected classic text letters to dissect them with analytical comment. A three-inch high showing of Sabon reveals the structure and sculpture of each letter's form, the slants of the joinings and the subtle swelling of the vertical strokes. It is a visual pleasure. As with a butcher's chart, the parts of letters are posted out: waist, spine, spur,

from a full career of love and study of

arm, tail. Dozens of fonts are so examined and, by example,

letterforms, type fonts and using the

you'll find the art of the lettering masters in things we all

knowledge of readable letters in draw-

read, but often don't see.

ing logos. The result is a five-and-a-

Doyald Young is admittedly selective about the classic fonts he's chosen to explore, but his analysis can be applied to most any font. Graphic design and publishing is in a world of confusion now with thousands of typographic styles on offer. A few weeks ago, I needed to match a fontstyle that

It says six-and-a-half years in preparation, but I don't believe it. This mas-

half pound volume filled with more than you want to know-but always interesting if you are in the communication arts. It's always been amazing to me to realize how many kinds of letters we can read, the thousands of typefaces, the italics, the scripts, and the tortured letterforms graphic designers twist into logos that they expect customers to be able to read. Doyald Young gives us assurance that letters and logos can be legible and beautiful. Doyald Young has taught classes at the Art Center College of Design in Pasadena for almost 30 years. He, however, also has a full studio practice and shows more than 50 examples of identities and logos for Pacific Rim clients, national firms and Hollywood stars and titles. And he lets us in on

another designer had selected and four of us at the typographer's shop searched through Precision Type's Complete Font Reference Guide to Electronic Publishing. Thousands of faces: serif, san serifs, scripts, display and novelty faces. It was daunting and time wasting, but Doyald Young's identification dissections helped us solve the problem. The digital world is a wonderfully rich one. Doyald says that he unabashedly extols the work of Hermann Zapf who writes from his home in Darmstadt, Germany,

job with the computer. With his sharp pencil method, he

"Logotype design can display imagination and skill. Logos may be derived from existing typefaces so that the final design relates to an existing typeface and the original commission can be expanded into a total corporate identity program. " Now, that's a great thought and part of the practicality of Fonts & Logos.

draws steel pen roundhand or full brush script as well as

This awesome book is, in itself, an object of beauty. Its pres-

twelve point Garamond. Clients often respond to his logo

ence in my studio impresses clients. Doyald has designed a special letterfont, Fino, for the cover, a refined, serifless Roman: brilliantly new.

the development process as he works with clients. When he does a logo , he doesn't call it lettering, he calls it drawing. Amazingly, he doesn't work with pens and brushes at the start. He draws letters with a sharply pointed pencil in small size, enlarges them for a refinement step and finishes the

development drawings done with a knowing eye and precise hand rather more than the final polished art. Perhaps he's 236

developed his drawing method because there aren't good

I L L U ST RA T I 0 N

NNU A L

20 0 0

Book Reviews

For the professional designer, the student, the rypophile

in their work that qualify them as innovative. Most inter-

or for those of us who just like to read, Doyald Young

es tingly, she lets the designers say in their own words what

increases the pleasure by getting us to see the sub tle beauties of the letterforms we are reading. He then shows us how

drives their creative boldness. As Glenn Mitsui of Seattle's

letters fir together to form words-logos of excellence and

style, and much of that involves nor being afraid to fail. "

lasting distinction.

Parr of the fun of hotshot showcases like this is arguing with

-B.F.

Studio MD puts it, "You must keep taking risks in your

the choices . For example, what could be less innovative than a photo of a scantily clad woman in a compromising posi-

Radical Graphics/Graphic Radicals

tion as in Spencer Drate's 1981 Victory album cover design?

By La ure l Harper 228 pages, hardcover, $29.95 Pu blished by Chronicle Books 85 Second Street Sa n Fra ncisco, Califo rnia 94105 www.chroniclebooks.com

A more likely choice for groundbreaking is found two pages later in Emigre's cover for their issue #31-a male nude covered in a web of electrode-like wires. The book is beautifully printed, the color images pop. And Nothing marks a design or movement as "mainstream" quire like calling it "radical." By the rime it's discussed in a book, analyzed

radical

and accepted by some portion of

it's a great way to become acquainted with a diverse group of designers and projects. Perhaps you're nor yet familiar with Craig Yoe's Eyeball Straws created for Taco Bell, or his Rock & Barf MuSICKal Instruments like the Snor-ALotter and Slime Whistle. All the work in Radical Graphics/

its audience, it's old hat. Yer,

Graphic Radicals may not be revolutionary, but it all certainly

despite that, we love to regu-

has attitude.

larly nominate our rad heroes ,

ANGELYNN GRAN T

admire them and say why they're "in. "

Radical Graphics/Graphic Radicals must be rhe prettiest book

The Best of Newspaper Design, 20th Edition

ever to do the cutting-edge roll call. Katherine McCoy, no

Ed ited by C. Marshal l Matlock 272 pages, hardcover, $50 Rockpo rt Pu bli shers 33 Commercial Street Gl ouceste r, M assachusetts 01930 www.rockpub.com

slouch in the radical department herself, has designed an open, smart and elegant book, with typography so delicious, it makes you want to read each word. McCoy also provides a brief, but cogent, preface on the different kinds

Tremendous! This field of the com-

of change: evolutionary, revolutionary or trend of the sea-

munication arts , newspaper design ,

son . And author Laurel Harper, a design consultant and

has grown remarkably in recent

former managing editor of How magazine, makes an inter-

decades, and without much attention

esting case for what makes a radical: "a general desire to

outside its own professionals. You

upset established thinking, to incorporate subjectivity into

may be only aware of your own local

their work, to include both social and political commen-

newspaper's changes until you see this

tary, and to blur the line between fine arr and commerce. "

238

collection of the world's best-produced

Among the radical "Mentors" she's chosen are Rick Valicenti,

newspapers. Thousands of talented graphic designers are

Paula Scher and Arr Chantry. The "Innovators" include

now on staff in the world's newsrooms bringing visual sophis-

Margo Chase, Carlos Segura and Why Not Associates and

tication to news and information pages. They must have

the "Progeny" include Giulio Turturro of Verve Records,

exciting jobs bringing immediacy and depth to the events

Rich Godfrey of Fuse and the crew at House Industries.

of their communities.

Harper does concede that these categories are loosely orga-

In spire of television's claims ("more Americans get their

nized and that, lest we think they've been put out to pasture,

news from CBS "), it's rare that major catastrophes get more

the mentors are indeed still innovators.

than three minutes on the tube. Today's global newspapers

Several pages are devoted to each of these Radicals; Harper

have met the challenge with in-depth coverage and major

gives a bit of history- what brought them to the point of

color, plus the well-crafted presentations of top graphic

up-ending the design "canon" -and analyzes those elements

design. Wair 'ril you see what they're doing in Brazil!

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

A N N U A L

2 0 0 0

Shirley Hahn Produa Development Chemist, Crayola

WHEN YOU'RE RESPONSIBLE

IRING A MILLION RAI YOU TEND TO TREAT COLOR WITH KID GL01~•""' ·.t· Just as Crayola™ is the crayon kids trust for true color, graphic arts professionals know that if a proof has the ll'Jla~ watermark on the back, the color on the front is as accurate as humanly possible. Now, Imation introduces three new,~Mf.lllltltli systems, to help you get accurate color from concept to press check. Our new Imation Matchprint Inkjet and Mat.chprint COior i.uet Systems bring affordable color proofing into the creative department. In the pressroom, the industry standard Imation Matchprint proof has been joined by Imation Matchprint Digital Halftone Proof, bringing halftone proofing quality to fully digital workflows. For more information call 1-877-IMATION or visit IMATION.COM. We're not talking kid stuff here.

[8J C O NSISTENT

·V 1MATION MATCH PRINT™

Book Reviews

Thirty years ago, when newspaper production was shifting from hot-type production to lithography and advanced publishers were moving to web lirho presses, our studio designed five regional newspapers. But, as freelance outsiders, we could only update typography, design section heads and clean up the grid for better clarity. From our style books the reporters queued in the new computer commands and determined typography. Color was rare since the publishers had not yet invested in color separation departments. Designers could only go so far, and our daily journals had the flat gray look of the want-ads. Soon competition and computer technology caught up and the world's publishers got smart and hired staff designers. Newspaper design now has its own global competition. The Society for News Design is now 20 years old and has more than 2,500 members in 50 countries. Syracuse University's S.I. Newhouse School of Public Communications mounted the global competition presented in this book. Thirteen-thousand entries came in from 21 countries and they practically show them all. Ir took 21 judges to select the awards, and the competition was categorized into sections so that l,055 awards could be given. Ir must have been quire a scramble what with the multinational, multilingual and multiralenred jury working on the project. Interestingly, the jurying process was the same as the one CA developed in the 1960s with individual color chips assigned to each judge and voting done with in/our cups on each piece. Entries came from Europe and the American continents: one from Russia and none from Asia or Africa. However, the fascinating mix of languages makes you feel that they represent a world tour. Heads for the "Lifestyle" category read "TEMAS ", "PLAISIRS ", "ESPECTACULOS ". News pages are from Hamburg, Germany; Anchorage, Alaska; Brazil; Don Mills, Ontario and Monrreal, Canada; Madrid, Spain; San Miguel de Tucaman, Argentina; and a long itinerary of world cities. Ir's a display of the vitality of global graphic design. Newspaper page design is large format in nature and composed of traditional fundamentals; use of the grid, typography, color, information graphics and attention to photojournalism. Very skillful manipulation of these factors are part of the standard process, but the best of the world's news designers have added more life to their publications than the ordinary. On over 160 pages, this large book reproduces the average 14 wide news pages reduced to 2 in many cases. This reduction, however, amplifies the design format and the color and fine printing on coated paper glorifies them, even if you can't read the language. 11

240

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

A N N U A L

20 0 0

Many award winners are featured in larger size, the Best of Show entry going to El Mundo Metropoli, Madrid, and a judge's special recognition given to the Spokesman Review of Spokane, Washington. Ir is a delight to be introduced to the work of South American designers and the text is presented in both English and Spanish. Work from Spain shows up well and European news page design demonstrates some cultural variations to serve the many communities. Excellent U.S. design is well represented with the New York Times Magazine getting plaudits, though one of the judges commented, "So many papers had a sameness about them. Thar's especially true about North American papers. If you removed the nameplate, they could be from anywhere. " We can commend this competition show-book to our designers in the expanding field of newspaper design professionals as a demonstration of a new creative excitement in the world's communication arts. Marter of fact, any graphic designer will realize a global blast.

-B.F.

Briefly N oted: Festival Graphics by Gail Deibler Finke (Published by

Madison Square Press, ro East 23rd Street, New York, New York rooro, 170 pages, hard-bound, $49.95). Today, graphic design for festivals, whether for sports, the arts or municipal events, involves a blend of environmental design, identity and packaging. This book gathers images from over twenty festivals from the past decade, ranging from Pentagram's work for 7th on Sixth, a twice-yearly fashion show event in New York City, to Landor Associares's calligraphic and colorful designs for the 1998 Winter Olympics. Author Finke prefaces the showcase with an essay that outlines the many benefits of a well-organized festival design. In addition to building loyalty over rime, a good design clearly marks different sires and events through signage, banners, rickets, etc. The design can help sell merchandise like T-shirts and posters, transform public spaces or stadiums into festival sites, rejuvenate a long-standing festival with a new look and let people know what kind of activities to expect, formal or funky. There are hundreds of color photographs and, although they aren't of the best quality (often blurry or grainy) and the busy layout obscures many of the designs' highlights, festival designers and organizers will appreciate having such a large survey in one book. -A.G.

gettyone.com™ Search multiple collections.

Al I sport® Concepts "'

... · ""'~' ,6'

Artville'"

The Bridgeman Art Library "'

EyeWire'"

Hu I ton'" Getty'"

..,...

Illustration Works

The Image Bank ~

PhotoDisc'"

Materials Copyright free?

submersible" griddle, as well as

far-reaching aspects of design-

Oh my! Remember the saying, "If

revealing illustrations of men and

speak: computer, Internet, pho-

women in their undergarments-

tography, typography, prepress,

it looks too good to be true, it probably is." Well, copyright free in the age of copyright infringe-

li .. ""

ment suits sounds great and it is true with Jerry Jankowski's Mail

___

well, long underwear is not exactly

paper, printing, finishing and

revealing! Art directors, illustrators

general terms. Directly after the

and artists will find this copyright-

introduction is a diagram on How

free resource useful and fun. It

To Use This Book and another

sells for $16.95, not bad for 120

helpful feature, Word Finder:

pages of clip art. To order, contact

where every term is listed in alpha-

lOcMportrnenbful

hundredtoflrnog.sl

Order! Catalog Clip Art ofthe forties, fifties and sixties. This book

• llK!*A~

is chock-full of halftone images ready to scan at home, school or in the office. And from the

Art Direction Book Co., Inc., 456

betical order with the specific

G lenbrook Road, Stamford,

chapter it can be found in as well

Connecticut 06906 or call (203)

as its designated number. And last,

353-1441.

happy-go-lucky faces scattered

but certainly not least, is the bibliography, and everyone knows the

throughout it, I can't help but think life was good in those three

Jewelry & Accessories; Radios,

An illustrated dictionary

value of a good bibliography. This

decades-at least in the catalog

TVs & Phonographs; Kid's Toys;

spiral-bound (concealed) reference

world. Propaganda? But of course.

Dinner & Housewares; Tools &

The book contains ten sections:

Auto Accessories. Looking for

The Designer's Lexicon: The Illustrated Dictionary ofDesign, Printing, and Computer Terms by

book is filled with a plethora of pertinent information-specifi-

Electrical Appliances; Gifrwares;

retro art to spice up your design?

Alastair Campbell is a technical,

cally 5,000 terms and 400 color

Home Furnishings; Ladies' &

There's everything from perco-

crossdisciplinary dictionary that

diagrams and illustrations. Pro-

Men's Apparel; Sporting Goods;

lating coffee pots to a "completely

successfully integrates the many

fessionals, both established and

The time is right to send your portfolio on a p rofitable journey. Dynamic Graphics is actively seeking professional, traditional or electronic illustrators for our three monthly art services that feature a wide range of illustrative styles. We offer 30-60 day lead times, competitive rates and prompt payment. If you've got the talent, we'd like to see what you can do - even if you just need to fill those "in between" times in your schedule. So follow your fortune, gather your best samples, and send them in today! Please send 15-20 good quality photocopies, slides, laser prints or finished samples that showcase your ability. If we like what we see, we'll contact you ASAP for a trial assignment. DYNl\MIC GR.l\PHICS, INC. Attn: Steve Justice 6000 N. Forest Park Dr. Peoria. IL 61614-3592

For more information, call (309)687-0204 or fax (309)688-8515

E-mail: service@dgusa.com 242

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

A N N U A L

2 0 0 0

Website: www.dgusa.com

The Stock Market. Visually driven. 800.999.0800

. t\\ay,es

\\~ w~e \

~()(.~a\\~\ ~a

~c,

·~\,a\\

1Q\\

. ting purchase and download • Customer • on\\ne pn ' rewards ever

. Y time

stockmarketphoto.com

Materials

news you've all been waiting for,

new, as well as students, will find

subject and makes it simple and

The Desigrzer's Lexicon to be a valuable tool. For more informa-

The cost is $15 (discounts for mul-

rion or to order a copy, e-mail

riple and bulk orders and instruc-

into an exclusive deal thar will

Chronicle Books ar frontdesk@

tor deals) plus shipping and

allow the National Geographic

chronbooks.com or go to www.

handling. Bur if you don'r have

Image Collection to be accessible

chronbooks.com

room for a poster, rhe Web

through gettyone.com. For

Designer's Color Card is available

further information, call Marcia

apparent-at an affordable price.

THE ART OF

Getty Images, Inc. and National Geographic Society have entered

in an 8Y2" x 11" card format-the

Kebbon at (212) 790-9030 or check

VisiBone's second edirion of The

mosr portable color reference. For

out www.nationalgeographic.

216-Color Webmasrer's Palerre

more information, contact Bob

com/imagesales

Posrer clearly presents rhe colors

Stein of VisiBone ar (954) 217-

mosr widely supported by browsers

2072, stein@visibone.com or

Color reference

on rhe World Wide Web. Look-

check out www.visibone.com

ing not unlike somerhing from my college chemistry class, this 18" X 24" posrer printed on 80 lb. coated cover stock has rhe colors arranged symmetrically by hue: blue, azure, cyan, real, green,

PaperTyger ... introduced

National Geographic's extensive archive of over 12,000 images of which only 156-a teaser of

Literature for Your Files A request on your letterhead to the following companies will bring you the literature described...free unless otherwise noted. Whenever possible, fax numbers, e-mail addresses and URLs have been included for convenience.

sorts-are featured in The Art of

National Geographic. A companion

Natural White, a lightweight, strong uncoated paper specifically designed for printing and converting. Ler's be frank, rhis paper looks and feels like "traditional"

exhibition of original paintings

papers, but try to tear it. Go

will travel to the Society of

ahead, try. I did and was unsuc-

Illustrators in New York this

cessful, though I did do a little

September. For more informa-

damage once I stood up and

tion, please contact Anne Wain ,

pulled wirh all my might-but

National Geographic, at (202)

srill, no tear. The piece de resis-

775-6705 or awain@ngs.org. Also

tance, for all you dedicated people

in the National Geographic news

who often eat at your desks while

National Geographic .. .

is the opening of a new image

working, is that Natural White is

recently published The Art of

sales office in New York to pro-

both water resistant and grease

National Geographic: A Century of Illustration [See CA May/June

mote the services and talents of its

resistant. This is because it is

photographers for assignment

laminated, but not laminated like

2000, page 182, for book review],

work to the U .S. advertising com-

your school I.D . used to be, it is two pieces of paper laminated on

a beautiful coffee-table book that

munity. This means easy access to

doubles as a stock illustration

their photo archive which contains

the inside-a paper sandwich. It

catalog with the summer release

over ten million transparencies,

is lightweight, rherefore folding is

of the Image Collection's special

black-and-white prints, glass plates

not an issue, neirher is foil stamp-

spring, yellow, orange, red, pink,

softcover version. There often

and original art. And finally, rhe

ing, embossing, die-cutting,

magenta, violet, black, white,

comes a time when a visual aid is

obscure gray, dark gray, light gray.

needed that photography cannot

Each color chip is stamped wirh a

depict, and that's where illustra-

hexadecimal HTML color code as

tion comes in to save the day. All

well as being marked with its dec-

but two artists featured in the

imal RGB values, and each color is

book (James Gurney and Jay

named based on its brighmess,

Marrernes) are represented by

vividness and hue. The shading

National Geographic, and digital

series is organized in a straight

files or dupes of the images will

line from lighr to dark. And

be provided to clients. The catalog

VisiBone uses an 8-color printing

will be distributed to top design

process ro accurately match com-

firms and agencies nationwide, as

puter screen colors. All in all, this

well as in Austria, Germany and

color reference poster takes an

Japan, to help designers and art

otherwise confusing and obscure

directors become aware of

244

A N N U A L

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

2 0 0 0

Take a , · cw Look I Fraser Papers

FraserPapers Nexfor

TEXT, Co\'ER & \'\ ' RtTt:\'c GRADE

(.c>111·..,1.., \la!.!lla (.1111.1. \lo--.il!'. ()1111>,wk.

Pa""l'ort. P1·µ<1"'th. ~\IH'f'!.!\

COMMERC IAL PRI ' TING GRADE

I ra..,1·1 lh1!!.lit "'· I lalop<1qt1t'. <.lal'it•r <J.) Opaq1w. Cl,wwr '>:! Opaq111·. foffli!!lm\ Opaq1w. \\ ol'\

PrintNI 011 Pegasus Brilliant White. 65 lb . 8111001 h Cover

drilling or silkscreening, and the printability is exactly like photo-

Recycled Bright White. For more information on this fine line of

launch other content-specific sites

recovered cotton. They are all

in the near future for creative pro-

available in a variety of weights, sizes and colors. For more infor-

copy paper. PaperTyger's Natural White is made from 20% recycled

papers, or to order the new swatch-

fessionals. But for now, www.

book, call (800) 558-5061, ext. 6, or

cloudstock.com, designed to save

mation or to request this port-

fibers, manufactured from sustain-

check out www.neenahpaper.com.

time, offers countless clouds with

folio of Continuum Papers, call

able forest products and can be

And while you've got Neenah

easy navigation and searching

(800) 233-5461.

100% recycled. Call (860) 349-

Paper on the line, ask them about their new CLASSIC CREST®

capabilities.

Complete Communicator Letterhead Folder. This latest promotion

Crane & Co ... has been making

latest CD-ROM and catalog of

cotton-fiber papers since 1801 and,

over n,ooo comp images in the

7092 for samples, or e-mail info@papertyger.com.

FoodPix .. . has cooked up their

RSVP: The Directory of

is intended to inspire creative

now nearly 200 years later, they

FoodPix®4 Image Catalog. Food

Illustration and Design ... is

are introducing Continuum, a

and beverages galore and I'm

the second oldest of annual cre-

ideas for a complete identity package. Wow, that's no small order.

new line of tree-free printing and

hungry. Ir's a similar sensation to

ative directories and has just pub-

The Writing, Text and Cover

writing papers. As our forests are

cruising around the grocery store

lished the Silver Anniversary

papers, in Smooth and Super

shrinking and environmental

before dinner, a dangerous com-

Edirion-25 years! This edition

Smooth finishes, were specially created for business communica-

issues are growing at a scary pace,

bination! Thar's what the pages

Crane looked at the 2,000-year

of this catalog are filled wirh-

contains not only some of today's top illustrators and designers, but

tion, whether desktop, digital or

history of paper for inspiration.

foodstuff; chapters include: Pro-

special highlights from the book's

offset technologies are used. The

And found that it's only been

duce, Raw Ingredients, Staples

history; showcases the one artist

promotion contains three different

since the 186os that trees were cut

(the basics), Meals, Spices (oh la

chosen as the Illustrator of the

identities to showcase the print-

down to make paper. In fact (I

la), Side Dishes, Desserts (bring it

Past Twenty-Five Years; and the

ability of CLASSIC CREST.

think I hear the "Star Spangled

on), Beverages, Cooking, Special

Gallery section features winners from last year's View From the

The Thinkstock .. . community

Banner"), the founding fathers of

Occasions, Flowers (not the

the United States used paper made

edible ones) and Concepts &

Edge competition. For more

took their thoughts to new heights

from textiles and crops, such as

Icons. They currently represent

information, call (718) 857-9267;

with their launch of cloudstock.

flax and hemp, to create our docu-

over 120 photographers and illus-

fax (718) 783-2376; or check out

com. Up, up and away ... their

ments of freedom and democracy.

trators, so you can find just about

www.rsvpdirectory.com

first niche-driven royalty-free

What happened? In the nine-

anything under the sun that's edi-

stock image sire is of clouds and

teenth century, as the need for

ble, from bread dough to sizzl-

Neenah Paper ... proposes a

only clouds. You might wonder, is

toast of sorts with their uncorking of the CLASSIC®Wine Label

the subject of clouds varied

paper and the scarcity of rags increased, the manufacturing of

ginseng root. Large format images,

enough to carry its own Web site?

wood pulp was invented and

illustrations and digital pictures,

Papers Collection, created specifi-

Well, have you ever seen identical

wood fiber took the lead in the

all rights-protected, are available

cally for winery labels, as well as

clouds? There are all kinds of

paper race. But as concern esca-

for licensing. There are no hid-

marketing collateral. This elegant paper promotion reflects the dis-

clouds to choose from: cirrus,

lates over the future of our forests

den research fees, the images can

cumulus, fiery, fluffy, golden,

and alternative crops for farmers,

be delivered overnight or elec-

criminating qualities that are

inspirational, multiple, ominous,

tronically, and FoodPix also offers complete digital services. So next time you're hungry for a new look,

ing shrimp and coffee drinks to

comparable to a fine wine: rich-

orange, pink, psychedelic, solitary,

Crane provides a diverse selection of tree-free papers with Con-

ness and sophistication. The

stratus, sunbeams, sunset, thin

tinuum. In addition to Crane's

swarchbook contains samples of

and wispy, tranquil and tropical.

traditional cotton-rag fiber paper,

think of FoodPix, the food and

labels, envelopes, hangrags, sta-

Phew! There are three file sizes to

Continuum Papers are made with

beverage stock agency. For more

tionery, direct mail, point-of-

choose, and users can view, build

industrial Hemp, Kenaf (cousin

purchase and brochures that

and share lightboxes, purchase

to okra-can we fry it?), Denim

information, call (800) 720-9755 or check out www.foodpix.com

showcase lithography, foil stamping, embossing, engraving and die-

and download images online,

Blues and Old Money-sustain-

order image collections on CD or

able and readily renewable. Both

request custom-burned CDs of

Kenaf and Hemp are made with

cutting. The CLASSIC Wine Labels Paper comes in five natural

selected imagery-available for

50% cotton rag; Denim Blues are

colors of Solar White, Classic

next-day delivery for that thunder-

made from 100% recovered cotton

Natural White, Avon Brilliant

ous deadline looming on the

denim; and Old Money is 30%

White, Classic Cream and

horizon. Thinksrock plans to

post-consumer currency and 70%

-REBECCA BEDROSSIAN

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

A R T S

247

Clubs, Conferences, Seminars The Association of Medical Illustrators 55th annual

area of Chicago. UCDA plans to be at II East Hubbard

meeting convenes July 12-16 in Rochester, Minnesota. For information and registration materials, contact AMI

Street, Suite 5A, Chicago, Illinois 6o6n for a minimum of

Headquarters, 2965 Flowers Road South, Suite 105, Atlanta,

with any questions or concerns. The address has changed, b ut the phone, fax, e-mail and Web site remain the same:

Georgia 30341; call (770) 454-7933; fax (770) 458-3314; e-mail assnhq@mindspring.com; or visit the Web at

fo ur years and invites you to visit. Contact Judi Burnuson

www.medical-illustrators.org

call (312) 431-9395; fax (312) 431-8697; e-mail info@ucda.com; or visit www.ucda.com

The California College of Arts and Crafts (CCAC)

The Society of Children's Book Writers and

scheduled its annual Professional Development Institute for

Illus trators is a national organization with more than

design professionals from July 28 through August 4. Drawing on advertising, copywriting, architecture, graphic design, illustration and interior architecture, the courses are intensive, one- and two-day explorations of the intersection of

n,ooo members. A bimonthly newsletter, a number of informational p ublications, a roster of members and national and regional conferences are some of the services they provide. Contact them for more information: e-mail

design, culture and commerce. Instructors for these courses,

info@scbwi .org; Web site www.scbwi.org; or write to

in order of appearance, are: Charles Dilworth, David Neuman,

SCBWI, 345 N. Maple Drive, Suite 296, Beverly Hills,

Aaron Marcus, Michael Vanderbyl, Kit Hinrichs, Delphine

California 90210.

Hirasuna, Jeff Goodby, Dugald Stermer, Agnes Bourne, John Randolph and Helene Fried. For information concerning dates and fees, visit the Web site at www.ccac-art.edu;

Party & Paper is a trade magazine focusing on the party

fax (415) 703-9537; or call (415) 551-9237 between 8:30 a.m. and 4:30 p.m. Pacific Daylight Time. CCAC, Professional Development Institute, llll Eighth Street, San Francisco,

niche. Visit their Web site at www.partypaper.com for industry news and subscription information, call (203 ) 7304090 or write to Party & Paper Retailer, 107 Mill Plain Road, Suite 204, Danbury, Connecticut o68n.

California 94107. Greetings Today is the official publication of the The Colored Pencil Society of America (CPSA) is

holding its Eighth Annual International Exhibition in

Greeting Card Association, to subscribe, call (800) 627-0932 or visit the Web site www.greetingcard.org

Birmingham, Michigan, at the Ro bert Kidd Gallery July 28-August 25. For updated information, consult the Web

The Society of Photographers and Artists

site at www.cpsa.org

Representatives (SPAR) is an organization for professional representatives [see Freelance p. 2n]. For information, write

Legacy of Letters 2000 Tour of Italy is a guided tour

of Florence (September 10-15) and Tuscany (Septem ber 15-20). Tours are restricted to twenty in order to maintain

to SPAR, 60 E . 42nd Street, Suite n66, New York, New York 10165 or call (212) 779-7464.

an intimate tour experience. Previous tours have been booked

The Island Illustrators Society in Victoria, British

within a few months of announcing them. Now in its fourth

Columbia, is a group of professional illustrators committed

year, Legacy of Letters offers designers and calligraphers an

to the promotion and support of all visual arts and exists to

opportunity to experience the heart of Italy guided by veteran lettering pilgrims Garrett Boge and Paul Shaw. Tour highlights include walking tours of diverse districts and

illustrative techniques, business ethics and standards. Since its inception in 1984, the Society has grown from an original

sites and access to museums, libraries, churches and

core of 4 artists to encompass more than 60 professionals

benefit its members through shared information regarding

cloisters. For information, visit the Web site at

and associate members. For information, contact the Society

www.letterspace.com; call (800) 929-1951; fax (206) 467-

at 865 Wollaston Street, Victoria, British Columbia, V 9A

7275; or e-mail info@letterspace.com.

5A9, Canada; call (250) 380-6562; e-mail illu@pinc.com; or

The University & College Designers Association

(UCDA) announces its 30th Annual Conference is set for

visit the Web site www.swifty. com/ill - ] EA N A. COYNE

September 23-26 in Miami Beach, Florida. In addition, UCDA has moved to a new loft space with twenty-foot ceilings, sharing a building with other arts, music and dance-related organizations, located in the River North 248

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

A N N U A L

2 0 0 0

Copy must be received three months prior to the publication date. Please include a contact name, phone number {or e-mail address) and an address.

Get the monkeys off your back! We know how it is: you've got deadlines. But every time you get the creative ~ow going, wham! Someone needs something. The sales rep in Sedona needs a logo, the CEO needs a two-year-old PowerPoint™ presentation, and your distributor in London wants a catalog of photos by the end of the day. It's enough to drive you bananas.

It could take hours to find those files. But with Portfolio 5 - the award winning digital asset manager from Extensis - it takes minutes. It's easy to create a catalog of the most popular files logos, ads, presentations, audio, movies and much more. Then everyone can easily get the files they need themselves - no matter where they're located, even over the internet So get Portfolio 5 because it's a jungle out there!

Portfolio 5 Portfolio Server 5 Portfolio SQL Connect

Extensis www.extensis.com/port/ca

Index to Illustrators Adler, Steven

Borge, Richard 131

Phone (540) 675-2355 skenny@summit.net 130 Fodderstack Road Washington, VA 22747

Akgulian, Nishan

12, 21, 94,

Phone(212) 262-9823 borge@interport.net 459 W. 49th Street, #4W New York, NY 10019

139 Botelho, Clemente

Phone (718) 565-6936 nakgulian@aol.com 42-29 64th Street Woodside, NY 11377

Atkinson, Janet

121

Phone (212) 941-1710 atkinsonstudio@mindspring.com 584 Broadway, Suite 608 New York, NY 10012

Phone (416) 516-0400 clemente@pathcom .com 382 Margueretta Street Toronto, Ontario M6H 3S5 Canada

Bowers, David

Phone (724) 942-3274 david .m. bowers@att.net 206 Arrowhead Lane Eighty-Four, PA 15330

Braids, Braldt Ballard, Lee

Buchanan, Steve

Phone (718)499-0985 536 5th Street, #2 Brooklyn, NY 11215

Phone(718) 782-5018 wesfolio@earthlink.net 302 Metropolitan Avenue, #2 Brooklyn, NY 11211

123

Phone (415)927-1531 biersi II us@aol .com 123 Willow Avenue Corte Madera, CA 94925

Billout, Guy

63, 76

Phone (212) 786-4352 380 Rector Place, #4M New York, NY 10280

Bischel, Mark

Cuneo, John

Copeland, Greg

145

Phone (612)321-9065 1204 Harmon Place, Suite 11 Minneapolis, MN 55403

Cosgrove, Dan 127, 147

27, 119,

Phone (312) 609-0050 cosg rove@i nteraccess .com 203 N. Wabash Avenue Chicago, IL 60601

Cote, Genevieve

Phone (514) 282-9399 gcote@netaxis .ca 400 de Maisonneuve W., #851 Montreal, Quebec H3A 1L4 Canada

Phone (416) 698-3304 mick@coulaslourdes.com Coulas & Lourdes Inc. 99 Coleman Avenue, #208 Toronto, Ontario M4C 1PB Canada

Dallas, Paul

137

Phone (416)762-5456 54 Rivercrest Road Toronto, Ontario M6S 4H3 Canada

Deas, Michael J.

Phone (504) 524-3957 michaeldeas@aol .com 914 Governor Nicholls Street New Orleans, LA 70116

De Conno, Gianni

Phone (39) 02-324-263 decmail@tin .it 32, via Pogatschnig 20148 Milan Italy

Decoster, Jeffrey

Phone (415) 206-9430 mrjef@pacbell.net 3530A 22nd Street San Francisco, CA 94114

Carver, Morgan

Cox, Paul

Dekle, Merritt

129

Phone (904) 247-4904 merrittdekle@aol .com 216 Walnut Street Neptune Beach, FL 32266

Delessert, Etienne 108

Represented by Simone Adels and Tom LaDuke Simone Represents Phone (714) 541-5957 m ismot@msn.com 2420 N. Valencia Avenue Santa Ana, CA 92706

Represented by Richard Solomon Artists Representative Phone(212) 223-9545 305 E. 50th Street New York, NY 10022

Craig, Daniel Chang, Michelle

Phone(718) 797-4427 bluespider@mindspring .com 36 3rd Street, #4L Brooklyn, NY 11231

Phone(612) 871-4539 Oasis Studio 118 E. 26th Street Minneapolis, MN 55404

Chin, Gerald

250

A N N U A L

142

Phone (415)674-4851 50 Fairlawn Avenue Daly City, CA 94015

2 0 0 0

124

Phone(203)266-0059 robert@rcrawford.com 123 Minortown Road Woodbury, CT 06798

63, 94

Phone (860)435-0061 rmarshall05@snet.net Box 1689 Lakeville, CT 06039

DuBois, Gerard

67, 89

dubois@netaxis.ca Represented by Marlena Agency Phone(609) 252-9405 145 Witherspoon Street Princeton, NJ 08542

Dugin, Andrej Crawford, Robert

Phone(216) 932-4910 cb@cathiebleck.com 2270 Chatfield Drive Cleveland Heights, OH 44106

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

67,91, 134

Phone (303)455-4198 4253 Julian Street Denver, CO 80211

Phone(914) 639-1505 43-C Heritage Drive New City, NY 10956

Phone (415)721-7008 sidewalks@hotmail.com 845 5th Avenue, Apt. 10 San Rafael, CA 94901

110

74, 91

Colon, Raul

Represented by Marlena Agency Phone (609) 252-9405 marlena@bellatlantic.net 145 Witherspoon Street Princeton, NJ 08542

Carluccio, Maria

Cronin, Brian

Phone (212) 727-9539 brian@briancronin.com 59 W. 12th Street, #SH New York, NY 10011

Cournoyer, Jacques

105, 149

Phone (212) 717-9811 mlbischel@yahoo .com 228 E. 85th Street, #1 OD New York, NY 10028

Bleck, Cathie

Phone(603) 668-0103 jimbburke@hotmail .com 647 Walnut Street Extension Manchester, NH 03104

Phone(512) 263-5490 11703 Uplands Ridge Drive Austin, TX 78733

Biers, Nanette

132

142

Phone (316) 723-2665 abcgum@juno .com 710 W. Grant Greensburg, KS 67054

Coulas, Mick Burke, Jim

Benny, Mike

Phone (860)379-5668 steve@stevebucha nan .com 317 Colebrook Road Winsted, CT 06098

Bedrosian, Wesley

57, 92

Phone (505) 995-0341 1807 2nd Street, #107 Santa Fe, NM 87505

Phone (707) 775-4723 lee@nillo.com P.O. Box 2132 Petaluma, CA 94953

Beck, Melinda

Christenson, Amy Beth

Phone (07) 11-591-158 Weserstr. 34 Stuttgart 70376 Germany

WHO PRINTS

WE DO . • •• ••• •••• •••••

•••••• ••••••• •••• ••• •••• •••

Anderson Lithograph

HEADQUARTERS 3217 SOUTH GARFIELD AVENUE Los ANGELES, CA 90040 800-727-5846 I EXT.359 213-722-2328 FAX BosToN/CoNNECTICUT 860-767-3I58 860-767-3I59 FAX

CHICAGO 847-913-9239 84 7-913-8 9 56 FAX

SAN FRANCISCO 650-348-0446 650-348-0459 FAX

DETROIT 248-646-2202 248-646-2986 FAX

NEW YORK

SEATTLE 206-706-9797 206-706-98 50 FAX

212-880-6440 212-8 80-6441 FAX

www.andlitho.colll

Index to Illustrators Frazier, Craig 65, 121 Phone(415)389-1475 90 Throckmorton Avenue, #28 Mill Valley, CA 94941

Dugina, Olga 30 Phone (07) 11 -591-158 Weserstr. 34 Stuttgart 70376 Germany

French, Martin 10, 28, 42, 51 Phone(541) 549-4969 martino@teleport .com 69425 Deer Ridge Road Sisters, OR 97759

Duke, Lawrence 97 Phone (650)851 -2705 lwduke@webtv.net Star Route Box 93 Woods ide, CA 94062 Duvivier, Jean-Manuel Represented by Dan iele Col lignon Phone (212) 243-4209 200 W. 15th Street New York, NY 10011

Ecklund, Rae 140, 145 Phone (925) 283-6648 raeeckl u nd@aol .com 3 Roxanne Lane Lafayette, CA 94549 Eklund, Pamela 140 Phone (847) 740-9429 pameklund@aol.com 384 N. Windridge Drive Round Lake Park, IL 60073 Escobedo,Jacob 134 Phone(404) 303-0873 ja kerry2@aol .com 200 Franklin Road, #V3 Atlanta, GA 30342 Espinosa, Leo 68 Phone(914) 725-9103 lei@i nch.com 18 Argyle Road Scarsdale, NY 10583

Farrell, Richard B. 131 Phone(253) 752-8814 rbfarrell@wa .net 3918 N. Stevens Street Ta coma, WA 98407 Forbes, Bart 7, 123 Phone (214) 357-8077 bforbes@onr.com 5510 Nakoma Drive Dallas, TX 75209 Fraser, Douglas 27, 76, 147 Phone (403) 287-7337 doug@frasera rt.com 3613-6th Street SW Calgary, Alberta T2S 2M6 Canada

252

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

Fuchs, Bernie 38 Phone (203) 227-4644 alhf99@aol.com 3 Tanglewood Lane Westport, CT 06880

Heeman, Jeroen 84 Phone (31 ) 10-4 77-3423 jeroenheeman@hotmail .com Mathenesserdyk 315A 3026GC Rotterdam The Netherlands

Gall, Chris 42, 78, 113 Phone (520) 299-4454 chris@chrisgall.com 4421 N. Cam ino del Santo Tucson, AZ 85718

Henderson, Hayes 127 Phone(336)748-1364 htahayes@m indspring .com 315 N. Spruce Street Winston -Salem , NC 27101

Gelen, Michael 123 Phone(716) 882-0102 mgelen@i nkwellstud ios .com 68 Dorchester Road Buffalo, NY 14222 Gendron, Cathy 73 Phone (734) 971 -7341 cgendron@mindspring .com 2965 Hickory Lane Ann Arbor, Ml 48104 Goines, David Lance 38 Phone(510) 549-1405 dlg@webbnet.com 1703 Martin Luther King , Jr. Way Berkeley, CA 94709

Graham, Tom 110 Phone (718) 680-2975 tgraham@banet.net 446 80th Street Brooklyn, NY 11209

A N N U A L

2 0 0 0

Hanson, Eric 78 Phone(612)927-9054 4444 Upton Avenue S. Minneapolis, MN 55410 Hart, Princess 99 Phone (64) 3-541-9558 stoneyhill@clear.net. nz 1067-88 Valley Road RD 1, Wakefield 7181 New Zealand

Gabl, Max 22 Phone (310) 572-9978 maxgabl@earthlink .net 4330 Mclaughlin Avenue Los Angeles, CA 90066

G6rowski, Mieczyslaw 28 Represented by Marlena Agency Phone (609) 252-9405 marlena@bel latla ntic. net 145 Witherspoon Street Princeton, NJ 08542

Gregory, Lynn M.J. 38 Phone(510) 549-1405 dlg@webbnet.com 1703 Martin Luther King, Jr. Way Berkeley, CA 94709

10,

Hess, Mark 21 Phone(914) 232-5870 mark@hessdesignworks.com 88 Quicks Lane Katonah, NY 10536 Hewgill, Jody 33, 89 Phone(416)924-4200 hewgill@home .com 260 Brunswick Avenue Toronto, Ontario M5S 2M7 Canada Represented by Sally Hefflin & The Artworks Phone(212) 366-1893 heflinart@aol.com 455 W. 23rd Street, #8D New York, NY 10011 Hewitson, Jennifer 73 Phone(760) 944-6154 1145 Wotan Drive Encinitas, CA 92024 Hoetzel, Orlando 147 Represented by Kate Larkworthy Artist Rep ., Ltd . Phone (212) 964-9141 kate@larkworthy.com 80 Nassau Street, #202E New York, NY 10038

Holland, Brad 57, 84, 89, 117 Phone (212) 226-3675 brad_holland@erols .com 96 Greene Street New York, NY 10012 Hunt, Robert 149 Phone(415)459-6882 robthunt@aol. com 107 Crescent Road San Anselmo, CA 94960

Isip, Jordin 84 Phone (718)499-0985 536 5th Street, #2 Brooklyn, NY 11215

Jessell, Tim 114 Phone (405) 377-3619 jessel l@ionet.net 7906 N. Perkins Road Stillwater, OK 74075 Jetter, Frances 33 Phone (212) 580-3720 2211 Broadway New York, NY 10024 Joudrey, Ken 22, 52 Phone (619)479-2622 5706 Sprinter Lane Bonita, CA 91902

Kachik, John 87 Phone (410)467-7916 3000 Chestnut Avenue, Su ite 1408 Baltimore, MD 21211 Kelley, Gary 21, 28, 94, 132 Phone (319) 277-2330 226 1/2 Ma in Street Cedar Falls, IA 50613 Represented by Richard Solomon Artists Representative Phone (212) 223-9545 305 E. 50th Street New York, NY 10022 Klingensmith, Milt 57 Phone (517) 637-4183 kl inger@iserv.net 10385 S. Ca st le Road Fenwick, MI 48834 Koefoed, Lori 139 Phone(562)433-612 2 lori@lori koefoed.com 338 M ira Mar Avenu e Long Beach, CA 90814

Conferences > August 28September 1, 2000 Exposition > August 29-31, 2000 oscone Center, San Francisco

Unleash the Power of Your Message Attend the leading event delivering Web and print publishing solutions. Take advantage of educational opportunities that address the new reality of dynamic publishing. More than 110 sessions cover topics like: > >

Web Development Interface and Transactional Design

> >

Asset Management Digital Imaging Streaming Media

> > >

Workflow Automation XML/PDF E-Books

Connectivity > E-Commerce > On-Demand Printing

Get an up-close introduction to both new and proven products that will enable you to design and build media, communicate and get results.

To register, go to

See cutting-edge products from 350+ exhibitors. > Maximize the impact of your message on the Web and in print. > Extend your cross-media capabilities.

www.seyboldseminars.com or call toll-free 888-886-8895: international 781-433-1508.

Your priority code is: CAMG ©2000 Key3Media Events, Inc., 303 Vintage Park Drive, Foster City, CA 94404. All rights reserved . Seybold Seminars, Seybold SF 2000 and logo and design are trademarks owned or used under license by Key3Media Events, Inc.

A KEY3MEDIA EVENT

Index to Illustrators Kroencke, Anja

9, 27, 119

Represented by Kate Larkworthy Artist Rep. , Ltd . Phone (212) 964-9141 kate@la rkworthy.com 80 Nassau Street, #202E New York, NY 10038

Kunz, Anita

55, 76, 83

Phone (416)364-3846 akunz@globalserve .net 218 Ontario Street Toronto, Ontario M5A 2V5 Canada

Lancaster, Brian

151

Phone (303) 843-6143 bclancaster80@usa .net 4369 S. Quebec Street, Apt. 6117 Denver, CO 80237

Lange, Poul Hans

140, 153

Phone(646) 654-6760 poul@poullange .com 156 Ludlow Street, 3rd Floor New York, NY 10002

Laumann, Scott

Phone (949) 548-8046 tolypso@mindspring .com 2653 Orange Avenue, Apt. A Costa Mesa, CA 92627

Lee, Lilly

Phone (818) 788-5411 lillylee@earthl ink.net 15266 Valley Vista Boulevard Sherman Oaks, CA 91403

Lethaby, Brad

Phone (814)455-1477 1505 State Street Erie, PA 16501

Long, Loren

Phone (513) 942-4551 golonggo@yahoo .com 5839 Owl Nest Drive West Chester, OH 45069 Represented by Richa rd Solomon Artists Representative Phone (212 ) 223-9545 305 E. 50th Street New York, NY 10022

Lorusso, Joseph 137

97, 124,

Phone (816) 756-5723 4600 J.C. Nichols Parkway Kansas City, MO 64112

Loughran, PJ

Phone (718) 222-5687 P_loughran@yahoo .com 32 Hicks Street, Apt. A Brooklyn , NY 11201

254

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

McAlick, Michael

147

Phone(732) 271 -9329 crpng myrtl@aol.com 209 Lou is Avenue, Apt. 2L South Bound Brook, NJ 08880

Moore, Larry

15, 21

Morrow, Anthony Mcindoe, Vincent

102

Phone (416) 967-2840 webmaster@vince .on .ca 1280 Bay Street, Unit 6M Toronto, Ontario M5R 3L 1 Canada

Manchess, Gregory 55, 110, 124

9, 42,

Phone (503) 590-5447 13358 SW Gallop Court Portland, OR 97008 Represented by Richard Solomon Artists Representative Phone (212) 223-9545 305 E. 50th Street New York, NY 10022

Masuda, Coco

Phone (404)378-0686 skitzoart@mindspring .com 240 Forkner Drive Decatur, GA 30030

Mazellan, Ron

140

Phone(765) 668-7140 jrmaz74@aol.com 704 W. Spencer Avenue Marion, IN 46952

Merino, Jose Luis

7, 21

Phone (416)425-7726 49 Thorncliffe Park Drive, Suite 1604 Toronto, Ontario M4H 1J6 Canada Represented by Renard Represents Phone(212)490-2450 501 5th Avenue, Room 1407 New York, NY 10017

A N N U A L

Musgrave, Steve

102

Phone (61) 88-557-7454 re idohlsson@adela ide .on .net 13 Port Road Port W il lunga South Austral ia 5173

Okamura, Tim

140

Represented by Levy Creative M anagement Phone (212) 687-6463 sa ri@levycreative .com 300 E. 46th Street, Su ite 4G New York, NY 10017

121

Phone (773) 528-9054 musgrave@mcs.net 3615 N. Ham ilton Ch icago, IL 60618

Olbinski, Rafal

117

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

Nakamura, Joel

47, 134

Phone (505) 989-1404 jonaka@nm .net 72 Bobcat Trail Santa Fe, NM 87505

Nascimbene, Yan

153

Phone (443)413-6363 cobotenuss@hotma il.com 30 Fairlea Avenue Stratford, CT 06614

Nelson, Craig

Phone ~12) 228-2606 jose@joseortega .com 2 Federal Street Toronto, Ontario M6J 3M4 Canada

Phone (212) 397-7330 pompelmo@dcn .davis.ca .us Lindgren & Sm ith 250 W. 57th Street, #521 New York, NY 10107

Negron, Reuben

Ortega, Jose

107, 132

Phone (707) 591-9327 3563 Alturia Heights Santa Rosa , CA 95403

Palencar, John Jude

132

Phone (440) 774-73 12 249 Elm Street Oberl in, OH 4407 4

Parada, Roberto 58, 63, 65, 68, 76,81 , 84 Represented by Levy Creative Management Phone(212 ) 687-6463 sari@levycreative .com 300 E. 46th Street, Su ite 4G New York, NY 10017

Phone (34) 93-301 -6510 merino 1@teleline .es Tallers 77 2°1 a 08001 Barcelona Spa in Represented by Kate Larkworthy Artist Rep ., Ltd Phone (212) 964-9141 80 Nassau Street, #202 New York, NY 10038

Milot, Rene

124

Phone (856) 216-1616 am@morrowdesign .com 38 Walnut Street Haddonfield , NJ 08033

Phone(212) 732-2599 coco@cocomasuda .com 40 Harrison Street, #4M New York, NY 10013

Mayer, Bill

Ohlsson, Bridget

Phone (407) 648-0832 1315 Edgewater Drive Orlando, FL 32804

2 0 0 0

Northeast, Christian

Phone (416) 538-0400 christian .northeast@sympatico .ca 336 Rusholme Road Toronto, Ontario M6H 2Z5 Canada

Parks, Melanie Marder Phone (914) 758-0656 parks@ulster. net 5 Broadview Lane Red Hook, NY 12571

Payne, C.F.

O'Brien, Tim 83

38, 58, 61, 76,

Phone (718) 282-2821 tonka 1964@aol .com 310 Marlborough Road Brookl yn , NY 11226

Ochoa, Ivan Abreu

Pilon, Alain

Phone (54) 5-456-8040 espaciosina ire@prodigy.net.mex Paseo de los Cipreces #66-301 A Colon ia Paseos de Taxquena, Mexico D.F. CP 04250 Mexico

Represented by Richard Solomon Artists Representative Phone(212 ) 223-9545 305 E. 50th Street New York, NY 10022

42, 68

Represented by Wanda Nowak Phone (212) 535-0438 231 E. 76th Street, #5D New York, NY 1002 1

See the Best Creative Without a Mouse

Lommuni~ation Art~ This collection of 78 outstand ing 1999 TV commercials was selected by a distinguished national panel of creative directors from over 2,500 spots submitted. The videotape, which includes commercials and a complete listing of creative credits , is ava ilable in 3/4 " or VHS format for $199 . Complete your library of great spots with CA's 1998 award-winning TV commercials, priced at only $145.

Order online now at: www.commarts.com or call: 800-258-9111

1ggg Advertising Annual Television Commercials An lndispensible Creative Resource I Available in VHS and 3/4" format

Communication Arts , 11 O Const itu t ion Dri ve, M en lo Pa rk , CA 94025 -1107 Phone : 800-258-9111 , 650-32 6-6040, Fax : 650-32 6-1 648, E-mail : vi deo@commarts .com , URL: www.commarts.com

Index to Illustrators Police, Louis M.

Rudnak, Theo

Sorel, Edward

Phone (626) 791-7139 poleezfam@aol .com 1070 Atchison Street Pasadena, CA 91104

Phone (404) 876-4058 theographik@mindspring .com 549-6 Amsterdam Avenue NE Atlanta, GA 30306

Pugh, Lorena

Rush, John

Sorren,Joe 100

Phone(401) 885-9438 lorenapugh@purebreded itions . com 323 Harrison Street North Kingstown, RI 02852

Puglisi, John

151

Phone (818)954-9443 316 N. Maple Street, #253 Burbank, CA 91505

Pyle, Charles S.

Phone (707)782-9376 cspyle@home.com 24 Western Avenue, Suite 4 Petaluma, CA 94952

102, 114

Phone (847) 869-2078 123 Kedzie Street Evanston, IL 60202

Ruzzier, Sergio

Stephanos, Dale

346 Leonard Street, #3 Brooklyn, NY 11211 Represented by Wanda Nowak Creative Illustrators Agency wandanowak@aol.com 231 E. 76th Street, #5D New York, NY 10021

Phone (718)486-7820 rashworks@earthlink.net 298 Metropolitan Avenue, #B4 Brooklyn, NY 11211

Reis, Thomas

Phone (718) 596-4548 tho mas.reis@m indspring .com 15 Douglass Street, Apt. 3 Brooklyn, NY 11231

Ritter, John

Phone (412) 802-0800 jrill@earthlink .net 208 Main Street Pittsburgh, PA 15201

Stermer, Dugald

Shaw, Simon

113

Represented by Annie Langlois Phone (514) 279-8348 6768 Alma Montreal, Quebec H2S 2W7 Canada

Roman, Irena

114

Phone (847) 412-9707 1856 Walters Avenue Northbrook, IL 60062

Szalkowski, Melissa

65, 73

Phone (718) 782-7193 mels76@mindspring .com 137 Ainslie Street Brooklyn, NY 11211

142, 154

Phone (619) 299-5576 230 W. Walnut Street, #D San Diego, CA 92103

Slonim, David

100

Phone (303) 534-2054 daviduhl@sn i. net 1261 Delaware Street Denver, CO 80204

Unruh, Jack

28, 74, 89

Phone (214) 327-6211 8138 Santa Clara Drive Dallas, TX 75218

Valero, Art

129

Phone (843) 856-0103 judyart@mindspring.com 317 Molasses Lane Mt. Pleasant, SC 29464

256

A N N U A L

131

Phone (514) 842-4530 4398 Saint Laurent, Suite 305 Montreal, Quebec H2W 1Z5 Canada

Thompson, John

44 Smith, Donald A.

Tarabay, Sharif

147, 151

Phone(706) 543-5555 The Adsmith P.O . Box 391 Athens, GA 30603

2 0 0 0

Phone(315)449-1241 jmthom01 @syr.edu 109 Euclid Terrace Syracuse, NY 13210

Thomson, Bill

137

Phone (860) 621 -5501 billt@megahits .com 66 Fox Run Drive Southington, CT 06489

107

Phone (604) 730-7875 pvg@paulvang inkel .com 3476 Quesnel Drive Vancouver, BC V6L 2W6 Canada

Ventura, Anthony

Phone (765)378-6511 dbslonim@juno.com 232 South Street Chesterfield, IN 46017

Phone (416) 927-7071 balvi@home.com 260 Brunswick Avenue Toronto, Ontario M5S 2M7 Canada

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

Uhl, David

285 Melba Road Encinitas, CA 92024 Represented by Jan Collier Represents, Inc. Phone (415) 383-9026 jan@collierreps .com 1205 W. Cal ifornia Avenue M ill Valley, CA 94941

Phone (514) 273-8329 5187 Jeanne-Mance #3 Montreal, Quebec H2V 4K2 Canada

Van Ginkel, Paul Shed, Greg

Phone (781)830-9490 irenaro@aol.com 575 Washington Street Canton, MA 02021

Rubess, Balvis

Represented by Deborah Wolfe Ltd Phone (215) 232-6666 731 N. 24th Street Ph iladelphia, PA 19130

Turgeon, Pol

19, 61

Sylvada, Peter

28, 55

129

Phone(401) 272-6952 bill@tsukuda .com 39 Bowen Street Providence, RI 02903

117

Schwab, Michael

Phone (02) 921 -22991 Su ite 72 8-24 Kippax Street Surry Hills NSW 2010 Australia

Tsukuda, Bill

Phone (415) 777-0110 ds@dugaldstermer.com 600 The Embarcadero San Francisco, CA 94107

Phone (416)367-8421 jozas@interlog.com 39 Parliament Street, Suite 310 Toronto, Ontario M5A 4R2 Canada

Sheba~Chris

Roca, Fram;:ois

61, 127

Represented by Richard Solomon Artists Representative Phone (212) 223-9545 305 E. 50th Street New York, NY 10022

Phone (415) 257-5792 studio@michaelschwab .com 108 Tamalpais Avenue San Anselmo, CA 94960

Tsinganos, Jim

Phone (508) 543-2500 dales@ici .net 16 Twilight Drive Foxboro, MA 02035

Summers, Mark 61

Phone (914) 876-8776 ctoelke@webjogger.net P.O . Box 487 Rhinebeck, NY 12572

7, 1~2~33

Phone (520) 214-9980 sparkle@infomag ic.com 906 W. Summit, Apt. B Flagstaff, AZ 86001

Salina, Joseph

Rash, Andy

Toelke, Cathleen

Phone(212) 966-3949 156 Franklin Street New York, NY 10013

Represented by Frank Sturges Phone (740)369-9702 frank@sturgesreps .com 142 W. W inter Street Delaware, OH 43015

Ventura, Marco

24, 51

marcoventura@t iscal inet. it Represented by Sally Heflin & The Artworks Phone (212) 366-1893 455 W. 23rd Street. #SD New York, NY 10011

Wass, Chip

129

Phone (404) 755-5040 jamesway@mindspring .com 650 Murphy Avenue, Suite E21 Atlanta, GA 30310

124

Phone (612)374-2063 john .vogt@excite .com 1424 W. 26th Street, #1 Minneapolis, MN 55405

von Buhler, Cynthia

Wilson, Will

Wertz, Michael S. 67

Phone(617) 783-2421 cynthia@drawbridge.com 16 Ashford Street Boston, MA 02134

Phone (415) 824-5542 m ichael@wertzateria .com 385 1/2 Jersey Street San Francisco, CA 94114

White, Eric

154

Phone (415) 821 -3839 e@ewhite .com P.O. Box 460823 San Francisco, CA 94146

Wilson, Russ

Yeo, Brad

113

Phone(415)447-8302 wilburbuds3@hotmail .com 750 Post Street San Francisco, CA 94109

Wilton, Nicholas Way, James

Vogt, John

Phone (212) 741-2550 chi p@worldofwassco .com Wassco 180 Varick Street. 8th Floor New York, NY 10014

Phone (415) 488-4710 nick@zocolo .com 220 Alta Avenue Lagunitas, CA 94938

Wirsen, Stina

Represented by Snyder & Co Phone (212) 925-8203 funhaus13@earthlink .net 529 Broome Street, #13 New York, NY 10013

Wu, Leslie

24, 57, 61. 81

Phone (403)237-5553 yeob@cadvision .com 602 8th Avenue NE Calgary, Alberta T2E OR6 Canada

51, 119

Phone (847) 615-9891 1217 Ouassey Avenue Lake Bluff, IL 60044

Phone (904) 249-0060 2215 S. 3rd Street, #201 -C Jacksonville Beach, FL 32250

Zeltner, Tim

Phone(416) 588-8115 27 Marchmount Road Toronto, Ontario M6G 2AB 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 award certificates .

Index to Individuals and Firms Represented in the 41 st Illustration Annual Absolut Vodka 7 Adamec, Matt 37 The Adsmith 147, 151 AdWeek 76 Alama , Rommel 63 Ales, Jim 97 Alfred Publ ishing 47 Algona Publ ic Library 28 Allen , K.J . 134 Amazing Stories 89 American Advertising Federation 127 American Honda Motor Company, Inc . 17 American Kennel Club, Museum of the Dog 114 The American Lawyer 55, 61, 81, 89 The American Prospect 81 Anderson, Ga il 89 Anderson , Kristi 65, 73 Arisman , Marshall 105, 149 Arsenault, Nadine 68 Art Box Amsterdam 51 The Atlantic Monthly 63, 76, 89 Attache 65 Azula , Sharon 12

Bacardi- Martini Canada, Inc . 10 Back Bone Design 15, 21 Ballard, Lee 24 Bantam Books 42 Barte l, Jeff 10 Bartels & Company 21 Bartels, David 21 Barton, Harriet 37 Beard, Kevin 74 Beauchamp, Monte 55 Beaudoin, J.P. 73 Belser, Burkey 119 Bergeson, Tye 17 Bernstein-Rein Advertising, Inc. 19 Beverage, David 67 Beyn, Bob 19 Bibliotheque Ouebeco ise 42 Birnbaum, Meg 81 Bishkin, Marilyn 67 Blab! Fantagraphics Books 55 Black Dog Graphics 58 Blair, Steve 10 Blaze 57, 83 Blue Mountain Arts 99 Blues Extra 28 Bock, Duncan 44 Bolton, Dave 27

Bonnie, Thomas 57 Book of the Month Club 24 Borge, John 94 Borge, Richard 131 Richard Borge Studio 131 The Boston Globe 70 The Boston Herald 61 Braids, Braldt 92 Braley, Michael 123 Bread & Roses 117 Breeder's Choice 22 British Airways 119 Brown, David 28 Brown, Rich 24 Buck & Pulleyn, Inc . 119

Caccia, Gianni 42 Cahan & Associates 123 Campisi Design 67 Campisi, Ronn 67 Canepa, Michael 73 Canteux, The Co llection of Denis 10 Capricorn Records 21 Carluccio, Maria 110

Carsella, Steve 15, 21 Carstensen, Pau l 65 C-E Publishing 73 The Center for the Book Arts 117 Cetta, Al 49 Charlton, Aldana 74 Chee, Lia 15 Chez Panisse Cafe 38 CityofChicago 121 Chicago Review Press 33 Chicago Tribune 76 Choice Design 84 Choices 68 Christensen, Nan 57 Churchil l, Traci 87 Cideb Editrice 34 Cigar Aficionado 87 Civilization 67 Cochran, Faith 61 Cohen, Rachelle 61 Cole, Kathryn 131 Copeland, Greg 145 Cosgrove, Dan 147 Dan Cosgrove Design 147 Cottage Life 61 Courtney, Bill 19 Cox, David 67 The Creative Company 47

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

A R T S

257

Index to Individuals and Firms Represented in the 41st Illustration Annual

Creative Editions 40 Cunningham, Doug 24

Dagens Nyheter-Lordag Sondag 87 Daley, Kevin 15 Dallas Morning News 67 Davis, Craig 121 de Vaal, Carl 84 De Young, Michael 27 Deas, Richard 42 Deforest, Melany 67 Dekle, Merritt 129 Dennard, Lacey & Wood 52 Dennen, Sue 38 Der Spiegel 57 M .H. de Young Museum 123 Dial Books 38 Dial Books for Young Readers 51, 55 Steve Diggs & Friends Marketing Communications 51 Dingman, Alan 42 DK Publ ishing 33 Doubleday 33 Dreyer's Grand Ice Cream, Inc . 21 Driskel, Patty Devlin 22 Dubroff, Cara 92 Dugin, Andrej 30 Dugina, Olga 30 Duplessis, Arem K. 57 DuPont Company Agricultural Products 19 Duvivier, Jean-Manuel 51

Ecklund, Rae 140, 145 Engelbart, Ted 47 Entertainment Weekly 63, 68, 83, 91 Equity 55 Escobedo.Jacob 134 Esquire 76, 81, 84 Esslinger Verlag J.F. Schreiber 30 Eleanor Ettinger Gallery 102 Evans Drumheads 7

Gloria Ferrer 28 Fete des Vignerons 94 Fili, Louise 51 Louise Fili Ltd . 51 First Northern Bank 19 Forbes, Sara 28 Ft. Lauderdale New Times 68 Fortune Small Business 87 Frady, Julie 76 French, Martin 28 Martin French Studio 10, 28 Fresh Food Services 27

Gallerie Gabrie 132 Gallery Revel 102 Gallo, Irene 42, 124 Garlan, Judy 63, 76 Gas Graphics 110 Gayanilo, Ludwig 7 Gelen, Michael 123 Genesis 65 Genovese, Janell 74 Georgia Pacific Paper 134 Giddon, Ken 27 Gilmore-Barnes, Robin 63, 76, 89 Goines, David Lance 38 Goldberg Moser O'Neill 12 Gorowski, Mieczyslaw 10, 28 Gourmet 81 Government Mule 21 The Grand Rapids Press 57 Gravityworkshop .com 94 Greater Chicago Food Depository 121 Green, Cannon 123 Greenfield/Belser, Ltd. 119 The Greenwich Workshop 92 Grey Entertainment 147 Grunden, Holly 68 Gubernick, Evan 87 Guitar World 87 Guthrie, Michael 127

Farina, Mimi 117 Farrell, Richard B. 131 Fatbrain.com 12 Federal Reserve Bank of Boston 67 Fener, Heidi 27 Fenner, Arnie 132 Ferrell, Joan 55, 61, 89

Hallmark Cards, Inc. 110 Harcourt Brace 52 Harley-Davidson 100 HarperCollins Publishers 37 , 38, 49 Harris Publications 87 Hart. Princess 99 Hartford Hospital 84 Hartford Stage 15 Hartofelis, Harry 15 Harvard Business Review 58 Harwood, Rockwell 76, 81, 84 Healthy Start 19 Heller, Steven 91 Henderson, Hayes 127

258

A N N U A L

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

2 0 0 0

Henderson Tyner Art Co. 127 Herrick, Matthew 76 Herrman, Carl 92 Hinrichs, Kit 21 Hiort & Design 24 Hochstein, Arthur 76, 83 Hoffman, Cynthia 76 Hoffman, Steve 58 Holland, Brad 117 House & Garden 76 Hundt, Gerrilee 33 Hunt, Robert 149 Hyperion Books 51

IBM AS400 73 Imagen lnteractiva 9 Imagen lnteractiva-Discos Corason 9 Inc. 74 Inkwell Studios 123 Inside Sport 63 International Bible Society 42 International Paper Co . 127 Irish Classical Theatre Company 123 Irwin, Lauren 81

Jacobs, Brian 21 Jetter, Frances 33 Jeunesse, Albin M ichel 113 Johns Hopkins Magazine 89 Jorgensen, Conrad 121 Conrad Jorgensen Studio 121 Jorisch, Stephane 34 Joshpi, Kent 19

Karnes Prickett Des ign 121 Kelley, Gary 21 , 28, 76 , 94, 132 Khargie, Mignon 84 Kiefer, Stefan 57 Kikkert, Kathy 33 Kimberling, Joe 91 Klingensmith, Milt 57 Korp ics, John 76, 81 , 84 Kastner, Barbara 58 Kraus, Orlie 70 Kroser, Scott 68 Kroupa, Melanie 33 Kujda, David 22

Laakso, Hannu 91 LaGuardia, Dia na 76 Lancaster, Bria n 151

Laurens, Golda 49 Lauzon, Andree 34 Lee, Lilly 17 Le Monde 63 Leo-Kelly, Nancy 51, 55 Les 400 Coups 34 Lethaby, Brad 73 Little, Brown & Co . 38 LoMonaco, Gerard 113 Louie, Yook 42 Lowe, Deanna 55

Maax Visors 15 McAl ick, Michael 147 McCarthy, Patrick 24 McFarland, Julie 110 Mcindoe, Vincent 102 Maclaren McCann Canada Inc . 10 Maestri, Nad ia 34 Manchess, Gregory 110 Mann ing, Christer 21 Markovitz, M itch 114 Marshall, Rita 40, 47, 94 Masuda, Coco 19 May, Jerry 22 Mazellan , Ron 140 Melcher Med ia 44 Mendenhall Gallery 108 Meyer Gallery 97 M ichaud, Janet 70 Middlebury Col lege 61 Milian, Tomaso 24 Mind at Large 24 Minneapolis/St. Paul Magazine 65 Mintz & Hoke Inc . 15 Mississippi Delta Blues Festival 21 Montana Power Company 22 Monterey Bay Aquarium 97 Mooney, Michael 119 Moore, Kathleen Stevens 12 Moore, Larry 15, 21 Moore, Pamela 51 Morris, Rhys 63 Morrow, Anthony 124 Morrow Des ign 124 Morrow Snowboards 10 Morrow, W illiam 44 Morton, Rachel 61 Mouly, Franc;oise 61 Multnomah Publishers 51 Murphy Design 33 Murphy, Mark 33 Murray, Lawrence 142 Musgrave, Steve 121 Musker, Martin 76

Narciso, Shauna Wolf 89 National Post Business 68 Nelson, Craig 107, 132 Nelson, James 65 Nemo Design 10 New York 92 New York City Opera 27 The New York Times 73 The New York Times Book Review 91 The New Yorker 61 Noble, Jim 12 Noe, Tracy 9 North American Review 76 Northwest Indiana Forum 114 Northwest Reach 10 Nuzum, Jeanette 119

Ochoa, Ivan Abreu 9 Ode 84 Oden Marketing & Design 127 Ohlsson, Bridget 102 Okamoto, Sharon 83 Okamura , Tim 140 Olbinski , Rafal 117 Olb inski Studio 117 Ol iver, Mark 22 Mark Ol iver Des ign 22 Olson, Krista 52 O'Ne ill, Brian 12 O' Neill, Kathy 151 The Orlando Opera Company 15, 21 Outs ide 67

Pagano, Chrissy 119 Patinae Inc. 117 Pearson, Susan 49 The John Pence Gallery 113 Pengu in Putnam 33 Pentagram Design Inc . 21 Penthouse 74 Peters, Jill 137 PGA Tour 7 PGA Tour Tournament Services

7 Phill ips, Jennifer 42 Phill ips Petroleum 114 Phil li ps, Troy 123 Playboy 58, 68 Pol ice, Louis M . 92 Pomona College 57 Pope, Kerig 58, 68 Portra it Society of America 73 The Poster Gallery 28 Powell , Steve 57 Steve Powell Design 57 Preston Tra il Golf Club 123 Procop io, Jennifer 91 Program Committee 151

PSK 15 Pulice, Mario Pyatt Design Pyatt, James

33 119 119

Quality Publishing

Rafferty, John 7 Random House 42 Reader's Digest 91 The Record 84 Redwood Residential Funding 121 Reid, Alix 49 Reid Ohlsson Pty Ltd 102 Rietta, Terry 12 Rochaix, Franc;ois 94 Rocky Mountain Arsenal's Black Employment 151 Rodriguez, Edel 84 Rolling Stone 89 Root, Linda 58 Rosen, Michael 114 Rothman's 27 Roynette, Dominique 63 Rubess, Balvis 44 Rubin Postaer and Associates 17

Saatchi & Saatchi Business Communications 19 Sack, Ann 84 Saint Hieronymus Press, Inc . 38 St. Martin 's Press 42, 52 Salesmanship Club 28 Joseph Salina Ill. Inc. 61 salon.com 84 San Diego Union Tribune 73 Sanchez, Dave 28 Sanchez, Lonchar & Flynn 28 Sazaby 9 Scholastic Publ ications, Choices 68 Schreiber, Lisa 74 Schroeder, Mike 22 Schutz, Steven 99 Schwab, Michael 28 Michael Schwab Studio 28 SDI Development, Inc . 22 Seraphein Beyn 19 Serra, Roseanne 33 Shaw, Mark 57, 83 Shed, Greg 142, 154 Shipley, Jackie 81 Sigler, Wendy Erwin 12

Simidian, Darlene 81 Simuflite 113 688 Sutter Gallery 24 Slinger, Joseph 147 Slonaker, Suzy 10 Smith, Donald A. 147, 151 Snow, John 7 Society of Illustrators 124 Richard Solomon Artists Representative 124 Sony Corporation 22 Source 76 Spaulding & Slye 119 Spectrum Design 132 Spectrum Fantastic Art 132 Spiker Communications 22 Sports Illustrated 58 Spot Design 15 Staebler, Tom 58, 68 Standke, Ellene 91 Stanford Business 57 Starkey, Jim 57 Stermer, Dugald 117 Stoddart Publishing Co . Ltd . 131 Stoneyhill Studio & Press 99 Studio Graphixs 28 Studio Tangerine 27 Stutzman, Carol Ann 58 Suarez, Alex 65

Tanabe, Francis 87 Tarabay, Sharif 131 Tehan, Atha 38, 51 Telarc 7, 21 Theater Works 15 Thelin, Mette 24 Thompson, John 87 Thomson, Diann 137 Thomson Illustration & Design 137 Time 76, 83, 84 Time Life Music 9 Tito lo, Carl 105, 149 Today's Grandparent 81 Toft 24 Tor Books 42 Tradewinds Affirmative Industries 114 Tsemach, Shaul 89 Tyner, Troy 127

United States Postal Service 92 Un iversalia Jane 24 University of Minnesota 58 Uong, Minh 61 Upshot 7 US Airways, Inc., Attache 65 Usher, Scott 92

Utne Reader 65, 73 Uttley, David 51 David Uttley Design 51

Valenti, Michael 73 Vandekerckhove, Kristy 121 Van Ginkel , Paul 107 Van Ginkel Visuals 107 Verlizzo, Frank 147 The Village Voice 61 Vilmenay, Liliane 83

Walker, John 68 Walkers Advertising 27 The Wall Street Journal 70 Ward, Anilda 7, 21 The Washington Post 87 Washington Post Magazine 74 Way, James 129 Rob We isbach Books 44 WilGraphix 114 Williams, Jane 24 Wilson, Bo 114 Wirt, Stephen 52 Witham Fine Art 110 Wood, Mark 57 Woodward, Fred 89 Worthington House 94, 132 Wynn, Kim 57

Xster.com

Yalowitz, Paul 142 YMCA of Rochester, New York 119

Zonderman

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

A R T S

259

Directory Technology Technology Feature Pixar Animation Studios 1001 W. Cutting Boulevard Richmond, CA 94804 (510) 236-4000 (510) 236-0388 fax www.pixar.com

Design Technology Gary Duehr 9 Olive Street Somerville, MA 02145 (617) 628-1021

Technology Resources Sam McMillan nervecntr@aol.com

Technology Reviews Gary Priester The Black Point Group 353 Laure l Avenue Novato. CA 94945 (415) 892-4392 themook@slip .net www.slip.net/-themook/ bpgweb

Technology Opinion/Commentary Kathleen Maher kathleen@jpa .com

Columns Design Issues David Sterling World Studio 225 Varick Street, 9th Floor New York, NY 10014 (212) 366-1317 (212) 807-0024 fax www.worldstudio.com Judith Baca SPARC 685 Venice Boulevard Venice, CA 90291 (310) 822-9560 Bob Blackburn (212) 989-6125 Wendy Brawer Modern World Design 157 Ludlow Street New York, NY 10002 (212) 674-1631 info@greenmap.com www.greenmap.com Sue Crolick Creatives for Causes 12 Cooper Avenue Edina, MN 55436 (612) 334-6004 scrolick@clynch .com

Evan's Life Foundation SamataMason (847) 428-8600 pat@samatama son .com Jim Hubbard (651) 645-0402 www.vsarts .org/programs/ taking notice/ Alfredo Jaar 12 Warren Street New York, NY 10007 (212) 267-7235 REPO History mail@repohistory.org http://repo.history.xs2 .net/ Tim Rollins + K.O.S . Inc. 526 W. 26th Street, Studio 906 New York, NY 10001 (718) 542-5303 Prometheus Bound Project: www.diacenter.org David Thorne Resistant Strains (718) 622-0477 www.prisonactivist.org/ resistant-strains/ Lily Yeh Village of Arts and Humanities 2544 Germantown Avenue Philadelphia, PA 19133 (215) 225-7830 village@vi llagearts.org www.villagearts.org

Freelance Barbara Gordon Barbara Gordon Associates Ltd . 165 E. 32nd Street New York, NY 10010 (212) 686-3514 (212) 532-4302 fax

How to Reach CA Communication Arts 110 Constitution Drive Men lo Park, CA 94025-1107 (650) 326-6040 (650) 326-1648 fax www.commarts .com e-mail : ca@commarts .com advertising@commarts .com clubs@commarts .com dealer@commarts.com editorial@commarts.com letters@commarts .com shows@com marts. com subscription@commarts .com

Subscriptions (800) 688-1971 inside U.S. except Colorado. (303) 678-8475 outside the U.S. and for Colorado. subscription@commarts .com Order online at: www.commarts.com

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 $110 (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. Send subscription orders and address changes to: Communication Arts P.O. Box 51785 Boulder, CO 80322 -1785

Legal Affairs Leonard D. DuBoff DuBoff, Dorband, Cushing & King, PLLC Hampton Oaks 6665 SW Hampton Street, 2nd Floor Portland, OR 97223 (503) 968-8111 (503) 968-7228 fax lduboff@artistic-law.com

Opinion/Commentary Lisa L. Cyr Cyr Studio cyrstud io@prod igy.net www.cyrstudio.com

TrendWatch partners@trendwatch.com www.trendwatch .com

Al l press releases must be received at least three months prior to the issue release date to be considered for publica tion. Due to the volum e of press releases we receive, we are unable to respond to each one individually. Please don't call to see if we have received yours. Please send pres s releases on Books, Materials, Literature and Technology Resources , including Tech no logy Conferences to Anne Telford, managing editor. Send press rel eases on Clubs, Conferences, Seminars. new hires. promotions, address changes, etc .. to Jean Coyne, executive editor. Wh ile we don't have a column that deals specifically with new hires, promotions and address chang es, we do want to be notified to update our database .

Hardware Apple Macintosh G4 Power PC computers running on Ethernet network; Apple, Sony Trinitron and SuperMatch monitors; Agfa Duoscan 2000XL, Agfa Arcus II, HP Scanjet 4C/T and scanners; HP LaserJet 8100 laser printer.

Software Retail Sales To carry Communication Arts in your store, call Gloria Rosario at (650) 326-6040 or e-mail : dealer@commarts .com

OuarkXPress for page layout, Microsoft Word for word processing and Adobe Photoshop for scanning and posi tioning images .

Typography

Advertising Paulie Boutlis paul_boutlis@au .yr.com

Manuscripts or other material should be accompanied by a self-addressed stamped enve lope adequate to return material or your Federal Express number.

Single Issues January/February.. .... .. .$ 8 March/April ...... ...$ 8 May/June ... .. . .. .. .. .$ 8 July Illustration Annual ... $16 August Photography Annual ..... .. .......... $16 September/October (w/CD-ROM) ... .. ... $16 November Design Annual. .. .... ... $24 December Advertising Annual ....... .. .. .... .. $24 Ca liforn ia residents, add 8.25% sales tax. Canadian residents, add 7% GST. All orders: For shipping, add $3 (U .S.) per issue, all other countries add $5 (U .S.) per issue. No responsibility will be assumed for unsolicited editorial contributions .

Adobe Garamond® Adobe Garamond Expert® (Robert Slimbach) CA Garamond Regular/Old Style Figures Italic/Old Styl e Figures Linotype Univers® (Adrian Frutiger/ Linotype staff) Din Mittleschrift (Linotype/Adobe)

Printer Anderson Lithograph 3217 S. Garfi eld Avenu e Los Angel es, CA 90040 (323) 727-7767 (323) 722-2328 fa x

Paper Potlatch, Northwest Gloss 80 lb. cover Champion Preference 80 lb. text

Mailing Carton Quality Container Company 1420 N. Claremont Boulevard, #205A Claremont. CA 91711 (909) 482-1850 (909) 482-1853 fax

Pre press Consultex 990 San Antonio Road Palo Alto, CA 94306 (650) 322-3999 (650) 322-3998 fa x output@consu ltex.com Image Color and Filmwork, Inc. 2161 O'Toole Avenue, Suite F San Jose, CA 95131 (408) 954-8580 (408) 954-1 477 fa x Prepress Assembly, Inc. 80 Langton Street San Francisco, CA 94103 (415) 621 -8970 (415) 621 -3105 fax

Advertiser's Index Admine.com 203 Adobe Live Motion 179 American Showcase 20 1 Anderson Lithograph 251 Aquent 213 Beckett Papers 173 Clients & Profits 234 Consolidated Paper 155 Corbis Images 223 Corel Corp. 183 Crane Papers 217 CTI Paper 233 Dynam ic Graphics 242 Extensis Portfolio 5.0 249 Extensis Suitcase 9.0 189 Fox River Paper Co. 227 Fraser Papers, Inc. 245 gettyone .com 241 GMUND Paper 191 HP DeskJet 1220C 198 Hulton Getty 197 illosight.com 178 Illustrators' Partnersh ip of America 237 The Image Bank 207 Images .com 194, 195 Imation Brand Matchprint 39 Imation Inkjet Matchprint 159 Kunz. Anita 216 Masterfile 215 McArthur, Pete 205 Miam i Ad Schoo l 221 National Geograph ic Imag e Collection 235 Nikon El ectroni c Imag ing 181 Pantone 161 Pi ctor International 219 PlanetPo int 220 Portfo lio Center 21 1 Presste k 209 Seybold San Francisco 253 The Stock Market 243 SuperStock 225 3M Scotchprint 186 Viant 85 Workbook 231 Xerox Network Printers 176

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

A R T S

260

Subscriptions

Single Copies

Subscription Information Subscribe Online Gift Subscription

Lommunication Art~ Current Issues Back Issues ~

u ~

l ....____~_,....._...,...__. ~

Subscriber Customer Service

Television Commercials Videotapes

Renew Your Subscription Change Your Address Access Your Account 1999 Videotapes Previous Videotapes

Order Back Issues Online at: www.commarts.com Lommuni~ation Arts

Lommuni~ation Arts

W~~~tion Annual 4~

Lommuni~ation Arts

May/June 2000

March/April 2000

January/February 2000

November 1999

July 1999 Illustration Annual

Photogra ph C> Raymond Meeks

Illustration C> Gary Baseman

Photog raph C> Lee Crum

Design Annual

Illustration () M ichael Schwab

l:ommuniC'dlion~

Lommuni~ation Arts

March/April 1999 40th Anniveraary luue

Lommunication Arts

~Bsi~n Annual

January/February 1999

December 1998

November 1998

September/October 1998

Design () Kan Tai-Keung

Advertising Annual

Design Annual

Pa inting by M ichael Deas. C> 1991 Columb!B Pictures

You can order back issues of Communication Arts by logging on to our Web site, www.commarts.com, by phone at (800) 258-9u1 in the U.S. and Canada or (650) 326-6040 in all other countries, or by mail using the form at right. All orders must be accompanied with payment. For shipping within the U.S., please add $3 (U.S .) per issue. All other countries please add $5 (U.S .) per issue. California residents, please add 8.25% sales tax. Canadian residents, please add ]'Yo GST. Allow up to three weeks to receive your order. International orders 4-6 weeks. All back issues are subject to availability, we will refund your money on any issues that may have sold-out.

_a_n_u_a_ J ry ~/_ Fe _b _ru ~ a~ ry'-1994 ~~~~~$8

August1996

VSA Partners; Vivienne Flesher; VitroRobcrcson; Atelier de Creation Graphiquc; Pete McArthur; Color Predictions; Colorado International Invitational Poster Exhibition; Eco; Exhibit; Index to Volume 35; Technology Feature: ACD Conference on Multimedia

1996 Photography Annual; Technology Feature: Photographer's Web Siccs

July 1994

$24

1996 Advertising Annual ; Technology Feature: Kampah Visions

January/February 1997 $16

1994 Illustration Annual; Technology Feature: MicroColor

May/Juna 1995

Atlanta Art & Design; Ward Schumaker; Will van Overbeck; Jung von Matt; Great Ideas on Limited Budgets; Eco; "Creating the Future" Timelinc; Exhibit; Technology Feature: Plunkett + Kuhr arc HotWircd

September/October 1995

Laurie Rosenwald; David Mendelsohn; Riddell Advertising & Design; The New South Africa; Eco; Exhibir; lnrcracrivc Design Annual 1 + CD-ROM; Technology Feature: CNs Firsc CD- ROM

July 1996

December 1996

$16

1996 Illuscration Annual ; Technology Feature: Don Arday

Alexander Gelman; RJ Muna; Roche Macaulay & Partners; Janee Woolley; Color Predictions; Great Ideas on Limited Budgets; Eco; Exhibit; Index co Volume 38; Technology Feacurc: ACD Conference: Design for the Incernet

March/April 1997

Mary Ellen Mark; Big Bang Idea Engineering; Specialty Beer Label Design; Rene Miloc; Clients & Designers: Des Moines Metropolitan Wasce Auchority and Paccce Design; Eco; Exhibit; German Advertising; Technology Feature: Corbis Corporation

July 1997

$16

1997 Illuscracion Annual ; Technology Feature: Nancy Scahl

August 1997

$16

1997 Photography Annual ; Technology Feature: Scock Photography on Web

November 1997 1997 Design Annual; Technology Feature: Digical Type Web Sites

$24

March/April 1998

Grafik Communications Led.; Joe Sorrcn; Bueler, Shine & Seem; KDSP Design Group ; Rodney Smich ; Typographic Voices; Eco; The Richard and Jean Coyne Family Foundation; Exhibic; Technology Feature: Piccard Sullivan

May/June 1998

Bianco & Cucco; Peter de Seve; Wolfgang Weingart; Hunc Adkins ; Frans Lancing; Luba Lukova & James Victore; Great Ideas on Limiced Budgccs; Eco; 1998 Salary Survey; Exhibic; Technology Feature: Austin, Texas, Multimedia Scene

July 1998

$16

Ficch Inc.; Michael J. Deas; Lambesis; Clients & Creacives: Desgrippcs Gobe & Associates and Brooks Brothers; Hugh Krccschmer; Exhibic; Eco; lnceraccive Design Annual 4 + CD-ROM; Technology Feature: RAW lntcraccivc

November 1999 1999 Design Annual; Technology Feature: RIGA Interactive

December 1998

January/February 2000

1998 Advertising Annual; Technology Feature: Red Sky lnceraccive

Colorado Poscer Exhibition; Lee Crum; Color Forccasc; Johnson & Wolvcrcon; Ogilvy & Mather/IBM; Mary GrandPre; Pioneers: Walter Landor/ Landor Associaces; Eco; Exhibic; Index co Volume 41; Typography: Type in the Fucure Tense; Technology Feacure: studiomociv

January/February 1999

The Leonhardt Group; Nacalic Asccncios; Color Predictions; Christine Alicino; Kan & Lau Design Consulcancs; Palmer Jarvis DOB ; Broadcast Design Association; Eco; Exhibit; Index co Volume 40; Type Designer Jim Parkinson; Technology Feature: Arc Technology Group

March/April 1999

1998 Phocography Annual ; Technology Feature: Digical Camera Review

September/October 1998

$24

$16

1998 Illuscracion Annual; Technology Feature: M.A.D.

August 1998

November 1998 1998 Design Annual ; Technology Fcatuce: Design Firms on the Web

Din nick & Howells; Amy Guip; Acroblcu ; Mauk Design; Gary Baseman; Exhibit; Eco; Amsterdam: Europe's cw Creative Ccnccr; Technology Feature: Kiokcn

Communication Arcs 4oth anniversary issue; Nine Ways co lmprove an Ad; Timcline; Scock Trademacks; Clients and Designers: Doug Oliver/Jim Cross/Mike Wcymouth/ Pcccr Harri son and Les Day, Northrop Coporacion's Annual Report from 1961 co 1997; David's Lemonade; Eco; Paul Rand ; Doyle Dane Bernbach; Pioneers; Technology Feature: Paul Saffo

July 1999

March/April 2000

s16

1999 Illuscracion Annual; Technology Feature: Pacific Daca Images

May/June 2000 Kim Baer Design Associates; Raymond Meeks; WongDoody; Wendell Minor; Ralli Culver; Pioneers: Robert Weaver; Exhibit; Eco; Great Ideas on Limiccd Budgets; Technology Feature: Duffy Design & Interactive.