marapr1987

COMMUNICATION ARTS MAGAZINE Editor and designer: Richard Coyne

VOL. 29, NO. 1, MARCWAPRIL 1987

Ex ecutive editor: Jean A. Coyne Associate editors/ designers: Patrick Coyne, Stephanie Steyer

Editor's Column ... . ... . . . . . . ... . ...... 8

A dvertising and production manager: Kurt Klein

Wendy Richmond ... . . . .. . ......... . .. 14 Barbara Gordon . . . . . . . . . . .· . . . . . . . . . . . . 16

Production: Scott Perry Administrative assistant: Sue Ann Rousseau

Kurt Klein ..... . ..... ... . . . . ..... . ... 22 Museum Design Competition ......... ... 28

Circulation manager: Nancy Hagemann

Levine, Huntley, Schmidt and Beaver .. . .. . . 44 Subscription: Vickie Baptista, Marie Garcia, Betty Willis

Traffic: William Rayburn Contributors: Tad Crawford, Byron Ferris, Mark Fulton, Barbara Gordon, Jim Johnston, Larry Klein, Marty Neumeier, Rhodes Patterson, Wendy Richmond, Mill Roseman, Dugald Stermer

Communication Arts 410 Sherman Avenue P. 0. Box 10300 Palo Alto, California 94303 Phone (415) 326-6040

Communication Arts Magazine (ISSN 0010-3519) is published eight times a year, January/February, March/April, May/June, July, August, September/ October, November, December, by Coyne & Blanchard , Inc., 410 Sherman Avenue, Palo Alto, CA 94306.

Copyright 1987 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

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No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

Jeffrey J. Smith . . .. . .. . .... . . . ... ... .. 56 Barbara Bordnick . . . . . . . . . . . . . . .. . . . . . . . 66 Sibley /Peteet ..... . . . ... . . . ........... 78 Car Emblems Raisons d'Etre ............. 88 Materials, available literature .......... . . . 98 Call for Entries CA-87 .. .. .. . . ..... .... 105 Book Reviews . . ..... . . . . . ....... ... . . 111 Clubs, Conferences, Seminars . . . . .... . .. 115

Cover design by Sibley/Peteet

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EDITOR'S COLUMN As I write this column, Jean and I have just returned from a seminar in Toronto, sponsored by a recently formed organization, The Agency Creative Directors' Association, the theme was "Who's doing the good stuff?" There was a qualification on the source of the "good stuff;' however.

It was from areas outside the major advertising centers of New York, Chicago, Los Angeles, London or Tokyo.

The speakers were Ron Anderson, Tom Monahan, Jack Vaughan and myself, and the audience was exposed to a quantity of creative advertising that bordered on overload.

Ron is president-Midwest of Bozell, Jacobs, Kenyon & Eckhardt, and he made a presentation of outstanding work from all of the fine agencies in Minneapolis. He smiled when the enthusiastic crowd applauded work of his competitors as well as his own. "I don't mind competition~' he said. "It forces all of us to keep doing betrer work~' He was a perfect selection for this because he was the primary instigator of the boom of creative advertising in Minneapolis that has won so many awards in all of the major shows, the number one city in the CA-86 Advertising Annual. He didn't say that, but it was documented in an article (CA Mar/Apr 1978) about the creative team of Ron Anderson and Tom McElligott.

In 1973, Knox Reeves and General Mills parted company.

In the upheaval that followed that disaster, Ron became a principal of Knox Reeves and used his position to change the direction of the agency. "We had good people~' he said in the article. "We were going to do good work. Period~' On that staff were McElligott, Nancy Rice, Sue Crolick and many others who have made major contributions to the quality of advertising in Minneapolis. Later, Knox Reeves was acquired by Bozell and Jacobs.

Awards have meant a lot to Anderson and McElligott.

"Awards not only tell you how well you're doing~' Tom said in the article, "but I think the awards annuals are the grad school of advertising. It's incredible how much we've learned from poring over those books~' One statement they made was prophetic. "Someday, who knows? Maybe New York ad people will study Minneapolis work the way we studied New York ads~' Tom Monahan is a principal and creative director of Leonard Monahan Saabye in Providence (CA Jan/Feb 1986).

His presentation showed examples of outstanding work from New England. One of his comments paralleled something Ron had said, that smaller accounts do not get a lesser quality of work. Some of his agency's best were for public service with little or no budget.

My role was to show examples of outstanding advertising from the rest of the U.S., excluding New York, Chicago, Los Angeles, Minneapolis and New England. Naturally, this took an enormous bite out of the available "good stutr,' but I found that I had more than enough and 8

Communication Arts March/Apri/1987

decided to eliminate print, which is better seen and read in our Annuals than on a screen, and confine my examples to radio and television.

Jack Vaughan is a principal of the agency and creative director of the Sydney office of The Campaign Palace.

He showed a reel of broadcast award winners from Australia and New Zealand before showing and discussing work from his agency, to frequent applause for the very good, often brilliant advertising.

The seminar closed with a showing of Toronto creative work. Each of the twenty-seven ACDA members had selected one example of print and one television commercial from the current work of their agency.

The seminar certainly produced evidence to support the fact that creativity has no relationship to geography.

Originally scheduled with a limit of 500, a late change to a larger theater was made to accommodate the additional people who wanted to attend. The Agency Creative Directors' Association is structured to accept only one creative director from an agency, the one responsible for the creative output of his or her agency. Dues are $1,000.

Judging from the response to their first seminar, the ACDA will have an impact on Toronto advertising.

D

The cover art for this issue was done by Sibley /Peteet.

"Since there seems to be a lot of interest in partnerships, as far as how and why they work or don't work (and it seemed in the interview that was one theme you were definitely going to discuss in the article)~' they wrote, "we assigned ourselves the problem of somehow suggesting 'partnership' in some illustrative or graphic form~ ' D

This issue begins Volume 29 of CA. Usually, in the first issue of a new volume, I've made an annual report to you, our readers, more or less confined to what has happened to the magazine during the past year. This time, I'd like to touch a broader subject, the change in this field that has happened in those 28 years. History can often be a source for evaluating the future. In many ways, today seems to have much in common with the period when CA started: impending technological change and a sense of the field being somewhat static, poised for change to happen.

We had reason to be conscious of how things were in 1958-59 because we were researching the feasibility of launching the magazine. Most of our information was negative. The odds against new magazines were great, most didn't last more than the first issue. Available lists for promotion purposes had only 3,000 names for designers and even less advertising agencies in the U.S. We were (continued on page 117)

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KEEPING UP WITH YouR CLIENTS Anyone who's involved with computers gets a lot of mail.

My mailbox is always stuffed, but I don't mind. I'm part of a direct mail information network, and there's usually something worth knowing about.

More typefaces. More alternate characters. More resolution. More sophisticated, built-in hyphenation dictionaries.

More control. Typographic standards will be maintained by virtue of a competitive marketplace.

A couple of months ago I got a direct mail piece from a company that makes page layout software for personal computers. The letter described their new product: a series of templates to be used with their program. The package, which costs $79, includes a workbook and twenty-one newsletter layouts on a disk. "All you have to do is place your text and graphics in pages already laid out by a group of professional designers~' The letter goes on to say that the templates help non-designers develop their design sense and skill to produce original work on their own.

You provide much more than visual advice for your clients.

You understand and you control their methods of production. Your clients don't know how to mark up type, specify stats, or make mechanicals.

I wanted to hear what other designers thought about this new product. I went to lunch with a friend who had cultivated an aversion to computers, and while we waited for our sandwiches I pulled out the envelope with the sample designs. At first he wouldn't even look. "I've heard about desktop publishing. It's just for publications that don't need quality typography." When I started to put away the envelope he said, "OK, OK, let's see~' His reaction went from smugness ("Look at that awful letterspacing and lousy rag right!") to bravado ("These designs are fine for people who can't afford to hire a designer. They're generic, safe, vanilla~') to fear ("But I do have a client who might use thae') to frustration ("Damn. Think about the huge return on investment this company will make from twenty-one simple design variations. It's a great idea. Why didn't I think ofthae').

When his sandwich arrived he said he wasn't hungry.

A lot of designers boycott computers in an effort to protect fine typography. They say that tradition will disappear, erased from history like a Russian diplomat. In every new typesetting technology-from linotype to laser type-the finer points of character shape, kerning, letterspacing, and typeface selection are initially sacrificed in favor of getting the equipment to market. But the vast body of typographic knowledge that has been collected over generations is well-documented. The problems of computer-aided typesetting are well-documented. If you can articulate a problem, then it is practically solved.

In the past year, producers of page layout programs have added hundreds of new features. More kerning pairs.

14 Communication Arts March/April 1987

Most of the designers who don't have a computer have clients who do. Graphic designers are not the target audience for companies that develop these sophisticated computer-aided publishing products; people who own computers are. You're the one who's supposed to be advising your clients about producing printed materials, but now software companies are telling them how to do production themselves.

Are your clients better informed about production than you are?

I haven't seen my friend since our lunch a few months ago. He called recently to tell me what he'd been up to.

In lieu of money for a job, he asked his biggest client to supply him with a system identical to their own. Then he designed a corporate identity system-a canned format-that took advantage of the features of their software. Now his client's staff is starting to take over some of the production work that he used to do. But he hasn't had time to worry about that: word travels, and he's getting work from other companies who are eager to maximize the use of their computers. He's approaching another client that uses a full color workstation, so that he can design the color palette, typography and layout for their slide presentations. As he learns about more computer graphic systems, he augments his repertoire of advice for other clients. His name must be on fifty mailing lists.

When I kidded him about his 180 degree turnaround, he responded in his typical manner. "I'm doing what I've always done. I'm providing my clients with the most efficient and creative design and production solutions~' The idea that computers will replace graphic designers is silly. Computers have generated more design jobs than they could possibly replace. Designers won't lose a job to a computer. They'll lose it the way they always have: to another designer who's a step ahead.

Have you checked your mailbox today?

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PORTFOLIO MANAGEMENT No, I'm not talking about your investment portfolio, I'm talking about the most important asset and selling tool that you have as a professional free-lancer: your presentation portfolio. It is the public self that you are projecting to the world.

Ifl talk about portfolios a great deal, it's because I've discovered, it is always, ultimately, at the core of why a free-lancer succeeds or fails in this business. It must be managed. It cannot be left to chance. Since not all commercial assignments are artistically interesting, of the right subject matter or show the artist's true range of talent, today's free-lancer must have a good sense of what the markets are buying and manage their portfolios accordingly.

So how do you find out what the markets are buying and how to plan and manage your portfolio? Free-lancers are constantly asking me this question . Should I be looking at the current shows and annuals?

The shows and annuals can be very helpful , but bear in mind that a lot of pieces can be several years old. They can also reflect the tastes and politics of the particular organization and juries that are selecting them, and may or may not give you an indication of what the commercial marketplace is buying here and now.

I always advise free-lancers to look first at the current television commercials. They are the here and now of the advertising world. They give you an idea of the types and ages of people who should be in your pieces. You 'll notice that the " slice of life:' (couples, family scenes, etc.) is still with us. You 'll also notice in the television commercial world, with the exception of loose dentures and indigestion, life is pretty good. Families are intact, couples are loving, there are extended families , everyone seems to be employed, even the pets are well groomed and clever.

These are the kinds of people and situations advertisers like to see in their ads.

If a product is involved, it's always " sexy." A computer chip is in a futuristic sky. Beverages are glistening in frosted glasses, if they are to be served cold, or steaming in front of a fireplace in a country winter scene, if they are to be served hot.

On the major editorial side of life (one exception is the news magazine) you will also notice this same wholesomeness of life. The fashion pages of the consumer magazines will give the free-lancer a good idea of what age and types to cast in your pieces if you 're directing your work towards the publication markets.

The ads in business magazines will give you good examples of what kinds and types of work are being used in the industrial area. You ' ll notice things like montages, when a company wants to emphasize their diversity. There are 16

Communication Arts March/Apri/1987

a lot of " industrial slices oflife" -people in work situations.

Be aware of ages and types of people. Products again are " sexy." A transistor that barely fits on the top of a little finger and looks boring in person, will be enlarged greater than life in an exciting atmosphere that emphasizes its features .

If a label or trade name is involved on the product it is very readable and usually looks better in the ad than in real life.

The pharmaceutical area (a very good print area) usually emphasizes the positive aspects of their products. It is not unusual, again, to see the " slice oflife" e.g. , we find attractive couples engaged in leisure time activities, relaxed because they have their family planning situation under control with the client's products. Scenes of people who are working, marrying, having children, enjoying physical activities, because, thanks to the client's products, they have their hypertension, epilepsy, allergy, depression, etc. under control. And again, the capsules, pills, packages, when they are used, are " sexy," " bigger than life" (and not in a size sense).

These are all good sources to get a wide variety of subject matter for your portfolio.

In addition to the purely commercial samples, every freelancer should also be working on samples that are not as obviously commercial, but are very personal, strictly products of his or her own creativity. It is critical that every portfolio have a correct mixture of purely commercial pieces combined with creative pieces that reflect the freelancer's own vision.

A few other words on portfolio management: Working on your portfolio, without benefit of assignment, on you r own time, at your own expense, after a busy day of doing jobs for pay, is probably the hardest thing you will ever have to do; and I find most free-lancers resist it ferociousl y.

I have also found , that it is probably the surest way of keeping business humming, getting out of a slump, switching career directions, getting publicity and attention; and often is the best source of material for your own advertising and promotion.

One last word, not every piece you do will be a winner.

No one bats a thousand in any area, no matter how brilliant or gifted they may be. You may go to a great deal of time and effort only to produce a product that is poor and unusable. All you can do is to start over. Ultimately, you 'll deliver. Managing your portfolio will never end for the truly successful free-lancer. Some pieces you do will be classics and will probably still be in your portfolio ten years from now. But in the successful, selling portfolio, there will be a constant change and flow that reflects the changes and tastes in the marketplace as well as the growth and maturing of the free-lancers ' talents and abilities.

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Try to get six or more people together. If that's impossible, try photographing them.

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Kurt Klein

PASTE-UP. A NYBODY CAN Do THAT! Yeah, but not everybody does it really well. It has always surprised me, and still does, to see the condition of some artwork submitted to printers and separators. Not just things being misaligned or sloppy but certain practices that cause problems, add unnecessary expense or take a lot longer than they should have.

One of the first things that comes to mind is the vast array of materials that paste-up is done on.

For presentations, a little substance adds an intangible quality that helps make a client feel good about what they have paid for. Lightweight stuff is just too flimsy.

But, be careful as to how thick your boards are. Crescent Medium Weight, or equivalent, I think, is as heavy as is ever needed. The main reason to stay away from overweight material is that some camera operators may not focus your work by eye. The 100% setting on the copy camera is calculated from the lens to the surface of the copy board. If your artwork is 1/s~' or thicker, it is going to be slightly out of focus unless the camera operator adjusts it by eye through the ground glass where the film is held. Don't count on that happening.

Another thing that is seen a lot is paste-up done in printer spreads (e.g., a sixteen-page form would have page 16 on the left and page 1 on the right. Reader spreads are done just the way you would read the piece, page 2-3 , 4-5, etc.).

Never do your artwork in printer spreads. Unless, of course, it is a simple four-page folder or six or eight page gatefold piece.

First, even if you do know the folding sequence of the form it can still get confusing. It is also more difficult when pasting up any kind of cross-over because half of the cross-over will be on one board and the other half will be on another. You are just asking for more opportunities to make mistakes than is necessary. You also waste time figuring it all out when it is really part of the printer's responsibility.

The other reason, and more important, is the fact that the margins will change depending on the kind of form you are running, the kind of binding you are using and the weight of the paper you are printing on. If you don't allow for these various margins on your paste-up, the printer will have to cut the film apart and readjust it.

So, whatever effort has been put into doing the paste-up in printer spreads has been wasted anyway. I know some of you may have attended a seminar for paste-up where you learned a neat little trick for figuring out the proper margins by use of a paper dummy and a pin. But, it wouldn't be very neat to have your job all printed and find out, in the bindery, that something is not lining up, 22

Communication Arts March/Apri/1987

or being trimmed off and it is your fault because the printer followed your artwork.

Don't ask for trouble. Let the printer do the imposition and take the responsibility for it.

Another practice that I do not recommend is the use of wax for paste-up of final art boards. Why not wax? It certainly does have its place but I would give some thought to a few things before using it all the time.

You may have heard this horror story before. A printing salesperson picks up the art boards for an annual report.

It is mid August in Dallas (or Phoenix or Los Angeles) and it is HOT! The salesperson has another stop to make on the way back to the plant that lasts for several hours. During this time the temperature inside the car approaches that which could fuse metal, let alone melt wax. Of course, everything slips. It may sound farfetched but it is a true story and it is scary enough to give it some thought.

The other reason I don't like wax was learned the hard way. I was doing an annual report (I swear, in over twenty years of doing production, annual reports have provided at least half of my " learning" experiences) that had a lot of charts and graphs that were going to be made up of several screen tints. I decided to cut overlays (another mistake) for the different colors using a wax backed material. I was careful to change blades frequently and had beautiful clean edges and sharp corners on everything. When the proofs came back from the printer it looked as though I had done them all with pinking shears.

In order to get wax to stay in place you must burnish it. When you burnish it, wax squishes out around the edges. Even though I had cleaned up the art with tissue and thinner there was still a bit of wax around the edge of each cut that was not obvious to the naked eye. But, you can not get anything past a copy camera. It saw the wax and duly recorded it on film , making for some very ragged edges on little charts and graphs that had to fit perfectly. So, I redid the art-without wax.

Which brings me back to the overlays.

Never do overlays if you can keyline it on the base art.

Use a ruling pen (or tech pen) and keyline the art with hairline rules. The printer will then paint in, or paint out, on negatives, or positives, to achieve the correct film for the various colors or tints. The register from a single piece of art is exact and the hairline rules provide just enough width for overlap of the colors to create a perfect fit when printing. Your first overlay is also the first opportunity for misregistration. And how many times have you seen, or done, artwork with four or more overlays?

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KURT KLEIN

Additionally, the material we normally use for making overlays is not dimensionally stable. Most of it will shrink or stretch. Some of it rather quickly and quite a lot. If you absolutely must do an overlay have it shot, right away, on dimensionally stable film and use the film as your overlay.

One of the things that used to drive me bonkers was cutting compasses. Not the compass itself but the blades that came with them. They were nothing like a good old #11 X-ACTO blade. Also, inking compasses were next to useless for doing fine lines. What I discovered was that the inking attachment could be rigged up to hold a #11 blade and thereby make one of the best cutting compasses you could hope for. The adjusting screw of the inking unit can be removed and placed back through the hole at the top of the # 11 blade which is placed inside the ink slot. After tightening it down, add some tape above and below the adjusting screw to hold the blade from slipping.

That of course leaves you with no inking compass even though it didn't work very well anyway. That was solved with the dividers which I rarely used. Simply remove the point from one leg of the dividers and wrap a ruling pen (or tech pen) to it. (Some new ones come with adapters.) You will get much better rules and find it easier to use.

I also had an old nail file that turned out to be a great

24

Communication Arts March/Apri/1987

scoring tool when doing comps for packaging projects.

Not only did it score better than anything else but the file also was great for smoothing off rough edges.

Always look for the little thing that will give you a bit of an advantage.

If something doesn't work right, look for a way to improve it. If it works pretty well, maybe with a little adjustment it could be great. Our tools, as in any craft, are the key to the quality of our product. It makes my teeth ache to see paste-up that has been keylined with a ballpoint pen.

I have always leveled a lot of criticism at designers for their lack of production knowledge but there are also far too many production people who do not take their craft as seriously as they should. It is one thing to do a paste-up. It is an entirely different thing to do a PIECE OF ART. And that is what our final artwork should be whenever it is going to leave our offices. Particularly when it is the last thing a client sees before the printed piece. It is the end product. It is the culmination of all the design, writing, photography and illustration that your co-workers have sweated over and your client has paid dearly for. Don't just "paste it up~' When I first started in this business, my brother Larry used to say to me, "If it's worth doing, then it's worth doing righe' Or, he would just smile and say, "Do whatever you want. It's your career!"

-K.S.K.

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INTE RNATIQNAL ~

MUSEUM DESIGN COMPETITION The Art Museum Association of America is a non-profit organization based in San Francisco. They bring together a variety of institutions sharing a common interest in the visual arts for cooperative interchange and mutual benefit.

"Funding has also changed drastically for museums. It used to be that more money came from government support.

Now, that museums have to look to corporations for support, they must build their presence in the community."

For the past sixteen years, they have sponsored a design competition. The main purpose is to promote and acknowledge design excellence in publications and other printed materials produced by and for the art museum community.

The competition encourages museums to look at other institutions being recognized for the good design they are producing.

The winning entries this year exemplify these statements.

Of950 total entries, the AMAA's largest show to date, 160 were chosen. The judges were Massimo Vignelli, president ofVignelli Associates, New York and Susan Rossen, executive director of publications, The Art Institute of Chicago.

Today, museums are discovering the same thing that major corporations have known for years. There is monetary potential in marketing their institutions. They are acknowledging the necessity to present not only an image for the museum, but images for their different activities. Museums are recognizing the need for good design.

Myrna Smoot, executive director of the Art Museum Association of America, discussed the noticeable improvements in the quality of publications being produced by museums: "Museums have very limited resources. They realize that publications are not necessarily an area in which just to spend money. It is important that books and catalogs be marketable and reflect the image of the museum. Museums have become more demanding of the designers' talents.

"Museum shops have also exerted pressure. That is a change.

Museum shops previously had been in a position of taking what they could get. Now, because of the need and potential for revenue, museums are taking an interest to assure that the items produced for sale are at the highest level of quality and can stand side-by-side with publications coming from anywhere.

"The proliferation of co-publishing arrangements with commercial publishers has raised the consciousness of the museum directors about what is commercially viable as well as what is beautifully done at an aesthetic level:' According to Maureen Keefe, museum services manager of the AMAA, there have been some very noticeable improvements in the quality of work entered in the last few years.

"When the competition started, much of what we saw coming from museums was black and white, more along a scholarly level. Museums weren't doing publications that really appealed to their audiences. They didn't try to make their audiences comfortable with the exhibitions.

28

Communication Arts March/Apri/1987

There were no specific parameters to the selection of the show. The competition has been set up to explore design concepts and to determine if the work complements the institution and the subject.

Entries this year were judged in the following categories: catalogs and books, calendars of events and newsletters, programs, brochures and guides, logos and stationery systems, invitations and announcements, scholarly journals, annual reports, posters, development and promotional materials and other printed products. Special consideration was also given to low-budget publications.

The call for entries goes to about 1500 art museums, university galleries and art centers in the U.S. and Canada. It is also sent to the AlGA membership. 1985 was the first year the call for entries was sent directly to graphic designers.

"We were really impressed with the response we received from designers~' Maureen said. "Many museum budgets can't justify the expense of entering a show. But if the designer enters, that's fine. Everyone still gets recognition.

"The design competition benefits the museums' staff as well.

Museum boards have traditionally taken the attitude of, 'We shouldn't have to market ourselves ~ But, in fact, when a museum does receive an award, the staff can go to their boards and say, 'Look. We are a leader in this area. That's very important to our reputation within the museum community, beyond just the local community we are serving~ This often allows for better budgets ~' The Art Museum Association of America was founded in 1921. The original organization was based in Seattle, Washington and started as the Western Association of Art Museums, WAAM. It was established to provide an organization that could combine the resources of museums in a regional area. It has since expanded to an international level.

Membership is open to all not-for-profit art museums (both public and private), university galleries, community art centers and other visual arts organizations.

Membership dues and program revenues provide the AMAA's principal income. Additional support is provided by grants from federal and state agencies and by contributions from a National Partnership of corporations, foundations and individuals.

According to Myrna, the AMAA's mission is threefold, "First, to bring high quality art to the public through our member museums. Second, to assist in the efficient and effective management and administration of museums. Our training programs, workshops and seminars address that issue. Third, to establish communications and collaboration among museums. Our design awards and some of our other services integrate into the third part. Because their resources are limited, we assist museums in utilizing them in the most effective way. As a consortium of five-hundred museums, there are often things that can be done that an individual museum couldn't do on its own~' One of the ways the AMAA assists their members is with the organization and circulation of art exhibitions.

Each year, through the Traveling Exhibition Program, the AMAA circulates 30 to 35 exhibitions, which range in content from historical to contemporary art. A portion are within the budgets and security requirements of the smaller institutions. The touring exhibitions are less expensive than independent productions because the costs are shared by a number of organizations.

Most of these exhibitions are organized by AMAA member museums or developed from museum collections. It is advantageous to the originating institution to travel the exhibition. It ensures important national exposure.

Exhibitions usually tour for two to three years. Each year the AMAA adds ten to fifteen new exhibitions. These are chosen from submitted proposals. They are selected on the basis of their quality, cost and potential interest to members.

Each program that the AMAA sponsors has been added as need has been expressed in the field.

About five years ago, the AMAA recognized that computer technology was becoming crucial to the basic existence of museums. They worked closely with a team of museum .

Call for Entries for the Art Museum Association of America's 16th Annual Design Competition. Michael Mabry, designer ; Michael Mabry Design, design firm.

Poster for Alumni Exhibit, Baxter Gallery, Portland School of Art, Portland, Maine. Oscar Fernandez, designer.

29

MusEuM D EsiGN CoMPETITION

professionals and computer consultants to design software specifications and an affordable hardware solution to meet computerization needs. ARTIS: The Computerized Information System for Museums includes three custom software components: fund accounting, membership and development and collections management. These can be used independently or as an integrated system.

Smaller institutions have to be especially creative in presenting themselves to their community. There are programs that the AMAA offers its members that accommodate small- to medium-sized museums. One is the Visiting Specialist Program. Institutions can request consultation with an outside specialist and the AMAA will provide up to 50% of the cost. The AMAA will help in determining the appropriate consultant and in evaluating the progress.

Some of the ways consultants assist museums are in identifying who their audiences should be, developing and implementing full marketing and membership plans, computerization and financial management. The AMAA also offers training programs for middle- and upper-level museum management.

Some interesting changes are occuring in the content of museums. Maureen explains, " One is seeing more specialized museums. For instance, here in the Bay Area, there is the Mexican Museum, the Museo Italiano Americana, the African American Museum, the Rosicrucian Egyptian Museum . . . These museums are able to attract specific audiences. This also dictates the design and image of the museum~ ' In looking through the back pages of most of the museum publications, one finds, in the lists of sponsors, large corporations, community businesses and private individuals.

Museums are recognizing a definite need to compete with business in obtaining monies and funding to support their programs. Museums have seen that high quality design assists in their overall prestige, presentation and in their potential for earnings.

-Stephanie Steyer

Invitation fo r The Southwest Museum, Los Angeles. Josh Freeman, creative di rector; Vickie Sawyer, art director ; Jerry Price, designer ; Josh Freeman/Associates, des ign firm.

Brochure produced by Allie d Arts of Seattle to increase awareness of Seattle's terra-cotta architecture. W. Joseph Gagnon, art director ; W. Joseph Gag non, Carla Miller, Carol Davidson, designers; W. Joseph Gagnon Design Associates, design fi rm.

30

Communication A rts March/Apri/1987

B.

P r it e c a : a n d M ovie

t

h e

H o use

R. F McCann

CourtayoiR F.McCMIIl.Architect An«l«:tiCIJnd•~""•t)'l&t.he-• . ~to.SfoMINSont"f.

. --...~-'- ..~.... --·· ~

-·-"-

-·

- ''~cc--.,.-=..,)~----=--~-

~/J ~~r:~ -~~· ~·:.l:

~. r~~~ ! JU:~

8 MMru. Pnt.,;._ Archlt.ct. c 1915 TIN composltJOit of ter~on•t.c~s proved"'

1KttobeMoppot1urwtyhNPrit«:•toindulgefn .bwlrNsltMJowiJndtNrMmw~ t•tiOfiMHitonulpt

fHOPOrlion•onotJNrwr.eR.tbuikling.surt.c••

ll

One of the primary building types utilizing terra-cotta construction in the early twentieth century was the theater.

Numerous and decoratively significant examples were built throughout Puget Sound. Most have long since fallen to redevelopment. but three of these single-purpose houses still remain : Seattle's Coliseum and Paramount Theaters and the Pantages in Tacoma .

They were all designed by one of America's renowned theater architects, B. Marcus Priteca. An eclectic and experimental stylist. he was responsible for more than forty terra-cotta theaters throughout the United States.

Pnteca's c lassical turn-of-the-can· tury architectural educat1on 1n Europe predisposed h1m to stone as the material of chotce. Permanent and main· tenance free. stone was the material of trad1t1on . However. upon returning home. Priteca was confronted by the highly mechanized. accelerated con· struction processes underway in the Amenca of the 1920s. as well as by the limited·term investment policies of American developers. Terra-cotta. not stone. matched their processes and their schedules. Thus nearly all the theater buildings he designed in a fifty-year career that began in 1910 were characterized by his use of terracotta and by his inclination for histortc European styles.

Three-quarters of this theater wack was commisstoned by the Pantages theater, a chain located in the Western states and identified by its theaters' monochromatic white-to-beige palette. whiCh is 9\lldent today on the crniseum.

Other terra-cotta projects include the polychromatic Natatorium and a pair of dark unglazed movie palaces : the Orpheum. which once stood on the Westin Hotel site. and the still extant Paramount.

Priteca's terra-cotta adaptations of classical architecture defined his personal design style. In the Coliseum he used terra-cotta to form a neo-classical cornice composition . Overhanging the building line, this cornice incorporated gutters, rain leaders and electrical lighting. Part of the interest this material held for Priteca was that it allowed him to design exteriors with customized molded units. The plasticity of it permitted him to appliqu~ the name of the theater in relief onto the face of the bu ilding . Similar techniques encouraged individual and creattve surface treat· ments for the adjustment of proportions and a facade ornamentation that ranged from the Coliseum's Italian urns to French nymphs and Greek acanthus leaves. Moldings. spindles and spires characteristic of the Plateresque Period in Spanish architectural design are also to be found on his theaters .

Priteca's use of terra·cotta as a substitute for stone construction was undertaken with the knowledge of its special maintenance and moisture requirements. For this reason he provided specific instructions at the completion of each project in order that the owner could follow a maintenance program and undertake methods for clean ing to insure the longevity of the terracotta surface. The Coliseum in Seattle at Fifth and Pike has the only remaining cornk:e overhang of its style and size on the West Coast. Structural tests have indicated that this terra-cotta construe· tion is stronger and far less susceptible to erosion than was the case with most other surviving cornices. Interim maintenance operat1ons on the cornice in 1978 involved the removal of one tile unit and subsequent examination revealed that reinforcing steel bars and ties were used as redundant fastenings .

Stonelike key slots between the inter·

Colis•um ThHt•r fc•t 60} 8. M•rcus Prllec•. ArcM«:t. c 1916 Pnt«:•'sterr.-cott•«Mpt•tJonsofdnsN:.!•rchit«:tu,.defiMdltis~on.!designstyfe

32

31

MusEUM DESIGN CoMPETITION

THE AGE Of THE Tim~ ~~rn~TI MOVIE PALACE ~~rnTirnrn~ 1913 ·1932 ~~~ Exhibition guide for The Age of the Movie Palace, Hudson River Museum, Yonkers, New York.

John De Francesco, Joanne DeLuca, art directors; Malina Korologos, designer; De Francesco & De Luca, Inc., design firm.

Shopping bags reflect the architecture of the new Los Angeles County Museum of Art. Paula Yamasaki, art director; Katherine Lam, Tricia Rauen, designers; Patrick SooHoo Designers, design firm.

Catalog for an exhibition of textile artist, Jan Groth at the Solomon R. Guggenheim Museum, New York.

Malcolm Grear Designers, Inc., Providence, R.I., design firm.

Capital campaign brochure for the International Museum of Photography at George Eastman House, Rochester, New York. Robert Meyer, art director; John Dunn, graphic designer; Robert Meyer Design, Inc., design firm .

Exhibition brochure of contemporary American folk art sponsored by Mid-America Arts Alliance, Kansas City. John Muller, art director; Mark Sackett, Patrice Eilts, designers; John Muller & Company, design firm.

32

Communication Arts March/Apri/1987

.....,.,,,..,

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33

34

Communication Arts March/April 1987

MUSEUM DESIGN COMPETITION

Postcard for opening reception of The Fabric Workshop, Goldie Paley Gallery, Moore College of Art, Philadelphia.

Elsa Weiner Longhauser, art director; William Longhauser, designer; William Longhauser Design , design firm.

Poster for the Museum of International Folk Art, Santa Fe, New Mexico. James Miho, art director; Michael Motley, designer; Museum of International Folk Art, design staff.

Exhibition catalog of the work of George Cruikshank at the Worcester Art Museum, Worcester, Massachusetts.

Anne P. Gibson, art director; Steve Logowitz, designer; Logowitz +Moore Design Associates, design firm.

£~""""""•"'•'-." •--""" three to four times a year at Buckingham House

(now Palace), were eagerly sought by everyone who could claim aristocratic lineage. This satirical print depicts one of the last such evenings given by Queen Charlotte, wife of George Ill. Such thronging crowds attended that Cruikshank depicts one lady's train being torn away, and another lady pinioned by a gentleman's sword. The rolling rhythm of bodies draws our attention to the incongruous image of Queen Cbadotte lifted off her feet and held tightly in the doorway by a belly as ample as her own.

Nevertheless, her weight bears down through the point of one toe into her partner's swollen gouty foot. The queen was always portrayed in this rolypoly fashion by Cruikshank. The other men and women are more typical of his style: rounded bosoms, wasp waists, spindly legs.

a ln<O!Ovmien<•• of4 C7'011J<Ud Dmwi719 Room, 6 May 1818

• 16.

• 17 •

35

MusEUM DESIGN CoMPETITION

Exhibition poster for Jackson Pollack, Fort Worth Art Museum, Fort Worth, Texas.

Vicki Whistler, designer; Fort Worth Museum, design department.

Exhibition catalog for The Shin'enkan Collection, Los Angeles County Museum of Art. Deenie Yudell , designer; Los Angeles County Museum, design department.

-!'~Ill/~

•

The Fort Worth Art Museum

36

Communication Arts March/Apri/1987

Rimpa School

Rimpa painting is perhaps

theme s, such as incidents

the fmcst expression of the

from the epic Tal~ of Gtnji,

Japanese genius for deco ·

which provided much of the

rativc style. Its viv id color,

subject matter of early Rimpa

abstract composition, and

painting.

lavish usc of precious mate-

SOtatsu revived the native

rials combine to create works

tradition of painting and

that are a delight to the eye.

adapted it to a larger scale by

Although Rimpa literaUy means " KOrin School,"

simplifying and 1hstracting earlier exprcsslons of

today the term rders to the school of painting and

the tradition . SOtatsu and his school also painted

other arts that was founded by Tawaraya SOtatsu (fl.

(1558-1637), revived by Ogata Kerin (1658-1716),

subjects from naiUre (Poppy Flowers, Thistlts, and Chintst Milk Vttchts , plate 15 , and Bush Clovtr, P•mp•s Gr•ss. and Chrys.nthtmums, plate 16)

and further developed in Edo (pi"<S<'nt-day Tokyo )

based on a keen observation of flowers and other

1600-40) and his .contemporary Hon 'ami KOc:tsu

by Sakai Hoitsu (1761-1828) and his student

plants. Theseworksshowamasteryofthepreferred

Suzuki Kiitsu (1796-1858) .

Rimpa techniques of avoiding outline and produc·

From the beginning, Rimpa School arcists rc -

ing a soft blurring of colors by dropping ink or color

ccived patronage from the im~rial court and the

onto wet surfaces (plate 15) and of d e licate

wealthy me rchant class of Kyoro. The merchant

brushwork creating a tableau of the utmost refine-

class was largely responsible for restoring Kyoto

ment (plate 16).

after the near-total devastation of the city in the

KOrin, the next great figure in the Rimpa tndi-

Onin War ( 1467 -77). In the political vacuum of the

tion , studied the work of SOtatsu and developed a

time the proud Kyoto merchants became a strong

~nsc of abstract design and pattern with which he

economic and cultural force. As the merchant class

produced works of stunning power. H e in turn

grew more powerful. its members became interested

greatly influenced Nakamura H &hU (fl. late 18th·

in traditional arts and literature, and it was classical

early 19th ctntury), whose surviving painting ,

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f.Khi))I•)))Oan

37

MUSEUM DESIGN COMPETITION

o.dM att.rnpl8d to redefine the rn«<ll VllluMof. ~which,- they - I t , hiMIIod I t s - of .-n~llt1o.

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38

Communication Arts March/Apri/1987

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Exh ibition catalog of Contemporary American DADA, Henry Art Gallery, University of Wash ington, Seattle.

Douglas Wadden , art d irector/designer ; Joseph Newland , editor.

One of a series of posters designed for the exhibition of Impressionists painters, M. H. de Young Memorial Museum , San Francisco. Ron Rick, art director; Ron Rick, Holly Hudson, designers; M. H. de Young Museum , design department Catalog for the "Aesthetics of African Art" exhibition at the Center for Afri can Art, New York. Susan Vogel , art director; Linda Florio, designer ; Center for African Art, design department

THE NE W PAINTING IMPRESSIONISM 1874 -1886

lines and punishments, while others show the consequencn nf bree~king the rules. Masks used for policinl(. for example, may be given ct form th<tt ddiberatc:ly breaks the accepted canons uf lx-auty to awe and in tim id:ttc the beho lder. While some m:.asks (No. 62) look as if they were wild ly h<u.:kcd and violently cut, this is of course <1 C'.tre full y calcu lated effect.

Some of these "ugly" sculptures arc tolorcd du ll bl:.tck, or em~ made to look dirty. The artilt's skill in creating these wnrk.s is judged by locC~~I critics whu apply criteria spccilic to them (Cole 19H:l. p. ltU; Bor-

gmi 1982, p. 8).

An artist who commands good workmcuuhip has obviously mastered adequate representation-his work will look like others _of ilS category, and its parts will be recogniz<lblc. Jacob Epst~in who one~ owned ma ny of the works shown her~ (1963, p. H7) made an astute observation about the re presentational intent of most African an: " In much of the work there is great amttomical truth to ~ fou nd, extreme· ly simplified. <tnd often exp~ssed archiu:ctur.tlly."

He goes on to propose that African art should influ e nce W~stern anisu by sugg~sting new ways of interpreting nature.

African a rtisu r<~rely depict nature' in Epstein's ~nse ; they seldom ponray real ~p i e or rea l a ni mals, but n .thet ideas about rea lity that are expressed through ~ferencc to the visible world . Physical f~atures of humans and a nimotls a~ sometimes · combined to make statements about the nature of spirits. A Samana artist explained : "The Kono mask is made tO look like an animal, but it is not an animal. It is a secret" (McNaughton 1979, p. iii). Scu lptures may stand for immate rial spiritJ withou t cor~­ spondi ng to their appearance. Jo"ew human figures or masks are ponn.i ts , or eve n idealized likenesses of living people. Scu lptures-however naturalistic-are more likely to repreu-nt a concept or cluster of concepts about womanhood a nd increase (No. I , p. 17), clairvoya nce and leadership (No. 58), or power, for example. It would be a mistake to see these images as l iter<~l au~mpts. to imitate nature. African sculpture is thus the result of a highly intellectual and abstract proc~ss of tnnslating ideas, conccpu, and values into physical form.

Beyond good workma nship, which 'is taken for granted in works of high quality, what other characteristics we1·e important to the artisu and their patrons? Field studies of the aesthetic cri teria a pplied to wor ks of an have been cond ucted in many parts of Africa . A wealth of data has come to light, gathe red from , among other things, eval uations of individual wor ks both by those who created them and those who used them . Broad si m i l ariti~s in the fi ndings suggest that th ~ re is a shared basis fo r aesthetic jud gementJ (Vogel 1979). The studies focused on single ~thnic groups and did n(){ explor~ similarities among them; my emphasis here, how~ver, is on those very simi l ari t i~s . because t h~y point the way loward the definition of an Afdcan aesthelic.

39

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40

Communication Arts March/Apri/1987

MusEuM DESIGN CoMPETITION

Exhibition brochure on the art of Barbara Kruger, Krannert Art Museum, University of Illinois, Champaign . Ann Tyler, art director; Ann Tyler, Dolores Wilber, designers; Ann Tyler Design, design firm.

Fund-raising brochure for the San Jose Museum of Art, San Jose, California.

Michael Mabry, art director; Michael Mabry, May Liang, designers; Michael Mabry Design, design firm.

Exhibition book on the photographs of Julia Margaret Cameron for the J. Paul Getty Museum, Malibu, California.

Patrick Dooley, art director/designer; J. Paul Getty Museum, design department.

Oskar Schlemmer exhibition poster, San Diego Museum of Art. David Hewitt, project director; Deena Blaylock, designer; San Diego Museum of Art, design department.

Membership brochure for the Craft and Folk Art Museum, Los Angeles. Gerry Rosentswieg, Patrick Ela, art directors; Gerry Rosentswieg, designer; The Graphics Studio, design firm.

41

MusEuM DESIGN CoMPETITION

Exhibition book which highlights eighty-one paintings and sculptures from the National Museum of American Art, Washington, D.C. Gaye L. Brown, art director; Derek Birdsall, graphic designer; National Museum of American Art, design department.

Design Quarterly issue on Wolfgang Weingart and Armin Hofmann: Basle School of Design. The designers share the 40 pages, a cover and twenty pages for each. By turning the magazine over, it is in the correct position to read each article.

Published by the Walker Art Center, Minneapolis and Massachusetts Institute of Technology. Lorraine Ferguson , designer; Mildred Friedman, editor.

40 ~lana Q;tkey Dc~wing ( 1845- 192 7) GardtlftlfM1171895

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rcmarbble today. When compared to French Roralstilllifes of the same tlmt', th<:y appc=:u strikingly ongmal. Whereas Monct,Fantin.J....atcx.u, Renoir,;~ndcven the fantasy-prone Odi1on Redon were all influenced by the still-hfe tradition of the kventttnth<enrury Dutch masters, Dewing rejected that traditionuncquivocally.Tohermind,thecareful:arr.mgement ofd,lferentspccicsofRowersinava~v.· asanalfronttonature

andtheorganic\'italityofftowers.

Gm-dnt"' May is a comer of htr garden seen in blooming profusion . The hands-and-knttt pttspttnve a ;a gardener, wnh no sky or horizon, rhru.su us into the Row~rs' midst to expcncnc~ thar luxurianc~ first-hand. In the notou.s massing of rosn and t1ltmg carnations, we fed the wafting of a1r and the ruggmg of mrwmed st~m.s and unseen ~·ecd .

The low, dark. green hedge that fills the bottom right foreground parrly establishes a ''icwpoint. The bmding camation.smcwetheeyeacrossrhccm•astothedenscclurch ofrosesm the topk:frcomer.In thecc:nrer,benearhaqUiet garhenng of pmk and white roses, an exquisite arrangement of leave and nems lmds strucrur.al emphas1s.

Maria De\l•mg's smsitiviry to nature's nuance is akin to that of her husband, Thomas Wilmer Dewing (Stt p. 81), but more robust, le s a-qui\•er. Despite all rhe floral color m this gardm, 1t IS green that dominates the palette and commands the eye.

No sull hfe th1s, but nature ahe and di,·er.sc.

42

Communication Arts March/Apri/1987

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LEVINE, HUNTLEY, SCHMIDT AND BEAVER "The industry is based on awards, on recognition of great work~' said Allan Beaver, vice chairman and director of creative services. "From the outset, when we started the agency fifteen years ago, we began winning awards. That's what really got us started and built our reputation as a creative shop~' A fact sheet they use to describe the agency supports his view with an impressive catalog of winners and finalists in competitions ranging from Clio to Mobius, New York to Cannes. "This year (1986)~' the sheet states, "every eligible broadcast client on our roster made the Clio finals:' and adds, " ... even though last year's billings were only $87 million, we won more Andy awards than any other agency in the country~' Closely correlated is another statement that Levine, Huntley, Schmidt & Beaver have made their mark working for what they term "second tier products and services, brands that are not number one in their category and frequently don't have the kind of advertising dollars available to their competitors~' Named specifically are Subaru automobiles and Citizen watches, for whom major increases in market share are cited. The agency growth in 1986 is reported as eight new clients and a surge in billing from $87 million to a projected $120 million.

This would suggest that winning awards can indeed help build business. And that the willingness to leave the safer paths to take creative chances, that has generated awards and national attention for agencies in such cities as Boston, San Francisco, Minneapolis, Providence and Portland, is still applicable to agencies seeking growth in the Big Apple.

In a different kind of effort to establish rapid, substantial growth, LHS&B was acquired two years ago by Grey Advertising.

"It was an opportunity for us to play in a bigger ballgame:' Beaver said. "We're looking to start our own network, no longer being just a New York agency. We're looking to possibly buy internationally. It's the way global marketing is going, it's the way some of our clients are going, and it's a way for us to grow. When you have a two billion dollar agency behind you, it is a different game.

"We don't bandy our ties with Grey about, it's not part of our selling message. And we are totally autonomous.

That's a word that's often used, but it's true. One of the great things about our relationship with Grey, so far, is the fact that we don't see them and they don't see us.

44

Communication Arts March/Apri/1987

They leave us alone, and I've got to believe that, as long as we're doing well, the situation won't change~' In 1972, when the agency was formed, there was a surfeit of start-up agencies in the city. The operating foursome of Beaver, Harold Levine, Bob Schmidt and then cocreative director Larry Plapler (since started his own agency) added the prestigious name of Chet Huntley.

Huntley, that is, of Huntley-Brinkley fame.

"Chet was there to give us credibility; not just another agency, but an agency with a substantial person involved~' Beaver said. "Chet opened a few doors. He played no role in the management of the agency but he gave us ... maybe legitimacy is the best word to use. Chet died two years later, but his presence at the beginning helped us get started.

"We're running the agency now just the way we did then, but the agency has grown up from a small creative shop to a substantial full-service agency with a fine, respected product. We have momentum~' To sustain that momentum, Beaver has structured his 25-person creative team in three groups. Each group is headed by a writer and art director team.

The creative group heads include: Lee Garfinkel, senior vice president/creative director; Jay Taub, senior vice president/creative director; Tod Seisser, senior vice president/creative director; Ira Barkoff, vice president/ group supervisor; Nat Russo, vice president/group supervisor; Bob Nelson, senior vice president/executive producer.

Discussing the role of research in their operation, Beaver stated that they use it for information purposes, but not for copy testing.

"This is a business of instincts, we're not a science. The great work in this field is done on gut feelings. There's no way we're going to put up numbers and say, 'Hey, that's going to be a home run, and this is going to be a double~ You just don't know. The great advertising people know it in their stomachs, 'That's going to be a terrific piece of advertising: And they go with ie'

Right : Two early and successful LHS&B ads for Lesney Products.

The one above , from 1974, won three gold medals in the New York Art Directors Club exhibition . One for consumer magazine ad, one for trade ad and another for trade ad campaign. The one below won a gold medal the following year. Allan Beaver was the art director, Larry Plapler the writer and Cailor!Resnick the photographer on both ads.

BRlD SHOUlD BE MADEIHIS GOOD. ONlYMAa-.

BIGGER. 45

LEVINE, HUNTLEY, SCHMIDT AND BEAVER

The atmosphere Beaver strives to build is one he encountered, and recalls with obvious delight, when he worked, back in the '60s, at Delehanty, Kurnit and Geller.

"A lot of terrific people were there, and we did some great work that won a lot of awards. DKG showed me what it was to work in a healthy creative environment.

We knew that management was fervently behind doing terrific advertising, and all the creative people were fanatically intent on doing great stuff. We looked for help from each other. We never covered up our work; we'd bring it around and say, 'Hey, what do you think?

Is it great, is it garbage ... what?' There was great comraderie. " That's one of the things I've always remembered, and tried to build around here. One of the things that allows us to do the work we do-and others have told me thisis the healthy, open, free environment we've built. We try to get the best people we can, and we bring them in and say, 'Do terrific stuff. '" The requirement for " terrific stuff' would appear to grow out ofthe philosophy-his term-that Beaver applies to advertising. " When you produce a piece of communication for a client-whether it's a car, a soap, or anything-you're not competing against that industry alone. When that spot goes on the tube and we folks are sitting in our living room watching, we're watching everything. We're bombarded with everything. So you 're competing not only against the car, but against the deodorant or the cream cheese spot that come on before you , and you 've got to break through. " You' re competing against the whole world ~'

-Mill Roseman

Allan Beaver Near right: Commercial for Citizen Watch Co. of America has a series of cuts showing fashionable people preparing for a night on the town.

They're combing their hai r, putting on clothes, making phone calls, and the wardrobe of each includes a Citizen watch. The visual is cut to the so ng "About a Quarter to Nine:· sung by AI Jolson.

Jolson (VO): The stars Are gonna twinkle and shine, How they'll shine, This evenin' About a quarter to nine.

I know I won't be late, At half past eight I'm gonna hu rry there I'll be wait in' where ...

Announcer (VO): They say time is what you make it. At Citize n, we prefer to make it beautiful.

Jolson (VO): About a quarter to nine.

Announcer (VO): Citizen .

Tony DeGregorio, art director; Lee Garfinkel, writer; Bob Nelson, producer; Steve Horn, director; Steve Horn Inc., production company.

Far right: Commercial for New York Air. Announcer (VO): Recently the United States government purchased flashlights. The price: $170. Each. Nuts: $2,043. Each .

Socket wrenches: $404. Each. And the list goes on .

(The rest of the commercial shows additional objects and their price.)

Announcer (VO): That's why New York Air offers Washington low fares to Florida. You see, some people in Washington already know how to spend more. We think it's time they learned how to spend less.

Tad Seisser, art director; Jay Taub, writer; Rachel Novak, producer; Henry Sandba nk, director; Sandbank Films, production company.

46

Communication Arts March/Apri/1987

47

LEVINE, HUNTLEY, SCHMIDT AND BEAVER

Two newspaper ads for New York Air. Tod Seisser, art director; Jay Taub, writer.

Right: Ad for Perrier-Jouet champagne , imported by Seagram .

Tod Seisser, art director ; Jay Taub, writer; Jerry Friedman , photographer. Galle glass from the Perrier-Jouet Museum of the Belle Epoque, Epernay, France.

Posters (and ads) for McCall's. Tod Seisser, art director; Stephan ie Arnold , writer. Francesco Scavullo, photographer for Yoko Ono poster ; Greg Gorman , photographer for Bette Midler.

DISNEY WORLDATA MICKEYMOUSE PRICE.

I/IJTIMESA DAt:WERUN POLmciANS OUTOFWASHINGTON.

48

Communication Arts March/Apri/1987

49

50

Communication Arts March/Apri/1987

LEVINE, HuNTLEY, ScHMIDT AND BEAVER

Left : Ad for Monterey Vineyard . Michael Vitiello, art director; Rich Pels, Larry Vine, writers; Richard Noble, photographer.

Ad for Seagram Classics Wine Company. Michael Vitiello, art d irector; Rich Pels, writer; Cailor/Resnick, photographer.

This page : Newspaper ad for Management Science America.

Peter Cohen, art director; Coz Cotzias, writer; Cailor/Resnick, photographer.

Ads for Morrison Open Office System by Knoll. lrv Klein, art director; Stephanie Arnold, writer; Harry DeZitter, photographer.

51

LEVINE, HUNTLEY, SCHMIDT AND BEAVER

Subaru four-wheel drive ad. Michael Vitiello, art director; Rich Pels, writer; Cailor/Resnick, photographer.

Subaru Justy ad . Tony Gregorio, art director; Lee Garfinkel, writer.

Near right: Subaru "traction" commercial opens on a suburban scene with neighborhood sounds and birds twittering. Car is driving down a street and banana truck turns left in front of the car and boxes of bananas fall off. Car plows through the mess and skids, sliding sideways through a backyard where woman is hanging up clothes. A bikini top catches on car antenna.

Car slides down a street through a construction project where a load of dirt is dumped on the car causing antenna to ricochet the bikini top on a worker's chest.

Ann cr. (VO): A lot of people are disappointed with the traction they're getting on their present car.

Car lurches into car wash scattering workers, slides through and is covered with soapsuds.

Anncr. (VO): Which is why more of them are looking into the number one four-wheel drive car...

Car skids around corner into a Subaru lot, stops beside red Subaru.

Anncr. (VO): .. . in America at their Subaru dealer.

Driver sighs in relief as his ordeal is over, leans on steering wheel.

At the sound of squeeling tires, driver looks up in terror and sees a second car, with pieces of fence hanging on it, slide into the lot, stopping on the other side of the new Subaru .

Michael Vitiello, art director; Rich Pels, writer; Bob Nelson, producer; Steve Horn, director; Steve Horn Inc., production company.

Far right: Subaru commercial opens with singing, "You always hurt .. :· Woman gets out of her car and kicks door shut.

Singing: " ... the one you love:· Car with load on top bumps down highway.

Singing: "the one you shouldn't hurt at all:' Man tries to stuff inflated boat in his car trunk.

Anncr. (VO): People have a love-hate relationship with their cars.

Car bounces across railroad tracks.

An ncr. (VO): They love them but they.. .

Man gets out of car and slams door shouting "Oh yeah?"

Woman gets out other side and slams door, "Yeah:' Cut back to man still trying to stuff boat in car trunk.

An ncr. (VO): ... don't always treat them right.

Car roars up to stop sign and slams on brakes.

Ann cr. (VO): Yet, with all the abuse they get ...

Car bumps up rocky hillside.

Ann cr. (VO): .. . over 92% of all the Subarus registered since 1975 are still on the road.

Man and woman continue to slam car doors and shout. Guests going to the same party stop and stare at them.

An ncr. (VO): Now imagine how much longer they would last.. .

Car pushes another car up a snowy hill.

An ncr. (VO): ... if people didn't "love" them so much.

Car backs down driveway and hits garbage cans, backs across the street and hits neighbors' garbage cans.

An ncr. (VO): Subaru. Inexpensive. And built to stay that way.

Tony DeGregorio, art director; Lee Garfinkel, writer ; Bob Nelson, producer; Steve Horn, director; Steve Horn Inc., production company.

52

Communication Arts March/Apri/1987

53

You should know right from the start that a Subaru is not your average, everyday car.

In fact, in a world of automot1ve ·same. ness," Subaru is truly different.

When Subaru began building cars there were no concepts to conform to. No outmoded components to modify. And no tracks to follow in.

As a result, Subaru technology has left other automakers miles behind.

For example, long before it was lash· ionable, Subaru introduced the first full line of cars with the superior road handling ability of front wheel drive.

Subaru also equipped all of their cars with a horizontally opposed engine. What this means is less vibration for a smoother. more comfortable ride. And a low center of gravity which helps improve stability and handling.And unlike other carmakers,Subaru designed its engines specifically to serve as power plants for front wheel drive cars.

The lour wheel drive factor.

It doesn't take an Einstein to figure out when you increase traction you increase safety. And yet that simple fact has eluded many of the industry's leading automakers.

Subaru,on the other hand, has spent several years pioneering front wheel drive and the next logical step, four wheel drive.

In 1975, Subaru introduced the "On Demand" four wheel drive system (the ability to switch from front to four wheel drive in an instant, without stopping).

Simply put, "On Demand" four wheel drive cars give you an extra measure of safety and traction for superior driver control and handling on practically any road, in any weather condition.

Since then Subaru has taken four wheel drive down more roads than any other car maker with such innovations as Dual Range;· four wheel drive with automatic transmission and Turbo Traction.'"

In fact, Subaru is so committed to four

wheel drive that now we have the only full line of "On Demand" •• four wheel drive cars in America.

That includes the Station Wagon, Four Door Sedan. Hardtop, Hatchback,and Brat.• The new Subaru.

This year marks a styling change for Subaru. For 1985, the cars are larger. More aerodynamic. And more luxurious. You 'll also discover more leg, hip and headroom. And an impressive 25% more cargo space in the Station Wagon.

Subaru also g1ves you a greater freedom of choice in transmissions and engines.

For example, you can select a model with multi-point fuel injection or fuel injection combined with turbo.

But regardless of the model you choose, you can be assured of getting more horse power and greater performance.

But even with all those changes there are some things that will never change. And that's the heart and soul of what the car is.

From the very beginning Subaru engineers have been dedicated to build1ng the world's most dependable cars at an affordable price.

And as a result, every Subaru, no matter how technologically advanced or how elegant, still comes with these three standard features: Durability, reliability and economy. Which means Subaru isn't just inexpensive to buy, it's Inexpensive to drive.

And that's the true test of a car's value.

One of the most satisfying cars in America.

According to a recent survey by an independent research firm, Subaru was ranked secondbnly to Mercedes-Benz in customer satisfaction. Better than Toyota, Honda,Mazda, Nissan, BMW and any car built by GM, Ford or Chrysler.

So if you're considering purchasing a new car, consider the car more people are satisfied with. Subaru. Or consider the option of getting stuck without it.

THE 1985 SUBARU® Inexpensive. And built to stay that way.

When you consider all the reasons for owning a Subaru, such as economy, durability and reliability, perhaps there's no greater reason for owning one than the photographs you see in this ad.

Afull line of "On Demand"4WD cars.

With all the horrible roads we're asked to drive over every day, it's amazing that only one car company is building a full line of cars equipped to handle them.

Yet Subaru is the only car maker that offers the "On Demand"'" four wheel drive system on every model they build.

You see, unlike conventional cars, an "On Demand" four wheel drive Subaru sends gripping power to all four wheels. This assures you an extra measure of safety and traction on any road, in practically any weather. Snow. Rain.

Or mud.

And it's simple to operate. By flick· ing a lever or pushing a button, the car instantly goes from front to "On Demand" four wheel drive. Without stopping.

Other solid grounds lor owning a Subaru.

Since 1975, when Subaru introduced the "On Demand" four wheel drive system, they've taken it down more roads than any other car maker.

In a mere few years, Subaru has pioneered Dual Range'" four whee1 drive, four wheel drive with automatic transmission, and our most recent innovation, Turbo Traction'" - the combination of turbo charging and fuel injection in an "On Demand" four wheel drive vehicle.

No other car maker gives you that at any price.

And speaking of price, contrary to popular belief, the "On Demand" four wheel drive system adds little to the cost of a Subaru. Which means there are also financial grounds for owning one.

And if that's not enough, "On Demand" four wheel drive models are available with a variety of transmissions and engines.

Which means you can tailor your Subaru to fit your individual needs.

For example, you can choose a model with multi-point fuel injection or fuel injection with turbo.

Either way you get more horsepower for even greater performance. Regardless of the ground you're driving on.

The new Subaru.

This year the grounds for owning a Subaru have grown tremendously. Be· cause in addition to giving you more traction in every car, Subaru also gives you more car.

For 1985, the sedan and station wagon are larger. More aerodynamic.

And more luxurious.

You'll also be comforted to discover more leg, hip and head room. And an impressive 25% more cargo space in the wagon.

But most important, when you buy a Subaru, whether it's the Wa~on , Sedan, Hardtop, Hatchback, or Brat, you're buying one of the most reliable and remarkably affordable cars on the road today.

Fact is, that according to a recent survey by an independent research company, Subaru was ranked second only to Mercedes Benz in customer satisfaction. Better than Toyota, Honda, Nissan, Mazda, BMW and any car built

by GM, Ford or Chrysler.

Now if these aren't enough grounds for owning an "On Demand" four wheel drive Subaru. take one out for a test drive.

You'll find that even when you can't be sure of the road , you can be sure of your car.

THE 1985 SUBARU Inexpensive. And built to stay that way.

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Communication Arts March/Apri/1987

LEVINE, HUNTLEY, SCHMIDT AND BEAVER

Left: Two Subaru ads. Tony DeGregorio, art director; Lee Garfinkel, writer ; Art Beck, photographer on "Get Stuck" ad; Carl Furuta, photographer on " Grounds for Owning " ad .

Radio commercial for New York Magazine.

Two radio commercials for Kronen bourg.

Radio commercial for Whataburger.

SFX : Street noises.

Homeless Man: I've been sleeping on the street for about four months, um, but I can't really sleep because I'm afraid of getting killed .

One time I had a thirty-eight put up to my head . I could see the bullets on each side of the barrel. It's like living like a hunted an imal. When I'm hungry, I steal fruit from the garbage and cut off the rotten parts.

Sometimes I get lucky, hustle a buck or two for coffee, but most people pass me by like I'm not even alive. Like I don't even exist. ..

SFX : Restaurant noise, piano playing .

Yuppie : Well, I live in Gramercy Park. I live right at the park. I have a fabulous apartment.

It's about nine and a half rooms. When I want to get away, I just hop a sea plane, and go right to my house on Fire Island . Now I work out each and every day. I run . I belong to several health clubs in New York. I think energy is a very important part of my life.

My favorite restaurant is a little place off the Amalfi Coast in Italy. I'm a firm believer in living well.

Anncr.: There's a diversity of people and issues that continually shape New York City.

And no one reflects that better than New York Magazine. After all, if we didn't read the city, the city wouldn't read us. New York Magazine.

Yuppie: Life's been great to me.

Homeless Man : Somehow, I will survive.

John Cleese : Hello. Another commercial for Kronen bourg, the largest selling bottle of beer in the whole of Europe, and thanks to all of you who've been dreaming up new slogans to replace the current number one advertising disaster, this slogan 'Better not Bitter.'

Mr. Bob Wilson of Baltimore suggests "I prefer milk:' Mr. Wilson, that's worse than 'Better not Bitter.' A Chancellor Kohl of Germany suggests "Das fantastischer wunder bier mit dem welt bekaumten und ausgezeichneten Geschmach:' Yes, very catchy, Herr Kohl, but a little long. Here's a short one from Stash Malinowsky of Chicago "Kronen bourg-Bitter not Better" ... No, no, no, no, Mr. Malinowsky.

You've missed the point. Kronenbourg isn't bitter and it is better. That's why it's the best beer in Europe, do you see, so don't enter competitions like this unless you understand what they're about because it just wastes everybody's time, so buzz off Mr. Malinowsky of Chicago. But the best suggestion so far for this superb beer imported by Kronen bourg USA, Greenwich, Connecticut, comes from Mrs. Mern Smith of West Eighty-fifth Street.

"Kronen bourg the best beer in Europe with the worst slogan in America:·

An ncr.: At Whataburger we wanted to make our restaurants in Arizona as appealing as our food so we've remodeled. And while we're happy with the results, here's what our customers think.

Little Girl: Well, I don't know that much about restaurant furniture, but I find the rich orthodoxy of modernist formulas both comfortable and elegant in an uniquely, fresh way.

Brooklyn Man: Personally, I am touched by the architect's use of positive and negative space in the drive through windows. They not only create a powerful imagery and vitality, but evoke a charm and wit that is hybrid rather than pure.

Deep South Man: Well, frankly, ah find the Whataburger innovations reminiscent of the early work of Frank Lloyd Wright. Well, ah do. They ingeniously break tradition by adapting a sense of historical style to the modern industrial process. In other words, there's a coalescence ... (fade behind).

Anncr.: Well, there you have it. Whataburger famous for being a mouthful is now an eyeful.

Come see how we raised the standard of our restaurants to the standard of our food.

Jay Taub, writer; Tod Seisser, art director.

John Cleese : The people at Kronen bourg would like to ask you not to drink and drive.

After all, we have a rather small share of the market and, quite frankly, we'd hate to lose any of you.

Jay Taub, writer; Tod Seisser, art director.

Jay Taub, writer, and Tod Seisser, art director, on both commercials.

55

JEFFREY J. SMITH Jeff Smith draws, really draws. He is one ofthose rare illustrators who can. His work is not highly conceptual.

It is not stylized or symbolic. His illustrations remain firmly grounded in a basic desire to draw and paint without the aid of tracing machines, projections or flashy techniques. At a time when decorative illustration is regaining its popularity and images derivative of or stolen from Magritte continue to be as strong as ever, Jeff Smith draws and paints directly on paper. This approach to drawing should be commonplace. The fact is-it is not. Drawing is hard. It takes time to learn to draw well. And even then, drawing does not produce a style. So most illustrators skip learning to draw in favor of tracing photographic reference-usually not their own-and developing a variety of complicated techniques to execute the tracing.

But Jeff is a member of a small but growing group of illustrators committed to realistic and representational draftsmanship. Not that long ago, good figure drawing seemed doomed to extinction. It was fashionable for art schools to dismiss the concept of good drawing as a foundation for painting. Artists like Jeff, who teaches drawing at the School of Visual Arts, and Jim McMullan, who is the coordinator of the Hi-Focus drawing program also at Visual Arts, are beginning to change that trend and are making major contributions to the education of young illustrators.

I met Jeff three years ago when he applied to the School of Visual Arts Master of Fine Arts program in Illustration as Visual Journ~lism. Even at that time his work was quite visible and I was interested in his reasons for wanting to return to a structured academic program when it was clear he was getting work and getting published without the program. "I've spent my whole life trying to relate to the world around me through drawing and painting;' he said, " and I'm feeling isolated from that idea more and more. I want the contact with a support system that really believes drawing from real life is a concept:' He completed his MFA with us in 1985.

At age thirty, Jeff Smith is finally getting the recognition he deserves. The program would like to take credit for that success, however artists like him, serious about drawing and painting, ambitious to remain in the field would, no doubt, have succeeded without us. But what we can do, and what we have been able to do for those in the program, is provide options for the figurative artist in illustration and, in some cases, help uncover opportunities that take advantage of an eccentric talent or one that is not regarded as mainstream, helping to focus both the thinking and the skills. We were able to support Jeff in something he already had, a commitment to a belief in the power of good drawing and painting from real life.

56

Communication Arts March/Apri/1987

We have no doubt that the commitment will only become stronger, promising even more interesting work in the future.

Jeff was one of six children brought up in Pico Rivera, a predominantly Mexican suburb in southeast Los Angeles.

His older brother Pat is a sign painter and another brother is a musician. Creativity was definitely encouraged at home and Norman Rockwell was often used as a role model for illustration as a career field. But his father died during his last year in high school, so Jeff enrolled in a two year trade school where he specialized in photography because commercial art was not offered. He remembers that period as " a bad place at a bad time.

There I was in this anti-creative atmosphere with a camera in my hand and not a paint brush. Everyone at the school told me that illustration was very impractical and I couldn't make a living at ie' So, after two years, he applied to Art Center in Pasadena.

He was accepted and met his first major influence, Phil Hayes. Phil was the first person Jeff had met who encouraged him to become an illustrator.

"The problem was that I wasn't strong enough to resist the overwhelming pressure to have a style in art school.

I did what everyone did. I used the luci-graph machine and did a lot of tracing and re-tracing. The pleasure I found in drawing when I was sixteen had less and less to do with the demands of making an illustration portfolio.

My work looked like Bob Peak and I was very unhappy without knowing why. I wanted to be very successful and I was getting further and further away from developing my own are' He remembers his experience with an assignment to do a portrait of a famous person for the portfolio. Jeff was obsessed at that time with the life of the Spanish bullIllustration fo r Nautical Quarterly's article " Freudian Sloop"; Clare Cunn ingham, art director. "The story of a young boy dream ing heroic adventu res on a sloop, made me think of N.C. Wyeth and 1imagined how he would have illustrated it. I put a neighbor's boy, holdi ng a ca rdboa rd machine gun, up on the kitchen table and took a lot of photog raphs:· " Taming the Wil d Porcino" for Avenue magazine ; Barbara Lish, art directo r. "They und erstood the benefit of still life painting over wo rking from photographs and had these beautiful mushrooms flown in from Italy. It was a won derful assignment and dinner:· Mikhail Gorbac hev portrait was pa inted for Newsweek; Robert Priest, art director.

"Who Killed John Be lush i?" for the New York Sunday News, Thomas P. Ruis, art director. " I painted Belush i as he appeared the nig ht be fore he died. The paradox of this assignment was death, a dramatic subject to draw but also very private . I don 't know anyone who wou ld wan t the death of a loved one il lustrated :'

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JEFFREY J. SMITH

fighter Manolete and he decided to paint his portrait without using any tracing devices. He was going to work directly on paper using a photograph ofManolete as reference. It took two weeks of solid work. "I really loved that portrait and more important, I really liked doing it.

It felt good. The portrait didn't have any heavy concept behind it but, I felt I caught some of the emotion I felt for the man through drawing and painting him~' The work went up on the wall for a class critique. It was not successful. The class said there was no clear concept, that in the real world of illustration he would never get two weeks to do a portrait- Time magazine needed portraits in just two days. The following week Jim McMullan came to Art Center to run a workshop. "I couldn't believe that Jim drew directly on the paper. No tricks, just drawing and painting. I finally had a living example of a successful illustrator working the way I wanted to work~' He graduated from Art Center in 1980 and came to New York. Within the first six months he landed a Time cover on the strength of his Manolete portfolio sample. Rudy Hoglund gave Jeff more time than usual-four days. "It was an ultimate nightmare. I had to do a portrait of a French official I didn't care about. I wasn't sure how I should approach it. I thought it could make me famousafter all it was Time magazine! I don't think I slept for three days and my wife was very upset. Well, I bombed.

They never printed it. I was getting other illustration work printed, but the Time cover was very important to me~' About that time Jim McMullan offered Jeff a job as his assistant. "Jim was very generous with all kinds of information, and I needed more time to develop my strengths. It was.good for me to have some protection at that time, although I only stayed six months. My ego was getting in the way and I wanted to make it on my own~' During the six years Jeff has been in New York, work has continued to come in and he has been the recipient of numerous awards from the Society of Illustrators and other graphic organizations. More importantly, for his life as an illustrator, he enjoys the opportunities that come along to challenge his talent, and his work based in direct drawing continues to grow and develop and give him pleasure.

-Marshall Arisman Illustration for the AlGA Cover Show; Roger Black, art director. " I attempted three or four finished versions but none were as good as my original two-hour sketch. After this assignment the phone started ringing:• "The agony of Pan Am Flight 73" was painted for Newsweek; Roger Black, art director. "I received the reference material at 10:00 p.m. and exactly eleven hours later the limousine picked me up. It's close to the fastest painting I've ever done. Certainly the most complex under the circumstances. I liked the challenge:·

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Communication Arts March/Apri/1987

59

JEFFREY J. SMITH

John Lennon was painted for Songwriter magazine. "This was an opportunity for me to pay tribute . I wanted to paint a beautiful portrait by using the emotional rendered form of the Mexican muralists, Rivera and Orosco:· Illustrations from a two-part Texas Monthly article " Love & Death in Silicon Prairie:· about ax-murderess Sandy Montgomery.

Fred Woodward, art director.

"In the first two paintings I was interested in the juxtaposition of drama between the indoor and outdoor scenes. In the second painting, the picture is so much more dramatic because of the relationship between the woman inside and the man outside.

"The th ird illustration places the stark, sin ister mental image of the victim over the softer portrait of the killer under hypnosis.

Here she looks more like the victim the jury came to believe she was. The last painting exemplifies my interest in involving the viewer into the drama:·

60

Communication Arts March/Apri/1987

61

JEFFREY J. SMITH

"The Hunters:· a combination of brush and airbrush, was painted for the "About Men " column in the New York Times Magazine; Michael Valenti, art director.

Essence's article "When Mama Comes to Call" ; Ron A Albrecht, art director. "This was the first painting where I drew directly on the watercolor paper with a brush line. Before, everything was developed with tissues and graphite. I had to see, react and draw. High risk drawing for high awareness:·

"Blame it on Rio" for Gentleman's Quarterly; Mary Shanahan , art director. "The story is about a 'normal' couple 's first time at a sex show. I was excited about the controversy and nastiness of the picture but knew it could go wrong because, until I d id the research, I'd never been to a sex show either:·

62

Communication Arts March/Apri/1987

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Communication Arts March/Apri/1987

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Series of sketches titled "Fulton Fish Market 5 a.m:· for the School of Visual Arts masters program.

"Manolete" was Smith's first watercolor portrait.

Forbes magazine cover titled "Market Timers, How the Wizards Get Rich-Even if You Don't"; Rhonda Kass, art director.

"The Filmex painting was for a poster contest at Art Center College of Design; Philip Hays, art director. The assignment was to create an image that suggested entertainment, sophistication and film. Two out of three ain't bad. I got second place:·

65

BARBARA BORDNICK "When I decided to become a photographer;' Barbara said, "I was not interested in just becoming a photographer. I was interested in becoming afashion photographer. And I wasn't even interested in just becoming afashion photographer.

I was interested in becoming a fashion photographer who worked for Harper's Bazaar, which at that time was the best magazine in the world. That's what I went for and that's what I got:' The fashion magazines are different now, and Bordnick rarely does fashion photography for them.

"Editorial fashion photography simply doesn't exist in this country. Fashion is now entirely product and advertisingoriented. When you go to photograph a designer's dress, you find that his name is licensed for shoes, stockings, earrings, etc. Every piece of fashion comes packaged with everything that goes with it. Fashion editors and photographers have absolutely no creative flexibility."

Her editorial photography is as likely to be portraits as fashion. Most of her work is for advertising and, recently, for corporate literature. She dislikes tight layouts which tend to restrict creativity, and she hates detailed discussion of the pictures she will be taking. When asked to do that, she will be deliberately vague.

"An idea is just that, an idea. The execution of an idea is another thing. To me an idea is a very organic thing, a point of departure. When you actually execute this idea, some

wonderful things can happen and you may wind up with something completely different than the original visual idea, but the feeling is still there, enhanced~' In 1980, Karen Brown, art director of Dayton's in Minneapolis, decided to create an image campaign for the store. Each of the twelve four-color spread ads would run in both of the city magazines. She signed Bordnick to a contract to produce the ads. A selection from this awardwinning series appeared in the 1981 CA Art Annual.

"I love working with Barbara~' Karen said. "The only problem is that I don't have enough wonderful things that I can use her for. I've put her in a special niche where I wait for just the right thing to come up~' A current project is a mailer for the newly remodeled Oval Room for designer clothes. Karen called Bordnick and told her she had "an impossible job~' Barbara flew out to Minneapolis and agreed. The Oval Room is all black, shiny surfaces, a nightmare for a photographer.

"But, being the genius she is~' Karen stated, "she said we'll shoot them all on the floor. It is a marble which looked quite nice in the photographs. She put the model on the floor and shot everything standing on a ten-foot ladder with one of her assistants holding her leg so she wouldn't fall off. Imagine being up there looking down through a camera lens. All she does is concentrate on the photograph, and everything else is extraneous.

Right : 1974 (above) and 1983 photographs for Faberge. Irwin Gold berg, art director.

66 Communication Arts March/Apri/1987

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Communication Arts March/Apri/1987

"Basically, she's very quiet, and it's calming to work with her.

I just give her an overall attitude of what I need, what it has to project, and let her work it out. We did half of the shooting in the main salon and half in the dressing rooms.

My job is to design around what I get from her, to give it as nice a showcase as possible:' Bordnick enjoys working with designers because she feels there is more personal contact and flexibility. Advertising art directors often have to be involved with a number of people from the agency or client who may participate in the final decision. Frequently, they want to know exactly what they're going to get, and the process becomes locked in.

"With a designer, I have the feeling that I'm working with the person who knows what has to be done and frequently has the final say. It's more collaborative, we can create as we go, so to speak. We can come up with all sorts of ideas and present them to the client:' Leslie Smolan, a principal of Carbone Smolan Associates has used Bordnick for corporate brochures. She described something about Barbara's manner that is very different from most photo shoots. As the pressure and tension mount, Barbara gets calmer. Because she's so calm and relaxed, everyone adopts that feeling.

"I realized that she is more herself during the shoot than at any other time, a very creative, gentle person. She becomes more feminine, in a wonderful way that's positive. She adopts a certain helplessness, like she can't get the lens on the camera, or she'll lose the lens cap. She has great assistants who totally take care of her during the shoot.

I think she lets herself be that way because she's so secure in her talent that it doesn't diminish her in any way. You want to help her, and the attention is all on problem solving. There's something almost hypnotizing about her easiness; so everybody relaxes and assumes the picture's going to be great, which it always is.

"She told me that she's so intent on subjects being comfortable, trying to communicate with them and make them look good, that she forgets whether the lens cap is on or off. And the people in front of the camera sense that she's really looking out for their welfare, so they let go and absolutely trust her.

"At the end of the shoot, she goes back to being the tough New York businesswoman that she needs to be to survive in this business:' 1971 photograph for Harper's Bazaar. Bea Feitler and Ruth Ansel, art directors; Gwen Mazer, editor.

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BARBARA BORDNICK

After becoming fascinated with the 8 x 10 Polaroid med ium, Bordnick approached Polaroid to do a special project using the 8 x 10 film , a calendar with portraits of women in jazz. The portraits shown here are of Sarah Vaughan , Alberta Hunter and An ita O'Day. Barbara Bordnick was the photographer, art director and producer. The calendar titled "A Song I Can See " was designed by Will Hopkins.

Lower right : 1982 portrait of Edward T. Hall, anthropologist, for Geo. Mary K. Baumann , art director; Elisabeth Biondi , editor.

Polaroid had come out with a new film and asked Barbara if she would try it. Her positive reaction was dampened when she heard it was 8 x 10 film. She told them she only worked in 35mm; but they were insistant and Bordnick had to confess that she didn't know how to operate an 8 x 10 camera. They furnished an assistant to teach her.

many electives in the fine arts and humanities as she could.

"I graduated with enough credits for two people, and I'm over-trained in things like logic and philosophy; but I did study painting and took one very basic course in photography. They didn't have a photo departmene'

"I knew nothing about music, technically. All I had to go on was my own intuitive reaction, how they reached and touched me. I've always been fascinated by what I call 'star quality,' because I believe it exists. It was my job to find out what this gift was.

After graduation, she and her ex-husband left for a visit to Europe. The planned few months stretched on for two and a half years as he worked in various cities as an industrial designer. Returning to New York, Barbara spent the next nine months finding out there were no openings for a woman as a photographer's assistant. Finally, through a mutual friend, she met a photographer who would let her work for no salary to get experience. Six months later, she tried again to find a position. With no success, she made the decision to try it on her own.

"When I felt I knew, then my job was to convince them that they had it so they could give it back to me in the studio.

To me, that's what portraiture is. I wanted to show the dignity and elegance of these great women~'

"It was the best and the worst decision I've made. The best because the timing was perfect for a woman. The worst because I was so inexperienced. I often had to turn work down because I didn't know how to do ie'

Barbara is self-taught in the technical and business aspects of photography; but her education helped establish a solid background for the esthetics, sensitivity and creativity for which she is noted.

An outspoken professional, and leader in the movement for photographers' rights, Bordnick has given much of her time to the American Society of Magazine Photographers.

After serving on the board for six years, she was elected as the first woman president. She is the first photographer to serve concurrently on the boards of both the ASMP and the Advertising Photographers of America.

Finding it exciting, she proposed a special project, a calendar of portraits of women in jazz. She stipulated that she would have to see each of them in performance before she would photograph them.

She entered Pratt on a Dean's Scholarship to study fashion design. Though she quickly decided that was not what she wanted, she knew she could maintain the mandatory Aaverage in that major. So, rather than switch, she took as 70

Communication Arts March/Apri/1987

-Dick Coyne

71

BARBARA BORDNICK

Below, left: 1986 photographs of shoes and watches for Lear's Magazine. China Machado, editor; Tina Klem , art director.

1981 photograph of mother and child for Redbook.

Maxine Davidowitz, art director.

1983 photograph for an article on adoptees for American Health.

Ira Friedlander and Wil l Hopkins, art directors.

Right : Photograph for American Standard Annual Report.

Kaspar Schm id, designer; Pentagram N.Y., design firm .

1983 photograph for Arrow shirt ad . Fern Cohen , art director; AC&R Advertising, agency.

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Communication Arts March/Apri/1987

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Communication Arts March/Apri/1987

BARBARA BoRDNICK

Left : 1982 photograph of Tommy Tune for a Geo article on "Chorus Line :· Mary K. Baumann , art director ; El isabeth Biondi , editor.

Personal photograph taken in Arusha, Tanzan ia.

Th is page : Photographs for a 1987 Dayton 's mailer featuring the newly remodeled Oval Room where designer lines are carried .

Karen Brown , art director.

75

BARBARA BoRDNICK

1986 photographs for a Merrill Lynch brochure on investment banking.

Leslie Smolan, designer; Carbone Smolan Associates, design firm .

Right: 1986 photograph for the premier issue of Quality, Time Inc. Mary K. Baumann, art director; Michele McNally, picture editor.

"Mom and Dad:' 1986 photograph of Gretchen Siegel for Lear's Magazine.

China Machado, editor; Tina Klem, art director.

1985 photograph of Diego Della Palma for Donna Magazine, Milan.

All photographs in this article © 1987 by Barbara Bordnick.

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Communication Arts March/Apri/1987

77

SIBLEYIPETEET There is wit and humor reflected in their work, their club and conference presentations and in their conversation, but Rex Peteet and Don Sibley are serious about what they do. In less than five years, Sibley /Peteet Design has received recognition from every major design organization and publication, and possess an expanding client list of increasing national reach.

Although they first met while attending an art course in college, both were considering music as a career and each had played with several groups. Their last group, the "FuzzTones:' comprised of Dallas creatives, was destined for demise as families and businesses limited them to only an occasional practice. As Rex puts it, "We were getting to the point of playing together once a year and it just sounded awful. I didn't want to be a 40 year-old rock star anyway."

Though the nationally recognized Dallas design community is less than 30 years old, Rex and Don already refer to themselves as third generation Dallas designers.

Both worked for Stan Richards, often called the "father of Texas design:' and then for Richards Group alumni Woody Pirtle (Rex) and Bob Dennard (Don and Rex) before opening their own office.

The idea of a creative partnership jelled while working with Dennard. Even though they each handled separate projects, many would overlap for the same client, giving them the opportunity for interaction. " Bob gave us fertile ground to grow in by giving us incredible opportunities and projects:' Rex said. "He also required his designers to write their own copy and is the reason Don and I write almost all our own today."

Opening an office seemed like the next logical career step and both envisioned that office as a partnership. Rex summed up the reasons: " Fear. There is a real comfort level knowing someone over there you respect as much as yourself is going to cover if you have an off day. We push ourselves a lot harder because we're operating under what we think our partner expects of us. There's also doubts of always knowing what's good. You work on an idea that's really out there and show it to your partner and he goes 'God, that's horrible!"'

The partners felt confident they understood how to avoid the usual partnership pitfalls and attribute a great deal of their success to communication. As Don disclosed, "We knew there was a high mortality rate in design partnerships but felt we knew each other as well as two people could.

We've had disagreements, but that's life and just like design, there's more than one solution to a problem. As soon as you assume that partnership role you have a responsibility 78

Communication A rts March/A pri/1987

to the partner, and the partnership and we're both committed to the success of this company."

When Sibley /Peteet Design was born, the new partners left with just their portfolios. " Maybe we were dumb:' Don said. " We didn't take any clients because this town is so small and we didn't want anything to hurt or discredit our reputation. Our plan was to shoot high and only take good projects and if that didn't work-then we'd do paste-up.

We wanted to establish the reputation that we only did quality work. It's much easier to maintain it that way. I think if you start out taking anything and say 'when times get better I'll only do quality stufP, you 'll never do if' To generate sales, they came up with a list of individuals and companies that they hadn't worked for in other studios and began making calls. They also found suppliers helped by sending clients their way. " Our vendors were our greatest marketing people throughout the city." Rex said. " It was surprising to both of us that we had already established somewhat of a reputation ~' The partners also recognized the value of good visibility projects by doing free work for non-profit and design organizations.

Despite their ample experience working in other offices, there were problems to overcome. "We had to learn how many nasty people are out there that don't pay;' Don said.

"These people continue burning studio after studio. You'd think they would get a reputation but I guess designers don't verbalize enough. We've gotten a lot smarter about letters of agreement and progress billing, but unfortunately bad debt is still a part of business~ ' " The other thing we had to learn was how to deal with employees;' Rex said. "Even though we had experience directing people, they weren't our primary responsibility."

"There's a real special way of getting the creative solution we want while giving them the opportunity to interject their own sensitivity;' Don continued. " Our people are very talented designers in their own right. We want them to develop a style and personality of their own. We need that youth and that difference of opinion ~' Poster for the Shos hin Society's " Images of Survival" exhibit.

Don Sibley, designe r/illustrator.

Poster to promote events at the Dallas Museum of Art sculpture garden.

Rex Peteet, designer; Rex Peteet, Ken Shafer, illustrators; Rex Peteet, Joan McClendon, copywriters.

Tricks of the Trade campaign for International Paper included a brochure and a 10"x15" magic playing card announcement mailed in an envelope resemb ling a deck of cards. Rex Peteet, art director/des igner ; Rex Peteet, Walter Horton, designers.

"'W[ HAV£ LEARNED THAT Wl CANNOT' LIVE ALONE. AT PEACE: THAT OUR WlU-BEING

wt HI\ \IE LEARNED 10 BE C ml£NS OF THE \.l~W. MEMBERS OF THE HUMAN COMMUNITY.-

The Dallas Museum ofArt Sculpture Garden Opens October lOth.

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79

SIBLEY /PETEET

"The most important factor is how to hire. We're not nearly as impulsive in hiring just a good portfolio as we once were~' Rex said. "A designer must be able to communicate ideas verbally as well as visually, and be able to work with other people~' With a staff of four designers and two administrative people besides the principals, Don feels they have reached their optimum size. "At one point our office had grown to eleven people which was the limit to this space and the amount of work we could handle. I don't think we ever want to become a larger office because we're reluctant to release the control. We just want to fine tune the machine~' That fine tuning includes installing a computer to track expenses and billing. "Our overhead is expanding to the point where we'll have to keep a better eye on profitability."

Sibley /Peteet uses a two tier proposal system. An initial proposal is made for the conceptual phase and is billed at the time of the rough presentation. After a direction has been approved a second proposal covers design refinement and production costs and is progress billed or billed at the completion of the project.

While this article was being written the partners were moving their personal offices away from the central work area, where the design staff is located. Since there was no room to expand horizontally, their offices will be upstai~s, accessed by a spiral staircase to the main office below.

Don explained the reason for the move. "The intent is to allow us less distractions during the day so we can operate more efficiently from both a creative and business standpoint. Our most productive times are early in the morning, the evenings and weekends, and we're trying to create that same environment during the day."

Every year the Dallas designers sponsor a chili cookoff. The winner must design the poster invitation for the following year. Don Sibley, art director/designer/copywriter.

It's very seldom that the partners will work together on the same project, but often one will be doing an ad campaign and the other a brochure for the same client.

"We'll get concept ideas from everyone in the studio and usually present several directions for the client to review," Right page: The staff, Paul Black, Judy Dolim, Kelly Hartley, Penelope Rowland, Don Sibley, John Evans, Rex Peteet, Donna Holmes. Don said. "That's one way to determine who'll be in charge of directing the projece' Poster for the Dallas Theater Center contains a silhouette from a

performance from each of their past 24 seasons. Actress Greer Garson wrote to commend Sibley/Peteet but also pointed out several costume errors. Don Sibley, art d irector/designer ; Don Sibley, Rex Peteet, illustrators.

Ad campaign to promote Lovers West shopping strip, known as the " Rodeo Drive of Dallas:· Don Sib ley, art director/designer; Don Sibley, Jerry Jeanmard , illustrators; Phil Terry, photographer ; The Harris Group, agency; Swearingen/Brosseau, client.

80

Communication Arts March/Apri/1987

"The decision on direction seems to naturally fall into place~' Rex continued. "I think it's a sixth sense of knowing when to say 'I'll trust Don's instinct' and go with his idea.

Even though one of us will be in charge of a project, I think clients feel comfortable knowing that the two owners of the company are both working on the accoune' The partners were adamant about the necessity of designer/ client interaction. "We thought about hiring a marketing person from time to time as the meetings became endless

81

and we had less time for design:' Don said. "I think we're the best people to represent us and we need to be at the meeting. It's an integral part of the design process to meet the client face to face, to see the kind of ties he wears, the kind of art he hangs on the wall and the way he looks and talks.

That's very important inpue' The rapid rise to national recognition for Sibley/Peteet and the Dallas design community can be explained by asking any real estate agent to sum up the three most important ingredients to success: location, location and location.

"The Dallas- Fort Worth International airport is probably the best thing that ever happened to Dallas:' Rex said. "Because of our central location in the country, you can be on either coast in three hours. There aren't any unions here and there's also a very can do banking atmosphere that's attractive to national corporations looking for a headquarters. It has become a more cosmopolitan business community. There are really very few clients we come in contact with who are native Dallasites, or even Texans~' The airport has also expanded the influences on their work. "Travel is extremely important:' Don said. "Seeing the variety of architecture and culture in other places, getting out to museums and just plain life experiences become an invaluable influence in our work. We love to collect folk art from all over and I think you see that influence reflected in some of the things we do. Design books and magazines are important but I think we subscribe to more architecture and fashion magazines than to art publications. It just makes our influences broader."

Much has been written recently about the economic downturn in Texas but the partners' outlook is optimistic. "The next two to three years are going to be tough:' Don said. "The things you 're hearing about Texas sound worse than they really are. Business isn't hurt, they're just being a little more conservative. With the positive banking atmosphere, the room to expand and the resources of this metroplex, Dallas is still going to be a very strong growth area of the country. Because industry here is so diversified, we're not as affected as Houston is from the oil situation~ ' "Dallas is still being heavily marketed as a corporate headquarters:' added Rex. "I think we're going to see growth in the high tech, film and fashion industries. I'd love to do a lingerie catalog~' As to personal growth outside the design office, the partners mentioned their involvement with the AlGA/San Francisco fund-raising auction.

97 designers were requested to create an artistic interpretation of the United States flag, and, as a result, Don and Rex have expressed interest in creating other possible fine art work or exploring related design disciplines similar to crossover projects being produced by architects.

RENAISSANCE TOWER

"I think it would be great to have a non-graphic design exhibit for designers:' Don said. " So many are talented in other areas, whether it's music, sculpture, painting.or sewing and unless they're pushed into participating, you'll never get to see these talents~' What might be their contribution to such an exhibition? Rex offered, "Maybe a fine art, musical, lingerie catalog~ ' -Patrick Coy ne

82

Communication Arts March/Apri/1987

SIBLEY /PETEET

The logo for Haggar Apparel was selected from over 100 presented to update the company's image as producer of a complete line of men 's and women's clothing . Walter Horton, designer; Tracy Locke, agency.

Symbol for Pinto Bean Seasoning . The client, Randy Aldriedge, a fr iend of Rex 's, had an old family recipe he wished to package. Their relationship allowed a more casual approach to presentations, although approval had to come from many family members includ ing the client 's great grandmother. Rex Peteet, art director; Rex Peteet, John Evans, designers.

Logo for Lone Star Donuts. Out of the 50 concepts presented, the selected symbol was the first one drawn up.

Rex Peteet, art director/designer; John Evans, illustrator; Saunders, Lubinski & White, agency.

Klor Fernando Aleu. the

president ofPaco Ralunme Fra;,{/'(11/Ces l tS:.4.. bas tbese i1ltl!rl!slinR obs<ml(t/irms 011 tbe

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The Renaissance Tower logo reflects the post-modern face lift addition of colored glass panels on the curtainwall modernist facade to create a double X pattern.

Penelope Rowland , art director/designer; LaSalle Partners, client.

This page : A beauty notebook created as a sales and instructional manual to promote cosmetics offered by Nieman-Marcus. Don Sibley, Steve Gibbs, art directors/designers; Kelly Stribling, illustrator; Thorn Jackson, John Parrish, photographers; Laura Rivers, copywriter.

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SIBLEY /PETEET

Series of symbols created as part of a promotional booklet entitled "Holiday Picture Puzzlers" for International Paper. From top to bottom : Rain Deer Crossing, Santa Barber and Turkey Dressing.

Rex Peteet, art director/designer/copywriter; Rex Peteet, Judy Dolim , illustrators.

Poster invitation for the Edison Mall shopping center re-opening . Attendees were given a hand blown lightbulb fashioned after the inventor's creation . Rex Peteet, art director/designer/ copywriter; Rex Peteet, Walter Horton, illustrators; Morris & Fellows, agency.

Villa Linda Mall poster is one-half of an invitation announcing the grand opening . Don Sibley, art director/designer/illustrator/copywriter; The Herring Group, client.

Right page : Kuhlen Glacen packaging . David Hopson, Don Sibley, Rex Peteet, art directors; Don Sibley, Rex Peteet, designers; Greg King, illustrator ; Saunders, Lubinski & White, agency.

Amadeus menu was part of a campaign including business papers and signage for the restaurant.

Rex Peteet, art director/illustrator; Rex Peteet, Walter Horton , designers ; Trammel Crow Company, client.

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84

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85

SIBLEYIPETEET

Leasing brochure for Alexandria Mall/The Herring Group.

Brochure contains a series of inserts colored to represent the various cultures in the Louisiana community.

A laser cut cover is to show, in color, the transition of the remodeled shopping mall. Rex Peteet, art director/ designer; Rex Peteet, Walter Horton, illustrators; Rex Peteet, Ann Eklund Ph illips, copywriters.

Two from a series of loose leaf inserts for the Benson/ Hlavaty & Associates architects capabilities brochure.

Don Sibley, art director/designer/copywriter; Burton Pritzker, photographer; Martti Benson , Greg Hlavaty, Don Sibley, Judy Dolim, illustrators.

Right page: Spreads from the Lehndorff Management Company corporate brochure were designed to create a more aggressive positioning for one of the nation 's largest owners of real estate and highlight locations where the company has investments. Rex Peteet, art director/designer; Steve Brady, photographer, Lee Herrick, copywriter.

86

Communication Arts March/Apri/1987

Tht

Lthlldorff Story

The l .eh ndodTGmup is <:J collection ofin legr.ued compa nies co mmitled 10 reali1ing th e full in\'estm enl va lue of a wide \'<l ri ety of

income-pmducing properties thmughc1ut th e United States.

a L1nitcd Stales portfi1lio now \; ducd in CXCl.'S!\ of 1..·, hillilm. th t•\ manage a significa nt percentage 11f :\.X hill i«m in asset.\ wc1rld\\ ick.

Curre n II )'. th e Le hndorlf(:roup's pm1f(llio encmnpa.sscs

Some of th ese co mpa ni es fi1cus on th e eva lua lion and

more tha n 150 incom e producing pmpenies including c1nin·. rt·lail

acquisili'm of high-po ten ti al assetli, from majorc1ffice build inb'S to

and indusuia l SJX1.Ce in O\'Cr2f; major markel'i in the L'nited Stollt·'·

pnKiucing o il fi e lds, regional shopping ma ll s 1o high tec h

research and devel<lpment pn~ecrs. Others emph asite the refin emcn1

Produ ci ng oil a nd J.f-lS prope r1ies en hance pclrtli•li,, strCll).,'1h and dkcrsity as do a number of highly se lect \'Cnture hu..,i nt'SS('"i

of e fTecti\'e asset and pmper1y man ageme nt str::uegles. Still others

invol\'cd in such \'< rried activities as land speru lation . tt:l t·marJ..l'till).{

provid e pro fessicmal im·esunent manage me nt se rvices fo r

a nd the d <.•\'e lo pmen l ofmicmchip cryHa ls in the wei).thtlc~!<o

I c h nchnffs lcmg·tenn eq uit y panners.lx•lh instituti<mal and priv.ue.

c nvimnm c n t of'>prrce.

The success of this Group is reflected in a hig h!) di\'e rsifi cd

Whi le ex trem e !)' va rit•d in scope ;mel purpose. all o l the'('

J)(lrtfc•lic • and an C\'e r-l)l'na d ening financial base th at was estab lished

a'lsets shal'(' a co mmon d e nomina tor: exre p tiona l perlorm;rnn·. In

in Europe ce ntwi e'i a~;n hy a respected Pruss ian fa m ily. T h at

firct. o\'er the cc1 ursc c>fits histcu~. l .ch ndcn-fl'o; l'nitcd Stat e~ ))(111-

f;m1ily;; name woro; LehndorfT.

fcllio has ) ield ed an aver<I).\"C annual re turn em invcstnl(' llt c•fm cl rt•

In 1965, th e Le h ndorff organi n uio n se t its sigh ts <-Kross th e Allantic. C"itablis hing <Ill office to o\'e rsee th e acquisition and man -

t han ~~~ perce n t.

That impressive record G ill he traced. har k through dl't·adt'!'o,

a)._rcm c nl of North Americ;m assets fi•r itself and rts internouional

111 a n im'C'\Ime nt phi lciS<lpln tha t emp h a~ite'\ lcmg-tt'nll capital

im·es1 men1 pann ers.

).,'111Wth 11\'er shc>rHerm gain. And thatlcll"\\'arrl· lc•ci J.. ingcl rienwt icl ll

Thre(' ~ears l;uer: th e Uni ted States h ead<Ju an ers opened, with a o;t;lffofli• ur.to m;mage po rtfi >lio asset'i ''Ha ling 12mi ll ion .

\cart.... in\'ariahl y. tc1 the highelll st.1ndarcl~ c1l pn ljectJIIarl:IJ.,I't'IIH.'Ill ;rnd pn1 IC~si cmal perf(,mlance.

Si nce th e n. 1h is )..'ro up of prniCssio nals has gmwn to a tea m of acqui.,it icm and nHmage me nt spec ia lists more th an 500 stnmg. Wi th

87

CAR EMBLEMS RAISONS d'ETRE We are in the midst of a renaissance in automotive design. From the fluorescent-lit drawing tables of engineers and the pristine assembly lines of sprawling, robotized factories, a new Golden Age of Automobiles is emerging.

And yet, while most 1987 automobiles make every wheeled vehicle that preceded them look absolutely prehistoric, each of these sleek new machines maintains a quaint little link to the past. Look closely and you'll see them, the inconspicuous yet highly symbolic emblems that stubbornly cling to space-age grillework and air-foiled trunk lids.

The fascinating origins of these emblems are a quiet counterpoint to the far more urgent advertising hyperbole about turbochargers, precision engineering and the vanities of status. For the sake of a small and obscure corner of history, therefore, let's stop and scrutinize a few of the car emblems you may encounter in your daily commute.

Ironically, the famous Ferrari prancing horse first appeared in 1929 on an Alfa-Romeo, when Enzo Ferrari headed Alfa's unofficial racing team called Scuderia Ferrari.

The horse itself was originally used as a personal symbol by Italian World War I flying ace Francesco Baracca, and Ferrari adopted the symbol for his cars after getting the permission ofBaracca's family.

The background of the emblem is gold-colored, symbolizing the city of Modena, where the Alfa race cars were maintained and where present-day Ferraris are still made.

Here's another famous automotive emblem that harkens back to medieval days. The deer's antlers and the black and red stripes of the background are a portion of the coat of arms of the former principality ofWurttemberg. The horse is taken from the historical emblem for the city of Stuttgart, where the cars are made and where once stood, many hundreds of years ago, a stud farm. No further comment on that.

Lotus cars sprang from the genius of Colin Chapman, who totally transformed the design of race cars after World War II and whose influence still remains quite strong after his death.

The attractive Lotus emblem is both obvious and mysterious. The reason for choosing the name "Lotus" has never been revealed, nor is there any apparent logic behind the shape of the inner "triangle~' One can see, however, the monogram A.C.B.C., for Anthony Colin Bruce Chapman.

My own theory about the origin of the triangle within the Lotus emblem is this: It reflects the triangular pattern appearing in the tubular 'birdcage' frames of early Lotus racing cars. I still haven't figured out the "Lotus" part, though.

The green triangle, changed to black on the cars to mourn Chapman's death, is still used as the corporate symbol.

88

Communication Arts March/Apri/1987

Peugeot is an old firm , first making bicycles in 1885, a steam car in 1890 and a gasoline-powered automobile in 1891.

The Peugeot lion shown here was undoubtedly inspired by a number of historical artifacts, among them the Lion ofBelfort, a famous monument in that city in eastern France. It was at Belfort that the French army turned back the Germans in 1871, and since then, with occasional but egregious lapses, the two countries have gotten on famously.

Peugeots are manufactured in the city of Sochaux, near Belfort.

The sculptor of the Lion ofBelfort, incidentally, was Frederic Auguste Bartholdi, creator of the Statue of Liberty.

In the midst of these exotic automobiles, it might seem strange to single out the ubiquitous Chevrolet, but the origins of its emblem are unusual.

Louis Chevrolet, the Swiss engineer for whom the car is named, left the company in 1915-just four years after the company was founded-and did not benefit from the car's incredible success.

The president of the company in those early years was William Crapo Durant.

The most persistent legend about the origin of the Chevrolet " bow-tie" design is that it was copied from the wallpaper design in a Paris hotel Durant was staying at during a business trip. He probably took some towels, too.

You don't see the Mercury symbol very much anymore, which is unfortunate because it is a most appropriate emblem for an automobile.

The Mercury was introduced by Ford in 1939, and no doubt the symbol of Mercury (Hermes if you were Greek) was chosen to evoke skill and fleetness of foot. Perhaps less known to the car-buying public was this god's affection for vagabonds and rogues and his role as escort to departed souls on their way to the Underworld.

The Anonima Lombarda Fabbrica Automobili (Lombardy Motor Manufacturing Company) combined its initials to come up with the name of its first car, the A.L.F.A. , in 1910. Four years later, industrialist Nicola Romeo took over the factory, but it was not until after World War I that automobiles bearing the name Alfa-Romeo were marketed.

The Alfa emblem contains symbols used in the coat of arms for the city of Milan and the Visconti Dukes, which is not a street gang but a very respectable branch of Italian royalty.

The cross, which is red, is said to symbolize Milan's participation in the First Crusade of 1095. The serpent has inspired many interpretations, as has the little human figure being devoured by the beast.

One historical source claims that the unfortunate fellow is a defeated Saracen. That's a lot of history for a hood ornament to worry about.

89

CAR EMBLEMS

No, Mercedes-Benz hasn't changed its badge. What you see here is the emblem first derived upon the merger of the Daimler and Benz companies in 1925. Gottlieb Daimler's cars carried the threepointed star, while Benz automobiles used the wreath; hence this attractive combination.

The star-in-the-ring emblem which Mercedes now prominently displays on its products was adopted in 1937, and it's a very elegant stylization of the older badge. But the company is very traditional in its habits, and always strives to keep links to the past. If you look closely, therefore, you'll still see the 1925 badge somewhere on the 1987 models.

ROYCE

One would think that the most recognized automotive emblem in the world would need no further explanation than to state that it represents the last names of C.S. Rolls and F. H. Royce; however, there has always been speculation that the letters "RR" were changed from red to black to commemorate the death of Mr. Royce. That's a canard-the letters went to black in 1930, and the Mr. Royce supposedly being mourned didn't pass on until1933.

No, this is not international road symbol for a lawyer's office.

The origins of the Bayerische Motoren Werke are not in cars or motorcycles, but in aviation. It was in 1916 that BMW began making airplane engines for military use, converting to motorcycles in 1923 and cars in 1928.

The BMW emblem derives its colors from the traditional blue and white Bavarian flag, but the actual design suggests an abstract rendering of a rotating prop, as seen from the front. The blue sections represent the sky, while the white portrays the whirring blade itself, perhaps reflecting the sun off its polished surfaces.

You may have noticed that the emblems on many contemporary cars attempt to portray a clean, modern image, in implied contrast to the stuffiness of old traditions. But some companies still strive to honor the past in creating symbols for their new product lines.

The Sterling is a new car that will be marketed soon in the U.S. by Austin Rover of England. This automobile is Rover's version of Honda's new Legend, but unlike Honda, it will emphasize British traditions rather than attempting a full-bore appeal to presumed American tastes. Its emblem shows the Cross of St. George, a silver Lion Passant of England and silver lettering and outlining.

That suggests a decidedly traditional pedigree for a car known until very recently as "Project XX~' -Joseph L. Troise

Joseph L. Troise is an author and member of the Society of Automotive Historians. He owns an old but nice BMW and a marginally functional MGB.

90

Communication Arts March/Apri/1987

A TRAIN TO REMEMBER. A TRAIN TO RIDE AGAIN ON CENTURA GLOSS.

(Vo yuh hear that whistle down the line?

I figure that it's Engine Number Forty Nine, She's the only one that'll sound that way.

On The Atchison, Topeka and The Santa Fe~' From the MGM Motion Picture "THE HARVEY GIRLS" Copyright © 1945 (Renewed 1973) LEO FEIST, INC.

The Atchison Topeka and Santa Fe railroad had stations where the great Texas cattle drives ended. From there to market, cattle rode 'Santa Fe All The Way'. But the town of Santa Fe got into the Railroad's name by accident. The metals ran, instead, through Albuquerque as surveyors sheered away from the rising mountains.

However, the Board of Directors hung tough with 'Santa Fe', probably figuring 'The Atchison Topeka and Albuquerque' didn't ring right. Same with the logo.

No big deal. The Manager, one J.J. Byrne, took a silver dollar (some say a poker chip) and drew a pencilled circle around it on a time-table (some say a cocktail napkin). So J.J. had his circle and next he threw in a cross because 'Santa Fe' translates from the Spanish as 'Holy Faith'. Add the name itself, and J.J. had it done in one minute flat. Maybe less. Today, in matters of design, Santa Fe does things differently. Specs for rolling-stock color schemes run one page of six-point type (including 6 shades of gray ... dove, battleship, two-tone (?), dolphin etc). As a sop to practicality, floorboards of freight cars are color-spec'd as 'dipped in creosote'. Now who could quarrel with that?

PRODUCTION NOTES: Concept/Art Direction: Wardrop Murtaugh Temple & Frank Photography: Mike Schafer Paper: Centura Gloss Basis 80 Press: 6-color 26" x 40'' OMCSA Speed: 6, 000 IPH Inks: Process Inks

CENTURA GLOSS Clear the track for Centura Gloss. Abright white enamel offering maximum light reflection and color intensity.

Of course, Centura is color balanced to give faithful reproduction. And print gloss, ink density and color brilliance are all superior, due to Centura's high ink holdout. Finally, the uniformly level printing surface is ideal for smooth solids and sharp halftone dots, allowing reproduction faithful to the original art. Centura is known for dependable performance in pressroom and bindery. Your Consolidated Merchant can show you more examples of outstanding pieces printed on Centura. Or have your printer get free trial sheets from his Consolidated Merchant. Run them with your next print job. Compare the difference.

the Specialist in enamel printing papers CONSOLIDATED PAPERS, INC. , 200 WEST MADISON STREET CHICAGO, ILLINOIS 60606 ,

Now, a new dimension in color reproduction for imaginative designers and art directors. The picture above, from a 35mm chrome, is a sample of the new, special effect, four-color separations now being offered by Pinwheel.

The photo is by New York photographer Bruce Laurance .

If you design, specify, or buy color printing, send your business card for a free, 16-page, full-color brochure showing many more full page examples of these easy-to-print separations .

rPUrn1wlh1~IL

404 Park Ave South, New York NY 10016 Phone 212 684-5140

EXHIBITS-PLANNING AND DESIGN

by Larry Klein With introductions by Albert H. Woods and Harold J. Skramstad, Jr. Designed by Walter Bernard.

Published by Madison Square Press Available May 1987. $45.00

'An exhibit should be considered as an 'experiential system~ The more of the system that the designer can con trol ) the more rewarding the experience will be for the visi tor and for others who use the facility)) -Larry Klein

Over 100 exhibits by 45 internationally known designers including Barry Howard, John Follis, Herb Rosenthal, David Strong, Bruce Burdick and Chermayeff &Geismar.

252 pages, full-color.

275 photographs, hardbound 10"x 10!'

Containing diagrams, charts, blueprints and a resource section.

Topics include: exhibit overview, commercial exhibits, museum exhibition, lighting and audio-visual.

The resource section provides information about museum organizations, trade shows and expositions, professional design organizations, stock system manufacturers, publications and periodicals.of interest to the trade.

E XHIBITS is a book that was truly created to fill a need . Anyone who will be involved in designing, commissioning or fabricating exhibits, on any scale, should have it. Larry Klein has done an impressive, intelligent job of organizing a vast amount of information and quality examples into a book that is both practical and stimulating. In essence, this book was begun in 1980 when I commissioned Larry to write an article for CA on exhibit design. Since he had an established reputation as one of the finest commercial and museum exhibit designers in the country, much of this was drawn from his own experience and supplemented by his contacting other outstanding exhibit designers for information and examples of their best work.

The article ran in three parts in 1981 and drew a response that demanded expansion into a book. We investigated for other books on the subject and found a void , so we set plans and vague timetables. But a book for the design field is something you do for reasons other than money and it has to be done in free time.

Larry had precious little of that in the next four years.

First it was major exhibit and environmental design projects for Bright & Associates where he was a senior vice president. Then he took on one of the most demanding but satisfying jobs of this decade, Design Director of the Los Angeles Olympic Organizing Committee.

Th is continued well after the Games were over as he supervised the design and production of two beautiful, thick volumes of the Official Report of the Games and was project director of the "Olympic Experience" exhibit that was shown for five months at the Los Angeles County Museum of Natural History.

Prepublication Offer Communication Arts is making a Special Prepublication Offer. Advance payment of $39.50 includes shipping and sales tax.

Or order now and we will bill you $39.50 plus $2.00 shipping when the book becomes available in May.

Fill out the information below and send to: Communication Arts, P.O. Box 10300, Palo Alto, CA 94303

0 Payment of $39.50 is enclosed.

0 Please bill me for $39.50 plus $2.00 for shipping when the book becomes available.

We are not book publishers, so I looked for one who would be willing to publish the quality book we had envisioned. Madison Square Press shared our feelings and Larry worked with Editor Jill Bossert on finalizing the manuscript. Walter Bernard designed the book and the jacket.

Name

Address

Our 47-page article has been developed and expanded into a 252-page book, the first quality publication on th is important field of design.

City

Dick Coyne, Editor, Communication Arts

No books will be shipped until payment Is received.

State

Zip

MATERIALS PENCIL GRIPPER/ERASER

BALL-POINT GLUE BOTTLE

Diener Industries, Inc. has created the Writeway Gripper, a soft vinyl slip-on eraser shaped like a banana" ... to protect educators and students who write a great deal from developing callouses on or inflammation of the first joint of the middle finger." They're priced at 29 cents and come in a variety of colors (a blue banana?). For more information write to Diener Industries, Inc., P.O. Box 4057, Chatsworth, CA 91313.

I'm not sure if this is something you could use but the enclosed photo looked interesting so here goes. The Model 60 by Pafra has a ball-point head that fits on standard 125 milliliter refillable plastic squeeze bottles and is available in 2, 4, 6 and 9mm line widths. The ball valve opens immediately on contact and closes immediately when lifted off the material making a clean line or dots.

Surely there must be some other liquids you could put in this thing besides glue. Creative thinkers may contact Eitan Keren at Pafra, Inc., 3 Kulick Road, Fairfield, NJ07006.

EXPANDABLE ThBES FOR DOCUMENTS

Cylopak is a series of9" interlocking plastic tubes and end sections produced by Chartpak for the storage, carrying and mailing of rolled documents. The rain and water resistant tubes are available in 2lf2'' and 3lf2'' diameters and come in gray or black. For that just right fashion statement, an optional carrying strap can be had in red or blue. If this suits your style contact Chartpak, One River Road, Leeds, MA, 01053.

LASER CoPIER

The copier with zoom capability has probably done more to revolutionize the way studios and agencies work than any computer graphics system has. Now copiers have gone a step further. Cannon has created what they're calling the NP9030 Laser Copier System, an "intelligent" office copier that combines digital and laser printing technologies.

What this all means is you can not only get a copy enlarged or reduced between 50% and 200% but also center, crop, expand or condense an image and even produce reverses.

What will they think of next? For more information contact your nearest Cannon copier representative.

0PAQUING MARKER

Alvin and Company has produced a ruby red ink marker for use in masking art or negatives instead of tape. Press release claims the ink dries quickly, will not smear, is waterproof and lightproof, and can be removed with alcohol. The Opaquing Marker is available in fine, medium and broad sizes. Write to Alvin and Company, Inc., P.O. Box 188, Windsor, CT 06095.

PRESSURE-SENSITIVE ADHESIVE PHOTO LABELS

Photolabels are four-color labels made directly from color negatives, 35-mm slides or prints onto an adhesive, pressure-sensitive backing the manufacturer claims will adhere to almost anything. Sizes range from 1 x 1lf2'' up to 4Ys" x 3lf4'' and cost from 16 to 45 cents based on a quantity of 50. No sample was sent so I can't tell you what the printing quality is like. If you're an inquiring mind who wants to know, contact Photolabels, Inc., 333 Kimberly Drive, Carol Stream, IL 60188.

98

Communication Arts March/Apri/1987

GRAPHIC EDUCATION VIDEO TAPES

Sunshine Enterprises has created a 14-part video educational series entitled "Graphics in Video" covering "virtually every aspect of the printing industry" for trade schools, technical colleges, designers, agencies and even printers themselves. Tapes include: Basic Stripping, "action packed" Color Stripping I and II, Layout & Imposition, Basic Camera, Paste-up, Typesetting and How To Buy Printing. "Each full color, fast paced, fully orchestrated tape plays approximately 20 minutes .. ~' and costs $69.95.

Contact Sunshine Enterprises, P.O. Box 13245, Spokane, WA99213.

DESKTOP PUBLISHING SOFTWARE UPDATE

For the benefit of our readers who have no interest in this high-tech phenom, I've grouped all related topics together for quick perusal or disregard.

I suppose this was destined to happen. Artmaster Book Company, publishers of over 250 different titles of clip art books, is introducing Artmaker electronic clip art software for Apple Macintosh desk top publishing. Over 72 disks each filled 150-200 "high quality" (I think that is open for debate) high resolution art proofs and graphics are currently in production and will each carry a retail price of$35-$40. Their press release states ... "disks for use in IBM equipment (is) right around the corner." So hold on to your hats! For a list of titles available, prices, descriptions, samples and anything else you can think of, contact Artmaster, 500 North Claremont Blvd., First Floor, Claremont, CA 91711.

As mentioned in Wendy Richmond's column in this issue, Aldus Corporation has introduced PageMaker Portfolio: Designs for Newsletters, a package of21 different newsletter formats designed to help PageMaker software users produce "better-looking" documents, priced at $79.

The designs, or templates, are packaged on a disk and accompanied by an instruction manual to explain how the

ENVISION

C

s

E

D 0

N

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G

N

FERENCE

Envision a weekend-long design conference with ten of the country's hottest communicators showing you their latest creations. And imagine meeting these speakers · and 1000 other artists from all over the country.

EN

V

S

I

0

N

1

3

For 13 years, the Art Directors and Artists Club of Sacramento (ADAC) has hosted over 10,000 students and professionals at Envision. Past speakers and attendees will tell you it's the most well-organized, stimulating conference they've ever attended.

THE

COUNTRY'S

THE "EXTRAS" YOU GET WITH ENVISION

13

You'll receive a free Envision 13 t-shirt, lunches, coffee break refreshments and help with your lodging requirements. Plus, you're invited to the Saturday Night Reception - a social event for speakers and attendees. See Envision 13 speakers' work in a special exhibit. Student highlights include a poster competition and slide show. Remember, some educational expenses are tax deductible. Check with your tax consultant for details.

REGISTER NOW AND GET A FREE ADAC MEMBERSHIP

If you join ADAC before April15, 1987, you get a discount on Envision and a monthly newsletter/poster, discounts on other conferences, workshops and meetings, and more.

D

Call Today For A Free, Informational Envision 13 Poster!

Call: 916/731-8802 Art Diredors and Artists Club of Sacramento

HOTTEST

A partial list of distinguished Envision 13 speakers includes: Louise Fili, Pantheon Books, New York; James McMullan, Illustrator, New York; Joe Duffy, Duffy Design Group, Minneapolis; Michael Vanderbyl, Vanderbyl Design, San Francisco; Dugald Stermer, Illustrator, San Francisco; Steven Heller, New York Times Book Review, New York; Fred Woodward, Regardie's Magazine, Washington D.C.; and Tamotsu Vagi, Espirit, San Francisco.

A

Envision 13 Conference Dates May 30 & 31, 1987

A

c

Design & Illustration : Steve Barbaria - Copy : Marcee Keller - Typography : Lithogrophics - Color Separations: Color IV

Early Registration (Before Aprii1S, 1987) $65 Students (with valid I.D.) S11 S Members S1SO Non-Members

Registration (After April 1S) Deadline May 1S, 1987 $75 Students S135 Members S170 Non-Members (VISA, MasterCard and American Express accepted)

Art Diredors and Artists Club 2791 24th Street Sacramento, CA 95818 916/731-8802

At the Sacramento Community Center Theatre Sacramento, California

MATERIALS

user can incorporate copy, headlines and artwork into a finished newsletter. The samples enclosed with the press release ranged from "not too bad" to "bland~' Designs for Newsletters is the first in a series Aldus plans to introduce. Future topics are to include: brochures, flyers, manuals, documentation, catalogs and price lists. Designs for Newsletters is available from authorized Aldus dealers.

Aldus Corporation, 411 First Avenue South, Suite 200, Seattle, WA 98104.

DEST Corporation has added SuperPaint software by Silicon Beach to its Publish Pac scanner software.

SuperPaint is a graphics and image editing program for use on the Macintosh Plus, features painting and drawing tools, and the ability to edit 300 dot per inch images inputed from either DEST's PC Scan or PC Scan Plus page scanners. Various storage options allow manipulated images to be used with PageMaker, Ready, Set, Go! and MacPublisher programs. Publish Pac is priced at $595 and is available at computer retailers. DEST Corporation, 1201 Cadillac Court, Milpitas, CA 95035.

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ILLUSTR ATION Located in the heart of the nation's largest urban historic landmark district, The Savannah College of Art and Design is an independent, nonprofit, accredited college offering degrees in Architecture, Historic Preservation, Interior Design, Graphic Design, IDustration, Painting, Photography, Fiber Arts, and Video. Trips abroad, student apartments, financial aid, and job placement are available.

THE SAVANNAH COLLEGE OF ART AND DESIGN 342 Bull Street • Savannah, GA 31401 • 912/238-2484

B.F.A.

B.ARCH.

M.F.A.

For more information, clip and mail to: Admissions Dept./SCAD/342 Bull St./Savannah, GA 31401 Name ____________________________________ Address ----------------------------- - - - City Graduation Date

State _____ Zip _____ Phone (

) _____

School/College ___ _ _ _

Accredited by Commission on Colleges, Southern Association of Colleges and Schools.

100

Communication Arts March/Apri/1987

Alas, this editor has become a victim of " Vaporware:' (a term used for software that is announced but not released). As stated in the Materials section of the CA86 Design Annual, Letraset had announced the introduction ofLetraPage, a desktop publishing package based on Boston Publishing Systems' MacPublisher II. Since that announcement Letraset has announced LetraPage will not be released and has returned the rights to MacPublisher II to Boston Publishing Systems. Letraset has since announced the attainment of exclusive distribution rights to Ready, Set, Go! Version 3.0, created by Manhattan Graphics of Valhalla, NY, for the Macintosh computer.

The later package is already one of the more successful publishing programs. Although originally sold for $295, Letraset has announced the retail price will be $395 and will be available exclusively through authorized Apple dealers and value added resellers. Letraset USA, 40 Eisenhower Dr., Paramus, NJ 07653.

Adobe Illustrator, a line art generation program for the Macintosh computer has been introduced by Adobe Systems. Images such as photos, logos, blueprints, rough sketches, or scrap file can either be scanned in or traced using a pen tool that allows the user to then fill in all or part of the drawing and adjust the line weight. Adobe Illustrator uses actual curves and lines rather than dots to define an image and allows the input of text and captions.

Once inputed, they can be manipulated in various ways including rotated to any angle, scaled and skewed, and printed on any PostScript-equipped printer such as the Apple LaserWriter or typesetter like the Linotronic 300.

Price for this technical wonder is $495 and available through authorized Apple dealers. Adobe Systems Incorporated, 1870 Embarcadero Road, Palo Alto, CA 94303.

An IBM AT (or compatible) version of Aldus Corporation's successful PageMaker program has been released. The PC version duplicates the functions of the Macintosh version available for the last year and a half. PageMaker for the PC runs under the Microsoft Windows operating environment and Aldus is bundling a fully featured version of Windows with its PageMaker for the PC through April for $695. After April, Aldus will ship a modified version of Windows to allow users to run PageMaker. The program is available through authorized Aldus dealers.

Cricket Software has produced a Microsoft Windows version of its graph program. Cricket Graph, creates full color business and scientific graphs, has its own page layout capabilities and supports a variety of printers, plotters and film recorders. Suggested retail price is $295. For information contact Cricket Software, 3508 Market Street, Suite 206, Philadelphia, PA 19104.

LITERATURE FOR YOUR FILES A request on your letterhead to the following companie~ will bring you the literature described .. .free, unless otherw1se noted.

The Bond House ... From Gilbert Paper is a two-piece promotion to show off the color, finish and new cover weight enhancements made to their Gilbert Bond, Lancaster Bond and Allegro Vellum lines. Swatch books abound in this one pound eleven ounce promotion with colors, finishes, weights, pre-printed and blank sample sheets all thoroughly represented. The promotion cover shows an impressive multistage emboss with foil and blind embossed lettering. For your sample, contact your nearest Gilbert Paper distributor or write to Gilbert Paper, A Mead Company, 430 Ahnaip Street, P.O. Box 260, Menasha, WI 54952.

Stock ... is a highly functional paper comparison system created for Champion International Corporation by James Sebastian's Designframe. Stock is comprised of two " libraries:' one each for the sheet-fed and web stocks, containing twelve-page brochures for text papers and eightpage gatefolds for cover weights. The content is identical in every brochure presenting images from four stock photo sources: Index Stock International, NASA, The Bettmann Archive and Duomo Photography. It is not only useful but a pleasure to look at. Contact your nearest Champion paper representative for more information.

Electronic Printing Paper and the Designer... from Gilbert Paper is an informative brochure written to promote its Neu-Tech premium correspondence paper designed for electronic printing systems. Included is a simplified overview of the various electronic printing processes being used by companies for imprinting on their letterheads and a glossary explaining terms like digital data, photoconductive surface and drop-on-demand. Your copy is available from your Gilbert Paper distributor.

Checking Your Blueline Proof. .. Looking beyond the design and illustration in this 16 panel 2-color booklet, there is some good, easy to read information every client should know about their bluelines. Included are the 20 most asked questions, like "Why do I need to check the blueline if the artboards were carefully checked before they went to the printer?" and "How much will it cost to change one word on the blueline?" Also included is a checklist to use while reading bluelines and definitions of printing terms. Packets oflO booklets are available for $19.95, 50 for $88.95 and 100 for $168.95. Individual copies are $7.95 which includes a $5.00 discount coupon towards purchase of a packet. Orders and inquiries should be addressed to GNG Communications, 5811 Terence Drive, Clinton, MD 20735.

MAKE IT TO THE TOP Mead wants your best work for our 37th annual Top 60 Competition for Excellence in the Graphic Arts.

RECOGNITION: Entries are judged every month for excellence in concept, design, and printing. And every month an independent panel of experts picks 15 winners: five Awards of Excellence, and ten Awards of Merit. The five best from each month make up the Top 60 Show at the end of the year. Four Top of the Top Awards will be selected from the 60 winners. The entire show will be exhibited

by Mead Distributors throughout the country.

ELIGIBILITY: Theres no entry fee and just one simple rule. Any printed piece is eligible as long as its printed on one of these Mead coated papers: Mead Mark I, Mead Mark V, Black & White, Mead Offset Enamel, Moistrite Matte, Black &White Web, Mead Web, Moistrite Matte Web, Northcote Enamel, Escanaba Enamel.

HOW TO ENTER: Enter through your Mead Distributor, or by calling 1-800-345-MEAD.

MATERIALS

Web Gloss .. . If you're not sick of the Statue of Liberty, S.D. Warren has produced a brochure showing Liberty keepsakes produced over the last hundred years printed on their appropriately titled magazine stock, Freedom Web Gloss. All sorts of buttons, postcards, pins, spoons, ashtrays are pictured, and you can even get a brass pin "celebrating the restoration of America's Great Lady." This coated =#=4 grade paper was designed as a cover weight companion to Somerset Gloss. Contact Lewis H. Brown, Marketing Manager, Publishing Papers, S.D. Warren Company, A Division of Scott Paper Company, 225 Franklin Street, Boston, MA 02101.

Baseline Eight ... is the typographic journal published by

Letraset International currently in its (you guessed it) eighth edition. This issue includes "Typographic Treasures: The Work ofWA. Dwiggins" and his work in book design, typography, advertising, calligraphy, puppetry and illustration; "Art Nouveau Lettering" influenced by William Morris in printing and type design and English carver David Kindersley. Your copy is available free from all Letraset dealers.

Q

Don't leave English without us ... is a ten-page folder con-

taining 52 typeface styles for printing Arabic available from Spectrum Multilanguage Communications, a New York City based organization that translates and typesets text into almost any language. Spectrum works with corporations, agencies and designers to properly prepare multi-national promotional materials. Information on services or copies of the aforementioned brochure are available from Spectrum at 255 West 39th Street, New York, NY 10018.

Plastics Catalog ... 20th Century Plastics is offering a catalog

so you can order their products. " Protect your important photos, both business and professional, with high quality photo pages and albums for professional quality presentations, easy filing and storage, instant identification, slides and negatives, prints~' For a free sample of their most popular Heavy-Duty Vinyl Photo Pages and the catalog, write to D. Lewis Thompson, General Manager, 20th Century Plastics, P.O. Box 30808, Los Angeles, CA 90030.

Third Class Mail ... The Direct Mail Marketing Association has just published Third Class Mail: Serving a Changing Society. The 16-page pamphlet provides detailed statistics describing the benefits and uses of third-class mail. Copies can be obtained by writing to Consumer Services, Direct Marketing Association, 6 East 43rd Street, New York, NY 10017.

Get your

Commercial Art Career mo\fing in London, Atlanta or Los Angeles The American College for the Applied Arts , Atlanta and Los Angeles , and The American College in London afford students the opportunity to earn a degree while transferring , without any loss of academic credit, between the colleges.

Professional faculty .. .field trips ... study tours ...sophisticated photography lab and graphic design facilities ... all part of the Commercial Art program preparing you in every aspect of graphic visual communication.

Associate and Bachelor of Applied Arts degrees, co-educational , modern dormitory facilities , financial aid available. Terms begin October, January, March, May and July.

Degrees also conferred in Fashion Design , Fashion Merchandising , Interior Design and Business Adm inistration.

Curtis Linen ... Curtis Linen sample portfolio introducing new Curtis Linen Writing. " The new writing paper features the same texture and attractive durable finish of fine linen fabric . . ~' but is much easier to type on. The portfolio includes the obligatory fictitious company stationeries which are multi-color offset printed, thermographed, foil stamped, blind embossed and otherwise manipulated to show the papers ability to work with or, in some cases, stand up to various techniques. Blank sheets are included for your own experimentation. To obtain a copy contact your local Curtis Linen merchant or write to A. L. Rowland, James River Corporation, Merchant Paper Sales Division, 145 James Way, Southhampton, PA 18966.

- - - - - - - - - - - - - - - - - - - - --CA NAME___________________________________

ADDRESS _________________________________ CITY _______________ STATE _____ ZIP_________ PHONE

YR. H.S. GRAD _ _ _ _ _ _ __

Write or call for more information : 3330 Peachtree Road , NE 1651 Westwood Boulevard Atlanta, Georgia 30326 Los Angeles , California 90024 (404) 231-9000 ... or (213) 470-2000

'lbeAmericanCottege for the Applied Arts 102

Communication Arts March/Apri/1987

Dream Works . .. is a new promotional package for Neenah Paper's Classic Linen Writing, text and cover. The promotion showcases industry craftspeople along with swatch books, sample sheets, a new color announcement brochure, a letterhead kit and, if your local Neenah Paper Merchant is lucky, a drawstring tote bag to haul your treasure home.

-P.C.

Nekoosa Papers Inc. a company of Great Northern Nekoosa Corporation MILLS AT NEKOOSA AND PORT EDWARDS, WISCONSIN AND ASHDOWN , ARKANSAS

GENERAL SALES OFFICE Port Edwards, Wiscons in 54469 Phone (715) 887-5111

CA87 28th ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

The largest of the juried competitions for advertising and design, CA-87 will be selectively chosen on the basis of creative excellence and quality of execution to exemplify the highest standards of work produced between July 1, 1986 and June 30, 1987.

Any work that has been published or aired in that time period is eligible for CA-87.

Work may originate from any country (twenty nations have been represented in past annuals). English translations of work in any other language are important for the jurors.

All of the winning entries chosen by the juries will be reproduced in the two volumes of CA-87. The Design Annual, selected by a distinguished jury of nine designers, will be published in November, 1987.

The Advertising Annual, selected by a distinguished jury of writers, art d\rectors and creative directors, will be published in December.

Both of these 240-page Annuals will incorporate special reproduction techniques developed by CA, quality color separation,

the finest web offset printing available on premium 80 lb. coated paper, with everything that was originally in color reproduced in color at a size that allows the copy to be read.

Over 60,000 copies of each of these world's most seen Annuals will be distributed, assuring important exposure to the agencies, design firms and individuals involved in the creation of this award-winning work.

Award of Excellence certificates for firms, individuals and clients will be mailed in January, 1988.

Only accepted entries will be notified on or before September 15. Complete credits and any necessary material for the best possible reproduction in the Annuals will be requested at that time. No additional fees are required.

No entries will be returned. Submission of entries to CA-87 acknowledges the right of Communication Arts to use them for publication and exhibition.

ADVERTISING ANNUAL CATEGORIES These categories are judged by the advertisingjury and will appear in the Advertising

DESIGN ANNUAL CATEGORIES These categories are judged by the design jury and will appear in the Design Annual.

Annual.

CONSUMER MAGAZINE ADVERTISING lA Single ad, any size ($15) lB Campaign-limit of five pieces ($30) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size ($15) 2B Campaign-limit of five pieces ($30) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising appearing in consumer magazines and newspapers) 3A Single ad, any size ($15) 3B Campaign-limit of five pieces ($30) ADVERTISING POSTER 4A Billboards, including painted ($15) 4B Series of 4A-limit of five pieces ($30) 4C Point of purchase ($15) 4D Series of 4C-limit of five pieces ($30) 4E Transit advertising, car cards ($15) 4F Series of 4E-limit of five pieces ($30) SALES PROMOTION SA Sales presentation kit, direct mail, etc. ($15) SB Series of SA-limit of five pieces ($30) TV ADVERTISING 6A TV commercial, 16mm film or 3/4" video tape NTSC ($30) 6B TV commercial series, maximum of three commercials, spliced together without leaders ($45) RADIO ADVERTISING 7A Radio commercial, lf4'' magnetic tape, 71h ips ($30) 7B Radio commercial series, maximum of three commercials, spliced together without leaders ($45) TELEVISION/RADIO STATION 8A TV promotion, 16mm film or 3f4" video tape NTSC ($30) 8B Radio promotion, lf4'' magnetic tape, 71h ips ($30) 8C Station 10 slide ($15) 8D Program title, logo, signature ($30) 8E Series of8D-limit of five pieces ($45) ADVERTISING SELF-PROMOTION 9A Printed promotion for advertising agencies ($15) 9B Series of9A-limit of five pieces ($30) 9C Advertising clubs, communications/ promotions ($15) 90 Series of9C-limit of five pieces ($30)

COMPANY LITERATURE lOA Annual report ($15) lOB Real estate booklet or brochure ($15) IOC Capabilities/product booklet or brochure ($15) 100 Announcement/invitation ($15) IOE Series oflOD-Iimit of five pieces ($30) IOF Catalog/product ($15) lOG Catalog/school ($15) lOH Catalog/exhibition ($15) 101 Miscellaneous company literature (data sheets, internal company communications, conference literature, house organs, etc.) ($15) IOJ Series oflOI -limit of five pieces ($30) TRADEMARK llA Company name and nature of the business must be placed next to the mark for judges' information or the mark will be disqualified ($15) liB Corporate identity (total identity program)-at least five pieces, limit often ($30) LETTERHEAD 12A Letterhead, envelope, card ($15) 12B Business paper series (letterhead, forms, etc.)-at least five pieces, limit often ($30) DESIGN POSTER (Including institutional, exhibition, event, etc. Does not include self-promotion.)

13A Single poster, any size ($15) 13B Series of13A-Iimit of five pieces ($30) PACKAGING/LABELING 14A Single package or label ($15) 14B Series ofl4A-limit of five pieces ($30) 14C Audio/visual package (record jacket, cassette, compact disc, video, etc.) ($15) 140 Series of14C-Iimit of five pieces ($30) EDITORIAL 15A Consumer magazine (cover, spread or section) ($15) 15B Trade magazine (cover, spread or section) ($15) 15C Newspaper (page, spread or section) ($15) BOOK 16A Trade book, complete unit ($15) 16B Trade book cover or jacket ($15) 16C Text book, complete unit ($15) 160 Text book cover or jacket ($15) 16E Children's book, complete unit ($15) 16F Children's book cover or jacket ($15)

DEADLINE FOR ENTRIES IS JULY 1

DESIGN SELF-PROMOTION 17A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers, and all others involved in graphic communication ($15) 17B Series ofl7A-limit of five pieces ($30) 17C Art/design clubs, communications/ promotions ($15) 17D Series of17C-limit of five pieces ($30) MISCELLANEOUS 18A Greeting card, including Christmas card, birth announcement and invitation (company announcements and invitations belong in company literature) ($15) 18B Display (point of purchase, trade show exhibit, etc.)-limit often slides ($30) 18C Signage, interiors, architectural graphics-limit often slides ($30) 180 Calendar ($15) 18E Menu ($15) 18F Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc. ($30) 18G Anything not covered in previous categories ($15) 18H Series of18G-limit of five pieces ($30)

• Call (415) 326-6040 if you have any additional questions.

I

I

PREPARATION OF AUDIO/VISUAL ENTRIES All television commercials must be 16mm film or 3/4" video tape cassettes NTSC. Single tape commercials must be on individual cassettes. If your tape commercial is accepted, you must furnish us with film (16mm or 35mm APO) or 6 color frames for reproduction in the Annual or the commercial cannot be included.

TV film series should be spliced together without leaders. TV cassette series should be edited together on one cassette with four seconds of black between each spot. Radio commercials must be on 1f4" magnetic tape, 71f2 ips in reel-to-reel format.

All series are limited to three commercials.

PREPARATION OF PRINT ENTRIES Submit ad tear sheets and printed samples, e.g. annual reports, brochures, folders, letterheads, book covers, menus, etc., UNMOUNTED. For posters over 18"x 24;' packaging, displays, signage, submit photographs or transparencies, plastic or paper mounted 35mm slides only, NO GLASS MOUNTS. A piece may be entered as a single and part of a series, but only in one category.

PREPARATION OF PACKAGES Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged). ·

I

A

This form and handling fee must accompany entries submitted to CA-87.

P.O. Box 10300 • 410 Sherman Avenue • Palo Alto, CA 94303

I

l

Name

I

Company

Phone

Address City

I I I I I I

State

Zip

_ _ _ Single entries

.. $15 each $_ __

_ _ _ Campaigns or series ........... . . .

.. $30 each $_ __

_ _ _ Single TV Commercials

... $30 each $_ __

_ _ _ TV Commercials Series ...

.. $45 each $_ __

_ _ _ Single Radio Commercial . .

. . $30 each $_ __

_ _ _ Radio Commercial Series . . . . . . . . . . . . . . . . . $45 each $_ __ TOTAL FEE $_ __

CForCAuse~ D

Self-addressed stamped envelope

I

If more than one package is sent, please indicate on the outside wrapping: "Package No. __ of __ packages:'

~-_::~:::_ _________:~uded~=:=_:~e~'----------

If package contains audio/visual entries, indicate on the outside wrapping: "Contains Broadcast Entries:' Non-United States contestants should mark each package "Materials for Contest Entry. No Commercial Value:' No provision will be made by CA for U.S. Customs or airport pickup.

Therefore, international entries should be sent by mail, not air freight. All entries must be received by July 1, 1987.

FORMS AND HANDLING FEES Form A and the handling fees must accompany your package of entries. Make checks payable to CA-87.

Form B (or a facsimile) must be TAPED to the back of each entry. If the entry is a campaign, a Form B must be taped to each piece. If a piece is to be entered as both a single entry and part of a campaign, a duplicate piece with its own Form Band entry fee must be submitted.

11

B

I [

I I I

Tape this form or facsimile to the back of each piece submitted to CA-87 (no paper clips).

Category]

Fo~ c~mpaigns or series only

I Letter

Th1s 1s No. _ _ of _ _

mber

Submitted by Company

B

Tape this form or facsimile to the back of each piece submitted to CA-87 (no paper clips).

ACKNOWLEDGEMENT OF RECEIPT OF ENTRIES If you want to know if we received your entry, please enclose a stamped, self-addressed card or envelope in your package.

[

For foreign acknowledgements, please send a self-addressed envelope and include in the total cost of your entries either 22 cents for Canada or Mexico or 58 cents for other countries.

Submitted by

As soon as we open your package we will send the acknowledgement to you.

Company

Mail entries to: CA-87 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

Air Express entries to: CA-87 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

~Fo<CAuso~

Category]

Fo~ c~mpaigns or series only

I Letter

Th1s IS No. _ _ of _ _

mber

B

Tape this form or facsimile to the back of each piece submitted to CA-87 (no paper clips).

Category] [ Number

I Letter

NO RETURN OF ENTRIES Submitted by Company

~Fo<CAuse~

Fo~ c~mpaigns or series only

This IS No.-- of _ _

~Fo<CAuse~

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I I I

I I I I

I I

I I

I I I I

- -

- - - -- - - - - - -~ I I I I I I I

I I I I

I I I

Consult these leading Merchants for more information about VINTAGE® papers.

ALABAMA Birmingham • Mac Papers, Inc. Huntsville Area • Athens Paper Co .

Montgomery • Mac Papers, Inc. ARIZONA Phoenix • Ingram Paper Co .

• Unisource • Zellerbach Paper Co. Tucson • Unisource ARKANSAS Fort Smith • Carpenter Paper Co .

Little Rock • Fine Papers, Inc. CALIFORNIA Fresno • Unisource • Zellerbach Paper Co. Los Angeles • Ingram Paper Co .

• LaSalle Paper Co. • Nationwide Papers • Unisource • Zellerbach Paper Co. Sacramento • Unisource • Zellerbach Paper Co .

San Diego • Ingram Paper Co. • Nationwide Papers • Unisource • Zellerbach Paper Co .

San Francisco • Nationwide Papers • Ponderosa Paper Co. • Seaboard Paper Co. • Unisource • Zellerbach Paper Co .

San Jose • Unisource COLORADO Denver • Carpenter Paper Co. • Nationwide Papers CONNECTICUT Hartford Area • Rourke-Eno Paper • Wilcox-Walter-Furlong Paper Co .

West Haven • Rourke-Eno Paper DISTRICT OF COLUMBIA Washington • Garrett-Buchanan Co .

• Frank Parsons Paper Co., Inc. FLORIDA Jacksonville • Mac Papers, Inc. Miami • Mac Papers, Inc. • Saxon Paper Corp. of Florida Orlando • Mac Papers, Inc. Tallahassee • Mac Papers, Inc. Tampa • Mac Papers, Inc. GEORGIA Atlanta • Dillard Paper Co. • Mac Papers, Inc. Columbus • Mac Papers, Inc. HAWAII Ewa Beach • Ingram Paper Co. Honolulu • Unisource • Zellerbach Paper Co. IDAHO Boise • Lewis & Clark Paper Co. • Unisource • Zellerbach Paper Co. ILLINOIS Chicago • Bradner Smith & Co .

• Forest-Atwood Paper Co .

• LaSalle Messinger Paper Co. • Moser-Schmidt Paper Co. • Whitaker Carpenter Paper Co. Peoria • Bradner Smith & Co. Rock Island • C.J. Duffey Paper Co. • Leslie Paper Co. INDIANA Fort Wayne • Cordage Papers, Fort Wayne Div. Indianapolis • Cordage Papers, Indianapolis Div. • Ris Paper Co. South Bend • Moser-Schmidt Paper Co. • Ris Paper Co.

Potli\tch Potlatch Corporation Northwest Paper Division Cloquet, Minnesota 55720

IOWA Des Moines • Leslie Paper Co. Sioux City • Carpenter Paper Co. of Nebraska KANSAS Topeka • Nationwide Papers Wichita • Southwest Paper Co. KENTUCKY Lexington • Athens Paper Co. Louisville • Athens Paper Co. • Nationwide Papers LOUISIANA New Orleans • Marks Paper Co. MARYLAND Baltimore • White-Rose Paper Co. , Inc. Columbia • Garrett-Buchanan Co. Landover • Frank Parsons Paper Co. , Inc. MASSACHUSETTS Springfield • Rourke-Eno Paper Woburn • Rourke-Eno Paper Worcester • Rourke-Eno Paper MICHIGAN Detroit • American Paper Co. • Seaman-Patrick Paper Co. Grand Rapids • Ouimby-Walstrom Paper Co., Inc. Lansing • Butler Paper Co. MINNESOTA Duluth • Duluth Paper & Specialities Co. • Falk Paper Co. Minneapolis-St. Paul • C.J. Duffey Paper Co. • Inter-City Paper Co. • Leslie Paper Co. • Wilcox Paper Co. MISSOURI Joplin • Butler Paper Co .

Kansas City Area • Butler Paper Co. • Leslie Paper Co. • Nationwide Papers Springfield • Nationwide Papers St. Louis • Beacon Paper Co. • Nationwide Papers • Tobey Fine Papers MONTANA Billings • Carpenter Paper Co. NEBRASKA Omaha • Field Paper Co. NEVADA Las Vegas • LaSalle Paper Co. • Unisource • Zellerbach Paper Co. Reno • Unisource • Zellerbach Paper Co. NEW HAMPSHIRE Concord • Rourke-Eno Paper NEW JERSEY Kenilworth • Lewmar Paper Co. Union • J .B. Papers, Inc. West Caldwell • Hudson City Paper Co. NEW MEXICO Albuquerque • Nationwide Papers NEW YORK Albany • Seneca Paper Binghamton • Seneca Paper Buffalo • Seneca Paper New York • Allan & Gray Corp.

• Ailing & Cory Co. • Andrews/ Nelson/Whitehead • Gould Paper Co .

• Willmann Paper Co., Inc. Rochester • Seneca Paper Syracuse Area • Seneca Paper NORTH CAROLINA Asheville • Henley Paper Co. Charlotte • Henley Paper Co. • Mac Papers, Inc. Greensboro • Henley Paper Co. Hickory • Henley Paper Co. Raleigh • Henley Paper Co. OHIO Cincinnati • Cordage Papers, Cincinnati Div. Cleveland • Copco Papers, Inc. • Cordage Papers, Brewer-Chilcote Div. Columbus • Copco Papers, Inc. Dayton • Cordage Papers, Dayton Div. Toledo • Commerce Paper Co .

OKLAHOMA Oklahoma City • Carpenter Paper Co. Tulsa • Carpenter Paper Co. OREGON Portland • Unisource • Zellerbach Paper Co. PENNSYLVANIA Allentown • Garrett-Buchanan Co .

Lancaster • Garrett-Buchanan Co .

Philadelphia • Garrett-Buchanan Co .

Pittsburgh • General Paper Corp. Div. Cincinnati Cordage & Paper Co. Reading • Garrett-Buchanan Co .

RHODE ISLAND East Providence • Rourke-Eno Paper SOUTH CAROLINA Columbia • Mac Papers, Inc. Greenville • Henley Paper Co .

• Mac Papers, Inc. SOUTH DAKOTA Sioux Falls • The Paper Company TENNESSEE Bristol • Karl M . Harrop Co ., Inc. Chattanooga • Athens Paper Co .

Knoxville • Cordage Papers, Knoxville Div. Memphis • Roach Paper Co .

Nashville • Athens Paper Co. • Dennis Paper Co. TEXAS Arlington • Nationwide Papers Austin • Monarch Paper Co. Dallas • Monarch Paper Co. • Nationwide Papers El Paso • Nationwide Papers Fort Worth • Monarch Paper Co. • Nationwide Papers Houston • Monarch Paper Co .

• Nationwide Papers San Antonio • Monarch Paper Co. • Nationwide Papers UTAH Salt Lake City • Carpenter Paper Co. of Utah • Unisource • Zellerbach Paper Co. VIRGINIA Chesapeake • B.W. Wilson Paper Co ., Inc. Richmond • B.W. Wilson Paper Co ., Inc. WASHINGTON Kent • Unisource Seattle • Paper Mills Agency • Zellerbach Paper Co. Spokane • McGinnis Independent Paper Co. , Inc. • Unisource • Zellerbach Paper Co. WEST VIRGINIA Huntington • Cordage Papers, Huntington Div. WISCONSIN Appleton • Central Wisconsin Paper Co., Woelz Paper Div. • Leslie Paper Co .

• Reliable Paper Co. DePere • Butler Paper Co. Madison • Butler Paper Co. • Leslie Paper Co. • Moser-Schmidt Paper Co. Milwaukee • Bradner Smith & Co. • Butler Paper Co .

• Central Wisconsin Paper Co., Woelz Paper Div. • Jim Walters Papers • Leslie Paper Co. • Rel iable Paper Co. • Wisconsin Paper & Products Co .

Wausau • Centra l Wisconsin Paper Co .

Wisconsin Rapids • Butler Paper Co .

CANADA Alberta , Calgary • CIP-Daxion , Inc. • Coast Papers Edmonton • CIP-Daxion, Inc. • Coast Papers British Columbia , Vancouver • Coast Papers Manitoba, Winnipeg • Inter-City Papers, Ltd .

Saskatchewan, Regina • CIP-Daxion, Inc. • Coast Papers Saskatoon • CIP-Daxion, Inc. Ontario, Toronto • Select Papers

BooK REVIEWS LETTERHEADS A Collection From Around The World Edited by Takenobu Igarashi Graphic-sha Publishing Company Distributed by Rockport Publishers P.O. Box 396, Rockport, MA 01966

$69.95

"A letterhead always seems a simple project at first glance. But one quickly realizes that as an image that is dispersed to people all over the world, and often the only image they may see of an organization or individual, it must communicate a great deal. Creating the image is a complex task~' -Paul Davis 40 designer's quotes are dispersed among the 300 letterheads shown in this 224-page book and many agree with Davis on its importance in communicating a company's image. With the advent of low-cost word processing, the letterhead has also become a cost effective marketing tool by graying the area between personal and mass produced communication.

Fortunately, the vast majority of letterheads shown are not ones we've already seen in various national annuals, nor are many a designer's own stationery but are solutions for real clients. Unfortunately, only 80 pages are reproduced in color and some of the letterheads suffer from their black and white reproduction, which makes me question the steep price.

-Patrick Coyne

GRAPHIC DESIGN PRESENTATIONS Ed Marquand Van Nostrand Reinhold 115 Fifth Avenue, New York, NY 10003

$34.95

At first glance, I thought this was a book about how to prepare comprehensives for presentation. In reality, it's more about how to convince a client of your skills and to communicate a solution through your presentation.

Topics include: new business and promotional presentations, structuring an assignment, the sequence of presentations for major projects, gauging the client's response and gaining that ever important client trust. Also included are tips on scheduling, budgeting and avoiding proposal pitfalls.

Work less.

•

Bill more.

To be profitable, you need to be efficient.

Not only in producing the job, but getting paid for it . . . from tracking time, to watching budgets, to collecting money. That's work.

But now, there's relief. DesignSoft is a powerful, easy-to-use software system that makes your billing easy and efficient. It's been developed by designers for anyone who bills by the job-designers, photographers, agencies, etc.

DesignSoft . . .

••,____ _ _ __ • Organizes and automates record keeping • Records each time and expense entry for individual jobs by 270 user-defmed categories, rates, and markups • Posts all entries to the correct jobs from one entry screen • Allows you to quickly review, edit, print, sort, and total data for up-to-date summaries, reports, statements, and custom invoices • Tracks open invoices, accounts payable, and income • Helps analyze job, client, and employee profitability • Is easy to learn and enthusiastically supported Bill your time. Don't spend it doing what DesignSoft already does. For a detailed brochure and demo, contact:

Highgate Cross & Cathey 130 W Liberty, Wheaton IL 60187, 312-653-2700 Complete program- S495.00, interactive demo- $12.95, shipping- S3.00.

Check, Visa/MC , AmEx

Several designer's responses to questions about their approach to self-promotion, new client presentations and presenting for a specific project are included amongst (continued on page 114)

111

~~, useclto

scltlepp 8 portfolios to NewYorlc, Atlanta, Clticago, Pltilaclelpltia, Pittslturglt, Kansas City, ancl St.louis, Hfore I wisecl up!~~ .

Woody Coleman

£

c E

"'u

0

u

'

"These 2 pages were the beginning of the end of my shoe leather days."

"These are 2 of my 9-page portfolio in The Creative Black Book last year."

THE CREATIVE BLACK BOOK Where Stars Are Born

The Creative Black Book , 401 Park Avenue South, New York City 10016. (212) 684-4255

"I'm an illustrator's rep from Cleveland, Ohio. To keep my artists alive, I've got to do a lot of traveling. They need national exposure or they'll die.

"In the bad 'ol days, I used to use a lot of shoe leather. Pounding the pavement, listening to excuses like 'could you drop the book off; 'he's in a meeting,' or the 'could we reschedule' routine! Finally, I'd break my way into a real live art director's office and I'd give up when I'd start seeing those swirling bull's-eyes in the middle of the pupils of his eyes, after viewing three or four of my eight artists.

"Those days were hard on me. And very frustrating. The calls I generated were nothing compared to the business I do today.

Instead of using my feet, now I'm using my head. I've found a way to get my artists' work in front of every art director in this business, when he's in the market for my kind of art. I invest in the The Black Book.

"This investment is minimal compared to what I used to spend on those god-awful trips all across this country. Two or three times a year. Year after year.

"The Black Book has gotten me more jobs than I ever got when I was a door-todoor salesman. Now I feel like I'm a marketing man. I've learned to choose the right images for an ad. Pick the right markets for my artists, and build their careers and reputations in the industries that are most appropriate for them.

"Today, only 2% of my business comes from Cleveland. And now I'm keeping 10 artists busy. They're working all across this country and outside this country as well.

"But just because The Black Book is doing some of my legwork for me, please don't think I'm the kind of 'rep' who stays at home. I'm still traveling across this country, but not as much, and I'm not schlepping all those portfolios anymor~. '~nd besides, I don't have to break down doors. I'm busy enough trying to meet the new clients I've made through my pages in The Black Book. My shoe leather days are over. Forever!"

BooK REviEws

(Continued from page Ill)

the text, and, as you could guess, there are as many approaches as there are solutions to a problem.

Ellen Shapiro understood the need to actively search for clients if she wanted to get annual reports. April Greiman attracts clients already familiar with her unique approach and does little promotion. When presenting concepts, Michael Manwaring will often show just one or two solutions knowing these are the best of the numerous concepts explored. In corporate identity, Anspach Grossman Portugal will present several solutions as degrees of change from a modification of the existing image to a revolutionary approach.

I think most designers could find this book as a useful supplement to Ed Gold's excellent The Business of Graphic Design, but nowhere near the bargain of the later.

-P.C. BRIEFLY NoTED: FINISHING THE HAT The Illustrations of Bill Nelson (Published by Taylor Publishing Company, 300 Turner Road, Suite E, Richmond, VA 23225, $35.00 plus $3.00 shipping.) This is a limited edition book of1000 copies

each signed and numbered by the artist. Beyond the hand folded dust jacket, the imported linen cloth cover and vellum flysheet, this is a smartly designed collection of Nelson's work with brief descriptions of the development of each piece. Entertaining.

SHOP WINDOW Six Designers Display Direction (Published

by Rockport Publishers, Inc., distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $79.95.) An expensive yet interesting look at six Japanese space designers' solutions to 3-dimensional problems.

Shown are a wide range of shop windows, museum and trade exhibits along with the usual bad English translation of the text.

IDEAS ON DESIGN by Pentagram. Introduction by Peter Mayle (Published by Faber and Faber Limited, 3 Queen Square, London, WC1N 3AU, $35.00.)

This book should really be considered as a project update to their outstanding Living by Design (1978). Much of what was said then is still applicable to the 154 projects and explanations presented herein; This is an organization that first and foremost, solves each client's problem in a unique and challenging way.

Although Kit and Linda Hinrichs and Neil Shakery are listed as partners, the book was produced before their inclusion and their work is not included.

MARKS New Directions in Logo Design by Jay Vigon (Published by Graphic-sha Publishing Company, Ltd. Distributed by Nippan Shuppan Hanbai, USA, Inc., 532 West 6th Street, Los Angeles, CA 90014, $32.95) Jay Vigon and Richard Seireeni operate a full service agency in Los Angeles specializing in the fashion and entertainment industries. Their press release states their client's customers have one thing in common, "They are aggressive consumers residing in the stratosphere of disposable income~' Mr. Vigon's years of experience of working with these trendsetters has been compiled in a 255-page book of trendy marks. More interesting than the marks chosen by the clients are the concept and development sketches.

Your Neenah Paper merchant. Ready to help you meet any design challenge.

Neenah R:pzr

Neenah. WI 54956

C> 1987 KCC • Registered Trademark ol Kimberly-Ciari< Corporlllion

114

Communication Arts March/Apri/1987

65TH ART DIRECTORS ANNUAL (Published by ADC Publications. Distributed by Robert Silver Associates, 307 East 37th Street, New York, NY 10016, $24.95) Quoting from the dust jacket, "More than 17,000 print and television entries judged to be the best work done in 1985 are reproduced in this substantive sourcebook~' I could only find 1783 entries in this six pound, four ounce volume.

-P.C.

CLUBS, CONFERENCES, SEMINARS SANTA BARBARA

B/PAA

The Santa Barbara Advertising Club is sponsoring a oneday seminar on Saturday, April 4, 9:00a.m. to 5:00p.m. at the Victoria Street Theater. Seminar speakers are: illustrator Alan E. Cober, Ossining, New York; designer Linda Hinrichs, Pentagram, San Francisco; agency principal Hal Riney, Hal Riney & Partners, San Francisco; television commercial director Steve Steigman, New York; photographer Bruce Wolf, New York. Pre-registration is $85 until March 27 and $95 thereafter. Lunch and coffee breaks are included. Seminar hot line: (805) 564-4487; accommodations (805) 963-9518. SBAC, P.O. Box 1441, Santa Barbara, CA 93102.

The Business/Professional Advertising Association 65th Annual Conference will take place from June14-17 at the Boca Raton Motel and Club in Boca Raton, Florida.

For conference registration information, contact B/PAA, 205 East 42nd Street, New York, NY 10017. All reservations must be received by May 23, 1987.

SEGD The Society of Environmental Graphic Designers 1987 national conference will be held at Cranbrook Academy of Art, Bloomfield Hills, Michigan from August 6-8.

For further information, please contact Sarah D. Speare, Executive Director, SEGD, 47 Third Street, Cambridge, MA 02141; or call (617) 577-8225.

If you picked C, we want you to spend five days with your fellow designers in the Colorado sunshine.

If you picked A orB, the same goes for you.

Because this year, the 37th annual International Design Conference in Aspen will be wrestling with such provocative issues as "The uses of failure:' "Well-designed failures" and "The penalties of achievement:' Those addressing the conference

PAPER CONTEST

Enter your printed pieces in the Kirk Paper Company PaperWork contest and you may win a trip for two to Amsterdam or Osaka. On your next job specify one of these grades: Ikonolux Gloss, Centura Gloss or Dull, Gleneagle Gloss or Dull, Brilliant Art Gloss Cover or Royal Roto Web Gloss or Velvet and specify Kirk Paper Company, Los Angeles. All entries must be printed between November 1,1986 and June 5,1987, and will be judged by a jury of designers, without consideration or participation by Kirk Paper Company. For additional information, contact Nan Faessler, Contest Director (212) 728-8117.

include: Jay Chiat, Creative Director and Chairman, Chiat/Day Advertising; Gordon Davidson, Artistic Director, Mark Taper Forum; lrven DeVore, Professor of Anthropology, Harvard University; Frank Gehry, architect; George Lois, Creative Director and Chairman, Lois Pitts Gershon Pon; Dr. Paul MacCready, aeronautics engineer and President, AeroVironment; Rachel McCulloch, Professor of Economics, University

International Design Conference in Aspen June 14-June 19, 1987 $425 for regular registration.

$200 for one additional household member. .

I $125 .for ful.l time .stud~nts (photocopy of current ID

Leqmred wtth regtstratton.) _ _ _ _ _ _ _

of Wisconsin; Barbara Rose, art critic, Vogue Magazine; Robert Rose, Professor of Materials Science and Engineering, M.I.T.; Michael Sorkin, architect and critic, The Village Voice.

So if you're a designer who has ever grappled with the notions of success and failure, we invite you to participate in this unique event.

IDCA International Design Conference in Aspen

Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Ciry _ _ _ _ _ _ _ State _ _ _ _ _ Zip _ _ _ __ Phone Number Business _ _ _ _ _ __ M a k e c h ec k paya bl e to IDCA an d ma1·1 to: IDCA-Attention Registrar, PO Box 664, Aspen, CO 81612 For further information, write_:_c~303) 925-22~ _ _

j _j 115

CLUBS, CONFERENCES, SEMINARS

STANFORD

VI COM

The Stanford Publishing Course on book and magazine publishing for professionals (minimum of three years' experience) will be held in Palo Alto July 5-18 on the University campus. Deadline for registration is April24.

The fee of$1575 includes books, working materials, receptions, lunches, opening banquet, celebration dinner at the Monterey Aquarium and the closing barbeque.

For an application form, or to apply, write to Justin O'Brien, Stanford Alumni Association, Bowman Alumni House, Stanford, CA 94305; (415) 725-1083.

Vicom '87 is set for the Skyline Airport Hotel, Toronto, May 31-June 2. The trade show and conference will offer graphic artists, illustrators, videographers, photographers and art directors, a cross section of industry specialists conducting creative, business, how-to and new technology seminars of interest. Some of the announced seminar speakers will be: Straun Campbell-Smith, fashion photographer; Cosimo, photographer; Michel Pilon, photographer; James Tughan, illustrator; Raymond Lee, president Raymond Lee Advertising; Matt Mahurin, illustrator/photographer. For further information, contact Professional Photo/Video Trade Shows Ltd., 259 Dufferin Street, #210, Toronto, Ontario M6K 1Z5, Canada or call (416) 535-4484.

ICOGRADA The International Council of Graphic Design Associations invite you to participate in Design 87, to be held from August 16-21 in Amsterdam. This year's Congress has as its theme "Design Response~' For further information, write to Secretariat Design 87, QLT Convention Services, Alton House, Keizersgracht 792, 1017 EC Amsterdam, The Netherlands.

Take Copywriting

Seriously.

Study with a hard,nosed faculty of designers, creative directors, art directors, copywriters, illustrators, and photographers.

Go to school with students who are as serious about their careers as you are. Go to one of the most successful art schools in the country.

Portfolio r91 Center Please send me information on: 0 Photography 0 Commercial Art 0 Copywriting Name _____________________________

Addr~s ---------------------------

FLORIDA

The University of North Florida presents the second annual illustrator's seminar, this year featuring Braldt Braids, Gary Kelley, Anita Kunz and Malcolm Liepke.

Lectures, presentations and a competition will be part of the seminar, " Illustration Processes ~' Enrollment is limited. Seminars will be held at the Sheraton Oceanfront, Jacksonville Beach, Florida, May 7-9. For information write Illustration Seminar, c/o University ofNorth Florida, Division of Continuing Education, P.O. Box 17074, Jacksonville, FL 32216 or call (904) 646-2690.

ENGLAND

Brooks Institute will sponsor an architectural photography workshop in Cambridge, England June 13-July 5. The workshop and travel program will be sponsored by Brooks Institute of Photography, Santa Barbara, in conjunction with the Cambridge Studies Group. The 21-day program will include view camera instruction and will be led by English architectural photographer and author, Tim Rawle.

Based in Cambridge, this project will include lectures, photographic instruction, field trips and excursions to other historic cities, including Oxford, York and London.

Six academic credit hours are offered. The costs will vary depending on accommodation choices, from $3,250 to $3,585 and will include round-trip airfare, accommodations, workshop instruction, some meals, excursions.

The workshop is limited to forty participants. For further information, write or call: Brooks Institute of Photography, attn: Cambridge Workshop, 801 Alston Road, Santa Barbara, CA 93108; telephone 1-800-522-2293 (in California), or (805) 966-3888.

City ------ State _ _ _ Zip_________ Phone - - - - - - - - - - - - - - - - - - - - - - - - - CA3

125 Bennett St. N.W. Atlanta, Ga. 30309 (404) 351~5055 116

Communication Arts March/Apri/1987

•

EDITOR'S COLUMN

(Continued from page 8)

also told that it would be nearly impossible to publish a magazine for this field from anywhere but New York.

There were three magazines in New York, one for advertising, one for art direction and one for design. They were about New York, for New York, and available to anyone else who wanted to know what was going on in New York.

The advertising magazine out of Chicago didn't seem much concerned with the creative side of this business.

On a visit to New York, to meet some people in the field, I made an appointment with the executive director of the AlGA. It was postured as a national organization but had no contacts outside New York. I thought we might find some common interests. She looked me in the eye and said: "West of the Hudson, you have Saul Bass and Lou Danziger. Who would care what anyone else out there is doing?"

In 1985, the AlGA held its first national conference. In Boston. Applications poured in from Chapters all over the country. When the seating capacity limit was reached, many had to be turned down. The second conference will be held this year. In San Francisco.

I left the AlGA appointment talking to myself. "Where is it written that you have to be in New York to do good work?"

In no way should what I'm writing be considered a put down of New York. I know many people there, in both advertising and design, that I like and admire. New York may not be the most attractive, but it is one of the most exciting cities in the world. It is still the dominant city in advertising billing, even though its percentage of the nation's total has been decreasing. We've had more Annual judges from New York than any other state.

A big plus in our decision to publish CA was the realization that we could have the franchise for the rest of North America. And there was nothing to stop us from covering the good work in New York, as well as the rest of the country. Another plus was that, coming from a different place, we could be different. We could use the new technology. We were the first magazine ever to be printed by offset litho. We created the first screen films in scales often percent and invented the color charts, allowing us to develop new methods and standards for reproducing the great work being done.

That was 1959, the same year Doyle Dane Bernbach got the VW account and their billings went up to $27 million.

The next year, DDB won four of the eight New York AD advertising gold medals and their billings shot up 66% to $46 million. The "golden age of advertising" had begun.

Our solution for reaching our potential audience was to convince art material dealers, who were already doing business with designers and agencies, to sell subscriptions.

We provided them with literature and invoice stutTers, and had 6,000 subscriptions when we published our first issue.

Then we asked our readers to help us by introducing CA to their friends and colleagues. Our tag line for this program was "Thank you for your suppore' We really meant that "thank you~' In a few years you made us the number one magazine in design and art direction.

In circulation, that is. We didn't get much advertising in those early years. As the field grew, we grew; and we've always tried to earn that support by plowing our increased revenues back into making a bigger and better magazine.

Today, we're delivering over 39% more editorial pages than any other magazine in this field. We believe in the publishing philosophy that I've expressed a number of times: ''A magazine is not a piece of property like real estate.

It's only a franchise to sell subscriptions and rent advertising space. That franchise is granted by you, the reader~' Back in 1959, with a little logic and awareness, it was not difficult to predict many of the changes that were going to occur in this field.

There had been a few startling breakthroughs, the kind that made you say "Wow" when they turned up in the shows. But there was a sameness in most of the design.

Much of it the same as the '40s. Existing technology was a major factor in that. Color separations cost more than they do today, even though the dollar is worth one-fourth as much. Color proofing was expensive. Color Key, Cromalin and Matchprint didn't exist yet, but it was only a matter of time before it would be worthwhile to fund the development for that, and for better offset presses and web presses.

In the east, big printers had a heavy investment in letterpress. As I've already noted, they had a lock on the publishing business. Agencies sent plates to magazines. In the west, where printing was new and small, offset litho was coming on strong. The freedom that offered was a big factor in the design that was often called "California Style~' One of my clients had developed videotape and the first videotape player for television stations. They were also involved in the FAX process. A technical revolution in communication was obviously underway.

1959 was the year commercial jets were introduced, though many people were afraid to fly them and chose to spend much longer hours on a prop plane. The convenience of today's overnight express didn't exist, but an artist in San Francisco could take work to the airport and have it in Chicago that night or the next morning. It was the beginning of the end for regional design.

Today, your competition is everybody.

The length of this manuscript tells me that I'm running out of space. We will continue to explore this subject in the next issue. In the meantime, "Thank you for your suppore'

-R.S.C. 117

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.

There are several hundred extra copies of some of the issues in this recent period (1977 on), a hundred or less of others, and none of a few. That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

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

Issues not listed are no longer available.

SEP/OCT 1983

NOV1983

$18

CA-77 Advertising & Design Annual

JUL/AUG 1978

$12

$18

CA-78 Advertising & Design Annual

NOV/DEC 1979

$18

$12

DEC1983

$5

Michael Manwaring; Bruce Stromberg; Tyler Smith; Richard Nodine; Marshall Arisman; Phillip Snyder's Christmas Cards; The Designer and the Technology Explosion; Aspen '82

JAN/FEB 1984

NOV/DEC 1982

CA-82 Advertising & Design Annual

CA-80 Advertising & Design Annual

JAN/FEB 1983

JUL/AUG 1981

Japanese Design; Richard Saul Wurman: Access Press; Sharleen Pederson; Graphic Designer's Production Handbook; Clint Clemens; Index to Volume 24

$12

The Art Annual Illustration & Photography

SEP/OCT 1981

$5

Lou Dorfsman; Kinuko Y. Craft; Dick Durrance II; Levi's Billboard Trucks; Corporate Annual Reports; "Revealing Illustrations" by James McMullan; Atari Design; Letterheads

NOV/DEC 1981

$18

CA-81 Advertising & Design Annual

JAN/FEB 1982

$5

Gernsheimers/Partners; Carol Wald; Jerry Herring; Sahlan Cherpitel; Michael Schwab; Bank of Kuwait Identity; Corporate Photography Panel

MAY/JUN 1982 William Rivelli; Sheila Levrant de Bretteville; Bill James; Vickers & Benson; Photomontages by Scott Mutter; Ford, Byrne & Associates; Portfolio of Trademarks

118

$5

MAR/APR 1983

$18

$5

$5

The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn; Posters; Why a Computer

MAY/JUN 1983

$5

Ken White; Leo & Diane Dillon; North Charles Street Design Organization; Lanny Sommese; Phillips Photographers; Abercrombie & Bastiansen; Alvin Lustig Remembered; Computer-Aided Graphic Design

JUL/AUG 1983 The Art Annuall983 Illustration & Photography

Communication Arts March/Apri/1987

$5

25th Anniversary Issue; TheCA Annual Judges; Judging Process

$5

Anspach Grossman Portugal; Braldt Braids; Daniel Bittman; Chuck Kuhn; Hixo, Inc.; Vincent Daddiego: Roll Over Vivaldi; Herb Rosenthal's Fountains; Robert Parker: Copy & Graphics $12

$12

AUG1984

AUG1985

Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

DEC1985

$5

JAN/FEB 1986 Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche + Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference; Index to Volume 27

$5

MAR/APR 1986

Steinhilber & Deutsch; Per Arnoldi's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

$5

$U $5

JUL1986

SEP/OCT 1986

$16

CA-84 Design Annual $16

CA-84 Advertising Annual

$5

Deborah Sussman; Arthur Meyerson; Wilson Mclean; Weymouth Design; Art Posters; Index to Volume 26

$5

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler

MAY/JUN 1985

$16

CA-85 Advertising Annual

NOV1984

MAR/APR 1985

$16

CA-85 Design Annual

AUG1986

JAN/FEB 1985

$5

SEP/OCT 1985

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production/Bruce Hurn

DEC1984

$U

Photography Annual

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

Photography Annual

SEP/OCT 1984

$U

Illustration Annual

MAY/JUNE 1986

Illustration Annual

CA-79 Adve·rtising & Design Annual

JUL1985

NOV1985

$5

Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume25

JUL1984

NOV/OEC 1980

$18

$16

CA-83 Advertising Annual

MAY/JUNE 1984

The Art Annuall982 Illustration & Photography

SEP/OCT 1982

The Art Annuall978 Illustration & Photography

NOV/DEC 1978

JUL/AUG 1982

$16

CA-83 Design Annual

MAR/APR 1984

NOV/DEC 1977

$5

Short-Run Printing; Jack Summerford; Teresa Fasolino; Primo Angeli; Light Language; Consensus on Type; Coming Glass Works; Annals of Design (1); Forecast of Ad Billings

$5

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel's Ballet

$U

Illustration Annual

$U

Photography Annual

$5

Statue of liberty Exhibit; Douglas Smith; Colossal Pictures; Louise FiJi; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

NOV1986

$16

CA-86 Design Annual

DEC1986

$16

CA-86 Advertising Annual

JAN/FEB 1987

$5

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right" by Rick Meyerowitz; Index to Volume28