marapr1989

COMMUNICATION ARTS VoLUME 31, NuMBER 1, MARCH/ APRIL 1989

Editor and designer Patrick Coyne

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ToM HUGHES

Executive editor Jean A. Coyne

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JIMARNDT

Associate designer Stephanie Steyer

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MELISSA GRIMES

Production Manager Scott Perry

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GOOD BY, BERLIN & SILVERSTEIN

Advertising/production William Rayburn

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EXHIBIT: Reproductions of new and best.

Administrative assistant Deborah Collins

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DESIGN IN CHICAGO

Editorial assistant Jennifer Williams

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J EFF BARNES

Subscription manager Vickie Baptista

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KYM ABRAMS

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RICK VALICENTI

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ROBERT PETRICK

Subscription Nina Bland Irris Marashian Betty Willis Traffic Ron Holmes Consulting editor Richard Coyne Contributors Maxwell Arnold Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

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by Elizabeth Ho ward

by Phi/Hanft

by Mike Hicks

by Maxwell Arnold

by Pat and Greg Samata

STEVEN LISKA

108 JAPANESE DESIGN ADVENTURE byJohnKneapler COLUMNS

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EDITOR'S COLUMN

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DESIGN TECHNOLOGY

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FREE-LANCE

123

CA-89 CALL FoR ENTRIES

Wendy Richmond

Barbara Gordon

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BOOK REVIEWS

134

MATERIALS, AVAILABLE LITERATURE

138

CLuBs, CoNFERENCES, SEMINARS

COVER: Designed by Pat and Greg Samata

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

Communication Arts Magazine (ISSN 0010-3519) is published eight times a year, January/February, March/April, May/June , July, August, September/October, November, December,

by Coyne & Blanchard, Inc., 410 Sherman Avenue, Palo Alto, California 94306.

Copyright 1989 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, California and additional offices.

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

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

Subscription rates: U.S.: one year-$47; two years-$90 Canada : one year-$52 (U.S.); two years-$95 (U.S.) Foreign : one year-$85 (U.S.); two years-$165 (U.S.).

Si ngle issues : $6 except Illustration Annual (July) $12, Photography Ann ual (August) $12, Design Annual (November) $18 and Advertising Annual (December) $18.

Postmaster: Send address changes to Communication Arts, P.O. Box 10300, 410 She rman Ave., Palo Alto, CA 94303.

It's SimpsonStarwhite The gauntlet has been thrown! Champion Pageantry® and Simpson Starwhite Vicksburg are now battling for supremacy in top-of-the-line premium uncoated text and cover papers. When you see how vvell Pageantry white, porcelain and creme perform on press, you'll see why Pageantry is becoming the new favorite,

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I hate red!'

Hmmm. Looks empty."

~~nother background?"

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But will it work on a can?"

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The name is too small."

Could we see it in red?"

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Too large!'

I don't know .. !'

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The Amiga®is the graphic designer's ultimate And Amiga's mouse-controlled point and tool. Enabling you to create exciting 3-D logos, click operation is a snap for anyone to use. package designs, storyboards, even animation, that To find out how the Amiga can turn you into can be revised easily and inexpensively. a quick change artist, screen our exciting new Rotate. Blow Up. Reduce. Erase. Anything a VHS video demonstration. For your free copy, cut and paste artist can do, you can do on the Amiga. Instantly. ~!!!!~!~z calll-800-343-3000, ext. tOO.

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ROB CHIN, San Francisco

• MICHAEL MABRY, San.Francisco

LESCH IBANA, Mountain View, CA

LOUIS FISHAUF, Toronto

Lqok what they're doing Posters. Packaging. Publications.

And what you do becomes vezy In other words, everything we've impressive. included here.

CONVERriTWITH As a matter of fact, with the design ADOBE STREAMLINE~ tools from the Adobe illustrator 881M family of illustration software, they're Lefs start with a black & white line doing just about anything they want drawing. With the amazing Adobe And so can you.

Thafs because these are the vezy same tools that have been earning accolades not only from desktop publishers, but from professional designers and illustrators, as well.

All of which means you don't have to be a computer expert to use them So, once you combine the power of a Macintosh®with the precision ofAdobe illustrator 88, how you do it becomes virtually second nature.

Once you combine the power ofa Macintosh®with the precision

ofthe Adobe !Uustrator 88 family oftools, ifs easy to see what they can diJfor you.

MAX SEABAUGH, San Francisco

~ Look for this symbol on computers, printers and other products that support PostScript ..........,. software from Adobe Systems. It's your guarantee of quality and compatibility.

Streamline-and a desktop scanneryou can convert that drawing into professional-quality art in a matter of seconds.

In fact, whether ifs a corporate identity or an illustration, Adobe Streamline can quickly convert all your existing black & white line art into Adobe illustrator 88 files.

And that means you may never go back to the drawing board.

ENHANCE ITWITH TilE ADOBE® COllECfOR'S EDIDONS. Now, lefs say you want to add some images without having to create them We've made that easy with the Adobe Collector's Editions, our hbrnries of pre-built Adobe illustrator 88 art files to use as-is or change as you see fit The Adobe Collector's Edition: Symbols, Borders

The Adobe logo, Adobe and PostScript are registered trademarks and Adobe Illustrator 88, Adobe Streamline •Pantone, Inc.'s check-standard trademark for color reproduction and color reproduction materials.

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with Adobe illustrator 8 and 1.ettet[orms includes hundreds of right, you can work on getting the .great graphic elements, borders and color right font outlines.

Adobe illustrator 88 can simulate And, theAdobe Collector's Edition: colorsrightoutofyour PANfONE®* Patterns and Textures offers exciting MATCHING SYSIEM design solutions for all your geological, Book architectural, cartographic, technical, and graphics applications.

PUfiT AIL1DGEIHERWITH ADOBE IlllJSTRA1DR 88.

Once you're ready, you can use Adobe illustrator 88 to make changes or refine images in a hundred different ways-without once sacrificing your original ideas.

Or, you can start from scratch.

There's even a freehand tool that CHRIS KRUEGER, San Francisco makes drawing on the screen as easy WdhAdobe Streamline and a desktop scanner, ifs easy to convert as moving a mouse. black &white line art into high quality And ifyou're already drawing with Adobe Illustrator 88files. a Macintosh, you can use Adobe illustrator 88 to automatically convert From black to white and more your MacDraw®files. Or you can use than 700 colors in between. the program's auto trace tool to save You can blend colors for great airMacPaine~ files just as easily. brushing effects.

Then, once you've got the image Cut intricate masks. Build perfect

overlays. And shade for realistic depth and shadow.

And, with a little help from a PostScript®typesetter, you can now produce professional-quality color separations and mechanical art easier than you can say, "Black, yellow, cyan and magenta."

IMAGINE WHAT YOU CAN DO WITH IT. When you look at what's been done, ifs easy to see how much more the Adobe illustrator 88 family of design tools can do for you.

Uke more productivity.

And more creativity.

And more reason to call us at (800) 3448335 to find all of the Adobe illustrator 88 tools you need at your nearest Adobe Authorized Dealer (outside the U.SA and Canada, call your local distributor).

Then you can start doing it, too.

and the PostScript logo are trademarks of Adobe Systems Incorporated in the U.S.A. Macintosh is a registered trademark of Apple Computer, Inc. Mac Draw and MacPaint are registered trademarks of Claris Corporation. © 1989 Adobe Systems Corporation. All rights reserved.

EDITOR'S

COLUMN

PATRICK COYNE

T

HIS ISSUE BEGINS OUR 31ST VOLUME. Having grown up with the magazine, each new year reminds me that I, too, am also a year older.

It also reminds me of the changes I've seen in the·magazine, as well as in our field. With the advancements in communications technology and with computers making solutions possible that were unobtainable through previous techniques, the next decade could be very interesting for creative communicators. Maybe the '80s will be looked upon as a time of introspection and education into the roots of design and as a starting point to a new level of creativity.

Traditionally, the March/April issue has been when Dick gave his annual report to you, the readers. I plan to continue that tradition with the announcement that 1988 was a very good year for CA. Every indicator is up. We received 1,000 new subscribers more than last year. Our renewal rate continues to be one of the highest in publishing.

The entries to our competitions are up again and we are extremely proud of the importance and recognition the Annuals enjoy in the creative community. Advertising is up dramatically, 25% over last year. We had speculated that the number of new magazines in this and parallel fields would have advertisers spreading their budgets around, testing for results. It appears that the results are in and we found ourselves with a record year.

After two years of holding the line, we were forced to raise our U.S. and Canadian subscription prices, three and five dollars respectively. However, these price increases were less than the inflation and postal rate increases, and you did get more for your money. We added 34 pages to our editorial content in 1988. We did raise the subscription rate to other countries by a considerable amount. But that increase reflects our vastly improved mail service. Now that we've changed from surface to International Surface Airlift, our foreign subscribers can expect their magazines in a matter of weeks instead of months.

Since we started to print at George Rice & Sons Los Angeles, we have been able to go to a finer line 'screen on our four-color work, and you've probably noticed a significant improvement in detail. The cover has a thicker smoother UV coating, which should do a better job ' of protection.

The reintroduction of the Exhibit section has enabled us to bring to your attention interesting projects with background information you may not normally be exposed to. This brings up another point about what sets us apart from other creative journals. Rather than give you only credits with the work we show, we're trying to give you some thoughts that went on during the creative process.

I think you will see even more of this in future issues.

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MARCH/APRIL 1989

With the expansion of our editorial staff, we also plan to expand the content of our columns.

All this means better coverage, better quality and more pages than our nearest competitor, and for less than they charge for a subscription.

None of this would be possible without you, the reader.

Your tremendous support has enabled us to spend the extra time and effort to produce the kind of magazine our industry deserves. While advertising helps subsidize some of our costs, it's your subscription that makes it happen. I feel we have to push ourselves to earn that support. I can't think of a more demanding audience, or a more interesting challenge than to provide you with the kind of information you're looking for.

As Dick has said many times before, "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~ ' 0

Page 77 begins a special section devoted to graphic design in Chicago. We knew going in that it would be impossible to create a comprehensive survey of the state of design in that great city in only 30 pages. There are many fine design firms that are doing award-winning work, but, because of space limitations, we were able to show the work of only five. These five represent a cross-section of clients and graphic approaches that I hope will give you some new impressions of the windy city. Pat and Greg Samata have written an introduction to this section and provided the cover for this issue and I would like to thank them both for their contribution.

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John Kneapler's experience in Japan brought laughs and amusement to everyone on our staff and we wanted to share it with you. It's not fair to say that his experience would be characteristic of all dealings with Japanese clients, but it does suggest that interesting things can happen when diverse cultures meet.

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In the last issue, I described how our production techniques provide superior reproduction quality, but are not always fool-proof. Well, on page 119, in the same issue, LN Vaillancourt's covers for The Dorsey Press, a publisher of college textbooks, appear to have the same title. To get the best reproduction of the text, we took several line shots. Unfortunately, we stripped the same type into the two locations. Our apologies to Ms. Vaillancourt.

•

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The Centers of Italian Design~

*Except June 13-18th.

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fur one week, the true center of Italian design will be Aspen. Thats where outstanding designers, artists, architects, and writers will unite for 'The Italian Manifesto: The Culture of Nine Hundred and Ninety-Nine Cities:' Speakers will include architects Aldo Rossi, Renzo Piano, joseph Rykwert and Tobia Scarpa; designers Mario Bellini, Michele de Lucchi, Achille Castiglioni, and Emilio Ambasz; fashion designers Luciano Benetton and Gianfranco Ferre; and museum director Philippe de Montebello. Italian design will never be more accessible.

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San Francisco, CA (415) 788-2208 Amsterdam • Athens Barcelona • Bo~ota Brussels • Buenos Aires Caracas •Capetown Helsinki • Hong Kong ,Johannesbur~ • London Madrid • Melbourne Mexico City • Milan Montevideo • Munich Oslo • Paris • Porto Alegre Rio de Janeiro • Rome Santia~o • San .Juan Sao Paulo • Seoul Stoc·kholm • Sydney Tel Aviv • Tokyo • Zurkh Call your locallnwgf' Bank ofjicf• for your Fn•(• CatalOfJ.

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THE MIND CAN CONCEIVE THE WORLD'S LEADING SOURCE FOR STOCKPHOTOGRAPHY,llLUSTRATION AND FILM FOOTAGE. © 1988 THE IMAGE BANK, INC. ALL RIGHTS RESERVED

DESIGN TECHNOLOGY

WENDY RICHMOND

ONGRATULATIONS! AFTER A LOT OF hard work and long hours, you have transformed your design practice. You and your staff are computer literate. You've completed a number of jobs in a shorter amount of time and at lower cost than you did with traditional tools. Your clients are delighted and they're sending you more work and referrals.

This leads to another benefit. By getting your client to make an electronic commitment, you have helped to cement your relationship with your client. With this investment in setting up a smooth workflow, your client will have additional incentive to continue to send you work.

Many of you provide design guidelines to corporations, publishing firms, universities and the like who are responsible for their own production. You've probably taken the logical step of suggesting that you deliver the guidelines in electronic form, (e.g. on disk) so that they can carry out the production on their own computers.

But what if they don't already own computers? Or, as often happens, the system they do have is a) inappropriate for their production tasks, b) incomplete, and/ or c) they don't know how to use it?

So all you have to do is give them a list of what you've got, and then tell them how you learned to use it.

C

As I said in an earlier column (Keeping Up with Your Clients, Aprill987), part of your work requires advising your clients about the best methods of production, and therefore it's essential that you're knowledgeable about computer-based tools.

Now your clients are asking you for additional consultation.

They're asking you to recommend what hardware and software configuration they should buy, and what's more, they're asking you to teach them how to use it.

You may think that computer consultation strays too far outside of the boundaries of graphic design. So should you simply say forget it?

No way. First, there aren't any rules that say where graphic design ends and another profession begins.

Second, you must provide direction for your clients. You can't leave them with an unknown ending when you've given them such a promising beginning. The question is, to what extent will you be personally involved in delivering this direction?

Your actual involvement may be as little as a reference to a firm that you know provides the right computer consultation, or as much as taking on the entire job yourself.

Or something in-between, working in collaboration with a computer consulting firm.

One of the biggest benefits you get from advising your clients about buying and using computers is that you can ensure compatibility. If you've had any experience trying to share files with another hardware or software configuration, you know that the process can be exasperating.

The marketplace is full of software programs and hardware peripherals that are similar in price and performance.

By advising a client at the outset to purchase the same basic platform as yours, you can avoid many incompatibility problems.

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M A RC H I A P R I L I9 8 9

And of course it's additional income.

Right?

Wrong.

Sure, it would be easy to tell your clients exactly what you did (with adjustments based on your mistakes). But in all likelihood, their needs are not duplicates of your needs. You have five people, they have twenty-five. You work in three rooms, they work in three states. Your work is primarily design, theirs is production. You get the picture. The basic platform can be the same, but they may require different models of machines, more storage capacity, a more sophisticated network, different file management, etc. etc. Having the knowledge to advise clients about these issues requires a serious investment of research time: you would have to study your clients' needs and keep abreast of the products that are appropriate. Some of that research will be relevant in your own studio, and some will serve only one client's unique problem. Do you have the resources to conduct this research? You must determine whether or not you want to have the expertise on your staff.

There's also a different emphasis on what your clients have to learn. While you may concentrate on the secrets of electronic layout, they may need to master a program's editing features. Your clients will also want a teaching program. If you learned by the seat of your pants, you know there's a better way for your clients. Again, do you have the resources to develop that plan and to carry it out? Or is it better to refer clients elsewhere?

I'm not advising one direction over another. I am advising you to be aware of the new needs of your clients, so that you can define the boundaries of your business and choose where to put your resources. One way or another, your clients need an answer. Whatever level of personal involvement you choose, you have an opportunity to gain a competitive edge by showing your clients that you can provide a solution.

The next time you present a comp at a client meeting and they ask you how you cropped a picture rather than why, be ready for the next question: What should we buy and how will we learn to use it? © Wendy Richmond 1989

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The bright white paper it's printed on works to enhance the detail and show Hammermill's other Cover colors at their fullest. There are 23 Hammermill Cover and Offset Opaque colors in all-plus White and Cream White.

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Not All Stock Agencies Look Alike Of course we, too, produce original photographs for stock.

In fact, we initiated the concept 15 years ago. But making a claim for just that would make us a very narrow stock photography agency indeed. nlike the "one photographer" companies, we shoot for stock with more than 40 different photographers, doing hundreds of shoots a year. In addition, we have photography on consignment from over 500 other professionals. That makes our

library broad in scope and rich in styles.

Perhaps you have some of our catalogs (we're up to 30). We can safely say that they represent less than 1/10 of one percent of our files. Each year, our shoots use up 600,000 frames of film .

From this we select about 20,000 new photos. We discard the rest ...we don't put them in our files. Our photos are selected by merit, not by the photographer's name. Good photographs sell themselves ...

with a little help from us. For example, we send them to you mounted for presentation, to be seen without lou pes or contraptions.

So, yes, we shoot for stock. But our business is much broader.

And we make sure we don't look like everyone else. That's just one aspect that sets us apart.

Call and let us demonstrate all our other attributes.

lburByFlve

FourByFive, Inc., 11 West 19th Street, New York, NY 10011 212 633-0300 Fax 212 633-0408 Toll Free: 800 828-4545 Auckland, Buenos Aires, Barcelona, Hong Kong , London , Milan, Montreal , Munich , Osaka, Paris, San Francisco, Seoul, Sydney, Taiwan , Tokyo, Toronto, Vienna, Zurich

FREE-LANCE

BARBARA GORDON

FREE-LANCING, WHY WE Do IT FYOUHAVEEVER WONDERED WHY FREElancers get hooked on the free-lance life-style (despite a lot of public complaining), it's because of the many advantages the free-lance life has to offer. Some of the major advantages are:

I

The Independence of the Life-Style ... Working as a freelancer is something like owning your own home. You feel a pride of ownership. You can't get fired. You have a lifetime career, if you want it. As long as you meet your deadlines, you can set your own hours. You can work at home. You don't have to get elaborately dressed or coiffed while you're completing your assignment. As long as you deliver good work, on time, you can do it on your schedule.

The Financial Rewards ... As much as free-lancers complain about money, the financial potential for a good free-lancer is greater th.~n it would be in the corporate sector. Throughout this country, there are thousands of free-lancers of middle-range abilities doing lots of unglamorous assignments at yearly incomes that are above the average of their wage earner contemporaries.

The Tax Advantages . .. In a time of fewer ways to shelter one's income, owning one's business offers a lot of opportunities to legitimately shelter a significant part of that income. And because businesses, depending on their structure, can own real estate, original artworks, stock photo collections, copyrights, licenses, etc., there are possibilities to not only shelter one's income but to also build an equity in a business which can be sold to provide for retirement or passed on to an estate. Clearly, the owner of a business (and every free-lancer owns a business) has an asset that is often not obtainable in the employed sector.

No Artificial Barriers .. . It doesn't matter if you are young or old, male or female, Methodist or Buddhist, handicapped or whole, black or white, conformist or eccentric.

If you are a free-lancer who produces something that the marketplace wants to buy, you are accepted for your talents and your ability to deliver the goods. Many freelancers have worked, and currently do work, into their seventh and eighth decades oflife. There are very few fields where a person is judged solely on ability, or where you can work as long as you want to continue doing so.

The Variety of the Work ... Because it makes good business sense, most free-lancers work with a diversity of clients: publishers; ad agencies; corporations; retail establishments; design firms; government agencies; museums; theatrical, political and non-profit organizations. The list 26

M A RC H I A P R I L I9 89

is almost endless. A free-lancer is exposed to a wide range of this country's businesses and people, privy to inside information and exposed to a wide socio-economic strata of the population that can sometimes be fascinating. One also has the opportunity of working with some of the most creative people in the country. Only free-lancing would put you in such a combination. A free-lancer experiences a lot of emotions, but boredom isn't one of them.

The Pride of Creation ... When free-lancers are given an assignment, they are usually selected because of the uniqueness of their abilities or the specific talent they bring to the job. In a corporate situation, many projects are the result of group efforts and therefore there is usually group credit, when credit is given. In the freelance situation, there is direction and input, but the final product comes from the hand and mind of the free-lancer.

There is a real feeling of pride of creation and authorship that goes with this.

The Right to Walk Away ... In a corporate structure, if you have a bad work situation, you have to tolerate it or start looking for another job. In a bad free-lance situation you only have to get through the assignment, bill it and then never work with that client again. No matter how bad it may be, the knowledge that it is temporary and never has to be endured again can make any situation bearable and workable.

Making Your Own Decisions ... In group situations, there is a necessary dependence on others to do their parts of the project. Free-lancers depend on themselves. They decide about work flow, what creative risks to take or to avoid and at what pace to schedule their progress. The ability to make one's own decisions gives the free-lancer an expediency of work and lifestyle that is enviable.

Respect ... Many free-lancers privately joke about how they are treated like "vendors ~' but in actual practice most free-lancers are treated with respect. After all, the freelancer is usually called in to do something that the client can't do in-house. The free-lancer comes in as an outside expert and is p_aid proportionately more than a staff person doing the same work. Since many people respect what they pay for, they usually pay attention to a freelancer. In addition, free-lancers often enjoy the respect of their peers. The free-lance community is, in reality, a small community and its members are aware of their colleagues' accomplishments and publicly acknowledge them.

Free-lancers do have problems. Every field has problems.

Now and then it pays to stop and count your blessings.

JAMES RIVER

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ToM HUGHES BY

ELIZABETH

ESIGNER TOM HUGHES HAS HELD corporate positions in companies on the leading edge of technology, founded by entrepreneurs with a vision. Companies where design has played an important role in product development and management. In a conversation with him, the ongoing debate about the role of design in corporate strategy; the inability of designers and senior management to communicate; and whether design should be included in the MBA curriculum are topics that are not included, because for Tom it all seems so obvious:

D

Design is a management tool.

Identity is important in providing an "innovative, animated environm-ent and in assisting senior management with the challenge of keeping individuals motivated and directed to the overall benefit of the company~' Corporate literature, including the annual report and capability brochures, are "particularly important when the company is under scrutiny~ ' "Success brings change to a corporation and you have to learn to adapt. Everyone from the CEO to the manufacturing executives must be involved~ ' Queried about the future of corporate design, he comments: "What I see when I look at corporate design is that the solutions are rigid-everything has been systematized. It seems that a templet could be designed to do the work. In fact, why not automate the process and just push the button to formae' He feels we need to breathe inspiration into the system. "We don't have a standards manual at Lotus because it allows more latitude and flexibility for form~' These insights explain why Tom Hughes has been attracted to high technology companies. They represent a "frontier land where there are more possibilities than rules. The people engaged in these companies are younger, more enthusiastic and spirited~' Currently, Hughes is director of creative services for The Creative Development Group at Lotus Development Corporation in Cambridge, Massachusetts. With a staff of25, his department has responsibility for the identity, packaging and graphics of the corporation, worldwide. Tom joined Lotus in 1985 to form the development group, an in-house, full-service creative agency.

32

M A R C H I A P R I L 19 8 9

HOWARD

His corner office on the seventh floor has wrap-around windows that look out over an expansive view of the Charles River. The Boston skyline is visible in the distance; the Museum of Science and a marina with bobbing covered boats are clearly in focus in the foreground . The mid-day winter sun flirts playfully on the water with a chilling wind. With the office door closed, the only interruption is the occasional musical " Dum Da Dum Dum;' signalling that an electronic message has been received. Tom has both IBM and Macintosh computers in his office.

Mitchell Kapor founded Lotus Development Corporation in 1982. The company was catapulted onto the front pages of the business press with the introduction of Lotus 1-2-3, a business analysis software program combining spreadsheet, graphics and database functions. "The initial business plan had called for the company to do $5 million in sales the first year . . . the results were $53 million ~' If software was lagging behind hardware in integrating computers into the business environment, Lotus began to close the technology gap. The cover of the 1987 Lotus Annual Report shows that "3.5 million customers in hundreds of thousands of companies in sixty-five countries around the world" are using Lotus products. It is estimated that there are now 7 million Lotus customers.

Initially, the best design talent and agencies were retained to handle identity, packaging, advertising and design projects. Standards were high and the results met expectations. Yet, as an " outside, uncoordinated effort, it was the antithesis of a modular system;' Tom comments. Handled on a project basis, the individuals involved " had only a parochial view of what the organization should be. There wasn't an alliance with management and no one shared in the vision of the corporation ~' Tom has changed that. The Creative Development Group is " an international creative resource ~' The department is divided into three areas: account management, creative and production. Projects follow a Strategic Consultant Phase and a Creative Manufacturing Phase, with a twentystep cycle in between. The process begins with learning and ends with re-selling. There are three selling steps in the cycle as an importance is placed on knowing that the " client" understands and accepts the solution throughout the project.

The Group's projects range from the annual report,

Materials developed for Lotus Week, which marked the fifth birthday of the company and combined the annual meeting, third party developer conference, corporate customer forum and a party for the employees. Tom Hughes, art director; Tom Hughes/Celia Miller, designers; Kathi Jaibur/Mark Kelly, writers; Lonni Sue Johnson, illustrator.

Folder for Magellan, a quick-search program that locates key words and related ideas throughout the programs on a hard disk. The folder contains a notepad that has the ship illustration printed in a different location on each sheet. Tom Hughes, art director/ designer; Lonni Sue Johnson, illustrator.

Lotus Magellan

C 0 M M U

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33

ToM HuGHES

product literature and the Lotus Quarterly magazine, to packaging design, product introductions and employee projects. Tom is currently reviewing packaging, and a retrospective display of Lotus boxes is exhibited in his office, together with Polaroid photographs of in-store software packages and a sampling of printed advertisements for a number of software products.

At this time of the year most designers would be involved in preparing the final layout for the company's annual report; however, the 1988 Lotus book is being designed around an event. A forum is being planned which will include a customer, a financial analyst, an industry analyst, a shareholder, the chairman of Lotus and other senior executives. The panel will be moderated by an editor from the business or computer press. The book's design will be spontaneous, the text unedited, and the perspective and insight "unrehearsed and unchoreographed:' It will answer those questions that an annual report is expected to address and rarely does: Where is the company today, where is it going and how is it perceived in the marketplac~.

This concept is not unlike the 1985 annual report Tom designed for Apple Computer, Inc. The book showed a series of inter-office memo's circulated between senior managers. While they are not actual documents, they reflected the decisions that were being made within the company, tracking what management was thinking. It had been a "turbulent year" for Apple, the first one in which they had reported a loss and security analysts, shareholders and the business press wanted to know what was happening at Apple.

Tom's insights into the contemporary corporation reflect his corporate background and his education. He didn't always know he wanted to study design and entered the University of Massachusetts at Amherst as an English major, before transferring, two years later, into a fine arts program to study painting and illustration. He studied advertising at a Boston junior college, ("probably where I gained the most practical knowledge:') architecture at Boston Architectural Center and structural engineering at Northeastern University.

His career began in 1973 at a design studio in Boston.

A few years later, when he was art director for the Sunday magazine at the Boston Herald, he met Roy Hughes. It was a serendipitous meeting because, although the two Hughes are not related, it was Roy who left for Polaroid Corporation and invited Tom to join him in the corporate design department.

Polaroid Corporation is recognized for being in the forefront of corporate design and for its visual identification program. The company was founded by Dr. Edwin Land, a spirited entrepreneur. Tom spent five years at Polaroid 34

M A R C H I A P R I L 19 8 9

and was senior art director for corporate projects which included responsibility for the annual report, product introduction and events and miscellaneous communications projects. While he gained an insight into corporate design, he also felt the pressure of working within a strict visual identity program. And as Dr. Land was in the process of retiring, he regrets "missing the ride and the magical time" at Polaroid.

He may have missed the early years at Polaroid, yet he certainly didn't miss the magical time at Apple. In 1982, Tom was hired by Steven Jobs, founder and chairman of Apple Computer, Inc., as art director for the Macintosh computer project. He had the primary responsibility for the introductory Macintosh identity. Tom attributes this position to Communication Arts. "Steven Jobs looked through the CA Annual and saw some of my Polaroid work.

He has a great deal of respect for the Palatino typeface and that's what I was using. He invited me to California for an interview:' What was it like working at Apple? "The great thing about working with Steven Jobs is that you can break through the MBA barrier; he has a prerequisite for excellence:' In creating the identity for Apple, the goal was to design a logo with "simple and pure" primary colors that would "look spontaneous:' Tom worked on the logo with John Casado, whom he describes as a "high octane designerthe Jedi knight of design:' Tom admires Steven Jobs for his "wonderful intuition and aesthetic sense. He is an absolute sponge, soaking up something new all the time. If you can survive Steven, you yield the best work you can. Better than you would have done-that's an absolute. The pressure was intense, the demands exhausting:' When Steven Jobs resigned as chairman of Apple, Tom re-evaluated his position and decided to leave as well.

Recognizing that Lotus was at a critical juncture in their growth, he wrote to Jim Manzi, CEO and president, and within three weeks had been offered a position to create the Development Group.

Lotus celebrated their fifth anniversary in 1987 with a week of activities called "Lotus Week:' It was planned as a BIG event in Boston. To commemorate the anniversary, the temptation would have been to design, as well, a BIG book. The "Lotus Week" book Tom created is small and square (4" x 4"). The subtle scale, the spirited photographs, and a credit to Miho for the inspiration, are quintessential Hughes-a self-effacing designer who is pioneering in the frontier of corporate design.

•

~y,

we' re going to do something a little different for an annual meeting.

We're not going to review the results of 1986.

The results speak for themselves.

And we're not going to recount the fairly remarkable progress that we 've made over the past five years.

Our past performance isn't something to dwell on.

It's something to build on.

So, what are we going to do today?

Well , as the theme of Lotuse Week suggests we're going to begin defining the ju.l.ure.

The futu re of our company and - I believe the future of our industry. ow, I realize that defming the future is a pretty ambitious goal - even for a company with our track record.

Four spreads from the Lotus Week booklet. Tom Hughes, art director/designer; Jim Manzi, writer ; Bill Gallery, photographer; Lonni Sue Johnson, illustrator.

Above: Tom Hughes.

Detail from Lotus tradeshow booth showing placement of the symbol. Tom Hughes/Tom Carnase, designers; Jack Wilkinson/Innovations, booth designer.

COMMU

I CAT I 0

A R T S

35

ToM HuGHES

Sampling of Lotus packaging. Hughes, "The designs were unchanged from the original recommendation. Artwork, which was commissioned for those camps, was ultimately used for the actual product:' Tom Hughes, art director; Tom Hughes/ Nancy Noel, designers; Kathi Jaibur/ Andrew Hollinger, writers; Lanni Sue Johnson/Katherine Mahoney, illustrators.

Lo

1

1-2-3

The bUS1 ruoss so}' atP

l"']r'Jra e spread.Y"!(o:t, graJ}<JCSa•.d~'

36

M A R C H I A P R I L I9 8 9

Lotu Symphony

Identity, packaging and collateral for Apple Macintosh computer, while Hughes was part of Apple 's creative team . The typeface used for the identity is lTC Garamond, optically condensed to 80%. Hughes, "John Casado's poster for the Oakland Ballet inspired the Macintosh identity. I wanted to create a humanized icon. I saw that John had the skill to render it. I hired John as the illustrator for the series and learned much from him through the process:' In theCA May/June 1985 article on Apple Computer, Hughes made this observation about Apple's co-founder, "The nice thing about working at Apple is that if you have an idea or opinion on a piece of collateral, and you don't particularly align with the product manager, you can always bring your reasons right to the chairman of the board-it's a great way to break through the MBA barrier. It's almost scary the way Steve can criticize a piece and be very much on the money. I'm sure he's the highest paid art director in America:' Hardware packaging ; Tom Hughes, art director; Clement Mok/EIIen Romano, designers; John Casado, illustrator.

Software packaging; Tom Hughes, art director; Tom Hughes/ Clement Mok/EIIen Romano, designers; Chris Espinosa/Carol Kaehler/Lynnea Johnson, writers; Clint Clemens/Jim Sadlon, photographers; Susan Kare, illustrator.

Identity; Tom Hughes, art director; Tom Hughes/John Casado, designers; John Casado, illustrator; Lynda Heideman, writer ; Tom Carnase, type designer.

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

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37

ToM HuGHES

This page: Windows brochure published the results of the fifth annual competition of Polaroid photography by Polaroid employees. Hughes, "I like this piece most of any work I've done. It reminds me of the great skills and talent of Polaroid employees and how art is an active part of that corporate culture. It was also the piece, which, I think, convinced Steve Jobs to hire me:' Tom Hughes, art director/designer; Maureen Condon, writer; various photographers.

Right : Dr. Land's last annual report. Tom Hughes art director/designer; Jim Thomas, photographer; Edwin Land/Don Dery, writers.

Second row and lower left: Polaroid exhibit at the 1980 PMA convention in Las Vegas. Hughes,"There were restrictions as to the materials and overall height. We had to use 4' x 8' panels supplied by the show manager to make up the greater percentage of material used to build the booth. My daughters do more interesting work with Fome-Cor and glue:· Tom Hughes, designer.

Lower right: The 1980 sales conference presented information on a series of rear projection screens.

Tom Hughes, designer.

38

M A R C HI A P R I L I9 8 9

POLAROID

COAPOAATIO '· 1 98 1

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Polaroid

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

A R T S

39

ToM HuGHEs

This page : 1986 was Mitchell Kapor's last annual report as chairman. Cover and spread. Every other right hand page is a translucent sheet with type and photos. The duotone photograph printed on the following page shows through the vellum . Tom Hughes, art d irector ; Tom Hughes/Nancy Noel, designers; Bill Gallery, photographer ; Jim Manzi, Michael Kolowich , writers.

Right: "The Lotus Game concept started as a corporate headquarters Christmas gift. I pushed it to involve more of the domestic company as well as international. It was a lot of work and literally, hundreds of people contributed:' Players move around the board with playing pieces named: " Cee Dee Rom: · "Doc Mode:· "Chip Hardcard:' "Floppy Disk:' The purpose is to shop and sell product around the world by obtaining approval from the four encompassing departments of manufacturing, finance, research and development, and marketing/sales. Along the way, players encounter everyth ing from Lotus celebrations to Lotus mishaps. Game cards, shown at the bottom, are inspired by and written by employees. George Martin, art d irector ; Leslie Kaplan/Steve Guarnaccia, designers; Walter Bibikow, photographer; Steve Guarnaccia, illustrator.

lh.'wlopm~a rru1y ,i.!lc~Jalmfnnuallon rnarki1

lnoornadonal Division The year 1986conlinued thestronggrowtholl.olus'lnoomatlonal Divlsloo. Jleve.

. ~~;,;.·~ ·the.~i.i~ marketplaoewere70peroenthigberlhan In Jll85and represenWd more !han

24 peroenloll.olus' revenuesworldwide(upfroml7 peroenlln Jll85) Lotus' growth In lnoornadonal markets relleds theoomp811y'slncressed Investment in IOOllized pmduets and googtaphlcal expansion oloperntloos ID rover new markets. There are now more !han 200 Lotus employees oollildc of North America-oovering more !han 60 markets worldwide. Lotus has direct presence In the UniWd Kingdom. ~'ranee, Gennany,llaly.

Sweden. and Japwl. l\lrther expansion In Europe. Japan, Anslralla. and Latin America Is planned for 1987.

Our plsnlln Ireland now manufactures all pmduets for the lnwrnadonal rnarketplaoe. Active pmdudde\'eloprnenlo~nslnJapwl,theUniWdKingdom.andlrelandarepmduclnglocallzed•"erslonsol

Lotus pmduets. designing and de\'Oioplngo~ applications, and providing thlrd·porty supportol exlstingpmduets.

In Sepcanber. Lotus Introduced a ver.;lon ol1·23 thalwasde\'Oioped for the.Japwleoe marketpiace-1·2.3..!

Meronlytwomontbsoo the market. tblspmdudclimbed wand has rema!nedatnumberooeon the Japwlesesollwarecharts.

Information Servlceo Division The Information Services Division ftnds inn<MIIlve and useful ways olfeed· . i,;gia'rg;,;;,i.;.;,;,;,;,td;,i,;i,;~'j.,i,'l andSymphonyspreodsheets. Thedivlsloo was cresWd In mid·lll85when Lotus acquired Dlllaspeed. lnc. When theftrstl'ruitoltbatacqulsiUon.SignaJ. was launched late that year.

Lotus enwred the reai·Ume ftnanclal'fleJVIoes marl<et.Signal uses salellloo and FM oommunlcaUODS to tronsmil uJ>fD-lhe·mlnuoo stock and oommodiUes quolei across the UniWd Slales and directly lnfD pei'I!Onal compuwrs. allowing subocribers to manipulate the inlonnallon in 1·2.3 and Symphony. While shlpmeols of Signal did not meet plan. subocripUons have more !han tripled.

Early In 1986 ~.. acquired ISYS Corporntloo. with the lnoonl ot enwrtng the hlsWrical and ftnanclal dalaiJose marl<et.Undcri.CJtus' directJon. O..&>un:owasde\'Oioped.higbwlue-added<lataiJMesdellveredonoompoct· disk-y(CI}ROM)technologyoombtnedwithpmprie<arysollwareextenslonstol·23. Uoerscanac"""ftnanclal dalz from within 1·23. allowing them to get oomplete lnlonoallon at their desks rather !han throogh a malntrame computer. We are booking new 0.. .SO.n:o business alan acceleraling rate.

The lnlonoallon Services Division wiU conUnue IDa.sist Lotus cusl<lmersln the acqulsltlon and analysis ollnlormallorc delivering high-value lnfonoallon to selecWd market.,_""' and building a recurring revenuebMeforl.olusthroogltsollwaresales.royaiUes.andsubocripUonfees. . E~~.Maii.Products .GnxP, The Electronic Mall ProduetsGroopwasfonnedlnAprill9861Deslalllish Lotus in the burgeoning electronic-mail industry. The groop annoonced 118 ftrst oonununlcallons pmduct, LCJt""Expre&sforMCI Mall. in December. Thlspmductls the resultolan lnn<MIUvejolnlmarkelingand development agreement with MCI Commun lca!lon1 The l~u rom ponies will market the pmductjolnUy. with lotus sharing in MCJ's tmnsactJon revenues and MCI sharing ln lolus' software revenues.

With E.rpreM. usersl'IUl easUysendand receive me;sages. fuU-textdocuments.andoomplete. revisable binary ftleo~urldwidethroogh MCI Mall. Tile pmduct automaUcallypollsthe net~urkatspecllled lnten'ais and takes fuU advan~ of all domestic and international dcll\'eryoptions. including electronic letter. poslalandcoorierdcUvery.andtelex.

O•aM./IJtgaiR Srrunr \'oii'Y" I~·"'" fl,t,-n•rllmMIIm d /ujonllfiJ,m.~'rl10'\

40

M A R C H I A P R I L I9 8 9

• •• • • •

Lotus

• • • • •

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

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Everyone will receive a slip-in plastic pocket pen-protector honoring top developer at this Friday's Communication Products' Nerd Party.

Everyone on a green space meet in conference room to compare calculators.

When I type "open the pod bay doors, Hal," Lotus HAL responds with "I can't do that" -the lines from the movie 2001.

Everyone on a green space goto library to decide if the line stays or goes.

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

A R T S

41

JIM ARNDT

BY PHIL HANFT

S

INCE HE FIRST BEGAN getting paid to shoot photographs in 1972, Jim Arndt figures that he has consumed 37,547 rolls of black and white film, 43,780 rolls of color film and 14,211 packs of Polaroid film. He's visited nearly 200 different cities and towns in 49 states and 5 foreign countries. He's traveled close to 299,700 miles by airplane, 143,200 miles by van, automobiles and other motorized vehicles and 600 or 700 miles by horseback. He's clicked the shutter approximately 1,400,000 times for 2,690 different clients on 5,082 different jobs. He's photographed 2,212 professional models and 4,233 real people. What it has all added up to for Arndt, in terms of volume, is nearly 40,000 contact sheets, 9,000 black and white prints and 3,000 color prints.

And of all of those he guesses he's personally printed half of them.

Jim Arndt, to be sure, is an artist and a good one. His passion, unlike so many of to day's photographers, is for the perfect image, not the perfect equipment. He h~s an uncanny sense for the details that make a picture work and pursues them with the intensity of an Oklahoma linebacker. Just the right prop in just the right place.

Just the right light on just the right spot. Both an artist and a craftsman, Arndt is the kind of photographer who looks through the viewfinder long and hard before he clicks the shutter.

Much of Arndt's compulsive nature comes from what some would consider a personality flaw. Jim Arndt is a perfectionist. But, unlike the general mish-mash of perfectionist artists, Arndt has turned this often inhibiting weakness into a highly motivating force. He is driven by an obsession to do whatever is necessary to shoot photographs that live up to a creative team's concept. Not just pretty pictures that mimic a layout, but photographs that make a good idea better.

Jim Arndt first began taking photographs in Duluth, Minnesota during his college years there. It was 1970 or so when his buddies started returning from Vietnam and the Far East with duffiebags full of cheaply-acquired camera equipment.

While the natives preferred to hunt deer and grouse in their spare time, Jim and his friends would run around the spruce and tamarack forests shooting rocks, mushrooms and wildflowers. Or sometimes, as all good beginners do, they'd stalk the damp backstreets taking dark and moody photographs of winos and skinny dogs.

42

M A R C H I A P R I L I9 8 9

Photography, as it turns out, was not totally new to Arndt.

As a young boy growing up in the Twin Cities, he spent many weekend hours working in the darkroom with his uncle, a press photographer for the Minneapolis Tribune.

There he learned both the mechanics of the darkroom as well as a profound appreciation for how the photographic image, through thoughtful and careful lighting and composition, can communicate a wide range of ideas and emotions. It is unlikely that he articulated such ideas as he watched the often poignant, sometimes brutal images take shape in the dim red light. But they were becoming a permanent part of his unspoken, right brain vocabulary.

Arndt, a sociology major at the University of Minnesota, Duluth, took the usual hodgepodge of courses designed to get one through college in the shortest time, with the least effort. Somehow art and photography didn't seem to fit in. At this juncture in his life, it was something to do for the simple joy of doing it.

After graduating from college, Arndt, more on instinct than planning, landed a job at a local photographic outlet which supplied most of the professional photographers in the area. Occasionally, he would show his mostly amateurish efforts to the local photographic gurus who bought supplies there. Some were disinterested, most were simply unimpressed.

One impatient local photographer, Joe Giannetti, told Jim to stop bothering him. "Shoot ten rolls of film a day for a year~' Giannetti said, "then come back and show me what you have~' Before the year was up, Giannetti offered Arndt a job unpacking crates, running errands and building sets. Arndt soon worked his way into Giannetti's darkroom and, calling upon his earlier experience with his uncle, quickly developed a reputation as the Twin Cities' majordomo of black and white printing.

In 1973, Arndt took his printing talents to the Getsug/ Anderson studio, the hot Minnesota partnership of that All photographs © 1989 Jim Arndt.

Portrait of a Taos, New Mexico, elder, used as a self-promotional poster for the photographer.

Portrait of Dennis Spears, member of the vocal jazz group Moore by Four.

Cover for Polaris snowmobile brochure. Arndt, "We had to drag the driver out of a bar to do the shot before the light went awaY:' Mike Heggernes, art director ; Ron Sackett, creative director; Carmichael-Lynch , agency.

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era. In addition to printing, Anderson regularly gave Arndt speculative shooting assignments. Occasionally, if both Getsug and Anderson were busy, Arndt would get a real assignment. His first, for a WCCO-TV special report on child prostitution, was featured in the CA Annual the next year.

Arndt's confidence grew under the mentorship of the two foremost editorial-style photographers of that time and place. But so, too, did the need for independence. One day, in early 1978, he ran into another budding Minnesota phenom, Tom Berthiaume.

After the usual grumbling about their respective difficulties getting good assignments, Berthiaume suggested they start a studio together.")im was ready for new challenges.

That simple exchange gave birth to one of the most prolific and successful photographic studios the Twin Cities had ever seen. Together, Berthiaume and Arndt enjoyed rapid growth and success. Together, their enthusiasm and talents won the hearts and minds of a growing list of nationally prominent local art directors. Their work could be found hanging on the walls of agencies across the country, and featured in the best annuals and publications. But after seven years together, differences in philosophy and style became apparent. In 1984, both decided to part as friends.

And, although Jim's personality is on the opposite end of the spectrum from Mr. Pytka's, his intense desire for perfection isn't.

And what better evidence of a desire for photographic nirvana than his long-standing relationships with two of the finest advertising art directors in the country today, Pat Burnham and Nancy Rice.

According to them, as well as countless others, it all boils down to what makes a good commercial photographer become a good advertising photographer. Natural artistic ability? Yes. Refined sense of craft? To be certain. But, more than that, Jim Arndt is a man who has channeled his perfectionist nature into an obsession to shoot photographs that glorify the concept, not the photographer.

After the split, Arndt located his new studio in the warehouse district of downtown Minneapolis. As nice as the studio is, it's much the same as those of other successful photographers around the country. Big, white, open spaces. Varnished and highly polished oak floors.

A great sound system.

If you're familiar with Arndt's work, you're also probably familiar with his other passion. His collection of cowboy boots. It is perhaps the most extensive collection east or west of the Mississippi, which passes just a few blocks north of his studio. Once, after a recent unsuccessful break-in attempt, people speculated that the intruders were after his boot collection, not his equipment.

The influence of film director Joe Pytka on Jim Arndt deserves mention. Arndt and Pytka met on a series of US West shoots in Monument Valley and northern Arizona.

(Jim is the only still photographer the notorious bad-guy Pytka has ever allowed on a shoot.) Jim's love for the West and the cowboy ethic grew out of these experiences.

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Self-portrait.

Ad for Mercury Outboards, shot from a helicopter in Inglewood, Californ ia.

Headline: For Those Who Prefer Their Wide Open Spaces Wide Open.

Bill Winchester, art director; Ed Des Lauriers, creative director; Campbeii-M ithun-Esty, agency.

The Cowboy Motel, near Gil lette, Wyoming , used for an Arndt selfpromotion greeting card.

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Two photographs for Itasca motor homes. Top : used for a magazine ad, shot on a closed section of road under construction next to Lake Pepin.

Headline: Your Motor Home Should Move You. Bottom: used for a brochure, shot in the Badlands of South Dakota. The motor home died, was towed to the location, checked by air, repositioned by towing and checked by air again until the position was correct. Paul Asao, art director; Ron Sackett, creative director; Carmichael-Lynch, agency; Winnebago Industries, client.

Portrait of Libby Riddles and her lead dog, used in an ad for Coors beer.

Headline: Another mushy woman's story. The photo was taken one day after they had won the lditarod, a sled-dog race covering 1,049 frozen miles in Alaska.

Chuck Bennett, art director; Evans-Bartholomew, agency.

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Ad for US West. Headline: Once again the American frontier is in the West. Pat Burnham, art director; Tom McElligott, creative director; Fallon McElligott, agency.

Portrait of Amado Pena, Jr., a Southwestern artist from Santa Fe, used for a promotional piece for the artist. El Taller Studio, client.

Ad for US West. Headline : Hard work comes with the territory. Casting was done in Arizona, New Mexico and California. Pat Burnham, art director; Tom McElligott, creative director; Fallon McElligott, agency.

Shot on location while working on U S West campaign, later used as selfpromotion magazine ad for Arndt.

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Left page : Portrait used for a public service ad. Headline : Their father collects rare stamps. Their mother collects food stamps.

James Wang, art d irector; Ruhr/Paragon, agency; Minnesota Child Support Coalition, client.

Portrait of James DePriest, Portland Symphony conductor, used in an ad for Jostens class rings. Susan Roepke, art director; Dan Krumwiede, creative director; Carmichael-Lynch, agency.

Harley-Davidson ad. Headline: Would You Sell an Unreliable Motorcycle to These Guys? Chuck Anderson, art director; Ron Sackett, creative director; Carmichael-Lynch, agency.

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BY MIKE

TEPPING THROUGH THE DOOR OF Melissa Grimes' 100-year-old house, I think, "Now here's a woman with balls~' Every corner, every nook and cranny contains a group of matching balls. And I'm not talking about a few balls.

I'm talking several hundred multi-colored spheres with finger holes discreetly hidden from the casual observer.

I cast a worried glance around for stray mother condors and try not to cower behind Melissa when this guy lurches through the door holding a still running saber saw. It is beginning to get uncomfortably close to the opening scenes of Scarface.

S

"I can come back later if this is a bad time:' I squeak, just before she introduces me to Richard Whittington, her husband, who I now learn was in the midst of remodeling.

He begins to explain about her bowling ball collection.

"Whew! That was almost .a close one. I've got to stop drinking so much coffee:' I think, as Melissa offers me some coffee and begins a tour of her remarkable home.

Melissa Grimes is an artist, a designer and a teacher, but most of all she is an assembler of her collections. She has collected so many things and images over the years that it almost seems as if her graphics are merely a byproduct of her obsession to collect. A visual rationalization of sorts. In actual fact, the inverse is probably true, but show me a woman with a couple of hundred bowling balls and I'll show you an inveterate collector. Naturally, I have sense enough not to blurt out any errant opinions while Richard is still wielding his saber saw. Since viewing The Tex as Chainsaw Massacre, I've had a healthy respect for power tools.

A native Houstonian, Melissa began her career as an art director at some of the city's hottest agencies. After a few years art directing for Metzdorf Advertising, Ogilvy & Mather and The Richards Group, she quit the ad game and started free-lancing as an illustrator. Then, in 1981, she decided to teach at the University of Texas, moving to Austin (with several truckloads of stuff) just in time to avoid the infamous Houston economic crash.

Austin seems the perfect place for Melissa. It's a historic city with a huge university, a laid back attitude, plenty of amenities and about five thousand small shops selling everything from old magazines to (you guessed it) bowling balls. She's done well here; teaching the semi-slumbering students, awakening more than a few and becoming a nationally recognized illustrator in her spare time.

Meanwhile, she continues her collecting. Roaming around Melissa's house, I'm struck by how much stuff she really 52

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has. " I like to shop:' she confesses. "I make the rounds everywhere each week, but I've got to start cutting back~' Looking around that's not hard to believe. If you needed a clip of a 1943 four-slice toaster, fo r instance, she could produce five . Her library of antique engravings and photography is awesome. Perhaps it's the melding of this tremendous, edited collection of visuals with her innate sense of design and humor that creates her style. And of course there's the faithful color copier, workhorse of any modern illustrator. " I like machines:' Melissa says, " but I'm slow with them ~' Coming from a person who drives a '56 Chevy, this rings a little false to me. " Give me a break, Melissa. I can see two computers and a color copier just from where I'm standing. God only knows how much equipment you've got squirreled away in here ~' "I'm not into computers:' she says, " but I admit I fell in love with the laser copier. I'm still thrilled with ie' " Must be rough on Richard:' I comment, and decide to push on to another subject. Melissa taught for five years, took a year's leave of absence, and has just started back.

I ask her about teaching. " I like teaching. People keep reminding me I'm older than my students, but students keep your mind fresh:' she says.

"I've even been teaching life drawing classes lately ~' "Yeah:' I reply. " I used to like those classes, lots of naked people ~' Judging from the expression on her face, I can tell Melissa takes her teaching seriously. That's probably why she's good at it.

Illustration for a Texas Monthly article called "Heavy Breathing:· "The art di rector said, 'We don't have the story yet, but it's about the bad air po ll ution in Houston. So why don't you put everythi ng including the kitchen sink in the air: I tried to find objects for the sky that seemed somehow 'sme lly: I had placed the objects in reg ular straight rows.

Th e art director didn't like it that way, so I completely repositioned everythi ng and re-ai rbrushed it all in one night!" Jim Darilek, art director/designe r; Vi ctoria Loe, writer. Airbrush, photostat, magazi ne cutouts, handcoloring.

"Truckin' to a State of Grace:· a humorous article about the author's you th , driving the backroads of Texas on the rodeo circuit. Elizabeth Rob ben, art director/designer; Giles Tippette, writer; Texas Sportswo rld, clie nt. Color photocopies, colored paper.

Cove r for Mclane Trucking Company halloween candy catalog . The client is a grocery distributor serving mostly small, quick-stop stores.

Equal space was given to the different candy manufacturers with wh om they co-op their catalogs. Richard Whittington, art director/ desig ner; George Narro, creative di rector; Whittington, Meis & Narro, age ncy. Black and white photostats, color photocopies.

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Melissa is also very good at collage. And while she calls her work collage, it's much more than the cut-and-paste variety so often associated with the word. "Collage is greae' she says, "It allows me to change my style constantly without changing my medium. Some people think of collage as nostalgic, others think of it as Pop or Punk, but it really can be anything~' A quick look at her illustrations proves how true that is. She has illustrated everything from Pink Floyd to dental techniques, and all somehow seem appropriate to their subjects.

As Melissa is rummaging through her drawers, I catch a glimpse of a T.G .I. Friday annual report she illustrated.

"It's nice when an art director can get you to do something even you didn't know you could do~' she says. "With this one, the art director, or someone, had a vision, but I don't think even they had an idea of what it was. I certainly didn't, but it wound up being a breakthrough for me~' More recently, Melissa has begun to run fabrics and things through the copier and her work is getting a sorpewhat different look. Ultimately, I figure she's going to need a gigantic color copier, maybe gasoline-powered and selfpropelled. But for now, she's turning out some of the more interesting work of her career, teaching and, of course, collecting. As I take my leave and suppress a kleptomaniacal urge, I ask what is slated for the future. "I'm getting older:' she says, "so I'm looking at all my options. Career, teaching, fine art ... kids. Who knows?" Whatever the outcome, I expect her future will be like her work: unique, diverse and spontaneous.

Campus Voice article about breaking through creative barriers. Su Pogany, art director; Whittle Communications, client. Color photocopies, colored paper, magazine cutouts.

Right : "Love at First Sight:• an article on contact lenses appearing in Caring. Mark Geer, art director/designer; Kilmer/Geer Design, design firm; Memorial Care Systems, client. Color photocopies, colored paper.

Cover for TGI Friday's, Inc. 1984 annual report. The road shows the restaurant chain's "triangle theory" that growth (lower right) and qual ity (lower left) lead to profits. Alan Calvin/Woody Pirtle, art directors/designers ; Pirtle Design, design firm. Airbrush , color photocopies, magazine cutouts.

"Wild, Wild Lite:· a Campus Voice story about the author's experience as an accordion marching band extra in David Byrne's movie True Stories. Su Pogany, art director/designer; Ed Ward, writer; Whittle Communications, client. Color photocopies, colored paper, magazine cutouts.

Brochure illustration for a manufacturer of in-store video machines that run product demonstration videos. "This was one of several illustrations, which pointed out different advantages of video marketing.

This particular one shows how one video machine can do the work of several salespeople by showing an entire line of products, saving money in salary and sick leave and generally supplying customers with more information:' Renee Sullivan, art director/designer; Tandy Belew Design , desig n firm; By Video Inc., client. Airbrush, color photocopies, magazine cutouts.

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Illustration used to depict New York City in a vacation incentive program brochure for VMS Realty's salesmen, "Wish You Were Here:' Steve Gibbs, art director/ designer; Steve Gibbs Design, design firm. Color photocopies, magazine cutouts.

"Coming Soon to a Theater Near You: DWARF;' Texas Monthly article about the shrinking scope of Texas films, from great classics like Giant to small films like Nadine. "My copier has a 'squish' setting, which I used to get the tall, thin figures. They were squished then photostated, then squished again:' D.J. Stout, art director/designer; Lawrence Wright, writer. Color photocopies, graduated colored paper, film positive, acrylic.

"The One-Two Punch;' an Isaac Asimov article about a culture that was destroyed twice by volcanic eruptions, which may have been the civilization we now call Atlantis. The culture referred to was Minoan, but Grimes applied some artistic license and substituted Greek art and architecture. Kitty McGee, art director/ designer; American Way, client. Color photocopies, colored paper.

"Saving Face: The New Image of Cosmetic Surgery" appeared in Detroit. "The art director left the assignment wide open, but said the illustration shouldn't take a negative stance about plastic surgery. Pressed for time on the night of the deadline for a rough, I got out a file of faces I had saved from old, largeformat Vogue and Seventeen magazines. The collage is mostly made from pieces of these faces (from make-up ads and articles on hair and skin care). The bandages are made from an actual gauze bandage Xeroxed on colored paper, and the sheet in the background is copied directly from an actual wrinkled sheet:' Sheila Tomkowiak, art director/ designer; Laura Berman, writer; Detroit Free Press, client. Magazine photos, color photocopies.

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Lett: " New York Lifeline :· an article in Northern Telecom's Access magazine describing how the firm helps the underprivileged in New York City by providing access to and information about social services.

Bryan Peterson, art director/designer; Peterson & Co., design firm.

Color photocopies, colored paper.

"The Battle of the Bubbles:· a Texas Monthly article about the efforts of a Texas bottled-water entrepreneur to "kick Perrier in the derriere" by taking back the share of Texas' bottled-water market held by Perrier.

"After doing lots of thumbnails showing submarines, boats, etc., I remembered seeing bird's-eye-view scenes of the Civil War in old books and did a thumbnail showing two arm ies fighting on either side of the illustration with water in between. At first, I thought the armies should have water pistols shooting at each other; then I realized that I could use the actual bottles as cannons. I took slides of bottles myself, backlighting and spraying 'sweat' on them. I made color copies from the sl ides then cut out the bottles and copied them in several sizes.

The background is a Civil War-era, colored engraving, Xeroxed, cut up and rearranged . The water is color-copied from magazine photos:' D.J. Stout, art director/designer; Jan Jarboe, writer. Laser copies, color photocopies.

Th is page : "The Boston Marriage:· a New England Monthly article about a Victorian custom of two women living together in a state of platonic and poetic love without disapproval from society. "Ironically, as Freud's studies became widely known, this was looked upon as unnatural, and the practice faded from public view. The great irony is that in Victorian times there was this freedom, which in our liberated age is taboo:' Hans Teensma, art director/designer; Megan Marshall, writer. Color photocopies, magazine cutouts. " Corporate Image: What's in a Name:· a Skylines article about a company that names other companies and products. They research and test names to get the reaction of consumers. Elise Nakhnikian, editor/art director; S.B. Master, writer; New York Air, client. Color photocopies, colored paper.

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GOODBY, BERLIN & SILVERSTEIN BY

OTHING IN ADVERtising is so admired, envied or resented as an agency with the success of Goodby, Berlin & Silverstein, especially considering some of their opinions.

They say it's depressing to talk about advertising because it is so awful right now. "With a couple of exceptions:'

N

They don't think there is anything new or innovative about advertising today.

They say if you can't do advertising that's different, what the hell, why be in it?

They don't have a style and don't believe an agency should.

They say some of their wo~~ is sensitive and some just off the wall and what's wrong with that?

They think they haven't had to do any spec for more than a year because they have become "desirable:' They don't like being desirable because that may mean they have become "fashionable:' After six years, JeffGoodby, Andy Berlin and Rich Silverstein have an agency that is capitalized at 40-to-50 million dollars and they still run it together, function together as the agency's creative directors, and stick closely together in offices that are one right next to the other. The building they moved into a year ago is a threestory brick antique that survived the 1906 earthquake and probably won't make it through another like it. The environs are waterfront, the chic is warehouse and the tech is hi. Very S. F., as San Francisco Chronicle columnist Herb Caen would say of something suitably San Franciscan.

It follows , of course, that none of the partners is from San Francisco. Jeff Good by was a newspaper reporter in Boston and came to the Bay Area to find a job with a San Francisco paper.

He ended up doing a spec book that 60

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finally got him into J. Walter Thompson. Andy Berlin arrived in town from Philadelphia after trying to write experimental fiction. He managed to get work at one agency that quickly fired him and another that quickly closed down. Rich Silverstein came out from New York as a designer whose mentor had been Dick Hess.

He went to work for G. Dean Smith, then as an art director for Rolling Stone and San Francisco. "After that I worked one-and-a-half years for every agency in town:' They all eventually found each other at Hal Riney, in the days when it was Ogilvy & Mather. . "Hal did an awful lot for us personally and professionally;' says Berlin. " He really helped us get started:' Goodby and Silverstein still like to screen a Cornuts spot they did for Riney, two old coots sitting in front of a shack jabbering about the corn crop. It looks like a shameless knockoff of Bartles & Jaymes, except for one thing. It preceded them. A little of that rustic Riney flavor can still be found in some ofGBS's spots. Others show evidence of Riney's Morning in America mood, some a bit treacly but much of it genuinely charming, as in their spots for Australian Range Lamb and the new dog food from Starkist, Reward.

More influential than Riney has been the hazy legacy of Howard Gossage, the San Francisco advertising pioneer responsible for such successful oddities as the Irish Whiskey campaign, Beethoven sweatshirts and Scientific Americans international paper airplane contest. A visible effect began to be seen when the agency became involved in some honest-to-God print advertising. The trade had stereotyped GBS as a TV shop. But with the acquisition of Christian Brothers, Royal Viking and now Clark's of England, they have had to show their mettle in

Reward dog food campaign . The client told the agency to find a niche for their dog food, and a woman in a focus group gave the agency the idea for the campaign. The niche that GBS found was the super·premium market, and the focus woman 's idea was that dogs loved their owners so much that one of the very few ways to try to return that love was with food .

Super-premium food , of course. Accord ing to the agency, the focus group then went on to talk about the most emotional moments they spent with their dogs. "The one that set everybody ott:• says Jeff Good by, " is what it feels like to come home to your dog and the way your dog waits for you. So the whole thing was written. All we had to do was transcribe it." The agency now has credits for packaging the product, awards for the commercials and congratulations fr'om dog-owners " for show· ing dogs as dogs instead of having them talk, sing or act like people ." Consumer magazine ad. Jeremy Postaer, art director; Jeff Good by, writer; Jeff Good by/Rich Silverstein , creative directors; Hank Benson, photographer.

60-second commercial opens on clocks strik· ing five . Quick cuts of various dogs waking up as if they heard chimes. Cuts of people finishing work. Cuts of dogs now anticipating the arrival of their owners. lntercut are scenes of one particular woman coming out of a bui lding, getting on a bus. Cuts of one particular dog who remains asleep. Shots of dogs and owners in greeting: dog jumps from car and runs to man on train platform ; doors open to anxiously waiting dogs ; man carries groceries into house as dog trots alongside him.

Woman now comes up the steps of her brownstone and puts the key in the lock. The dog fina lly wakes up, races around a corner and slides on the floor to get to the door.

Anncr.(VO) : When you think about the un ique joy your dog brings you, why would you ever want to feed him anything less than America's finest dog food .

(Tight shot of dog food label. Dissolve to shot of product and package. Super fades in) Anncr.(VO) : New Reward . For the very best dogs in the world ... what may be the very best dog food.

Rich Silverstein, art director; Jeff Good by, write r; Jeff Good by/Rich Silverstein, creative directors; Debbie King , producer; Norm Griner, director; Griner/Cuesta & Associates, production company.

Outdoor board for Australian Lamb rea lly began the whole campa ign, which now includes TV and magazine ads. Betsy Zimmermann, art director; Ed Crayton , writer ; Rich Silverstein/Jeff Good by, creative directors; Michael Ruetz, photographer.

For The Very Best Dogs lin The World, ~ 72J.ben you lhin.k aboul /he

unirue foy your clog brings you,

why would you ever wan/ lo

/eed him any/bing less /han

7'/merica's very fines/ clog /ood?

{ 9nlroducing new!Reward, }

{

HIS name is Casey. And while Annie Berenson of Hudson , Ohio , might think he's the very best dog in the world , perhaps you 'd disagree .

MAYBE you think that the real very best dog lives , well, somewhere near your house.lf so , read on .

}

a nulrdiona/lj complele,premium

canned clog /ood ;n eighl cie/)cious varielies. 'Jry !Reward and send us your

commenls. 7'/nd ij'you /bin£ we should be using your clog in our nex l !Reward

magaune ad, send us a snapshol. 'J.be address ;s:!Reward, l tJ00. Ocean2Jiud.,

f3ong2Jeac.b,Ca. 90tJ02.

Introducing New Reward.

We're looking /orward lo your responses. ~

A COMPLETE LIST OF INGREDIENTS IN AUSTRALIAN RANGE lAMB. COMMU

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print. The Gossage ghost has been around-surprising concepts, curious headlines (or no headlines), amusing design and graceful copy. If the copy is here and there a little arch, that too can be attributed to Gossage.

Even so, the GBS determination to have no style, only a style for each client, has prevailed. Certainly the ads for Christian Brothers flavored brandies are conspicuously different from any other G BS work, off the wall or otherwise. They are more like off the planet, resembling a cover for SPY or Interview. They also represent one of the agency's admitted miscalculations. According to Jeff Good by, the target market was blue collar. "They were in no way weird enough to like this kind of stutr' If that sounds like recklessness, Goodby says the agency researched blue collar bars in the Midw.est, where flavored brandies apparently are popular. But Goodby emphasizes that the research the.agency does is qualitative only. "We've never commissioned any quantitative research, ever~' So here is a small agency that limits its research, has two writers and an art director at the top, shuns the establishment, makes a point of being different, has a hell of a good time and then not only succeeds in winning agency competitions for clients like Christian Brothers and Royal Viking but also gets a shot at out-of-town blue chips like Polaroid and Starkist.

What's more, the agency rises to the occasion. The spots for Polaroid's new Cool Cam have hit the jackpot. Taking a concept that a video camera simple enough to be operated by kids should have spots written, performed and produced by kids, GBS stayed true to its idea and had the kids really do the commercials. The spots are also the purest example of the agency's policy of making "the idea the currency of the commercial rather than the production values~' Rich Silverstein goes on to say, "You really can make TV commercials without a great deal of expense or bull shit and have them be 62

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good if the idea is good~ ' GBS has of course proved this with any number of commercials made by adults and not by somebody's kids-spots for the San Francisco Examiner, WABC Radio, Supercuts and their classic in-theater PSA for the Mill Valley Film Festival.

For Starkist, the occasion was at the highest level yet. Starkist had a new canned dog food that focus groups who saw and smelled it considered it superior enough to be called gourmet, for want of a better adjective. Dog owners in test markets thought the product looked good enough to be on television. It had no name, no package. GBS did it all-the name, the package and a TV campaign glorifying the American dog. The Reward spots that are now going national should prove that G BS can excel in the sublime as well as the ridiculous.

One little thing. Jeff Good by says, "You can't show dog food very well on TV~' But Rich Silverstein says, "People say they would like to buy a dog after seeing this~'

Holliday and made President/COO, is now gone after seventeen months. His predecessor, Rebecca Holder, with GBS in its early years, left in circumstances that resulted in an out-ofcourt settlement. Although the agency is said to be looking for a new top executive, it is Andy Berlin's observation that GeofPanek, the CPO, is the one who has really been running things all along. As if to prove it, Berlin says, "Everybody calls him 'Sledge~ " Berlin also points to the limited partnership formed last year with Britain's Boase Massimi Pollit. The British agency now owns 37 112% ofGBS, with options in time to buy more or sell back, depending on how everyone feels. Berlin stresses that the deal was made for creative as well as business objectives. "Their creative is the best stuff I've seen in fifteen years. And what's also important is their experience in working on really big accounts.

We want to learn how to do thae'

Not that everything is always completely rosy with a fast-growing agency headed by creative principals.

The gray areas are generally in business management and creative depth.

There are too many sad examples of creative agencies that skyrocket and eventually fizzle when they fail to settle on the right business management and take too long to bring in new creative blood. Silverstein maintains the agency has been building a creative department with the strength the agency needs to keep growing and there has been no reluctance to buy the best. The senior writer, David Fowler, came from Stan Richards, where his radio spots for Motel 6 got GBS on the phone to him in a hurry.

Steve Diamant, the senior art director, was brought over from Hal Riney.

Writers and art directors now total thirteen, counting Jeff, Andy and Rich, and two more writers are now being hunted.

One way or another, they're learning.

To visit Jeff Good by, Andy Berlin and Rich Silverstein now is to experience that well-known sweet smell of success, and to understand it. If their success does cause admiration, envy or resentment, it must also cause wonderment. How do they do it?

What attracts and keeps clients like theirs? It must be more than brains, talent, guts, grit or even luck. One answer has to be Chemistry. Jeff, Andy and Rich have such enthusiasm for what they are doing, so much fun doing it and so much enjoyment in being with each other, that it all has to beguile any client who dreams of finding an agency that can do something even more than great advertising. Howard Gossage called that something Magic. Combine Magic and Chemistry and you get Goodby, Berlin & Silverstein, an agency that seems to have no limit to how far it can go creatively, professionally, nationally.

The management picture is less clear.

Scott Thomson, recruited from Hill,

Just so they don't sell more dogs than dog food.

Having kids shoot the Polaroid spots themselves was the first idea the agency presented to the client, and it never changed . In fact, that was how GBS got the business. Jeff, "It was terrific because we never had to shoot anything ." The agency maintains the kids did everything except edit. For many of the spots the agency says it wasn't even at the shoot.

"The kids did things you 'd never think to do in a million years."

~

Cool Cam

30-second commercial opens on camera card: Actually made by kids for Cool Cam. Music: Under throughout.

Kid # 1 (VO): We 're going to the beach with Mr. Armadillo. We're going to make time stand still with th is new Cool Cam. (Cut to Kid #1 in passenger seat of moving car as he faces camera in back seat and snaps a photograph. Cut to Kid #1 pushing armadillo on surfboa(d out into the ocean) Kid #1 (VO) : Hey, Mr. Armadillo! You wanna go surfin'?

Mr. Armadillo (VO): OK. (Cut to Kid # 1 on beach taking photo of the surfing armadillo. Cut to armadillo as surf hits him. Cut to close-up of armadillo wearing sunglasses and seated on lounge chair) Kids (VO) : Wow! Great. He's sunbathing , yeah!

(Cut to Kid #2 taking photo of the loung ing armad illo. Cut to close-ups of Polaroid photos of armadillo) Kid #2 (VO): Mr. Armadillo, can you tell the fans back home what this Cool Cam comes with?

(Cut to close-up of armadillo wearing sunglasses) Mr. Armadillo .(VO) : Yeah, it came with sunglasses and a bag .

(Shots of the words " glasses" and "bag" written in sand next to displayed package) Kid #1 (VO): Mr. Armadillo, you're awful dirty.

You gotta go swimming.

(Shots of kids picking up the armadillo by its tail, riding him through the water on a plastic flotation tire and taking photos) Kids (VO): Smile, Mr. Armadillo!

(Cut to camera card : Polaroid Cool Cam . Cut to backshot of armadillo riding a skateboard) Kid #1 (VO) : Hey, wait, Mr. Armadillo. Don 't go!

Rich Silverstein/Jeff Good by, creative directors; Aaron Silverstein/Jeremy Kaller, directors; Debbie King, producer.

Good by, Berl in & Silverstein Creative Department: Jeff Goodby/Andy Berlin/R ich Silverstein, principals/creative directors ; David Fowler, senior writer ; Amy Krause/Rob Bagot/ Ed Crayton , writers ; Steve Stone/Betsy Zimmermann/Jeremy Postaer/Steve Diamant/ David Page, art directors; Linda Harless, creative coordinator/assistant to creative directors; Leslie Howard, creative secretary ; Max Fallon , production supervisor; Suzee Barrabee/Lucille Miles, production managers ; Debbie King, broadcast director; Cindy Fluitt/ Elizabeth O'Toole, broadcast producers ; Bess Cocke, broadcast business manager ; Ben Latimer, AIV manager/ broadcast coordinator.

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

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M A R C H I A P R I L 19 8 9

GOODBY, BERLIN & SILVERSTEIN Left: One from a series of newspaper ads for Home Express, a home furnishings store .

Rich Silverstein, art director; Peter Wegner, writer ; Betsy Zimmermann, designer; Jeff Goodby/Andy Berlin/Rich Silverstein, creative directors ; John Clayton , photographer.

Print campaign for Royal Viking Line.

Good by, " We 're really proud of the work. We do at least two or three ads a week:' This year's magazine campaign was assigned to different creative teams for different cruises .

The healthy competition that can be imagined resulted in work the agency regards as its best, stressing the effectiveness of long copy and good prose. High marks also go to the design, which shows Rich Silverstein's candid admiration for Marget Larsen (see CA article, March/April1988). Jeff Good by/ Rich Silverstein, creative directors.

"Jewels of the Orient"; Rich Silverstein, art director; Jeff Good by, writer ; Joe Duffy, designer. "Crystal & Silver"; Rich Silverstein,

art director; David Fowler, writer ; Betsy Zimmermann, designer; Jay Maisel, photographer.

This page: Double gate-fold insert; Steve Stone, art director; David Fowler/Rob Bagot/ Jeff Good by, writers; Michael Bull , illustrator; Jay Maisei/Dan Escobar/ Aaron Jones/ William Thompson, photographers. "A Grand New Ship"; Betsy Zimmermann, art director; Jeff Good by, writer; Pieter Goos, map illustrator.

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GooD BY, BERLIN & SILVERSTEIN

Print and broadcast campaign for Christian Brothers Winery. The credits say Jeff Good by and Andy Berlin wrote the TV, but Good by's story is the brothers did all the spots without scripts. "They just started talking." Either way, the spots show one of the many forms of creativity GBS brought to a full range of products and media. Jeff Good by/Rich Silverstein, creative directors.

This page: Magazine ad. When a focus group described the Christian Brothers line of varietals as like "an old Chevy:• it was all GBS needed to know about an image problem.

The agency believed the wines had to be better than the public perception. "We were right:• Jeff said. The agency also learned that CB had more property than any other winery in the Napa Valley, including choice cabernet vineyards. Napa. Cabernet. Magic words in wine marketing. Rick Strand, art director; Jeff Goodby, writer; Mark Hess, illustrator.

30-second commercial opens on camera card: The Christian Brothers Winery. Napa Valley, California. Fade to Brother f3aphael.

Brother Raphael: Over the years, people do drive up, and they've asked if they could speak to one or another Mr. Christian.

(Fade to title: Brother Raphael. Fade back to Raphael) Raphael: Uhm, I realize that there can be confusion in that, and that there have been persons who simply think that the words Christian Brothers or the picture of Mount LaSalle on the label ...

(Fade to package and back to Raphael) Raphael: ... is an advertising gimmick. And they don't realize that's all for real, that it's not

really a gimmick at all, and it's simply saying what things really are.

Super: Fromm & Sichel, Inc., Santa Rosa, CA. Rich Silverstein, art director; Jeff Good by/Andy Berlin, writers; Debbie King, producer; Norman Seeff, director; Richard Marlis Productions, production company.

Right page: Consumer magazine ad for Christian Brothers Extra Old . Rich Silverstein, art director; Jeff Good by, writer; William Coupon, photographer.

No one has been lukewarm about the flavored brandy ad GBS says was targeted at a bluecollar market. Presumably the blue-collar appeal was to come from having old-time billiard champ Willie Mosconi use a milkbone for a billiard cue. The ad is now cited by the agency as "one of the strangest we've ever done." Steve Stone, art director; Peter Wegner, writer; Dan Escobar/Hank Benson, photographers.

Two consumer magazine ads for Christian Brothers Brandy. The client's best-known and most important product, needed new life.

GBS came up with the CB puns, starting with the seabee. Then Jeff Good by, who says he had been thinking hard about more CB puns, got lucky. "I was driving across the Bay Bridge one night and "Johnny B. Goode" came on the radio. And, that was that."

"CB Soda"; John Morrison, art director; Jarl Olson, writer; Dennis Manarchy, photographer.

"Chuck Berry"; John Morrison, art director; Jeff Good by, writer; Annie Liebovitz, photographer.

HTheWorld Had But One Square Mile Of Cabemet,lt Should Probably.BeThis One. On

the noor of California's famed Napa valley. around the town of Oakville, lies a stretch of vineyard property that is changing the wine world.

Here, near perfect rainfall, sun, and soil have coincided to produce what many consider to be the finest Cabemet Sauvignon on earth.

Only a handful of wineries are lucky enough to tend here. ~ at The Christian Brothers are proud-and constantly challengedto be among those fortunate few.

~~~~---..._-

EHRJST!AN

BR.O'fHER.S

66

M A R C H I A P R I L 19 8 9

NEW CHRISTIAN

BROTHERS

FRUIT & BRANDY

C.B. in orange.

WITH A UTILE CB BRANDY AND ORANGE JUICE,JOHNNY B. VERY GOOD INDEED.

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

67

GooDBY, BERLIN & SILVERSTEIN

Spread from a sales brochure for Stubbies, an Australian beachwear company originally started by young people, for young people. After years of popularity it moved to an older market. GBS was hired to rejuvenate it, somehow. The agency reports that its brochures sold Stubbies back into the beachsurfing stores and made the market feel the clothes looked young again, somehow. Rich Silverstein, art director; Jeff Good by, writer; Rich Silverstein/Jeff Good by, creative directors; Peter Ogilvie, photographer.

Poster for Spoons restaurant. GBS got the take-out chain to buy a bunch of old Caddies and paint them pink for their delivery fleet. Rich Silverstein, art director; Peter Wegner, writer; Rich Silverstein/Jeff Good by, creative directors; James Wood, photographer.

Packaging for Honey Hill Farms. An example of the agency's ability to handle package design. The label's background is calculated to give frozen yogurt the rich look of a superpremium ice cream, any one of the dozens of them . Steve Stone, art .. director/designer; David Fowler, writer; Rich Silverstein/Jeff Good by, creative directors; Aaron Jones, photographer.

Right page : The three-minute film produced for movie houses to advertise the Mill Valley Film Festival is, in the agency's estimation, the most successful and influential single thing it has ever done. Good by, "It was ridiculous. It won four Clios in one year, all sorts of other prizes and everybody talked about it." The film became so popular that TV stations picked it up and ran it free. Originally, early in the agency's history, GBS had agreed to do something for the film festival as a good cause. They didn't know what.

The idea finally came during a cab ride when the three partners were talking about how to figure something out. Cut to the cab driver, who starts to voice some knowledgeable opinions about various films, foreign and domestic. It was obvious. Just imagine a spot with everyone in Mill Valley as expert on film as the cabby-garbage collectors, mechanics, sushi chefs, beauty parlor customers, store clerks, cops, butchers and other natives, all discussing everything from film nair to French New Wave. The film was shot in two days, with scenes written and rewritten on location. In addition to the normal credits, mention should be made of Jeff Good by as the mechanic, Andy Berlin as voice over and Rich Silverstein and his two kids as the father and children at dinner.

68

M A R C H I A P R I L 19 8 9

'~ , , . l '}

180-second commercial opens on shots of town scenes inserted between vignettes.

Anncr.(VO): Once a year, the eyes of the international film community turn to the tiny town of Mill Valley, California, and its glorious cinematic celebration.

Music: Surfer beat played between dialogues.

Lady #1 in beauty parlor: Of course we had the debut of "Paris, Texas" last year, and that was very nice.

Ladies (chorus): Very nice.

Garbage Man #1 : I guess we're all looking forward to the film noir retrospective.

Garbage Man #2: Yeah . We like that deep focus.

Garbage Man #1: Well, there 's a surface to the genre that, if anything, improves with age.

Hardware Store Man: They're bringing back that Jane Russell movie " Hot Blood ." (His wife stares at him) Dad at dinner table: What's the matter?

Daughter: Aaron says that the recent New Zealand films are better than the French New Wave.

Son: I did not! I just said they were reminiscent.

Daughter: That's stupid, Daddy. Where's their Truffaut?

Where 's their Godard?

Sushi Chef #1: We are going to see the premiere of Haskell Wexler's film, "Latino."

Sushi Chef #2 : We are Haskell Wexler fans from way back.

Sushi Chef #1: Medium cool.

Lady #2 in beauty parlor : That Wfm Wenders is such a nice young director.

Lady #1 : There should be more like him.

Fast Food Speaker Phone (VO) : So, uh, am I gonna see you at the premiere of that new Paul Schrader film?

Girl: "Mashima?"

Speaker Phone (VO) : Yeah!

Girl : No, I can't. My dad 's taking us to Africa.

Speaker Phone (VO): Well , can't you get out of it?

Cop #1 : I was tellin ' Morris, get this, we got the world premiere of Joseph Papp's new film starring Meryl Streep and John Gielgud, and he says, "Who's Joseph Papp?"

Cop #2: You gotta be kiddin ' me.

Cop #1: I don't know how that guy ever made sergeant.

Butcher (as he chops chicken parts): Of course, Eisenstein really wrote the book on film cutting . Everything since has more or less been a footnote. But some footnotes are more interesting than others. This year, we're having a panel discussion with some of the best editors in the business-Marsha Lucas (chop), Bob Dalva (chop), Michael Chandler (chop), Tom Standford (chop) .

Mechanic under car (VO) : So God's up in heaven. He looks down at his calendar and he sees the end of the world com ing up and he decides that somebody should film it, right? He asks St. Peter to go down and shop the property for a director....

(Cut to various titles and credits) Mechanic (VO): ... St. Peter comes back and says he can't find a director and God says, "What about Lucas?

And St. Peter says, "He won 't do it-he'll produce it, but he won't direct it." "That's no good :' God says, "how about Spielberg?" " He can't do it:' St. Peter says, "it has something to do with his contract-how about Coppola?"

God says, "Coppola! Coppola! I got to make a profit on th is thing! "

,,,.~. .IP. ...,....,. __

Jeff Good by/Rich Silverstein, art directors; Jeff Good by/ Andy Berlin, writers ; Andy Berl in/Jeff Good by/Rich Silverstein , creative directors ; Debbie King , producer ; Jon Francis, director; Jon Francis Films, production company.

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69

The San Francisco Examiner was once the monarch of the Hearst newspaper empire . Old William Randolph Hearst's grandson was taking over and trying any number of ideas to revive it. One thing young Will Hearst did was to hire a brash new advertising agency.

GBS put him on TV. Filmed in black and white, different spots have Will Hearst in a Citizen Kane parody; talking back to his grandfather's picture on the wall; madly driving an Examiner delivery truck up and down the streets of San Francisco. No less provocative have been the outdoor boards ridiculing TV news programs.

With a changed product living up to its advertising, the old Examiner is looking alive again.

Outdoor boards. Rich Silverstein, art director; Peter Wegner, writer. "Block Out Harmful Rays"; Jeff Goodby/Andy Berlin/Rich Silverstein, creative directors.

"Ken & Barbie"; Jeff Good by/Rich Silverstein, creative directors.

60-second commercial opens on shot of hilly San Francisco street with super : 4:58pm .

Examiner truck appears over the crest of a hill.

Music: Under throughout.

(Cut to close-up of truck as it jumps crest. Cut to Will Hearst bouncing and swerving as he drives truck) SFX: Screeching tires.

(Cut to shots of elderly lady as she closes her pet shop. Cut to truck as it swerves into an intersection. Cut to newspapers being jostled

70

M A R C H I A P R I L 19 8 9

in back. Cut back to lady as she walks along sidewalk, stops, looks at her watch, pulls out a quarter from her purse, drops it into road and steps out to pick it up. Interspersed with shots of lady are further shots of Will in truck as he jumps hills, shifts gears and jostles his papers.

Cut to lady following the rolling quarter out into road as truck comes barreling down hill) Ann cr. (VO) : For the latest news in the afternoon ...

(Cut to lady stooping to pick up quarter. Truck whizzes past camera. When she appears again, she is standing and holding an open newspaper) An ncr. (VO): ... get the paper that's printed after noon.

(Cut to Will still driving truck and flipping the quarter in his hand. He smiles and looks at camera.) Super appears : William Randolph Hearst, Ill (Publisher) Ann cr. (VO) : From the next generation ...

(Fade to camera card : San Francisco Examiner The Afternoon Paper.)

Ann cr. (VO) : ... at the San Francisco Examiner.

Steve Stone, art director; David Fowler, writer; Jeff Good by/Rich Silverstein, creative directors; Debbie King, producer; Jon Francis, director; Jon Francis Films, production company.

GOODBY, BERLIN & SILVERSTEIN

60-second commercial opens on Will Hearst being approached by a bum on the sidewalk.

Music: Under throughout.

Bum : Mr. Hearst, listen, I got this idea for your newspaper.

(Cut to a press conference) Will : So that's it. I'll be overseeing the deal personally.

(Cut to newspaper spinning toward camera to reveal headline: Publisher Pledges Y2 Price Moneyback Guarantee) Ann cr. (VO): A half-price guarantee .. .

(Cut to man reading newspaper) Man: Good idea.

Anncr. (VO): But would they call?

(Cut to elderly couple watching TV) Woman : Let's act now!

(Cut to operators answering calls at phone bank) Operator : Exam iner.... May I help you?

Anncr. (VO): They called . And called. Until .. .

(Cut to men from pressroom trying to catch up to Will) Men: Chief, Chief, we can't print 'em fast enough!

Will: Then buy more presses.

Anncr. (VO) : Success. Sweet. Resounding. A young publisher's pledge captures the hearts of the world ...

(Ripple dissolves to Will sitting up in bed as he wakes from a dream) SFX: Thunder.

Will : Nah .. : (thinking a moment then lying back down) SFX: Thunder.

(Will sits up and looks at camera) Anncr. (VO) : Now, for a limited time ... the Examiner ... at half price .. . with a moneyback guarantee from Will Hearst himself. Call 800-543-1200 now. Operators are standing by.

Rich Silverstein, art director; Jeff Good by, writer; Rich Silverstein/Jeff Good by, creative directors; Debbie King, producer; Jon Francis, director; Jon Francis Films, production company.

30-second commercial opens on columnist Cyra McFadden stopped by the police.

Cyra: What's going on here, officer?

Officer #1: We 're looking for a Cyra McFadden. Wrote that thing called "The Serial."

Cyra: Uh huh ...

Officer #1: Made Marin look pretty bad .

Cyra: Well, I don't really ...

Officer #1 : Word is she's back in the area working for that Will Hearst guy.

Cyra: Gosh, officer, wasn't "The Serial" written in the spirit of fun?

(Cut to close-up of police insignia on BMW car door) Cyra : I mean, it is a little different up here.

Officer #1 : Different, Ma'am?

(Cut to Officer #2 shining flashlight on Cyra's car) Officer #2: What kind of car is this?

Cyra : It's a Plymouth .

Officer #2 : I've never seen one before.

(Cut to Cyra giving a wry look into camera. Fade to super: Cyra McFadden, Columnist) Ann cr. (VO) : The next generation. At the San Francisco Examiner.

Rich Silverstein , art director; Jeff Goodby/Andy Berlin, writers ; Jeff Goodby/Andy Berlin/Rich Silverstein, creative directors; Debbie King, producer; Jon Francis, director; Jon Francis Films, production company.

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EXHIBIT WE'RE LOOKING FOR NEW, outstanding work for Exhibit. Send us samples of your latest and best, and describe the purpose and any interesting background; also include creative credits. Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, CA 94306.

EVEN THOUGH THESE ADS for the Beef Industry Council were loaded with information, the agency was able to develop a friendly, inviting format that has achieved high readership scores, "best read" in one of the magazines.

"The reason for so much information was the lawyers~' said creative director Lynda Pearson.

"We spent more time with lawyers than you could imagine.

We couldn't talk about calories without talking about cholesterol, without talking about fat. The 'skinny six' at the bottom is information from the Beef Council. People want to have much more lean cuts these days and nobody knows exactly what to look for~' John Donaghue/Lona Walburn, art directors; Lynda Pearson/Augusten Burroughs, writers; Lynda Pearson, creative director; Millie Olson , executive creative director; Diane Padys, photographer; Mike Bull, illustrator; Ketchum Advertising, San Francisco, agency.

FOUR-PAGE ADVERTISING INSERTS (facing page) for Komori America Corporation, manufacturers of offset printing presses, were bound in to four major graphic arts publications. These had to have the visual impact to compete with other advertising, including inserts of paper companies, and more importantly, present a printing challenge that would demonstrate the high level of printing quality achievable with Komori Lithrone presses. Art director Joan Flavell's design accomplished that extremely well, combining the subtle nuances of color and delicate shading in Grant Peterson's photographs with the complex and equally subtle pattern of oriental rice paper and an area of solid color with irregular edges to show how evenly the press lays down a solid. As the copy states, "There are few printing presses that can print up to the exacting standards demanded by the artwork on these pages~' "We scanned the rice paper directly~' said Flavell, "and went through several stages of separations to get the exact colors~' Noral Color Corporation made the separations. R.P.P. Enterprises was the printer. The press run was 250,000 on a Komori Lithrone L640.

Joan Flavell, creative director/designer; Steve Hanthorn, associate creative director/writer; Grant Peterson , photographer ; Ketchum/ Mandabach & Simms, agency; Komori America Corporation , Jim Scott, V.P. Marketing, Bill Caver, Asst. Marketing Manager, client.

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M A R C H I A P R I L 19 8 9

Meanwhile Back At The Ranch.

The imple BeauJy ofArtistic Dedication.

There are f~, pMntin~ pr es that can print up to th~ exacun~ Slandards demanded by the artwork on the5e pages llftt our reputation as the manufacturer of the world's best presse. withstood the challenge of reproducing photographer Grant Peterson's subtle nuanc~ of color, ~xceptional detail and delicate hading. seen here. Perhap; that's \\i1y so manv pnnte~ now call the IJthronc "til( primers' press:· \X~ 've alw•a)S been ahead of our time Over 6o years ago Komori mtroduced the first manually fed offset press. incorporati~ the most advanced manufacturing tech· nolog) of that ti~. In the 1950' we introduced fully automatic 1, 2and4 coloc~ a decade ahead of o~1er leading nll!nufac· turers. n~e superior technolog)' of those early pr · · continues to be reflected and improvea upon jn uur Lithronc line which IS built using a unique dlreC plum produc· tion S\Stem.

E.1ch pres. is engineered and manufactured at a plant desi~:ned specific-Jill' for that pre:.s s~e In fuct, all of our plants are among the most automated in 4he world. Komori engineel'li ha'e continually responded to your oeeds by 1mpro11ng the stand:trlli of offset printing with innol'lllions like :tutomatic ergonomically designed central control and the use of sophisticated electroniQi. These superior design feature:; enable UtltrOne pres>es to operate at p&!ds of up to 13,000 IPH and delil'er the high· q~ality Komori printing that's becom~ a stan dan! of the lmli.btry- superior dot·for·dot regi t~r. clean solids. and con iStcnt over-Jil ink coverage.

'X hat' more, we offer a full range of opuonal acce:.· sori that dell\-er an erffi hight'l' le\'l'l of prinnog fidelil\ and quaht) 'omrol Trul~. tl~ert'. an art to buildiog S)~tems as d~ndahle and' erstuil~ as the Komori Lithrone.

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EXHIBIT

NEW YORK PHOTOGRAPHERS Dr. Edward Sheckman and Phoebe Ferguson have formed Alter Image to create impressionistic images for sale. Using a trinocular microscope, Dr. Sheckman re-photographs a tiny portion of his or~ip.al 35mm slide, enlarges it between 2Qi~$d 100 times and creates a pointilistic image. He has also used textured screens made of vinyl or polyester to change the light refraction to produce photographs that look like gouache or heavy impasto.

"I'm constantly exploring;' he said. "I try to take the normal subjects of an artist, architecture or flowers or people, but then reproduce them in a painterly way. In the fifties, I studied black and white photography. I was also studying painting. These were hobbies of mine, since I was a practicing physician, an internist. I later left medicine and became president of a drug company, which gave me more time for photography. In the late sixties, I became interested in color. I started to look at color slides under a microscope because I wanted to know something about the nature of the grain in color materiae' THE '89 HARLEY-DAVIDSON catalog is a spectacular production, 56 pages plus cover, 103!4" x 16~ for prospective motorcycle buyers. "It's a communication piece that enables Harley to tell the whole story;' said David Page, art director/designer. "It's something they won't throw away, a definite pass-around~' Aaron Jones photographed the catalog using long exposures and a light wand to literally paint highlights. Each piece of film is a one-of-akind exposure. The variety of textures and reflections, make the bikes very complicated to shoot. The sets, including a barn, stacks of tires in an alley, rusty corrugated wall and a pile of crushed cars, were all shot in San Francisco. The shoot took six weeks, often-to-fourteen-hour days.

Joe Nagy, writer; Ron Sackett/Jack Supple, creative directors; Scene 2, set design and construction; Carmichael-Lynch (Minneapolis), agency.

74

M A R C H I A P R I L I9 8 9

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

A R T S

75

EXHIBIT

THE ADVERTISING CAMPAIGN for Mitsubishi Electric Sales America, created

by Venice, California-based Chiat/Day, is the work of art director Rick Boyko and writer Steve Rabosky. "The original assignment from Mitsubishi was to do some advertising for a new sound system component called audio-video receiver~' Rabosky said. "It brings better quality sound to television. It allows you to get TV reception through the receiver and enhances the sound by playing it back through your stereo system.

Mitsubishi has been the leader in big screen TVs for several years and this sound system brought the ultimate reproduction of going to the movies. We thought we should use movie clips to get people's attention. And rather than just going after things that were visual, we got clips that had a specific sound attached to them, since the big sound is what is new.

"We tried to get the most recognizable scenes because we knew there was power in famous shots. The most difficult part of the project was actually getting the rights to the clips.

Big names are ridiculously expensive. Consequently a lot of the clips are of people who aren't alive anymore. But I think it turned out to be a better commercial by using the classic movies rather than the more contemporary ones. The most unusual thing about the commercial is how many cuts we went through. I guess this is the nature of dealing with Hollywood. You would think you had an agreement with somebody to use the scene, and two days later they would call because they changed their minds~' This 30-second TV spot, produced in digital stereo, captures the viewer's attention with more than twenty cuts from memorable movies, blending sounds and images with Mitsubishi components.

Famous Hollywood faces, including Groucho, Cagney and Gable, along with sounds of screams, gunshots, torpedoes, train wrecks and music, serve to showcase the new system, while the voice over explains, "From the people who brought you big screen television comes the sound to go with ie' Photographer/director Dennis Manarchy. Kelly Waltos and Francesca Cohn were the producers. Gayle Grant and Brad Wetmore were the editors.

76

M A R C H I A P R I L 19 8 9

DESIGN IN CHICAGO BY

PAT

AND

GREG

SAMATA

OPHISTICATED, CULTURED,

obvious than Chicago. And this goes beyond graphics

political, fla~hy, above ground, under-

to architecture, product design, fashion, every creative

ground, a mixed bag, a true melting pot.

area of our society.

S

The Windy City. The city that works.

Chicago has been called many things over the years, but few can deny the rich heritage and important part Chicago plays in the history and future of design locally, nationally and internationally.

From the early days of the Bauhaus settling in at liT, Chicago has been a great place for designers to practice their profession. A thriving financial community and continual economic growth has helped make it a place where great design can flourish.

During the 1960's Chicago became the design center of the country. With California and Texas later developing their own new unique design style, Chicago took a back seat to other national communities in recent years. Well it's turning around! Chicago is a hot bed of new talent. Pockets of creative groups are breaking through the corporate barriers by taking greater chances and producing exciting work.

It is definitely a mixed bag. It's what we call "no style~' Anything goes. Nowhere do we find one distinct trend or direction. Although we think this is true of

Designers in Chicago are enjoying a newfound status in the business community. They are playing a larger role in the marketing area.

Some have said that Chicago and its client base are conservative. It has always been our position that the corporations aren't necessarily conservative but

'

the ideas that they are presenting are often safe or low risk. This is changing also! Clients are looking for new exciting work, and the designers are responding.

Chicago is a great design town. Nowhere is there more opportunity for young designers to work and grow.

Here as anywhere, it takes desire, passion and hard work by each individual to do great things. But the Midwest will play a larger role in the future of graphic design than it has in the past ten years.

And many of the young, up-and-coming designers are going to make sure it happens.

Yes, there is a lot of energy here. And it is manifesting itself in great work and solidifying the design community.

the rest of the country as well, nowhere is it more

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JEFF BARNES What changes have you seen in Chicago design in the last ten years?

Jeff Barnes: Changes are similar here as elsewhere, but more deliberate.

Looking at the big picture, Chicago's established businesses are large and mass consumer oriented. Changes progress slowly and are often more developmental rather than immediate.

Since we work with smaller companies, this is not as serious a concern as it might be for others.

How has the role of the designer changed and what changes do you foresee in the next ten years?

Jeff Barnes is principal and founder of Barnes Design Office. His experience is in editorial design, advertisif!g, corporate communications, promotion design and identity programs. Most recently Jeff has become involved in product design and planning. Before opening his studio in 1981, he spent.five and a halfyears at Container Corporation ofAmerica as a senior designer under John Massey. Jeff is a member of the 27 Chicago Designers. He has taught visual communication at The School of The Art Institute of Chicago. A number of his designs are in permanent collections including the Library of Congress, the New York Museum of Modern Art and the Smithsonian Institution, Cooper-Hewitt Museum of Design.

Barnes: I can't speak for designers in general, but the responsibilities we are asked to oversee are greater than I could have imagined ten years ago.

Business used to look at design as an optional service. Today the outlook has changed. As with many formal endeavors there is a vague beginning, then an awareness, then a maturing.

I think this is where design is todaythe early stages of growing up, learning many interesting things, but not fully aware of its potential. In other words, the roll of the designer is still being formed. In the next ten years, I hope we will learn more than we forget and not do too many immature things that give us a bad reputation.

Does Chicago have a regional style?

Barnes: If Chicago does, it is probably based on the attitude of not being easily satisfied, that is, not jumping onto a new idea just because it is new.

I'm not a native of Chicago, so this is not my personal feeling but rather an observation.

What do you think of the design work being done in Chicago?

Barnes: On the whole, it is restrained and in the background; but with the best of it, it is handled with sensitivity and concern for details ... maybe to a fault.

What do you think of the design work being done nationally?

Barnes: There is an abundance of 78

M A R C H I A P R I L I9 8 9

work with a curious imbalance of mediocre concept produced with hightech sophistication. Sounds like hype to me. I really cannot take much of it seriously. And that does not mean I am down on change or progressive thinking. I feel there is more being done for effect than for content.

Sounds like entertainment to me.

That subject has to do with high style generic design. It is that type of design that looks contemporary and is used to create anything from posters to new products. It is interchangeable with any subject matter, yet always looks the same regardless of who did it. And it contains the symbols of creativity so we can recognize its uniqueness no matter if it is a sign for Chinese take-out or an invitation to a fashion show. Maybe it isn't even design in the best sense of the word, yet it is occasionally accepted in design shows. Is it the stamp of the '80s or a sign of a lack of imagination.

By the way, why is everyone looking for the look of the '90s?

In a nation with so much freedom, it seems odd that so many seem to feel the need to be accepted as individuals by conforming. Many too many designers actually believe that Reeboks let U.B.U. I thought you could be you all by yourself. Maybe we don't recognize individuality or realize

Logo for a contemporary furnishings store.

"The idea behind this was graffiti, the typography of the city. I used a can of black spray paint in my backyard until I achieved the right look." Jeff Barnes, designer/calligrapher.

Second in a series of invitations for City. Jeff Barnes, art director/designer.

Two ads for Johnson Industries' office furniture .

Top: "The ad gives more prestige to the corporate lunchroom table where many important discussions take place." Bottom: "The problem with most folding tables is that, while they look nice, they are difficult to set up and fold .

The parallel to an ironing board is a natural understatement to what really interests the potential buyer." Jeff Barnes, art director/ designer/writer; Christopher Hawker, photographer.

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JEFF BARNES

its benefits. Maybe, as in so many other parts of society, hype is becoming more relevant or interesting than content. If so, the look of the '90s is here. If design phases coincide with decade changes, I'm looking forward to a time of slightly less confusion, equal energy and invention and the reemergence of the great idea.

Are there any reasons why you'd turn down a client?

Barnes: Yes, but I give everyone a chance as I hope they do with me.

I would say no to someone who had their mind made up before they came in the door. I can usually tell, but even then, I try to give them a little time.

I would also say no to someone who did not appreciate the effort that is necessary to design something well.

If I didn't say no to that person in the beginning, I would certainly say no if there was the opportunity to work with them again.

Has the advent of computers changed the way you do business and the way you design?

Barnes: It has helped greatly with the business side of design. Other technologies like the FAX have also simplified the production process.

However, the computer is insignificant in generating meaningful ideas. And that's what I do most. Not production, not graphics, but meaningful ideas for my clients.

• Three spreads from MultiPrint's direct mail brochure. "Getting the story across by mailer that a 'quick' printer can be a good printer seems to be a contradiction in terms, especially in the light of all the duplicator shops around that make no promise of quality. Also deep in the mind of the reader are parallels of quick food isn't quality food . So the question: What subject talks about something that is both fast and good? Answer: sports." Jeff Barnes, art director/designer; Jim Carey, writer; various photographers.

80

M A R C H I A P R I L 19 8 9

A self-promotion brochure for studio photographer Christopher Hawker. "A pile of 8 x 10 transparencies was dropped on my desk with the hope of producing a sampling of work in a format that would make an interesting presentation. After some consideration, I noticed that there was a common element in several of the food shots. A plate." Jeff Barnes, art director/designer.

Logo for a children's clothing store was designed so that the entire word or individual letters could be printed on a special line of t-shirts, sweats, etc. Jeff Barnes, art director/ designer.

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82

M A R C H I A P R I L I9 8 9

JEFF BARNES

Left : Promotional poster for Forma Three Gallery. Jeff Barnes, designer; Dennis Manarchy, photographer.

This page : Commemorative poster for the 150th anniversary celebration of Chicago. "There was no way to include all the great symbols of Chicago architecture, so the thought of what architecture would be without Chicago's contribution was a more interesting point of view." Jeff Barnes, art director/designer/illustrator.

Logo for Chiasso, a retail store featuring modern designs from around the world for office and home. The name translates in Italian "to make a sensation." Jeff Barnes, art director/designer.

Calendar for Kieffer-Nolde, an advertising color separator. This piece shows the capabilities of their electronic digital imaging by levitating the apples in a very natural way characteristic of the photographer.

Jeff Barnes, art director/designer; Gordon Meyer, photographer.

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•

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

A R T S

83

KYMABRAMS Why did you decide to work in Chicago?

Kym Abrams: It has everything you need to do rewarding work-good clients, good suppliers, good resources-and it's more livable than many other major cities.

Are all your clients from the Chicago area?

Abrams: Most of our current client base is from the Chicago area.

However, many are national in their scope.

What changes have you seen in Chicago design in the last ten years?

Abrams: I don't think of design as "Chicago design~' The changes I see are national and have more to do with the designer's role in business.

Kym Abrams founded her design and marketing consulting firm, Kym Abrams Design, Inc., in 1984. The .firm's philosophy focuses on applying the creative process toward the development of effective communications for business products and services. Their work includes advertising, corporate identity, annual reports, collateral material and environmental graphics. Prior to forming the studio, Kymfollowed a career path from designer to design manager in three different designfirms. She holds a BFA from the University of Illinois, Champaign-Urbana.

Kym currently serves on the board of the Chicago chapter of the American Institute ofGraphicArts and is a memberofthe Society ofzypographic Arts.

How has the role of the designer changed and what changes do you foresee in the next ten years?

Abrams: I see a growing receptivity by business to involve designers earlier on in the process. We're not just designing communications; we're helping our clients think through all aspects of the product/service and how it is positioned in the marketplace.

We try to make recommendations before the product or service is released or marketed. We've even had cases where one of our clients tested our ideas prior to implementation.

The results showed us that this method can be successful. This approach requires an openness and confidence on the part of both the client and designer. Sensitive egos have to feel free to brainstorm and discuss wide ranging alternatives with a willingness to hear new ideas and let go of options that are less effective.

Does Chicago have a regional style?

Abrams: Chicago has a wonderful tradition of strong design professionals who I believe influence our work: designers such as John Massey, Carl Regehr, Jay Doblin and Robert Vogele.

I believe we are continuing their tradition of diverse and effective design.

84

M A R C H I A P R I L I 9 8 9

Was your design education adequate training for what you're doing today?

Abrams: Yes! I think to become a successful designer it is really critical to have had great teachers. I was very fortunate in having two exceptional teachers. Their influence is still a part of my work today. Both Carl Regehr and Herb Jackson at the University of Illinois taught me how to think; that is, they taught me how to develop a point of view on every project. And it was the development of my mental skills, not my hand skills, that really prepared me for this profession.

I also believe that the best teachers are practitioners. In my experience the professors who were successful at practicing design and chose to teach on top of that had much more to offer than those who were professional academicians. Theory and practice are not the same thing, and in this profession you aren't prepared without both.

What do you think of the design work being done nationally?

Abrams: I don't think enough truly conceptual work is being done anywhere. There is too little content and too much style. Let's face it, we're all bombarded with great amounts of information and it is confusing people.

It is harder to be original and stand apart from the crowd. That's why I believe that simpler, clearer communications are more likely to be effective. Communications that rest on a singular, pure concept. When they're right they are like magic,

Home safety brochure for the National Safety Council. Kym Abrams, art director; Sandi Weindling, designer/illustrator; Rick DeSalvo, writer.

Spread from The Health Policy Agenda for the American People, a 324-page publication of the American Medical Association . Lisa Brenner, creative consultant; Kym Abrams, art director/designer; David Lesh, illustrator; Jill Hirt, writer.

.....................

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Anything that makes stairs difficult to use is a hazard.

Good lighting eliminates shadows that could hide tripping hazards.

0 Good lighting in hallways and passageways between rooms and other hea\) traffic areas to get rid of hadow · that could hide tripping hazards 0 Alamp or ltght switch within reach of each bed. so anyone getting up at night won't have to tumble around in the dark

0 t>ight lights in the bedrooms of young children and elderly per.;ons.

0 Exits and passageways in rooms are kept clear of furniture, hoxes. or an!thing that could be an obstntction or a tripping hazard. People are less watchful on welltrmeled paths

0 Toys, games, books, magazines, and all the other little

bottom

0 . on-skid backing on all your small rugs. Rubber matting

0 Sturdy h3ndrails for all steps and stairwa}>

that can be cut to s1ze is available for hand-crafted or other kinds of rugs that don 't have their own backing.

(t) National Safety Council .....................

0 Stairs are well lighted, with switches at both top and

things that get left on the floor are picked up.

0 Decab or decorations on glass doors :o make them

0 Nothing stored on stairwa!S, no matter how temporary.

Anything that makes ta1rs difficult to use is a hazard.

obvious. so somebod) doesn't tf! to walk through what looks like an open door

0 'lteads, risers, and carpeting are all in good shape. No

.....................

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COMMU

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85

KYM ABRAMS

and they work every time. It's more challenging to develop these ideas, but also more satisfying. Ultimately, both clients and designers benefit.

I also believe that more design firms need to recognize the inherent necessity of integrating design and copy. One thing that has differentiated us from many other design offices has been our staunch commitment to bringing these two disciplines together. We've been extremely successful in adding depth to our concepts by paying attention to both design and copy.

Are there any reasons why you 'd turn down a client?

Abrams: Yes, a few. First, we may refuse a job if it represents a· conflict of interest. Secondly, if we were ever asked to do work on an unethical basis, we'd turn the job away. Finally, ifthe chemistry isn't right with a client and we know it upfront, we'll probably turn the client away regardless of the financial benefits. After all, it's

Statistics for the Physician

Measuring Medical Pradice

important to us that we enjoy the work that we do. Fortunately, all these cases are rare.

Has the advent of computers changed the way you do business and the way y ou design ?

Above : Symbol for Doctron ics, an electron ics and appliance repai rs store developed by Montgomery Ward and Mobil Corporation .

Abrams designed the symbol and was involved with all aspects of the store deve lopment from sig nage to uniforms.

Abrams: In general, computer technology enables us to be more efficient in production so that we can spend more time being creative. Our clients have been asking us more about the capabilities of computers. I believe we need to keep a step ahead of our clients so that we can help them l. e more effective at integrating design with their computer capabilities. But even though computers have a definite impact, fundamentally they have not altered our work. There's still no substitute for a good idea.

Brochu re for the American Med ical Association . "The request was to make statistics 'user friendly' for physicians. Talk about a challenge!" Kym Abrams/Mark Oldach, art directors; Kym Abrams, designer; David Povilaitis, illustrator.

Right: Fund ra ising brochure for The School of the Art Institute of Chicago. "They had several sto ries to te ll their readers, so we adopted a magazine format. " Kym Abrams, art director ; Sandi We indling, designer ; Eric Hausm an, photographer ; Howard Bimson , write r; Charles R. Feldstein & Company, consultant.

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M A R C H I A P R I L I9 8 9

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APPLY THEIR CREATIVE TALEI"'TS AI..CJ'I:G DIVERSE CAREER PATHS. MANY Of' THF..M NOT IMMFJ)IATFJ.Y ASSOCIATED WITI-1 F1 E OR THE Ot::SIGN ARTS.

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THAN 10.000 LJVING AWMN I lAND ADDITIONAL THOUSANDS PRECEDING THEM) HAVE BEEN ASSOCIATED WITH THE SCHOOL DURING ITS HISTORY.

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ABOliT 45 PERCENT OF ALL RECENT CRAOUATt-::S RE.\1AI

IN THE CHICAGO

AREA. CONTR IBUTING TO T il E CrTY'5 STATURE AS A WORLD-CLASS CENTER

"7/frwn

OF' ART MANY ALSO liVE AND WORK IN THE MAjOR ART MARKETS OF 'EW

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YORK. LOS ANCELI-::S. AND SAN FRANClSCO. Tllt::RF.. ARt: SCHOOL AWMNI THROUGHOUT THE

NITED STATES, H(J.YEVER, AND IN MANY FOREIGN

Ciwf--rltl~ht-

--,...,...eM~·

The Fine Art of Teaching Educating a young scientist is one thing. lnerc is a critical mass of knQ\.\I'Iedge to be learned before a student is expected to pursue his or her own innovative work. The biologist needs to know what is inside the frog. Ttx: ph) icist shoukl understand ewton's laws of motion.

Teaching a young artist is a different thing

entirely. Students a1 the School of the Art I nstitute do indeed learn the principles and techniques of creating fine art and design. The necessity of stretching, bending, and e\"en rejecting all apparent knowledge, ho\Never, is funda· mental to the making of great art. This makes

the process of .. teachi ng" artists a demanding art in its own right. Nowhere is this specialty practiced better than at the School. .. Studentsmustlcarntoisolatrtheir viewpoints~ 5a)'5 Christina Ramberg. Chair of the Painting Department ... Faculty members mustfacilitatetheirreachingthiskeycreative turning point:' There are 260 fuJI . and part-time faculty of the School. Approximalely 70 percenl of these men and "omen teach in the studK> art discipl ines. whtch is why the School of the Art Institute is known first and best as a preeminent

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

A R T S

87

....

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Itt.) I,..

Krvicts. tlw &vt:rfy ante:r housn spccultiG ranP-o& from aOt:IJ)' to psychiatzy to uroqy, as weD as

CX~»nckddUcnosricandbboratoryfKditiu,a

compkte. cardio-pulmonary bbor.ttOfy, and a phy»al th«apyunit.

Tht: sanK buiklin& abo houso: ltw: Magna Surgical <Ame.r, aunique:joi.ntvr.nturt betwttnanin<kpc:ndc:nt physician, Dr.Nadc:rBozorgi,and tht:MichadRccsc

Health Pb.n. Dr. 8ozorP leases the: f.lciliry from~ Hc:althP'tan, andismakul&itavai4blcto ourphysictaruand toothtn in tht: commuruty fora wick r:tn.p' olsame:..dayswpctlproc:«ium..Tht:cc:ntc:r'sthrtt

fully-tquippcd 'lpu.ltin& rooms will be able to tw.dk upto40pe:rce:ntofthcsu~rynowdonc:mhoipiuls.

This is t.Mfirtt~ inlllinoisthatanHMOanda

NrJt-ry cc:ntc:r have: come: togetMr in such a vc:nturt:, andwthavc:gm.taptttatiorufor iufuturt.

7lt RitlmiM l'£uA HuUth Cnfl" in October beamt: the first $WT modd HMO facility to OJKn in

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rttcM thOr Malth cart dOR to wht:rt they work.. In addition to primary halth arc:, tlw Rivt"ntdt: center olfcn hea.hh education classes. The: cmtcr will also p~ vide p~mploymc:nt physM:al exams for busindSft. TN,,. Riwr Ollh H~llillt Cn.t" is our response to the many poups that had uktd us to opc'R a M;alth

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ccntcrmtht:toUthsubutbs.Loatedintht:professionaJ bWJdina ol the RiVtt Oab Shoppln& ~te:r, tht cent~r ~nrolkd r'IXltt than 2,000 l'l'lanbtn Ill IU fint s0: moruhs.

In nrly 1986 tbt: Health Plan officially mcrgu! withaaroup pnctic~ in Hyck P.uktofonn lht HyJt P11"-K~ HttJlh Cmlt:r. ~ poup was

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oripnaUycstablishN ua community health c~ntcrto provide comprdW:nsivt, quabty Jervi«s :at an :aff"onbbk

SERVICE MEANS BEING WHERE YOU NEED US, WHEN YOU NEED US

11us year, t~ t-bllh Pl1n took major steps romaU

lnM~y~opmtdt~WozRoffersPvk t-leal t h

kf-o/t15Nc.-t~f:aci/ttltS - IiongWIIhphysJaans.

hf.jof'f.:.r/'fltUimu

Cmt~ srrYIJl8 membmon ~~ flf nonhsdeol

Thn"thtal th a:nren - Fon:ICity.E~rftfl , and

stalf, andtht:~bilttybmem~' can - to

Ouc~gDandthfent~~tnonhsubwbs.lnt~fall ~

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/\11Chw1Rftx t bhhP\an.The.ddtuonho'dsm1111Y

w!lhmwalktrJ8d~a.nc!'olourRIYC'f'5ldtt-leaJth

added the Yortrown Health Cent~ m t~ wetm1

Ydbyfut~rnQS(St3fbfJCantcxpwwonwast~

advant:a,esf.c.C\Jfl'ffl( l ftlthPIInmemben,,ndud

Ct•mn. klottd a~'ClJniOOSt at iOO ThtSYeaJ1tt'C

suburbol0ownenGt'CJ¥e,andt~Orland~

operitOBcil...akeshcn U, IncwbutkltOjJthat t

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fOCll:fot"d nrw attl'f'IIIOfl on tht~ of thoc-empkw

l'f'infthetr t~ RJ\'CI'Sidrnow.· o/~3ff'OI"C

Ontclt~t.s.c...,.,mwtuchthfet-ltalthPbn

Health Cent~ srrvinfjt~ JOUthwot subuttl&. And

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~tnS.,t~ comohdatiOflolmmea:ntmmto lafgt'f

att~endol1987,witht~Nc.-t~transac:tl0fl

Hea!thUnrer.

factltties,andlnl"ll~ndr!dpand of physaolllSfrom

b..wisbyolf<eringf~ali~thltareconvenientro

docrillftlbdow, ~addedsi•newhealth a:n tm

Tht:UktshoreldditiongMSUSI~apabilityof

w~mem~liveandwork. Jn 1987~added

toournetwork, inEvanston,Gicnv~,Detrilt:kl ,

SCO'iOjJup to n,OOOmembersforprtllllrycareand

n•nrncwhtaltha:nten.bnnwf18t~totaltotwenty

Sch•umburg, Niptrville, andOalcPuk.

ttuou,hout0tia8Qandthesuburbs.

IOO,OOOforspecia.ltycart:. lthasenabkdustootfer

whktlto chc:tcB Tht:.tdu100 abo offenbtnffltsforr~Pian tl!idf l talk:lwsusto mter~newat\"I.'Squldtlyand

~n~.-nts forpnmaryhelt!thcan•t(.'()OYmleflthoun

t-..·fon-andafln'IIIOI'k , awdlas noonttmcand t fter-'IIIOf'khftlt h ailiCIIIOOprosram.l.~cmltf"IS abO IIVItlableto busu·res.!d' b~physcals.

W~abolddedttght ~edho5pitalsto our

ma,ornrw!lm'ias.indudifllanopc:icllshop, physi

smoothly. lt ~~ usroadd~t y .ICO'ice ln

alfih~ted group in 1987. Thty aR : 1'bt Uruwnity

calthtnpy.andaninterwYCP'}'ChtalnCdlyfiiCdt~

ournonhrmR'pJOindto dN-iopEWlllmlonaa

lfttt"-houn ilrfVtaS. ln mpome to~~ tWtb ol

oiQ~CSF Hospit:als,P&IosCornmunttyl-losptal,

Andtthas~t~~-~bout ·

Rq.ona!JiealrhCmtn. And ii C"OmJlle«nt~ord~

membm who.nexdltfllpron!p ~ banep·

Elmhurst,._1~1nonalHospit:ai , EdwardHosptal,

J*lefllant'er treaun~nr , prdwricandldolctcmt

olourW'08f'll'h1C:wrvaarea.maJran~et~P\an~

liu!IWll-t-lolfmanEsl:ltesHospital, Evanston Hos·

mtdkine, obscericl~antm\llmedtane,

tt.llr.cttYC'IOilt"''andC\Irr~I~)(JOl4l5.

pit:ai, GienbrooltHospital,andCoiumbusl-lospual.

healthtduatiOO,andourcorponteolfice.

Wermlalnrt.eonlyCh~liMOolfenJ'IA

ln•udooo-nrown.lalt:dront~ . rhr

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VISIONS OfTH[ GQOOMA N THt:ATI£

thr qu.l• y olld.ron o..a.eo

JOdiCiiJOCSI - Inft!'diNfll1C* o/ U:Sencount:tt"al

at 5eYCf'll ol our llr~md mid Stu healthcmters.

Wetntti:atl'dln iM!ngrHtt'tb.p.ttSIOilm l987 by

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Corweruern is abothrploloursarne--d.yand

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comp6elifllltransaclionwlth PruC...-efort~ tr.ns-

M A R C H I A P R I L 19 8 9

f\brfv 140 ofour~ ~ hi\'Colf!Ct5

tflA IC't'e!l to hnlthcmtmtnncwiJI'!'OS"IPhteal

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andmabltf18USIOJM'eernp&o,enandlnl!ffihm

88

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JtsJerViccs~lablrtomrmbrn m~pu1 ol t~ oty.~rhcy..-oricandwhenotheylnoe, atl~

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ne. wrd eduac1011ltnouaoo. •hr

poolol thNtrol~and~•lWt«h

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KYMABRAMS

Left : Spreads from the 1986 and 1987 Michael Reese Health Plan annual reports . " We work d irectly with the president, who has been very supportive of our work.

That support makes all the d ifference when we had eight weeks from our first meeting to delivery of the 1987 annual report. " Kym Abrams, art director ; Kym Abrams/M ike Stees, designers ; Eric Hausman, photographer ; Giudi Weiss, writer.

Fund raising brochure for The Goodman Theatre. "Taking a picture of the mayor was qu ite an experience.

We expected to have a few minutes with him, but he and all his bodyguards • ·ere in the studio for almost an hour. The picture was taken just a few weeks before he died ." Kym Abrams, art director/designer; Eric Hausman , photographer; Julia Ryan, handcoloring ; Giudi Weiss, writer; Donald A. Campbell & Co., consultant.

This page : Critical Issues, a publication for the Lutheran General Hospital. "Once we designed this piece, we made the recommendat ion to go one-color when we had originally budgeted for two. We wanted a more editorial look and saved the client money at the same time." Kym Abrams, art director; Barry Deck, designer ; Mary Flock, illustrator; Giudi Weiss, writer.

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

A R T S

89

RICK VALICENTI Why did you decide to work in Chicago?

Rick Valicenti: Twelve years ago I came to Chicago when its design community was enjoying the attention that Container Corporation of America was receiving. The residual effects-stylistically and conceptuallymade Chicago the last bastion of the international style along with Toronto and Zurich. Bill Bonnell's "Post Modern Exhibition'' of1980 and the 1981 April Greiman and Jayme Odgers exhibition and presentation announced, at least for me, the freedom to express. This freedom along with the passion for earlier Chicago typographic traditions-Cooper, Goudy, Middleton and DeBallconvinced me that design could be an "artistic process" and not just an extension of business.

~

• Rick Va/icenti,founded Thirst, a design and photographic collaborative, with photographers Tom Vack and Corrine Pfister on April Fool's Day 1981. Rick received his BFA from Bowling Green State University, and he has both a MA and a MFA in photography from the University of Iowa. Thirst's clients include contract and residential design, restaurant, retail and cultural. Rick has served on the American Institute of Graphic Arts/ Chicago board of directors and as president of the Society ofzypographic Arts.

He is also a member of the 27 Chicago Designers.

How has the role of the designer changed and what changes do you foresee in the next ten years?

Valicenti: In the future , we're going to find the designer's portfolio being preferred much like Ralph Lauren's clothes. They will each make an individual statement. Clients won't just &J to the designer to get the job done, do strategic planning, meet a deadline or meet a budget. They'll go because of the look. That's what I think has not been existent here in Chicago because most of the design offices have sold themselves as marketing firms. But it's changing. It's just starting to happen.

And even with a strong vision, it's important to be flexible. That's what is so exciting because now we can see designer as personality and designer as spokesperson.

Was your design education adequate training for what you're doing today?

Valicenti: I came to Chicago having 90

M A R C H I A P R I L I9 8 9

completed graduate work in photography at the University of Iowa. In an effort to preserve my "prima donna" approach to photo art, I found employment as a keyliner. The 1978 ICOGRADA Congress at Northwestern University changed my awareness of design which I then began to pursue seriously. I once visited Mort Goldsholl. At the close of the conversation, I asked if he had a few words for a young designer to practice by. He said, "Yes, three words: Take a risk~' What do you think of the design work being done in Chicago?

Valicenti: The Chicago design community, with few exceptions, will find risk to be too hot a bed of coals. Risk is unsettling for some because failure is as visible during the process as success. The safe route shrouds failure.

It also shows up in the final product.

The experience with the final design is more narrow, less engaging and challenging.

Logo for Scarboro Fair, a women's clothing store located on the North Shore of Ch icago, featuring high-e nd, American and European designer lines with an Italian emphasis. Rick Valicenti, art director; Rick Valicenti/Michael Giammanco, designers; Vita Juchnevicius, artist.

"Punk-Hera ld ic" symbol for Bloomingdale's.

Tuan Dao, art director; Rick Valicenti/Michael Giammanco, designers; David Harrison, illustrator.

Logo for Quadrant, a high-style housewares store. Rick Valicenti , art director/designer; Charles Moore Associates, client.

Cover, page and spreads for Legends Company's autumn/winter color book. The book had to express the essence of Terry Siegel's words and fashion designs. Rick Valicenti , art director; Rick Val icenti/Mich ael Giammanco, designers; Rob Latour, photographer.

scurboro ·-----

(details)

@

b-causeUwere l "~!.:'l uourself @risk

CHANCE I

II WOUlDfOlLO W

thtufort,

BY GIVING LEGENDS A ' C H A N C E , W(N 0 WSHAI(TH(0,, 0 111 U N!li( S IHAili[AM(A0 0 fUS

~R ISK'~ TAKER ' I IAI\ttl

BY ( ..J) PARTNERING YOUR RETAIL & OUR MANUFACTURING

thPIP l l T T

SK I LL S, WE CAN DO BUSINE SS MORE EFFICIENTL Y & PROFITABL Y THAN EVER BEFORE o . BY ( I•J ) ME S HING EACH O THERS E NTR E PRENE U RI AL SPIRIT & CREATIVE INST I NCTS, WE WILL BREAK NEW GROUND & SET NEW S TANDARDS FOR

CHANCE

THE APPAREL INOU STR Yo *WE ' VE ALL TAKE N A CHANCE , THE RISK IS EXCITING & THE POSSIBILITIES ARE <3"

-

ENDLESS• ONCE AGAIN, Jb4ds f" hPVtiiK tht g~tiJ :a• lbt first •

harV••t

classic l [•••"'•n•uJ

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

A R T S

91

RICK VALICENTI

But a very small handful of individuals are not playing the design game by the same rules.

They're being more honest about who they are and what they can contribute to their clients and then to the whole portfolio of Chicago design.

They're being council rather than vendor. Vendor asks the questions "When do you need it?" and "How much?" But clients now are going to the designer, and the designer is saying, "Here's what I think would be bese'

I JOYOUS IHuntsville. Aplace to behold.

And In II lived young Holly Fabric. G"

What do you think of the design work being done nationally?

Valicenti: Chicago designers are one of the last groups to evolve this way. It's visible in every major city. We've seen it in Minneapolis with The Duffy Group. We've seen it in Dallas with The Richards Group, Summerford and Pirtle. We've seen it in Seattle. But we haven't seen it in Chicago since Container Corporation.

This page: "The Continu ing Saga of Holly Fabric:· booklet. "For three months prior to Neocon '88, Holly Hunt Ltd.'s fabric department was under construction. The largest residential showroom in the Merchandise Mart was able to make its clientele forget the inconvenience through a fairy tale:· Rick Valicenti/Michael Giammanco, art directors/designers/writers.

HOLLY SAID T HE I DEA WAS C RAND AND HAD BUT

3

QUESTIONS

HOW MUCH WILL IT CO$T? HER COMPAN I ON. SWEETCRETC H EN, HAD AN IDEA

CC Uti male awesomt: the TEX tile side of f!unl.rville

can we sell more threads than ots • can it be done ......vou KNow '

»

CC the OruuJf!rS were LOTS, YES, and may-a.

»

c::_____:::::>

Right: Poster for the Museum of Contemporary Art in Chicago. "The idea came from Man Ray's solarized prints. I think of this piece as a friendly tribute to him. I never dreamed that two colors and no money can go such a long way. Neither did the museum:· Rick Valicenti, art director/designer; Ken Reid, photographer.

redesigned TExtile area

Poster for the Lyric Opera of Chicago.

Rick Valicenti/Peter Sellars, art directors; Rick Valicenti/Michael Giammanco, designers/ photographers.

entrance

NEW

sample area

new TExtile area

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laat approaching,

Kur-Tan magical(y ppp u II t d through.

SW«t Cntchen looked good.

Cover and spread from promotional brochure for Midwest Litho Arts, Inc. Rick Valicenti, art director; Rick Valicenti/Michael Giammanco, designers; Ken Reid, photographer.

92

M A R C H I A P R I L I9 8 9

Huntavllle looked great!

Holly 'a prayer• want out +- 2

(to)

KUR-TAN (the fabric god) C( OH, HELP US, HELP US, PLEAS& )G

Michael knight ofthe road, andfair damsel, Kim sssp r t a d the word lhroughout Lht: land.

$ I Ku~Tan ~inooiu~n<l 10 o"-i] $

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exhibition nit to be bald this June 7 -.. 1.9 - DB Eachgearitbasgrownmortsuccessful futuringlbeworkofove:r socartoonists . lllustrators painters and sculptors : famoua and not get* dJscovered • Wilhlhtntwlytxpandtdffi C AstOI"tlbis salt promi111 to bt tvtn bigger . • • attracting utensive electronic and pnntmediacoveragt. Youaremvitedto submit t.- • hirtsfortpprtJvattobtmad•availablefor purchattonaconsignmentbasis ( 60'K ofth t duringthlrunof theexhibitionsala · to

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93

RICK VALICENTI

W ~ a t's in a name 1

Consol idated Papers, Inc. promotional brochure for Productolith paper. Rick Valicenti/Gib Marquardt, product concept; Rick Valicenti, art director/designer; Tom Vack/Corrine Pfister, photographers ; Wardrop Murtaugh Temple, agency.

Right : Brochure for Harter Contract. Rick Valicenti, art director/designer; Tom Vack/Corrine Pfister, photographers; Todd Lief, writer.

E•erytldag. J••t aak the Wlacoasln JDan who ln•ented I M I Z Z E N P R A T z

. Or the New

'l'ork wo•an who c . . .e up Mth j 0 N 0 R K=:iJ . No JDaHer how great the prCHiuct. how

la••ldl•• the Idea, It help• to ha•• a good hook to hang it on.

CoasoUdated re.U..ed that fact in 1952 when It ••••loped a new Jdnd of enaael off••t prlntlag paper. Tile coJDpany thought long and hard aa.d • - - • • It ~ ~ ­ A one

(I)

of a Jdad • - - • for a one

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of a kind product. A quaUty coaled prinllag paper

thai no co•pelltl•• ~ ha• •aaaged lo dupUcale.

Aad wlllle we don't expect thai to change In the lahare, other product• m.ay aot be •o Jacky.

Maay f...uJ . . brand . . . . . . ha•• already becom.e household word8, lree to be copied by alL

Ia thb book we'U look at ••••raJ braad •--•• that haYe becom.e generic aad baagiae product. . . . . . . . .,.b.......!J .............

in t ~ e 1ut ur e.

It'• aU a bit ol a put on of courat.. Aad what'• •••• better, lt'• aU been~ j P R 0 DUCT 0 L I TH j .soeajoylhboUghlly (I )

~looklatolhefuhare.llndr•••lllloer,

no . . .tter how!!!!! the product, lt alway• help• to ha•• a good lt.ook to hang It on..

C ELL<fPHA N E IN THE NOT TOO DISTANT FUTURE , EVERYONE WILL BE DOINO THE f"CELLOPHANE I RAP eRAPPINO W I TH FRIENDS AND

NEIGHBORS NOT ON A ~ELLULAR

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.

I CELLOPHANE l eTHE NEW ! cELLOPHANE l 1s AN IMPLANT FOR THE EAR COMPLETE WITH COMPUTER MICRODISBES eTHE

MANUFACTURER PROMISES GREAT RECEPTION . OF COURSE, PEOPLE WILL LOOK PRETTY ODD TALKING TO THEMSELVES

IN PUBLIC •AND MOST TEENAGERS WILL EXPERIENCE CONSTANT

* ,,If lf ' :<f<f i N THEIR EARS esuT THIS NEW 1

I ~ELLOPH~NE I wiLL HAVE REAL - . . , POWER ewE PREDICT IT'LL HAVE THE WHOLE MARKET

94

M A R C H I A P R I L I9 8 9

WRAPPEDl UP IN NO TIME

- PutuPnsut

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

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95

ROBERT PETRICK Why did you decide to work in Chicago?

Robert Petrick: Coming out of school, Chicago offered "big city" opportunities without leaving the Midwest and, at that time, staying close to home (Ohio) was important for personal reasons. Having left Chicago in 1982, however, I found myself choosing it again and more permanently in 1984, but for different reasons-a wonderful combination of a cosmopolitan environment, brutally honest, hard-working people and an open design market.

Robert Petrick, principal ofPetrick Design, has twelve years' experience in the graphic design .field with practical experience ranging from exhibit and package design to logotjpes and corporate identity programs, employee communication programs, newsletters, magazines, brochures, booklets, posters and sales tools. He received a B.S. degree in graphic design from the University of Cincinnati in 1978. Prior to starting his .firm in 1986, Robert spentfouryears with Burson-Marsteller, as vice president, creative group director.

96

M A R C H I A P R I L 19 8 9

Are all your clients from the Chicago area?

Petrick: Not all, but at this point, they are all in the Midwest, not necessarily by design.

How has the role of the designer changed and what changes do you foresee in the next ten years?

Petrick: As design has become more accepted into the lexicon of the business world, designers are becoming more accepted as consultants of necessity. Today's designer has more direct involvement with the client and is being given opportunities for problem-solving beyond graphic design. Instead of "Here's my product, design a logo for ie', it's "Here's my

product, what should I call it? What should it look like? How can I sell it to a segmented market? And if you get a chance, design a logo for it.

Was your design education adequate training for what you're doing today?

Petrick: My design education was more than adequate training with respect to the discipline of design. The continuing challenge in design education is to couple that high level of aesthetic development with adequate preparation for the business of design.

Being able to sell it is just as important as being able to do it.

The 60" promotional poster for photographer Howard Bjornson grew out of an effort to get six or seven mailers out of a single press sheet.

The sl ight de boss of one corner around each photo symbolizes his method of looking at traditional things (i.e. matting) in contemporary and unusual ways. Robert Petrick, art director/ designer/editor.

Right: Promotional program for microbrewery Goose Island Brewing Company, located in an old Chicago neighborhood.

Ad: Robert Petrick, art director/designer/ writer ; Michael Carroll , illustrator.

Logo: Robert Petrick, art director; Robert Petrick/Janice Clark, des igners ; Michael Carroll, illustrator.

Investors invitation: Robert Petrick, art director/writer; Robert Petrick/Jan ice Clark, designers.

VVhen you grab a Goose, you're holding onto the best beer that your hardearned money can buy Fresh and satisfying are the words this bird's all about.

That's because the beers of Goose Island Brewing Co. are brewed fresh every day, using only the finest natural ingredients and traditional brewing methods.

Created right on premises at 1800 North Clyboum, our standard beers include a robust amber lager, a rich golden pilsner made with imported

Czechoslovakian hops, a classic English ale and a daily special that'll keep you coming back for something new. No matter what you order, what you'll get is a beer with a fresh, clean taste unencumbered by the effects of mass production. No harsh preservatives. No overprocessing. And no freshness lost through long distance shipping.

So free yourself from the canned and the bland, and lay hands on a fresh, cold Goose. It's worth its wait in gold.

HOW ... IO IJOINSON , INC PHOIOQII,fi ,H 'r XIOH~OiiCAOO,l..0.073177.,1XIOOI

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97

ROB ERT P ETRICK

What do y ou think of the design work being done in Chicago ?

Are there any reasons why you'd turn down a client?

Petrick: The design work being done in Chicago today is generally competent, well-produced, pragmatic and undefinable with respect to style. It is a reflection of the Midwestern clientele: high levels of quality, pride and values; low levels of risk, experimentation and uniqueness. What we see far too infrequently, however, is inspirational breakthrough design.

Petrick: There are plenty of good reasons why I'd turn down a client or work. The things I look for most in a client are: compatibility and trust; their own belief in their product or service and their commitment to presenting it in the most effective way possible; adequate financial commitment or, if that's not possible, then a commensurate level of creative freedom; a product or service that I believe in.

What do you think of the design work being done nationally?

Petrick: On a national level, I think design and art direction (advertising) are getting better all the time. The absence of a singular national trend has allowed the energy of regional trends and personal styles to surface, which has been very exciting.

Has the advent of computers changed the way you do business and the way you design?

Petrick: Computer technology, both inside our office and in the hands of our suppliers, has quickened the process, expanded business and design opportunities and continues to provide capabilities for visual imagery so new and unusual they cannot be

illustrated by traditional means. Aside from significantly affecting the visual appearance of what we do, it is accelerating the speed with which we work, fueling the trend toward smaller offices by enhancing their capacity, and opening entirely new areas for designers to exercise their talent and expertise.

• Covers and spreads from Signals, Ameritech 's company publication . The left cover illustrates the hi-tech telecommun ications system for Herman Miller. Robert Petrick, art director/ designer; Charlie Westerman , photographer ; Scott Powers, editor.

The rig ht cove r and the two spreads on the ri ght page are from a special issue on the various areas of telecommunication research bei ng done at the MIT Media Lab. "Multiple image ry enabled us to illustrate the complex activity of MIT's Media Lab and still use photogra phy to emphasize that this futuristic activity is real and very curre nt." Robert Petrick, art director/designe r; Scott Morgan, ph otog raphe r.

Al ~ The magazine for business from Ameritech

The magazine for business from Ameritech

At Ameriteclz!sjiflh anniversary, a look into the global future of the iriformatilm age

CUTTING-EDGE COMMUNICATIONS Designing Herman Miller~ advanced network

fAll w~~ 98

M A R C H I A P R I L I9 8 9

bam rs will create a marlretplace of323 million people, the largest in the free ""rid. The Europeans are strengthening and integrating tcle· communications capabilities. In 1 7, the Commission of the European Commumues stated 1ts JlOSI· tion clearly: ·Jnformati n, exchanges of knowledge, and communications are of >ita! importance m economiC acti,ity and in the balance of PQ\\ r m the world todayBusinessc and consumer m Europe already are b nefit1ng from this dri1 to impi'O\-e the in forma· tion infrastrtJCture. In France, there are 000 videotex niccs available through the pubhc net· ""rk and a of last Ma); more than 3.6 million termmal> in use to access these mces. In th Unit d Kingdom, the entire trunk network "ill be d1gital by the nd of 1989.

Denmark IS de1 lopmg a nauonal broadband net" rk Spam \\ill ha1 full integrated serviCes digi!al n t· "ork capability \\ithin four years.

"The Am rican executive,· says Weiss, "is going to realize that Europe-and the Asian countn s that also are de1-eloping advanced S) terns- ha1 mall)' advantages that "'e do no~ The only way inno1'3tions occur in this country IS by trial and emr· xpen nee, gro..th and de1-elopmen~ "In the 37 l ar J'v be n in this industr;; we\1! gone from the man· ual sw1tchmg oiTJCe, where all connections" redone 1ndividuall~ to today when an operator is needed only rarely Gi1 n the right emlroment, that' exact!) what 11'ill happen m 1ideotex and audiotex as" II as information rvic . In 20 years, these innovations w1ll be vital, proliding a new Je1 I of information by which the world Ji1 and works."

Looking back from a future vantage point of 2009, it will be diiTJCult to imagine that only 20 years earlier, people considered computers and telecommunications to be separate. Computers commu· nicate as a part of their natu~;;...::,,.._..lioo.il ral processes, and aiJ digital commu nication devices-from the switches that route speech and data, to telephones-are actually computers. The current regulatory debate

it becomes uni\'Crsal. By 2009, most customers end, enabling inter· business and educational locations acti\'C con\'Crsations to take place should be connected. Virtually all between computers.

One of the bugaboos gO\'Crnment the residential suburbs or major fears about removing communica· tions regulation is that the communications providers will discriminate against competitors.

Again, the power of the computer to ensure equitable access -as "-ell as to discriminate-is not appreciated today. Hopefully, the abi lity of technology to offer choices will come in the continued development of open network architecture that is being designed to encourage new networks in the next decade to utilize the incredible capacity of optical fiber in different ways.

These n w ways are being explored today under the name "asynchronous transport mode," which implies a way of switching fragments of information at extremely high speeds-bet~<-een 500 million bits per second to 12 billion bits per second on fiber - so the fragm nts could be reassembled in the correct order at their desti· nation. Such data fragments could represent anything from two-way 11>ice or video to super·high-defini· tion television. This mode could permit a network design in which the fragments determine their own routing, so that both equitable access and privacy are preserved.

The network ~<1luld know little more about users' content than where each fragment is to go, and when the fragment must arri\'C. Where information comes from would be erased at the source, except for call setup and billing data.

The task wi II be to extend the penetration of a fiber system so that

cities built in the next two decades will ha\'C fiber into the home. But getting fiber into rural areas and digging up older streets could mean massi1-e public works projects.

Looking back from 2009, it will seem obvious that the alterna· ti\'C-doing nothing dur· ingthe '90s -will only help us get clobbered

tries that looked more to the future.

In any case, we will take the utility of a uni\'Crsal fiber system as a matter of course - whether to anSI<-er a pressing problem using a complex expert system program; to access data files complete with full-motion video describing the business project at hand, or to dis· play a "map" with a video insert of the actual landscape to help people find their way in unfamiliar terri· tory. We will wonder how we could have workPd ;~nd lived without this network. 1

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C 0 MM U N I C A T I 0 N A RT S

99

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100

M A R C H I A P R I L 19 8 9

Left: Two spreads from City's catalog of contemporary furnishings. The catalog is printed on translucent synthetic stock. Robert Petrick, art director/ designer; Tom Vack/Corrine Pfister, photographers.

This page: Ad to promote the Shamask line of clothing sold at City. Robert Petrick, art director/designer; Bob Frame, photographer.

Logo for Ron Wu, photographer.

Robert Petrick, art director/designer/ calligrapher.

Spread from Grant Hospital's 1987 annual report. "While most hospitals are using clean, antiseptic design, we felt that the warmth and friendliness of a family photo album best represented the atmosphere of this community hospital:' Robert Petrick, art director; Robert Petrick/Greg Montezon, designers; Eric Hausman, photographer; Todd Lief, writer.

RONALDUS SHAMASK ·AVAILABLE AT CITY 361 WEST CHESTNUT (AT ORLEANS) CHICAGO, IL 60610 312.664.9581

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101

STEVEN LISKA Why did you decide to work in Chicago?

Steven Liska is principal and founder of Liska and Associates, Inc. He graduated with a BFA from the Chicago. Academy of Fine Arts. His college and art school course of study included classes in architecture, math, interior design, painting and design.

After graduation, he worked as a free-lance production artist and a technical illustrator before starting Liska and Associates in 1979.

His clients includejinancial companies, consulting firms, medical associations and contract furniture companies. He has taught a senior design course at The School of The Art Institute of Chicago and is currently on the board of the Chicago chapter of the American Institute of Graphic Arts.

Steven Liska: I was born here, went to school here, got my first free-lance job here, which overlapped with my second free-lance job, which overlapped with my third. Then I got a copy machine, office space, an account at Flax and suddenly it's ten years later and I'm still here. No complaints. It's a great city with great resources and great clients. We have great suppliers, talent and a design community that, through STA and AlGA/Chicago, is working very hard to bring designers closer together. The other great thing about Chicago is the kind of design talent it attracts. I have one of the best groups of people working with me that I've ever had. I'm very proud to be working with these people.

Are all your clients from the Chicago area?

Liska: Although a lot of our clients are from Chicago, since most of our work comes from word-of-mouth, we're now doing work for many out-of-state companies. Federal Express and FAX machines have changed geographic limitations.

What changes have you seen in Chicago design in the last ten years?

Liska: When I started in this business ten years ago, I had a lot of heroes, was pretty naive, and thought everyone did great work. My tastes and perspective have changed quite a bit, and a few of my heroes have gone to pasture; but, in general, I think this is a creative, hard-working community.

How has the role of the designer changed and what changes do you foresee in the next ten years?

Liska: The changes in the technology available to us will be very exciting.

More exciting will be the emergence of design as a profession. We will become a much more integral part of all business. And my new ten-year lease will be up.

Does Chicago have a regional style?

Liska: It bothers me when a city or part of the country is viewed as having 102

M A R C H I A P R I L I9 8 9

a regional style. We don't have Apple, Esprit, Donald Trump or Vogue headquartered here. We're in the land of Quaker Oats and Cheez Whiz. The Midwest. You mainly see work that relates to the industry that exists here. Happily, some people don't feel restricted by that.

What do you think of the design work being done in Chicago?

Liska: As everywhere, Chicago has a lot of bad work, some good work and a little bit of great work. There are over 500 design firms in this city, yet the most visible work comes from a handful. Yet there is a healthy competitive spirit here that keeps us all working hard. As with all design work, much of it is derivative of other work. There is a disturbing amount of design "styling" emerging here, but there is also a number of consistently smart designers who produce work I'm very envious of.

What do you think of the design work being done nationally?

Liska: My exposure to national design is strictly through magazines, award Quarterly newsletter for The Wyatt Company, a benefits consulting firm, directed to communication and human resource professionals. Steven Liska, art director; Anne Schedler, designer; Steven Guarnaccia, illustrator; Eric Hausman, photographer ; Robert Ellis/Frank Dileonard i, writers.

The Chicago Mercantile Exchange 1985 annual report focused on their involvement in the global financial marketplace. Steven Liska, art director; various photographers; Chicago Mercantile Exchange, writer.

Direct mail piece to demonstrate Bradley Printing's tri-tone capabilities by showing where creative inspiration comes from.

"Common sense told me it was from everyone's pets. It was a tough project. A gerbil passed away, an ant farm collapsed and the frog was a stand-i n since the real frog was this we ird, clear tiny th ing that looked like gelatin with eyes. To continue the animal theme, we used Zanders Elephant Hide for a fly leaf and found handmade paper that looked like matted poodle fur and reproduced it on the cover.

Then we printed the inside of the mailing envelope to look like a newspaper, something common to all pets." Steven Liska, art director/ designer; Charles Shotwell , photographer.

THE

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103

STEV EN LISKA

books and being a consumer. With design becoming such a large part of our everyday lives, you tend to overlook a lot. Many people are getting very good at producing high quality work. What stands out? The work with thought, creativity and personality.

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Are there any reasons why you'd turn down a client?

Liska: Aside from the obvious ethical and moral conflicts, we wouldn't work with clients for whom we couldn't do a good job. Either they want something we can't produce or they don't understand the value of what we do.

We want our design to work for the client, not awards.

Has the advent of computers changed the way you do business and the way you design?

Liska: We have all felt the f~pstration of seeing clients become desktop designers. For now, the computer is a faster pencil, a quicker way from A to B. As technology adapts to the needs of the design profession, as opposed to designers adapting to existing technology, computers will become a great tool. I hope they will come up with software that includes creativity, aesthetics, marketing sense and a sense of humor to help on those multiaspirin days.

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104

M A R C H I A P R I L I 9 8 9

MARTIN ROGERS

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Left: Promotional brochure for Reflections, Consolidated's premium grade of paper. "Our con cept was to have eight illustrators 'reflect' on the previous illustrator's work and incorporate that into their own illustration. It began with the cover photo.

This was sent to the first artist. His artwork was sent to the second artist, and so on:' Steven Liska, art director; Robert Cosgrove, designer; Charles Shotwell, photographer; John Kleber/Lane Smith/ Blair Drawson, illustrators; Wardrop Murtaugh Temple, agency.

This page : Identity for Martin Rogers, Inc., a textile designer and manufacturer of elegant geometric designs. Steven Liska, designer.

Symbol proposed for a photographer who uses energy and special effects in his work. Steven Liska, designer; Kazu Photography, client.

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Paper promotion for International Paper's two groundwood-free web papers, Miragloss and Miraweb. "Our assignment was: create a promotion geared toward magazine and catalog specifiers, show three different basis weights, four different web printing techniques on two grades of paper, lots of production notes and make it interesting. What made it interesting was the work of photographers Laurie Rubin and Geof Kern." Steven Liska, art director; Susan Bennett, designer; Jeanette LoCurto, writer.

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105

STEVEN LISKA

Promotion to demonstrate Bradley Printing's fluorescent ink capability.

"Producing this project became just like the project itself. We hit every phase, every neurotic step. Finally we had enough 'happy accidents' to get finished . It's a good piece to reread every so often . It's comforting to know you're not alone out there ." Steven Liska, art director; Steven Liska/Debbie Greiff, designers; Lynda Barry, illustrator.

Right: "The Mere at Work is a guide to what the Chicago Mercantile Exchange is and does. It's distributed to schools and in the Mercantile's visitor gallery. The lighthearted copy, along with great illustrations, do an exemplary job explaining the complexities of futures and options trading." Steven Liska, art director; Kathy Horton, designer; Richard Goldberg, illustrator; Chicago Mercantile Exchange, writer.

"This is the fifth year we have collaborated on this calendar for Burch Printing and Tim Bieber Photography. It's a hard project to screw up. Great printing, great photography. The main thing is to not overdesign:' Steven Liska, art director; Steven Liska/Lisa Ouchi-Yamamoto, designers.

106

M A R C H I A P R I L I9 8 9

What is a futures exchange?

It's a place where buyersandsellersmeettotrade futures. lftherewerenoex· changeshketheCME.thetraders would have to trudge from farm

An ex· change •salsOacorporation. lthas to obey rules and guidelines. and it's regulated by an agency of the federal government-the Commodity Futures Trading Commission. Futures exchanges also have rules that members and other investors must follow. These rules and procedures are enforced by the exchanges. •

to farm to get the best pnce I on pork bellies. A farmer wou/dhavetocontend wtthseveralhundred

Chtcagoans

wanttng to use his

A GUIDE TO THE CHICAGO MERCANTILE EXCHANGE

washroom ..

Exchanges can be very useful.

What exactly Is trading. and where does It happen?

Trading at the Exchange is nothing more than the buy· ing and selling of futures or options contracts. And it's the pitsor should we say. it's in the pits. Those are the arenas. bull pens. rings (whateVer you choose to call them) wheretheactualtradingtakesplaceonthe Exchange's floor.

The trading is done us1ng a system knownas·openout· cry."Thls~atype

offree-formauc·

floorandothersin the offices of the Exchangem Chicago. New York.

Washmgton. London and Tokyo. and at the CME's Far East trading partner. the Stngapore International Monetary Exchange.

The CME works through these mdtvtduals to promote the use of futures and options by investors. supply mformatJon aboutthemarketsandcontracts.researchand develop new contracts for tradmg. and handle all theothercountlessoperationaldetatlsthat are part of the world of futures trading .

aerobic dancing. and the Battle of Hastmgs.

(We'll talk more about open outcry on page 14.)

Now. what is the secret to trading? If you buy some· thing at one price and sell it at a higher price. you make money If you sell it at a lower price than what you paid for it. you Jose money. You now know as much as most MBAs. There's one more wrinkle to trading-you can buy and sell in whatever order you want. You can buy. then sell-or sell. then buy. Whichever way you choose. the idea jc; that the selling pnce should be better than the buying price.•

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

A R T S

107

OPINION/COMMENTARY

JOHN KNEAPLER

JAPANESE DESIGN ADVENTURE

T

HERE I WAS, SITTING IN A NEW YORK sushi bar at four in the afternoon, about to present sketches of a logo for a store in Japan to a man whose name has more syllables than I can handle in one breath.

I'm asked questions like: What was I thinking when I designed this? What does this color symbolize to me?

No speaking for minutes on end. These are just a few of my early introductions to doing business with the Japanese.

The man I am presenting to asked five design firms to submit sketches for a new logo for a store in Japan that sells only American items. They want the All-American young designer to design the All-American logo. The name of the store is RichWell. Yes, one word. A double positive to me, but they are set on the name. This is the Japanese trying to be American. I encountered such names as Happy Teeth for toothpaste and Good Shoes for walking thongs. I'm told a lot of work will come if I get this job, but I will be paid only $300.00 for the sketches, which is very low on the New.York scale for a so-called supposedly large corporate company image. We shake hands.

I smile, say thanks, and go on to my next appointment.

"Hello, hello, are you Mr. Kneapler? You win first prize, Mr. Kneapler~' It is eight at night. I'm at home and at first I don't understand.

"Congratulations. This is Japan. You win. You win first prize. We will be in touch soon~' "Thank you very much~' I say.

About a month goes by and I haven't heard anything.

I'm still bewildered. I've owned my own business for six years now and I've never had a client quite like this one.

Finally, I get a call from the man in the sushi restaurant.

He says that he would like to see me again and wants to know if we could meet for dinner. He says his employer in Japan liked one of my logos and we need to discuss it more. He tells me he will be my interpreter and contact, and would like to brief me about his country if that is O.K. with me. Fine, I say. Yes, I like sushi and do know how to use chop sticks. No response for a few seconds.

We meet at eight at a sushi restaurant where I am the only American.

I'm your typical American who grew up in Florida and moved to New York ten years ago. I'm excited about this

John Kneapler is president ofJohn Kneapler Design, a graphic corporate design firm located in New York City.

108

M A R C H I A P R I L I 9 8 9

project and start blabbing away when asked about my past, my fa.mily, and when I graduated with honors from Pratt Institute, which my contact says is very important.

My contact tells me he is going to prime me on Japanese culture, and asked if it would be O.K. to teach me about Japanese etiquette. He addresses his food. He slurps his soup. He keeps his head down when he eats and always makes sure my sake glass is full. He shows me how to hold my cup as he pours and says it is an insult if it is not full. He orders soup and says it is Ramon, which is the staple of his country. I order chicken teriyaki and he says that is a very typical American thing to do.

We have what I think was a successful meeting and I insist on paying. He will not let me, but says it is O.K. to insist three times. We split the check. No mention about the logo or the design project. He says he will be in touch.

On the way home, I buy a book called Ho w to Do Business with the Japanese and stand there in the bookstore reading it with my mouth hanging open. The first paragraph tells me that almost everything I did was wrong. If you shake hands with a Japanese you do not squeeze, for it is an insult to have to show your strength and is very disrespectful to show any type of superiority. Then it says in big, bold print, " SHUT UP! " Americans talk too much and it is thought an insult to be too talkative and free spirited. This is after I have just spent an hour blabbing my life story to this man. When the Japanese shake their heads up and down and say "Hi (Hei is what they are really saying), it means they understand. It does not mean "no ~' and it does not mean "yes ~' We interpret it as " yes" because of the head motion, so I'm thinking this man really likes me because he keeps saying " Hei" and shaking his head up and down. They are not accustomed to contracts and most work is done on trust and honor. If they sign a contract, it does not have the clout it has in America.

I did learn gifts are a number one priority and to make sure I have something at my next meeting as a token of appreciation.

To this day I thank the Metropolitan Museum of Art for their series of books about art and their museum in Japanese, which I gave as an opening present when the president of the company arrived at my home three weeks later. He was very impressed, or at least acted like it.

Potato chips, pretzels, cheese, beer, saki-I was prepared .

My future boss, who is 35, walks in with four other Japanese gentlemen and the interpreter who was my contact at the sushi bar. When they arrive, they bow and hand (Continued on page 116)

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JAPANESE DESIGN ADVENTURE

me business cards. I run to get my wallet and give them my card which they stare at for 30 seconds, so I stare at their card which is in English and Japanese, and bow and they bow and I bow etc., etc.

They only drink and do not touch any of the hors d'oeuvres and ask me questions like who is my favorite painter? Who is the greatest graphic designer in the world?

Do I like Michael Jackson? (A big laugh by all at the table.) Am I married? What is my favorite color? And where is the bathroom, which, they tell me, is very large compared to the ones in Japan.

We go to America, a restaurant on 18th Street that specializes in food from all over America. We get there in a stretch limousine that is humongous even by American standards. We have a great meal and a lot of fun. Everybody orders steaks after the boss makes up his mind that he wants a steak, and I order five different appetizers so they can at least try some variety of foods.

No mention of the logo, and I offer to pay the bill, but it has already been done by one of the people at the table. (I did see him use his American Express Gold Card.)

We say good night and that's it. I put them in the limo and go home wondering· if I did everything O.K. During dinner I did mention that I think it would be appropriate to go to Japan to see what this logo is going to be used for, and I am told I have not been asked to go to Japan yet. So I shut up. But as we are leaving I am told that I am now asked if I would like to go to Japan. So I say yes and thank them very much. Do they know when? I am told they do not know, but the store will open in September. It is now June, and I ask if the store is built yet, and they say no.

We meet again in two days and finally the logo is brought out. The original paper with one of my sketches that has an eagle above the company's name is selected and I'm asked if this is offensive to America. I'm bewildered by the question. At 30 years old, I was not alive during World War II and do not know the symbolism of the eagle as they might interpret it. I say no, it is not offensive. It is very American. It says and represents America. They ask what the little dip in the letter "R" on the RichWell logo means? I answer that it makes the letter "R" more human, more warm. They look at everything, these Japanese.

They are bewildered that I am bewildered and I ask if the eagle is offensive to them. They say no. They like it, but do not want it in red. It must be in blue. Everyone bows, but to the president, you must bow the lowest.

I bow and shake hands.

Three weeks later, after a grueling fifteen hour flight, I arrived in Gifu, which is about 100 miles from Kyoto.

I've taken two trains and the bullet train to get here. It's about twelve midnight for me the previous day back in America. I'm here in a room with six people staring at 116

M A R C H I A P R I L I9 8 9

me, waiting for a name for the new diner that is going to be built next to the RichWell store. This is totally new to me so I ask if I can have a little time to think about this. I get stares. My name as a little kid was Johnny and my last name begins with "K~' How about Johnny K's?

It's very fifties. I get stares, but the president is counting his fingers-eight letters, very good luck. I like it he says.

Everyone smiles. I sign my name Johnny K's. They all keep saying it. They write it down in English. They like it. Ten minutes later the doors open and I see people lined up to see me. The people in the room point at me and say, "Johnny K~' First there are architects who have sketches of buildings.

I have to pick one. Then come the interior designers. I'm picking tile, lights, fixtures, you name it. Everything is done from catalogs. I see shelves of catalogs with possibly every American item ever made.

By the end of the next day, this place is completely designed from catalogs. Every decision I make is final.

I'm told to just make sure it's the ultimate American place, as if it were in Columbus, Ohio. I'm told the final inking can be done for the logo of Johnny K's when I get back to New York, but they need it soon.

I'm taken to dinner and put in a fabulous hotel in Gifu, which is a prefix name for the city nearby called Kagamagahashi. I visit a shogun temple, and see the countryside. No mention of money yet. So I bring it up (which is not cool, but hell, if they are going to have me do all these extra items, they are going to have to pay for it). I tell them that I want more money for the logo and Johnny K's is definitely extra, and that every American designer must have a nap in the afternoon if they expect me to work till midnight every day. I get the nap. The interpreter tells me to be patient and relax, the money will come, and that the next four days will be totally relaxing, all sightseeing and eating out. No more work.

He was correct. I am wined and dined for two days and sent back to Tokyo, where I visit every major store I can fit into the remaining days. Everything is paid for. There are no women, it is all business, everyone eats together, works together, and is married to this company somehow.

When I did bring up the money again, I'm told I am much too expensive. We have staring contests for at least five minutes or so with no words spoken. (I know they are not used to staring people in the eyes.) They tell me I will have the rights to the logo in the U.S. but they will have a complete buyout for Japan. After a grueling five hour meeting of going back and forth bargaining, we compromise. I'm not as happy as I would like to be, but this is an incredible opportunity and everything has been paid for so far. The taxi ride from the airport to Tokyo was $250.00 and the average breakfast which would be $10.00 in New York is $100.00 easy.

The man I worked for is a millionaire many times over,

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JAPANESE DESIGN ADVENTURE

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118

M A R C H I A P R I L 19 8 9

(probably a billionaire by American standards), but lives in a house smaller than my apartment in New York.

Although he cannot speak English, he can definitely read numbers and has no problem with a calculator.

Tokyo today is what New York City probably was like in the fifties. In fact, Japan is very fifties: the game shows on T.V., the outfits, the carefree attitude with a tremendous work ethic. I just wonder if an individual's freedom might be a little too centralized and what happened in America in the sixties will happen in about ten years.

There is a section of town in Tokyo that on Sundays becomes an area where the kids dance in the streets in groups. Not a few, but thousands. They carry their outfits in bags and change in bathrooms, dance fifties and change before they go home. Their parents do not approve.

Two months later I'm back in Gifu for the opening of Johnny K's. People are working around the clock. The parking meters are in place. (They are totally American but people can't figure out what these things are for.)

They are paving the street tonight, and planting the trees.

I can't believe my eyes, I think I am standing in the middle of Ohio. I ask if the newspapers are going to be covering the opening and I just get stares. It is bad manners to shout out an event and the store is supposed to catch on by word of mouth. This seems ridiculous to me so I ask for a photographer to take pictures for myself at least. The morning of the opening, hundreds of bouquets of flowers arrive with names of the people who sent them. It is a custom in this particular town to send flowers to an opening and come and pick up the flowers you sent. But you leave the empty flower stand with your name on it, to show you came to the event. At the end of the day there must have been 100 of these naked flower stands.

I met the mayor of the town, the bank president, every cousin, sister-in-law, etc. that had anything to do with the place. I was even seated with a young woman who was the owner's cousin. I was told she liked me, and her mother, who was at her side all the time, constantly asked if I was married.

I guess it was a great success. I thought more people would turn out, but I was the only one who seemed worried.

It has been a few months now since the store opened.

It is doing very well, even better than expected. The diner, Johnny K's, brings in a lot of cash, very fast, more than was expected on such a short term . It's still a strange feeling to be back in America and know there is a restaurant named after me in Japan, even if they can't pronounce it very well. It isn't the way Ronald McDonald started.

•

The Elders: Ordinary lives, uncommon times.

Featuring Pageantry Text&Cover

Michelangelo Varagona · Born: July

24, 1884 Campofranco, Sicily

Coal Miner, Grocer

1889

Movies invmted by lbomas Alva Edison

1892

..A Bicycle Built for Two.. sweeps the country

189~

Italians defeated byAbyssini.ns at Ambo Alaoi

1898

l~ million U .S. child= in school

Immigrant stettaBe 1904

1907

1910

rates cut ro S 10 by foreign lines

1,28~.000~ .

record immigration

Jade Johnson beats Jim Jeffries , retains

htavyweighr crown

Michelangelo Varagona. Born: Campo.franco, Sicily. Parents: Sylvestro Varagona and Mattia Mordecai-tenant farmers. Three brothers and one sister. Education: Self-taught. Started work in the fields at seven; hired out to other farmers at ten. At 16/earned to read and write .from brother, while Giuseppe was learning as requirement for army induction. Heard .. about America .from cousins living in Alabama. Saved $135 for passage .from years offarm labor and digging irrigation ditches.

Ui>nt by sea, steerage class, to America in 1910. Landed in New York. Spent two days on Ellis Island and left by train for Birmingham, Alabama. Met and taken home by cousins. Got a job in the mines blasting and digging coal. Worked in coal mines outside Birmingham for 16 years except for briefstint as a farmer. Became a citizen in 1922. Finally left mines in 1926, became a vegetable cook and then opened first ofsuccession ofsmall grocery stores. Married at age 46, Francesca, 25,.from Casteltermine in Sicily. The marriage was arranged by family and .friends. After exchange of/etters and pictures, Michelangelo made the trip to St. Louis to meet Francesca and they were married there .

Children: four. Grandchildren: 13. Great-grandchildren: two.

Now lives with youngest daughter, Mary Grace, in Birmingham.

Still works in garden and around house.

''

y father's name was Sylvestro. He did not know how to read and write. For a long time nobody had any school.

He was a little bitty man, about that size. At that time, you know, everybody went hungry; they never had a chance to grow. It was all hard work and no food to eat. And the people just got shorter and shorter.

They all worked on the land."

1916

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1919

Mechanical rabbit development begins mcxlern gteyhound racing

Gene Soruen, 1922

golf professional winsU.S. Opm

Federal agents seiu a 192~

half million gallons of hard liquor

1928

Herbert Hoover el<cted President

1931

Emergency Relief Administration set up

1934

FlashGocdon starts life.

.. Fot Whom the Bell 1940

1946

1949

19~2

Tolb" published by Ernest Hemingway Electron brain builtar Pennsyl¥0nd Univ.

PhilipHeach

d.iscoven cortisone

Alben Schweitzet wins Nobel Peace

Prize

19~~

UHF waves first produced

19~8

NASA established

1961

.. Freedom Riders .. attaclcod by whites

in Birmingham

1964

24th Amendment rarified abolwung poll Wt Svetlana Aliluyeva,

1967

1970

Stalin'sdaughrer arrives in U .S. Four killed at Kent State procesring ViHnamWar

1973

Militant Indians occupy Wounded Knee for70days

1976

James E. Cartet,Jr. elected President

1979

Cartet and Btezhnev sign SALT II

agrurnenr

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CA89 30th ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Work that has been published or aired between July 1, 1988 and June 30, 1989, is eligible for CA-89. Deadline for submitting entries is July 1, 1989.

All of the winning entries chosen by the juries will be reproduced in two issues of CA-89. The November Design Annual will show selections by a distinguished jury of nine designers. The December Advertising Annual will show selections by an e·qually distinguished advertising jury of writers, art directors and creative directors.

The largest (26,549 last year) of all the juried competitions, this is also the toughest to make. Having your work selected is of corresponding significance.

Work may originate from any country (twenty nations have been represented in past Annuals). English translations are important for the jurors.

Both of these 250-page Annuals will incorporate special reproduction techniques developed by CA, quality color separation, the finest web offset printing available on premium 80 lb. coated paper, with everything that was originally in color reproduced in color at a size that allows the copy to be read.

Over 60,000 copies of each of these worlds 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, 1990.

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 hanging fees are required.

No entries will be returned. Submission of entries to CA-89 acknowledges the right of Communication Arts to use them for publication and exhibition.

• Please note: Illustration and Photography categories are not included in CA-89. 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.

DEADLINE FOR ENTRIES IS JULY 1

CATEGORIES CONSUMER MAGAZINE ADVERTISING lA Single ad, any size, including spreads ($20) lB Campaign-limit of five ($35) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size, including spreads ($20) 2B Campaign-limit of five ($35) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising which appears in consumer magazines and newspapers) 3A Single ad, any size, including spreads ($20) 3B Campaign-limit of five ($35) POSTER 4A Outdoor, 24-sheet or larger, includes painted ($20) 4B Series of 4A-limit of five ($35) 4C Transit (bus, subway, shelter) ($20) 4D Series of 4C-limit of five ($35) 4E Point of purchase ($20) 4F Series of 4E- limit of five ($35) 4G All other posters (exhibition, event, institutional, etc.) ($20) ..

4H Series of 4G-limit of five ($35) AUDIO/VISUAL PACKAGING SA Single record jacket, cassette, compact disc, video, etc. ($20) 5B Series of SA-limit of five ($35) PACKAGING/LABELING 6A Single package or label or shopping bag ($20) 6B Series of6A-limit of five ($35) TRADEMARK 7A Company name and nature of the business must be placed next to the mark for judges information or the mark will be disqualified ($20) 7B Corporate identity- at least five, limit often ($35) LETTERHEAD SA Letterhead, envelope ($20) 8B Business paper series-at least five, limit often ($35)

COMPANY LITERATURE 9A Annual report ($20) 9B Institutional/service booklet or brochure ($20) 9C Product booklet or brochure ($20) 9D Announcement/invitation/greeting card ($20) 9E Series of9D-limit of five ($35) 9F Catalog: product ($20) 9G Catalog: school ($20) 9H Catalog: exhibition ($20) 91 Miscellaneous company literature (data sheets, internal communications, conference literature, etc.) ($20) 91 Series of9I-limit of five ($35) EDITORIAL lOA Consumer magazine (cover or spread) ($20) lOB Multi-page section oflOA ($35) lOC Newspaper (page) ($20) lOD Multi-page section oflOC ($35) lOE Trade magazine (page or spread) ($20) lOF Multi-page section oflOE ($35) lOG House organ/newsletter/association (cover or spread) ($20) lOH Multi-page section of lOG ($35) BOOKS & JACKETS llA Trade book, entire unit ($20) llB Trade book, cover or jacket ($20) llC Text book, entire unit ($20) llD Text book, cover or jacket ($20) llE Children's book ($20) llF Children's book, cover or jacket ($20) llG Jacket series-limit of five ($35) SALES PROMOTION 12A Sales presentation, direct mail ($20) 12B Series of12A-limit of five ($35) SELF-PROMOTION 13A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($20) 13B Series of13A-limit of five ($35) 13C Printed promotion for ad agencies, art directors, copywriters, suppliers ($20) 13D Series of13C-limit of five ($35) 13E Art/design clubs, communications/ promotions ($20) 13F Series of13E-limit of five ($35) 13G Advertising clubs, communications/ promotions ($20) 13H Series of13G-limit of five ($35) TELEVISION ADVERTISING 14A TV commercial, 16mm film or 3f4 " video tape NTSC ($35) 14B Series of14A-limit of three spliced together without leaders ($50)

DEADLINE FOR ENTRIES IS JULY 1

RADIO ADVERTI SING 15A Radio commercial, 1/4" magnetic tape, 7lf2 ips ($35) 15B Series of15A-limit of three spl iced together without leaders ($50) TELEVISION/ RADIO STATIO N PROMOTION 16A Program promo, 3!4'' video tape NTSC ($35) 16B Series ofl6A-Iimit of three ($50) 16C Radio, lf4'' magnetic tape, 7lf2 ips ($35) 16D Series ofl6C-Iimit of three ($50) 16E Program title, logo, signature, 3!4'' video tape NTSC ($35) 16F Series of16E-limit of three ($50) 16G Printed piece ($20) 16H Series ofl6G -limit of five ($35) PUBLIC SERVI CE (Work done for a non-profit organization or advertising of a public service nature by a profit , making company) 17 A Magazine ad ($20) 17B Series of17 A-limit of five ($35) 17C Newspaper ad ($20) 17D Series of17C-limit of five ($35) 17E Poster ($20) 17F Series ofl7E-Iimit of five ($35) 17G Booklets, direct mail ($20) 17H Series ofl7G-Iimit of five ($35) 17! TV commercial ($35) 171 Series ofl7I-limit of three ($50) 17K Radio commercial ($35) 17L Series of17K-Iimit of three ($50) MISCELLANEOUS 18A Greeting card/birth announcement/ invitation/( company announcements and invitations belong in 9D) ($20) 18B Series ofl8A-Iimit of five ($35) 18C Display (point of purchase, trade show exhibit, etc.)-limit often slides ($35) 18D Signage, interiors, architectural graphics-limit often slides ($35) 18E Calendar ($20) 18F Menu ($20) 18G Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc.-limit of five ($35) 18H Anything not covered in previous categories ($20) 181 Series ofl8H-limit of five ($35)

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

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) 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 V4" magnetic tape, 7 1/2 ips in reel-to-reel format. Audio/ visual series are limited to three commercials.

This form and entry fee must accompany entries submitted to CA-89.

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

Name

Phone

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. A piece may be entered as a single and part of a series.

Zip

State

. . $20 each $_ __

_ _ _ Single entries .. . . ... .. . _ _ _ Campaigns or series

.................. $35 each $_ __

_ _ _ Single TV Commercials

... $35 each $_ __

_ _ _ TV Commercials Series

............. $50 each $_ __

_ _ _ Single Radio Commercial ........ . ........ . $35 each $_ __ . ... $50 each $_ __

_ _ _ Radio Commercial Series ..

TOTALFEE $_ __

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

Self-addressed stamped envelope

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

included for acknowledgement

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

Therefore, international entries should be sent by mail, not air freight. All entries must be received by July 1, 1989.

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Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

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FORMS AND ENTRY FEES Form A (or a facsimile) and the entry fees must accompany your package of entries. Make checks payable to CA-89.

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.

APPLY TAPE HERE

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Submitted by

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Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

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

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For foreign acknowledgements, please send a self-addressed envelope and include in the total cost of your entries either 30 cents for Canada or Mexico or 45 cents for other countries.

Submitted by

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

For campaigns or series only This is No. _ _ of _ _

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Fo~ c~mpaigns or series only

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APPLY TAPE HERE Mail entries to: CA-89 Communication Arts P. 0. Box 10300 Palo Alto, CA 94303

Air Express entries to: CA-89 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

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NO RETURN OF ENTRIES

Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

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CLASSIC CREST® WRITING, TEXT AND COVER

CLASSIC CRESTe and the SHIELD DESIGN are Trademarks of Kimberly-Clark Corporation ©1989 KCC. All Rights Reserved Printed on CLASSIC CRESreCover, Avon Brilliant White, 651b.

BOOK REVIEWS

some commercials that didn't take themselves so damn seriously. I decided to try it as a lark."

I T O NLY H U RTS WH E N I LAUGH

By Stan Freberg Publis hed by T imes Books 201 East 50th Street, New York, New York 10022

$19.95

Deck the halls with advertising, Fa Ia Ia Ia Ia Ia Ia Ia Ia. 'Tis the time for merchandising Fa Ia Ia Ia Ia Ia Ia Ia Ia. Profit never needs a reason, Fa Ia Ia Ia Ia Ia Ia Ia Ia. Get the money, it's the season.

Fa Ia Ia Ia Ia Ia Ia Ia Ia. -From Green Chri$tma$, Capitol Records The author of those lyrics, who also played Scrooge on the record, is an unusual advertising man, consulting mostly to agencies of clients with serious problems. He is also a comedian, impressionist, writer, composer, recording artist, director and, above all, a satirist.

Fortunately, his outrage at the excesses and pretensions that have offended his sensibilities is counterbalanced by his wit and humor that makes the parodies funny and entertaining while his satirical sword is jabbing right to the heart of his target.

The book was supposed to be about advertising, says Freberg in his foreword , but his editor suggested that it would be useful to tell how his particular sense of humor was shaped, and how he managed to break into radio, then television and become a record star before he ever went into advertising.

Freberg took that advice seriously. His first venture into advertising doesn't appear until page 93. Not that the first 92 pages are not entertaining reading. They are, as he describes his childhood influences, his first job doing voices for Warner Bros. cartoons, background stories of his great records and the CBS network radio series, battling censorship on many of these, the Timefor Beanie TV show which he co-wrote and was both puppeteer and voices for Cecil the Seasick Sea Serpent and Dishonest John, and many other experiences.

Freberg had never aspired to be in advertising. In 1956, he got a telephone call from Howard Gossage inviting him to take a crack at it. Howard had a client who was in trouble, and he had a hunch that humor might help. That was why he was coming to a professional comedy writer who had successfully created humor for the ear. " Feeling the way I did about advertising," Freberg wrote, " hating the hard sell I was assaulted with from my car radio each day, I felt I suddenly had been given the opportunity as a consumer to, in effect, answer back, to create

Gossage flew down from San Francisco. Over lunch, Freberg discovered that he had met a rare bird, very unlike any of his previous advertising contacts. " I was talking to a fellow iconoclast." Thus began a close friendship.

The client was Contadina Foods, a small tomato paste packer who was in danger of being buried by the huge Hunt company. After learning that there was the equivalent of eight tomatoes in each can of Contadina tomato paste, Freberg came up with a jingle: Who put eight great tomatoes in that little bitty can? Then he created several funny, oflbeat commercials.

The agency (Gossage hadn't formed his own yet) hated the commercials, as did the Contadina staff. Only Howard and Marty Marrici, president ofContadina, had a gut feeling these might work. As they were aired, the disc jockeys loved them, often talking about them after the commercial had finished . Sales soared and Ad Age named this as one of the two outstanding marketing successes of the year.

As a long time fan of Freberg's satirical humor, I ran an article on him (March 1960). The graphic accent was on the Kaiser Aluminum Foil campaign, current at that time.

In this, he was going against an accepted primary rule of marketing: Advertising cannot force distribution. The campaign achieved 43,000 new outlets across the nation.

His colorful descriptions of the meetings and presentations involved in his ad campaigns are fascinating. My only disappointment in the book is that it ends about 1963. In his epilogue, he promises that a sequel is underway with the rest of his experiences.

-Dick Coyne BRIEFLY NOTED:

THE CoMPANY IMAGE: BuiLDING YouR IDENTITY AND INFLUENCE IN THE MARKETPLACE by Joe and Elinor Selame (with the editorial collaboration ofF. Peter Model) (Published by John Wiley & Sons, Inc., 605 Third Avenue, New York, New York 10158, hard cover $29.95). Directed toward company executives and marketing managers, this book has many examples of corporate identity and case studies of companies such as Amoco, JC Penney, Eastman Kodak and Mobil. Unfortunately the book has an oldfashioned look due to uncoated paper and poor reproduction of black and white halftones. However, the chattygossipy writing style makes for easy reading and there are lots of fascinating sidebars. For example, Frank Perdue was recently alerted to the fact that his famous slogan, "It C 0 M M U N I C A T I 0 N

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BooK REVIEWS

BradburyThon1 pson TheArt fR1 ofGraphicDesign ~ T his elegant book br ings together for the first time a full spectrum of the work of the designer who "has expanded the boundaries of the printed page and influenced design of a generation of art directors:' Allen Hurlburt, Communication Arts.

BradburyThompson's timeless contributions to American graphic design are represented here along with text and commentaries written by the author with contributions from other notable designers and art historians.

"A major contribution to the history of graphic design:' Massimo Vignelli, President of the Alliance Graphique Internationale.

38 duotones and 272 color illustrations. $65.oo.

Yale University Press, Department 3585 92A Yale Station, New Haven, CT 06520

YOU

COULDHRVE HRITTEH THIS Ill If you want to see your words in print get a job in advertising. If you want a job m advertising go to this school.

(9] PORJFOI.IO CEHTER

125 Bennett St. NW, Atlanta, GA 30309. 1-800-255-3169

Call toll free for free brochure.

132

M A R C H I A P R I L 19 8 9

Takes a Tough Man to Make a Tender Chicken;' doesn't have quite the same meaning in the Hispanic market.

It had been translated to read "It Takes a Sexually Excited Man to Make a Chicken Affectionate."

-Jean A. Coyne CREATIVE TYPOGRAPHY by Marion March (Published by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $27.95 plus $2.50 postage and handling). Examples of creative typography abound in this 144-page book.

The fact that the book was originally published in England explains why many of the examples are from English designers. Consequently, much of the book will be new to American readers. Some of the chapters include creative use of space and color, playing with size, construction and destruction. While the author mentions that one needs to know the rules before they can be bent, very little discussion of typographic history graces the pages of this book.

THE NEw LET THERE BE NEON by Rudi Stern (Published

by Harry N. Abrams, Inc., 100 Fifth Avenue, New York, New York 10011, $35.00). In this updated version of his 1978 book, Stern is quick to point out the popularity of neon has risen dramatically in the 1980s with designers, architects and artists. Besides two hundred examples of neon in advertising and sculpture from Paris to Las Vegas, the book contains a production section of this still completely manual craft. Also included are a chronology, an illustrated glossary and a bibliography.

TYPE & IMAGE by Philip B. Meggs (Published by Van Nostrand Reinhold, 115 Fifth Avenue, New York, New York 10003, $32.95). Trying to define the essence of graphic design is not an enviable task. Mr. Meggs' book is insightful and detailed. Examples profusely illustrate the chapters on the elements of graphic design, the union of word and picture, graphic space, graphic resonance and the design process. A bibliography and index make this book even more helpful.

PRIMO ANGELI: TWELVE STORIES (Published by Rockport Publishers. Distributed by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $27 .95). Much more interesting than a portfolio collection, Angeli discusses the theory of graphic communications by showing it in practice. Twelve projects are profiled in depth with discussions on marketing strategy, sketches, comps, presentations and results. Primo calls his approach a market-oriented blend of aesthetics, communications and salesmanship.

What becomes apparent, after scanning the pages, is that one part of the blend doesn't have to suffer because of the other two.

-Patrick Coyne

The paper at the bottom is Graphics 360 from the Bienfang Designer Series.

Custom selected to accept marker ink without spreading or feathering.

This proven feature is just one of many that make the Designer Series America's # 1 conceptual launching pads.

The manufacturers of the paper at the top, however, shall remain nameless. They've already absorbed enough punishment.

MORE DESIGNERS DRAW ON US FOR INSPIRATION.

MATERIALS PHOTOGRAPHER'S AUTOMATIC COPYRIGHT SYSTEM Photorights, Inc. has devised a system by which all2 1/<!

film shot with a Hasselblad system and all35mm film is copyright protected, automatically, each time a frame is exposed. The photographer's name, copyright symbol and date are imprinted on the film outside the frame.

Photorights will install, directly into Hasselblad backs or Nikon bodies, their copyright protection system and supply replaceable microfilm, good for ten years, for a cost of about $5.00 per year. They claim the system will not interfere with the image area of the pictures or the normal operation of the camera. The yearly copyright date change can be made by the photographer. For more information, contact Photorights, Inc. , 118 East 25th Street, New York, New York 10010, or call (212) 460-8183.

GRAPHIC ARTS CALCULATOR

Calculated Industries has developed a calculator specifically for the printing and graphic arts industries. The $69.95 Graphic Arts Master works directly in, and converts between: picas, points picas-points, inches, feet-inchfractions, feet, centimeters and millimeters. It also includes a built-in proportional scaling function that provides percentages for artwork enlargements and reductions. In addition, the calculator performs all the basic calculator functions including memory. For further information on this or the company's other electronic devices, write to Calculated Industries, 22720 Savi Ranch Parkway, Yorba Linda, CA 92686, or call1-800-854-8075.

In California call1-800-231-0546.

DESKTOP PUBLISHING SOFTWARE

Timeworks, creators of the original Publish It! (be careful how you say that), are now offering two new renditions of their original software package. Publish It! 2, an upgraded, more high-tech version of Publish It!, and Publish It Lite!, designed primarily for the less experienced user. We'll tackle them one at a time. Publish It! 2 is for the serious, more experienced desktop publisher.

Some of the new features include extended memory support, which is limited only by the available memory in your computer, automatic border creation and the ability to resize graphics to any size you want. Also, at the press of a key, you can align groups of objects horizontally or vertically. Retail price, $129.95. Publish It Lite! includes all the basic requirements for desktop publishing such as page layout, word processing, typesetting and graphic features needed to produce professional documents. Lite! is available for IBM PC, Tandy and compatible computers and is geared for people who are just getting their feet wet in the industry. Lite! has a wide variety of fonts including boldface and italics, from sizes 7 to 36 points.

This program also allows you to use your mouse or key134

M A R C H I A P R I L I9 89

board to change your layout or experiment with alternative layouts. All the font packs and art portfolios currently available for Publish It! can also be used with Lite !.

Suggested retail price, $59.95 . For more information, contact Jessica Chipkin!, Timeworks, 444 Lake Cook Road, Deerfield, Illinois 60015, or call (312) 948-9200.

SLIDE STORAGE SYSTEM

Multiplex Display Fixture Company introduces an oak wood-grain storage system for 35mm slides that, according to the manufacturer, is over $200 less than comparable systems already on the market. This unit holds up to 1260 slides in lightweight, yet durable slide frames that, when removed, allow the viewer to look at 63 slides at a time. A special design secures slides for vertical viewing and the cabinet closes with a pull-down front to keep out dirt and dust. The system comes with 20 slide trays, indexing tabs and is easy to assemble. We all know what those last three words really mean. For more information, write Frank Grelle at Multiplex Display Fixture Co., 1555 Larkin Williams Road, Fenton, Missouri 63026, or call1-800-325-3350.

MINI DRAFTING/DRAWING MACHINE

Calling this a " machine" may be misleading, but it does seem like an interesting little instrument. Gaebel Enterprises presents the PL491 Mini Drafting and Drawing Machine, touting it as an " inexpensive ($10.95) portable instrument utilizing the protractor and ruler principles to quickly and accurately draw parallel, horizontal and vertical lines, and to project and measure angles ~' Even with the photo provided, I would be hard pressed to accurately describe the PL491. Its functions include those of a ruler, protractor, T-square and drawing board. Information and literature is available from Peter Anderson, Gaebel Enterprises, Inc., 100 Ball Street, P.O. Box 6849, Syracuse, New York 13217, or call (315) 463-9261.

COLOR PAINT SOFTWARE

Electronic Arts has announced the release of its new color paint program for the Macintosh II. Titled Studio/8, the 256-color program has been developed for graphic designers, desktop publishers and video professionals. " Probably the most outstanding feature Studio/8 offers to the creative professional is its convenient interface;' said Darrell Boyle, director of marketing for Electronic Arts' Creativity Division. He explained that many graphics programs frustrate artists because they are fo rced to become both technically knowledgeable of computer interface and to take several steps in order to achieve even simple results. Michael Patrick Cronan, designer of the software packaging said, " I have never considered myself a 'propeller-head' or 'techno-phobe' as some technical

With all the time, energy and creative effort that goes into quality brochures and annual reports, it's not surprising that both designers and printers insist on Vintage when the final product must yield a look and feel of quality.

Vintage has earned a well-deserved reputation for dependability based on unexcelled press performance and outstanding printed results. The exclusive blade coating gives it a smooth surface that easily carries the sharpest detail as well as the most subtle tones. The excellent holdout allows you to cover the page with heavy inks or add just a touch of color here and there with beautiful results. So when there's no substitute for quality, harvest the rich rewards with Vintage.

Vintage is available for web or sheet-fed printing in 70-,80- and 100-pound text and 60-,80- and 10.0-pound cover in both gloss and velvet finishes.

Production Notes Fbper: Vintage Gloss, basis 25 x 38, 100-pound Press: Akiyama, 40 inch, 4 color Screen: 175line Inks: Graphics, Universal Series K,C,M,Y, 877 Metallic Silver 208 Burgundy Typeface: Melior Semibold Compressed Melior Compressed Melior Italic Compressed Photogmphy: David Quinney

Podatch Corporation Northwest Paper Division Cloquet, Minnesota 55120

Printed in U.S.A. Cl 1989 Potlatch Corporation

MATERIALS

geniuses are referred to ... and I am not a disciple of the computer, but I think that Studio/8 is the first computer program I have ever seen, and certainly the most powerful of its kind, to truly be a tool for graphic designers~' If you don't want to take his word for it, you can get more information by contacting Electronic Arts, 1820 Gateway Drive, San Mateo, California 94404, or call (415) 571-7171.

AUTOMATIC PENCIL

SenseMatic, from Dixon Ticonderoga, is a disposable pencil that automatically advances lead when required.

You never have to interrupt your writing or drawing to ask your thumb to advance the lead. The Dixon people have even designed the pencil to look like the old yellow-pencilthat-you-have-to-sharpen-and-has-a-pink-eraser-thatyou-can-chew-off. Neat, huh? Suggested retail price is $.79. For more information, contact Dixon Ticonderoga Company, Sandusky, Ohio 44870.

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

AlGA Standard Form ofAgreement .. . long overdue, the AlGA Standard Form of Agreement for Graphic Design Services is a contract developed to establish a nationally accepted standard. Roger Whitehouse initiated and developed this contract when he was vice president for professional practice at AlGA, and this agreement is expected to be updated periodically. It is meant to be a working document that responds to the client/ designer relationship. The contract is copyrighted and should be used as published, with modifications as needed. At first glance, the contract bears a frightening resemblance to a federal tax return form, so obviously the design could use some work. Copies can be obtained in sets often, for $10.00 plus $3.00 to cover first-class postage and handling, from The American Institute of Graphic Arts, 1059 Third Avenue, New York, New York 10021, or by calling (212) 752-0813.

Those Who Teach ... Simpson Paper Company has published a wonderful collection of biographies featuring teachers and professors from around the country. This book, beautifully illustrated and designed by Milton Glaser, focuses on the importance.ofthe teaching profession, and how teachers have had to battle to overcome their Rodney Dangerfield-like image. Written and edited

by Maxwell Arnold, Those Who Teach is very entertaining and provides a much-needed forum for these teachers to talk about themselves and how much their profession means to them. The intensity of these instructors is almost

palpable, making it thoroughly enjoyable going cover to cover. Simpson deserves a plug here, since they make little effort to blow their own horn. This meritorious endeavor is printed on Gainsborough, Filare and Starwhite Vicksburg, and effectively highlights the quality of their stock. The large, fold-out illustrations emphasize the beauty of text papers for reproducing original paintings.

As to how much the book will affect the teaching profession, co-author Glaser, a veteran teacher himself, says, "Like many things, if twenty people are affected, that's not bad. You'd like it to be more, but if a hundred people end up thinking teaching is more significant than they realized, I'll feel we've accomplished something~' Mission accomplished, Milton. Copies of Those Who Teach may be obtained from your local Simpson Paper merchant, or by writing, Marketing Services, Simpson Paper Company, One Post Street, San Francisco, California 94104.

Color Resource ... is a brochure created to highlight the updated Curtis Tweedweave paper line by James River.

Four new colors have been added to the original line of fourteen: Pure Gray, Biscayne Blue, Pistachio and Bisque.

"Tweedweave offers strength and durability~' said Alan L. Rowland, director of marketing and planning for James River, "making it ideal for the rigors of deep embossing, foil stamping, die cutting, scoring and folding~' Sounds like a pretty strong stock. The 48-page brochure that demonstrates some of these tough characteristics is available from your local James River paper merchant, or by writing James River Corporation, Premium Printing Papers Group, 145 James Way, Southampton, Pennsylvania 18966.

Anatomical Clip-Art ... Over 300 ready-to-print medical illustrations are available in the Kopy Kit, published by Parlay International. This kit, encased in a sturdy binder, includes 153 different medical illustrations, each provided in two versions, one with identifying labels, one without.

Created by medical illustrator Tim Mack, each illustration is printed on heavy-duty, one-sided clay-coated cover stock (hyphen-mania) that allows sharp reproduction on a photocopy machine, as overhead transparencies, or as camera-ready art. Sections include digestive system, respiratory system, skeletal system, muscles and many more. Retail price $249. For free sample pages, a complete table of contents and further information, contact William Remas at Parlay International, 4017 24th Street, Suite 35, San Francisco, California 94114, or call (415) 647-2824.

-William Rayburn

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

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137

CLUBS, CONFERENCES, SEMINARS NCGA Approximately 220 vendors will be featured at the National Computer Graphics Association's tenth annual conference and exposition on April17-20 at the Philadelphia Civic Center. Exhibitors include such companies as Apple Computer, AT&T, Digital Equipment Corp., Eastman Kodak Co., Hewlett-Packard, IBM, Polaroid, Sun Microsystems, Tektronix and Versatec. Completing the four-day event will be 133 conference sessions examining twenty computer graphics application areas, including electronic publishing, factory floor and business graphics, CAD/CAM and video technology. Computer graphics standards will be emphasized using information exchange systems and live demonstrations. For more information, contact Michael Weiner or Sharon Sutton by calling (703) 698-9600 or writing to NCGA, 2722 Merrilee Drive, Suite 200, Fairfax, Virginia 22031.

lTC International Typeface Corporation announces the fifth annual Herb Lubalin International Student Design Competition. Design students from around the world are invited to create their graphic interpretations of a passage of text selected by lTC. Since the competition's theme is "Illiteracy-The Price:' the required copy speaks of the risks facing societies where illiteracy exists and of the limitations suffered by those who cannot read. There is a first prize of the Herb Lubalin Medal and $5000, a second prize of$2500 and eight third prizes of$500. Judges will include James Cross, Burton Kramer, Woody Pirtle, Nancy Rice and Herbert Spencer. An exhibition of the winning pieces will be displayed at the lTC Center, New York City, in the fall of1989. Deadline for submissions is May 12, and all undergraduate, graduate or special students of bona fide art or graphic design schools or departments are eligible. For a call for entries, please contact Laurie Burns, Director of the lTC Center, 2 Hammarskjold Plaza, New York, New York 10017 or call (212) 371-0699.

NEW YORK

The Art Kane Photo Workshop will make its debut on June 5 through September 1 at Shelton College in Cape May, New Jersey. During the thirteen-week program, three levels of instruction will be given-foundation, applied and personal-for beginners through advanced and professional photographers. Over 70 instructors will join the workshop, including Sarah Moon, Jay Maisel, Ralph Gibson, Arnold Newman and Sheila Metzner.

Additional courses, such as self promotion, studio lighting, stock photography, photo editing and architectural photography, are also featured. Weekly tuition begins at $495 plus processing, lab and model fees.

Meals and accommodations start at $225. For registration 138

M A RC H I A P R I L I989

information, contact Athena Balick at the Art Kane Photo Workshop, 111 Fifth Avenue, New York, New York 10003 or call (212) 529-7093.

SEATTLE

The Seattle Advertising Federation selected their board of directors for 1988-89: president Pete DeLaunay, Elgin Syferd; first vice president Mimi Kirsch, KCTS Magazine; second vice president Karen McGhee, Ehrig & Associates; treasurer John W David, Seafirst Bank. For further information call (206) 623-8307 or write SAP, P.O. Box 4159, Seattle, Washington 98104.

CMG The Color Marketing Group will hold its spring national meeting at the Westin Peachtree Plaza in Atlanta, Georgia, on May 7-9. The meeting will be devoted to forecasting the 1991 Consumer colors. Contact CMG, 4001 North Ninth Street, Suite 102, Arlington, Virginia 22203 or call (703) 528-7666.

GRAFIX'89 The national conference for graphic design professionals announced the formation of an advisory board. Members of the board will provide input in formulating GRAFIX's comprehensive seminar program and special events line-up. These 1989 members are: Liz Bond, director of marketing communications, Adobe Systems, Inc.; Chris Stocker, marketing manager for advertising and graphic markets, Apple Computer Company, Inc.; Roger Black, president, Roger Black, Inc.; Alan Haley, executive vice president, lTC; Curt Dwyer, manager of marketing communications, Letraset, USA; Gerry Giudice, vice president of marketing and sales, Pan tone, Inc.; Richard Wilde, art chairman of the advertising/graphic design departments, School of the Visual Arts; Nancy Aldrich Ruenzel, editorial director, Step-by-Step Graphics; Murray Grant, communications specialist, Strathmore Paper Company.

For more information contact Joan Barnett, Group Show Director, Conference Management Corporation, 200 Connecticut Avenue, Norwalk, Connecticut 06854 or call (203) 852-0500, ext. 213.

UCDA Officers for the 1989 University & College Designers Association board of directors are as follows: president Barbara Esmark, director of graphic design, SUNY College at New Paltz; vice president (and president-elect for 1990) Jody Zamirowski, design coordinator, College ofDuPage; treasurer Karen Reimer, partner and general manager, Imprint, Inc.; secretary Anita Albert, creative director of publications, Iowa State University. Contact UCDA for more information at 2811 Mishawaka Avenue, South Bend, Indiana 46615 or call (219) 288-UCDA.

THE WEST COAST'S PREMIER DESIGN CONFERENCE Step into your hottest designer duds and get set for a weekend of information and inspiration.

We're talking about Envision, the West Coast's premier design conference. Sponsored by the An Directors and Artists Club (ADAC), Envision is in it's 15th year and is better than ever!

EXCITING SPEAKERS AND TOPICS The theme of this year's conference is Point Of View . Seven speakers will share their point of view on such topics as designing into the 90's, client relationships and getting started in the field.

As they share their insight, sit back and enjoy slide and video presentations of their work. Confirmed speakers to date include: Michael Schwab Michael Schwab Design, San Francisco

Cheryl Heller Heller Breene, Bosron

Charly Franklin Photographer , San Francisco

SPECIAL EVENTS You'll have an opportunity to meet speakers and attendees at the Friday and Saturday evening cocktail receptions. Or, stop by the special computer graphics exhibit and see the latest in desktop publishing. Past and present speakers' work will be on display, as well as the annual student poster competition.

PLUS THESE "EXTRAS"!

You'll receive an Envision 15 T -shin, lunches, coffee break refreshments, and reduced travel fares and hotel accommodations.

For a 40% discount on airfare, contact House ofTravel at 800/444-9996. For group-rate hotel accommodations, contact the Clarion Hotel at 916/ 444-8000. Identify with the group name "An Directors and Artists Club."

ENVISIONrM 15 DESIGN CONFERENCE

May 5, 6 & 7, 1989 Sacramento Community Center Theatre Sacramento, California Call for a free Envision 15 poster and addition information

916/731-8802 An Directors and Artists Club EARLY REGISTRATION (Before March 31, 1989) Students (with valid I.D.) $75 ADAC Member $145 Non-Member $180 REGISTRATION (Received by April 28, 1989) Students (with valid I.D.) $90 ADAC Member $180 Non-Member $215 LATE REGISTRATION (Received after April28, 1989) Students (with valid I.D.) $100 ADAC Member $195 Non-Member $230 Some educational expenses are tax deductible.

Check with your tax consultant for details.

For 15 years, ADAC has hosted over 10,000 students and professionals at Envision.

Past speakers and attendees will tell you it's the most organized, stimulatingconference they've ever attended.

ADAC 2791 24th Street Sacramento, CA 95818 916/731-8802

Envision 15 rheme design by Michael Manwaring.

Copy: julie Evans C 1989 Art Direcron and Artists Club

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

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

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

Issues not listed are no longer available.

JUL1985

$18

CA-77 Advertising & Design Annual

JUL/AUG 1978

$12

$18

$18

CA-79 Advertising & Design Annual··

NOV/DEC 1980

DEC1983

AUG 1985 Photography Annual

$18

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

MAR/APR 1986

$6

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

MAY/JUNE 1984

$18

CA-81 Advertising & Design Annual

JUL/AUG 1982

$12

The Art Annual l982 Illustration & Photography

NOV/DEC 1982

MAR/APR 1983

$18

$6

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

MAY/JUN 1983

$6

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

JUL/ AUG 1983

$12

JUL1984

AUG 1984

$12

SEP/OCT 1984

$6

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

$6

$6

NOV 1987

DEC1987

$12

Photography Annual

$6

JUL1988

NOV1986

SEP/ OCT 1988

CA-86 Design Annual

DEC1984

$18

CA-84 Advertising Annual

JAN/FEB 1985

$18

CA-86 Advertising Annual $6

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

$6

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

JAN/FEB 1987

$6

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"; Index to Volume 28

MAR/APR 1987

$6

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

$6

$6

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

NOV1984

$18

$6

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader" ; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

AUG1988

DEC1986

$18

MAR/APR 1988

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

CA-84 Design Annual

$18

Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction"; Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29

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

$18

$6

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

MAY/JUN 1988

$12

Illustration Annual

SEP/OCT 1986 $6

SEP/OCT 1987

JAN/FEB 1988

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

JUL1986

$12

Photography Annual

CA-87 Advertising Annual

MAY/JUNE 1986

AUG1986 $12

Photography Annual

MAR/APR 1985

The Art Annuall983 Illustration & Photography

SEP/OCT 1983

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

Illustration Annual

CA-82 Advertising & Design Annual

$6

JAN/FEB 1986 $6

$12

CA-87 Design Annual

$18

$6

CA-80 Advertisi ng & Design Annual

NOV/DEC 1981

$18

CA-85 Advertising Annual

MAR/APR 1984

JUL/AUG 1981 The Art Annual Illustration & Photography

$18

CA-85 Design Annual

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

25th Anniversary Issue; The CA Annual Judges; Judging Process

$12

$6

$6

Illustration Annual

AUG 1987

SEP/OCT 1985

DEC1985

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

JUL1987 $12

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

JAN/FEB 1984

CA-78 Advertising & Design Annual

NOV/DEC 1979

$18

CA-83 Design Annual

CA-83 Advertising Annual

The Art Annuall978 Illustration & Photography

NOV/DEC 1978

NOV1983

$12

Illustration Annual

NOV1985 NOV/DEC 1977

$6

MAY/JUN 1985

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

$12

Illustration Annual $12

Photography Annual $6

Tony Swartz; Julie Lieberman; Franc;:ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

NOV1988

$18

CA-88 Design Annual

DEC1988

$18

CA-88 Advertising Annual

JAN/ FEB 1989

$6

Edelstein Associates; Myron; Joy Radio; Muller + Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exh ibit