julaug1981

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOLUME 23, NUMBER 3, JULY I AUGUST 1981

Executive editor: Jean A. Coyne Associate editor: Ed Holm Consulting editor: Dugald Stermer Publisher: Michael Hammer

Editor's column ............................ 4 The 1981 Art Annual:

Circulation manager: Nancy Gray Circulation: Pamela Aragon, Scott Perry, Mark Sodos, Betty Willis, Joan Woolway Contributors: David R. Brown, Byron Ferri , Larry Klein, Marty Neumeier, Mill Ro eman, Mike Shenon

Communication Arts 410 Sherman Avenue P.O. Box 10300 Palo Alto, California 94303 Phone (415) 326-6040

Advertising ............................... 6 Book ................................... 34 Editorial ................................. 39 Institutional .. . ................... . ....... 78 Self-promotion . . . . ...................... 108 Unpublished .. . ......................... 125 Index to artists (with addre ses) . ............ 144 Index to art directors, design firms, agencies and clients . . ................... 156 Book review

Communication Arts Magazine (USPS 082·120) is published bimonthly by Coyne & Blanchard . Inc ..

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Subscription rates: U.S.: one year-$36; two years - $69.

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Single issues: $5 except Ar t Annual (Jui/Au g) at $12 and CA Annual (Nov/Dec) at $18.

Copyright 1981 by Coyne & Blanchard , I roc .

Second class postage paid at Palo Alto, Cali fornia and additional offices .

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

No responsibili ty will be assumed for unsolicited editorial contributions. Manuscripts or other material to be ret urned should be accompanied by a self -addressed stamped envelope adequa te to return material.

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Materials, available literature ............... 170 Club new ... . .......................... 178

Editor's column Here's the 1981 CA Art Annual. Since our decision to take the photography and illustration categories out of theCA Annual and create a separate "Art Annual," this competition has grown steadily. The 5500 entries this year reflected a ten percent increase over 1980.

The cut was very tight, one out of twenty-eight, but the judges did vote in fourteen more entries than last year, and we increased the size of the annual.

The judging procedure is the same as we've used for the five earlier Art Annuals, and is basically the same method we'd developed over the twenty-one years of the CA Annual competition. Describing this system for the twenty-seventh time is obviously a repetitious act for me, but we do have a number of new subscribers who may not be familiar with how our judging works.

The entry packages are opened and processed in our office where we have a special room with shelving, containers and work space designed for this function. This is practical for us because the room also helps in the unique organizing problems involved in the layout and production of an annual. With the two annuals now, the room is in use ten months of the year.

The actual judging took place at Rickeys Hyatt House in Palo Alto where the judges lived and worked. The two-day session was scheduled to start Monday morning and the judges flew in Sunday with a chance to relax, get acquainted and adapt to time zone changes.

We worked in two large conference halls that face on a patio which served for rest breaks and buffet lunches.

Weather conditions can be iffy in the month of April, but we were fortunate. It was a little cool in the mornings but the afternoons were sunny and pleasant.

Each of the halls was equipped with a screen and slide projection unit and was set up with five rows of tables for tear sheet and print viewing. Light box viewers were used to display the larger transparencies. Because we had thirty-one carousels of slides, we were able to work in a format of alternating sit-down sessions of projection and stand-up sessions of print screening.

The slide screening was done on scoring sheets with each judge checking columns for "in" or "out" on each single or series entry. Two or more "in" checks put an entry into the final voting. For print screening, the entries were spread out on the tables by category. Most of the categories required a number of room setups. Judges screened at their own pace, taking as long as they felt was necessary to evaluate each piece. Any judge could put an entry into the finals by picking it up from the table. A member of our staff would take that entry and put it in the "in" container. After all of 4

Communication Arts July/ August 1981

the judges were satisfied that they didn't wish to pick any more of the entries, they would move to the other conference hall for a slide session. Screening was completed at 11:00 in the morning of the second day with about a thousand entries chosen for final voting.

From the time the first carousel screening was finished, preparation for the finals began. Scores were tabulated, carousels arranged and new scoring sheets prepared.

The final slide voting worked the same way, with each judge checking "in" or "out" on each entry.

The print entries were again spread out on the tables.

Beside each piece or series were two paper cups, upside down with a slot cut in the bottom, a white cup for "in" votes and a red cup for "out." Each judge voted one way or the other by dropping one of his colored ceramic tiles into the appropriate cup. We had a different tile color for each judge. If someone inadvertently missed voting on an entry, we could determine who it was.

Following the same pattern as the screening, the judges voted on a carousel and then the print entries spread out on the tables. When this was completed, the judges moved to the other hall. While they voted there, the cups in the first hall were lifted and the scores recorded on the entry form on the back of the piece. Then the tables were cleared and a new group spread out.

Four votes put an entry into the annual and 200 were selected this year. More than 200 missed by only one vote, reflecting the overall high level of quality of this year's entries.

Judges for the 1981 Art Annual were Gordon Mortensen, Marv Rubin, Dan Stewart, Lloyd Ziff and myself. We thank them for their conscientious effort.

Gordon Mortensen is a former art director at Playboy and Skeptic magazines and is now owner and principal designer of Mortensen Design in Santa Barbara.

Marv Rubin is a free lance designer and illustrator in Los Angeles. He was formerly Chairman of the Graphic Design Department at Chouinard Art Institute and is currently teaching illustration at California State/ Long Beach, Otis/ Parsons and USC. Dan Stewart is president of Stewart Winner, Inc., Louisville design firm with clients in Ohio, Indiana, Kentucky and Tennessee.

Lloyd Ziff is a former art director for the New York Times Sunday Magazine, New West magazine, United Artist Records and is now the art director for House & Garden magazine. He is also teaching at the School of Visual Arts in New York.

R.S.C.

Photographs by Marc Allyn and Ed Holm.

Ziff

Mortensen

Stewart

Rubin

Coyne

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1981 ART ANNUAL

The art reproduced in this annual is under prior copyright, by the artists or by contractual arrangements with their clients . It is published here under one-time publishing rights permission as stipulated in the call for entries form .

No art shown in this annual may be reproduced in any form without first obtaining the permission of the artist (addresses on page 144) and any other party who may have copyright ownersh ip.

ADVERTISING

Robert Giusti , illustrator Paula Scher, art director CBS Records , client Record jacket for David Cheskey Band , "Rush Hour." 20 x 20, acrylic on canvas.

2 Kunia Hagio, illustrator Joe Minnella, art director W. B. Doner & Company, agency Michigan Department of Commerce , client Ad illustration to encourage business to come to Michigan.

18 x 18, Prismacolor pencil.

3 Kai Nordrum, photographer Jack Hagbru/Frode Karlberg , art directors AB Bates AIS, agency The Office for Information on Fruit and Vegetables , client Ad headline: "Drink More Apples."

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ADVERTISING 1 (series) Chuck Kuhn , photographer Lee Clow, art di rector Chiat/Day, agency Olympia Brewing Company, client Posters to generate interest in the brewery.

2 John Martin, illustrator/art director Bruce Mau . art director Fifty Fingers, design firm National Book Festival , cl ient Poster to promote the buying and reading of books in Canada.

21 1/4 x 21 114, acrylic .

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ADVERTISING 1 (series) Bruce Wolfe, illustrator Dennis Ivan , art director Grey Advertising , agency San Miguel Beer, client Ad series . 27 x 36, oil.

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ADVERTISING

Jean-Michel Folon, illustrator Steven Sessions, art director Baxter + Korge, agency Four-Leaf Towers, client Condominium ad. 9 V2 x 12 1/4, watercolor.

2 Heather Cooper, illustrator James Lawrence, art director Burns, Cooper, Hynes, design firm Harrowsmith, client Poster promoting magazine 's book of days. 12 x 10, oil on illustration board.

3 Tom Curry, illustrator/art director Larry McEntire, art director Sagebrush Studio, design firm Texas Monthly, client Point of purchase display promoting the magazine. 18 x 21 , acrylic.

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Doug Johnson, illustrator Michael Hart, art director J. Walter Thompson, agency Bausch & Lomb, client Promotional poster for ski goggles.

23 x 24, dyes and gouache.

5 John Thornton , photographer Paul Smith, art director Collett, Dickenson, Pearce & Partners, agency Cinzano, client Ad, "Lemonade , tonic , soda, just about anything goes with Cinzano Bianco."

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ADVERTISING

Steve Hiett, photographer Nancy Donald, art director CBS Records, cl ient 2 (series) Barbara Bordnick, photographer Karen Brown , art director Dayton 's, cl ient Promotional ad series.

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ADVERTISING

Tim Olive, photographer Michael Winslow, art director McKinney Silver & Rockett, agency North Carolina Department of Commerce, client Ad for department of tourism.

Headline "Welcome to the Land of Milk and Honey."

2 Stak, photographer Gil O'Meara, art director J. Walter Thompson, agency Guinness, client Ad for backup to television campaign in which the toucan does a lot of talking . Headline: "Enjoy a quiet Guinness at home."

3 James Grashow, illustrator John Berg, art director CBS Records, client 4

Record jacket, "Switched-On Brandenburgs." 14 x 14 V2, woodcut.

4 Gary Overacre, illustrator Burt Kleeger, art director J. Caroff & Associates, design firm United Artists, client Movie poster, "Being There."

17 x 17, pencil and pastel.

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ADVERTISING

Robert A. Heindel , illustrator Vince Maiello, art director Playboy Book Club , client Promotion for " Manchu ."

42 x 14, oil and pastel.

2 Robert Giusti, illustrator Ed Lee, art director CBS Records , client Record jacket , " MFSB. Mysteries of the World ." 26 x 16, acrylic on canvas.

3 Kunia Hagio, illustrator Larry Lurin, art director Rosebud Studios, design firm United Artists, client Promotional poster for " Raging Bull." 18 x 24 , multi media.

4 Frank B. Denman , photographer Dale Lantz, art director Heckler Associates , design firm Sage , client

Poster promoting fly fishing equipment.

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ADVERTISING

Frank B. Denman , photographer Gary Lacoma/Nicholas Zarkades, art directors David Strong Design Group, design firm Kenworth Truck Company, client Mailing piece.

2 Reid Miles, photographer Koichi Kano, art director McCann-Erickson Hakuhodo, agency Kikkoman , client Poster of Kikkoman-Del Monte Tomato juice.

3 Roger Huyssen, illustrator Gerard Huerta, lettering Bill Gold, art director Bill Gold Advertising , agency Warner Bros. , client Movie poster for "Bronco Billy."

38 x 55, gouache and watercolor.

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ADVERTISING

Braldt Braids, illustrator Bob Defrin , art director Atlantic Records, client Record jacket, "Everything is Grey."

16 x 16, oils on canvas.

2 (series) John Claridge, photographer Brian Morrow, art director TBWA, agency Range-Rover, client Ad series . Headlines: "There 's only one car for the double barrelled ." " It 's great to have friends in high places." " What do film directors go to the movies in?"

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ADVERTISING

Richard Krall , illustrator David Shapiro/Mike Hicks, art directors Hixo Incorporated, design firm Wheel Records, client Record jacket, "Car Songs."

40 x 60, watercolor.

2 James McMullan, illustrator Ron Cora/Johnny Lee, art directors Elektra/Asylum Records, client

Record jacket, "Dollar Brand."

19 x 81!2, watercolor.

3 Braldt Braids, illustrator Bela Stamenkovits, art director Prins, Meyer, Stamenkovits & van Walbeek, agency Roosvicee-Holland, client Ad for vitamin drink for children made from all kinds of fruit.

15 x 19, oils on canvas.

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ADVERTISING

Michael Salas, photographer Steve Connatser, art director Connatser & Crum, design firm Las Hadas, Casolar, client Ad photograph for a Mexican resort.

2 David Wilcox, illustrator Paula Scher, art director CBS Records, client

Record jacket, "Ralph MacDonald, Universal Rhythm."

20 x 20, acrylic.

3 Phil Marco, photographer Michael Winslow, art director McKinney Silver & Rockett, agency North Carolina Department of Commerce, client Ad for department of tourism .

Headline: "Come to a Place Where You Can Still Find Buried Treasure ."

4 Gerard Huerta, illustrator John Berg, art director CBS Records, client

Record jacket for Chicago.

5 Gary Overacre, illustrator Bill Barnes, art director The Emporium/George W Crook & Company, design firms Bill Gourley Chevrolet, client Direct mail brochure to promote home repair service.

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ADVERTISING

Gary Kelley, illustrator/art director Hellman Design Associates, design firm Waterloo-Cedar Falls Symphony, client Poster. 15 1/2 x 20, pastel.

2 Tim Bieber, photographer Diane Wright/Arnold Jones, art directors Mendenhall, Jones & Leistra, agency Fuji Ski!lnterwheel, client Poster advertising cross country skis.

3 Birney Lettick, illustrator Henry Lehn, art director Art Attack, design firm Universal Pictures, client Poster for " Incredible Shrinking Woman ."

35 x 40, oil.

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ADVERTISING

David Wilcox, illustrator Paula Scher, art director CBS Records , cl ient Record jacket , "Googie and Tom Coppola Shine the Light of Love ." 18 x 19, acrylic .

2 (series) Joe Gaffney/Alberto Deii 'Orto, photographers Joel Desgrippes, art director Studio Desgrippes, design firm Desgrippes , Beauchant , Gobe, agency Georges Rech , client Ad series for French couturier

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ADVERTISING

Jozef Sumichrast, illustrator AI Adas, art director Grant/Jacoby, agency Sears, Roebuck and Company, client Poster on the theme of "Two Feet" promoting Sears' small space portable washer and dryer combination .

18 x 18, transparent dye.

2 Peter D'Aprix, photographer Mark Oliver. art director Seymour Duncan, client Point of purchase poster. "The Buck Starts Here."

3 Heather Cooper, illustrator/art director Burns, Cooper, Hynes, design firm University of Guelph , client Promotional poster featuring elements derived from the heraldic crest. 48 x 48, oil on canvas.

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BOOK 1 (series) Richard W Orr, illustrator John Bigg , art director Marshall Editions , design firm Jonathan Cape, client Illustrations from "Jungles."

Various sizes, designers gouache.

2 Wendell Minor, illustrator Char Lappan , art director Little, Brown & Company, client Book titled " Far From Home."

14 x 18, acrylic on masonite panel.

3 Robet Giusti, illustrator Frank Metz, art director Simon & Schuster, client Book titled "The Eagles Gift."

24 x 16, acrylic on canvas.

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BOOK 1 (series) Dugald Stermer, illustrator/art director Lancaster-M iller, client Cover and illustrations from "Vanishing Creatures." 7 x 9, pencil and watercolor.

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BOOK

Doug Johnson, illustrator Joy Masoff, art director Promotion art department, design Reader's Digest, client Cover for "The Golden Age of Operetta."

18 x 24, airbrush.

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John M. Thompson , illustrator Len Leone , art director Bantam books, client Cover for "The Long March " by William Styron : 38 x 28, acrylic.

EDITORIAL 3 (series) Marshall Arisman , illustrator Richard Gange!, art director Sports Illustrated, client Article about the death of boxer Willie Classen , "No Man was his Keeper."

40 x 30, oil on paper.

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EDITORIAL

Braldt Braids, Illustrator Dick de Moei, art director Gemustreerde Pers, agency Avenue Magazine, client Article on James Baldwin.

14 x 18, oil on canvas.

2 Doug Martin, illustrator Nick Burnett, art director Macleans, client Cover illustration on threat of acid rain.

13112 x 17, acrylic.

3 Richard Sparks, illustrator Tina Adameck, art director Postgraduate Medicine, client Article on migraine headaches.

11 V4 x 10, watercolor on linen.

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EDITORIAL

Frank K. Morris, illustrator Roger Black, art director New York Magazine, client "Empire City Blues," article on youths in the ghetto.

8 V2 x 11 %, acrylic .

2 Brad Holland, illustrator Tom Staebler/Kerig Pope, art directors Playboy, client Fiction piece, "God Emperor of Dune."

36 x 24, acrylic .

3 (series) Curtice Taylor, photographer Alfred Zelcer. art director The Webb Company, design firm TWA Ambassador, client "Remembrance of Fins Past," portfolio on cars of the fifties.

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EDITORIAL

Pete Bastiansen, illustrator Barbara Koster, art director The Webb Company, design firm Northwest Orient Passages, client Article on fright.

8 x 8, pen and ink.

2 Jose L. Diaz de Villegas, illustrator/ art director El Nuevo Dia, client Sunday supplement cover on folk healers.

22 x 30, watercolor.

3 John Blaustein, photographer Paul Hardy, art director Attenzione, client Interview with attorney Melvin Belli.

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EDITORIAL 1 (series) Eric Meola, photographer Bob Ciano, art director Life , client Photo essay on color in architecture.

2 Marshall Arisman , illustrator Tom Staebler/Kerig Pope , art directors Playboy, client Fiction piece, "The French Lesson ."

30 x 40, oil on paper.

3 Michel Pilon , photographer Georges Haroutiun, art director Comac Communications, design firm Homemaker's Magazine , client Article, "The Palm-Aire Diet."

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EDITORIAL 1 (series) Paul Chesley, photographer Frederic Cappelle, photography administrator Geo, client Article on Japanese spas.

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EDITORIAL

Daniel Maffia, illustrator Greg Paul , art director Plain Dealer Magazine, client Article on political torture.

16 x 20, encaustic on newsprint.

2 David Levine, illustrator Robert Priest, art director Esquire , client Article, "William Buckley, Go to Heaven !"

6 % x 7, pen and ink.

3 Victor Skrebneski, photographer Melissa Tardiff , art director Town & Country, client /

"Those Glorious Girls ," article on Lillian Gish and An ita Loos.

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EDITORIAL

Annie Leibovitz, photographer Mary Shanahan/Bea Feitler, art directors Rolling Stone, client Interview with Pete Townshend.

2 James Endicott, illustrator Joe Brooks, art director Penthouse, client "Weeds." 14 x 12, watercolor.

3 (series) Stephen Green-Armytage , photographer Bob Ciano, art director Life, client Article on rare cats; breeds pictured are Devon Rex, Safari, and Sphinx.

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EDITORIAL 1 (series) Jerry Jacka, photographer Gary Bennett, art director Arizona Highways, client Article on traditional Hopi lifestyles.

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EDITORIAL

David Wilcox, illustrator Joe Brooks, art director Penthouse, client Fiction piece, "The Adolph Hitler Fast Food Franchise."

14 x 18, acrylic.

2 Judith Jampel, illustrator Phil Gottheil, photographer Tom Lennon , art director Emergency Medicine, client

Article, "The Many Causes of Acute Weakness."

Life-size fabric sculpture.

3 Paul M. Breeden, illustrator Howard E. Paine, art director National Geographic, client Article on bamboo. 14 x 14, gouache.

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EDITORIAL

Fred Otnes, illustrator Joe Connolly, art director Boys Life, client "A Man Called George Wood."

14 % x 21 , mixed media on linen.

2 Barrie Schwortz, photographer Gordon Mortensen, art director/ design firm Photographer's Forum, client Magazine cover.

3 Corson Hirschfeld , photographer Greg Paul, art director Plain Dealer Magazine, cl ient Cover illustration on the psychology of music .

4 Seymour Chwast, illustrator Christopher Austopchuk, art director Push Pin Studio, design firm Rolling Stone, cl ient Illustration for record review, " Elvis Costello Happy?"

9 V2 x11 Y2, pencil ; pastel and opaque watercolor on board.

5 Richard Hull, illustrator Richard Brown, art director The Friend Magazine, client Cover and illustration for a story about a frog that was a pirate.

28 x 20, colored pencil.

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EDITORIAL

Tom Hallman, illustrator Jake Smith, art director lntermed Communications, design firm Nursing '80, client Article, "Offering the Rape Victim Real Help."

8%x 11 Vs, acrylic.

2 Julius Ciss, illustrator Stephen Costello, art director Quest (Canada), client Article on jobs in the eighties.

28 x 19, acrylic.

3 Bonnie Timmons, illustrator Merle Peek, art director Denver Magazine, client Article, "The Private Hell of Andy McCoy." 9 x 11 V2, scratchboard and colored inks.

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EDITORIAL

John Zielinski, illustrator Carol Rasmussen , art director Chicago Tribune, client Article, " Now, Let Us Look at Our Love for the Olive."

12 114 x 16 1!2, acrylic and colored pencil.

2 (series) Jerry Downs, photographer Hans Teensma, art director Rocky Mountain Magazine, cl ient Portfolio, "Working on the Plains."

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EDITORIAL

Robert Goldstrom, illustrator Bob McCamant, art director Chicago Reader, client Article , "The Intelligence Question.

Are Black People Stupid?"

5% x 8, pencil.

2 Michael K. Nichols, photographer Susanne Walsh , art director Geo, client Article, "Suriname: A Tableau of Savage Innocence."

3 Kinuko Y Craft, illustrator Alfred Zelcer, art director The Webb Company, design firm TWA Ambassador, client Cover illustration on the theme "winter diversions."

12% x 17, egg tempera and pencil.

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EDITORIAL

Marvin Mattelson, illustrator Carveth Kramer, art director Psychology Today, client Article, "Getting at the Heart of Jealous Love."

12 x 16, acrylic on canvas.

2 Skip Liepke, illustrator Walter Bernard/Rudolph Hoglund, art directors Time, client Cover illustration of Edmund Muskie.

18 x 22, oil.

3 Greg Moraes, illustrator/art director Alliance for Survival, client Article, "Will Disarmament Cost You Your Job?" 20V. x 13Va, acrylic on fabric.

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4 W B. Park, illustrator Michael Waitsman, art director Synthesis, design firm Litigation, client Cover illustration.

107/a x 10, pencil and watercolor.

5 Eraldo Carugati , illustrator Tom Staebler/Skip Williamson, art directors Playboy, client Article, "Deep in with David Caradine."

20 x 20, gouache.

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EDITORIAL

Dugald Stermer, illustrator M. J. Cody, art director Teleflora, design firm Flowers&, client Magazine cover.

12V2 x 16, pencil and watercolor.

2 (series) Brad Holland, illustrator Dorothy Fall, art director International Communication Agency, agency America Illustrated, client Illustrations for "Equality and the Dynamics of United States Law." Pen and ink.

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EDITORIAL

Parviz Sadighian, illustrator Tom Staebler/Len Willis, art directors Playboy, client Article, "Toughest Job in Sports."

Sculpture.

2 Braldt Braids, illustrator Joe Brooks, art director Penthouse, client

Article, "Past Lives Therapy."

20 x 16, oil on canvas .

3 J. Peter Mortimer, photographer Gary Bennett, art director Arizona Highways, client

Article on "Mexico's Historic Rancho La Arizona."

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EDITORIAL 1 (series) Henry Wolf, photographer Melissa Tardiff, art director Town & Country, client "The Glamour-Makers," article on fashion photographers.

2 Kinuko Y Craft, illustrator Roger Zapke, art director Forbes, client

Cover article on Germany's chemical giants. "Can the U.S. Handle the Competition?"

12 x 16, egg tempera, gold leaf on gesso panel.

3 Doug Martin, illustrator Georges Haroutiun, art director Comac Communications, design firm Homemaker's Magazine, client 20 x 13 1!2, acrylic.

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EDITORIAL

Chuck Slack, illustrator Dan Jursa, art director Chicago Tribune, client Feature article on M.A.S.H. series. 23 x 26, watercolor and colored pencil on board.

2 Blair Drawson , illustrator James Lawrence, art director Harrowsmith, client Article, " Rural Malaise."

12 x 12, watercolor.

3 Ann ie Leibovitz, photographer Mary Shanahan/Bea Feitler, art directors Rolling Stone, client Tribute to John Lennon .

4 Braldt Braids, illustrator Lester Goodmann , art director Next Magazine, client Article, " Life Begins at 90."

16 x 19, oil on canvas.

5 Nancy Bundt, photographer Susanne Walsh, art director Geo, client Spread from article "Taking the Heat."

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EDITORIAL

Marshall Arisman , illustrator Rudolph Hoglund, art director Time, client Cover, "The Curse of Violent Crime."

30 x 40, oil on paper.

2 Neil Selkirk, photographer Robert Priest, art director Esquire, client Article on "The Knee ," the pivotal hinge for the modern athlete.

3 Herbert Jackson, photographer/art director/design firm Student Lawyer Magazine/American Bar Association, client Cover for issue on salary survey.

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INSTITUTIONAL

Richard Mantel, illustrator/designer Seymour Chwast, art director Push Pin Studios, design firm Push Pin Graphic, client Company publication story by Edgar Allan Poe. 9 x 12, acrylic.

2 Barry E. Jackson, illustrator Ralph Bakshi , art director Bakshi Productions, client Background painting for animated feature "American Pop." 22 x 15, acrylic.

3 Joe Baraban. photographer Miguel Hernandez. art director Hylsa Corporation, client Photograph from annual report.

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INSTITUTIONAL

Clint Clemens, photographer Vic Cevoli, art director Polaroid Corporation , design department Close-Up, client Company publication cover.

2 (series) John M. Thompson , illustrator Scott Service, art director Adolph Coors Company, client Black Heritage calendar.

1B V2 x 12 v2, acrylic.

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INSTITUTIONAL

Clint Clemens, photographer Pete r Perry, art director Digital Equipment Corporation , design department/client Photograph demonstrating the diversity of computer usage.

2 Margaret Cusack, illustrator Hal Goluboff, art director Mathiew, Gerfen & Bresner, agency Great Waters of France, client

Jigsaw puzzle. Fabric collage , 16 X 19.

3 Robert Rodriguez, illustrator Arnold Bramow, art director Ringling Bros. , Barnum & Bailey Circus, client Program cover. 31 % x 20 %, acrylic.

4 (series) Floyd Holdman, photographer/art director Holdman Productions, design firm Brigham Young University Travel Studies, client Photographs used to promote alumni cru ises to the Mediterranean .

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INSTITUTIONAL

Elwood Smith , illustrator Seymour Chwast, art director Richard Mantel , designer Push Pin Studios, design firm Push Pin Graphic , cl ient Company publication article, " Find the Murder Weapon ."

9 x 12, watercolor.

2 Bruce M. Thomas, photographer David Rogers, art director J. I. Case Company, client Photograph of waterfront in Shogen , Sweden , used in company's calendar.

3 Don Ivan Punchatz, illustrator Robin Kemp, art director Ethyl Corporation , client Limited edition lithograph depicts Greco-Roman contribution to modern medicine. 18 x 23, acrylic .

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INSTITUTIONAL

John Hyatt, illustrator Andre Sala, art director Portal Publications, client Poster for consumer sale.

21 V2 x 30, pencil, dyes and airbrush.

2 (series) William Albert Allard/Nicholas deVore Ill/Jonathan Wright, photographers Hans Teensma, art director Rocky Mountain Magazine, client Calendar.

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INSTITUTIONAL

Don Weller, illustrator Greg Wilder, art director Wilder & Associates, design firm Sun Graphics, client Print for consumer sale.

14 x 15, ink and watercolor.

2 Robert Llewellyn , photographer John Grant, art director Gleason & Thomasson , design firm University of Virginia Department of Athletics, client Recruitment br9chure.

3 Robert Heindel , illustrator Reagan Wilson , art director American Illustrators Gallery, client Print for consumer sale.

32 x 40, oil and pastel.

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INSTITUTIONAL 1 (series) Susan Davis, illustrator Ed Schneider, art director H. H. Leonards Fine Arts, agency Children 's Hospital National Medical Center, client Calendar.

20 X 18, 30 X 22, 20 X 14, watercolor, gouache and pastel.

2 Richard Leech , illustrator Brent Thomas, art director Chiat/Day, agency Yamaha Motor Corporation , client Brochure illustration. 19 x 13, airbrush.

3 Joe Baraban, photographer Rose Ellen Frias, art director Conductories, client Annual report photograph.

4 Richard Mantel, illustrator/designer Seymour Chwast, art director Push Pin Studios, design firm Push Pin Graphic, client

Company publication. Imaginary beings created by Argentinian writer Jorge Luis Borges. 9 x 12, acrylic.

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INSTITUTIONAL

Seymour Chwast, illustrator/art director Richard Mantel , designer Push Pin Studios, design firm Push Pin Graphic , client Company publication feature , "Guess Who 's Coming to Dinner."

9 x 12, Cello-Tak. 2 (series) Bill Crump, photographer Alan Spaeth , art director Robert A. Wilson Assoc iates, design firm Texas Industries, client Quarterly financial report photographs .

2

92

Communication Arts July! August 1981

93

INSTITUTIONAL

Ed Soyka, illustrator Bob Eichinger, art director/design firm AT&T Long Lines, client Company publication article on hazards of everyday life, "Calculated Risks ."

15 x 20, designer colors.

2 Steven Mangold, photographer MaNin Wax, art director Marvin Wax & Associates, design firm Lincoln Properties, client Photograph from slide presentation.

3 Jozef Sumichrast, illustrator Andre Sala, art director Portal Publications,client Poster for consumer sale. 22 x 30, transparent dyes.

2

94

Communication Arts July/August 1981

3

95

INSTITUTIONAL 1 (series) Gary Braasch , photographer Chris Hill , art director Loucks Atel ier, design firm Compendium , client Capabilities brochure for a design systems corporation .

96

Communication Arts July/ August 1981

97

INSTITUTIONAL

Alan Krosnick, photographer Bill Kagel , art director Emporium-Capwell, client Catalog cover.

2 Chet Jezierski, illustrator Stan Sweeney, art director W. B. Doner and Company, agency National Guard, client Brochure promoting a film about the call-up of men in 1940.

81 x 39, assemblage.

3 (series) Heather Cooper, illustrator/art director Burns Cooper Hynes Ltd., design firm Ruby Street, client Note cards. 6 V2 x 9, oil on board.

2

98

Communication Arts July/August 1981

3

99

2

100

Communication Arts July/ August 1981

3

INSTITUTIONAL

Elaine Faris Keenan , photographer Andre Sala, designer Portal Publications, client Wholesale poster line, "Pigeons in the Promenade ."

2 Braldt Braids, illustrator Robert Putz, art director Robert Putz Communication Center, design firm Mein Schaner Garten , client Brochure inviting clients to advertise in the magazine.

28 x 19, oil on canvas.

3 (series) Andrew Unangst, photographer B. Martin Pedersen, art director Jonson, Pedersen, Hinrichs & Shakery, design firm United Industrial Syndicate , client Institutional booklet.

101

INSTITUTIONAL

Stephen Pietzsch, illustrator Paula Burke, art director The Horchow Collection, client Cover for "Trifles " mail-order catalog.

16 x 17, acrylic.

2 Susan Davis, illustrator Ed Schneider, art director H. H. Leonards Fine Arts, agency Children 's Hospital National Medical Center, client Illustration for calendar.

24 x 20, watercolor and gouache.

3 (series) Michael Furman, photographer Larry Ayer, art director McKinlay Advertising , agency Holo-Krome, cl ient Brochure photographs for nuts and bolts.

2

102

Communication Arts July/August 1981

103

104

Communication Arts July/ August 1981

INSTITUTIONAL

Robert Stevens, photographer Paul Hauge, art director/design firm Da Salla Company, agency Art Poster, client Moscow 1980 poster for consumer sale.

2 ian Macdonald, photographer Rod Burchett, illustrator Dennis Hearfield, art director Art Rending Pty., Ltd., design firm Best Results Pty., Ltd ., client Design created for Peter Best, Australian song writer, for use on letterheads, tape boxes and cassettes . ? 1/2 x ?V2, photography and airbrush.

3 Steven M. Gardner, illustrator Mike Byergo, art director Animal Graphics, design firm San Diego Zoo, client San Diego Zoo poster.

40 x 30, designer gouache.

3

105

106

Communication Arts July/August 1981

2

INSTITUTIONAL 1 (series) Nikolay Zurek, photographer Fritz Haase, art director/design firm Brillantleuchten A.G ., client Photographs for catalog.

2 Seymour Chwast, illustrator/art director Richard Mantel , designer Push Pin Studios, design firm Push Pin Graphic , client Company publication cover, "Couples."

9 x 12, watercolor.

3 Joe Baraban , photographer Chris Hill , art director Loucks Atelier, design firm Gerald D. Hines, client Leasing brochure for Galleria Shopping Center.

107

INSTITUTIONAL

Kip Lott , illustrator Diana Chase, art director Neiman-Marcus, client Cover for fall catalog .

11 x 14, mixed media.

SELF-PROMOTION

2 John Beckman, photographer Julius Friedman , art director Images, design firm Julius Friedman/Images/John Beckman/ Pinaire Lithographing Corporation , clients Christmas poster.

3 Michael Caporale, photographer Bill Willging, art director Willging , Cosgrove & Showell, design firm Bell & Hortenstine, client Promotional ad for engraving company.

2

108

Communication Arts July/ August 1981

3

109

SELF-PROMOTION

Michael Schwab, illustrator/design firm Rita Marshall, art director Michael Schwab Design/Mastercraft Press, clients Poster/mailer.

18 x 33, eight-color lithograph from a gouache painting.

2 Wayne Thom , photographer/client Christina Brock, art director Poster/mailer.

3 (series) Ted Trinkaus , illustrator/art director Good Company, design firm Harperprints, client Promotional calendar.

12 x 12, acrylic.

2

110

Communication Arts July / August 1981

3

111

SELF-PROMOTION

Belott!Wolfson Photography, photog rapher/ client Paula Bisacca, art director Mailing piece.

2 Bud Kemper, illustrator/art director/cl ient Maritz Motivation , design firm 34 X 22 V2, oil.

3 Braldt Braids, illustrator Marc Eisenoff, art director DFS!Wegener Agricultural Group, agency/client Promotional advertisement and booklet.

The client is located in the Chrysler Building in Manhattan and specializes in agricultural marketing. Copy with th is illustration asks, "What is a building like this doing in a field like this?"

22 x 20, oil on canvas.

4

Dick Durrance II , photographer/client David Seager, art director Calendar.

2

112

Communication Arts July/ August 1981

3

4

113

2

3

114

Communication Arts July/ August 1981

4

SELF-PROMOTION

Patrick Oxenham, illustrator/art director/ client The ~arden Studio, design firm Limited-edition poster. 12 x 1S V2, watercolor.

2 Nicolas Monkewitz, photographer/client Advertisement.

3 Skip Liepke, illustrator/art director/client Brochure. 26 x 20, oil.

4 (series) Peter Paz, photographer/client Mailing piece.

115

SELF-PROMOTION

Peter Jones, photographer Peter Jones/John Milligan, art directors John Milligan Design, design firm National Bickford Foremost, client Printer's self-promotion poster/mailer.

2 (series) Jim Judkis, photographer Rick Horton, art director VanDine Horton McNamara & Manges, agency Cox Lithographing Corporation, client Brochure illustrating client's colorprinting capabilities.

2

116

Communication Arts July/August 1981

117

SELF-PROMOTION

Mark English , illustrator John deCesare, art director Illustrators Workshop, client Mailing piece. 30 x 30, oil.

2 Michael David Brown , illustrator/art director/design firm Jeanne Krohn , illustrator/art director Virginia Lithograph , client Poster/mailer. 22114 x 16 Va, mixed media/collage.

3 Jack Unruh , illustrator Dean Pingrey, art director Willis/Case/Harwood , agency Mead Paper, client Promotional booklet, "Close Up on Black."

28 x 15 Vz, ink and watercolor.

4 Clint Clemens , photographer Cheryl Heller/Jim Witham , art directors Humphrey Browning MacDougall , agency S. D. Warren Paper Company, client Direct mail promotion piece.

2

118

Communication Arts July/ August 1981

4

119

SELF-PROMOTION 1 (series) Terry Heffernan/Jim Sadlon/Light Language, photographers/clients Magazine ad series.

2 Bill Nelson, illustrator/art director Bill Nelson Illustration Incorporated, design firm Richmond Ad Club, client Poster/mailer. Richmond Ad Club call for entries.

17112 x 22112, colored pencil.

120

Communication Arts July/August 1981

2

121

SELF-PROMOTION

Don Carstens, photographer Richard Keii/Dash Tarham, art directors Kell & Associates, design firm Smith Litho, client Trade advertisement

2 Rudi Legname, photographer/client Craig Frazier, art director Jorgensen/Frazier, design firm Promotional poster.

3 Gary Overacre, illustrator/art director Gerald & Cullen Rapp, client 16 x 20, acrylic.

4 Dennis Murphy, photographer/art director/ client James Bell, designer Poster/mailer.

5 Sharleen Pederson, illustrator/art director/ client Mailing piece. " Magic," 48 x 36, egg tempera on gesso.

122

Communication Arts July! August 1981

2

4

5

123

SELF-PROMOTION

Jim Lienhart, illustrator/art director/client Christmas poster/mailer. 20V2 x 32, silkscreen.

2 Michael David Brown/Jeanne Krohn, illustrators/ art directors Michael David Brown, Inc., design firm Virginia Lithograph, client Circus poster/mailer. 24 x 18, collage/mixed media.

UNPUBLISHED

3 Bill James, illustrator 30 x 40, pastel.

2

124

Communication Arts July/August 1981

3

125

126

Communication Arts July/ August 1981

2

UNPUBLISHED 1 (series) Mary E. Carter, illustrator 40 x 30, 36 x 36, 48 x 36, acrylic on canvas.

2 Pete Mueller, illustrator Poster proposal for American Film Market.

12 V2 x 19 V2, acrylic .

3 David E. Perry, photographer

3

127

UNPUBLISHED

Scott Purvis, photographer

2 David Mendelsohn, photographer Field near Hydro, Oklahoma, photographed during a personal journey along U.S. Interstate 40.

3 (series) Rick Adams, photographer After-hours views of heavy construction equipment.

2

128

Communication Arts July/August 1981

3

129

2

3

130

Communication Arts July/ August 1981

4

UNPUBLISHED

Phil Toy, photographer Photograph for projected magazine article on Italian De~igner kitchens.

2 Bill James, illustrator 26 x 32, pastel.

3 Arthur Meyerson, photographer Stonehenge, England.

4 (series) William Thompson, photographer

131

UNPUBLISHED

John McDermott, photographer Action at Monterey, California, rugby tournament.

2 Frank B. Denman, photographer

Photograph illustrating off-road capabilities of Kenworth trucks.

3 Marvin Mattelson, illustrator Projected magazine cover on artist Louise Nevelson.

12 x 16, acrylic.

2

132

Communication Arts July/August 1981

3

133

UNPUBLISHED 1 (series) Felix Rigau, photographer Photo essay entitled "Forgotten Places."

2 (series) George Tarbay, photographer

134

Communication Arts July/ August 1981

2

135

UNPUBLISHED

Carol Wald, illustrator Collage on the theme "Memory with Architecture."

22 X 14.

2 Arthur Meyerson, photographer

3 Terry Heffernan/Jim Sadlon/Light Language, photographers

2

136

Communication Arts July/August 1981

3

137

UNPUBLISHED 1 (series) Lee Peterson, photographer 2 Sharleen Pederson, illustrator 22 x 15, egg tempera on gesso.

3 Eric Meola, photographer Photograph from a projected Life article on glass houses.

138

Communication Arts July/August 1981

2

3

139

140

Communication Arts July/ August 1981

ART IS YOUR OBSESSION. QUALITY IS OURS. We know how important art is to you. And because it is so important you demand only the very best materials.

At Strathmore, we've been devoted to the art of fine papermaking for almost a century. In fact, we are the only American paper mill that actually makes and markets its own artist paper under its own name.

As a result, we have been able to meet and even exceed your demands and our own stringent requirements for quality. It's this kind of devotion to quality that has earned us the reputation as the "artist's paper mill."

We know you demand the same ~-..... high standards of ~loliliil..-, quality for your art . . .___ .... -··__. materials as well.

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~Strathmore Creative tools for creative people.

Strathmore Artist Paper Strathmore Brushes Lefranc & Bourgeois Oils, Watercolors, Gouaches

© 1981 St rathmore Pape r Company

Full color poster (1 7'' X 22") of This photograph is available .

Please send $1.00 for postage and handling to Strathmore Pape r Co., Dept. P-4 Westfi eld, Mass., 01085

141

To Anthony Edgew\)rth, this is a compelling canvas of cool determination.

To catalog photographer Jim Conaty, so is this.

© 1981 Polarotd Corpora11on "Polarotd" and "Polacolor"0

Both were taken with new Polacolor ER instant film.

When Jim Conaty wanted to turn a easily change to versions with varytypical product shot into an alluring ing degrees of contrast. one , he selected the same medium Needless to say, Polacolor ER film esteemed photographer Anthony provides pictures that are ready on Edgeworth used to paint a stunning the spot. So you can tell right away if you shot what you were shooting for. portrait of pride : Polaroid's new Polacolor Extended All of which suggests , if you want Range instant film. to turn an ordinary catalog shot into Little wonder. The same qualities an extraordinary one , use Polaroid's that make new Polacolor ER film a Polacolor ER film . great tool for artistic photography You 'll find its look and feel , its make it a great tool for commercial versatility, sensitivity and responsiveapplications , too. ness make it another good choice for To begin with , this film features a finished art.

Polacolor ER film is balanced for medium-contrast emulsion - which results in excellent retention of detail daylight and electronic flash. And in both highlight and shadow areas it is available in two formats : 8x10 over a broad range of scene bright(Type 809) and 4x5 (Type 59) . ness conditions.

For further details see your On top of that, Polacolor ER film 's Polaroid professional film dealer, or new magenta dye helps produce in the continental U.S. call: 800-225color quality that will do justice to the 1618 (in Massachusetts, call collect: 617-54 7-5177) . most worthy subject. Catalog or otherwise .

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143

INDEX TO ARTISTS

A

Bundt, Nancy 74 4001 Forest Road Minneapolis, MN 55416

Adams, Rick 128 4624 N.E. 60th Street Portland , OR 97218 Arisman, Marshall 38, 47, 77 314 West 100th Street New York, NY 10025 Allard, William Albert 86 Mumps ' Ha' Barboursville, VA 22923

Curry, Tom 12 Sagebrush Studio 1802 West Sixth Austin, TX 78703

Furman, Michael 102 115 Arch Street Philadelphia, PA 19106

Burchett , Rod 105 89 Berry Street North Sydney, NSW, Australia

Cusack, Margaret 83 124 Hoyt Street in Boerum Hill Brooklyn, NY 11217

G

c

D

Caporale, Michael 108 6710 Madison Road Cincinnati, OH 45227

D'Aprix, Peter 32 806 Williams Place Ojai, CA 93023

Carst~ns , Don

122 19 East 22nd Street Baltimore, MD 21218

Davis, Susan 90, 102 2909 Porter Street, NW Washington, DC 20008

Carter, Mary E. 127 P.O. Box 7000-219 Palos Verdes Peninsula, CA 9027 4

Deii 'Orto, Alberto 28 via Monterero Milan, Italy

Carugati, Eraldo 67 1567 Ridge Avenue Evanston , IL 60201

Denman, Frank B. 19, 20, 132 131 15th Avenue East Seattle, WA 98112

Chesley, Paul 48 P.O. Box 94 Aspen , CO 81612

deVore, Nicholas Ill Box 812 Aspen, CO 81611

Chwast, Seymour 58, 92, 107 Push Pin Studios 67 Irving Place New York, NY 10003

Dfaz de Villegas, Jose L. 44 Calle 9, D-9; Victor Braegger Guaynabo, Puerto Rico, 00657

Gardner, Steven M. 105 7439 Blix Street San Diego, CA 92111

B Baraban , Joe 78, 90, 107 2426 Bartlett #2 Houston , TX 77098 Bastiansen , Pete 44 Room 800 512 Nicollet Mall Minneapolis, MN 55402 Beckman , John 108 1835 Hampden Court Louisville, KY 40205 Belott/Wolfson Photography 156 Fifth Avenue #37 New York, NY 10010

112

Bieber, Tim 28 ?Ionia S.W Grand Rapids, M I 49503

Ciss, Julius 60 73 Pauline Avenue Toronto, Ontario, M6H 3M7 Canada

Blaustein , John 44 665 Alvarado Road Berkeley, CA 94705 Bordnick, Barbara 14 39 East 19th Street New York, NY 10003

Claridge, John 22 47 Frith Street Soho London W15TE England

Braasch , Gary 96 P.O. Box 1465 Portland, OR 97207

Clemens, Clint 80, 83, 118 346 Newbury Street Boston , MA 02115

Braids, Braldt 22, 24 , 41 , 70, 74, 101 , 112 455 West 23rd Street Apt.14B New York, NY 10011 Breeden , Paul M. 57 1503 Marker Road Middletown, MD 21769 Brown, Michael David Suite 333 416 Hungerford Drive Rockville, MD 20850

144

Cooper, Heather 12, 32, 98 Burns, Cooper, Hynes 10 Price Street Toronto, Ontario M4W 1Z4 Canada Craft, Kinuko Y 64, 73 1940 N. Hudson Street Chicago, IL 60614

118, 124 Crump, Bill 92 2008 Laws Dallas, TX 75202

Communication Arts July/August 1981

Gaffney, Joe 30 25 rue Saulnier 75009 Paris , France

30

86

Downs, Jerry 62 5505 Racquet Lane Boulder, CO 80303 Drawson, Blair 74 1975 A Queen Street East Toronto, Ontario, M4L 1J1 Canada Durrance, Dick II 112 Dolphin Ledge Rockport, ME 04856

E Endicott, James 52 2259 Grand Avenue Long Beach, CA 90815 English, Mark 118 5013-A Walnut Kansas City, MO 64112

F Folan, Jean-Michel 12 c/o John Locke 15 East 76th Street New York, NY 10021

Giusti , Robert 6, 19, 34 350 East 52nd Street New York, NY 10022 Goldstrom, Robert 64 471 Fifth Street Brooklyn, NY 11215 Gottheil, Philip 57 249 West 29th Street New York, NY 10001 Grashow, James 17 14 Diamond Hill Road Redding , CT 06896 Green-Armytage, Stephen 171 West 57th Street New York, NY 10019

H Hagio, Kunia 6, 19 6151 N. Sauganash Avenue Chicago, IL 60646 Hallman, Tom 60 2009 Green Street Philadelphia, PA 19130 Heffernan, Terry 120, 136 Light Language 352 6th Street San Francisco, CA 94103 Heindel, Robert A. 140 Banks Road Easton, CT 06612

19, 88

Hiett, Steve 14 7, rue des Anglais 75006 Paris, France Hirschfeld, Corson 58 316 West Fourth Street Cincinnati, OH 45202 Holdman, Floyd 83 P.O. Box 851 Provo, UT 84601

52

SELF-PROMOTION Illustration, Bruce Wolfe Repositionable adhesive, Scotch® Brand Spraymount 2 Illustration, Mark English Cold mounting, Scotch® Brand C-35/PMA Applicator System

3 Illustration, Bob Peak Flapped with Scotch® Brand #285 White Artist's Tape Institute your own self-promotion. Send for our catalog of Scotch Brand Products for the Artist. Write: Professional & Commercial Products, 3M Center, Bldg. 223, St. Paul, MN 55144 " Scotch" is a registered trademark of 3M.

3M Hears You ...

3M

INDEX TO ARTISTS

Holland, Brad 42 , 69 96 Greene Street New York, NY 10012

Jackson, Barry E. 78 2111 Griffith Park Boulevard Los Angeles, CA 90039

Huerta, Gerard 20, 27 1059 Third Avenue New York, NY 10021

Jackson, Herbert 77 3001 S. Michigan Avenue #1704 Chicago, IL 60616

Hull, Richard 58 776 West 3500 South Bountiful , UT 84010

James, Bill 124, 131 15840 S.W 79th Court Miami, FL 33157

Huyssen , Roger 20 1059 Third Avenue New York, NY 10021

Jampel, Judith 57 148 Columbus Avenue New York, NY 10023

Hyatt,John 86 31 Mercer Street New York, NY 10013

J Jacka, Jerry 54 2039 West Lewis Phoenix , AZ 85009

Jezierski, Chet 98 518 Nod Hill Road Wilton, CT 06897 Johnson , Doug 12, 38 45 East 19th Street New York, NY 10003 Jones, Peter 116 139 Main Street Cambridge, MA 02142

Judkis, Jim 116 3101 Mt. Royal Boulevard Pittsburgh , PA 15116

K Keenan, Elaine Faris 101 90 Natoma Street San Francisco, CA 94105 Kelley, Gary 28 Hellman Design Associates Box 627 Waterloo, lA 50704 Kemper, Bud 112 4039 Nace Court St. Louis , MO 63134 Krall , Richard 24 701 West 22nd Austin , TX 78705 Krohn , Jeanne 118,124 Suite 333 416 Hungerford Drive Rockville, MD 20850

Krosnick, Alan 98 215 2nd Street San Francisco , CA 94105 Kuhn , Chuck 8 206 3rd Avenue South Seattle, WA 98104

L Leech , Richard 90 725 Filbert Street San Francisco, CA 94133 Legname , Rudy 122 389 Clementina San Francisco, CA 94103 Leibovitz, Ann ie 52 , 74 165 West 66th Street Apt. PHD New York , NY 10023 Lettick, Birney 28 121 East 35th Street New York, NY 10016

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146

Communication A rts July/August 1981

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149

INDEX TO ARTISTS

Levine, David 51 161 Henry Street Brooklyn , NY 11201

Maffia, Daniel 51 44 N. Dean Street Englewood, NJ 07631

Mattelson , Marvin 67, 132 88 Lexi ngton Avenue 12G New York, NY 10016

Nichols, Michael K. 64 187 17th Avenue San Francisco, CA 94121

Lienhart, Jim 124 155 N. Harbor Drive Chicago, IL 60601

Mangold , Steven 94 P.O. Box 1001 Palo Alto, CA 94301

McDermott, John 132 3836A Sacramento Street San Francisco, CA 94118

Nordrum, Kai 6 Skown . 16 Oslo 2, Norway

Liepke , Skip 67, 115 30 West 72nd Street Apt. 2B New York, NY 10023

Mantel, Richard 78, 90 Push Pin Studios 67 Irving Place New York, NY 10003

McMullan , James 24 99 Lexington Avenue New York, NY 10016

Llewellyn , Robert 88 Drawer L Charlottesville , VA 22903

Marco, Phil 27 104 Fifth Avenue New York, NY 10011

Lott, Kip 108 220 N. Griffin Street Dallas, TX 75202

Martin, Douglas 41, 73 285 Waverley Road Toronto, Ontario M4L 3T5 Canada

M Macdonald, ian 105 ian Macdonald and Associates 33 Mitchell Street North Sydney, NSW Australia

Martin, John 8 56 Wheeler Avenue Toronto, Ontario, M4L 3V2 Canada

Mendelsohn , David 128 Sky Farm Road Northwood, NH 03261 Meola, Eric 47, 138 134 Fifth Avenue New York, NY 10011 Meyerson , Arthur 131 , 136 1109 Kipl ing Houston , TX 77006 Miles, Reid 20 1136 N. Las Pal mas Hollywood, CA 90038 Minor, Wendell 34 277 West 4th Street New York , NY 10014

SIGHT FOR SORE EYES That's our stock photo catalogs. A unique reference every art director must have, they're an · expansive buying guide, a source for swipes, for color, composition, style and effect ... for sheer inspiration. Treat your sore eyes to a free copy.

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Monkewitz, Nicolas 115 Dolderstrasse 2 8032 Zurich , Switzerland Moraes, Greg 67 275 S. Sierra Madre Boulevard Pasadena , CA 91107 Morris , Frank K. 42 23 Bethune Street New York, NY 10014 Mortimer, J. Peter 70 2039 West Lewis Phoenix , AZ 85009 Mueller, Pete 127 643 8th Place Hermosa Beach, CA 90254 Murphy, Dennis 122 101 Howell Street Dallas, TX 75207

N Nelson, Bill 120 1402 Wilmington Avenue Richmond, VA 23227

150

Communication Arts July/August 1981

0 Olive, Tim 17 754 Piedmont Avenue Atlanta, GA 30308 Orr, Richard W 34 Linden Artists Ltd. 86 Petty France London SW1 H 9EA England Otnes, Fred 58 Chalburn Road West Redding, CT 06896 Overacre , Gary 17, 27, 122 3802 Vineyard Trace Marietta, GA 30062 Oxenham, Patrick 115 The Garden Studio 11/13 Broad Court Covent Garden , London WC 2, England

p Park, W B. 67 110 Park Avenue South Winter Park, FL 32789 Paz, Peter 115 39·83 48th Street Long Island City, NY 11104 Pederson , Sharleen 122, 138 5685 Round Meadow Road Hidden Hills, CA 91302 Perry, David E. 127 P.O. Box 95 College Place, WA 99324 Peterson, Lee 138 5121 Santa Fe Street San Diego, CA 92109 Pietzsch , Stephen 3443 Binkley Dallas, TX 75205

102

Pilon, Michel 47 455 St. Antoine Street West Suite 500 Montreal, Quebec H2Z 1J1 Canada

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INDEX TO ARTISTS

Punchatz, Don Ivan Sketch Pad Studio 2605 Westgate Arlington , TX 76015

84

Salas , Michael 27 c/o Clay Timon 405 North Wabash Avenue Chicago, IL 60611

Purvis, Scott 128 49 West 27th Street Apt. 703 New York, NY 10001

R Rigau , Felix 134 250 Douglass Street Apt. 11 San Francisco, CA 94114 Rodriguez, Robert 83 618 S. Western #203 Los Angeles, CA 90005

s Sadighian , Parviz 70 2735 Noyes Avenue Evanston , IL 60201

Sadlon , Jim 120, 136 Light Language 352 6th Street San Francisco, CA 94103

Timmons, Bonnie 60 4085 W Floyd Denver, CO 80236

Smith , Elwood 84 Push Pin Studios 67 Irving Place New York, NY 10003

Toy, Phil 131 3146 Anza Street San Francisco, CA 94121 Trinkaus, Ted 110 Rt. 3, Box 131 Wake Forest , NC 27587

Soyka, Ed 94 231 Lafayette Avenue Peekskill , NY 10566

Schwab, Michael 110 2130 Leavenworth #14 San Francisco, CA 94133

Sparks, Richard 41 Two West Rocks Road Norwalk, CT 06851

Schwartz, Barrie 58 310 East Haley Santa Barbara, CA 93101

Stak 17 10 Bourdon Street London W1X 9HX England

Selkirk, Neil 77 415 West 55th Street New York, NY 10019

Stermer, Dugald 36, 69 562 42nd Avenue San Francisco, CA 94121

Skrebneski , Victor 51 1350 N. La Salle Street Ch icago, IL 60610

Stevens, Robert 105 9048 Santa Mon ica Boulevard Los Angeles, CA 90069 Sumichrast, Jozef 32 , 94 860 N. Northwoods Drive Deerfield, IL 60015

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City-------------------------------------

1

State

I

Dick Blick, Dept. CA, Box 1267, Galesburg, IL 61401 (309) 343-6181

Zip

I I I I I I I I I

---------------------~ Communication Arts July/August 1981

Thompson , John M. 38, 80 River Road West Cornwall , CT 06796 Thompson , William P.O. Box 5298 Seattle, WA 98105

Unruh, Jack 118 2706 Fairmont Dallas, TX 75201

w Wald , Carol 136 57 East 78th Street New York, NY 10021 Weller, Don 88 2427 Park Oak Drive Los Angeles, CA 90068

Wolfe, Bruce 10 206 El Cerrito Avenue Piedmont, CA 94611

Thomas , Bruce M. 84 Nancy Palmer Photo Agency 129 Lexington Avenue New York, NY 10016

(309) 343-6181

Unangst, Andrew 101 381 Park Avenue South New York, NY 10016

Wolf, Henry 73 167 East 73rd Street New York, NY 10021

Thom , Wayne 110 672 S. Lafayette Park Place Los Angeles, CA 90057

~~~ Dick Blick

u

Wilcox, David 27, 30, 57 P.O. Box 232 Califon , NJ 07830

T Tarbay, George 134 628 High Terrace De Kalb, IL 60115

Dept. CA, Box 1267, Galesburg, IL 61401

152

Slack, Chuck 74 9 Cambridge Lane Lincolnshire, IL 60015

131

Thornton , John 12 17a, Edith Grove London S.W 10 England

Wright , Jonathan P.O. Box 1251 Aspen , CO 81611

86

z Zielinski, John 62 3932 N. Southport Chicago, IL 60613 Zurek, Nikolay 107 276 Shipley Street San Francisco, CA 94107

r-----------------------------,

I I I

FILL IN AND MAIL THIS COUPON FOR YOUR LATEST MEAD CLOSE-UP

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Mail to: Marketing Communications Mead Printing and Writing Paper Division World Headquarters Building Courthouse Plaza Northeast Dayton, Ohio 45463

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Printing and Writing Paper Division Courthouse Plaza Northeast Dayton, Ohio 45463

Mead Black and White Enamel, Gloss Finish, 80 lb. (118 g/ m2 ) <0 Copyright 1981 Mead Printing and Writing Paper Division. Printed in U.S.A.

BOB HEINDEL and I have just completed a fascinating creative experience called "Computers -The Time Has Come:' It was for the 1980 Annual Report of Alexander & Alexander Services, Inc. , and it tells the story of A&A's development and u e of computers in risk management.

It had to be different and an artist was ne ded who would become involved. That artist was Bob Heindel.

After each research phase we would discuss the findings. Ideas were exchanged. Some worked, some didn 't.

Promising new research angles fizzled, others grew in significance. In fact, the research inspired the paintings which in turn inspired the writing. It was a

Robert Heindel, represented by Bill Erlacher, Artists Associates, 211 E. 51st Street,

very exciting process.

I think it shows how effective communicators can be when they work together from the beginning.

Oames E. Donahue III, assistant vice president and manager ofpublic relations for Alexander & Alexander Services Inc. in New York.) ew York , .Y. 10022

212-755-1365

155

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLI ENTS

J. Caroff & Assoc iates

A

Adameck, Tina Adas , AI

41

J. I. Case Company

32

CBS Records

Alliance for Survival

67

America Illustrated

69

Cevoli , Vic 88

The Emporium

80

Chiat/Day

27

Hill , Chris

Emporium/Capwell

6, 14, 17, 19, 27 , 30

Esquire

96, 107

Gerald D. Hines

98

51 , 7.7

Ethyl Corporation

Chase, Diana

American Illustrators Gallery

17

84

84

108

107

Hixo Incorporated

24

Hoglund , Rudolph

67 , 73

Holdman , Floyd

8, 90

F

Holo-Krome

83

102

AT&T Long Lines

94

Chicago Reader

64

Fall , Dorothy

69

Homemaker's Magazine

47 , 73

Animal Graphics

105

Chicago Tribune

62, 7 4

Feitler, Bea

52, 74

The Horchow Collection

102

Arizona Highways

54, 70

Children's Hospital National

Art Attack

28

Art Poster

105

Fifty Fingers

90, 102

Medical Center

Flowers&

8

Horton , Rick

Chwast, Seymour 78, 84, 90, 92, 107

Forbes

Art Rending Pty.

105

Ciano, Bob

Four-Leaf Towers

Atlantic Records

22

Cinzano

12

Close-Up

80

Frias, Rose Ellen

90

Clow, Lee

8

Friedman, Julius

108

Cody, M. J.

69

The Friend Magazine

Collett , Dickenson, Pearce &

Fuji Ski/lnterwheel

Attenzione

44

Austopchuk , Christopher 41

Avenue Magazine Ayer, Larry

58

102

4 7, 52

B 78

Compendium

96 90

Conductories

Bantam books

38

Connatser & Crum

AB Bates AJS

Connolly, Joe

27

12

Cooper, Heather

12

Adolph Coors Company

108

Berg, John

17, 27

Bernard, Walter

67

Best Results Pty.

105

Bigg , John

58

George W Crook & Company

27

12

Brock, Christina

107

110

118

Desgrippes, Beauchant, Gobe DFS/Wegener Agricultural Group

Brown, Michael David Brown, Richard

118, 124

58

112

Dfaz de Villegas, Jose L.

Burke, Paula

102

Donald, Nancy

Burnett, Nick

41

W B. Doner & Company

Byergo, Mike

c Jonathan Cape

34

Cappelle, Frederic

156

44

14 6, 98

12, 32, 98

E

105

83

32

17

Kelley, Gary

28

Kemp , Robin

84

Las Hadas , Casolar

20

Kleeger, Burt

27

17

Hagbru , Jack

6

Koster, Barbara

Hardy, Paul

44

Kramer, Carveth

67

Krohn , Jeanne

118, 124

47, 73

Harperprints

110

Harrowsmith

12, 74

Hart, Micheal

12

Lacoma, Gary

Hauge, Paul

105

Lancaster-Miller

Hearfield, Denn is

105

Heckler Associates

19

Hellman Des1gn Associates Hicks, Mike

Lantz, Dale Lappan , Char

118

Hernandez, Miguel 24

44

L

112

Communication Arts July/ August 1981

122

Kikkoman

107

Eisenoff, Marc

24

6

Kell , Richard

Kenworth Truck Company

Heller, Cheryl

57

20

Karlberg , Frode

10

94

Emergency Medicine

98

Kano, Koichi

83

Eichinger, Bob

Elektra/Asylum Records 48

K

Haroutiun , Georges

Digital Equipment Corporation

Burns, Cooper, Hynes

30

30

122

74

Kagel , Bill

88

Haase, Fritz

101

27

32

H 60

116

Jursa, Dan

74

22 41

Jones, Peter Shakery

Bill Gourley Chevrolet

Guinness

28

Jorgensen/Frazier

110

Goodmann , Lester

77

Jones, Arnold

Jonson , Pedersen , Hinrichs &

20

University of Guelph

de Moei , Dick

14

88

83

Grey Advertising

14

Desgrippes , Joel

52, 57,70

Brown , Karen

105

Denver Magazine

Brillantleuchten A.G.

J

20

Grant/Jacoby

10

Jackson , Herbert

Great Waters of France

Defrin , Bob

83

Brooks , Joe

116

deCesare, John 83

Brigham Young University Travel Studies

41

48, 64, 74

Good Company

Cox Lithographing Corporation

Dayton 's

Bramow, Arnold

115

Ge.fllustreerde Pers

Goluboff, Hal 60

Da Sail a Company

42

60

69

Ivan, Dennis

The Garden Studio

Grant, John

112

lntermed Commun ications

38

Bill Gold Advertis ing

D

Bisacca, Paula

118

108

Agency

Gold, Bill 80

24

Curry, Tom

34

Black, Roger

32, 98

Costello, Stephen

54, 70

Bennett, Gary

Boys Life

Coro, Ron

122

58

Gleason & Thomasson

Bausch & Lomb

Bell, James

Images

G

Geo

58

Baxter + Korge Bell & Hortenstine

47, 73

27

Connatser, Steve

6

Illustrators Workshop

28

Gangel , Richard

78 27

78

122

International Communication

Bakshi , Ralph Barnes, Bill

118

Hylsa Corporation

12

12

Comac Communications

Bakshi Productions

MacDougall

73

Frazier, Craig

Partners

116

Humphrey Browning

69

20 36

19 34

Lawrence, James 78

28

Lee, Ed

19

Lee, Johnny

24

Lehn , Henry

28

12, 74

20

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

Lennon , Tom

57

Norway Office for Information on

H. H. Leonards Fine Arts Leone, Len

38

Lienhart , Jim Life

90, 102

124

Fruit and Vegetables El Nuevo Dfa

44

s

Nursing '80

60

Sage

Manges 19

120, 136

Lincoln Properties

94

0

67

32

Loucks Atelier

O'Meara, Gil

34

96, 107

p

19

M

Paul , Greg

57

Maiello, Vince

19

Mantel , Richard

78, 84, 90, 92 , 107

38 83

8

Wheel Records

83

Shanahan , Mary

52, 74

McEntire, Larry

20

Pingrey, Dean

118

Playboy

Pope, Kerig

McKinney Silver & Rockett

17, 27

51 , 58

41

122

Willis/Case/Harwood

Smith , Paul

12

Will is, Len

Spaeth, Alan

92

Stermer, Dugald

Mein Schaner Garten

van Walbeek

101

Mendenhall, Jones & Leistra

28

34

98

67

Sweeney, Stan

Push Pin Studios

58, 78, 84, 90,

Synthesis

116

Minnella, Joe

6

a

Moraes, Greg

67

Quest

Morrow, Brian

22

Zapke, Roger

T

101

Zelcer, Alfred

Tardiff, Melissa

51, 73

Tarham, Dash

122

TBWA

60

Range-Rover National Bickford Foremost

116

Rasmussen , Carol

122

62

92

Texas Monthly

12

Thomas, Brent

90

National Book Festival

8

Reader 's Digest

38

J. Walter Thompson

National Geographic

57

Rech , Georges

30

Time

98

Richmond Ad Club

Neiman-Marcus

108

Ringling Bros. , Barnum & Bailey

74

Rocky Mountain Magazine

120

Next Magazine

Circus

New York Magazine

42

North Carolina Department of Commerce

17, 27

Northwest Orient Passages

158

Trinkaus, Ted

84

u

Rolling Stone

52, 58, 74

United Artists

Rosebud Studios

24 19

42 , 64

62, 86

Rogers, David

Communication A rts July/A ugust 1981

51, 73

110

TWA Ambassador

83

Roosvicee-Holland 44

120

12, 17

67, 77

Town & Country

National Guard Nelson, Bill

73 20

42, 64

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

62, 86

69

Texas Industries

22

Gerald & Cullen Rapp

90

22

Teleflora

R

N

y

z

67

Teensma, Hans 58

28

Zarkades , Nicholas

Putz, Robert

Milligan, John

118

Wright, Diane

Yamaha Motor Corporation

92, 107

6

Mortensen, Gordon

88

Witham, Jim

92

17, 27

20

77

Sun Graphics

Psychology Today

Michigan Department of

24

Student Lawyer Magazine/American

24

88

Winslow, Michael

36

Bar Association

118

Robert A Wilson Associates

42 , 47, 67, 70

108

67

70

Wilson, Reagan 38

David Strong Design Group

51, 77

Willging, Cosgrove & Showell Williamson, Skip

Stamenkovits, Bela 86, 94 , 101

88 108

Smith Litho

Staebler, Tom

80

Wilder, Greg Willging , Bill

60

Sports Illustrated

19

42, 47

Priest, Robert

34

42 , 44 , 64

24

Smith, Jake

Prins, Meyer, Stamenkovits &

118

Commerce

Simon & Schuster

Postgraduate Medicine

102

24

Shapiro, David

42, 47, 67, 70

Portal Publications

12

McKinlay Advertising

Metz, Frank

108

Polaroid Corporation

64

McCann-Erickson Hakuhodo

Mead Paper

Corporation

Playboy Book Club

McCamant, Bob

28 94

The Webb Company

Plain Dealer Magazine

Mathiew, Gerfen & Bresner

Symphony Wax, Marvin

32

Pinaire Lithographing

110

32

80 12

58

118

Waterloo-Cedar Falls

Seymour Duncan

Perry, Peter

Masoff, Joy

S. D. Warren Paper Company

112

Service , Scott

20

Warner Bros.

110

Sessions, Steven

Photographer's Forum

Mastercraft Press

90, 102

60

112

110

Schneider, Ed

67

64 , 74

52, 57 , 70

34

17

Walsh , Susanne

Penthouse

Maritz Motivation

Martin, John

Waitsman , Michael

Peek, Merle

Marshall Editions Marshall, Rita

10

6, 27, 30

Sears, Roebuck and Company 101

88

Scher, Paula

Seager, David

51 , 58

Pedersen , B. Martin

41

of Athletics

w

105

San Miguel Beer

118, 124

University of Virginia Department

Michael Schwab Design

Paine, Howard E.

Mau , Bruce

8

17

12

86, 94 , 101

San Diego Zoo

Olympia Brewing Company

Little, Brown & Company Lurin, Larry

Sala, Andre

Ol iver, Mark

116

Virginia Lithograph

Sagebrush Studio

Light Language

Macleans

v

98

VanDine Horton McNamara &

47 , 52

Litigation

Ruby Street

6

17, 19

United Industrial Syndicate Universal Pictures

28

101

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Make check payable to Mitchell Press Limited. Sorry, no C.O.D.'s

Books APOLOGIA: By way of clarification, we're departing from our normal format for a brief, if embarrassing, moment.

For some years it has been-and still is- my habit to travel from my office in San Francisco to this magazine's headquarters in Palo Alto; one of the purposes, other than social, is to gather up the material sent to CA for mention or review, storing it in the trunk of my automobile until such time as I actually read the books and notices in preparation for writing these columns.

To make an already overlong explanation less tedious, this last time I left the whole batch in the unlocked luggage compartment at least one day too long. Some undiscriminating, or perverse indigent copped the boxful, along with a set of battery jump cables. One would think a person who has had his car stereo ripped out five times would learn.

I thereby apologize to those manufacturers, public relations firms and publishers whose notices, samples and books we gratefully depend on in order to better inform our readers.

Fortunately the god of the mails delivered us a sufficiency of additional materials just in time to fill the void by deadline.

-D.S.

:1

Introducing the one disposable sketching pen with both performance and price. Penstix thrive indoors or out with instant ink flow, no bleeding or smudging, with the density of "India Drawing Ink." Enjoy the power of Penstix in 3 black point widths.

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ALVIN and COMPANY, INC. P.O. Box 188 CA, Windsor, CT 06095

162

Communication Arts July/August 198!

Edward M. Gottschall Prentice-Hall, Inc. Englewood Cliffs, New Jersey 07632

$19.95

It would not be in the least risky to predict that this book will become a classic tool, not only for graphic designers, but editors, typographers and anyone else concerned with producing printed communication; as a sourcebook it will surely survive several revisions and updates during the eighties.

The operating principle of this book is contained in the first sentence of the first chapter: "The irresistible force bringing the new tools and technologies to the office, the production center, and the commercial graphic arts community is the drive for improved cost-effectiveness." Note that the drive is not for improved quality, or for more imaginative work, or even for improved communication, but for economic imperatives. As one who still mourns the loss of foundry type for most media, I may disapprove of much of the flood of new technologies, primarily because we seem to have learned little about the uses of the old ones, but we ignore them at our peril.

Many of us seem to delight in every new technological development, snapping up Apple computers and laser-aided automated offices like they are going out of style, which they are. These are the same people who gobbled up pocket calculators and digital watches a few years ago, and are stocking their homes with video recorders even as they retooled for quadraphonic sound and eight-track cassettes some time back. Win some, lose some. On the other end are those misanthropes Alvin Toffler refers to in Future Shock, those who have a "real sickness," "a disease of change," "an irrational resistance to change;" Toffler was, I fear, referring to me.

The sane ones, however, are open to both the trendy pitfalls and the more solid benefits of new technologies and tools, making judgements and decisions as the need arises. It is to those people that this book will prove most useful.

c ASK for Pe:nstix ilt your fcWorite 11rt supply de~~ler, or write us for more informiltion.

GRAPmC COMMUNICATION '8os

This book has been adapted from Vision '80s, a special section of International Typeface Corporation's U&lc., the International Journal of Typographies, of June, 1980. It has been updated since then, and probably could stand to be updated every ten minutes from now on. It leads off with an invaluable glossary of terms, not only necessary to comprehension of the rest of the book, but also imperative in understanding the language of graphics in the eighties. (I know what ascenders, beards, AAs, folios and fonts are, but algorithms, binary coded decimals, buffers, COBOLs, disc drives, floppy discs and flying spot scanners have me temporarily-or permanently-stumped.) Occasionally in the glossary one comes upon something approaching semantic suicide, as with the definition under the word "write": "The action of recording data into a computer section or

Books

onto a magnetic device or other output medium." There are a number of meanings to this perfectly serviceable word, some having to do with penmanship, some with the act of producing literature, but "recording data" into whatever "output medium" is plainly unacceptable lexicography.

Reactionary cavils aside, it is suggested that this book be purchased and then, in the words of the author, "Read it in a personal way. Don't too quickly assume that this device or that new development won't affect you. We suggest that first you skim through the text, stop at items that interest you. Read a sentence or a paragraph or section wherever you wish .. Then, for an overview of this dynamic field, go back to the beginning and read the whole book."

-Dugald Stermer EVERYBODY'S B USINESS, AN ALMANAC The Irreverent Guide to Corporate America Edited by Milton Moskowitz, Michael Katz and Robert Levering Harper & Row, Publishers, Inc. 10 East 53rd Street, New York, New York 10022 $9.95 (paper)

As I was busily writing these reviews, a young friend stopped by for a visit. He was on holiday from Yale where he, in addition to being a second year undergraduate, assists

"A graphic artist can rely on it as a survival manual!'

-Gerald McConnell, President of the Graphic Artists Guild More comprehensive and upto-date than anything in the field , SELLING YOUR GRAPHIC DESIGN & ILLUSTRATION covers three areas vital to your financial success : marketing , managing , and protecting your work .

You get specific information on: • How to find and reach every conceivable kind of client -ad agencies ; AV firms ; film , TV and record companies ; publishers of books , magazines , greeting cards , calendars , posters , and more.

• How to handle pricing, billing , expenses , contracts (easy-touse standard forms are included) , record keeping , income and sales taxes , insurance .

• How to bargain; how to protect your rights and your business -copyrights , invasion of privacy, releases , libel , obscenity are covered -and how to find and choose a lawyer.

Whether you 're a beginner or an established professional, you simply cannot buy a more useful handbook . Look for it in bookstores or use the coupon below to order direct from the publisher.

SELLING YOUR GRAPHIC DESIGN &ILLUSTRATION The Complete Marketing, Business, and Legal Guide Tad Crawford and Arie Kopelman, authors of Selling Your Photography Return coupon to St. Martin's Press, 175 Fifth Ave ., NY 10010 Attn. HZ Name _ _ _ _ _ _ _ _ __ Please send me _ _ copy(les) of Sellmg Your Graphic Design & Illustration (a $15 .25 delivered . My check or Address _ _ _ _ _ _ _ __ m o is enclosed in the amount of$_ _ .

(All orders must be prepaid m full} City _ _ _ _ _ _ _ _ __

l cA?/81 ---- -~e---~ -- ~ 164

Communication Arts July/ August 1981

on a committee to consult on investments the university makes in American corporations. He immediately picked up Everybody's Business and said, "Good book, as far as it goes. It gets into what the corporations are doing, and gives an idea as to whether you would want to support those things, but it doesn't go into much depth." That's the good and bad news.

This is another marvelous source book for anyone curious about what our major companies are up to, how they were founded, what products they make, and roughly what they earn. During an era in which it is fashionable to lump all substantial business endeavors under the catchall phrase "corporate Arnerica"-favorably or unfavorably, depending on your perspective-it is instructive to be reminded that they each have distinctive quirks, history and personality.

Everybody's Business does this and more. Where else could one learn that Quaker Oats issued a credo ten years ago that the company was committed to "the highest ethical and moral standards," and that one out of every six employees is a member of a minority group? (One wonders idly how many of them make it to the boardroom.) Quaker also informed the township of Danville, Illinois, that if it saw fit to pass an open housing ordinance, the company would look favorably on the idea of locating a plant there. Both things happened. Right after the entry for Quaker, one finds information on Ralston Purina to the effect that the company has a strong fundamentalist tradition, that it is a major supporter of black colleges, and it endeavors "to maintain the intimacy and camaraderie often lost in a large enterprise."

I have only quoted a little of the positive stuff. The tone of the book as a whole is reflected in the word "irreverant" in its subtitle. It is well written for an almanac, containing a great mass of material presented with wit and clarity. It panders neither to those who would wish a whitewash, nor those favoring exposes, but surprisingly will provide both with plenty of ammunition with which to argue endlessly against the other.

-D.S.

Books, briefly noted: HANDBOOK OF REGULAR PATTERNS by PeterS. Stevens (MIT Press, 28 Carleton Street, Cambridge, Massachusetts 02142, $37.50). This is a treasure chest of symmetrical patterns, borders, designs, symbols and problems. Rather than present them in categories of either motif or the cultures which produced them, Mr. Stevens has grouped them by their structures, "how they are made and how their parts interrelate." It is solid work, both thorough and accessible.

BASIC PRINCIPLES OF DESIGN by Manfred Maier (Van Nostrand Reinhold, 135 West 50th Street, New York, New York 10020, $35.00). This book's subtitle says it all: The Founda-

Coronado Opaque SST The Dependable Paper. Coronado Opaque SST is the most dependable, high-opacity text and cover paper produced. It is the whitest paper of its kind, available as well in five high-intensity hues. A superb production paper, it combines excellent ink holdout, opacity and folding strength, all at a moderate price. For the sheet you can depend on, choose Coronado Opaque SST

In the garden, the Aster is equally dependable. While some species native to high altitudes prefer coolness (like the Alpine Aster pictured here), most are hardy and adaptable, thriving in many climes and locales.

The aster is a native of Italy, although its name derives from the Greek word for "star."

So long a favorite, its easy-going qualities were celebrated two thousand years ago by

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Simpson

Coronado Opaque SST, the Dependable Paper

The "SST" in Coronado Opaque SST refers to a "special surface treatment" that is applied during manufacture, sealing filler and fiber into both surfaces of the sheet. It increases paper stabi Iity and virtually ends blanket glazing. It improves ink holdout, increasing ink coverage, and ensuring clean halftones and smooth unmottled solids. It enhances visual opacity-which in 70-pound text measures ninety-six to ninety-seven on a hundred-point scale-eliminating problems with image show-through. And it promotes pick resistance and adds strength.

SST makes Coronado Opaque an ideal production sheet. Its opacity and stability make it superb for all forms of embossing. It folds neatly, producing a strength at the fold two or more times greater than that of competitive sheets. It runs unusually well on all commercial printing processes, including web.

Available in either a rich modified antique or stipple finish, Coronado Opaque SST is the whitest paper of its kind. It also comes in five incredibly high-intensity colors, in 70-pound text and 65pound cover. In white, Coronado Opaque SST is stocked in 50-, 60-, 70- and 80-pound text; 50-, 65- and 80-pound cover; 100- and 120-pound bristol; and 130-pound double-thick cover. Made to the highest quality standards, it is yet a moderately priced sheet delivering qualities close to those of a coated paper at much lower cost.

Simpson

For more than seventy-five years, Simpson Paper Company has specialized in supplying quality technical, text and other printing papers to the most demanding customers in the business. Over

the years we've added to our product line, but each new Simpson paper carries with it that tradition of quality. Today our family of text and cover papers includes some of the finest: Andorra, Corsican, Coronado Opaque SST, Decor, Gainsborough, Kilmory, Starwhite Vicksburg, Sundance, Talisman, Teton and Torino. An outstanding array of texture and color, with Simpson quality.

But at Simpson we've done more than just add new text and cover papers; we've improved the distribution and service that accompany them.

Simpson now has a mill at Miquon, Pennsylvania, where we manufacture, warehouse and distribute text and cover papers in the East. Add that to our mills in Michigan and California which serve the Midwest and the West, and you've got national distribution and service. Quality. Service. Text and Cover. That's Simpson.

Production Notes

The flower, Alpine Aster, is printed in three colors on a 28" x 40" Heidelberg two-color offset press using opaque inks.

Stock: Simpson Coronado Opaque SST 65 lb. cover Modified Antique.

Inks: opaque lavendar In mont ink #10264, opaque yellow In mont ink #10122, opaque green lnmont ink #10348.

Alpine Aster is one in a series from Simpson Paper, designed to perforate out of this publication. By trimming the top 3" you have an 8" x 8%" print suitable for framing. For the full series, contact your Simpson Paper merchant.

Simpson Paper Company One Post Street, San Francisco, California 94104

Simpson

DIANE PADYS (41 5) 543-3635 · ILLUSTRA !ONE

P~FICA

·REPRESENTATIVE 928-3033

167

PHOTO SHOW: Finally there's a serious Photo Magazine for Art Directors and Designers.

Books

tion Program at the School of Design, Basel, Switzerland. If that is what you wish, Van Nostrand Reinhold has supplied it, as it has so inventively with so many other reprints.

'"4·U.S.A.· •4""

PHOTO SHOW SPECIAL ISSUE;

INSTANT PHOTOGRAPHY

OUVIA PARKER • JEANLOUP SIEFF • ANSEL ADAMS CHRISTIAN VOGT • SARAH MOON • JAN VAN DER HORN HELMUT NEWTON • MONIQUE JACOT FULL SIZE

20..x24"POLAROID FOLD-Our

Discovery is a very important part of what PHOTO SHOW Magazine is about. Discovery of the work of a great living master like Manuel Alvarez Bravo. (issue #1). Discovery of exciting new color work by Chris Enos. (issue #2). A.D. Coleman's discovery of the significance of "THE USEFUL PHOTOGRAPHS OF EDWARD STEICHEN." (A major article in issue #2). Discovery of the depth of the artist behind the photograph in regular interviews. (A Q.&A. in every issue of PHOTO SHOW). Discovery of the vast amount of important art created by instant photography. (Issue #3 was a special instant photography issue with new work by everyone from Helmut Newton to Ansel Adams. We had every size of Polaroid from the SX-70 to a full-size 20x24" fold-out).

We are using the HELL DC 300 Laser Scanner and all the other important technology for the highest quality printing.

But this is only the craft level of the magazine. The ultimate quality lies in the choice of photographs and the exciting articles. Start your collection today. SUBSCRIBE NOW. SUBSCRIPTIONS START WITH THE CURRENT ISSUE. PHOTO SHOW MAGAZINE 3818 BRUNSWICK AVE., LOS ANGELES, CA. 90039 NAME ______________________________________ ADDRESS ____________________________________ C I T Y - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - -

STATE ZIP---------·-------O SEND ME 6 ISSUES FOR $30.00 (FOREIGN $36.00 U.S. FUNDS) O SEND ME 12 ISSUES FOR $60.00 (FOREIGN $72.00 U.S. FUNDS)

0 LIFETIME SUBSCRIPTION $240.00 (FOREIGN $360.00 U.S. FUNDS) (LIFETIME OFFER EXPIR ES DECEMBER 31,1981)

PAYMENT MUST BE ENCLOSED #1 Back issues # I, # 2, # 3 are available at $9.50 each

#2 # 3

D 0 D

~------- - --------- - - ----- - --- --- - ---- --- ---------------

168

Communication Arts July/August 1981

MEDIA AWARDS HANDBOOK edited by Milton L. Levy (621 Sheri Lane, Danville, California 94526, $20.00). Editions of this book have been published since 1957, when it was titled H onor Awards Handbook, and updated periodically since then. It lists as many of the contests and awards pertinent to journalism, television, design, art direction, illustration and photography as the editor was able to compile. There seem to be as many people now who claim never to enter competitions as there are who claim not to own a television set-in fact they may be the same people. If they were all telling the truth, the New York Art Director's Club wouldn't have hung more than thirteen hundred pieces in its annual show, nor would the CA Annual receive nearly twenty thousand entries. Obviously a market exists for this book, and we wish Mr. Levy success with future editions.

PHOTOGRAPms 81 AND GRAPms PosTERS 81 edited by Walter Herdeg (Graphis Press, published in the United States by H astings House Publishers, Inc., 10 East 40th Street, New York, New York 10016, both $59.50). Mr. Herdeg is simply indefatigable; once again he produces these annuals, among others, which he apparently judges himself-a staggering job. In each of the above there are over 630 examples of the respective crafts, 236 pages, 96 being in color.

THE CREATIVE BLACK BooK 1981 (Friendly Publications, Inc., 401 Park Avenue South, New York, New York 10016, $40.00). This new two-volume version-photographers have increased to the point where they now rate a separate book-must be the most representative guide to products and especially services in our business. Nearly everyone involved in the business of commissioning work in the communicating arts has a copy near at hand. Get yourself listed, and then get a copy.

RSVP: THE DIRECTORY OF FREELANCE TALENTS (Richard Lebenson and Kathleen Creighton, P.O. Box 314, Brooklyn, New York 11205, $12.95). This is a relatively new entry in the growing field of bound promotion pieces for photographers and designers, and the individuals listed herein seem also to be relatively new to the business. At a cost to the artist of $250 per page of color, $100 per page of black and white, it is much less expensive to promote oneself between these covers than in The Creative Black Book or Showcase.

(These are rates given for the 1982 edition.) As such, it merits support. The publishers claim that this "is more than just a directory ... it's a service. Anyone interested in more information about purchasing a copy or advertising in RSVP can contact us at the above address or call (212) 8579267 ." Let a thousand flowers grow.

-D.S.

MONKEYS ATE MY PROGS.

'M WORKING with this outfit in

IDon'tHonduras. even ask. Seemed like a good idea at the time. We've got a couple of travel accounts. ACoca Cola Aparrot exporter.

What can I say, I'm a sucker for a good banana daiquiri.

But I do miss the States. I miss a lot of things.

For one thing, I miss my old printer: National Bickford Foremost. (Did you hear that Wayne, Skip, Doug? I miss you guys!)

You'll love this: I call up my printer down here. His name's Ramon.

I tell him, "Ramon, that last set of progs you sent over, it looks like someone took a bite out of them."

"Monkeys" Ramon explains. He's been there before.

Or how about the time I get the mechanical back with a bullet hole in it.

I guess I got spoiled by Foremost.

I remember the time Carl Johnson hand-delivered a rush job to me during a snow storm.

I remember colors that seemed to jump off the page: So crisp and deep they brought tears to my old art director's eyes.

I mean, I'm working with parrots down here and Ramon's got them looking like seagulls.

I also remember how great it was to have all the separations and printing under the same roof. Ramon doesn't do separations. Ramon's brother does. Ramon's brother is in Guatemala.

Come on you guys: "National Bickford Foremost - Providence and Tegucigalpa."

Got a nice ring to it, don't you think?

The combination of National Bickford Graphics and Foremost Lithograph has resulted in one of the finest fully integrated color printing operations in the country: National Bickford Foremost. We're proud to have on staff many of the most talented and experienced people in the industry to oversee your job from start to finish.

National Bickford Foremost.

We do the separations.

We do the printing.

We do it right.

HUNTINGTON INDUSTRIAL PARK, PROVIDENCE, RHODE ISLAND 02907, (401) 944-2700.

169

Materials SPRAY MOUNT

Scotch Brand Spray Mount is not a new product, but the company has put it into an improved container and aerosol system. 3M has attached an improved anti-clogging nozzle, good news for those who periodically cuss out nearly-full containers with useless nozzles.

CoLD MouNT

3M has also introduced a starter kit for those who have use for a positionable cold mounting system. Named the Scotch C-35 AD-2 Starter Kit, it includes three rolls of Scotch No. 568 Positionable Mounting Adhesive (PMA), the C-35 PMA Applicator, and the C-36 dispensing tray which holds the PMA rolls for cutting. For information on this write 3M, Department PD81-67, P. 0. Box 33600, St. Paul, Minnesota 55133.

MAT CUTTERS

Cello-Yak Wax Adhesive Color Film is ...

•

241 Standard Colors including Day-Gio® and Metallics printed on non-reflective matte-finish acetate sheets.

•

Completely repositionable-won't tear when lifted-won't stick until you want itto!

•

Bottom-printed, leaving completely workable surface!

The professional way to create Presentations, Layouts, Package Designs, Comprehensives, Graphs, Slides, etc.

t Yes

~C[UD) Ak I®

Dept. A , 35 Alabama Avenue Island Park , NY 11558

I would like a FREE Cello- Tak Wax Adhesive Color Brochure, Color Chart and Sample Color Swatch.

NAME - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

'

Again from 3M, four C&H mat cutting systems, including accessories, are described in a full-color brochure. The four systems give one the capability to cut mats in almost any shape, including ovals, circles and angled corners, in materials including linen, burlap, suede-two models cut glassand, of course, cardboard. For the free brochure write 3M, Department PDS0-26, at the previously noted address.

"SCRATCH 'N SNIFF"

Astounding breakthrough: 3M has just developed a method by which one may print Microfragrance ("scratch 'n sniff) pressure-sensitive labels in three different designs all at once, using the same smell for each. Apparently producing more than one design with applied fragrance in one printing process was previously impossible. I'm not sure just how this may improve the general welfare, but those interested may write for details to 3M Carbonless/ Related Products Division, Microproducts, 3M Center, 225-3S, Saint Paul, Minnesota 55144. 3M has more departments and code numbers than the Pentagon.

FABRICATED FASTENERS

Yet another product from 3M, these are called ScotchMount and Scotch-Mate fabricated fasteners. They include "double-stick tape fasteners with long-aging acrylic adhesives and hook and loop fasteners with pressure-sensitive backings. The fasteners come in standard shapes and short rolls to simplify attachment and reduce waste." Having never found the need, I have only the barest idea what this product does. For those who want to find out, write 3M, Department ISSI-12, at the same old address.

TITLE _ _ _ _ _ _ CO MPANY - - - - - - AD DRESS - - - - - - - - - - - - - - -- - - -- - - - - - - - CI TY - - - - - STATE _ _ _ _ _ Z IP _ __

170

----------------------Communication Arts July/August 1981

PRESSURE-SENSITIVE FASTENING TAPES

This is positively the last you will hear from 3M for this issue: Four new pressure-sensitive fastening tapes are being developed as alternatives to rivets, spot welds and hot-melt

They Laughed When I Sat Down At the Piano But When I Started to Playf.-RTHUR had just played "The mu11caan himaelf were apeakinr to me--tpeakinr the leuona continued they aot eaaier and the medium of muaic-not in worda but in euier.

Before I knew it I wu playinr all the Rosary." The room rang with ap- throurh chorda. Not in aentencea but io exquiaite melodiea! piecet I liked beat. Nothinr atopped me. I could play plause. I decided that this would be balladt or clauical numbeta or jazz, all •ith equal eue!

And I never did have any apecial talent a dramatic moment for me to make my A Complete Triumph 1 for muaic!" debut.

To the amazement of all my Aa the Jut notea of the Moonlirht Sonata • • friends, I strode confidently over to the died away, the room reaounded with a audden piano and sat down.

Play Any lnatrument roar of applauae. I found myaelf aurrounded by facea.

How my friend• carried on!

Mea You too, can now trecl yovrulf to be an accom"Jack is up to his old tricks," somebody excited ahook my hand- wildly conlfratulated me- pliahed muaician-riaht at home-in half the uaual chuckled.

The crowd laughed.

They ~ounded me on the back in their enthuaiaaml time.

You can't so wrona •ith thia aimole new were all certain that I couldn't play Everybody waa exdaiminr with deli~rht-plyinlf me method which haa already shot~.-n 350,000 with rapid queationa. . . "Jack! Why didn't you people how to play their favorite inatrumenta. a single note. tell ua you could play like that?". . . "Where tlitl Forget that old-fuhiooed idea that you neeJ apecial learn?"-"How lonr have you atudied?"- "talent." Ju•t read the lilt of inatrumenu in the "Can he really play?" I heard a girl "you Who w•1 your teacher?" whisper to Arthur.

"I have never even Utrl my teacher," I replied. rtns~· s~t~t wi~id~ ~t:: ~~~ ·A:~ ~~:r·i~ ~;~d t~~ "Heavens, no!" Arthur exclaimed· "And juat a abort while aro I couldn't play a note. '• matter which inatrument you chooae, the coat in each cue will be the aame-juat a few cenu a day.

"He never played a note in all his life . . .

"Quit your kiddinr," laurhed Arthur, himaelf an No matter whether you are a mere berinner or But just you watch him. This is going to accompliahed pianiat. "You've been atll4iyina for already a rood performer, you will be intereated yean. I can tell." in learninr about thia oew and wonderful method. be good.'

"I have been atudyinr only a abort while," Send for Our F,.. Booklet and I decided to make the most of the I inaiated . "I decided to keep it a aecret ao that With mock dignity I drew I could aurpriae all you folka."

O.mona~tlon Leaeon situation.

Then I told them the whole atory. out a silk handkerchief and lightly dusted Thouaanda of aucce11ful atudenta never dreamed off the piano keys. Then I rose and gave "Have you ever heard of the U. S. School of they poaaeaaed muaical ability until it waa revnled to them by a remarkable "Muaical Ability Teat" the revolving fiano stool a quarter of a Muaid" I uked. which we aend entirely without coat with our in· A few of my frienda nodded. "That'• a corre- tereatioa free booklet. turn, just as had seen an imitator of apondence achool, ian't it?" they e~:claimed.

Paderewski do in a vaudeville sketch.

If you are in earneat aboat waotina to play "Euctly," I replied. "They have a new aimpli- your favorite inatrumeot-if you really want tl' "What do you think of his execution?" fied method that cao teach you to p,lay any inatru- aaio happine11 aod iocreaae your /o~ularity-~od meot by mail io juat a few mootha.' called a voice from the rear. at ooce for the free booklet an Demonatrataoo Le11on. No coat- no obliaation. Riabt now we "We're in favor of it!" came back are makior a Special offer for a limited oumber of How I Learned to Play Without oew atudenta. Sirn aod aend the coovenient coupoo the answer, and the crowd rocked with a Teacher nowbefore it'a too late to 1aio the benefita of lauahter. tbia offer. lnatrumeota aupplied when needed,

A

Then I Started to Play Instantly

a

tense

silence

t~e ruea~. .

Th~ lauabter ched oo tbear hpa aa af by mafic.

I played tbrouab the firat few bara of Beetboveo'a immortal Moooliabt Sooata. I beard/.aapa of amazemeot. My frieo a aat breatble11- apellbouodl I played oo aocl aa played I foraot the people aroaocl me. I foraot the hour, the place, the breathle11 liateoera.

The little world I lived ia teemed to fade - aeemed to &rO"! cli~areal. Ooly the muaac ••• real. Ooly the muaic &J!d. viaioaa it brouabt me.

Vaaaoaa aa beautiful aod aa clauaiaa aa the wiad blowo ~louda aad driftioa mOOD· la•ht that loaa aao ioapired tlae aaater •compoeer.

It -...cl aa af tlae maater

fell

on

Aod thea I up Ia ined how for yeara I bad caah or credit.

U. S. llcbool of M•k:. 1111 lonaed to play the piaoo.

Bruaawlclr. Bldt•• New York QQ'.

"A few montha aro," I cootinued, "I aaw ao iotereatiDI ad for the U. S. School of Muaic-a new method of learn ina U. S. llcbool of Muek:, to plaT which only cotta few centa 1111 Bnaaawlck Bid&., New York Clt7. a day. The ad told how a womao Pleaae aend me your free book, "Muaic Le-• had maatered the piano in her io Your Owa Home", with iotroductioo b1 Dr. apare time at home-aod •illotd Frank Crane, Demooauuioo Le11aoo and partaculara • tt•clur!

Beat of all, the of your Special Ofer. I am intereated ia the followwonderful new method abe uaed, ioa courae: required no laborioua acalea no heartle11 eurciaea - oo tiretome practiaioa.

It aouoded ao conviocinr that I iilled out the coupon requeatioa· the Free Demooatratioo Le11oD. Have you above illatnamend . . .. ......... . .. .. .. .

"The free book arrived promptly and I atarted io that very Name . . ....•.. ... ..... . .... . .. . ....... . •.... . . niaht to atudy the Demonatratioo (Pieate write plaialJ) Le11oo. I waa amued to aee bow eaay it wat to j)lay tbia new way. Tbeo I aent for the courM. Adcbcaa . .........•.••............•.. .. .. · ··· · ·· "Wheo the courae arrived I fouod it waa juat aa the ad aaid - aa eatJ at A.B.C.I Aacl, aa CitJ .••..••.•..••••...•.•.•... State •......•.••.

--------

Pick Your lnatrument

Howard Paper Mills reprints-with permission-one of the greatest ads of all times to prove-

PRINT LIVES. PAPER SELLS.

Sample . the Howard linen Text and Cover line with ten of the greatest ads of all time.

Howard has collected ten of the greatest print ads of all time . Not necessarily the greatest, but ten of the greatest. They live! When they ran , they proved conclusively that print works . And we think the fine Howard Linen Text papers they now sample show that paper selection makes print work even better. Get the kits , put them up on your wall. Both the ads and the paper will inspire you .

One Mills Family Another great Howard offer samples all the hot-selling Howard papers-Howard Text , Howard Linen Text , Howard Permal ife , Howard Linen Writing , Howard AntiOa and Howard Maxopaque. See great solutions for some of the toughest jobs designers face ; see them beautifully printed on some excellent papers.

othnow ..

Get both kits from your Howard Paper Merchant. If he 's out, send two dollars to partially defray the costs to " Two Great Kits " at the address below.

i

diiiiu

111111111111 THE NATION'S PRINTING PAPERS

HOW1RD HOWARD PAPER MILLS, INC. 115 Columbia Street , P.O. Box 982 Dayton , Ohio 45401

Th is is Howard Linen Text, Cool Blue, 70 Lb.

Materials

and liquid adhesive assembly systems. These tapes are designed to perform as permanent bonds, capable of supporting heavy loads. For more information, write to 3M at yet another department number, IS81-5, P.O. Box 33600, Saint Paul, Minnesota 55133 .

PREPRINTED PASTE-UP BOARDS

Ronald N. Adams & Associates, Creative Advertising and Lithography, has developed two grades of preprinted pasteup boards for 81h "x11" and 11" x 17" (spread) literature.

Called KeyTEMPS, they are available in "Deluxe Studio Boards" and "Economy Card Stock," the first on fourteenply hot press board, and the second on four-ply (18 pt.) solid fib reboard. For a brochure describing these laborsaving devices, write Ronald N. Adams & Associates, KeyTEMP Division, 1895 Wynwood Drive, Cleveland, Ohio 44116.

ITALIAN WATERCOLOURS

Charvoz-Carsen has the United States distributorship of Europe's best-selling watercolours, Maimeri Italian Watercolours. It is claimed that they "stay wet longer and have more pigment per ml. than any other brand ... (the) tubes are larger, 7.5 ml., than a leading brand, but at a comparable price." There are fifty-one colors in the complete set. For more information, and possibly a sample tube, write Claude Bernard, Charvoz-Carsen Corp., 5 Daniel Road East, Fairfield, New Jersey 07006.

DESKTOP COLLATOR

The new sixteen-station "Gatherease" collator from Michael Business Machines is capable of gathering up to sixteen sheets of letter or legal paper at one time, or eight sheets of 11 " x 17" paper. One person is able to collate more than 18,000 sheets an hour, using only fingertip pull. The Gatherease is also capable of collating different-size sheets at the same time. For information, write Michael Business Machines, 145 West 45th Street, New York, New York 10036.

PoLAROID FILM PACK

Polaroid has developed a new 4 x 5 eight -exposure film pack for attachment to the back of most standard 4 x 5 cameras.

Designed to ANSI specifications, it provides a slightly larger image area than previous 4 x 5 Polaroid sheet film, and the holder does not need to be removed from the camera until the film pack is empty. There are two new eight-exposure films for use with this Model 550 film holder, the PolaPan Type 552 and Polacolor 2 Type 558. For more information, call the Technical Assistance Department, Polaroid, toll free: (800) 225-1618.

How to become a wise, wealthy, healthy designer.

A wi se, wealthy, healthy, designer once said, "Never do anything yourself that someone else can do for you , especially if they can do it better."

This holds especially true for color comps. The most important work for you as a designer is coming up with the idea and preparing the basic art and copy.

You can eliminate the worry and anxiety of producing a fine color comp by letting an expert produce it for you . An expert li ke Pinwheel.

Pinwheel photographically reproduces your black and white paste-up and prints it directly on the stock of your choice.

Colors are matched exactly to your color swatches. A Pinwheel Super Comp is much better than anything done by hand and looks just like you expect the finished job to look. Often better.

Pinwheel proofs are sharp, clean and accurate. Pinwheel service is fast and dependable. And , with Pinwheel , you always get an exact duplicate second proof free of extra charge . · •-"'

Pinwheel has prepared a 24-page booklet called "A ~~ Horse of a Different Color " ~~~ which describes its color proof ing and short- run printing method . You can ""-' 11 get a copy free by attaching a copy of this ad to your business card or letterhead . Mail it to Pinwheel Systems at the address below. Do it now.

a~c.a

Pinwheel stud ios are located in Chicago , Dallas, Detroit, Los Angeles , Melbourne , Memphis, Milwaukee, Minneapol is, Montreal, New York , Norwalk, Pittsburgh , Seattle, Sydney, Toronto , and Tucson . Franch ise inquiries are invited from other cities .

NEW TECHNICAL PEN

Koh-1-Noor Rapidograph, who first introduced technical pens to design engineers and graphic artists in 1954, has just announced the development of its new 3165 Rapidograph

In addition to color proofs, Pinwheel studios do custom rub down transfers , line conversions , package camps, and shortrun screen printing . Ad dress inquiries to Pinwheel Systems, Dept. 062 , 30 East 29th Street, New York NY 10016.

173

Materials

hah! Chieftain Bond, 50% Cotton made in Neenah, Wisconsin.

Technical Pen. According to the release, the most "significant distinction" of this new pen is the "dual-designation of point sizes on individual pens and replacement drawing points." In other words, it imprints pens and points with both the standard line widths and metric line widths. Points are available in thirteen line widths, and the pen has a newly-designed cap to further retard ink drying. These new pens are available singly and in "Slim Packs" containing three, four, six, seven or eight pens. There are also other set variations. For information, write Koh-I-Noor Rapidograph, Inc., Bloomsbury, New Jersey 08804.

By jove, you know all that from just ashes? ~

LITERATURE FoR YoUR FILES A request on your letterhead to the following companies will bring you the literature described ... free, unless otherwise noted.

Neenah Paper

@ Neenah Paper

No mystery about ChieftaineBond.

Choosing a quality Neenah paper is elementary.

A Kimberly-Ciari< Company Neenah, Wisconsin 54956 0 1961 K.C.C.

Paper Portfolio ... By far the most lavish and involved printing papers sample book to come to our attention in some time has just been produced by the Simpson Paper Company. Designed by Cognata Associates of San Francisco, this handsome Paper Portfolio unfolds its formed plastic covers four ways to show Simpson's entire line of eleven papers in all their textures, colors and weights; Teton, Torino, Talisman, Starwhite Vicksburg, Coronado, Sundance Felt and Vellum, Corsican and Decor, Kilmory, Gainsborough and Andorra. As is seldom the case with complicated design solutions, this one is cleanly elegant and quite appropriate to its purpose. Although our information doesn't mention it, we assume that you may receive a copy of the Paper Portfolio from your Simpson Paper merchant or representative.

Paper Demonstration ... Not nearly as successful as the previously mentioned paper presentation, this one for Georgia-Pacific's Hopper Cover & Text Papers uses a nautical theme to illustrate various printing techniques on the twelve colors and different weights in their Chambray line.

The twelve demonstrations depict ships, seafarers and other ocean-going memorabilia; with such a romantic theme, it would seem that a more entertaining piece could have been developed. For a copy, write on your letterhead to Susan _ Singer, Georgia-Pacific Corporation, 375 Park Avenue, New York, New York 10022.

Third Paper Demonstration . . . This one also promotes Georgia-Pacific's Hopper Papers, but unlike the one above, it is both handsome and useful, as well as being entertaining. How could it be otherwise, since it features seventeen quotes by Mark 1\vain, along with his portrait printed on seventeen colors of Sunray Opaque Vellum in a like number of techniques and colors. Some of the quotes are wellknown, ie., "The reports of my death ...", but others are new to me: "I never let my schooling interfere with my education." "I'm opposed to millionaires, but it would be

174

Communication Arts July/August 1981

Th: Fred Otnes From: Alan Peckolick Re: Grupo IndustrialAlfa, Monterrey, Mexico

Problem: Interpret visuaJly one of Mexico's largest and most dynamic

corporations, suggesting their varied areas of business and products. Convey their attitude toward growth and the future of their country which is moving into a very exciting period in its history.

The illustration is to be used as the cover of a three piece annual report, a mural for their annual meeting, and on a scarf to be given as a memento of the meeting. The solution must be provocative, unique and up to the high standards of the client as well as those of Lubalin, Peckolick Associates.

Solution:

Grupo IndustrWAlfa 1980 Annual Report, designed and produced by Corporate Annual Reports, Inc. and Lubalin, PeckolickAssociates, Inc.

176

Communication A rts July/August 1981

Fred Otnes, RBpresented by Bill ~ rlacher, Artists Associates 211 Eas 51 Street, New York, N.Y 10022 (212) 755-1365/6

B..,.a:..W'lO Fred .1.1

• VI

•

177

Materials

dangerous to offer me the position." "Never waste a lie; you never know when you may need it." And pointed right at this reviewer, "As to the adjective: "When in doubt strike it out." For a copy of this paper promotion, write to Susan Singer, Georgia-Pacific Corporation, at the address listed in the previous note.

Fourth Paper Demonstration . .. Beckett has just introduced its "Comprehensive Paper Selector 3," nicknamed "The Stick" because it looks very much like the Pantone Matching System's stick-shaped color selector hinged with a bolt. Included are fifty-one colors, ten whites, twenty finishes, and twenty-two color-0~-color applications. It also features "Color Selector" acetate overlays. For a copy, ask your Beckett paper merchant.

Paper Catalogue ... One more item about paper, this one is a most helpful reference for those of us who require fine papers for drawing, printmaking, stationery or painting in watercolors. New York Central Art Supply has compiled what they claim to be the "world's most comprehensive Fine Papers Catalogue." On the high end, there are some totally handmade papers listed, like those from the Richard De Bas Mill, founded in France some time before 1326. On the other side some of the Strathmore mass-produced drawing and watercolor papers are also mentioned as being of "scholastic quality." The publisher apologizes in an enclosed letter for the fact that the world market has forced some price increases since the publication of the catalogue.

Nevertheless, this is a fascinating booklet, an education in itself. For a copy, send two dollars (which will be deducted from your first paper purchase) to New York Central Supply Company, Department 228, 62 Third Avenue, New York, New York 10003.

Electronic Media Dictionary . .. Just what we have been awaiting; BBDO, "the nation's seventh-largest advertising agency," has found a need and filled it. Sensing that cable television operators are now "looking for a slice of advertising budgets" but don't know ad-talk, and that neither do ad people know the lingo of cable folk, our seventh-largest agency has compiled a dictionary so that each side can understand what the other is saying. Here are some of the words flying back and forth: from the cable people comes "vidnews," "pole rights," "uplink," and "hot tap." "Flighting," "sweep," and "roadblock," retorts the ad man. This listing more properly belongs under "Books" because even though it is a forty-four-page pamphlet, BBDO is still charging ten dollars a copy (They didn't get to be number seven by undercharging). To get it, send your ten to the Media Department, Batten, Barton, Durstine & Osborn, 383 Madison Avenue, New York, New York 10017.

Color Selector for Business Forms ... The ubiquitous Pantone Library of Color has just turned its careful attention to business forms, and the result is a new 210-page color selector, the first devoted to the subject. It shows each of thirty Pantone colors as a solid and in tint values of 10%, 300Jo, 50% and 70%, in 100, 120, 133, and 150-line screens, and a color halftone, ten-line illustration techniques and a number of type sizes in different colors and tints. In all, over 21,000 color effects are illustrated. The Pantone Color Selector/ Business Forms is available for purchase for $28.00 from Pantone, Inc., 55 Knickerbocker Road, Moonachie, New Jersey 07074. It can also be purchased from Pantonelicensed printing ink manufacturers, national and international business forms associations, and through Letraset from art supplies stores.

-D.S.

Club News BRNO, CZECHOSLOVAKIA

The Organization Committee of the Biennale of Graphic Design has started the preparations for the Jubilee Tenth Biennale that is being planned with the cooperation of ICOGRADA (International Council of Graphic Design Associations). The exhibition will take place in Brno in the summer of 1982. The organizers are the Ministry of Culture of CSR, the National Committee of the South Moravian Region and the Moravian Gallery. Accepted for the exhibition will be advertisements, brochures, catalogues, trademarks, corporate identity programs, calendars, record jackets, greeting cards, posters, letterheads, etc. The Biennale is open to all graphic artists and designers, and no fees are charged for entry or participation. Each artist may be represented with no more than three posters or six exhibits of smaller size. Only work that originated or was produced 178

Communication Arts July/ August 1981

within 1978-1982 may be entered and should be submitted in the printed form as published. All works accepted will be judged by an international jury approved by the Organization Committee and by the presidium of ICOGRADA. The jury will award the Grand Prix and gold, silver and bronze medals in each category as well as awards sponsored by Czechoslovakian institutions. Artists who wish to obtain entry forms and further information should send their name and address to: Tenth Biennale Uzite Grafiky Brno '82, Moravska Galerie, Husova 14, 662 26 Brno, Czechoslovakia, without delay, by November 1, 1981, at the latest.

Los ANGELES Los Angeles Advertising Women has elected officers for 1981-82, with Scherr Lillico of the Proper Image heading up the new board as president. Melissa Russell Sawyers, Grey

For Anyone who Creates, Designs, Writes, Plans, Estimates, Produces, Buys or Sells Printing or Print Advertising.

"The best, most complete, easy-to-use, accurate, quick-reference guide to print production ever published! Nothing else even comes close to it.''

-Art D1rect1on Magazme

That 's right . Graphics Master 2 is the one guide and workbook that even the most experienced professionals turn to for immediate answers and help in planning for print production .

All the vital guidelines and technical specifications that are so hard to find when you need them most are here in one compact volume . All in an easy-to-find-and-use format that puts instant answers right at your fingertips . You 'll save many precious minutes-even hours that are often wasted looking for the right answers .

Edition 2 has a new process color guide with over 2,800 color tint combinations ; a new type line gauge and ruler that includes centimeters and an inch/pica centering rule , a complete update on photo composition and the newest type faces ; ISO metric paper and envelope sizes ... and much , much more .

Graphics Master 2 is beautifully reproduced in six colors with indexed sections printed on coated bristol stock that is plasti c coated for heavy usage . It is bound in a hard , turned-case cover combined with sturdy double Wire-0 mechanical binding that opens flat and handles easily.

If you create , design , write , plan , estimate , produce , buy or sell printing or print advertising , this valuable working tool can make your work faster, easier and more professional.

Take advantage of the no-risk offer Graphics Master 2 is much more than a book . It has to be examined and used to appreciate its value . That 's why we make you an unconditional guarantee . Order yours today. Examine and use it for 10 days, and if you are not completely satisfied , simply return it for a full and prompt refund with no questions asked .

$47 .50 per copy International Standard Book Number: 0·914218·02·6 Library of Congress Catalog Card Number: 76-41508

The Graphic Tools and Production Aids Alone are Worth its Price.

Each Graphics Master 2 includes a 10" laminated plastic Line Gauge and Ruler for measuring inches, picas and centimeters; A pica/inch centering rule and scales for measuring type lines from agate to 17 point sizes. • The unique copyfitting system has a built-in , easy-to-use scale for fitting type to copy and copy to type that is simple, fast and accurate. • 18 pages of alphabet showings for more than 250 popular type faces . • Over 1,250 metal and

Professional Books are Tax Deductible.

phototype face listings for 16 different systems are cross-referenced with character counts for over 10,000 fonts . • A Type Weight Comparison Guide lets you compare, at a glance, 69 popular machine set type face paragraphs set both solid and leaded . • A Process Color Selector Guide with color combina-

lions and screen values for over 2,800 different colors printed on coated and uncoated papers.

Die-cut masks permit you to isolate any color. • A built-i n Proportional Scale gives dimensions and percentages for reducing or enlarging art and copy.

------------------· Mail order and make checks payable to : DEAN LEM ASSOCIATES, P.O. Box 25920, los Angeles, CA. 90025 Please send_ _ _ copies of Graphic Master 2 at $47 .50 per copy.

D Check or money order for $ is enclosed. Publisher pays all shipping and handling charges on orders within U.S.A. Orders outside U.S.A. add $5.00 per book. All orders payable in U.S. funds. In California add 6% Sales Tax. Charge to my D Visa D Master Charge Account . Add $3.00 per book for shipping and handling charges . Orders outside U.S.A., add $5.00.

Act. #

Expiration date_ _ _ _ __

D Purchase order enclosed. Add $3.00 per book for shipping and handling charges. Orders outside U.S.A. add $5.00 per book. No C.O.D.' s.

Note: Payment in full, credit card charge authorization or official company or institution purchase order must be received before any book can be shipped.

NAME TITLE _ _ _ _ _ _ __ " It can save you a lot of Turns ."

-Communication Arts Magazine

CO. orORG._ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ ADDRESS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ CITY _ _ _ _ _ _ _ _ _ _ STATE_ _ _ _ _ZIP _ _ __ __

Club News

Alan E. Caber, Mark English, Bernie Fuchs, Robert Heindel, Fred Otnes, Robert Peak, and their guests...

The Illustrators

Workshop

October 3-4 Columbus, Ohio

Meet Six of America 's greatest illustrat ors at t his special two-day (weekend) pr og ram . entit led The 11/ustrators & Designers Seminar and Workshop.

For inf ormation . w ri te : Co lu mbus Soc iety of Commun icating Arts 2910 Bryden Road Columbus. Ohio 43201 Attn: Jeff Stahle r Or call Randy Wax . 614 -486-3015.

180

Communication Arts July/ August 1981

Advertising, becomes first vice president; Karen York, The York Group, is second vice president; Carol Heath, Heath & Associates Advertising, is recording secretary; Debbie Hughes, Los Angeles Fonts, is corresponding secretary; Rita Weitzen, James B. Lansing Sound, is treasurer; and Thelda Mulligan, Sachs, Finley & Company, continues as assistant treasurer. Others elected to LAAW's board of directors are Beverly Berman, Alpha Graphix; Pat Carroll, Kubota Tractor Company; Nan Dayhoff, Park La Brea News; Cathy Morley Foster, Berkhemer & Kline; Carol Gurney, Dancer, Fitzgerald & Sample; Bonnie LeVine, Postal Instant Press; and Laura Warren, Ad Masters. lise Jouett, DeJouett Advertising, will remain on the board as immediate past president. LAAW, 2410 Beverly Boulevard, Suite 1, Los Angeles, California 90057.

SAN DIEGO

Officers of the San Diego Communicating Arts Group are: president John Oldenkamp, first vice president Calvin Woo, second vice president David Santiago, secretary Tim How, treasurer Chris Poisson. Committee members are: Ron VanBuskirk, Jacky Thompson, Lynne Reid and Nat Antler.

SDCA, 542 Fifth Avenue, San Diego, California 92101.

SEATTLE The following new officers have been elected by the board of directors of Seattle Women in Design: president is Leah Hall; vice presidents are Pat Hansen and Kathy Eitner; secretary is Paula Rees; treasurer is Joyce Boewe. They will serve a term of one year, beginning May 1. Also elected by the general membership are the following board members: Sara Anderson, Pat Hansen, Anni Leedy, Paula Rees and Kathy Spangler. Reelected for a second term were Kathy Eitner and Leah Hall. SWID, 2219 4th Avenue, Seattle, Washington 98121.

UCDA The eleventh annual University and College Designers Association Conference will be held at the Hilton Plaza Inn in Kansas City, Missouri, September 28 to October 1, 1981.

Speakers include Heather Cooper of Burns, Cooper, Hynes Limited, Toronto; Bruce Blackburn, Danne & Blackburn, New York; Jack O'Grady, O'Grady Graphics, Chicago; and Dr. John Fitzpatrick, The Menninger Foundation, Topeka, Kansas. A special feature will be a panel discussion on "The Role of Paper in the Design Process," by Susan Singer, sales promotion manager, with Hopper Cover and Text Papers, and Terry Sweeney, director of marketing, for Champion International Corporation. Various workshops will be presented by George Parker, vice-president for design, Hallmark Cards, Kansas City; Bill Yates, executive art director, The Meredith Corporation, Des Moines, Iowa; Bill Conradi, Laser Limited, Lawrence, Kansas; and UCDA professionals. More information is available from Warren Pray, conference chairman, Umberger Hall, Kansas State University, Manhattan, Kansas. Phone: (913) 532-5804.

CA back issues Some of the back issues are still available . They're all fairly recent because time has always managed to deplete our inventory.

JULIAUG, 1977 The ART Annual 1977 . . . . ...... .

There are several hundred extra copies of some of the issues in this recent period (1976 on), a hundred or less of others, and none of a few. That 's why we have to reserve the right to refund the money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment .

JAN/FEB , 1978 Arnold Saks . . W B. Park . . . Loucks Atelier .

Don Weller ... McCall 's Rockwell Christmas ..

Oregon Rainbow .

RitaSue Siegel opinion/ commentary ... Roots of Design . .$5

We pay the postage , second class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

MAY/JUN. 1978 Linda and Kit Hinrichs ... Robert Weaver ..

Barton-Gillet ... Egyptians/George Meinzinger . Charles Saxon ... The Colorpedia ... Amil Gargano . . .... $5

NOV/DEC, 1977 CA-77 . Annual Exhibition .

Issues not listed are no longer available.

SEP/OCT, 1976 Burns, Cooper, Donoahue , Fleming ... Heather Cooper ... John Morning . .. Jack O'Grady Galleries ... Paul Levy ... Reps: Chicago ... Jack Kapes ... Aiko . . . John Ball . .. Bill Rabin ..

Martin/Williams . . Baron Wolman : Vans . . ..... $5 Henry Steiner.

NOV/DEC, 1976 CA-76, Annual Exhibition .....

.$17

MAR/APR, 1977 Schumaker/Deur ... Robert Heindel ... Steven Jacobs .. . Clarence John Laughlin ... Public art for Palo Alto ... Brno Biennale ... Tom Varisco Polish Posters Kurt Klein opinion/ commentary . . . Illustrators workshop . .. . . .$5 MAY/JUN . 1977 Vance Jonson ... AI Parker .. . ASU Graphic Design Workshop ... Margaret Cusack ... Norman Perman . . . Cheryl Rossum ... Cole Henderson Drake ... Push Pin Graphic .......... $5

. .$10 . .$17

MAR/APR , 1978 Paul Davis ... Implement , Ltd .... Ciba-Geigy exhibit . .. Ron Anderson/Tom McElligott ... Art Kane . . Jann Church . . Willi Baum . . ... .$5

JUL/AUG, 1978 The ART Annual1978

.. .$10

SEP/OCT, 1978 Special issue on museum design , guest edited

by Nick Sidjakov and Jerry Berman .$5 NOV/DEC, 1978 CA-78 , Annual Exhibition .

. .$17

JAN/FEB, 1979 Isadore Seltzer .

Robert Overby .

Peter Rogers ... Sheldon Seidler .. . Westways .

William Accorsi Phil Marco Paul Rand. . .. $5 MAY/JUN, 1979 RVI Corp .... John Thompson ... Brian Harrod .

Lis I Dennis . . Lloyd Crider ... Cook & Shanosky . .. Crate & Barrel ... CSU Poster exhibition .. . ... $5 George Mack opinion/commentary .

SEP/OCT, 1979 Harald Sund ... Michael Vanderbyl . .. Robert Peak . . Bright & Agate ... Carmichael-Lynch.

Chicago Packing Design ... Aspen 79 ... Offices of Gregory Fossella Assoc ... . .......... $5

NOV/DEC, 1979 CA-79, Annual Exhibition .

. .$17

MAR/APR, 1980 Special issue on vanishing creatures featuring wildlife painting and photography .. . whale illustrations by Larry Foster, A Bestiary, endangered species of the communication arts ... etc ... $5 MAY/JUN , 1980 Hal Riney ... David Wilcox ... John Running .

Ariel Severino . . . Louis Grubb ... Woody Pirtle . . Landor Design Offices ... Nine ways to improve an ad .$5 JUL/AUG , 1980 The ART Annual1980 .. ....... . . . ..... $10 SEP/OCT, 1980 Polaroid design . .. Robert J. Shay. . Farrell Grehan ... Diana Graham . .. 1984 Olympics design presentation .. . Palo Alto design commu nity . . Exhibit design . . . How to Survive in the . ..... $5 Free Lance Jungle .

NOV/DEC, 1980 CA-80 , Annual Exhibition .

. .. $17

JAN/ FEB , 1981 Anthony Russell ... Dick Brown .. . Eric Meola.

Clarence Lee ... Jozef Sumichrast ... Exhibit design (2) Offices of Pentagram/New York . . .$5 MAR/APR, 1981 Lesniewicz/Navarre ... Gary Braasch ... Muir Cornelius Moore ... David Grove. . John Brown & Partners . . . Exhibit design (3) . .. Panel discussion printers/designers . . ... $5 MAY/JUN . 1981 Greg Paul Richard Leech Dennis Manarchy ... Ellen Shapiro ... Jerome Gould .

John Robinette ... Selling Your Graphic Design . .. ... $5 and Illustration .