marapr1988

COMMUNICATION ARTS VoLUME 30, NuMBER 1, MARCHIAPRIL 1988

Editor and designer Richard Coyne

32

ROBERT APPLETON

Executive editor Jean A. Coyne

42

VINT LAWRENCE

Associate editors/designers Patrick Coyne Stephanie Steyer

50

MUSEUM OF FLIGHT, SEATTLE

Production manager Kurt Klein

54

MARTIN/WILLIAMS

Associate production manager Scott Perry

66

SIMPSON'S "AN AMERICAN READER"

Advertising Nancy Hagemann Circulation Vickie Baptista Nina Bland Betty Willis Traffic/production William Rayburn Contributors Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Larry Klein Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

by Stephanie Steyer

by Jean A. Coyne

by Phi/Aldrich

by Rhodes Patterson

by Dick Coyne

70 YURI DOJC by Patrick Coyne 80 JACK ROBERTS by Saul Bass 83

EXHIBIT

Three new self-promotion projects

87 MARGET LARSEN by Robert Brewster Freeman

COLUMNS

10

EDITOR's CoLUMN

16

DESIGN TECHNOLOGY

24

ADVERTISING

108 110

112

BooK REviEws

119

CA-88 CALL FOR ENTRIES

Bill Borders

125

MATERIALS, AVAILABLE LITERATURE

PRODUCTION

Kurt Klein

130

CLUBS, CONFERENCES, SEMINARS

FREE-LANCE

Barbara Gordon

Wendy Richmond

Cover: La Boca, Buenos Aires by Yuri Dojc

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

Commun ication 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, Californ ia 94306.

Copyright 1988 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, Californ ia and additional offices.

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.

Subscription rates : U.S.: one year-$44; two years-$84 Canada : one year-$47 (U.S.); two years-$90 Other: one year-$56 (U.S.); two years-$105.

Single issues: $5 except Illustration Annual (July) $12, Photography Annual (August) $12, Design Annual (November) $18 and Advertising Annual (December) $18.

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

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EDITOR'S

COLUMN

DICK COYNE

T

HIS ISSUE, NUMBER 199, BEGINS OUR 30th volume year. We started putting numbers on the spine ten years ago, but I can't for the life of me remember the reason for that decision.

I do recall that we had to count all of the back issues to find how many we had published. There was a debate about the first CA Annual in 1960. Having made the mistake of starting as a monthly, the volume issues were numbered from 1 to 12. That Annual was 10/11, probably because it was 176 pages, a big fat issue for those days. And it took us two months to produce it in our internal separation and production facility. In reality, though, we extended all the subscriptions one month because we had said that a subscription was for twelve issues. So we said, "What the heck, we'll count it as one~' The next year, the entries greatly increased and so did selections for the Annual. We were going to be smarter this time and split the annual into two issues of150 pages each and number them 11 and 12. It seemed logical to have something for advertising people and design people in each, and we arbitrarily sprinkled the categories around. Unfortunately, if you wanted to see what was in a specific category, you had to scan the table of contents page of both issues to find out where what you were looking for was. A real pain.

We didn't want to repeat that. While thinking about it, we got involved with another problem that might be able to use the same solution. The regular issues, with very little advertising to bulk them out, were awfully thin, downright unimpressive. So, in the fall of '62, we converted to six times a year. The economy was in bad shape, and we were even worse. A replay of the twelve issue routine would have been economic suicide. We explained to our readers that they would get twice as much in each issue, and began numbering them 9110, 11/12 (the Annual). Nobody screamed, but we were still nervous and kept double numbering all through '63.

Still no complaints. In fact, our sales went up. That along with six less covers, six less envelopes and mailing crews, with some postage savings, we were able to increase the amount of color and sales continued to go up.

We counted those doubles as one, too. The total was 129, so March/April of1978 was number 130.

Going back to my opening line, this is the issue of each year when I've made a kind of"annual report" to you, our readers. 1987 was an interesting and basically pretty good year. The number of entries increased for each of our four annuals. The creatives were saying good things in the press about the comparative quality and integrity of our judging. After a couple of flat circulation years when our number of new subscriptions had dipped from the level 10

Communication Arts March/Apri/1988

of earlier years, they picked up dramatically in the last half of87. And continue. January was strong and February was the largest number for that month in the history of CA. Our renewal rate continues as one of the highest in magazine publishing. For the 1987 periods that have closed, the rate was over 78%. Our last period, November and December,·is the largest and traditionally the strongest, so the year should close even higher.

Our advertising dropped by fifty pages from our record previous year, but that's partially due to the number of new magazines in this and parallel fields. It's being spread around as advertisers test for results. We're off to a strong start in 1988.

We did not have a subscription price increase in '87. We've held our rates for eighteen months, but we may have to give this some thought when we see how the upcoming postal rate increase will affect us. We've been subject to the fortunately modest inflation of cost, and our outside production costs went up 5% in 1987. Part of that was due to a paper increase in the latter part of the year, but some of the rest was of our own doing. We increased the number of editorial pages by 82. Much of this was to accommodate increased acceptances in the Annuals. We chose to add pages rather than make the images smaller.

This brings up a point that we probably haven't made very well for ourselves, the number of editorial pages that CA is delivering. Since we have eight issues a year, it perhaps isn't that evident. For example, another magazine in the field, with a subscription price that has increased to more than ours, has a July/August Annual that they promote very heavily, even with use of the term "mammoth~' It is big. 341 pages. Maybe too big. When our copy got here in October, it started falling apart.

In that same date period, we published two issues, totaling 372 pages. In November and December, we published two Annuals totaling 492 pages.

In terms of editorial pages, CA had 60% more than the other magazine. Or, calculating from the other direction, they delivered 63.4% of the number of our editorial pages.

We're certainly not going to cut back. Our success has been, and always will be based on giving you a good buy for your money. We need your support. Thanks to you we're the biggest in the field.

I've said this before in some past columns and I'd like to repeat it again, a credo that we operate by. "A magazine is not a piece of property like real estate. It is only a franchise to sell subscriptions and rent advertising space. That franchise is granted by you, the reader."

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DESIGN TECHNOLOGY

WENDY RICHMOND

CoMPUTERS FoR THE BusiNEss SIDE Y COLUMNS ARE USUALLY ABOUT using computers in design and production.

Lately I've been thinking a lot about how computers are used for the financial side of graphic design. In fact, most design firms buy computers for their business tasks first, for some basic reasons: to reduce repetition, to have financial information about their business readily accessible, and to use that information to make intelligent business decisions.

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Every business must keep track of numbers-numbers of hours and numbers of dollars. Those of you who manually produce time sheets, status reports, utilization reports, and invoices know that there's a great deal of repetition in recording numbers and duplicating them for different sheets, reports, folders and log books.

You need the numbers for more than writing checks and sending invoices. You need to look at those numbers in various configurations, and you need them quickly. Let's say a client calls and asks how much he's spent so far and what's left in both hours and money. Or you're bidding on a complex job, and you need to make intelligent estimates based on past experience. Your ability to have different configurations of information at any given moment is limited by the time it would take you to get it.

One kind of program often used in computer-aided business is a data base. A data base is an organized collection of information: the contents and the structure. Think of your file cabinets, full of papers (like time sheets, project expenses, etc.) which are placed in their appropriate files and hanging folders.

As in a manual system, there are relationships among the various files in a data base program. When a client calls and asks for a lot of numbers, you simply call up the client's record and ask the computer to show you all "related" records. The computer will show you the current totals based on the most recent information you entered. The computer can also "sort:' that is, rank the records in order, so you could, for example, sort clients in the order of who owed you the most money.

Clifford Seibert Design has recently automated their accounting and project tracking and billing with a software package called "Adman~' Cliff says their business was like NASA; over the years NASA has collected buildings full of data-samples, numbers, photographs-and has examined only 1% of it for analysis. That's what was happening in his firm: numbers that could reveal important facts about his business were in cold storage.

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Communication Arts March/Apri/1988

Now, in addition to automating their manual system, CSD is making better use of their numbers to make decisions about their future, such as when to hire new people, what projects they can take on as pro bono work, and so on.

When you consider using a data base, there's a basic decision to make: you can buy a "pre-packaged" data base, or you can start from scratch.

The first option is a data base program that has already been designed for your type of application. It's like getting the cabinets and files and folders with all the tags and drawers labelled, and all the relationships defined; you're told exactly what you need and where to put everything.

They give you the base, you just fill in the data. There are a number of programs on the market for advertising agencies or design firms, like the one CSD chose.

Or you can buy a data base program that provides tools for you to define and set up the structure and relationships. At WGBH Educational Foundation, the design department decided to automate their billing, utilization reports and status reports. They couldn't buy a prepackaged program because of their own complexity and because they had to adhere to WGBH's established accounting system. Daniele Skopek, financial analyst for the department, hired a programmer, and over the course of six months they designed, programmed and implemented their automated system.

If you buy a packaged system don't expect it to be perfectno generic system can cover the idiosyncrasies of your particular company. And a package is difficult, if not impossible, to alter. On the other hand, if you design the data base, you must model it on a well-defined manual system, and even then you can't possibly predict everything. At WGBH reports could take as long as three hours to process. That, along with several other problems, prompted them to re-evaluate and redesign the system.

Now they can get a report in minutes.

I hardly need to say this, but I can't leave it out either: A computer will not tell you what the numbers mean.

It is only a tool that will give you the information you need. It will not transform your bookkeeper into a financial analyst. Any tool is useless-even dangerousin the wrong hands. Choosing and using a good system requires the participation of experts in design, finance, and computers.

But one thing is clear: there are a lot of numbers that hold a lot of secrets waiting to be revealed.

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INSPIMI'ION.

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ADVERTISING

BILL BORDERS

A GREAT IDEA, 100 YEARS Too LATE

T

HE TROUBLE WITH THIS BUSINESS IS, everybody sees it. I-mean, if a dentist does a shoddy root canal, it's going to go unnoticed by a pretty large percentage of the American public.

If a law firm turns in a mediocre performance defending a client, chances are few people outside of the courtroom will ever be the wiser.

But, oh no, not advertising. Everything we do everyday goes up on display before thousands to millions of jaded consumers. Whether it's a little rack folder for a local bank or a TV spot for a national brand, the eyes of America are upon us.

Which, of course, is the name of the game. And would be all well and good if the overwhelming majority of our output was tasty, imaginative stuff that cheered the spirit.

But-here's a newsflash-it's not. The bulk of what our industry produces each year is embarrassing. From all the many little agencies who don't know any better to, even more pathetic, the several large agencies who should.

The end products that roll off their assembly lines are ill-conceived and poorly constructed. Usually wimpy in substance, glossily overproduced or both.

And what kind of collective impression do you suppose this chintzy quality makes on the American masses? What does it do to their opinion-notjust of the products or services being touted-but of the overall mentality of those in advertising? You're right.

Which is why surveys like the Gallup poll show the public rates our ethical standards lower than 23 of24 other professions. (The only category we bested was Car Salesmen.)

Twenty years ago, I couldn't wait for an opportunity to casually wedge into any cocktail conversation that, why yes, I happen to work in advertising. These days, I hold my breath and hope the subject doesn't come up.

The McElligotts, Clows and Rineys notwithstanding, our business seems overpopulated with individuals who are either unwilling or incapable of putting forth the considerable extra effort needed to fight for excellence. But, hell, that may be the same for any trade. There's probably a handful of superstar roofing contractors in this country, a handful of hacks at the other end, and a mass of mediocrity in the middle. The rub again is, their work is considerably less conspicuous than our own.

So how do we halt this erosion of the face of advertising?

Easy. Having read this stirring commentary, everyone in every agency will simply gather up the gauntlet and battle for nothing less than brilliant, proud advertising.

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Communication Arts March/Apri/1988

On the off chance that that doesn't happen, there is one other possibility. Unfortunately, probably only slightly less unlikely.

This is a big what-if. But, what if a group like the AAAA or the AAF were to create and administer advertising competency examinations? Think about it. Just as members of every other profession, from law and medicine, to architecture and accounting, must demonstrate their expertise concerning a body of knowledge, why shouldn't advertising people if we really wish to be deemed professionals? Truth is, there are several less lofty lines of work where standards are upheld via regular (and sometimes rigorous) exams. Certainly we are entrusted with budgets and responsibilities more sizeable than, say, a beautician or pest exterminator.

I know, I know. Ours is a craft, not a science. How are you going to test for something as ethereal as creativity?

Well, we do it all the time. They're called awards shows.

It's usually acceptable providing those who sit in judgement are acceptable. Besides, there are also some not-sosubjective principles upon which potent creative communication is usually based, and it wouldn't be hard to probe for one's understanding of these.

As for the marketing, left-brain side of this business, that would be a considerably more routine matter. I'm sure a skilled testician could easily devise a series of questions that would accurately measure the depth-or shallownessof an account person's understanding of this business.

Likewise, a media person's. (Off the top of your head,

Drawing From Experience.

The theme of this year's conference will be explored by some of the nation's top creative people. Our ten speakers will share their insight, - - - - inspiration and their work_ in slide and video presentations.

Speakers to date: Doug Johnson, Illustrator, New York Chris Pullman, WGBH, Boston Laurie Rubin, Photographer, Chicago Michael Vanderbyl, San Francisco Our moderator is past Envision speaker, Larry Klein.

Partial list of past speakers: Jay Chiat, Ivan Chermayeff, Seymour Chwast, James Cross, Richard Danne, Lou Dorfsman, Louise Fili, Colin Forbes, Tom Geismar, April Greiman, Greg Heisler, Richard Hess, Brad Holland, Bob Kurtz, Herb Lubalin, Matt Mahurin, Jay Maisel, Cheryl Rossum, Paula Scher and Joe Sedelmaier.

Envision 14 Design Conference TM

May 13, 14, & 15, 1988 At the Sacramento Community Center Theatre , Sacramento, California Call for a free Env1sion 14 poster and additional information (916) 731-8802 The Art Directors and Artists Club of Sacramento Early registration (before March 31, 1988) $65 Students (with valid I.D.) $125 ADAC Member $165 Non-Member Registration after March 31 $75 Students (with valid I.D.) $150 ADAC Member $190 Non-Member (VISA, MasterCard and American Express accepted) Some educational expenses are tax deductible. Check with your tax consultant for details.

For 14 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 organized, stimulating conference they've ever attended.

You'll receive an Envision 14 T-shirt, lunches, coffee break refreshments and help with accommodations.

A special exhibit of past and present speaker's work will be available, plus the annual student poster competition and a Friday and Saturday evening reception of refreshments, music and conversation.

2791 24th Street Sacramento, CA 95818 (916) 731-8802

Envision 14 theme design by Ivan Chermayeff

© 1988 The Art Directors and Artists Club of Sacramento

ADAC

BILL BoRDERS can you define a TRP, explain positioning, and list ten ingredients in the marketing mix?)

Now, the idea of once again having to take written or oral exams is enough to make my palms moist and my mouth dry. I've awakened in a cold sweat from a recurring college nightmare very similar to this. But, if setting measurable standards could raise the caliber of people in the business-and thereby the work created-I'd go smiling.

I love this business. It really is without equal. I can think of no other line of work that is so broadening, so ego gratifying, so challenging, so emotional. Or so conspicuous. But as we continue to invade people's lives more and more, and as they continue to become increasingly savvy and skeptical of our product, it seems like this mountain of misguided work could become more than an embarrassment. It could stretch the credibility of our craft past the breaking point.

Sure, there are lots of things wrong with the idea. Mainly it's late. The time to have implemented something like this was back around 1890 when the first agency went from strictly brokering media to also suggesting how things ought to read. Then, like stock brokers, barbers, teachers and realtors, we'd have grown up with the inevitability of having to "take our exams~' Retrofitting would be difficult.

At which time public clamor might just propel some state or federal agency to further tighten our regulatory collar.

Who knows? Maybe by invoking something as harebrained as advertising competency exams.

As things stand now, all that's required to join advertising's ranks is a letterhead, a telephone and certain masochistic leanings. No formal education, no degree, no practical experience. Granted, the intense heat of competition has a way of melting away lots of the major flakes, but it is distressingly amazing how many survive and even prosper based Qn factors entirely removed from professional expertise or quality workmanship.

BILL BoRDERS is the creative director/president of Borders, Perrin and N orrander, an advertising agency with annual billings of$32 million and offices in Portland and Seattle.

He was creative director for Stern, Walters & Simmons in Los Angeles and creative director at Cole and Weber in Portland prior to the founding ofBP&N in 1977. He received his Bachelor of Science degree in marketing from the University of California.

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Communication Arts March/Apri/1988

AR.CI\C

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ROBERT APPLETON "When I went to art school, fine arts in Britain was a very open course of study. I did whatever I wanted. For three years I read, played music, painted, took photographs and went to lectures. It was really three years of finding things out.

"Education cannot teach experience. One can only gain experience. There is nothing wrong with going to school and coming out without experience because that's the way it is. School should be a place where you have the opportunity to explore.

ESIGN TOO OFTEN IS ABOUT STYLE and not about content. Content is being reduced out of existence~' Robert Appleton says. "Many pieces done in a commercial environment are not about anything.

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After graduation, Bob free-lanced as a photographer for the British Broadcasting Company (BBC) for two years.

In 1979 he emigrated to the United States.

"I'm not referring to experimental design. It's important that experimental design be done and be about itself, be about design~'

"My passport says photography and graphic design.

Although graphic design was something I really hadn't done, I was looking to get into another area of communication.

These words are from a man who practices what he believes.

Appleton's work reflects intelligence, care and grace without sacrificing content. His determination in solving a client's problems is evident in his work as well as his philosophy.

"When I came to the states, my first job was with Weymouth Design, in Boston. I was interested in their strong use of photography. My graphic design education began there~'

"In the process of designing, I try to research and analyze a client's needs. Through that process unique solutions arise. If you're able to dig deeply enough you begin to approach subject matter that is worth designing around~'

When Appleton left Weymouth Design, he moved to Hartford, Connecticut and worked for Wendriska Design.

After three years, he'd decided that graphic design was

Born in Glasgow, Scotland, Appleton left high school at sixteen. "I started as a junior in an advertising agency, cleaning up people's water jars~' He spent the next ten years in advertising in Scotland and England, working ultimately as an art director at Saatchi & Saatchi in London.

"I finally reached the end of my interest in pure advertising and decided to go to school. My actual design education was hands-on, which is a thorough way to learn. Even still, it was important enough for me to have a formal education.

So, at the age of27, I put my career on hold in order to do ie' Bob enrolled at Saint Martins School of Art in London where he majored in fine art and photography.

32

"I don't think there are any formulas to becoming a great designer just because one went to a great school. I believe you can start from just about anywhere. Design students who expect to be designers the minute they graduate are being unrealistic. The very best students we get in our office are the ones who are willing to continue the process of learning and giving in their professional lives~'

Communication Arts March/Apri/1988

"This piece was produced over one weekend with two publicity pictures supplied by the client. By reducing one to line art and adding typography which emphasized the exotic pronunciation of his name, it was possible to create an image which captured Baryshnikov's Russian sensualitY:' Robert Appleton, art director/designer; Hartford Ballet, client.

"The Ballet in Canton poster was produced for a small theatre in the country. Diana's cut paper collage expressed the sense of freedom inherent in the combination of dance and landscape:· Robert Appleton, art director/designer; Diana Minisci-Appleton, illustrator; United Technologies Corporation, client.

Poster for Romeo and Juliet. Robert Appleton, art director/designer; Diana Minisci-Appleton , illustrator; The American Shakespeare Theatre/ Sikorsky Aircraft, clients.

• The Hartford Ballet inCanton ~

Hartford Ballet 1984185 Seuon

Nutcracker

Romeo and Juliet

•

•

ROBERT APPLETON

what he wanted to do and started the design business with his wife, Diana.

Appleton Design is a corporation, with Diana and Robert as joint shareholders. Bob runs the design business and Diana pursues a career as a painter and collaborates on illustration projects.

As Bob puts it, '~fter experimenting over the past few years, we've found the right balance which allows us both to pursue our individual interests. Any difficulties we encountered in maintaining a creative partnership were resolved by establishing clear areas of responsibilities, and by not getting in each others way~' The studio, in downtown Hartford, is located in an old brick trolley barn. They've recently moved into a new larger space within the building. The main work room is divided into cubicles with an adjacent area for spreading out comps and layouts. There is a large private conference room and an extremely well organized storage area for samples. Perhaps the nicest amenity is a penthouse room, which has been turned into a quiet library. This room also has space for Diana's painting studio.

Now in their fifth year, Bob has no desire to expand Appleton Design into a large firm. Although the size of the staff varies from time to time, currently there are the two principals, two art people and two administrative people. "Keeping the office small enables me to spend more time designing. I didn't start my own business to become a design manager. I'm afraid the bigger the business becomes, the more creativity I will lose.

"My responsibility is to make sure everything that goes out is at a certain level. If I can think of a way to make it better, I expect my staff to listen. But on the other hand, I hire someone for the quality of their thinking and their ability to articulate that on paper. At a certain point, when someone comes up with a solution, I've got to be able to say 'That's ie My primary interest has to be the work, and then the ego~ ' The types of projects that are produced by Appleton Design echo this high standard. There is a certain eclectic style to the work that is not achieved consciously. "I like to think that there is a continuity of some kind. But I really love the opportunity to do entirely different things~' Clients that indulge these creative opportunities have found Appleton Design mostly through referrals. Bob doesn't find the need to market himself heavily. "I'll approach a company when I think there is potential for a 34

Communication Arts March/Apri/1988

good client relationship. But I don't have time to call people all the time. If they're interested, they'll call me.

If they're not, I don't push iC' The use of computers as a design tool surfaces in many of Appleton's projects. But the only computer in the office is used for business. "The computer has allowed us to formalize the way we think about design, the kind of firm we are, what it's like to work with us and what kind of relationship a client might expect. This information can be customized and included in proposals.

"As a design tool, I think computers are really exciting.

But technology changes so rapidly, it doesn't make sense for us to buy any one system. We use a computer service just like someone would use a printer or a typographer.

We tell an operator what to do and observe. If design is really about ideas and accomplishing them, you don't have to be able to do everything. We use what's available to us.

"The computer strikes me as one area of specialization for designers. I like the fact that designers are generalists, and I think the best designers will remain generalists~' Appleton foresees some interesting changes. " I believe design will come under heavier scrutiny in the cost/results equation. I feel corporate management will become much leaner with less middle managers. Speaking as a new American, I think that we are about to see American business leap into the 21st century through a process of re-evaluation and the combination of technological innovation, imagination and common sense~'

-Stephanie Steyer

Three covers of lnterleaf specification sheets. "This project involved creating an identity for a wide range of hardware and software products.

There are several basic backgrounds within which color elements change to differentiate between similar products in a group. The base always remains neutral. The connection between software (an "invisible" product) and hardware, was made by floating the screen in a hardware environment. All of this is now on Scitex, which makes manipulation very simple:· Robert Appleton, art director/designer; John Still, photographer ; lnterleaf, client.

Spread from 19871nterleaf annual report. "This entire annual report was created using lnterleaf's software and hardware. We had a system in the office for three months, which allowed us to experiment. The illustration, produced on the system, combined photography with freehand and technical line drawing:' Robert Appleton, art director/designer/ illustrator; lnterleaf, client.

FoouneSOOcompantestypicallyspendbetweenthreeandtenpercentoftheirannualrevenues producing printed pages. Byusinglnterieafelectronicpublishingtechnologytoautomatethisprocess, itispossibleforcorporationstodotheirpublishingathallthecostandinone-lourththetime, as compared to traditional methods.

EkM;tronicpublishingisanewindustrylhatisonthevergeolrevolutlonizlngthewaybusinesscreates documents. Why now and not, say, ten years ago?

Word procesS()(s could p{ace only characters on pages. not the microscopic dots of which computerized graphics are made. To handle text and graphics mixed in a single document- without laborious manual cuning and pasting - three technology breakthroughs were necessary: powerful computers to prepare the pages, laser printers to print them, and the software to make it work.

By 1981 , we could see that low--cost 32-bit computers and laser printers would soon become available. In 1984,aher thfeeyearsofresearchanddevelopment, lnterleal introduceditselectronic pubtishingaoftware.

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ofthewatertallandglass: bochwere lntet1eai~Mdronicpublishngtechnologyglveswritersadvanced,except•onallyfast wordprocessing.

Moreover, because the graphics capabilities are atways a dick of a bunon away, the writer no longer needs to thi~ in puntty verbal terms ; he considers the impact of typeface and layout, and can add graphic elements whenever and wherever he wants.

enhancedwithon·lineimage editingtools. Textandtree-hand dfawingwerethenadded.

With lnterleaf. users can create charts automaUcally from data or spreadsheets. They can make their

own drawings. and bring others in from computer-atded-design systems. lnterleaf uS8fs can include phoeographs in a document and alter them instantly. Everything -text, graphics and photographs can be stored, recalled and edited. Such revisions are so simple, they can ohen be completed with the strike of a single ktry, even if the computer has to change every page in a multi-volume document.

How large is the electronic publishing market? Fooune 500 compantes typicallyspendbetweenthreeandtenpercentoltheirrevenues onpubltshing. Analystssaylhismarketcouldreachbetween$4and$6 billion by 1990,wtthcurrentpenetratlonestimatedatundef livepercent.

35

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36 Communication Arts March/Apri/1988

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Left page : Real Art Ways calendars, covers and spread . "Like other projects, the design objective was to define and promote the quality of the product. In this case the product is New Art-video, performance, dance, theatre, music, two and three dimensional forms. All of th is work is about perception and has allowed us to really experiment with and be influenced by contemporary thinking and doing in art. The Real Art Ways work has also been inspired by close collaboration with the client. First with Joseph Celli , who helped to found the organization in the seventies and then with Jeffrey Jones who took over as d irector last year.

. ...

"The first format for the calendars was a magazine (seen below) from which we developed a newspaper/poster. The graphics combine the use of a Macintosh computer with painting, collage and video. We've recently started using the poster side to illuminate one aspect of the organ ization or the work:' Robert Appleton, art director/designer ; Real Art Ways, client.

This page: Ornette Coleman poster. " I've always had a love of jazz music and being asked to create this poster for one of the natural geniuses of 20th century music scared me to death. The solution eventually resolved itself at three o'clock one morning. After it was done, Ornette graciously signed a poster for me. In his hotel room , he picked up a pen and wrote (upside down, back to front and without hesitation) "To Bob, Stay Happy, Thanks, Ornette Coleman :· Robert Appleton, art director/designer/illustrator; United Technologies Corporation, q)ient.

RAW FALL 1985 37

RoBERT APPLETON

This page : Lydall Employee Report 1985. "This report answered some very basic questions from the employees.

What is an annual report? What does a balance sheet mean?''

Robert Appleton/Kurt Gibson, art directors; Kurt Gibson, designer; Lydalllnc., client.

Right page : Cover of 1985 Lydall Annual Report. "This report was made up entirely from stock photography from several sources. It showed the industries in which the client's products were used:' Robert Appleton, art d irector/designer ; Arthur Meyerson/Camille Vickers/Richard Frank/M ichael Melford/AI Satterwhite/Pete Turner, photographers; Lydalllnc., client.

Cover and spread from 1984 Lydall Annual Report. "This was great fun. The client allowed us to use their products playfully and in the spirit of art. Combining this with some specific corporate information helped to clarify the businesses they are in. Some Scitex work was used to bring the images together but most of it was worked out up front between the client, myself and the photographer:· Robert Appleton , art director/designer ; Tim Nighswander, photographer, Lydalllnc., client.

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Communication Arts March/Apri/1988

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Connecticut Opera presents ~'s Otdlo Staning James McCradren ~ 26 and Mann 1,1986

BushneJI Memorial Hall, 8:15 pm

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l_j TICkets available at BushneJI Box Offire, (203) 246-6807 and all Tdetron locations

40 Communication Arts March/Apri/1988

()

ROBERT APPLETON

n., Marl< Twain ~l<morial "'""'"'" HalllolbnxJI< in Marl< T•-uin r..,igt.t

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ln celebratiooofMari<Twain's I 50th birthday

Monday, January 28, 1985 Bushnell Memorial llall, Bp.m.

A benefit performance made possible by Heublein Inc.

Left: "Operatic plots are some of the most dramatic and timeless ever written. Yet attracting new audiences to the theatre can be extremely difficult. The objective here was to uncover the excitement of the subject matter. This is a one color poster printed on yellow paper:· Robert Appleton, art director/designer/illustrator; Connecticut Opera, client.

This page: "Over a period of weeks and in between other projects, I was able to immerse myself in Twain: to visit his house, read his work and to meet with people who he had influenced. What emerged for me was a powerful mental picture of this man. The idea of bringing him to life through the poster became foremost in my mind. In the end, the piece gained its strength through a series of convincing fakes : Holbrook as Twain and a new photo made old then painted like new:· Robert Appleton, art director/designer/illustrator; The Mark Twain Memorial/Heublein, clients.

Brochure for Fox-Pitt, Kelton. Robert Appleton, art director/ designer; Edwin Simon, The Pelican Group, writer; Philip Trager/Brian Seed/Burt Glinn, photographers; The Pelican Group, client.

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41

VINT LAWRENCE Y BACKGROUND IS not the usual:' Vint Lawrence said. " I majored in art history at Princeton, but then Kennedy was elected and he asked us to serve our country. Rather than go into the army, as I had planned, I joined the Central Intelligence Agency. I was a spook:'

M

He spent the next ten years with the agency, four of them in Laos during the VietNam war.

"When I returned I intended to leave the government, but I was offered a job working for the deputy secretary of defense. I thought it was just too good an opportunity to turn down.

I worked for the secretary fora year, writing speeches and long memoranda on why the VietNam war didn't make sense. Needless to say, I was not being listened to. When Nixon was elected, I was faced with the choice of going back to the CIA-as a Democratic political appointee I would be losing my job-or doing something else:'

It was one of those turning points. He had always wanted to get back to art in some fashion and decided he would like to see if he could make it as an artist.

"I made an appointment with the head of the Maryland Art Institute. He said, 'You 're far too old to go to an art school. If you have anything to say, you 'lllearn to say it on your own~ And then he said, 'Well, I'll take that back. I think you should go to an art school for six months just to learn that you don't have to go to art school to be an artist. I'll help you get into summer school. Then I think you should come here once a week for the fall term. Come and see me after that and we'll see if I'm right. You will get very depressed. The kids are going to be half your age and they can all draw like angels. You 're going to be very, very unhappy, but don't worry about 42

Communication Arts March/Apri/1988

it because in ten years ninety percent of them will be selling insurance~ " I followed his advice. I went to the Skowhegan School of Painting and Sculpture one summer and then went to his school in the fall. It was hopeless. They all were half my age.

They were beautiful to look at. They were all having a great lot of fun .

Some were concerned about art, many were concerned about problems that artists have in art schools, individual initiative and course curriculum.

But he was right. So at the end of the fall term I quit. " I knew something about politics and something about Washington, so I started doing political drawings.

That was in 1969. It's now almost twenty years later and I'm still at it. " My interest in government goes back to college. My thesis and the papers I used to write all had to do with the interaction between art and society.

I was fascinated with French revolutionary art, Jacques Louis David and people like that. Were they good artists or weren't they? To what extent did David's governmental sanction destroy his art after Napoleon came.

All those questions of what happens at the interface between art and government and politics. Looking back, I'm not sure I could have said that then, but it's clearly a place that I enjoy being. To that extent, I suppose, I had it in me ~' A long time contributor to The New Republic, Lawrence does about two drawings a week for the magazine.

In addition, he does some work each month for The Washington Post and covers for Foreign Policy, an occasional book jacket and portrait commissions. " Everybody I work for I've known a long time. They just call me up and say 'Look, we'd like you to do something on such and such. If you need photographs, let us know~ Slowly, over a period of time, I've made a network of friends who have gone off to different publications. I tried a rep, but we talked about who he was going to see and they were the very people I talk with on the phone. " I usually have about twenty-four hours notice. Sometimes I have a weekend.

I like forty-eight hours because I can think about something for a day, which is the hard part, and then draw it, which is the easy part. Rarely will I have more than two or three days. " My ideas usually come when I run.

I run quite a bit, not fanatically, but I run to think. I run to clear my head.

There really is a light bulb sometimes when you've been wrestling with a

This page: For an article titled "Inside Ollie's Mind;' 1987,14 x 17Y2.

Right page: George Bush, 1985, pen and ink and watercolor, 12 Y2 x 18.

Illustration of Ted Turner, "As Ted Turns:· 1986.

Portrait of Rose Kennedy for article "The House That Jack Built;' 1987, 14 x 17Y2 .

Illustration of Ayatollah Khomeini, "My Friend Satan:· 1986, 11 x 16 Y2.

43

VINT LAWRENCE

problem or a visual idea and it comes to you. That's one of the joyful times~' Lawrence has a small basement studio in his Washington home. It is nicely finished with book shelves and has high windows, near the ceiling, to let in some natural light. Tht?re are two large drawing tables, a smaller desk and a large flat table. He is very well organized with files of resource material, photos clipped from magazines and so forth, all labeled. He is a voracious reader.

"I'm a walking encyclopedia. I used to try to learn about the person that I was drawing and in effect do a visual biography of them, priding myself that I intellectually knew everything about this person. That was at a point where my verbal vocabulary was a lot more fluent than my visual vocabulary.

Over time I have learned to be less dependent on my intelrectual sense and just trust my eye more to make things simpler.

"I do research, but the problem is you have to put that in the proper context.

You have to remember if you're drawing somebody you are, in effect, making a comment on the public image of the person. The people you are drawing for, their knowledge of Mr. So and So is not encyclopedic and you can draw right over their heads if you put in so much esoterica that you clutter the place up~' Henry Fairlie, contributing editor to The New Republic, writing a preface to Vint Lawrence's 1980 book of political drawings observed, " ... If there were not the danger that it might sound like the kiss of death, I would say that Lawrence's cartooning is for the connoisseur. What is certainly true is that his kind of caricaturing is the work of someone using the full range of his skill as an inspired draftsman.

His drawings are not just exercises in a separate art of caricature ... His caricatures are studies. They are meditations on character; that is why they are also portraits~'

-Jean A. Coyne 44

Communication Arts March/Apri/1988

Left page: Self-portrait, oil on canvas, 17 ~ x 21 ~.

Casper Weinberger illustration for an article titled " Cap on Top;' 1987.

This page : Ronald Reagan , 1986, pen and ink and watercolor, 14}2 X 15J.-2.

Illustration of Frankl in Delano Roosevelt, 1974.

For an article titled , "Resign , Ed Meese :· 1987.

45

46

Communication Arts March/Apri/1988

VINT LAWRENCE

Left page: Lyndon Johnson, 1971.

Illustration of Bob Woodward for article, "Knock on Woodward:' 1987.

Portrait of Donald Trump for an article titled "The Triumph of Trumpery:• 1988, 12 x 15.

Illustration of Mikhail Gorbachev, 1987,12 x 25.

This page: "The Reagan Hangover:· 1986.

Illustration of George Bush for article, "Vice President Sunbeam:· 1987.

Cover illustration for The New Republic "Morality and Synthetic Sex:· 1987, pen and ink and watercolor, 11 ¥4 X 13.

47

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48

Communication Arts March/Apri/1988

VINT LAWRENCE

Left page: Illustration for cover article, "The Bork-Rehnquist Poison:· 1987, pen and ink and watercolor, 11% x 1211.1 .

Mikhail Gorbachev, 1985,11 x 22.

Illustration of Michael Dukakis for article "Carnival of Candidates:· 1987.

This page : William Casey, 1987, pen and ink and watercolor, 1511.1 X 14Y2 .

Cover illustration for The New Republic, "Paul Simon, Your Fifteen Minutes Have Arrived:' 1987, 12 X 14~ .

Illustration of Robert Dole for article titled "The Dole Moment:' 1987,14 X 17Y2.

49

MUSEUM OF FLIGHT, SEATTLE

BY PHIL ALDRICH

N EARLY JANUARY, 1987, THE MUSEUM OF Flight came to us with a problem. Six months to the day later they would be opening the Great Gallerya 150,000 square foot glass and steel building on Boeing Field in Seattle. The building was already garnering enthusiastic comment in the press. On opening night the museum's director, Howard Lovering, wanted the collection of aircraft to be as dramatic as the building itself.

He also wanted a bang up exhibition that would build enthusiasm for the museum among the citizens of Seattle.

In short, he hoped for an exhibit that would get rave reviews, and a flood of new members, donors and museum volunteers.

I

We had already produced the long term exhibits plan for the museum, so we were delighted to work on an interim exhibit that would illustrate the museum's long range development plans. But, from a purely practical point of view, the job clearly came with some headaches. The timeline for example: 150,000 square feet to be designed, fabricated and installed in less than six months.

Phil Aldrich is a partner in the Vancouver design team Aldrich/Pears Associates, a Canadian firm involved in a wide variety of design including museums, visitor centers and corporate exhibits. They also produced several world's fair pavilions for Expo '86. The staff of twenty includes writers, researchers, exhibit and graphic designers and architects. The Museum of Flight is their first major project in the United States.

The following people produced the exhibit. At Aldrich/Pears Associates : Phil Aldrich , project director/senior designer; Drew Ann Wake, writer/researcher ; Sid Anderson, Victor Chorobik and Tim Lindsay, exhibit designers; Doug Munday and Brigette Hanson, graphic design. At the Museum of Flight : Howard Lovering , executive director; Ralph Johnston, director of exhibits; Victor Seely, curator. Consultants: Koryn Rolstad -Kiinkam, Bannerworks, Seattle, fabric panels and lobby sculptural elements; Frank Florentine, National Air and Space Museum, Washington D.C., lighting design.

Above : The "Off to War" exhibit employs a variety of graph ic images; snapshots from wartime photo albums, squadron insignia, wartime propaganda photos.

Right page: Designer's work table displays wind tunnel models and technical artifacts that will go into the future Museum of Flight.

"Flying the Mail" exhibit. The canvas panels can be changed if a new aircraft is brought into the exhibit.

Bird wings and a bust of da Vinci are some of the artifacts displayed for a future exhibit on early flight.

Museum artifacts are in fabr icated crates covered with Plexiglas.

Overview of the exhibit describing the history of the Museum of Flight. A counter is manned by museum volunteers.

50

Communication Arts March/Apri/1988

Moreover, during construction many of the aircraft in the collection had been stored elsewhere, some as far away as Georgia and Washington, D.C. They would not arrive on site until just before installation. So this wasn't going to be a typical museum job where the designers could go into the collections storage area to assess the size, weight and condition of the artifacts. All that had to be done long distance-on a wing and a prayer so to speak.

The job also had an impressive architectural challenge.

The building consisted of a single open space with a roofline that soared to 65 feet-3 million cubic feet of space.

With a collection of only 30 airplanes, it was going to be tricky to make the space appear "full" and visually exciting.

(Mind you, it was relatively easier to build the drama with a collection of aircraft. What if we had had to fill150,000 square feet with a collection of, say, eighteenth-century teacups?)

We decided to tackle this architectural challenge by using the visual permeability of the structure to advantage. The glass-roofed Great Gallery is located on an active airfield that is also used to test prototype aircraft. The museum's vintage airplanes were hung parallel to the airstrip so that visitors can look up to see the silhouette of a modern jet weaving among its antique brethren. In this way the static nature of the hanging aircraft is penetrated by the activity from the airfield outside.

The job also posed a curatorial challenge. Most museums open with a celebration of dazzling, newly-refurbished

51

MUSEUM OF FLIGHT

artifacts. The Museum of Flight's collection is still in evolution, so we would be hanging aircraft that, while remarkable in their own right, had not yet achieved a state of curatorial perfection. Would the audience be offended by the occasional patch of rust?

We solved this problem not just by confessing to the imperfections, but by inviting the audience to join in the five year process that will complete the exhibit plan. We titled the exhibition "Museum in Progress" and used tradition symbols of"men at work"-ladders, construction scaffolding, cans of paint, crates and canvas-to reinforce the message that the museum is not finished. (These "off the rack" materials had several advantages: they were inexpensive to obtain, easy to erect and lent themselves to a modular exhibit plan.) We pointed out the patches of rust, and created an exhibit that allowed the visitors to investigate the difficulties of restoring an antique aircraft.

Finally, the museum presented us with a thematic challenge: How could we encourage the visitors to give the museum their time, energy and money without appearing to be making a hard sell pitch for support? We tackled this by creating a special exhibit at the entrance of the museum that celebrates the two decades of hard work that have gone into building the Museum of Flight. In fact, the museum's story is a dramatic one; it has been built by a dedicated corps and a skeleton staff. We took the "little engine that could" approach and played it to the hiltwith snapshots, anecdotes and dreams.

In contrast to the usual formality of museum copy, the text takes the museum enterprise with a grain of salt. ("Citizens of a western city decide to build a world class aviation museum. They persevere against overwhelming odds. They run out of money about a hundred times. They have nightmares the place will burn down before they're finished~') The exhibit makes it sound like fun to join the Museum of Flight in its push toward completion.

This exhibit area was designed to tear back the curtain that has traditionally obscured the museum building process.

The exhibits show the "offices" of the architects, designers and staff members as they work on the final exhibit plan.

The desks and work benches are covered with potential artifacts, graphic source materials and supplies emphasizing the unresolved issues that the museum is facing.

Members of the community are invited to contribute. Do they know where an artifact can be found? Do they have an aviation story that can be recorded? The format seems to be working. Scarcely a day goes by that someone doesn't make a contribution.

• 52

Communication Arts March/Apri/1988

Above: Introductory exhibit "The Dream Flight:• in the lobby of the Great Gallery, is the only permanent exh ibit now installed .

Right page : Floor plan showing the exhibit's aircraft. The top drawing shows suspended aircraft. Solid boxes indicate interpretive modules and open boxes indicate aircraft identification units.

Each exhib it begins with an 8' x 8' canvas panel. Appliqued fabric and quilting give the image a 3-dimensional quality.

The museum's Boeing 80-A on the floor and a DC-3 flying overhead .

1 Eipper Cumulus 2 Yakima Clipper 3 Omnipol L-13 4 Fournier RF4D 5 Wright Glider 6B&W 7 Stearman C-3B 8 Aeronca L-3 9 Taylorcraft A 10 Fairchild F-24 11 Beech 18 12 Stinson SR JR 13 Northrop YF-5A 14 Boeing P-12 15 Kasperwing 16Wickham B 17 Rutan Quickie 18 Durand MKV 19 Bowers Flybaby 20 Douglas DC-3

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21 Swallow 22 Boeing PT-13 23 Aerocar 24 Grumman F9F-8 25 Benson Gyrocopter 26 Rutan Varieze 27 Gyrodyne 28 Rotorway Scorp ion 29 Piasecki H-21 B 30 Boeing 80-A

D

26)-f ~0 25

53

MARTIN/WILL lAMS BY

RHODES

ETAILED MEMORIES OF CHRISTMAS morning, 1977 would probably be hazy at best to most oftoday's residents of Minneapolis. But Dave Floren, president of Martin/Williams Advertising, remembers it vividly-and small wonder. Picking forlornly through the ruins of the calamitous fire that had destroyed the agency's building and those adjacent to it on Christmas Eve, Floren noted that a promising block of ice had formed in the bottom drawer of a metal filing cabinet flooded by fire hoses. Carefully chipping through the crust, Floren rescued two surviving artifacts: a bottle of aquavit and an October, 1976 copy of CA magazine.

D

"I don't recall whether the aquavit survived that bitter morning-after or not:' Floren says, "but that smoke-stained CA became one of our treasured possessions~' Tom Weyl, executive vice president and creative director, put an additional spin on what that fairly recent story in CA had meant for them: "Essentially, we all lost our 'books' (our primary samples) in the ashes. So, in effect, our history in this business really starts at the end of1977. And that CA article was a neat summary of how far we'd come before it all went up in smoke~' Having been the chronicler of the Martin/Williams group in that pre-fire article, I was properly charged up for this opportunity to take a second look. But while generally aware that the agency had made a solid recovery, I was hardly prepared for the dramatically expanded scale of today's Martin/Williams. In '76, the agency had 43 people handling 26local accounts, and billing $11 million. And although they were then the fourth largest agency in the city, television advertising was still a relative newcomer to their account mix, lagging far behind their activities on the print side.

Today, Martin/Williams employs 115 people, bills $76 million, and with accounts on both coasts, Dave Floren estimates that "60 to 70% of our business is outside the Minneapolis area~' Responding to my request for highlights on the ten years oftheir impressive comeback, Tom Weylled off with what he termed their year or two of"foxhole" mentality: "During that time, we mostly kept our heads down to make sure we were still in business. We were all a bit gun-shy, and acutely aware of how fragile business can be. We tried to find cheer in the fact that the fire had permitted us to make a clean break with the 'boutique' image that the agency had developed up to that point. But unfortunately, Minneapolis was real short of office space at the time, and we had to park ourselves for a couple of years in quarters with no room to make any kind of break-out.

54

Communication Arts March/Apri/1988

PATTERSON

"Eventually, this space in the century-old Lumber Exchange Building became available, and executive art director, Ken Morrison, who has always been our chief building guy, checked it out. He convinced us that it would be wonderful when its re-hab was finished-and it was. So we now enjoy contemporary high-tech under an antique veneer; in a setting that gave us the opportunity to expand in various directions; not just in physical space and computerized systems, but with elements in place that a hundred million dollar agency would need; while we were still a fifty million dollar agency. We haven't quite reached the hundred million level yet, but we do have the personnel as well as the infrastructure to handle that volume, and more, when we get there.

"Moving into this building was a tremendous statement.

It not only improved our confidence, but helped us immediately with new business and headway on a new growth track. But then, just as the new game was under way, some of our key players opted for other playing fields (to establish their own agency). Of course, such moves are common in the business. And, as fellow professionals, we could salute the impressive accomplishments of our departed comrades. But it took awhile for us to stop looking over our shoulders and start concentrating again on our own goals. We reminded ourselves that the Martin/Williams way of working has proved to be sound, and that its creativity has deep roots and long staying power. And while some may be dazzled by the brilliant flashes that can emanate from newer agencies, once their eyes get adjusted to the light, they can see that Martin/Williams is still delivering their highly predictable quality and dependability~' Weyl said that the next big highlight surfaced in 1984, when Don Hagg and Steve Martin sold the agency to the partnership of Dave Floren and Tom Weyl. "I think the agency had become larger than the former partners were comfortable with. Being true entrepreneurs with other aspirations, Marvin Windows grew very rapidly from being a small, regional supplier to the third largest window manufacturer in America and the largest employer in northern Minnesota. Jim Henderson, art director; John Jarvis, writer; Ron Crofoot, photographer.

What do you do to generate new interest in a product like Ciba-Geigy's AAtrex, a weed killer that's been available for nearly thirty years?

How about some relevant humor, eye-catching graphics and tough, selling copy? The first ad idea, the one that sold the campaign, had a headline of "What kind of a day will it be when you find something better than AAtrex?" The graphic was a devil shoveling a path through a big pile of snow. The client loved it but felt it might be risky, so these ads were created to work well in the context of farming . Sally Wagner, art director; Lee Schmidt, writer; Jim Arndt, photographer for the "pigs fly" ad and Paul Sinkler/stock for "ends of the earth:'

"THERE'S ATIME AND PlACE FOR COWENTlONAL THINKING. AND THEN THERE'S MY HOuSE."

'THE KEYTOANYC':oo:l REAL EsTATE INVESTMENT IS lHIS: DIVERSIFY"

If you approach home design from a slightly different angle, you're.cutout for Marvin winda.Ys. Each one is painstakingly crafted by hand from Ponderosa pine to fit not only the design of your home, but yourw~ of life. So for a house that~ you've arrived, choose windows that are a departure. For a

free idea book. write Marvin Winda.Ys. Warroad, MN 56763; call 1-800-346-5128. (In Minnescta, calll-!nl-552-1167; in Canada, calll-!nl-~161) Or see your local Marvin Windows dealer.

MlllVIIw.MMSAIEMADE'IOOIDa.

And what better investment than the beautiful shapes and sizes of Marvin windows. They not only hold your attention . they provide lasting beauty and value, because each one is painstakingly crafted by hand and built to f1t exactly the way it should. For our free idea book, write Marvin Windows, Warroad, MN 56763; or cal11-800-34&·5128. (In Minnesota,call 1-!nl-552-1167; in Canada, calll-!nl-26~161.) Or see your local Marvin Windows dealer.

MIIVIIWIIMJWSAIEMADE'IOOIDa.

Sure

itll happen.

ThecJaY~u

find some¥¥ng better than AAtiex

How far do you have to go to find somethin~better than AAtrei.

55

MARTIN/WILLIAMS

they realized that the agency was saleable, and that we wanted to buy it (and had the banking connections to leverage the deal). The timing was right for all parties: Steve and Don had a partnership on a much smaller scale and Dave and I are primed for the continuing growth th~t the agency deserves and can handle~' A particular point that I wanted to check up on was whether the unique camaraderie between the creative and account sides that was so evident in my first trip to Martin/Williams was still the rule. Both partners eagerly reaffirmed support of that approach and agreed that, if anything, it was even stronger today. Floren put it this way: "Traditionally, the creative and business sides of an advertising agency are often at odds-but not at Martin/Williams. Sure, we have

our differences, but they are resolved in the dynamics of a shared concern for the excellence of agency performance.

"Our ability to cooperate across arbitrary internal barriers is the result of a successful move to make the account side of Martin/Williams as strong and as responsive to our goals as the creative side~' On the vital point of productivity, Weyl said that despite the agency's growth to more than a hundred people, the core creative group had not expanded proportionately. "Credit for part of that stability is due to our newly established in-house 'Design Group~ They've done a really good job of absorbing our growing volume of collateral work.

"Our main body of art directors totals eight, and there are

Photographs by Tom Berthiaume

Tom Weyland Dave Floren.

The Martin/Williams creative staff.

The Design Group, on the upper landing: Cathy Ostlie, Cathy Challman, Wayne Thompson, Dave Whitman, Len Mitsch.

The advertising creatives, going down the steps: Wendy Hansen, Tom Leydon, Lyle Wedemeyer, Richard Page, Hilber Nelson, John Jarvis, Lee Schmidt, Bill Bethell, Chris Mattson disguised as Emily Scott, Sally Wagner, Pete Smith, Bill Zabowski, Christopher Wilson. Not shown: Mark Haumersen and Emily Scott.

56 Communication Arts March/Apri/1988

Our a seafood all-~u-can-eat includes all four

l®dtroups.

This commercial for Skippers had to appeal to a broad range of people who might find an all-you-can-eat offer enticing. The creative team chose a teenage kid who would epitomize the "bottomless pit" kind of individual.

Background music is Jaws-like.

(Open on walking sneaker-clad feet) Anncr. (VO): This is the perfect eating machine.

(Pan up to teenage boy striding purposefully down sidewalk) Ann cr. (VO) : Note the lean body requiring constant nourishment.

(Close up of boy's face) Anncr. (VO): The eyes in a continuous search for food.

(Boy helps himself to popcorn. Little child hides his food) Ann cr. (VO): How do you satisfy an eating machine?

(Boy enters Skippers) Ann cr. (VO) : Skipper's shrimp and fish, all you can eat. Unlimited servings of golden fried shrimp, hand filleted fish. Cole slaw, fries and clam chowder.

(Beauty shots of products) Ann cr. (VO) : At a limited time price of $5.99. Shrimp and fish.

(Close up of boy wolfing down food) Ann,Gr. (VO): It satisfies the eating machine ... for a while.

Tom Weyland Ann Rhodes, art directors; Lyle Wedemeyer, writer; Wilson/Griak, production company.

All four food groups newspaper ad.

Pam Conboy, art director; Lee Schmidt, writer; Don Ellwood, illustrator.

Cajun Seafood newspaper ad. Pam Conboy, art director; Lyle Wedemeyer, writer; Sam Wosmek, illustrator.

Right llO'.II cajun is one of the most JJ9PU1ar styles of~ in the COI.!n1!J£ So for a limited time, Skiwer.; gives )'UU a choice ofthree spicy

cajun style l5readed shrirry> and fish baSkets: 1ly the cajun Shrimp Basket with bite-size shriJt'lA $3.89 Or the cajun Fist\ Basket with tv.o !ish fillets, $2.89 Or try the cawn combQ $3.4Q with bite-size shrimp and a fish fillet Each basket mcludes fries, hush puppies and cole slaw Hurry in now thru Na.t. Because an offer this hot can't last for long

a

(JiiiiShrinpand Fish Special 8kJppetS·

57

MARTIN/WILLIAMS

seven writers. So fifteen people are doing the creative work; plus five extremely productive people in the Design Group. In fact, this group functions much like having their own $2 million account. And the support groupsproduction people and keyliners (who are good art directors in their own right)-provide important matching skills~' Tom Weyl concluded his staff assessment this way: "I think we attract a special kind of 'workaholic~ The people who are happiest here are really nuts about the business. They're true believers who love lots of work. That's why our productivity is over 100%. They like to have two or three commercials in production at once, plus other story boards to work on. Everybody works on four or five accounts, and they like it that way. They're self-starters who neither need nor want much supervision, and are harder on themselves than any boss would ever be. They're not afraid to try something they haven't done before-like a print art director taking on a TV project for the first time. And those who need continuing supervision-or those who abuse the considerable freedom they have here-really become ostracized and leave on their own~' Lyle Wedemeyer, vice president, associate creative director, commented on Martin/Williams' growing stature in television production: "Historically, we've always been stronger in print, and we're still doing a lot of it, but now our strengths on the TV side are gaining wider recognition.

I would put our TV reel up against anybody's, because of the beautiful range of our abilities~' Commenting on the agency's youth emphasis (average age, 31), Wedemeyer suggested that: ')\dvertising tends to be a 'young attitude' kind of business. The actual age doesn't matter as much as the attitude that comes with it. Both Dave and Tom (now in their mid-forties) maintain young attitudes toward the business. And in creative give-and-take exchanges, Tom relates well to a 24-year-old writer just over half his age~' As a useful counter to input from the agency establishment, two relative newcomers to Martin/Williams-writer Tom Leyden, and art director Wendy Solie Hansen-were asked for their views, starting with Leyden: "They say that you have to leave your first agency to get any respect in this business. I worked in two agencies with the idea that I would eventually get into a better agency like Martin/Williamswhich I did do about eight months ago. And now that I'm here, there's no place that I'd rather be. I think there are two things that distinguish Martin/Williams from other agencies· first their creative is what I would call 'responsible creative;; it's ~ery high quality and it's imaginative. It also meets its objectives. Second, they don't have any prima donnas. We have some of the best creatives in Minneapolis, 58

Communication Arts March/Apri/1988

but you won't find them stomping around yelling at account people~' Wendy Solie Hansen: "I came here about two weeks after Tom, but I'd been trying to get in for a couple of years.

After four years of art school in St. Paul, and four years at another Minneapolis agency, I had been hearing so much about Martin/Williams-how people worked so well together, the good atmosphere, consistent creative and allthat it really intrigued me. And once I got my chance here, I found out that it's everything I'd ever heard it was~' Susan King, account supervisor, wrapped up the testimonials succinctly: "Having worked at a large agency on the west coast, I have some useful perspective on how agencies work.

I'm sure that a lot of Martin/Williams' success comes from the simple fact that our departments aren't segregated. It's so easy for media and creative people to fraternize that we do fraternize-to everybody's advantage. We also respect each other. And all of the accounts that I work on have great respect for Martin/Williams people. One of our 3M accounts recently gave Marketing Excellence Awards to Sally Wagner and Emily Scott, our art director and writer on a program-an absolutely unprecedented honor~' Finally, on the critical subject of"new business strategies~' Dave Floren says that such initiatives must place responsibilities on the client as well as the agency: "When we make a pitch, the client must share our sense of mission; must be able to articulate his own goals to give us direction.

Good results demand compatibility of standards-theirs and ours. With these conditions met, we can say to the client: 'We guarantee you the best creative in the category. And if you do see something better, you should fire us .. ~ Agencies are fired for a lot of dumb reasons, but the smartest reason for firing an agency would be for its lack of creativity~'

Minneapolis Children's needed an image campaign to help people to understand how and why they were d ifferent from other Twin Cities hospitals. The ads tell how MCMC, with its exclusive focus and professional depth, is better prepared to deal with the unique needs, fears and expectations of children. Sally Wagner, art d irector ; John Jarvis, writer; Kent Severson, photographer.

Mariner Outboards is in its 12th year with MNV and has regularly taken more market share from Evinrude and Johnson. Mark Haumersen, art director; Bill Bethell, writer; Jim Arndt, photographer.

"Before we began working for Ch icago Cutlery and were inspired to go out and buy some good kn ives, our kitchen drawers were populated with old knives, borrowed kn ives, worn out knives. It was almost embarrassing to get them out of the drawer. We figured other people's kitchen drawers might be in similar shape:' Mark Haumersen, art director; Lyle Wedemeyer, writer; Marvy!, photographer.

hildren are not small adults. And that simple thought should cause some reflection on your part.

That's because most hospitals are designed for adults-adults who require adult-sized accommodations, adult-level programs and adult care.

But children are very different.

They have different emotional, physical and developmental needs, and they view medicine and hospitals in very different ways than adults.

That's why Minneapolis Children's Medical Center opened 14 years ago.

Minneapolis Children's is a hospital designed for children-with programs and services based on their special needs. Our facilities have brightly lit play areas and child-sized furnishings that help children feel more comfortable.

But most important, our programs address your child's special medical needs. We have more than 600 health care professionals from all medical disciplines, an additionall,OOO support staff members, and more than 1.,600 volunteers who love children and are dedicated to their care.

So whether your child requires anything, from major surgery to stitches, bring him to a hospital that treats him for what he is-a child. Minneapolis Ask your doctor for more Children's information, or call 863-6100.

Medical Center

Children are not small adults.

That's why there's a hospital just for them.

It's no wondermostnPOOle keep their kitchen~ ina drawer.

ASHORT COURSE r. OUTBOARD ABUSE FROM THE WORLD'S GREATEST OFFEri&S. wowJf~~~te~~~t~~?~ey're

test drivers for Mariner. What they teach us about making outboards more reliable can only come from the school of hard knocks.

These masters of torture run Mariners at our Aorida testing center. Eight hours a day, week after week through one of the harshest saltwater environments in the world. They do it because the best way to build the most reliable outboard, Is to find out what breaks one. If a Mariner can survive there, it can survive anywhere.

Sometimes they run wide open throttle for hours on end. They might run with low quality fuel

~~:o~n::J~~~~r!: than you ever will ~~: ~; has earned a reputation as the most reliable and durable outboard on the water. ~:_~.:;~.::~~liab~ty, we're the only

outboard manufacturer that provides a 3-year limited coiTOSion protection warranty. Consider it a diploma from the school with the toughest taskmasters in the world.

See the complete line of reliable Mariner Outboards, from our StalkerNelectric troUing motors to the 220 horsepower model, at any one of our nationwide network of dealers. They're factory· trained, full service professionals that stand behind every Mariner on the water. For the name of a dealer near you, write: Mariner, P.O. Box 1939, Fond du 1.ac, WI 54936-1939. ~ ~ -

BEITER INThEI..£N;Rm

Could you blame son~'Oile brtrying to ~>cpa knii! like !his out of sight?

Tile truth oftht: maner is. a lot of kitchen dr'.n\\.'1~ are lx.lllle to kni\ jusllilie it Kni\l.~ that

'Xe 1emper uur~l so it \\ill hold an OOgt: lmgcr, then put il through ~'CI'al hand ~,orindlng and edging t.'Jl!>IOput a smcxxh tapered edge

Slal1ed out looking prt'!l)·sharp and ended up beilll Jn1lY dull In I1XN cases. the probltm wasrir c:~ust:d IJ'.IlOI\·rhc

krui=mlS USt:-d, but

l"dlllel'b) .

110\\·it was made.

AlChlclgo·GJtleJ): \\!:.''~6c::enll'l3kirg kni\ b mere than \\e\-e learned thesecrersro kqJet 131ieourhardles. b~ WC!shape !hem fiml !did walru, then use three solid 1r.1ss m'CIS ro £Nen !hem roa t1I1J thai exren1s dx! fullle!l¢1 c:iCO' knir.

Ourlilde is made fiml the fJJleSl highcadx.ln 5lainless sreel, so it ~iD stl)' ~good

59

MARTIN/WILLIAMS

Kemps Ice Cream, a product of Marigold Foods, was a brand that had been around for 100 years. Coming to MIW in October 1985, their campaign of television and boards awoke the sleeping giant. Sales rose as much as 22o/o in some areas. This commercial opens with the spokesman in a cow pasture.

Anncr: Since our last commercial for Kemps Ice Cream, a lot of people have been asking where we get our chocolate cows. The ones that give Kemps Chocolate Ice Cream its fresh, delicious taste. I can't tell you that. However, one woman wrote wanting to know the difference between Kemps Vanilla Ice Cream and our New York Vanilla flavor. I can answer that.

(He points to white cow) Anncr: You see, Kemps Vanilla Ice Cream comes from a vanilla cow.

(He walks behind a white cow with graffiti) Anncr: And Kemps New York Vanilla Ice Cream comes from a New York Vanilla cow.

(Product shot of package and dish of ice cream) Anncr. (VO): Kemps Ice Cream. It's the cows.

Mark Haumersen, art director; John Jarvis, writer; Wilson/Griak, production company.

Bakers Square is one of the more successful chain of restaurants in the upper Midwest. They have continually introduced new menu items that were a cut above what you expect in a family restaurant.

The idea of a food critic reviewing the dinners seemed appropriate and attention getting. Since a lot of wine commercials, etc. were using the "snobby critic" approach, they decided to poke a little fun at those commercials while making their point about good dinners at Bakers Square. The commercial opens on a man seated at a restaurant table with the Maitre D' and waiters hovering in the background.

Anncr. (VO with a slightly pompous British accent): Recently an international food critic tried the dinners from Bakers Square, thinking they came from an expensive restaurant.

(Beauty shot of product) Anncr. (VO): He found the chicken Alfredo to have a delicate flavor. He liked the size of the shrimp in our Shrimp Marinara. And he approved the savory sauce in our Seafood Fettucini.

(Maitre D' shows him the menu prices) Anncr. (VO) : When informed the dinners weren't expensive, but actually came from Bakers Square, he informed us ...

(Critic removes false moustache and mouths the words in sync with the voice over) Ann cr. (VO): ... he wasn't an international food critic.

(Maitre D' and waiters leave) Anncr. (VO): The dinners at Bakers Square may look expensive, but they're not.

Ex-Critic: Hey, don't you guys want to know what I think of the pie?

Mark Haumersen, art director; Lyle Wedemeyer, writer; Wilson/Griak, production company.

60

Communication Arts March/Apri/1988

NWNL Group, an insurance company, had been working on a new product that would provide additional financial and health care support, above and beyond Medicare and Medicaid, for elderly people. The agency dramatized what can and is happening to older people in America today. The commercial opens with the camera panning through the livingroom and into the kitchen where a middle-aged son is sitting at a table working on a list. He asks his mother what she wants to do with the clock and she answers, "Oh, sell it I guess:· "And the silverware?" "I think Joanne should have that:' Anncr. (VO) : It's never easy to grow old. But these days, many older Americans are facing tougher decisions than ever before.

The mother says to make sure AI gets the record player. "He's always wanted that:' Anncr. (VO): The need for long term health care can quickly deplete a life's savings.

And to get assistance like Medicaid, most possessions have to be sold or given away.

The mother says: "You didn't mention the, uh, music box:· "I already set that aside for someone:· Trying not to show disappointment she says, "Oh:' "I saved it for you, Ma:• Anncr. (VO): At NWNL Group, we're working

right now with legislators, health care providers and business on a solution. Because ag ing is an issue none of us can avoid.

Terry Jeszewski, art director; Lyle Wedemeyer, writer; Wilson/Griak, production company.

The Minneapolis paper had an article about an American Indian, Phil St. John, and his son who, offended by a person dressed as a high school's Indian mascot, were trying to get the school to change. M/W contacted Mr. St. John and offered to do a poster drawing attention to his cause on a bit larger scale. The poster has been picked up and discussed in Sports Illustrated and a number of other magazines and papers.

Pam Conboy, art director; Lyle Wedemeyer, writer; Rick Dublin, photographer.

One of the courses offered by Minneapolis Community Education really was belly dancing.

The creative team felt this was perfect for the strategy. It epitomized the tag line, "Learning that's fun, not work:' and the visual would have real stopping power in the ad and poster. Bill Zabowski, art director; Lee Schmidt, writer; stock photo.

61

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62

Communication Arts March/April 1988

MARTIN/WILLIAMS

Left: One of a series of three ads designed to introduce a new product, the Scotch Binding System, to the office products consumer. Sally Wagner, art director; Emily Scott, writer; Kent Severson, photographer.

Ad for 3M Post-It Notes, also directed to the office products consumer. Bill Zabowski, art director; Pete Smith, writer; Peter Wong, photographer.

Dealer ad for Scotch Brand Tape. Sally Wagner, art director; Emily Scott, writer; Kent Severson, photographer.

This page: Ad for 3M Health Care Specialties Department. Pam Conboy, art director; Lee Schmidt, writer; Dennis Manarchy, photographer.

This ad for 3M Health Information Systems was an opportunity to talk about 3M's recent acquisitions in the context of the changes they would bring to the marketplace and the attitude of the company itself. Wendy Hansen, art director; Bill Bethell, writer; Rick Dublin, photographer.

Ad for 3M Post-It Notes was part of an ongoing program to reinforce dealer loyalty, reminding them of 3M's history of innovation.

Sally Wagner, art director; Emily Scott, writer; Kent Severson, photographer.

~

LIFE.

63

M ARTI N/WILLIAMS

J~TJ~l~ t~lJ)JntJaucarr IJtarrs,

f)(Jil (lAJI1D~~ S'IUJ.. JAM)J{ J)JIJUI. Posters for American Surplus Store. Mark Haumersen, art director; John Jarvis, writer; Jim Arndt, photographer.

One of a series of ads from a 1986 awareness campaign, running in the reg ional business press, to make business leaders conscious of which agency had created these very successful advertising campa i g~s . Other ads included Marvin Windows and Post-It Notes. Sally Wagner, art director; John Jarvis, writer.

Despite the rumors (mostly true) about Minneapolis winters, this national ad pointed out there are compensating reasons, like creativity and hard work, why more and more clients from outside Minneapolis are com ing to Martin/Williams.

Mark Haumersen, art director; Lyle Wedemeyer, writer.

D~ Yf)IJil tlfJI1DHl ltTJ~UL~ iUliliY IICMJI'S, SID~ t•JU)IIJUIIX c;Jrt~ '11D~II~U)tl IJS. AMDUCAN SURPUJS STORE

Right : ads for Harold, the most exclusive high fashion store in town. It's singular, as the sets of twins in the background subtly emphasize. Sally Wagner, art director; Emily Scott, writer; Kent Severson, photographer.

One ad from the grand opening campaign for The Conservatory, a shopping development occupying an entire block in downtown Minneapolis and housing Harold as well as many other upscale shops and stores. Jim Henderson, art director; Em ily Scott, writer; Tom Connors, photographer.

Can you name

the ad agency behind the Kemps Ice Cream spots?

Gients SureAs HeckAren Coming10 Minneapolis fur TheWeather 64

Communication Arts March/Apri/1988

Many ot our dicnls have migraK'd 10 us from pk'lCCS like Sealllc, 0.1llas and Greensboro. Cilk'S \\1ICI'C I he \\'CaliX'~' is a heck ot a lot IV'di1Tlef lh,1n here.

So why do !hey come?

Because lhc\' "e beard !hal some ot the frt..•;hest <KII'ti.'11isiug in the coiontry is being created in 1inllCilj)Oiis.

And !hey know that fresh advertisiug cau he like a shot of adrenaline for a brand thai's struggling IO establish it«eef or build market share.

And since we uoderstand that our dieols aren't

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ANN TAYLOR • BANANA REPUBUC • BETIAOi JEWELERS • lliE COAOi STORE • CRABTREE &EVELYN • DOUBLEDAY DElMAN SHOES, jAEGER, PIERRE DEUX, ROCCO A!IOBEUJ, TIFFANY & COJ • HATS IN 1liE BELFRY • ] ROBERRE ROCS 0

ICOUEI' • ST. CROIX • ST. MORITZ OiOCOLATIERS +lliE SHARPER IMAGE • SOX APPEAL • TE]AS • WilD

12

BOOK SHOP • FAO SOlWARZ • FROST & BUDD, LID. • GAP KIDS • GOODFELLOW'S • HAROLD ONCWD!NG LEATHER GOODS • M. C. SMITli • MAIN STREET Ol!fFITTERS • MARK SHALE • 1liE A11JRE COMPANY • ORVIS WINGS GALLERY • WILUAMSSONOMA

Hou'" Mon. 1h""'gh Fri. 9 ,30""' 1o 7'30 pm : s... 9,30om 1o6,00pm: S..n. 12 noon 1o HIOpm.

65

AN AMERICAN READER

S

IMPSON PAPER COMPANY'S DIMENSION 87 is a significant cultural contribution to our field and a terrific piece of sales promotion. I should say book because it is structured like a book with jacket, cover, fly sheets, table of contents, chapters and a Library of Congress number.

The copy on the jacket describes it well: "This is not a textbook, guide, or reference book. An American Reader is a book about the personal enjoyment of reading, and it has been written, designed and illustrated to show the most representative works of American fiction since the golden years of the 1920s~' The concept for Dimension 87 began in 1986 when Maxwell Arnold read an essay by Harold Brodkey in The New York Times Book Review discussing the importance of books to our civilization. He sent a copy of the article and a memo suggesting a possible theme for Dimensions to Gary Snider at Simpson.

Writer, agency creative director, chairman of The Maxwell Arnold Agency before it was acquired by Cole & Weber in 1985, Arnold had been involved with Simpson's advertising and several issues of the annual Dimensions series.

"My original suggestion was different than the final product~' Arnold said. "It would talk about the importance of books and writing, and graphically demonstrate the range of book design, illustration, photography, typography and paper used in books, jackets and soft cover books~' They bounced the idea off Jim Cross who consults to Simpson on their promotion and helps find the right designers for their different projects. Jim didn't feel that showing jackets and some of the other suggestions would be interesting enough for a book. He thought it should go further and be more about the content of books.

"That thought was very appealing to me~' Arnold said.

Cross also recommended Jerry Herring as the designer.

Jerry operates Herring Design in Houston. He and his wife, Sandy, also formed Herring Press to publish books created and produced by the design firm.

"Jerry was concerned that I might make it a scholarly text~' Arnold recalled, "and he said, 'Make this fun to read, so people will get the idea of how much fun it is to read~ I thought that was a constructive contribution~' Realizing this could not be a consensus, Arnold accepted the fact that he would have to rely on his own opinions and experience. His words read easily, like listening to a knowledgeable friend. The introduction begins: "My father never read anything but the newspaper, which would last him more than an hour or two. In later years, 66

Communication Arts March/April 1988

on the rare occasions when I encouraged him to try a book, physically placing it before him, he really did not know how to hold it. In his easy chair, with his cigar in one hand, he would hold the book stiffly in the other, sitting in an erect posture he never assumed when settled back with his paper.

"I felt sorry for him then, this first generation American, one of eleven children, leaving school to go to work after the second grade, never having the chance to acquire the pleasure of reading books. So one time, when I was in college, it surprised and gladdened me to get a letter from him telling me that during a short and unexpected spell in the hospital a nurse had talked him into reading a new bookjust out. It was Of Mice and Men. It had fascinated him, he wrote, and what he liked best was reading things he remembered from his days as a young man in California.

At least that one time, then, he had felt one of the joys of reading.

"My mother was different. She read all the time, innumerable magazines and innumerable books. This was in the 20s and 30s. Almost every book she read was rented from a department store or from those little neighborhood lending libraries we never see anymore. If you had a little money you didn't have to bother going to the public library, where they seldom had the best sellers anyway.

"I'm sure I got my reading habit from my mother, just as our own children got theirs from their parents. All three of our children have been readers, on our laps, on the floor, at the table, in the car, on darkened stairways, and in blinding sunlight, 'ruining their eyes~ as my own parents said about me and my brother... ~' The book is divided into five time periods: 1920s, 1930s, 40s & 50s, 60s & 70s, 1980s. Three books were selected from each of those periods. Arnold wrote an introductory essay to set the tone for each period. My favorite, for my own reasons, was his essay for the 40s & 50s: "I did a lot of reading during World War II. God knows the Navy gave us plenty of time, and plenty of paperbacks.

But I have had trouble remembering what new books I liked. Now I realize there weren't many of them. They didn't come until after the war, and then there were stacks of them. The first big one was The Naked and the Dead.

"It was often during the war that I wondered who was going to write the best book about it. When I read The Naked and the Dead, I was not at all sure it was going to be the war novel of our time. I'm still not sure. But Norman Mailer was sure, even before he wrote it. He had prepared for it from the day he enlisted, when he made plans to be shipped to the Pacific and not to Europe. He knew

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I!RNEST HEMINGWAY, !XCI!:Rf'TI!O FROM THE SUN ALSO RISES COf>YR IGttT 1926 CHARLES SCRISN E.I'S SONS; COPYRIGHT RENEWED 19)4 ERNEST HEMINGWAY REPRINTm WITH TH£ PERMISSION Of CHARLES SCRIBNER 'S SONS, A DIVISION Of MACMILLAN, INC.

18

- ,9 -

Photograph by John Blaustein

Maxwell Arnold and Jerry Herring.

Above : Spread for Hemingway's The Sun Also Rises in the 1920s chapter, illustration by James McMullan. Herring wasn't enthusiastic about the small type in the biography, printed in gray ink, but he didn't want it to compete with the passage from the book. We have shown it in black here to increase the readability in this reduced size.

The original book jackets, shown here at the same size they appeared in Dimensions 87, often reflected the design approaches of the time period the books were published.

67

AMERICAN READER

what would make our war different from Hemingway's.

He was right, but although The Naked and the Dead is a major accomplishment and still very good to read, I don't like it as much as A Farewell to Arms or for that matter William March's Company K ... ~' Like my excerpt from the introduction, this is only the beginning of the essay. Arnold goes on to note some of the many good, new writers that emerged in this period and recalls an English professor's wry comment that more people were writing books than reading them.

Apart from the fifteen books selected to be featured, Arnold prepared a suggested reading list of books by American fiction writers from that time period, 235 books by 149 authors. On this, he did consult some others, but he made the final decisions.

"It was interesting to play God, I'll tell you that. This one gets in, and this one doesn't. And, yes, this guy's written a lot of books, but only this one was a good one. It was also a chance to include some of my old, obscure favorites.

Though I tried to keep it all fiction, I broke my own rules at times. Edmund Wilson was so good, and he had written a couple of novels, so I put him in~' For the featured books, Arnold selected several significant passages and turned them over to Herring. Jerry then contacted illustrators whom he felt were appropriate for the books and asked them to interpret one of the passages. The fee was nominal, $1500, but they all liked the idea.

One of Jerry's major problems was locating original dust jackets for the earlier books. A big break was a school that had some ofthem with the jacket encased in plastic. It was difficult to cope with, but better than the $100 price tag for one from an antique book store. Philosophically, he said it was a book he wanted to read anyway.

An American Reader is 70 pages, plus fly sheets, cover and dust jacket, 8V2 x 11 5/s, and utilizes seven different Simpson papers. The type was set by Characters, Inc., Houston. It was printed by Grover Printing Company, also Houston, in a run of35,000.

We received the book at CA after our January/February main editorial section had closed, but we did include this in our Available Literature column. If you have a copy, I expect that you enjoyed it as much as I did. If you haven't read it yet, it's well worth your time.

But, if you haven't got the book, your Simpson Paper merchant may still have copies. Or you could write to Simpson Paper Company, Marketing Services Department, One Post Street, San Francisco, CA 94104. The supply is almost gone, so only single copy orders can be considered.

-Dick Coyne

68

Communication Arts March/Apri/1988

< I L \ P·1 I I< I

CIL\P .II R

1

Left: Title blocks on the cover and chapter divider pages were illustrated by Don Weller.

Painting by Bart Forbes for Main Street by Sinclair Lewis shows Carol as she stood on the corner of Main Street and Washington Avenue and despaired.

This page: Painting by Burt Silverman for The Naked and the Dead by Norman Mailer illustrates the soldier, sleepless in his bunk aboard ship with the knowledge that, in the morning, they will charge ashore on the beach at Anopopei, that in a few hours some of them are going to be dead.

Illustration by Jack Unruh for The Big Money by John Dos Passos, the passage about "Henry Ford as an old man ... " Pastel by Gary Kelley for The Color Purple by Alice Walker.

The other artists not shown in the examples here : Thomas Blackshear II, John Collier, Greg Dearth, Teresa Fasolino, Max Ginsberg, Malcolm Liepke, Daniel Maffia, Jeffrey Smith, Richard Sparks and Bill Vuksanovich.

Books not shown in the illustrations or jackets: The Great Gatsby, F. Scott Fitzgerald; As I Lay Dying, William Faulkner; The Adventures of Augie Marsh, Saul Bellow; The Catcher in the Rye, J. D. Salinger; Rabbit, Run, John Updike; The Fixer, Bernard Malamud; Cathedral, Raymond Carver; Ironweed, William Kennedy.

69

Yu R 1 Do 1 c : ... :

-·/ . . ; . -,

A

GREAT PICTURE IS a combination of luck, knowledge and accidene' These same words might also apply to Yuri Dojc's life. "Living in Toronto and being a photographer is because of fate and coincidence.

Mostly fate. It's really just a fluke~'

Born and raised in Czechoslovakia, Yuri was a student of psychology and fine art when he visited England in the summer of1968. On August 20, the Russians marched into Prague. Deciding that artistic and personal freedom were important, he chose to go to North America, finally settling in Toronto. There, after several unrelated jobs, he studied photography at Ryerson Polytechnical Institute and then opened his own studio. In the last fourteen years, as his reputation grew, he worked for major agencies and design firms throughout North America. He also created a vast body of personal work and runs a successful poster business on the side. It sounds like what many would call the American dream.

70

Communication Arts March/Apri/1988

"For many of my young friends in Czechoslovakia, the dream was to come to America. The gold in the streets. Everyone driving big Cadillacs. It's funny really, people grow up in Communist countries dreaming of materialism. Since I've come here I've become more spiritual than I ever was there~' When talking about his work, Yuri sounds very spiritual; and one gets the sense that the process of photography is more important than the product. "There are two kinds of photographers. The first is flash and the second is impact. I want people to think about the impact of the image, and that there is something behind that impact. There is a story behind every picture, but I don't want to know what it is. I want to approach each picture like a beginner. A beginner has many possibilities. An expert few~' One ofYuri's early personal themes was chairs. It was this collection that helped him to understand his personal motivation. "I got hung up on chairs. I shot rolls and rolls of chairs

because I was spoiled by the success of one good picture. Once you've done a great picture, the most difficult thing to do is shake it off on your next shoot and say 'Hey, I've already done this. Do something new~ It took me a long time to realize that it's not the chair I'm hooked on, it's the atmosphere. I'm shooting a lost childhood, something I saw in the small town where I was born. It's that universal truth. I'm not looking for something clever. I'm looking for something I lose' All photographs © Yuri Dojc 1988 Right top : Print ad "Something 's Afoot:' From a campaign for Cougar Shoes. Dojc: "Shooting spontaneously on location in Los Angeles as graphics, situations and magic light appear:· Alan Gee, creative director; G & G, (Toronto), agency; Susan Shoe, Ltd ., client.

Below: Image used for a poster titled "Argentina:· Les Holloway, designer; DesignSource, design firm; Yuri Dojc, Inc., client.

71

YuRI DoJc

Truth has always been more important than beauty for Yuri, even while he was a student. "When I went to school there was a guy who was dull, dull, dull. And all his photographs were dull, dull, dull. But I admired him because he was projecting himself. He was true to his own feelings.

He could have gone and shot like Helmut Newton or Irving Penn because that's what most students do But no. He was true to himself.

He ·did beautifully dull pictures.

"Some people really enjoy the technical side of photography and that's all right. Everybody has to find their niche. There's a photographer in Italy who composes a shot by sitting in a chair next to a computer that runs all his studio lights. Blink. Blink. Blink.

And that's great for him because that technique is what gives him that kick.

"My kick is getting sent somewhere with some clothes, and some models, and letting me do it. I'll bring you results. It's the improvisation that I enjoy. It's very similar to jazz. You're just jamming.

"People who have a very strict layout don't come to me. If you hire Newton or Penn to do a shot, you don't tell them what to do. To me, the perfect 72

Communication Arts March/Apri/1988

job is being given a product and total freedom. I'll shoot roll after roll in every location that I can think of. But I'm not going to screw around with someone else's money just for the sake of being a prima donna~ ' Yuri is quick to point out that creativity doesn't always happen in a vacuum. "When my best clients go on location, we sort of wrestle, but it's always a wrestle for the best. He wants the best and I want the best. We just push each other in the same direction, not against each other.

"Being in advertising is a compromise of sorts, but you still have to do the best. You have to tell yourself that it's

Personal photograph of the boat was shot in Acapulco.

Photo for ad "On driving a Porsche and other rites of passage:· was shot on location in Miami, on top of a cherry picker 40 feet above the car. Yellow paint and artificial turf gave the abandoned parking lot a roadside appearance. Steve Thursby, art director; Viv Tate, writer; Allan Kazmer, creative director; Doyle Dane Bernbach, (Toronto), agency; Volkswagen Canada, Ltd ., client.

"Dancing Chairs:· shot in Merida, Mexico is reproduced as a poster. Yuri Dojc, Inc., client.

73

YuRI DoJc

a good client and that you'll get paid for it. Then you hope every six months you get a great job. How many great jobs can you do anyway? It wasn't always like that. Sure I struggled like everybody else, but it wasn't so bad.

You start at zero and everything on top of that is gravy~'

Above: Image illustrating the notion "All things excellent are difficult, as they are rare:· Used for CBS Records Canada's CBS Special Product's "The Power of Music 1988" calendar. Janice Hoffman and Kelvin Brown~.

Hoffman Browne Marketing Inc., producers; Dela Kilian and Brian Moore, Design Force Inc., designers.

Right page: The woman and the surf was shot on location in the Bahamas for Brooks Canada and used for print and transit ads.

Stuart Hood, creative director; Vickers & Benson, (Toronto}, agency.

The red chair, a part of Dojc's chair series, was photographed at a hotel in Nova Scotia en route to an assignment.

Personal photograph of the yellow wall, for Dojc's window series, was shot while on location in the Bahamas.

The little girl on the beach was photographed on Antigua Island.

74

Communication Arts March/Apri/1988

Although Yuri cites many photographers as influencing him, he feels that his foundation in art was more important. "I was always a student of modern art. Picasso was my hero when I was three years old. Cezanne, when I was about ten. I was brought up with all these influences and had all this knowledge and I took it very seriously. To me artists were like gods.

"Then I read Tom Wolfe's book From Bauhaus to Our House. It com~letely reorganized my brain by shaking my beliefs about the ways of modern art.

He made me realize, 'My God, I'm taking this all too seriously~ That really made me loosen up. No picture is the end of the world. It's just a visual expression. But it can be a great visual expression~' In addition to his commercial and personal work, he has published more than 30 posters which are distributed around the world. "The posters are strictly a business venture. I'm not pretending they're art. They're supposed to sell. They're not good self-promotion for my advertising work. Art directors see them and think I just do posters; when what they need is an advertising photographer. Sometimes, when I meet some of the younger advertising people, they say: 'I've got your poster hanging in my house. I thought you were some old European guy living in Paris~"

This not-so-old European guy has done quite well for himself. He owns his studio building in downtown Toronto. The offices are staffed by a receptionist, an assistant, and his wife, Eva, who acts as producer on a shoot.

All the rooms are clean and orderly, though he admitted it took about three hours to get them to look like that before the interview. Part of his East European upbringing, he . explained, is that guests should be entertained in a clean home. His prop room has floor to ceiling shelves filled with an unusual array of found objects and kitsch, much of which appears in his personal work. "Tom Wolfe told us that kitsch is a part of the American tradition. We should be proud of it instead of putting it down. I think the guy is right. Why should I be so pristine and think that only this or that is good? Why don't I look at kitsch from a different point of view. Marcel Duchamp did this. So did the Dadaists~'

Awards are filling the walls. Calls are coming in from around the world.

Yet with all this success, there is still fire within Yuri when he talks about photography, advertising, politics and life.

"How can I complain. I'm in this building that I own, and I get to do these great jobs. But if I didn't complain, I would probably become very complacent and just do the job. I love photography too much to just shoot something to get the job done. I find the older I get, the more possibilities there are~' -Patrick Coyne

75

YURI DOJC

76 Communication Arts March/Apri/1988

Left page : Another image from Dojc's chair series, was shot in the Dominican Republic.

Personal photograph for the window series, was shot in Portugal.

"Shooting for mood in the studio with model Alex Mcleish" was used for the Bally Shoes ad, "Fashion for every mood:' Greg Trinier, art director; Retail Advertising, (Toronto), agency.

This page : Experimental photograph of legs.

Photo was used to illustrate "Body and Soul:' an article on the benefits of swimming for fitness. Lindsay Beaudry, art director; Toronto Life Magazine/Key Publishing, client.

77

78 Communication Arts March/Apri/1988

YuRI DoJc

Left page: Dojc unwinding with his camera on the Toronto lakeshore resulted in this image which was produced as a poster titled "Tyrannosaurus Rex:· Karen Powers/ Arch media, design; Yuri Dojc, Inc., client.

Photo for a Suzuki Canada print ad headlined "Get the bike that gets flagged the most:' Joe Shyllit and Jerry Kuleba, creative directors; Joe Shyllit, art director; Jerry Kuleba and David lmai Compton, writers ; Laser Kuleba Shyllit, (Toronto), agency. Dojc : "Bright colors and additional lighting belie the realities of a bitterly cold afternoon in Shannonville, Ontario, in the thick of autumn, peering through the overcast for patches of blue sky.. . and then shooting quicklY:' This page : Lamp posts were shot on location at Mar del Plata while on assignment for Aerolineas Argentinas.

While pursuing an alternative reality in the studio, Dojc shot the Tyrannosaurus eating a car. The image was later produced as a poster titled "Mondo Bizarre:' Les Holloway, designer; DesignSource, design firm; Yuri Dojc, Inc., client.

Below: The door and window were photographed in Barbados. Dojc calls the photo "Homage to De Kooning:·

79

JACK ROBERTS ADLA LIFETIME ACHIEVEMENT AWARD

BY SAUL BASS

Y JOB TONIGHT IS TO TELL YOU A little bit about Jack Roberts. Now, I know Jack quite well. In fact he and I have been friends for almost forty years. Forty years ... that's a lifetime. You know forty-year friendships are not easy to come by.

M

For one thing, you have to live that long. For another you have to be able to bear all of the transformations that people go through over that long a period. (And, of course, your friend has to be able to put up with yours as well.)

But if you can survive all that time, what you are left with is quite extraordinary-a person who remembers what you looked like with a full head of hair. I met Jack at a meeting of the Art Director's Club in 1948. Meetings, in those days, used to take place at the old Hollywood Masquers Club. Nowadays you can attend Art Director's Club meetings for a long time before you get to know all the members. But in those days refreshments for the entire membership consisted of two six packs and a package of Corn Nuts.

As I recall, evenings tended to be very wet. And as they wore on, and on, I had a terrible time trying to understand what people were saying.

Recently arrived from New York, for a long time I thought that everybody in Los Angeles sounded as if they were sloshed. Sometimes we made it to dinner, sometimes not.

At the Art Directors Club of Los Angeles 41st Annual Awards Banquet in November, 1987, Jack Roberts was honored with the club's first lifetime achievement award. At the dinner Saul Bass talked about Jack's accomplishments, and their forty-year friendship.

Left: Full page newspaper ad placed in Washington newspapers by Carson/ Roberts, in 1964, when the Civil Rights Voting Guarantee Bill was being debated on the floor of the Senate. Tony Ha//er and Steve Madden, art directors; Bea Lavery, writer; Doug Wilson, photographer.

There were some terrific people in the club in those days: Bob Guidi, Harry Pack, David Rose, Ren and Nancy Wicks and George Rapapport, who even then was telling anyone who would listen that he much preferred his bass fiddle to working a straight job.

I think that the Art Director's Club then was more a support organization than anything else. Design and art direction were advertising's illegitimate children. The function was seen as peripheral, decorative, a necessary but not terribly important minor craft.

Art directors were frequently seen as oddballs or eccentrics, who didn't know much about business and couldn't spell. Sometimes we were treated like talented and adorable but slightly dim children.

In fact, for many of us, the Art Director's Club served variously as an emotional outlet, professional validation, group therapy and social club. We huddled together for warmth, and while in the huddle we laughed a lot and learned a lot as well.

Looking back, I think one of the qualities that attracted me to Jack was a sort of air of detachment which surrounded him. Through the years I'd sometimes see Jack

80

Communication Arts March/April 1988

confronted by adversity, frustration, disappointment, and while others were growing hysterical, he would just puff on his pipe and behave rationally. It used to really make me nuts.

Many years later I learned one of the sources of his strength. During the second World War Jack was trained as a fighter pilot and sent to the South Pacific. He was assigned to a mapping squadron, piloting a B-24. In those days we had few if any maps of that part of the world.

And it's hard to fight a war without maps.

Jack eventually became a flight commander and was promoted to Major at the age of22. Not bad for a kid from Seattle. Characteristically, Jack explained his meteoric rise by pointing out that most of his more deserving colleagues had been lost. (Two-thirds of his squad were killed.)

After the war, Jack resumed his studies at Art Center. Some of his classmates were Don Kubly, Chuck Kratka and Gene Weston, all of whom met their wives there. So did Jack. He had to marry Diane because she was the only woman he knew who was better-looking than he was.

Jack's first big break after he left Art Center was working at Arts and Architecture magazine. He did some editorial layout and designed the ads. Jack remembers being chastised by John Entenza (editor & publisher) who told Jack that if he insisted on signing his name to all the ads, the size of his signature would have to be smaller than the headline.

It was during his stint at the magazine that Jack met and got to know a number of new people, some of whom were to affect his life in unforeseen ways, people like Charles and Ray Eames, Herbert Matter, Richard Neutra, George Nelson, Alvin Lustig and Ralph Carson.

In 1954, Jack became president of the Art Director's Club.

And began to demonstrate once more, to the surprise of no one who knew him, his outstanding leadership abilities.

Another of the many passions that Jack and I have shared through the years is the Aspen Design Conference. I had gotten involved at the invitation of a couple of my New York friends, Will Burtin and Gyorgy Kepes. I attended the conferences in 1950 and '51 and urged Jack to come. He did in 1952. It was the beginning of a long and fruitful relationship. The contributions Jack has made to the Design Conference over the years were truly singular.

He started by organizing regional support goups in various cities. He then became the conference chairman of these regional groups, of which there were 15 or so. He was elected a member of the Board of Directors in 1954 and stayed on thereafter. (Some of the others who served on

THE BLIND ARE ALSO COLOR BLIND

CA it8 0N j H. OHE NT H j i NCj A~/ I..A . . .

the board with him were Elliot Noyes, Will Burtin, Allen Hurlburt, George Nelson and a number of others of equal stature.)

He was elected President of the Board of Directors in 1970 and served in that capacity until1976. During his tenure, Jack led the conference towards changes in some important new directions: In shifting the focus of the conference to a crossdisciplinary vehicle for enriching the designer's understanding of the needs of his professional development.

Changing the conference organizationally into a more democratic participatory form (small groups in small spaces, more interactive).

Helped institutionalize the conference, created a history, recorded and organized its methodology, and defined and refined staff functions.

Maybe most subtle, but most important, led the resistance to commercialize and merchandise the conference's success, which would have compromised its value and integrity.

Not a bad legacy for an Art Director.

The other major professional achievement in Jack's life was, of course, the creation and development of Carson/ Roberts Advertising.

81

JAcK RoBERTs

Until Carson/Roberts was acquired by Ogilvy and Mather in 1971, it was by any measure one of the most important independent advertising agencies in the country.

Carson/Roberts was one of those rare agencies that genuinely helped create new companies and new businesses.

You see, one of the hallmarks.ofthe agency was that they often worked for founders or founding families of companies. That was possible because in those days Southern California was new, still inventing itself in a way that New York, Boston and Chicago could not.

Their clients were tough people, usually first generation entrepreneurs, not professional managers. Mattei, Max Factor, Gallo, Baskin-Robbins, Rose-Marie Reid.

When these people agreed to spend money, it was their own money. Some of them were legends for chewing up people and ideas.

But Ralph and Jack (and, later, Cy Schneider) had the gift of being able to convince their clients to take risks and to accept good work. And more often than not, the clients went along, as much because they believed in the people as because they understood now good the work really was.

Through the years, I've had a special place in my heart for Carson/Roberts, not just because of Jack, but because of the legions of extraordinary people who passed through.

They attracted talented people the way a magnet attracts iron filings. Some of them went on to become media stars, many more have become stars in advertising and design and if I listed them all we'd be here until dawn.

I do just want to mention one however, but it goes with a short story: In the early 1970s, I was looking for someone to help me run my company. I didn't know many people in the design business who knew much about marketing and that's where I needed help the most. So I asked Cy Schneider, who was then president of Carson/Roberts, if he could suggest anyone. He said, I know a guy who used to be with us who I think would fit well with you. His name is Herb Yager.

Herb and I met. And Cy was right. We liked each other and after a few weeks I made him an offer. He wanted to come but he said he needed a few thousand dollars more than I wanted to pay. Too bad I said. And that was that.

The next weekend was July 4th. Jack's legendary summer beach party. So, at one point Jack and Ralph and Cy and I are standing around and one of them said, "Have you and Herb made a deal yet?"

"No~' I mumbled.

"How come?'' asked Jack.

"I'm not sure, it's confusing, he wants more than I want to pay him~' I said.

82

Communication Arts March/Apri/1988

Jack said, "That's it? That's all that's separating you?"

I nodded.

As usual, Jack's response cut through the crap. He said, "If that's what he needs, give it to him. If he works out he'll be worth it and the money won't matter, if he doesn't work out, you'll get rid of him in a few months and the money still won't matter~' Well, I took Jack's advice. Herb and I have been partners for almost fourteen years. It seems to have worked out.

But Herb-I still think $6 an hour was a fair offer.

Jack always had vision. He bought a beachfront lot in Malibu in the late 1940's, and his friends thought he was suffering from battle fatigue. We felt it was about as sensible as commuting from Maui. A few years later he bought the adjoining lot and we worried that he'd never get his money out. Today the value of those lots would make a nice dent in the national debt.

I've left for last, Jack's greatest success, the only subject about which he can be obnoxiously self-congratulatory.

His family. But once again he planned it right. He started by marrying Diane, a lady with patience, style, artistic talent and great cheekbones. That genetic mix made it somewhat inevitable that their four progeny have turned out to be extraordinary people.

You know, throughout all the years I've known Jack the two qualities that I have admired most about him are his sense ofhumor and his sense of perspective. He is the least pompous person I know. The most practical, the least complaining.

Jack always seemed to know what was really important.

Though he took pride in the work and the awards, he knew that when all was said and done, what we are left with, if we are lucky, is family and a few friends. And on that score as well, Jack has aced out.

Jack has graced my life with his friendship. We've shared lots of laughs, a few tears, lots of good times together.

It's an honor and a pleasure to be able to have a small role in paying tribute to him this evening. There is no one more deserving. Jack's contribution to the Los Angeles creative community is unique.

And one from which we all have benefitted. He proved that Los Angeles could successfully compete with New York. He demonstrated that innovation and brilliance could just as easily move from west to east as vice versa.

The other great regional agencies that started on the West Coast should all light a candle and bless Jack once a day. He and his partners were the trail blazers who made it easier for them to be taken seriously.

Jack is one of the people who I most admire and from whom I have learned the most. He is my hero, my friend .

I really love him a lot.

EXHIBIT BACK IN THE EARLY days of CA, we started a section called Exhibit. It was an opportunity to report on innovative work in the various fields of creative communication.

Now the opportunity is yours. We're looking for new, outstanding, high-quality, original work. And if you've got it, we want to show it to 60,000 people world-wide, using the best reproduction techniques in the industry.

Send us samples of your latest and best brochures, collateral, identities, packaging, 3-dimensional graphics, print ads, television commercials, direct mail, shopping bags, records, books, self-promotion, photography and illustration. If it's been printed or produced, and it's hot, we want to see it.

Please include any information on the purpose or objective, any interesting background and a list of creative credits. If we decide to run it, we'll contact you for additional information and reproduction materials. All materials should be sent to: Exhibit, c/o Communication Arts, P.O. Box 10300, Palo Alto, CA 94303. Please note: Submitted materials that need to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

25

Good Pos-

THE COVER AT LEFT and the posters on the right are reproduced from Peter Good's new 64-page self-promotion booklet, measuring only 31!2'' x 5112". Each poster is reproduced approximately 21f4'' x 31!2''.

Peter explains in his introduction: "This little book was inspired by the fact that posters, like paintings, can be viewed from different distances. Although, at first, the posters here seem quite small, their relative size is about the same as viewing them from a distance of twelve feet; not at all unusual~'

ters

What is unusual: The perfect-bound booklet is printed all on one press sheet. A brief statement accompanies each poster and close-up sections are shown on various spreads to break up the pacing.

The project was a cooperative venture between Good, The Hennegan Printing Co., Cincinnati, and Westvaco paper. Complimentary copies are available by calling Westvaco Direct Response, 1-800 Celesta.

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~h29 Above : "A season poster for this unusual theater group. Joseph Cornell was my inspiration here. An individual gestalt-like set for each play. The construction, complete with its word messages, was photographed and separated in its entirety:' Photography, Coon & Garrison.

Below: "Watercolor here expresses the fluidity and spontaneity of the dance.

Splashes simulate the vigor. Subordinate type appears to push the dancer upward:'

through April 8 at the Shubert Theatre

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•

outlets, and by phone from Chargit 665-8051

For information, call (215) 735-4768

DANCE FESTIVAL 84 PENNSYLVANIA BALLET Thanks to OGNA Corporation for making this poster possible.

83

EXHIBIT

A CONSIDERABLE DEPARTURE from their usual individualized " Source book" approach to self-promotion, The 27 Chicago Designers organization created 27 posters and a hard-cover book, as their contribution to Chicago's Sesquicentennial celebration.

In presenting the collection to the Mayor and the city of Chicago, Greg Samata, chairman of the publishing committee, said: "This collection has been a gift of the heart-from each of us. We know the exceptionally high amount of creative talent who work and reside here. This collection depicts that creativity, as well as the striving commitment of the 'city ofbig shoulders: and the warm hospitality of the capital of the heartland ~'

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Each artist donated their work plus $5000.00 for the production of the book and posters. Suppliers also joined in the pro bono event. Individual posters, sets and copies of the book are available by contacting Passport Communications at (312) 942-1360.

Part of the proceeds from the sale of posters and books will be used to establish a graphic arts scholarship fund.

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84

Communication Arts March/April 1988

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Left page: Each poster in the book is accompanied by a title page, photo, description of the designer and content of the poster. Greg Samata designed the book and Mark Joseph photographed the designers.

This page: "The Lake" was designed by Jack Weiss. "The lake consumes our senses : We see each sunrise over its horizon. We feel its cooling effect in summer, its warming effect in winter. We hear its power with each northeastern gale. And we smell its pungent air as fall approaches. The changing colors of air and water are the lake's kaleidoscope. The Lake: Ch icago's greatest wonder:· "The Parks" was designed by David Anderson. " My first move after choosing parks as my subject, was to visit Washington , Humboldt and Columbus parks on a hot summer day; to sens~ . again, their special magic. I have great and enduring respect for the people who made it all happen : In particular, landscape architect Jens Jensen.

He also designed the magnificent boulevards that connect some of them . And after long neglect, even the smaller, less well -known neighborhood parks in the system are now being recognized as the special treasures they are. They, too, deserve full restoration for their part in providing relief from typical big-city stridency:' "Chicago Style" was designed by Norman Perman . "It is no accident that I have chosen our elongated sausage as my symbol of Chicago's gustatory del ights. I have rapac iously consumed thousands of them in my more than 50 years in our city precincts. Alas, today I am restricted to a rigid, low-cholesterol, low-sodium diet. My only opportunity to maintain my taste buds is an occasional sneak wurst, furtively wolfed down in a back alley. My poster, therefore , is a rare opportunity to indulge my fantasy and passion on a grand scale . No other assignment could begin to match the pleasure of my paean to the 'Chicago Style' hot dog:'

85

EXHIBIT

AFTER INTERVIEWING SEVERAL designers to create her promotion package directed to advertising and editorial art directors, New York still-life photographer Lynn Sugarman met with Paula Scher. "Paula rushed through my portfolio and when she finished she said she had a couple of clients that I'd be good for. My rep and I said, 'Wait, Paula, we're not soliciting work, we're here to interview you~ and everyone started laughing~' Paula recalls, "I thought it was a portfolio review and I had just blown the meeting.

After she told me how much she could spend, I said why don't you do a book on American Artifacts by taking pictures of people's stutr' The whole idea happened within ten minutes of meeting each other and both worked together defining the hypothetical characters which Lynn shot in her spare time. The result is a fascinating, 10 3/4" x 15 3/4", 36-page book.

AMERICAN ARTlFACTS

Right: Cover photo also reproduced as interior spread. Betty Donaldson age 43; current residence Bloomington, Indiana; occupation housewife and mother.

Below: Doreen Delucca age 42; current residence Las Vegas, Nevada; occupation dealer; yearly income $24,000 plus tips.

Sharon Edmondson from the Tropicana provided the artifacts.

Below right: Roy Teale.y age 44; current residence Encino, California; occupation automobile salesman; yearly income $35,000 plus commission.

86 Communication Arts March/Apri/1988

LYNN SUGARMAN

A PROLOGUE ...

NLY ONCE IN A WHILE, a great talent appears on the scene, someone who creates original, beautiful, classic, joyful and wonderful things. Marget Larsen was one of those people.

O

The small sampling of her work, shown in the following article, speaks more eloquently than anything I might say.

The article was written by Bob Freeman. Actually, it is an abridgement from three major chapters of a book he is writing about his life and career. It is a colorful one, and almost thirty years were spent as a partner in life as well as creative enterprises with Marget.

Frequently mentioned here, and the subject of another chapter in Freeman's book, is an extraordinary man who figured prominently in both of their careers, Howard Luck Gossage. Howard was an original thinker who also worked in advertising, writing some of the most unusual but effective copy I have ever read. And, under Marget's deft touch, it was presented with beautiful, often classic typography.

They functioned under several agency names, Weiner & Gossage, Freeman & Gossage, and Freeman, Mander & Gossage. All of the principals carried the title of president, for the simple reason the firm was too small to have vice presidents.

Freeman's position was art director/creative director, but Examiner columnist Cyra McFadden described the role as "genius keeper, without whom it would never have worked~'

They were selective in the accounts and projects they took on, and it had little to do with budget.

Of importance was the nature of the product, or cause, and the media audience the advertising would be directed toward.

One year, they placed more advertising in The New Yorker than any other agency west of the Mississippi. Because of their high profile, the agency's size was consistently overestimated, even though the body count was only thirteen at its peak.

One ad, written by Gossage and designed by Marget, in an image campaign for Eagle Shirtmakers, set an all-time record for coupon response to an ad in The New Yorker. Howard and Miller Harris wrote a best-selling book about the campaign, Dear Miss Afflerbach (the recipient of the coupons) with a subtitle of"The Postman Hardly Ever Rings 11,342 Times~' Luncheons at the agency were almost legendary.

Among the many creative guests that often appeared there were John Steinbeck, Buckminster Fuller, Dr. Benjamin Spock, Tom Wolfe, Herb Caen, and Marshall McLuhan.

The Firehouse, referred to on a number of occasions in the article, housed this unique agency.

It was a former firehouse. Marget located it and visualized it as a perfect location for their operation. She also found the city was going to put it up for bids. The agency got it, and converted the building into offices that were the last word in modern elegance. · -Dick Coyne

Once, Howard defined the operation as ''A bunch of loners, huddled together for warmth~'

87

MARGET LARSEN BY

y CHANCE ONE DAY IN

B

1954, the art director of Joseph Magnin dropped in at the studio of Gordon Brusstar, the artist I'd commissioned to illustrate the Bank of Italy's (now America's) 50th Anniversary booklet.

The main illustration was A.P. Giannini in 1904, banging his fist on the table and shouting to a fellow director of a little bank in the Flatiron Building on Columbus, "All right, I'll start a bank of my own!" Just for the hell of it Gordon had blown up the illustration and stuck ifup on the wall. And he'd put my head where Giannini's was supposed to be.

His visitor just happened to spot it.

"Who's that?"

Gordon told her.

Her curiosity aroused, she visited my studio on the pretext of borrowing a book. I had my feet up on the desk, and was talking into the squawk-box.

When I finished, I turned around to see my visitor, took one look, a very long and searching look, and then literally slid to the floor. That one look determined the direction of the rest of my life!

Marget-Aagot Larsen was one of a rare species of humans that had been actually born in San Francisco; in fact she was second generation. Her mother Ragna (Norwegian) and her father George (Danish) were also San Francisco born. Her grandmother Aagot was born in Norway, but she gave birth to a son, Marget's Uncle Art, in a tent in Golden Gate Park.

Guess when.

From an early age, Marget wanted to be an artist. Her art education was quite limited, fortunately. She didn't learn a lot of rules telling you what 88

Communication Arts March/Apri/1988

ROBERT

BREWSTER FREEMAN

you can't do. She studied with Bob Howard, the sculptor, who was married to Adeline Kent, also a sculptor. And with a very creative and politically progressive jewelry designer named Margaret de Patta. And she learned a lot from Paul Klee, her idol, from his books.

After getting her first job, at I. Magnin, she took night courses at the California School of Fine Arts, and set such a killer schedule for herself that she contracted tuberculosis and spent the next couple of years recuperating in a sanitarium.

The series of promotional boxes that Marget designed for Christmas each year (he r idea) had a major impact on Joseph Magnin sales.

The group below was based on bu ilding blocks.

When they were put together in the corre ct sequence, they formed a cube . At ri ght is a series based on games. Many peop le made purchases just to get the g ift boxes.

Her " For Sale" ad wou nd up on art directors' bul letin boards all over the country.

Marget pioneered in the developme nt of clean color on newsprint with the fi rst rea lly successful color newspape r ads ever run.

She also posed for this cosmetics ad .

Photograph by Lars Speyer

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89

MARGET LARSEN

Meanwhile, Cyril Magnin had a good idea; to do the exact opposite of what the rest of his family had always done, namely to cater to the "old" wealthy establishment families. Cyril's idea was to go after the new post-war generation with smart and youthful styling at his store, Joseph Magnin. The rest of the family told him he was crazy, "They don't have any money. They can't afford quality merchandise!"

When smart, youthful and talented Marget Larsen showed up looking for a job, Cyril was smart enough, and lucky enough, to hire her on the spot as his art director, along with talented advertising manager Toni Harley and talented artist Betty Brader. The first thing the new art director dtd was to dream up, with Toni's help, a great promotional device. Every year she designed a series of Christmas boxes, each with a different theme (such as clocks you could wind up, musical instruments you could practically play, building blocks you could build things with and even games you could gamble with.) They were right on the money, having great appeal for the clientele Cyril was trying to reach.

"C:' as they called him, was quick to see their promotional value. Although they cost much more to produce than any previous packaging, he readily allocated the money.

One year there was a Christmas slump. Bay Area department store sales were way down, all except Joseph Magnin's. Naturally the other merchants were eager to discover Cyril's secret weapon. At a meeting of department store heads, he gave full credit to the boxes. Then he told them about his very talented advertising department, and that his secret was to leave them alone and let them do their thing.

I was lucky enough to watch the advertising department in action on several occasions. It was really something to behold. About 10 a.m. the 90

Communication Arts March/Apri/1988

buyer would bring down the day's "merch~' All three ladies would grab it

and start kicking around ideas for an ad. Marget might have a hunch about a headline. Toni might suggest an illustration to Betty. Very soon Marget would start making a layout which she'd send over, along with Toni's copy, to their typographer, Bill Hoshiyama, who was standing by at Reardon & Krebs. (Marget had made sure J. Magnin ads took precedence over everything else in the shop.)

When it came back she quickly made, with Betty's drawings, the cameraready art for the ad and it went to the engraver who was also standing by.

(Everything was letterpress and hot metal in those days.) The first time Cyril saw the miracle they'd wrought was when he opened up his San Francisco Chronicle the next morning.

Cyril was rewarded for this management style in 1955. I'd been made president of the San Francisco art director's club and commissioned a young designer, Walter Landor, newly arrived in town, to design a suitable medal for the outstanding client.

Most really creative ads are controversial, and somebody had to stick his neck out to defend them and put up the money.

It didn't take me long to discover I couldn't stand the place. It escaped me how to escape, until a young account exec named Carl Ally suggested I could simply get myself canned, stuff my gear in the little DKW and freilauffwest. So I did.

Back in San Francisco and driving up Montgomery Street, I happened to spot Howard Gossage, whom I'd worked with after WW2. I gave him a lift down to his office, and he offered me the use of a spare desk temporarily.

After I'd made a few phone calls, he came in and told me I'd better keep using the desk. A fellow named Bill Walsh had arrived the night before to propose that Howard do an advertising campaign for Irish Whiskey.

The connection was Sean Lemass, newly elected Premier of Ireland, who'd just discovered that exporting whiskey had been prohibited after the war, supposedly to provide a lot of revenue locally from the sales tax.

Lemass called his export expert, Walsh, then general manager of Coras Trachtala Teoranta (the Irish Export Board), and told him: "Get yourself

The first year it was awarded to Cyril Magnin, for hiring the very best people possible and for letting them have complete freedom.

About that time, Jim Hastings came out from Detroit looking for an art supervisor for Campbell-Ewald.

I took the job, which entailed being in charge of a pride of art directors.

I went around to meet my charges and over half of them had proofs of Marget's ads on their bulletin boards.

While in Detroit, I had Marget do some ads, not just for Chevrolet, but other accounts too. Not having modems then, we used AP and UPI to send roughs back and forth.

LEASING Marget pushed design as far as it could go.

Here 's "US" simplified to the ultimate.

Right : Number 3 in the 1958 ad campaign for the Wh iskey Distillers of Ireland, in which the agency's belief that an entertaining and interesting ad would be read allowed them to continue the copy from one week's ad in The New Yorker to an ad appearing the following week. The Pride and Profit badges had to be reprinted several times to meet the demand.

8{ In Which Ireland Expects Every Man to Take a Position on Irish Whiskey }8

STAND UP & BE COUNTED! ARE YOU PRIDE OR PROFIT? ( NUMBER III )

sides you'll probably be terribly anxious to receive your Pride Badge or your Profit Badge, one. For the benefit of you latecomers we [The Whiskey Distillers of Ireland] are referring to the very nice badges we are sending out from Dublin to all who write us here.

We unfortunately ran off the page last week and had to continue over. No harm done, we suppose. ~ The badges, then, are as illustrated.

"Profit" to be worn by those who glory in Irish Coffee and the money it sends flowing to Ireland. And a pretty thing it is, too, watching the dear sales curve course upwards thanks to the Profit Party's interesting taste. If bizarre. Not that we condemn, no, no, no. ~ It's just that there are the others : the Prides ; proud of the taste, proud of the altogether distinctive, burnished, but emphatic flavor of Irish Whiskey.

They claim. the subtlety is quite drowned out in Irish Coffee. Strong words! Strong feelings!

Before we run out of space again perhaps we'd better get our coupon in. We are given to un-

Now this isn't to say that you must already be an all-outer for Irish Coffee or a practicing Irish Whiskey drinker to qualify as a Profit or Pride respectively. All we require is a willing heart and an open mind. Choose the side that appeals to you; state your allegiance and then justify it by deeds. If you change your mind

P.O. Box z86 [COUPON] Dublin , Ireland Pride[ ] Profit[ ] (indicate one) Please send me a badge so that all may say "There goes a (PRIDE), (PROFIT) man."

Name____________________________

later write in and we'll send you the badge of whichever side you defected to. No recriminations, no sidelong glances, just understanding smiles is what you'll get from: us. ~ If you're a novice, though, this great, brilliant world of Irish Whiskey is likely to set you quite agog with its variousness. There are nine grand brands. It'll do no harm to list them [if you'll excuse us for a moment while we draw lots to see whose name shall go first]: Murphy's, John Power, Old Bushmills, Tullamore Dew, Paddy, John Jameson, Gilbey's Crock 0' Gold, John Locke, and Dunphy's Original Irish. Now ...

Address__________________________ City _________ State

Country _ ___

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derstand by those who know that a coupon [rather than just saying to write in] boosts the response tremendously. We hope this is true; so much advice nowadays is simply terrible.

"'

/

'

© 1958, THE WHISKEY DISTILLERS OF IRELAND (oh, let us copyright ''whiskey", too. We invented it.)

91

MARGET LARSEN ( R einier Ale Strike• • Blow lor Culiure; • Public Service Adverli•ement]

BE THE FIRST HIGHBROW IN YOUR NEIGHBORHOOD TO OWN ABEETHOVEN, BRAHMS, OR BACH SWEATSHIRT

at once to America and publicize our excellent whiskey! " Walsh had met an attractive redhead from San Francisco named Janet Livingstone. Before leaving Dublin he asked her whom he should get to do some ads. She remembered seeing an ad headlined "Be The First One On Your Block To Own A Kangaroo" with which a mad genius named Howard Gossage had put a little airline that nobody'd ever heard of (Qantas) on the map.

Walsh boarded the first plane for San Francisco, stopping in New York only long enough to have Hank Lucking, the New York liquor man, confirm his choice of agencies.

Which he did, despite the f~ct that several big New York agencies had prepared very elaborate presentations to pitch for the account.

So I went to work for what was then Weiner & Gossage, and immediately involved Marget Larsen. Howard told us what his feelings were about Dublin, "An 18th Century Georgian city with a 19th Century population~' and that these were to be long copy ads. He set up some limitations within which Marget could probably function better than anyone else. And surely Centaur, her favorite of all typefaces, was the best one she could have used for the classic ads we produced.

It seemed advisable for Howard to work in Ireland for a while. Marget and I decided we'd like to see Ireland, too. So we conned Walsh into bringing

I th ink these were the first sweatsh irts ever to have portraits sil k-screened on them . We 'd unwitting ly started what would soon be a major industry. The ad (reproduced here from a 35mm sl ide) for Rainier Ale, but really to sell the sweatsh irts, ran in The New Yorker. Once, the enti re Boston Symphony Orchestra pulled on the sweatsh irts for Beethoven 's birthday.

Later, Marget designed a full line of Picasso sportswear and a line of Picasso draperies.

92

Communication Arts March/Apri/1988

·· ~ ' BEETHOVEN

BRAHMS

In eccorct.nce w ith our policy of brin&lnl culture to tM m assn.

j. S. BACH They • re tn ·atha lehc cray· a nd t wo larce 11ns CM1ly : men and

Ra i n~ Ale IPJntOn an hour·lon« prawtram seven n •ght s a "''Hk

women. • They fi t a nybody in • roomy son o( "'' A)' tf you dM>\·e the

on a S.n FranctkO classical muSK" FM stat tOn . KSFR 1 94.9 me )

cu"• u p. Now. on t he front is a hf~asted head of ~ th er BHthot'a\,

Tha t th1s 511ft ot ent~rt a .nment is a tn fte too sta r~: h y for our 0'4'n

Brahms. or Bat·h. exactly as pktu red, each "''tt h h11 name betow

ta s t ~ iii un•mp<1rl a nt compared to lh e pleas u re 11 c •ve s o thers.

to ident tfy ~1m to unt ntha ted passers-b)' The pr.ce : a mere S4 00

Resides. ,..t' a re a thousand m•l• a -.·a y m Sra Uit'. to "''t' couldn 't

each. We "''ou ld lt kr to c•ve them a "'·ay. but sta te laws and our

o w n prud ence fur b td 11. S4 0 0. post pa td : no C O.D . s nr •ny of 1 Do ) 'OU 'lA' ant to lmu"'' the rea l rn A~ In? O.K _ the real reason is 'A' t" d1d

a ~Uf\'t'Y tha t !'lhc'"''5 th~ pt!'ltpl~ who h ke O u r Prud uct the

t hO!W lnt:ks. plt'ase. SEND FOR YO U R CL ASSI CAL. SWEAT · SHIRT ISJ T OD AY!

must a re e1ther hil(hhro v.·s or ln.,.:hruv. s. It t't1!11S • lot of mun~y to r~ Mt' h lnv.hruv.·,. tk-t·a usr th e re a u: s.n m a n y u f t hem : and they

THRE E B's SWEATSHIRT COUPON

aren't a pMrlt t' u huly kratefu l h unc h. e tther - pro ba bl y beca use f"\'" ' f hudv ,.·• nts tu du sumr thtOit frw them. You ask t hem to run

cknr.·n to the s turr wnd buy ~~. bu t dn they?

Nosllt". H a..:hhru.,.·a. un thr ndw r h11nd. ure ptt tfully cra t ~ul fur

R a• nw.- A ito

& nJIJ 4 r S...n i.- 14. W•\h•na••.n

a ny httlfo thtng \'nu du fur t h em : tl "iillrt ut Kt!'IS yuu. They may not ht' n umrruus. hut by 5tully theo ~· t·un ~u re srnn t duv.-n tn the stnre In the uld nwru nllt le IHH. k m~t ~ 1\'t' us h a~thhrtt\lo' l e \·tory hmr. ) Whu:h l ti v.·h y .,.... h a\'c bft•n u Rt·f lll lt Ut~ thm· e n . Uroh m s. or

llalch s...·r ub.turll U \ ' t'r KS FR The respnnSf' \lo llS su encwmous tha t \lo'f' a re t-XIr ndmt:, tht- uffrr 1U mu !rott' lu\'rrs thr t•u untry O\'er; f'\'eO

[..:::..j

thou~h R a tnter AI~ ts u r Jm<wn t nn h • ll\'llllahlt! on the WrM Coa"t

P&t-itw ftnd tlwork ur mwwy !A'dft lo C'OW't' dw fuolau..·,na '"' ""'uJunt ill 14 01

"'f'""" I l.l~tl itnd IMI &Inc'~ 11' 1 10 Iati f' t hor)' mt&hl nul &rt twf.- hw Chrnt • """" H~ . pr....,. wnd l hrm •• ..," • • ~ble ; I Will ... u

0 &-tht,.,.....,s ..·..ahtun 0 Bra.hm• Sw..•t\hlrt 0 S.Ch S -Iahtn

N o.&-..rf'd _

S.• -

No..,.....rf'd _

Sfo• Su -

Nodnirf'd_

c., _ _ _ __

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

us over to do a report on what was wrong with Shannon Airport, not too difficult an assignment then. Walsh had made arrangements for us to drive a tiny Hillman Minx to Dublin after we'd given Shannon the once-over.

But he hadn't figured on the tidy little town of Ennis, hard by the airport.

Marget took just one look at the place, plunked her drawing pad down on the sidewalk, stopping traffic. Three days later he phoned us from Dublin.

He thought we'd been kidnapped.

What would anyone do for three days in Ennis? So I told him, and I think he approved of her artistic endeavors.

After we finally made it to Dublin, we went to visit a ceramics works and a food processing plant. Also the famous Waterford plant, the only place to which Marget gave brownie points for design. Gossage had made a career out of never going through the plants. He didn't want his subjective impression of something to be distorted by the facts, so that chore was invariably left to Marget and me, and she adored doing it.

We were working on one of the series, "Behind The Green Curtain;' for Premier Lemass: "You May Be The Missing Hereditary Chieftain of One of Ireland's Ancient Families~' There were six million Irish in Ireland and over 22 million in America; and 229 Chieftains had "quite vanished~' We paid a visit to Gerald Slevin, Chief Herald of Ireland, at Dublin Castle and he said he'd be glad to help. At his suggestion we went to Trinity College and arranged for the genealogy students to handle the replies that came in, which would have been voluminous if the whole ad series hadn't been abruptly cancelled.

A black & white photograph of the Shandigaff restaurant. Marget and Barbara Stauffacher were the earliest designers of supergraphics.

Shandigaff menu. On the other side, the menu items were presented in beautiful typography.

Get High on the Beautiful Food and Eat According to the Seasons. ®197 1 Siwldypl(but-:ywllliDd;tabtbeDIIIIa~lf,.,.allke.)

93

MARGET LARSEN .. . and you can get

But at least we got a brief stay at the Brown's in London out of it. We were fortunate in being able to get Diogenes (pen name used by the editor of The Spectator) to search diligently and find a rare reference book Display ofHeraldry for us, dated 1660, which proved to be very helpful in picking up the trails of some of the vanished Irish Chieftains. While we were in London, Diogenes took us on a tour of Fleet Street, the literary and publishing part of the city. At St. Bride's Library, we found that they'd already added some of our Irish Whiskey ads to their permanent collection of the best typography from every part of the world. For Marget, a great tribute to her talent with type!

Back in Ireland, we discovered that our friend Mr. Walsh, without saying a word to us, had scheduled an evening for the newly formed Dublin Packaging Council. The announcements stated Marget Larsen, a packaging designer from America, would talk to them about packaging. Knowing that Marget was a very shy person who'd rather die than get up in front of a bunch of people and talk, I told her and Walsh that I'd do all the talking. at the store. Too. (Sa me as in 643 restaurants)

The publicity had brought out over 200 designers, complete with packages. After we were introduced I took the podium and started dishing out some blarney or other. At one point I started praising one of the packages.

Marget couldn't stand it any longer.

She walked over, took it from me, and ripped it asunder, design-wise.

I quietly sneaked back to my seat. For the next two hours, she analyzed every one of the packages, telling them how she would have done them, praising some and damning others, even

Newspaper ad featuring her handsome wrapper design for Parisian sou rdough French bread .

They offered to fly Marget to Detroit to pick up the National Truck Painting first prize award . She thanked them but sa id, "No thanks:'

94 Communication Arts March/Apri/1988

including several being done for our dear clients. At the end she got a proper Irish ovation.

Years later I ran into Bill Walsh. The first thing he said after "Hello" was: "Bob, they're still talking about that terrific dog and pony show Marget put on for the Packaging Council when you were in Ireland!"

Marget had an uncanny knack, developed more in her than in anyone I've ever known, of taking one quick look at a thing, anything, and with not a single moment's hesitation or meditation, disclosing what was wrong or right, with the design. Practically always, her answer was right on. She also had the "what if' instinct, the real nub of creativity in my opinion, to a greater degree than anyone I've ever known. To borrow from a Vanity Fair article dealing with Peggy Guggenheim " ... she was free from dogmatic assumptions~' Here's an example: Once she was asked to do the graphics for the Cecil H. Green Graduate Library at Stanford. Our office was right across the street from the interiors architect.

One day when she was very busy, one of the architects walked across the street to weep on her shoulder about a problem he'd been fighting for weeks: what to do with the card catalogue files (which were certainly one of the more essential parts of a library, to say the least).

This fellow moaned and groaned until she finally dropped what she was doing for exactly 14 seconds, drew four lines which intersected at the center making an eight pointed star.

"What if you did that?"

The guy flipped out, raced back She practically invented the fireplace taper packaging for Ted VanDorn 's Vandor Imports; also the long, skinny telephone number book.

DuPont chose several top designers for this promotion series, "Color on Colored Stock:' She screened on both sides of colored tissue .

95

MARGET LARSEN

I think it's safe to say that Marget was the first to print an entire annual report on manilla wrapping paper.

Federal react ion to the "lobbying " in this newspaper ad, written by Jerry Mander and designed by Marget, forced David Brower to leave his position as executive secretary of the Sierra Club, but membership almost tripled due to widespread anger at the IRS position . Brower formed a new conservation organization , Friends of the Earth.

Right : She and Mander created this anti-war ad during the Vietnam war. Friends of the Earth has recently run a revised version of this ad to help avoid another war.

ew Sierra Club publications advance this urgent idea: An international program, before it is too late, to preserve Earth as a "con ervation district" within the Universe; a sort of...

"EARTH NATIONAL PARK" I. The Moon, Mars, Saturn ... nice places to visit, but you wou ldn't want to li ve there.

A

y MOM ENT NOW, M an will find himself hurtling around in an Outer

pace 'iO enormous that descriptions o f th ,j,c o nly boggle the mind. (One a ttempt

liOIItal..,sp/oc,-i.e,. at - ·llicllaxnrnisUMdand rrplacrd inouf'/Jtmospl!rrebycorbonditnldtand carbonm onoxidr.

The mult is a kind o f Russian roukue wich the oxyaen supply. Dr. Llmont C. Cole. ecolo&ist, Cornell Univentty, New York, has uid thls: "Whcnandifwereachthe poincwhere therale of combusuonuceedsthenteofphotosynthesis, the oxyaen content of the a tmosphere will decreue. l ndeedthere iSevtde ncethlt itmayalrudyhave beauntodecltnearoundourlaracstcitics."

Tht:re•s•bri&htside : lfwc sbouldc:ontinuewhat wc'redotnc.ovcrpopulauon wdlc:usetobeaprobk.m.

h :~~ put il thio; way : The size of the Earth is to

Sterile

t he 'ttc nf the '-nown Uni verse a. a germ is to nurcntirc\OI:::tr\)"'tcm . )

lnonly2!5 )'t:ln, traccsoCDDThavc: found their wayrnlotheaverap:Amencanlothecxtc.nt oleleven parts per mtlhon. They are also found in animals. brrds.fishlndreantly,innocablequandty.in the fatty trssues of AntarctiC penJUins. (lf you wonder

Yet , we 01lrcady hear excited talk of locDt· ing, o ut t here. a planet that duplicates the m1tur:~l envi ronmen t on Earth, i.e., trees, flowers, wa ter, air, people: you get our meaning.

The fact is that if we do lind such a duplie:t tc En rth out there, it may be some thousands nf ycurs from todny. Until then, the only place in th e niversc that will feel like home is Enrth, unless )'Oilr iden of home life could incl ude 5CUing up house on space platforms, or the Moon or tnk ing your evening walk with oxygen helmet and spacesuit.

We haven't got used to thinking about it th is wny ye t, but, as Astro na ut Borm a n pointed out - for us people, Earth is a kind of inhubitablc onsis in nn unimaginably vast desert.

Also, Earth is a strange sort of oasis, in that quite npart from providing us what we ncctl to live-water, ai r, sustenance, companionship- this oasis actually gr~w us and every other life form . We nrc all related.

D:1rwin, during his famous Galapagos journey, f.,und all life on Earth-from plankton to people-to be part of an incredibly compic"< inteNo'twcn and interdependent blanket 10pn:ml around the globe. There is no looseni n ~ tmc thread in the blanket without changi n ~ the stre. se on eve ry ot her thread, or ,.....,rsc. unr:wclingil.

Su then. if it is life nn Earth that most of us :m: !ltucl.: with for the nc·d little while, we had

better cnnsidcr the consequences of what has n..-cc ntlylx-cnt:ni ngonhcrc.

II. Toward a more Moon-like Earth.

Tl~n· ""~ nne Jl",l)'" \'IWUFh ''')p:'n to lou pport tht.· t:'"'~'l'll.'\' til ~tJn It"~'"'' unul ~1\.">:n piJnt.. :u-.1 ~WI.Uflt"-'t',lfl rlan .. tllnh~t:\Oin.'tJthJt the n;uural rn"-\''""a"~'FUnt'l) "hl\' h"'H·~ni!>m:nntall'll.'t.iln

tht.· o~ t nk"rht.'rt: rh..~·l!<i~ntht.·M!>.

M...n. tm..• "'~IJ chmL . ha~ a 'cal\· rn a~unn& thai thr .. (W't"-'\."" t:t•ntmUI..,. (\Jn~klo.·r tht:n. ttk·~o~: b•b of

oiEcvldorthatrevocakdtoDatwin.,fortheftnt~.an

undencandrnaolthel'lowclldc. ~onehundredbooksln:planncdmthdltria,aD

clthemCOII«mrqE.nb'sllilluniO!.IChedphlcawbcft the re rcm•ins the possibihly cl karnlnJ about orpnic divcnity, the tr:nctk pool, the Eanh's th1n, mrracukl!.u

bmphert-toklmcnouJhaboutnat\lrt.lsyt(tmlaothat wemayultima~elybc.abktoeducatecvocn -benipte<l

cnarnccr fricndl and acnd them oil' 10 ~worts without fcarrnathatthey11dousall iflwhfktheywort .

ScYCralorp.nllltiOnlarcc:oopcrat•ftlll'lcNitenn.Thc

boardcledJtorsCOMlltsa/rcprncntatrV'Ciclfourorpnt. uttons rn Enaland. Swnurland and the United Statu, incNdina the Scm. Oub

r ~~-~-~,::,:-----------, MtlhT-et,S...F~CNf9<1104

~-=,!:!:·.~=-=::-~b. Hen . St4

As" mult d'IC Eastern

'---_,£_---''-'

M~u~rranea n ~:~rd•nefisheryisa lreadydoomed.

AsfOt"thcland.thelad.. ofnutricnts. plusthewa tcr· IQu:•nJ cauK'd by oki iniption, plussa.linitation. nw1 IIC'flmlh· 1l«rt'Dst {"fH.I1u-tirity . Newly irripted lands have theume fate in store.

-A panicu l:trsn:til h:ts becun to chrive in the warm lrrtJation canals. T hcsnailhostsav.'OI'mwhk:hcauscs Kh lslosomiasrs.l dcbilltltlnJ.ohenfataldisease. ln unt."n:sronaround tht:dam. thcincidenccofthisdis· l.'a~us...'t.illlbt2'r. lthasnowrisen to7!lil':f .

-At Aswan, "c may also see rcpe01ted the a"·ful de vel· opmcnu at Karib:t Dam . East Africa. AI Kariba, rafu ofh):tt:lnths:tnd re<dshavcsprc:todovermuchoflhe l\.''-t:rwtr'~>5urfacc . lthasbctn~•m• tedthat if thls

~ru"th ~hould CO\tr just

IO"; o f the reservoir 11

As"'an . thcpl ant~(ouldactu:~llytransprreintothcdes­

t:n arrt:nour.h"lal.:rtoscopa/lllov. 1ntothe kw•~rNtk . loo~•ntalthcbnth t sldeaJ.a• n . lnafe"' cencuries. thcJ ... m "'II fill up "uhsrh. and end 111 useful life. ~rha~ km:l) . "';ucrlall, Tounsts "'II ~"JOY the v~.

More Improvements En&n'll.'t'Dirc rmprovrns lhrnpt\'Cf)'\lohcre : - In Ala~L>t . aS:!: bdhon dam 11 proposed-to bnnJ pov.t:r ttlnon-<·ustcntrndustry - "hichll•ouldftooda "'•kkrnr..-uand~• ns:re;tan the sizcoC L:to~eEric .

- In BrJll l, t:nsrneen propose a n Amaron di m 1ha1 "~'uiJ lk~o.IJ a '""-t:n an::a :u btt as haly.

96 Communication Arts March/Apri/1988

10

o ......... ,llftherinformauoflabouclhcdue't COfi_I_IICtl¥'111aandWildernaa!WOCJ........ wdlu tt~c:lude"l•~boolteatakJt

~'!:':.!c::;a~.lnt ol olher orp.ruut*- •ork•nc

Rampant Technology

OlltfT n'flll/l"ll't tiff' Jollmrm1 fl/11

ll<llc' llltfo 'c/J/1/1/tf(fl'll\f'c/1/ll' fllft'f/fhllldiCmii/IIIS·

International Series Tht prdopc publ.::ation in our aotdpMed laCCJU.·

lf somepesttetde,herbicide,ordcfoliant shouklby

~~ ~"a:.r::::~~.above

d.uutptWdrcvicwcra.'Thtyhlw:reccwedfrequtothotton for dclipl and 1f11!*tes. and alto W 1964 CarcyTbomu Award, .. ""Tbt oublandin1 Khtc¥tmtntan cn:attvc publdhiftc ill die: U••ICd SU&r:a. " (AU ltw scnn • IOYV by 1)\oi•, pnnled on hiP Pou paper, in arawre or full cob lithocnphy.)

Tlwflowa1 WildMU. It ilabouttbc illlftdso/ltbcc:out

tntdvcrlcnce kill toomanyofthe Mn itroccn - fi:~~ i nc" ora•nisms-thoscorpnismlthatcnlblelivincthinp tomaA.,u.~«o/thenitroccn inthe 1tm05phere - rlten lifronfA, tltC"OUid tnd. h tSthatdependcntandfl'll&ile.

Tht:Aswan Hip O.m wasdreamedup toprevent che Nile from overllowinc itsblnksu it had yearly throuahout htsl01)'. (lt wasthou&ht suc:h • JR:II idea thatc:ou ntriesviedfor thehonor ofhelpinabuildit ; the u.s. foremost amona !hem.) The zoals were electrlc:hy•ndycar-rou ndirri&acio n, lhuscrealer prodl.IC· tivity. oone,inc:ludinc theU.S .. thou&htmuchabout ccrtain sid' eft'ects. whk: h may ullimatel y prove the most important : - S•nc:ethenacuralftoods haYebecnhaltcd.life.

JtYincnucne ntsthatwere fOfmerlydchvered to the land and the Mednena· neanKaarcnowpilina

SIERRA CLU B BOOKS Scm0ubEahlbltFormatpubhc:•t101Uhl¥tbee:n called "the lnOIC beauttful boob in the wortd"byiCvc,.,

tiOftlltennontheE.nh'sWildPJ.cnllcaJtcd~.

However,andhcreilthcshocker. noone intlt«

1111 l>tnm•lt111r Joc·n .,trtltc•clllll!f'11111f''''"''' ,,., clO lllt/111 II\ II Jw/f "11/111111 Sll/1.\(diH..f'l, /f'M 11/

\ 'c•10 / lit tc•fln, 1111/c•~. 11111111''· m11l jc•t clil"plclllt'S

ha nd.l ncrcd•blc,iucvcniblc. andpcrhapsd••lltrOUI dtscruchoftclthcenvironment Wcuraeyouthtrcforcto wncc M r. Nt~Oftorforwlrdthltcoupontohlm

- ·odd kno ..•s, wlt«tt w aim at tJ ptUiiculor ~st. wl!icl!

Oll!rtOrJQnlsms mtJybc«limiMtedby ricocltet. Someone had betterfind out.

ltt·mJtfotlln/ttlc'l"fJ/c/1"11/l'c•/cllll'ttfll/i<~tlck'l"f'Spt'f'

~,:;~•/:;';;;..:;:''''' ''' 'l'f'iftlwp/alll..tt"' MC tu-t'tlccm

ixon .

rudymade.scerileaspec:icsofhawkandOVo'linEnc· land. H~re is the way it workJ: insects ~at spnyed planu, small birds t:at them, and then bi& birds eat tl!rm . By thattime,lhe insecticide has been conc:en· tracedmany-foldandthebi&birds are inbiatrouble.

Now, if we humaM were in che habit of eadna owb and hawks ... ) Asidefromthetoxic:t:ft'ectsonManandotheranimals, pestic:ida like DDT a nd newer more vocuish chcmic:alselimlnacewholepopula tionsofc:enain bac:· t~ria and pat oraanisms.

Tht:n.thtnwr"t\11\ov.n;hc~"Crit.crt:~llnlllhure.

Holl"llllc/r/wl"d/l'f•flk'I"C'ci'lff,l! ,.f/.).ll. /lfllllf1HCIII/•

I. Write Mr.

:£~~~,:;;~~2~~~::i:~~~=

abou lthec:on§le'fut:nc:es ,si m t larpestk:~ haveaJ .

lntlwl S llltlflf' _ct\, !fc'll·f'r•lfim·m1t~f'"'"-'" n

/olttic'lt ~

How You Can Further the Idea of

"EARTH NATIONAL PARK"

- In Southeut Asia, • ser ies of proposed Mekona Ri..-er dams m1y do for Laos, Thailand. a nd Vietnam what Aswan is doi nJ for Ecypc. Evrry count ry lhoukl besparedsuc:himprovemenu.

III. A wildlife preserve where we are the wildlife.

The speed with which our world is being altered is so rapid that there is no cataloguing it: it is everywhere . .. forest are gone, hillsides eroded and bulldozed, waters lilted, and air and water polluted. The implicit a umption is that Man is the Master o£ ature, and that losi ng a wild place or species or plant is of no great importance to u , and never mind the esthetics. But as we have shown, tinkering with the natural order of things can be a dangerous business, for thu~ is a nud to th ink of th e o rga11ic wholeness of tlaiJ.r~. 1101 ma11 apart fro m that. Man's vanity notwithstand-

ing. heisirretrievably intertwinedwitheverything on his planet and therefore must proceed with a degree of ca ution, until , at last, he has the option of actually leaving Earth.

1£, before then, we should so alter our envi· ronment that we rid it of ingred ients we need for life, then w~ will merely pass the way of other life rorms that have become extinct for one reason or another. And, as humbling a tho ught a it may be, Nature might sca rcely miss the people. Things might eventuall y get back into I heir own pattern, the natural order revivi ng. Pl nnl.:ton mi ght evo lve; oxyge n might re-form in the atmosphere; grass might

grow through the pavement and among tum· bled columns as it has before.

With all this in mind, you may see that we, the 70,000 member Sierra Club, the groups we work with , and the critical publishing proj· ect you sec outl ined at right, are not so much proselyt izi ng on behalf o£ Nature. In due course, Nature will take care of ilSC:IL Our motives are more selfish, in £act. They are on behalf of our very own lives and the lives of our children who, we feel, have not only the right to live but also the right to live in a world that maintains the natural order enough to continue to feel like home.

We find therefore, that it is not tenable to confine our activities to local crises in the United States. The problems are everywhere and are doubling by the decade.

And so, we have embarked upon an antidotal new international publishing program to export the ... iew that it is now the entire planet th at must be viewed as a kind of conservation district within the Universe ; a wildlife prese rve of a sort, except we are the wildlife, together with all other li£e and environmental conditions that are necessary const ituents of our survival and happiness.

If you wish to participate and support this approach, general means to do so are sUggested at the right.

Thank you.

- David B ro~ er, Ex«uti1·e Dir~ctor Sierra Club, M11ls Tower

~~tt;~hcm:t:~but=I~~~IIOthe~~

2. Write you r congressmen .

ThtmOiltt'ftctcvewlyiOprcacntyourYteWiilln)'OUr ownwordsbypcnonalkttcr. Orinlieudthat,Knd)'OII t sc:naton and rcprcKntalives the followin& mt.MIF· IJ il vitllthllwcallbehtard fromlniOmefuhicXI : Dru Scr . I Ntltf 10t1 10 IN,~t llw ~kw 111M i/ ~r "'Vii"Oito

ffHitliiiOIH,~ftrvHJINliPIYtltl~/ii"I"MIIIolr#ll .tllllt, l/itPI

•II th~"lo,mtNI ,o/«U-fllflfio#t411PIIi U.ttrMiw-1-MNit IH Jl...l/<rfi/«""'""k'lillft,IC('•tiolu,-""'niJI/VfMtriq•PIII "'ttffiO''Ik'IM,Ik'•f/afu Tltt-•PIJHI"~/OIIIttN~lUHtmtPit..wl/0 #111/,J, 011 Will-froM 1i1111J co ,w,l~-•, - · 100 ~,.,to ,,_,.tr--•NI«<drt:U-J

3. Support tho e few organizations that are working toward the international goals stated herein.

Thcrcarelflltlyorp.nwtJOn&wortrncCOft~tlyiO

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across the street and put together one of the best card catalogue files ever devised for a library.

Gossage had a friend , Al Leavitt, who owned KSFR, a sm·all, then classical, FM station. (Howard was a real music buff, by the way.) Leavitt was having financial problems and came over to see Howard late one Saturday. He said he was about to lose the station.

" Suppose I give you a check for thirteen weeks of commercials for Rainier Ale, bud-d-d-dy," (Howard had a slight speech impediment), "and I'll tell the client about it Monday. Will that d-do-o-o it?" That did it. After Alleft, Howard got to thinking: "What the hell do you do on KSFR for a brewery?"

Let me mention here that Howard Gossage was a person with total recall.

(Ecology C:J War) " .... The need is not really for more brains, the need is now for

A GENTLER, A MORE TOLERANT PEOPLE THAN THOSE WHO WON FOR US AGAINST THE ICE, THE TIGER AND THE BEAR. The hand that hefted the ax, out of some old blind allegiance to the past, fondles the machine gun as lovingly. It is a habit man will have to break to survive, but the roots go very deep." rLorenEiseley) Please: write you r con2_r65men and senators. In particular, write !etten, or postcards or send wires to the list of senators who, at this time, have ncx gcxten off the fence on this issue. [Sec coupon below for their names.] It is as significa nt an cco logica.l act as blocking the SST, o r turning in a car, or nol buying a fur coat, o r getting the lead out of gas.

It is an act in favor of life.

Thank you.

FRIENDS OF THE EARTH 30 E. 42nd St., N.Y.C.-451 Pacific Ave., San Francisco David Brower, President; Gary Soucie, Executive Dircccor

T

HIS ADVERTISEMENT;,

beine placed by FRIENDS OF THE EA RTH , a conservation rroup, but it concerns the war in Southeast Asia, and also wars in eeneral.

Until rcccmly conservationists have been lhoue:ht of as content to firht the tragedy of a dam, the outrare of pollution, the spread of urlineu and environmental derradation, and also the economic and political solutions to that sort of mindless deslruaion.

Wars have becn someone else's problem.

It has been as though war is not as destructive as dams. Or that an air pollution haza rd in Los Ane:ela is a more sirnificant danger to life than bombs landinr u pon non...combatants in a war, or the larcriz.ing (turning to rock) of thousands of square miles of fo rmerly livin~ soil by widespread usc of napalm. It is as though DDT in our viral tissues is worse than wartime chm1ical defoliants in the tissues of pregnant women.

It is not true. They a~ all of eqUal order, deriving as they do from a mentality which places all life and its vital sources in a positionsccondaryto politics or powe r or profit.

EcoloiY teaches us that everything, etJtrylltinr is irrevocably conn«tcd. Whatever affects life in one pia~"' form of life, including people-affects ex her life elsewhere.

DDT on American farms, finds its way to Antarctic penguins.

Pollution in a trout st~am eventually pollutes the ocean.

Smog over London blows ove r to Sweden.

An A-bomb explosion spreads radiation everywhere.

The movement o f a dislodged, hungry, war torn population affects conditions and life wherever they go.

It is all connected. The doing of an act against life in one pia~ is the doing of it e,·errwhere. Thinking o f things in any ex her way is like assuming it is possible to tear nne stitch in a blanket without unravelling the blanket.

Friends of the Earth, therefore, its Board of Directors and staff, wishes to go on record in unanimous support o f the recent telegram to Mr. ixon,sirned by the leaden of the nation's constn·ation organiz.ations, reproduced below.

We would further like to urge readers of this ad to bee~ involved in supporting the stl·eral resolutions now in the Congress whid: will hasten ou r withdrawal from Southeast Asia, as fo llows: 1) The Coo~ r-Church amendment which requires the withdrawal of all American militarr from Cambodia br june 30; 2 ) The Repeal of the Gulf of Tonkin resolution, used as the " legal" basis of the \ ' ietnam in,·ol ,·ement; 3 ) Thf ~IcGo,·ern-Hatfield Resolution , which requires total American disengagement br 1971 .

------------------------------------------------: ~r~;~s::·.~~Ey~~~i:~EARTH

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I mean total. Remembering a Peanuts strip he'd seen a couple of years back in which Schroeder had said something about having a Beethoven sweatshirt, a light bulb lit up!

Over the weekend he saw his friend Herb Caen. On Monday morning, in Marin, I opened the Chronicle and read in Caen's column that Weiner & Gossage were about to issue Beethoven, Brahms and Bach sweatshirts. Sweatshirts? Beethoven? What kind of a crazy idea was this?

Marget and I blasted across the Golden Gate Bridge, stopping off at Mechanics Library long enough to find some engravings. Brahms was tough. He came along later and photographs of him were plentiful, but engravings were vary scarce.

Where do you buy sweatshirts in bulk? And what kind of ink or paint will stand being laundered? Who in the hell prints sweatshirts anyway?

This was virgin territory no one had ever invaded!

Marget did a masterful job of the design and typography. And if you were to drive to the end ofNew Montgomery and turn up the alley past Taylor & Ng, you could see sweatshirts hanging out to dry at the Emerson Flag Company. With a few announcements on the air, we sold all of the original600 we'd printed.

So, consistent with our fat, dumb and happy methods, we decided to run one ad in the Chronicle and in The New Yorker. How many should we print this time? We were up in the hose tow.er trying to decide. Weiner wanted to print 10,000; but brother Howard insisted: "What in hell's the difference, let's go for broke and make it 20,000!"

I listened for a while, then quietly went downstairs and called GET (Government Employees Together) out on Sloat Boulevard, where I'd discovered an inexpensive source, and ordered 15,000 "athaletic greys" (as Howard called them), half"L'' 97

MARGET LARSEN

for ladies, half"XL" for men. I hit the jackpot. It turned out to be the exact number the ad sold for $4 each, including postage.

It was obvious they were a real hot item, and that somebody'd peddle them retail, so why not us? We had a client with a national rag-biz sales organization, Eagle Shirtmakers of Quakertown, PA. So we formed a separate company called The Three B's, 50150 with their CEO, S. Miller Harris. I sent him the screens, which he sent to some mill in the deep south.

This time around we went first class and produced every size that anybody might ask for.

Ten thousand dozen sweatshirts later, some donkey knocked us off.

I went back to Philadelphia to testify in court. Judge Luongo, after issuing a cease and desist order, was unable to impound the inventory because the guy's lawyer had somehow gotten hold of one of the original 600 that nobody had thought about copyrighting because it was such a nutty idea.

The judge issued a ruling I'm not likely to forget. "If you publish one of anything without notice of copyright, it's in the public domain~' So we're all back in the Firehouse trying to figure how we can foil the future knocker-offers.

"Who's the world's greatest living artist?" asked Howard. Marget and I both said Picasso right away.

Howard's friend, Barnaby Conrad,

Symbol for the Stanford Graduate Library was developed from a design for the readers carrel.

For the Stanford Shopping Center, Marget overcame a problem of making a basically round mark work on long, narrow banners by having the emblem " continued on next flag :• Marget designed, and eng ineered, the locally famous Bagel Bag boxes for David's Deli .

98

Communication Arts March/Apri/1988

was about to make a trip to the south of France. He was instructed to see Picasso and ask him about the possibility of our using some of his artwork.

Conrad, of course, never got within fifty miles of the old man, but he did find out that Picasso had an agent in this country, a French government agency with the initials SPADEM, that owned the rights of all French artists except Matisse and a couple of others. Don't ask me why. We quickly located the SPADEM man, who was in Montreal. With help from silkscreen expert Peter Girolami, Marget made up some super items using Pablo's artwork.

In Montreal we were armed with a contract written by Ed Huddleson.

The highest royalty ever paid in the rag business up to that time was 5% (to Grandma Moses). After some haggling, and one call to Ed in San Francisco, we made the deal for 15%!

Somewhat elated, we prepared to proceed as we had with The Three B's; but Joe Weiner suggested going to see an old magazine rep buddy from San Francisco, Bob Lapham (recently retired as president of Conde Nast) who at that time was advertising manager of Vogue. He arranged for us to meet with the legendary Lady of the Hats, Jessica Daves, Vogue's editor, who flipped over the stuff Marget showed her.

"You pick the store you like, any store in New York, and I'll arrange to have the buyer see it. He or she will suggest a manufacturer. If they suggest it, the manufacturer will do it, believe me. And I think you also ought to do some draperies~' Marget promptly picked her favorite NY department store, Lord & Taylor.

They picked White Stag in Portland for sweatshirts etc., and Bloomcraft in NY for the drapery line. Under

Marget's supervision, we produced a full line of apres-ski sportswear, later also a spring line, and a full line of draperies. They were certainly successful, and would have been much more so if the White Stag salesmen had ever heard of Picasso, which most of them hadn't.

A couple of other design triumphs of Marget's ought to be mentioned before we run out of space. For instance, the one she achieved for our little agency's chairman of the board, Henry Schoenfeld. Henry'd been a flat-mate of Howard's out on Green Street, and had started U.S. Leasing.

He had also bought the Parisian Bakery, so we did some ads and Marget did a spectacular package (at cost) for Henry. The bread wrapper won practically every award going. Even so, a few days before it came out, Aldo Fontana, president of Parisian, called us to say we'd better forget the whole thing. His drivers had asked all of their customers whether they preferred the new package or the old one, the design ofwhich had been thrown in with the purchase order by Zellerbach.

He insisted that the majority of them liked the old bag better.

"Have faith, Aldo:' said I. Marget and I used to have lunch quite often at Frank Alioto's sidewalk crab stand down on the wharf. We had shown Frank the new bag and asked him how he liked it. "Leave it alone.

Parisian's got the best bag in the business so why change it?" The day

She convinced the developers to alter a whole outside wall to accommodate her Cannery Star inspired by the old building's tie-rod washers.

A refreshingly original and friendly parking lot sign designed for the Cannery's parking.

One of the many wine labels and packages she designed for a number of California wineries.

99

MARGET LARSEN

the new one came out we went to see if Frank was still in the French bread business. There he was, in the middle of the street, waving the new bag in the air. "The tourists are buying it just to get the bag for Chrisesakes!"

Another design triumph was a much admired and much imitated format Marget worked out for a series of ecology ads for David Brower and Alvin Duskin. Dave, aided by Ed and Peggy Wayburn of the Sierra Club, Jerry Mander and Marget, really invented ecology during the sixties, with an assist from Stewart Udall in Washington.

If there's any person who should be called the John Muir of this generation, it would have to be David R. Brower. Uncompromising, energetic, ornery, he's done more than anyone else to stave off the vandalizing of our fragile planet.

Marget really believed in the ads she made for Dave.

Jerry Mander was one of the only two copywriters Howard ever allowed to stick around the Firehouse for any length of time. Jerry and Marget worked together like gangbusters.

He wrote most of the ecology ads.

Richard Stearns was the other writer and he wrote the other ecology ads.

In handling her various design projects, Marget was well aware of Gossage's Law Number X3J and one half: "Never take on a client unless it is one person only, and that person is in charge~' At her first graphics meeting for the Stanford Shopping Center, she was confronted by sixteen people sitting around a table. She gritted her teeth: "All right, who's in charge here?" After some loud whispering, Jim Nelson replied, "I guess I am~' Then she went around the table and asked each one what he was doing there. One guy piped up, "If this meeting's about color, I don't know why in hell I'm here. I'm color blind~' and left.

100

Communication Arts March/Apri/1988

Marget loved to design stuff, all sorts of innovative and intriguing stuff, and we frankly didn't know what to do with it. One day, we showed one of her items to Brentano's. This was a large "Calendrier" made with Pellerin prints from Epinal that she had collected, perforated and scored so you could build twelve buildings.

They snapped it up and sold them very briskly at Christmastime.

A giftbiz agent asked, "What'll you have in your line this year?"

Line? Quick like a mouse we gathered up some of her left over Magnin giftwraps which Cyril was happy to donate, and a number of her other designs and formed a Freeman & Gossage division which Howard named "lntrinsics~' After all, it made no sense for an agency to have an inventory of Saratoga Trunks. In the first year oflntrinsics, we grossed over $100 thousand.

I'm suddenly aware that I'm in the same predicament Howard was in with the Irish Whisky ad number 4.

"We're almost out of page again; still, if we go to smaller type we may make it yet" (Marget's ploy). Rather

Packages Marget designed for Roger Horchow when he was sales manager for Neiman-Marcus.

Hyatt utilized her favorite fabric design for the interior decor of a hotel, walls and all.

Marget's beautifully designed snuff packages and snuffboxes are still selling very well.

Right: lntrinsics, a division of Freeman & Gossage, was formed to market some of the things Marget was constantly designing.

The first item in the line was a "Calendrier" made with Pellerin prints from Epinal. You could assemble twelve different buildings.

The "Phonet Chair," made of corrugated board , was shipped flat and, once assembled, could hold the we ight of several people. Two of many desk calendars and books she designed. Gift papers and the detail of one titled " .. . and kisses:· The picnic hamper, made of corrugated board, unfolds to make a circular picnic table top.

The "Saratoga Trunk" design, made from a simple file box, was one of lntrinsics best sellers, reprinted seven times at 5,000 each rerun.

~~OVC3~

~~OVC3~

~~OVC3~

101

MARGET LARSEN

than go to smaller type, I'm going to list in condensed form some subjects which deserve more attention, but must be mentioned.

She'd never fooled around with fabrics until Peter Rocchia encouraged her and started Aagot/Rocchia Fabrics. He sprang for a splendiferous trip to Italy for us since the fabrics were printed near Lake Como.

Her finest work, in my opinion, was never seen by the public. This was her fine art drawings and paintings. I've thought about donating them to Art Center College for reference use.

The Marget-Aagot Larsen Fund scholarship is there.

Her demise was caused by an MD, after removal of a colon tumor, allowing her to go unchecked for ·a year and a half. We almost saved her, but were too late. She was resigned to her fate, actually happy. Her sister Eleanor, a trained nurse, came up from Orange County to take care of her.

On November 11,1984, she said, "El, do me a favor. Go upstairs and propose to Bob for me~' We'd never bothered to get married. El made her look like a million and a Justice of the Peace performed a stunning ceremony in the

cellar rock room we'd converted into a hospital. A week later she was gone.

Soon after buying the Marin house in 1959, we'd buried a small offering to Paul Klee on the very top of Mount Tamalpais, which we could see clearly in the beautiful view from our windows. That's where she wanted to be, and is, too. On November 11,1986, I was hit by what they call "anniversary syndrome" and was completely dehydrated for seven days (I'm told the limit's eight) and spent four months in the hospital. I feel fine now, and more healthy and capable at 791J2 than before.

Marget was camera shy. The only photo opportunity she'd allowed was by the fern trees in Golden Gate Park.

Look right and see she was also muy simpatico to sunflowers.

So on our third anniversary I had Ponciano Chavez plant, from one gallon cans, seven (her favorite number) fern trees on the north side of a fifteen foot stone wall. Fern trees take several years to reach tree height.

This A.M., I took their measure, 3 112 feet tall in one month. Do you think Marget is making them grow faster?

In these few pages, I've tried to convey what it was like to live and work with this truly remarkable woman over a period of quite a few years. She was responsible for so many innovations, and was the very embodiment of "What if?" She, probably as much as any other, changed the look of advertising and graphics in the last generation. As a human being, she was, to me, without equal. Why her career had to be ended so soon is hard to understand.

But isn't it great that she happened at all!

102

Communication Arts March/Apri/1988

LOOK INSIDE

This magnificent doll house is full of wondrous things. All faithfully reproduced in exquisite detail on Centura Gloss. Take a close look ••• then an even closer look with a magnifier. You'll see halftone dot definition, and a demonstration of uniform ink holdout and print smoothness that no competing paper can match.

Centura is available in gloss, dull and two embossed finishes in Basis 70, 80 and 100 lb. Also matching cover in Basis 60, 80 and 100 lb.

Contact your printer or Consolidated Paper Merchant for more samples printed on Centura. Or run free test sheets with your next iob. We welcome comparison.

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Paper: Centura Gloss Basis 80 Photography: Francois Robert Concept/ A.D.: Wardrop Murtaugh Temple Doll House: Pat Kuker, Lake Forest, IL Press: Heidelberg 28" x 40'' 4-color Plates: Kodak Inks: Process Inks

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KURT KLEIN

REPRODUCING FROM POOR MATERIALS NE OF THE MOST ASKED QUESTIONS, when I was teaching seminars, had to do with reproduction from poor materials. Generally, this had to do with photographs but some people are also put in the position of having to reproduce from printed samples.

0

The only reason you should be confronted with this kind of situation is when you are forced to pick up file material.

If you have contracted a photographer to shoot the job and the photos are no good, they should not be accepted.

(See my columns in the August and Sep/Oct 1987 issues.)

If you must use printed samples, don't panic. What you see in Communication Arts usually consists of 30%, or more, of printed samples.

Some photographs can be heiped with retouching. This can be tricky, depending on how bad the photo is and what the problems are in the photo. Too much retouching can look just as bad, and also be expensive. You have then paid a lot of money for something that looks like a bad illustration. Or, the retouching will just call attention to the fact that it is a bad photo. I have always believed that the best retouching is when you don't know it is there.

Before using bad photos, give some thought to two other possibilities, stock photos or clip art. Either one is better than a crummy photo and less money than contracting for new ones.

The other possibility is to convert the photo to a mezzotint or special effect line conversion. These usually work well and do not cost a lot of money. They also give you a design element that is different than a standard halftone and better than the bad halftone.

Mezzotints are usually more expensive than line-conversions but in most cases they maintain better detail. Some specialists can also improve them with hand work by adding dots to give more detail or to add something that may have gotten lost in the conversion process. If you are stuck with a low budget for photos, you may also be stuck with cheap paper which is usually uncoated and absorbent.

This technique works particularly well on low grade paper.

You probably have noticed that a lot of newspaper ads are using mezzotints with excellent results.

Special effect line conversions offer you a wide variety of patterns to chose from. How many and what kind will be determined by what your local supplier has on hand.

Some are also doing these on scanners which offer the additional option of distortions.

By converting poor photos to mezzotints or line conversions you will not only have a better looking image but 108

Communication Arts March/Apri/1988

you will usually save money at the same time.

I should mention here that the operative word throughout this entire column is usually. When starting with poor material and trying to improve on it we are often taking chances that things won't work out.

Getting back to the money savings. The conversion of the photo to line art (mezzotints also print as line art) is usually less than the cost of a halftone. You can then take a print of the line conversion and paste it up with the rest of your line art and type. This saves additional money in stripping where you would have been paying about $75.00 per hour labor plus $8.00 to $10.00 for each photo to be stripped.

I have seen this used very effectively by designers who were in industrial situations with drawer after drawer of file photos that had to be used instead of spending the money to have the plant photographer shoot new, better photos. But, each photo must be evaluated for what you are trying to feature in the shot because the conversions will always eliminate some of the fine detail.

Having to use material that has already been printed can cause some problems, but as I mentioned before, a good deal of what we reproduce here inCA is from printed samples.

Beginning with black and white halftones, the first thing to determine is the size at which you will be reproducing it and the line screen with which it was originally printed (85 line, 133 line, 150 line, etc.). These two things will dictate what has to be done to reprint the photo.

If you are going to use it at the same size, or within 25% reduction, (75% of the original size) you then check the screen. If, for example, the screen in the original is 133 and you reduce it to 75%, you will wind up with a screen value of approximately 175 line. Now you can have the printed photo shot on line film reproducing the halftone dot, dot for dot. This should work fine if you are printing on a fairly good coated, or calendered, sheet of paper.

(Although we have never told our pressmen, until now, some of the B/W photos in our annuals have exceeded 200 line screen by using this method.) By reproducing the photo in this manner you should be able to come close to duplicating the original printed photo without having to worry about moire problems in rescreening. Keep in mind, however, as the screen gets smaller the shadow areas will begin to plug up and the fine dots in the highlights will start to disappear.

When enlarging a printed photo the main concern is how coarse the screen will become and what that is going to

do to the aesthetics of the shot. Obviously, as you enlarge the dot it is not going to give you any reproduction problems but it may not look great. On the other hand you may recall Massimo Vignelli's blowup of typewriter copy.

It could be neat!

Another thought is to crop the image. If you can crop into it and use it at nearly the same size you should have reasonably good results.

The reproduction at percentages of 40% to 80% of the original size requires some caution and possible experimentation. These areas usually demand that you determine the screen angle of the original and rescreen it at a different angle to avoid the moire patterns that can develop.

If you, or your supplier, has a horizontal copy camera this can be done fairly easily by holding the new screen up to the ground glass and rotating it until there is no moire. Vertical cameras can be more difficult to look through and in some cases impossible.

Theoretically, if you know the screen angle of the original and you set your new screen at an angle that is compatible, you should not have moires. But, when you begin to change sizes or line screens those little dots get all out of whack! Then it becomes a matter of trial and error.

If moires persist, at any percentage, then an attempt should be made to throw the image slightly out of focus to see if it will get rid of it. This will soften the dot in the original and usually (note that word again) help in eliminating the moire. Be careful not to put it so far out of focus that the image is destroyed.

As you get down into the smaller percentages of reproduction it should become easier because the dots are getting so small they usually don't create moires. Usually.

This also depends on the original. If the line screen of the original is 133 or 150 and you are shooting at 20% or 25% the dot is getting very, very fine. (150 line screen shot at 20% becomes 750 line screen). If, however, you are shooting something out of a newspaper with a 65 line screen and it is being shot at 35%, this will make it approximately 185 lines. In this case you should do what is suggested earlier. Shoot it on line film and copy the original dot.

Reproducing color gets a little trickier and we will cover that in the May/June issue.

• 109

FREE-LANCE

BARBARA GORDON

How LoNG DoEs IT TAKE To SuccEED? VERYONE HAS ASKED THIS QUESTION of themselves at some time in their career. It is also one of the questions most frequently asked of representatives both publicly and privately.

Lately, I have been asked this question so often, especially by newcomers to our field, that I feel it's a subject that deserves a more public airing.

E

First of all, we all know that the free-lance business has a Las Vegas quality to it. Stay in it long enough and you will experience the thrill of getting a big job, a big break, for simply being in the right place at the right time. We've all gone through a lean period feeling just about ready to switch into another field of work only to have the phone ring with an assignment that is second only to winning the lottery. And we have all witnessed or been involved with the recently graduated art student who is truly the overnight sensation. I am..citing all of these items immediately because they are the exceptions to this business and not today's reality.

Fifteen or twenty years ago it was much easier to start making a living in the business in a year or two. There were fewer free-lancers, more work and better prices.

There were large studio situations and many entry level jobs at ad agencies that enabled the beginning freelancer to supplement their income while establishing their careers.

And there were campaigns (remember those?), one- and two-year assignments from agencies where both the agencies and their accounts were more permanent. The very first job I sold as a beginning representative was a year's campaign of photography trade ads that were being shot every week. Because fees were so good, we didn't itemize expenses. No one took bids or estimates. We sealed the deal with a handshake and only after we were well into the campaign did we bother to get purchase orders. The commissions on that one campaign were easily enough to pay my bills for the year. The rest of the year was gravy.

Now, because of the overcrowded marketplace, the oversupply of free-lancers, the mergers and acquisitions, account switches, the changes in pricing and the new usage situations, it takes a minimum of two years to even learn what the business is all about, where the business is, what the business is buying and what they're paying for it.

During the first two years the jobs are usually spotty, not well paying and offer little if any repeat business. And even the most gifted free-lancer needs time to develop a look that sets them apart from the crowd. They also 110

Communication Arts March/Apri/1988

need the hands on experience of learning their capacity for producing as well as those tricks and shortcuts that improve their productivity while not diminishing quality.

I hope they are also experimenting as well as growing in their knowledge of their art.

Since new free-lancers often go with new representatives, and both parties are in effect having on-the-job training, this also prolongs the process of getting established.

Cash flow is another consideration. If a free-lancer gets one job during the first three months in the field, it may take a month or more to complete the assignment and bill it, and anywhere from one to three months more to get paid. It can take years to generate any kind of even cash flow.

From my viewpoint I have observed that it takes a minimum of three years for most free-lancers to be earning a livable wage. Five years to establish a business is not unreasonable and to get into a healthy financial range which includes a high income, good repeat business and a following of some kind, can easily take ten years in today's economy. This may sound grim, but it is reality and the person who prepares for reality is better able to survive and beat the odds.

There is a positive side to this, however. Many poorly trained and minimally talented people have flooded our field, as opposed to many years ago. And with all of the layoffs in the business, many unemployed people freelance because they cannot find a regular job, further adding to the oversupply of free-lancers. Therefore, this over supply ofunderqualified free-lancers makes the truly talented individual not only stand out, but eventually be sought out. Good talent is in demand as never before and I predict it will be more in demand in the future.

How does the beginning free-lancer survive those early years? Somehow, one has to have some kind of financial reserves. I often say to beginning free-lancers, only half jokingly, live with your parents, marry well, get a wealthy girlfriend, boyfriend, patron, or get a part-time job to see you through those lean years.

If you are still in those early struggling years, you may not be failing, but actually may be on schedule in your quest to establish yourself as a free-lance entrepreneur.

It will take you longer than you anticipated and hoped for.

If you have the talent, can produce efficiently, find the means to support yourself initially and persist in your endeavors-you'll succeed.

•

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There are thousands of Creatives out there who get barraged with millions of pieces of advertising and promo- The reason Creatives overwhelmingly prefer The Black Book? tional material. What can you do to make sure that your self- Simple. When asked which sourcebook has the best talent, promotional efforts get noticed? they mentioned The Black Book twice as often as all of our competitors combined. Maybe that's why twice as many illusFirst you get their attention. trators rate The Black Book "excellent" for gettingh&'h pqying The Creative Black Book is a useful tool Creatives know and jobs compared with Showcase. appreciate. A recent independent research study found, in Keep yourself within reach. fact, that 9 out of 10 Creatives are familiar Okay, so Creatives like The Black Book. But what do they with The Black Book, and that twice as do with it?

For one thing, 8 out of 10 Creatives told us many consider it the most useful versus they keep it within reach of their telephones.

American Showcase.* What's more, when We guess that's one good reason no book asked if they could only have one sourceis used more than The Black Book for Illustrabook, four times as many would prefer The tion.

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I was pleased to discover that this book wasn't another advertising autobiography filled with war stories and metaphorical references to various bodily functions.

In fact the old ad stories are kept to a minimum. (George Lois threatening to jump off a building unless the client buys his idea, is only mentioned once.) Instead, Lyons has written an entertaining collection of thoughts and suggestions that are more about the present than the past.

Much of Lyons' book is a frank discussion about what does and doesn't work in advertising. Sections include writing, research, strategy, new product introductions, packaging and meetings. He also talks about successful techniques in the various media including television and

radio, and shows many classic examples to make his point.

Interviews play an important part of the text, so you get the feeling that the book isn't just a single person's point of view.

Lyons on radio: "Practically nobody ever thinks about radio until it's time to make a speech on the subject. Such inattention is the result of our devotion for more glorified media. No wonder the work on radio is so good.

Everybody is so intent on maintaining the high level of mediocrity on TV'' Bert Berdis: "Quiet is a great tool. It's what white space is to an art director and to print. In radio, you have 60 seconds. You have the time to talk to people, to let gags play out. In TV you're frantic. You have to announce~' Lyons discussion on package design is valuable reading for the graphic designer as well as the advertising creative.

"Good package design reflects a concern for detail, fussing and common sense. A great package is no different or easier to come by than great advertising. Packaging is the first step in the strategic positioning of your product.

Don't leave the job to product engineers, package suppliers or hacks~' One important chapter deals with starting out. Here Lyons gives practical information on getting names, interviews, fame and fortune.

This brings up one major disappointment in the book; the poor reproduction of examples. Most of the text on the print ads is illegible, making it tough to see good copywriting beyond the headlines. A bit odd from someone who has made a living writing for the last 20 years.

For the more seasoned advertising professional, that may not seem so bad, as most are familiar. But to the newcomer, this oversight combined with the lack of creative credits, keeps the book from being as useful as it could have been.

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typographers, photographers and poets of the first half of this century. Some will be familiar like the work of Brownjohn, Chermayeff and Geismar, Bayer's photographic experiments and Rodchenko's constructivist posters. Others will not. I particularly enjoyed the less well known typographic artists like Holland's Paul Schuitema and Poland's Henryk Berlewi.

Illustrations are reproduced in black throughout the text, with a few using red as second color. I sometimes wonder if all the work done in the various "isms" was produced only in red and black.

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THE GRAPHIC ARTIST'S GUIDE TO MARKETING AND SELFPROMOTION by Sally Prince Davis (Published by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $15.95 plus $2.00 postage and handling). This book is the first in a series of "how" to sell companions to the "where" to sell books listed above. Davis talks about how to develop an attention-getting self-promotion package including business cards, letterheads, invoices, brochures and resumes. She also discusses how to recognize your most marketable skills, and negotiate fees. While some of the self-promotion examples are of questionable quality, most of the advice is good common sense. The basic information contained here can never be over emphasized.

-Patrick Coyne 114

Communication Arts March/Apri/1988

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CABB 29th ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

The largest of the juried competitions for advertising and design, CA-88 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, 1987 and June 30, 1988.

Any work that has been published or aired in that time period is eligible for CA-88.

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-88. The Design Annual, selected by a distinguished jury of nine designers, will be published in November, 1988.

The Advertising Annual, selected by a distinguished jury of writers, art directors 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 iQ 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, 1989.

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-88 acknowledges the right of Communication Arts to use them for publication and exhibition. Entries are retained so educational institutions and organizations may benefit by additional presentations. Entrants grant permission to CA to show entries at such times and as often as CA thinks advisable. Entrants also agree to hold CA harmless of any claim that may be made against it by reason of any such presentations. It is understood by entrants that CA can charge a service fee for use of this material and can reproduce video and slide material as needed. If any network or local television or radio station shall agree to telecast a news or other program relating to CA, the entrant further agrees to obtain any permissions and to absorb talent or other residual charges incurred by inclusion of their entry in the program, if required. Before any such telecast, winners will be advised if their spot is to be included as part of said program.

DESIGN ANNUAL CATEGORIES These categories are judged by the design jury and will appear in the Design Annual, November 1988.

COMPANY LITERATURE 1A Annual Report ($20) 1B Facilities/institutional booklet or brochure ($20) lC Product/service booklet or brochure ($20) lD Folder/announcement/invitation ($20) 1E Series ofiD-limit of five pieces ($35) IF Catalog ($20) lG Miscellaneous company literature (data sheets, internal company communications, conference literature, etc.) ($20) lH Series oflG-limit of five pieces ($35) TRADEMARK 2A Company name and nature of the business must be placed next to the mark for judges' information or the mark will be disqualified ($20) 2B Corporate identity (total identity program)-at least five pieces, limit often ($35) LETTERHEAD 3A Letterhead, envelope, card ($20) 3B Business paper series (letterhead, envelope, label, forms, etc.) at least five pieces, limit often ($35) DESIGN POSTER (Including institutional, exhibition, event, etc. Does not include self-promotion.)

4A Single poster, any size ($20) 4B Series of 4A-limit of five pieces ($35) PACKAGING/LABELING 5A Single package or label or shopping bag ($20) 5B Series of SA-limit of five pieces ($35) 5C Audio/visual package (record jacket, cassette, compact disc, video, etc.) ($20) 5D Series of 5C-limit of five pieces ($35) EDITORIAL 6A Consumer magazine (cover or spread) ($20) 6B Trade magazine (cover or spread) ($20) 6C Newspaper (page or spread) ($20) 6D House organ/association (cover or spread) ($20) 6E Multi-page section of any of the above ($35)

BOOKS & JACKETS 7A General trade book ($20) 7B Special trade book (art or photography) ($20) 7C Text or reference book ($20) 7D Children's book ($20) 7E Jacket ($20) 7F Jacket series ($35) DESIGN SELF-PROMOTION 8A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($20) 8B Series of8A-limit of five pieces ($35) 8C Art/design clubs, communications/ promotions ($20) 8D Series of8C-limit of five pieces ($35) MISCELLANEOUS 9A Greeting cards, including Christmas card, birth announcement and invitation (company announcements and invitations belong in company literature) ($20) 9B Display (point of purchase, trade show exhibit, etc.)-limit often slides ($35) 9C Signage, interiors, architectural graphics-limit often slides ($35) 9D Calendar ($20) 9E Menu ($20) 9F Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc. ($35) 9G Anything not covered in previous categories ($20) 9H Series of9G-limit of five pieces ($35)

• ADVERTISING ANNUAL CATEGORIES These categories are judged by the advertising jury and will appear in the Advertising Annual, December 1988.

CONSUMER MAGAZINE ADVERTISING lOA Single ad, any size ($20) lOB Campaign-limit of five pieces ($35) TRADE/INSTITUTIONAL ADVERTISING 12A Single ad, any size ($20) 12B Campaign-limit of five pieces ($35) ADVERTISING POSTER 13A Outdoor billboard ($20) 13B Transit (bus, subway, shelter) ($20) 13C Point of purchase ($20) 13D Series of A, B, C-limit of five ($35)

DEADLINE FOR ENTRIES IS JULY 1

SALES PROMOTION 14A Sales presentation kit, direct mail, etc. ($20) 14B Series of14A-limit of five pieces ($35) TELEVISION ADVERTISING 15A TV commercial, 16mm film or 3!4'' video tape NTSC ($35) 15B TV commercial series, limit of three spliced together without leaders ($50) RADIO ADVERTISING 16A Radio commercial, V4'' magnetic tape, 7112 ips ($35) 16B Radio commercial series, limit of three, spliced together without leaders ($50) TV/RADIO STATION PROMO 17A Program promo, 16mm film or 3!4'' video tape NTSC ($35) 17B Radio, V4'' magnetic tape, 7112 ips ($35) 17C Series of A, B-limit of three ($50) 17D Program title, logo, signature, 3!4'' video tape NTSC ($35) 17E Series ofl7D-limit of three ($50) ADVERTISING SELF-PROMOTION 18A Printed promotion for agencies, e.g. ads, mailers, brochures, etc. ($20) 18B Series ofl8A-limit of five pieces ($35) 18C Advertising clubs, communications/ promotions ($20) 18D Series ofl8C-limit of five pieces ($35) PUBLIC SERVICE 19A Magazine ad ($20) 19B Newspaper ad ($20) 19C Booklets, direct mail ($20) 19D Posters ($20) 19E Series of A, B, C, D-limit of five ($35) 19F Television commercial ($35) 19G Radio commercial ($35) 19H Series ofF and G, limit of three commercials ($50)

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

PLEASE NOTE Illustration and photography categories are not included in CA-88. Work in these categories should be submitted to the Illustration Annual or the Photography Annual, separate competitions, published in the July and August issues of CA, with an entry deadline of March 21st.

A

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 lf4'' magnetic tape, ?1f2 ips in reel-to-reel format.

Audio/visual series are limited to three commercials.

This form and handling fee must accompany entries submitted to CA-88.

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

Name Company Address City

PREPARATION OF PRINT ENTRIES Submit ad tear sheets or printed samples, e.g. annual reports, brochures, folders, letterheads, book covers, menus, etc., UNMOUNTED. For posters over 18"x 24~' packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS.

State

_ _ _ Single entries _ _ _ Campaigns or series

... . ..... .. .. . $20 each $_ __ . ... . ....... . ..... $35 each $_ __

_ _ _ Single TV Commercials .... .

.. $35 each $_ __

_ _ _ TV Commercials Series ..... .

... $50 each $_ __

_ _ _ Single Radio Commercial ..... .

. .. $35 each $_ __ . .. $50 each $_ __

_ _ _ Radio Commercial Series

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

Zip

TOTAL FEE $_ __

NO RETURN OF ENTRIES

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

Self-addressed stamped envelope included for acknowledgement

If package contains audio/visual entries, indicate on the outside wrapping: "Contains Broadcast Entries:'

B

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, 1988.

. Tape this form or facsimile to the back of each piece submitted to CA-88 (no paper clips).

Category] [

FORMS AND HANDLING FEES Form A (or a facsimile) and the handling fees must accompany your package of entries. Make checks payable to CA-88.

I Letter

mber

For campaigns or series only This is No. _ _ of _ _

Submitted by

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.

Company

B

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.

Tape this form or facsimile to the back of each piece submitted to CA-88 (no paper clips).

Category] [

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.

I

mber

Letter

For campaigns or series only This is No. _ _ of _ _

Submitted by

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

Company

t .

Mail entries to: CA-88 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

Air Express entries to: CA-88 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

B [

Tape this form or facsimile to the back of each piece submitted to CA-88 (no paper clips).

Category]

Fo~ c~mpaigns or series only

I Letter

Th1s IS No. _ _ of _ _

mber

NO RETURN OF ENTRIES Submitted by Company

~Fo<CAu<e~

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~ ~

~

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I

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GILBERT I ..

I Jr 'I )( r u ,tl JJ J n '( ~...:.r ·u t '( l

The Evolution of Gilcres~ Laid

New colors

New weights

Premium sheets

for effective

letterhead

ensembles

Times change. People change. Perspectives are broadened

by experience.

A great paper is the product of successive accomplishments;

a progression offavorable modifications.

Take another look at Gilcrest Laid.

Giltlrt.~ arread~

430 Ahna1p Street Post Office Box 260 Menasha, W1scons1n 54952-0260 Printed on Gilcres~ Laid, Alaskan White, 65 lb. cover

r--------------------------------------1 If you would like to receive promotional literature on Gilcrest® Laid, please fill out this form (or a facsimile) and send it to Gilbert Paper today.

Name _____________________________ Title _ _ _ _ _ _ _ _ _ _ _ _ _ __ Company _ _ _ _ _ _ _ _ _ _ ___

Please check which category is most appropriate: D Design/Art Studio D In-house Agency D Advertising Agency D Printer

D Other (specify) _ _ _ _ _ _ _ _ __

Street Address _ _ _ _ _ _ _ _ __ City ________ State _ _ Zip _ _

Are you a principal specifier of premium correspondence paper for:_y_our company?

DYes Gilbrt,~ a~

UNo

Please list the names and titles of others within your company who specify premium correspondence paper (please print):

Advertising Department, Dept. CA P.O. Box260 Menasha, Wisconsin 54952

L--------------------------------------~

MATERIALS ADHESIVE-BACKED PHOTOSTAT RECEIVER SHEET

SLIDE PRESENTATION BOARDS

Through its Graphic Imaging Systems Division, Eastman Kodak Company has announced PMT II, an adhesive thin receiver paper to aid in comp preparation. The semi-matte paper can be used for drawing, airbrushing, retouching or other artwork techniques. With the self-adhesive backing, copy can be positioned and secured to a layout with finger pressure. With a little effort, it can be repositioned if necessary. For more information, contact Eastman Kodak Company, Graphic Imaging Systems Division, 343 State Street, Rochester, New York 14650.

Leedal has redesigned their line of presentation boards.

The 3-ply mat boards have pre-cut openings and pocket type slots to hold a variety of mounted or unmounted transparencies. "They're now black throughout ... no more distracting white edges!" Claims of revolution appear to be no more than alignment with the competition. To see these "new" designs for yourself send for a current catalog from Leedal Inc., 1918 South Prairie Avenue, Chicago, Illinois 60616, or call (312) 842-6588.

DISPOSABLE TECHNICAL PENS

SCHEDULING SOFTWARE

Caddylak Systems, Inc. has announced On Schedule, a new personal planning and scheduling program for IBM PC/XT/AT compatible computers. The program helps to break down projects into manageable steps, track progress, create schedules and control many assignments and tasks. It allows printouts by a day, week or month and will review all or just one project. Custom schedule forms can also be created and stored. As with all scheduling systems, someone has to input the information for it to work. The program requires 256K and DOS 2.0 or higher. For more information or a free catalog, contact Phyllis Zolan, Caddylak Systems, Inc., Dept. PZ, 60 Shames Drive, Westbury, New York 11590, or call (516) 333-7440.

Alvin and Company introduces Techi, a technical pen being marketed as "the country's first disposable~' (I always thought other technical pens were easy to dispose of as soon as they clogged.) According to the manufacturer, the self-contained ink cartridge holds almost twice the normal supply of India ink with a capillary system for consistent ink flow. The pen is available individually or in sets in the following point sizes: 000 (0.25mm), 00 (0.30mm), 1 (0.45mm) and 21f2 (0.70mm). For information about this or other Alvin products contact Alvin and Company, Inc., P.O. Box 188, Windsor, Connecticut 06095, or call (800) 243-0197.

3-D FULL-COLOR 3D MARK announces a system for producing full-color three dimensional printed work. Called the Anaglifics System, the technology incorporates photography, processing and printing by using special inks in six colors printed on two sides of the paper with a minimum 200-line screen.

The 3-D viewer contains computer-balanced color gels specifically suited for viewing the printed image. If the optic viewer happens to get separated from the piece, the image is still recognizable, although odd looking. 3-D images are no longer limited to the traditional two colors.

For more information contact Dick Rice, 3D MARK, Inc., 1943 Westwood Blvd., Los Angeles, California 90025, or call (213) 474-1903.

DRY TRANSFER SYMBOLS

Letraset USA has extended its symbol sheets to include six new areas. These are: access symbols for the disabled, including the familiar wheelchair symbol; computer keyboard symbols, mainframe network and micro network symbols for use in computer magazines instruction manuals and to illustrate computer networks; postal and packaging symbols indicating fragile, non-stackable items, etc. and weather symbols recommended for use in travel and tourism industries, but not meteorological charts.

For information or the name of the Letraset dealer near you, call1-800-526-9073.

Behind every great ad there's a great idea.

Why not go to a school that recognizes that?

[9] PORJFOLIO CEHTER

125 Bennett St. NW, Atlanta, GA 30309.

Toll Free 1-800-255-3169 CA6

125

MATERIALS

why not join co-chairmen Jay Chiat, ad man Henry Wolf, designer, photographer

& Tony Brign ull , adverti ing creative director Fred Carr, investment strategist Dick Cavett, entertainer Kinshala Conwill, museum director Jim Croak, artist FranQ<>is Dallegret, designer Lou Danziger, designer Liz Diller, architect Jason Epstein, editorial director Lauren Ewing, sculptor Dennis Farrier, scientific developer Mildred Fried man, design curator Roz Goldfarb, career counselor Howard Hiatt, M.D. Gerald Hirshberg, automobiled igner Carl Hodg , research scientist Takenobu lgara hi, d igner Eiko lshioka, designer Frank Israel, architect teven Job , entrepreneur Fred Joseph, investment banker Tibor Kalman, designer ·· Richard Koshalek, museum director Jerry Lettvin, research scientist Richard Meier, architect Max Neuhaus, aural arti t Woody Pirtle, designer David Puttnam, film producer Paul Rand, designer Ricardo Scofidio, architect Marcia Tucker, museum director to explore

"The cutting edge: An examination of the state of things" at the Aspen Design Conference onJune 12-17, 1988

for a wonderful week. r------------------------------425 for regu lar registration.

200 for one additional household member.

125 for fu ll time students (photocopy of current ID required with regi tration).

Name____________________________ ___________________________ City_ _ _ _ _ _ _ State_ _ Zip _ __ Phone Number Bu iness _________

METALLIC WATERCOLORS

For adding that extra sparkle to your illustration, Daniel Smith Inc. introduces a new line of metallic watercolors made from genuine metal powders. The colors are lightfast but will gain a slight patina over time and exposure to moisture in the air. They can be used on traditional watercolor papers, as well as black and colored papers, and can be used as a watercolor or mixed with acrylic medium. The six colors available include Copper, Lemon Gold, Richgold, Palegold, German Silver and Silver. For information contact Daniel Smith Inc., 4130 First Avenue South, Seattle, Washington 98134, or call (206) 223-9599.

DESKTOP P UBLISHING SOFTWARE

Claris Corporation, Apple Computer's spin-off software company, announces an upgraded MacPaint 2.0 for the Apple Macintosh computer. The new version features multiple windows, removable tool palettes and functions for selective photo retouching. The removable menus let users take advantage oflarge monitors by locating tool and pattern palettes anywhere on the screen, while standard Macintosh screen users can opt to keep one or both palettes hidden under the menu bar. The retouch function lets any portion of a drawing return to the way it appeared in a previous version. MacPaint 2.0 is compatible with the Macintosh 512K Enhanced, Mac Plus, Mac SE and the Mac II models. Suggested retail price is $125. Registered MacPaint owners who purchased the first MacPaint program after December 14, 1987 can receive a free upgrade.

Other owners can purchase the upgrade for $25. For more information contact Claris Corporation, 440 Clyde Avenue, Mountain View, California 94043, or call (415) 960-1500.

PHOTO RETOUCHING SOFTWARE

ImageStudio, a new image processing software from Letraset, transforms a Macintosh into a retouching tool.

With this software one can draw, paint, edit and manipulate images digitized by so-called " high-resolution" scanners. Modified images can then be imported into page layout applications. Images can be cropped, rotated, inverted and stored using 64 shades of gray. For use on the Macintosh Plus, Mac SE or Mac II with an external disk drive. For further information contact Letraset USA, 40 Eisenhower Drive, Paramus, New Jersey 07653, or call (201) 845-6100.

ILLUSTRATION SOFTWARE

Add~s

Make check payable to IDCA and mail to: IDCA-Attenrion Registrar PO Box 664, A pen, CO 81612 Forfurther information, write or call (303) 925-2257

IDCA June 12-17, 1988 International Design Conference in Aspen

-------- -- ---------------------' 126 Communication Arts March/Apri/1988

Aldus Corporation introduces FreeHand, a PostScript program for the Apple Macintosh that combines drawing tools with color support, special effects and advanced text-handling capabilities. The program supports both spot and process color, displaying up to 256 colors. Screen percentage values for printing color tints can be defined and spot color overlays and process color separations can

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

Every issue has high quality reproduction and utilizes special production techniques developed to reproduce work done with special colors, colored papers, etc.

Everything that was originally in color is reproduced in color.

DESIGN ANNUALS November 1983, 1984 and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and1985

$36

DESIGN AND ADVERTISING November /December 1980, 1981 and 1982 $38

ILLUSTRATION ANNUALS

Because some combinations have only several hundred copies remaining, we must reserve the right to refund your money on any that have sold out on a firstcome, first-served basis.

July 1984 and 1985

PHOTOGRAPHY ANNUALS August 1984 and 1985

$20

ART ANNUALS July/ August 1981, 1982 and 1983

Postage is included. Please allow up to three weeks to receive the magazines. Foreign orders will take longer.

To order circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with a check or money order to:

Communication Arts P.O. Box 10300, Palo Alto, CA 94303

Name

Address

City

$20

State

No Annuals will be sent until payment is received.

Zip

$26

MATERIALS

be prepared. Type can be kerned and, if you really want to, mixed with several typefaces, sizes, styles and colors, all within a single text block. System configuration for FreeHand is a Macintosh Plus, Mac II or Mac SE, two 800K disk drives or a hard disk and a PostScript-compatible output device. Available for $495 through authorized Aldus dealers.

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

Fine Print ... is a quarterly publication dedicated to all the arts of bookmaking, from the most primitive methods of hand papermaking to the latest developments in computer type design. The magazine is printed in a combination ofletterpress for text and offset lithography for photoillustration. Critical reviews are offered of finely printed limited-edition books. A one year subscription is available for $48.00 by writing_~o Fine Print, P.O. Box 3394, San Francisco, California 94119, or calling (415) 776-1530.

Score Sheet ... is not a record keeping guide, but a fact sheet to the final procedure applied to many printed pieces on cover stock. The sheet demonstrates the two most popular methods of scoring paper and an ineffective score as well. A quick lesson worth the effort required to contact your local Strathmore paper merchant or writing to Department AJM, Strathmore Paper Company, Westfield, Massachusetts 01085.

Mohawk Graphics Collection ... continues with a series of portfolio works by illustrator and graphic designer, Seymour Chwast. Printed on Nuance, Mohawk's newest paper, the collection is presented as a set ofloose leaf sheets in a pocket portfolio. For a free copy, contact your local Mohawk Paper Mills distributor.

Famous Coverups .. . International Paper has available a "humorous" 16-page booklet featuring four-color illustrations of mysterious characters in "undercover" disguises printed on Springhill Opaque's new blue-white shade.

Since we did not receive a copy of the book, you'll have to contact your local International Paper merchant to judge for yourself.

The Toa connection G'day. If you get up early you may see kangaroos, galahsand cockatoos before the design conference . commences In our special kind of country.

The first Asian/ Pacific Design Conference is to be held in Mildura, Australia July 31, Aug 1-21988. It is the first of its kind in our part of the world.

128

Communication Arts March/Apri/1988

h e venue is the beautiful surrounds of the Mildura arts centre beside the mighty Murray river - the north west Wimmera country of the state of Victoria and the start of Australia's outback. The climate is clear and if you are adventurous you can see forever.

The talk is challenging and diverse - the design of Indonesian puppets and a performance; a discussion of a rare Aboriginal message stick called Toa - an object of art and information. The last one was collected in 1905. Dr Philip Jones of the South Australian Museum will talk of these beautiful objects; Dr Jennifer Noesjiran will talk of cultural differences between countries in our part of the world; Alex Stitt, film artist for our world expo; Jeremy Press, Creative Director DDB Needham Worldwide Aust; Henri Steiner, renowned designer from Hong Kong on east and west directions in design; Christine Jones, who started her own outrageous Australian fashion mag; Arthur Leydin on the state of corporate design. Larry Klein (USA) visits with his wit and wisdom. And more. So spend three days with us under the southern cross.

A night on a paddle steamer or under the stars with Australian wines and good company. Be quick with your reservation .

Attendance is limited. Conference fee $A325. Write or fax now to Buzz McCarthy of Bloomsbury Conference Services. 232 Bridge Road Richmond Vic. Australia 3121: Fax (03) 427 0715. Make check payable to Asia/ Pacific Design Conference. Accommodation and travel arrangements can be booked. Just ask us.

First Asia/Pacific design conference.

Mildura, Australia July 31-Aug 2 1988.

In association with the Department of Industry, Technology and Resources Supported by Victorian Ministry for the Arts Melbourne Art Directors Club Inc. Australian Graphic designers.

•

• The 1987 Angry Letterhead . .. design contest winners are available from Howard Paper Mills. There are five designs, ranging from a throttled computer to a mad bomber, utilizing different printing techniques. Copies of the kit are available through local Howard Paper Merchants or send $2.00 (to cover postage and handling) to Howard Paper Mills, Inc., P.O. Box 982, Dayton, Ohio 45401.

Future Students ofAdvertising ... Advertising Education Publications is making available its 24th annual edition of "Where Shall I Go To College To Study Advertising?"

The information in the 1988 edition is primarily directed to students and counselors. The intent of the booklet is not to evaluate the schools listed, but rather to list schools that propose some sort of advertising course. "The minimum requirements for a school to be listed include: 1. that the school has indicated a recommended sequence of courses for the advertising student; 2. that the school's catalogue states that an advertising program exists; and 3. that the school requires at least three specifically titled advertising courses~' I would hope that any program would include more. The schools are listed by state, accreditation, specific degrees offered, number of scholarships, financial assistance information, entrance requirements, tuition and fees, cost of room and board and the name of the person to contact for more information at each school.

Individual copies are $2.00 and are available from Advertising Education Publications, 3429 55th Street, Lubbock, Texas 79413.

('A Passion/or Silk" ... To demonstrate the versatility of their new silk-finish Hopper Dynasty paper, GeorgiaPacific engaged the graphic services of James Sebastian of Designframe. This nicely produced book features the photographic work of Peter Bosch and Jeffrey Blackman and illustrations by Paul Yalowitz, Seymour Chwast (does he ever sleep?), Michael McGinn and David Montiel. For a free copy contact, Sally B. Nathans, Georgia-Pacific Corporation, Printing Paper Division, lOth Floor, 133 Peachtree Street N.E., Atlanta, Georgia 30303.

Automobili /tali ani ... For Italian automobile afficionados as well as graphic designers, this handsomely designed, 24page booklet shows off the cars as well as the printing capabilities of Simpson Filare. Designed by Cross Associates in Los Angeles, the booklet demonstrates four-color photography on an uncoated stock and must have been a gas to produce. Other special techniques, such as diecutting, foil stamping and metallic and opaque inks are also shown. Whether your interest is cars or paper, contact your local Simpson distributor for your free copy or write to Marketing Services Department, Simpson Paper Company, One Post Street, San Francisco, California 94104.

CATALOGUE ART DIRECTOR One of America's leading upscale catalogue companies seeks an organized, detail-oriented, energetic individual with 2 to 3 years' experience in catalogue/retail layout design. Strong rendering ability and experience directing product and fashion photography preferred.

We offer excellent benefits and growth potential. Apply in person or send resume and salary history to: THE HORCHOW COLLECTION Personnel Department 13800 Diplomat Drive Dallas, TX 75234

•

•

If!

~\ ~

Watt'sUpl Great graphics to illustrate your bright ideas! Plug into this new creative clip art resource-over 400 spots including catchy headlines, workplace scenes, characters of all kinds, sports, travel, holidays, and more-all in Phil Frank's original cartoon style.

The 72 page loose-leaf 1988 CMS Clip Art Book is just $68 plus shipping-SATISFACTION GUARANTEED! To order or request a free catalogue of CMS products, call 415-843-3408 or write to Creative Media Services, P.O. Box 5955, Berkeley CA 94705.

Creative Media Services

cA 3-88

-Stephanie Steyer

129

CLUBS, CONFERENCES, SEMINARS ICOGRADA

The International Council of Graphic Design Associations invites you to participate in and celebrate the 25th anniversary of Icograda in Oslo, Norway, May 12-15. As the organizer of this milestone event, the Norwegian Graphic Designers Association welcomes colleagues from all over the world to three days of serious discussion and not-so-serious enterFounder president Willy de Majo tainment. Under the title " Response on Communication and New Trends~' the first day will be devoted to the question of how we must relate as marketing specialists to the world around us. Day two celebrates 25 years oficograda activity with debate, discussion, graphics presentations and a poster exhibition, the whole rounded off by the anniversary banquet.

Founder president Willy de Majo said, "With the continuing support of members in all parts ofthe world, I feel confident that Icograda will continue to grow and make valuable contributions in the years to come~' For further information, write to: NGD, Norway, Damstredet 8, N-0177, Oslo 1, Norway.

STANFORD

The Stanford Publishing Course on book and magazine publishing for professionals (minimum of three years' experience) will be held in Palo Alto, July 10-23 on the University campus. Deadline for registration is April25.

The fee of$1650 includes books, working materials, receptions, lunches, the opening banquet and the closing barbecue. For an application form, or to apply, write to Justin O'Brien, Stanford Alumni Association, Bowman Alumni House, Stanford, California 94305 or call (415) 725-1083.

BDA The Broadcast Designers' Association will mark its tenth anniversary during its annual seminar to be held in Los Angeles, June 8-11, 1988. BDA president, Wiley Schmidt, design director KGO-TV, San Francisco, noted that the seminar will be of special interest to broadcast designers; the sessions are being tailored for video designers representing television stations and production houses in the United States and international markets of all sizes. Registration and membership information may be obtained from Russell Smith, Executive Director, Broadcast 130 Communication Arts March/Apri/1988

Designers' Association, 251 Kearny Street, Suite 611, San Francisco, California 94108 or call (415) 788-2324.

MASSACHUSETTS

Lee Doliber, president of Massachusetts College of Art Alumni Association, is trying to track down misplaced alumni. For those who haven't been receiving their newsletter, please call the Office of Alumni Affairs: (617) 232-1555, extension 258. Assuming some of you may not be in the Boston area, you could write to Lee Doliber, Doliber Skeffington Design, 69 Dartmouth Street, Boston, Massachusetts 02116.

PHILADELPHIA

The recently elected board of the Art Directors Club of Philadelphia includes: president Donna M. Weidel, DMW Design; first vice president Henry Guarini, Jr., vice president creative director AI Paul, Lefton Company; second vice president Donald Rich, president Concepts & Copy; secretary/treasurer David Stender, Stender Design.

Other members of the board are: Janet Bodoff, president, Bodoff & Company; John C. Byrnes, vice president, creative director, Ketchum Advertising; Victor Della Barba, Della Barba Productions; Gerald DiRusso, creative director, Lewis, Gilman & Kynett; Ronald Dove, president, Russian School of Art; Seymour Kaplan, free-lance designer; David Kramer, SBK Pictures; Donald Leong, director of creative services, Devon Direct Marketing & Advertising; Carol Lynn Namiotka, vice president, creative director, Holton/Namiotka/Jones; Bob Parker, design director, Smith Kline & French Labs; Theodore R. Stallone, president, Stallone Typography Services; Deborah Wolfe, president, Deborah Wolfe Ltd. The organization members include designers, illustrators, photographers, writers, creative directors, mechanical artists, educators, agents and art directors. For further information contact ADCP, 2017 Walnut Street, Philadelphia, Pennsylvania 19103.

SEGD The Society of Environmental Graphic Designers, a national non-profit organization composed of individuals and corporations engaged in or affiliated with environmental graphic design, elected new board members at its annual meeting during the SEGD national conference at Cranbrook Academy of Art. Serving as new directors are: Jack Biesek, president ofBiesek Design, Santa Barbara; Ann Dudrow, associate principal of the architectural firm RTKL Associates, Baltimore; Sue Gould, partner of the multi-disciplinary design firm Lebowitz/ Gould, New York. SEGD, 47 Third Street, Cambridge, Massachusetts 02141, (617) 577-8225.

" EDDIE HERE UNDERSTANDS

EDDIE HooPER

VERY CLEARLY THAT THE

MAILROOM CLERK

AGENCY COPY ALWAYS COMES

BBDO

TO ME FIRST."

NEW YORK

PHIL DUSENBERRY CHAIRMAN CHIEF CREATIVE OFFICER BBDO NEW YORK

~wait

for the office copy to appear

when only $44 will get eight great issues sent directly to you?

Four are Annual Reviews of the best work being done in Design, Advertising, Illustration and Photography, selected by national juries of top professionals in the field. 875 pieces of the 36,577 entries submitted in 1987 were chosen, making the CA Annuals the largest in entries, the most difficult for acceptance and the most prestigious in the industry.

The four other issues contain in-depth articles and interviews featuring the work of individuals and firms, some established

stars, as well as newcomers on the leading edge of creativity.

All issues contain columns on new technology, production, legal and business matters pertaining to the field, opinion essays, book and product reviews.

With a total newstand price of$80, you'll save $36 a year, making your subscription an even better deal.

All you have to do is turn the page and fill out the order form, or call Mary at (415) 326-6040. If you don't want your copy making the rounds at the office, she can even send it to your home.

COMMUNICATION

ARTs

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.

AUG1984

$U

SEP/OCT 1986

$5

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

Photography Annual

SEP/OCT 1984

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.

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

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

CA-84 Advertising Annual

NOV/DEC 1977

$18

JUL/AUG 1978

$12

The Art Annual1978 Illustration & Photography

NOV/DEC 1978

$18

CA-78 Advertising & Design Annual

NOV/DEC 1979

$18 ..

CA-79 Advertising & Design Annual

NOV/DEC 1980

$18

CA-80 Advertising & Design Annual

JUL/AUG 1981

$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

MAR/APR 1983

JUL/AUG 1983

SEP/OCT 1983

NOV/DEC 1982

$18

$5

$18

JUL1985

AUG 1985

$12

$5

$18

$18

MAR/APR 1984

MAR/APR 1986

$5

25th Anniversary Issue; TheCA Annual Judges; Judging Process

MAY/JUNE 1984

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

$5

$12

$5

JUL 1987

AUG1987

$5

$U $U

Photography Annual

SEP/OCT 1987

$5

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising $18

Design Annual

JAN/FEB 1988

$5

$5

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game $12

Illustration Annual

Photography Annual

MAY/JUN 1987

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

$18

Advertising Annual

MAY/JUNE 1986

AUG1986

$5

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

DEC1987

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

JUL1986

MAR/APR 1987

NOV1987

CA-85 Advertising Annual

JAN/FEB 1986 $5

$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

Illustration Annual

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

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

Illustration Annual

$12

SEP/OCT 1985

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

JUL1984

$5

Illustration Annual

DEC1985 $18

JAN/FEB 1983 Japanese Design; Richard Saul Wurman: Access Press; Sharleen Pederson; Graphic Designer's Production Handbook; Clint Clemens; Index to Volume 24

MAY/JUN 1985

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

NOV1983

CA-82 Advertising & Design Annual $5

$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

Photography Annual

CA-83 Advertising Annual

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

$5

$18

CA-86 Advertising Annual

JAN/FEB 1987

MAR/APR 1985

CA-85 Design Annual

JAN/FEB 1984

$18

$18

CA-86 Design Annual

DEC1986

JAN/FEB 1985

NOV1985

DEC1983

$5

DEC1984

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

JUL/AUG 1982

SEP/OCT 1982

$12

The Art Annual1983 Illustration & Photography

CA-83 Design Annual

The Art Annual1982 Illustration & Photography

$5

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

CA-81 Advertising & Design Annual $12

$5

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

MAY/JUN 1983

$18

CA-84 Design Annual

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

Issues not listed are no longer available.

CA-77 Advertising & Design Annual

NOV1984

NOV1986

$5

$12

$5

Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction" by RitaSue Siegel; Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume29