marapr1990

COMMUNICATION ARTS VOLUME 32, NUMBER 1, MARCH/APRIL 1990

Editor and designer Patrick Coyne

40

MICHAEL BROCK

Executive editor Jean A. Coyne

52

RoB DAY

Associate designer Step han ie Steyer

60

GREAT MOM ENTS IN DESIGN TOOLS

Production manager Scott Perry

68

TH E BALL WCRS PARTNERSHIP

Production Ron Niewald Scott Teaford

82

G EOF K ERN

92

MADS EN AND KUESTER

by Patrick Coyne

104

CHIATIDAY: TH E BooK

by Dick Coyne

110

EXHIBIT

Advertising William Rayburn Administrative assistant Deborah Collins Subscription manager Vickie Perry Subscription Ni na Bland Ronn ie Brown Traffic Vernon Carter Consulting editor Richard Coyne Contributors Maxwell Arno ld Tad Crawford Byro n Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

by Julie Prendiville

by Rhodes Patterson

by Forrest Richardson

by Maxwell Arnold

by Mike Hicks

Reproductions of new and best.

COLUMNS

10

EDITOR'S COLUMN

18

D ESIGN T ECHNOLOGY

Wendy Richmond

32

OPINION/COMMENTARY

Philip B. Meggs

36

FREE-LANCE

118

BooK R EVIEWS

126

MATERIALS, AVAILABLE LITERATURE

135

CA-90 CALL FoR ENTRIEs

141

CLuBs, CoNFERENCES, S EMINARs

Barbara Gordon

COVER: Photograph by Geof Kern

Communication Arts 410 Sherman Avenu e 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 1990 by Coyne & Blanchard , Inc. Second class postage paid at Palo Alto, California and additional offices.

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

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.).

Single issues: $7 except Illustration Annual (July) $14, Photography Annual (August) $14, Design Annual (November) $21 and Advertising Annual (December) $21 .

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

As part of its pre-centennial celebration, Strathmore is pleased to present this series of interviews with the men and women whose achievements help shape the business of design. Through the diversity of their insight and experience, we hope to provide a better understanding of the complexities encountered in this most exciting field of endeavor.

Consider graphic designer and filmmaker, Saul Bass. His diverse talents and long career have taken him from corporate identity to feature films and all stops in between. Trademarks to his credit include AT&T, United Airlines, Quaker Oats, Girl Scouts, Minolta and Warner Communications. An Oscar winning film director, his prowess has been exhibited from short subjects to feature films, including the famed shower sequence in Alfred Hitchcock's "Psycho." His work is on permanent exhibit at New York's Museum of Modern Art and the Smithsonian, as well as museums throughout the world.. When we spoke to him at his studios on Sunset Boulevard in Hollywood, Mr. Bass was reluctant to speak of past achievement, preferring instead to share his thoughts about the excitement and challenges the future would bring.

SAUL BASS Strathmore: What makes Saul Bass tick? If you hadn't been a designer, what might you have been?

Bass: I was either an archaeologist in my last incarnation, or I will be one in my next life, because I have a passionate interest in archaeology.

Strathmore: For a person concerned with contemporary culture, as you are, this interest in the past is particularly curious. Where does it come from?

"... amb"tgwty . ... forces re-examination, adds tension, gives it life .. :'

Bass: I'm not just interested in the past, but in the very, very, very distant past. What fascinates me is the mystery and unreality of it all. The most intriguing culture is one about which we know a good deal, but not everything. That leaves holes which can be filled with our own fantasies and imagination.

Bass: Yes. And film too. It's the notion of taking a "known," even a cliche and treating it in such a way as to cause it to become an entirely fresh experience. Sort of transforming the ordinary into the extraordinary.

Bass: A client comes to you with a definition of the problem, or ideas about what they want to accomplish.

Sometimes they have a sophisticated view of it, sometimes they don't. I find myself frequently spending time with the client redefining the problem, backing up, going back to the beginning. Not infrequently the "problem" turns out to be a "symptom." You have to sometimes move back, in order to move forward to really understand what the nature of the solution should be.

Bass: Yes. These objects, in addition to their intrinsic beauty, bring with them a special kind of mystery- a quality of the unknown that reaches a very deep and hidden place.

Strathmore: What are your other passions?

Strathmore: Simple foods?

Strathmore: Is there a connection between that point of view and your view of design?

Strathmore: How do you approach a new design project?

Strathmore: Is that why you collect fragments of ancient civilization?

Bass: Family, friends, simple foods.

Bass: I like foods that are normally nondescript, when they are done extraordinarily. Like soup. A good soup, good fresh bread. They make my soul sing.

Strathmore

Strathmore: And once you understand its nature, how do you translate it to Continued on next page. design?

Bass: My intent with graphic work is

almost always to find a visual phrase which is more than it at first seems, or in some way different than it first seems.

Strathmore: What are the means?

Bass: Ambiguity and metaphor are

often central to my work, and certainly to the work of most of the filmmakers and designers I admire.

My predilection for indirection is as much practical as it is aesthetic.

Things that are what they appear to be make their point and soon grow tiresome. The ambiguous is intrinsically more interesting, more challenging, more involving, more mysterious and more potent. It forces reexamination, adds tension, gives it life. And because there is more to be discovered, has greater longevity.

Strathmore: Can ambiguity be taken

too far?

Bass: Degree of ambiguity is very

significant. And it varies both in terms of how appropriate it is for certain kinds of communications, and how necessary it is for others. Of course, under some circumstances you find yourself skirting the edge of obscurantism. And conversely a timid use of metaphor puts you in risk of boredom. I suppose there's nothing worse than boredom.

Strathmore: Do you still find it a

challenge?

Bass: My greatest challenge is satisfying my own expectations. I'm a much tougher critic of my own output than any client I've yet encountered. In general, I tend to escalate my creative ambitions for the project. It increases the risk. It makes it more dangerous, but it keeps everything alive. The potential for failure keeps you very alert.

Strathmore: What bit of advice would

you give a young designer just out of school?

Bass: One of the difficulties that stu-

dents and young designers have to deal with is a perceptual issue. They look at the exceptional work that's being done. What they see is the end product.

<Cl 1989 International Paper Company. All rights reserved.

They are not privy to process. They may have the illusion that these things really spring full-blown out of the head of some designer. This is a very unsettling perception for young people, because they struggle with their work. They have at it ... They redo .. .It gets better.. .It slips .. .It gets worse ...

It comes back .. .It comes together.

And maybe it's something that's pretty good, even excellent. But they say to themselves, "gee, it comes hard and it's so difficult. Am I really suited for this?"

Strathmore: But what makes them think it's easy for others?

Bass: There are certain characteristics

in the work they admire, that feed this point of view. One is that a really good solution looks "inevitable." The other is that in the doing, the designer frequently has very carefully papered over all the edges and all the cracks. It may have developed, for instance, as a series of discrete pieces, elements, and ideas which have been pushed together, squeezed and compressed, and painted and lacquered and sanded, and what you have is this beautiful impervious monolithic glowing sphere, which looks like it emerged in that pristine state in the moment of birth. The fact of the matter is that everybody works at it.

Works very hard at it. And process, for the experienced designers, is the same as process for beginning designers.

Everybody's working in the quarry.

The only difference is, the experienced designer has been around awhile and has an experiential track record.

There's less anxiety about the process because you know eventually you're going to get there. You're also a little more sinewy. You've been working out a little more. But the process is the same.

Also designers tend to feed those misperceptions. They say things like "well, I was in a restaurant and I scribbled it on the napkin" ... or "I was shaving" ... "I was on the plane" ... "I was in the taxi" ... or whatever. It's not malevolent. It's just that they really would like to believe that's the way it happened. It's a comfort to us to think

that it could happen that way. And sometimes it does. But usually it doesn't. So, the good news for students is, we're all in the same boat.

We're all experiencing the same thing.

The bad news is, it isn't going to get any better. So hang in!

Strathmore: How do you keep it all in

perspective?

Bass: We have to be very careful in looking at what we do and not pump it up. It's useful and interesting, it's fun, it's entertaining, it livens up our environment, livens up our lives.

And while it can occasionally provide an insight about ourselves or our culture, it doesn't make a profound contribution to humanity.

Our absorption in what we do tempts us to enlarge the societal values we ascribe to our activity. We have a role.

A modest role. And, of course, we want to play that out as best we can.

What is, however, really important about design is that it makes many of us feel good, and it happens to be our lives!

Strathmore.

Because paper is part of the picture.

Strathmore Paper Company Westfield Massachusetts 01085

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EDITOR'S

COLUMN

PATRICK COYNE

UR 32ND VOLUME BEGINS WITH THIS issue. As in previous years, I'm submitting our annual report to you. 1989 brought good results.

Advertising revenue was up 17%. Show entries also reached peak numbers, and our advertising jury was still judging on the third day at 9:00 in the evening, a problem we'll have to solve. Our renewal rate continues to be among the highest in publishing. We brought to you 1,052 pages of editorial, an additional 30 editorial pages over the previous volume.

0

and I will give you a full report when I feel we've worked the bugs out. Believe me, there are a lot of bugs. We still plan to handle our layouts on light tables using pencils, reduction wheels and rulers. I don't think computers are as fast in this area. We expected to handle type and page geometry electronically and send this information by disk to our color separator, but we've already discovered that two separators using similar equipment can't come up with the same type density. I hope to have these problems worked out this year.

We have done very limited promotion for the magazine, knowing that our product has always been our best sales tool. Keeping that in mind, we made and will continue to make significant improvements.

You may have noticed that we increased the cover price.

Our regular issues will now be $7 each, Illustration and Photography Annuals will be $14 each and the Design and Advertising Annuals will be $21 each. That will total $98 for a year's worth of issues at the newsstand.

After much experimentation, we've settled on a new web sheet for the magazine that has the balance of brightness and opacity we've been looking for, a few dollars more per hundred-weight, but the result is worth it.

For the last half of1989,.every visual was individually color separated directly from the original transparency or the printed piece.

In the past, we made duplicate transparencies, to printing size, of anything originally on transparency. These "dups" were then cut, in printing position, into a sheet of mylar and scanned. The result was good because of the careful eye of our color separator, but there was always a little something lost in that interim generation. Printed pieces were mounted on a board with others to be shot at the same reduction percentage. A transparency of the board was shot and wrapped around the scanner. Line shots of the type were combined with the four-color film, along with the color work we had recreated mechanically.

Though this system was far more complex and produced better reproduction than other magazines, we still didn't have the ultimate control to make subtle color moves on every piece. Current developments have made it economically feasible to electronically position individual separations on the page.

There is one problem with the direct-scan method. When we rescreen a printed image at percentages of 50 or more, we often get a moire. This problem was minimized when we used to shoot an interim transparency. That additional generation softened the original dot pattern. Now we may have to scan an image several times at different angles.

The added sharpness and clarity has had a significant impact on our presentation, and I appreciate the many complements we have received.

One way to lower some costs and increase control of the output was to introduce computers into the production department. We've just begun to explore our new tools J0

MARCH/APRIL 1990

Our subscription rate will go up to $50 on July 1st. It's been almost two years since our last increase. The new rate is less than inflation figures and much less than our costs have increased.

Our new subscription price is very competitive with other publications, and we have eight issues and over half again as many editorial pages per year than any other publication in the field.

The period between now and July 1, offers a window for new subscribers, or early renewals, to get CA for less than half the single copy price of eight issues.

In 1990, we will continue our policy of increasing the content and the quality of the magazine. We thank you for your support that has allowed us to do this, and we will do our best to continue earning that support. Our credo remains the same: "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

In Phil Megg's column, poor marks were given to designers for their lack of involvement in social and environmental issues. Futurists predict the next decade will see a resurgence in concern for the environment.

One major problem is refuse. As a publisher, I've been disappointed that our damaged magazines had to be discarded because our city's recycling program couldn't accept clay-coated stock.

Now the Peninsula Conservation Center in Palo Alto has begun accepting coated stock. When mixed with newspaper, the clay coat absorbs printing ink and the bleached fiber produces a whiter newsprint. I understand other organizations around the country are doing the same.

IN THE ROAR OF AN ANGRY SEA

HERMAN MELVILLE FOUND HIS INSPIRATION

The Inspiration Behind The Creative Mind

I t was a callow Herman Melville who shipped before the mast in 1839. But what began as an innocent search for excitement aboard whaling ships ended in a burst of literary genius. Somewhere in the dark nights and violent days at sea, Melville found his inspiration. The passion it ignited produced the American classic Moby Dick, a timeless tale of such power and obsession that its message will be with us always.

Melville admired this nineteenth-century French lithograph by B. Martens for its execution and accuracy.

~

lnspiratioq byWestvaco

A new paper called Inspiration offers designers and art directors a truly remarkable printing surface. Now their very best graphic ideas can appear with a new elegance, perfect grace and ultimate detail. Inspiration, as its very name implies, gives the creative mind an exciting new dimension.

ADDENDA: This Melville tribute is printed on Inspiration 110 lb. text. For fast overnight delivery of customized dum-

mies, white or printed samples, call Westvaco Direct Response5 ~ 1 800-235-3782. Inspiration and Westvaco are the

registered trademarks of Westvaco Corporation, 299 Park Avenue, New York, New York 10171. 212-688-5000.

© 1989 Westvaco Corporation

Agreat opportunity to invest in

SliRKSa"NDS The Best of Wedding Invitations & Birth Announcements Edited by Wei Yew Storks & Bonds is a gallery of designers' variations on two cherished themes- wedding and birth. Entries come from North America, England, Europe, Australia, Japan and Hong Kong. Here, you will find a delightful array of witty, ingenious, and often times very funny design solutions.

THE BEST OF DESIGNER WEDDING INVITATIONS & BIRTH ANNOUNCEMENTS Edited by Wei Yew

PRE~PUBLICATION OFFER A special Pre-publication Offer from the publisher, Quon Editions.

Send advance payment of US$56(Cdn$67) Reg.US$65 and we will pay postage & handling.* Fill out the order form below and send it to: Quon Editions, #203, 10107-115 Street Edmonton, Alberta. T5K 1T3. Canada Fax: (403) 488-3966 Credit card charges are not submitted until time of shipment. *Postage & Handling- Canada C$4, Elsewhere US$6

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

Please send me_ copies at the special price US$56(Cdn$67) D Payment (money order, bank draft only) enclosed D Charge it to my credit card below D Bill me US$56($67) plus postage (rate shown above) when bOOk becomes available. No books shipped until payment is received.

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Works represented here come from design firms such as Pentagram, Richards Brock Miller Mitchell & Associates, Robert Miles Runyan & Associates, Jann Church Partners, Taylor & Browning Design Associates, Peterson & Company, Graphic Communication Ltd. (Hong Kong), Sibley/Peteet Design, Milton Glaser and many other firms with no less outstanding design capabilities than those mentioned.

Storks & Bonds is a great reference resource book that is also entertaining - not to be missed!

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The selected works explore the use of paper stock, including handmade paper; three dimensional treatments; flip-books; pop-ups; silk-screens; handassembled books and cards; large posters; and even a music box.

I I I

200 pages, full colour 321 photographs Hardbound 228 x 305mm (9 x 12 Published by Quon Editions Available May 1990. US$65 (Cdn$78) ISBN 0-9694432-0-X 11

)

O~NICI2.0~vf CO~P6 JU~P Off TUb_ PAc;b_ Presentations are the lifeblood of your livelihood . That's why Letraset® brings you the Omnicrom camping system. Available in 143 colors , Omnicrom transforms laser or photocopy art into production-quality camps for compelling visuals at the touch of a button .

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DESIGN

TECHNOLOGY

W END Y RICHMOND

WHAT Do THESE LETTERS STAND FoR AND WHY SHOULD I C ARE? HATE ACRONYMS, DON'T YOU? ESPECIALLY when you're supposed to know what they stand for.

Like when the service bureau asks you questions about your very own computer "How much RAM do you have?:' or "Is your port SCSI?:' and you have no idea what they're talking about! How embarrassing!

I

CD Compact disc: A 4.72-inch optical (as opposed to magnetic) plastic disc that stores audio in a digital format.

It stores the digital information in tiny pits that are read by a laser beam. Discs are now being used to store text as well. See CD-ROM for more interesting uses of CD's.

I've listed and explained some of the most commonly used and bewildering acronyms that I've come across. The list is a tiny subset of all the letters you're likely to hear strung together at the local MUG meeting, but it's a start.

CD-I Compact Disc-Interactive: A computer-based system for simultaneous and interactive presentation of digital video, audio, text and data. Like CD-ROM, the disc can't be erased or changed. The specifications for CD-I were developed jointly by Philips and Sony. You may be more familiar with the interactive videodisc, which looks like a 12-inch record. It stores analog, as opposed to digital, video. (See September/October 1989 column Graphic Design and Interactive Media.)

ASCII (pronounced "ASK-ee") American Standard Code for Information Interchange: An internationally standardized character code system that identifies computer keyboard characters (letters, numbers, punctuation and control keys). An ASCII file has only plain text and basic text-formatting like spaces and carriage returns, but no graphics or type specifications.

Standards are crucial when you're sending or receiving data from one computer to another. For example, ASCII text is the simplest form in which to get text from a client electronically. You apply typographic specifications in your own page layout program.

BIT A contraction of"binary digit": A bit is the smallest unit of information that a computer deals with. A bit represents a "yes or no:' "on or off'' choice. In bit-map characters and graphics, the bits are represented by pixels-tiny squares-on the monitor that are either on or off. Let's say you have a one bit image, that means it's black and white only. A pixel can be represented by more than one bit. The more bits you add, the more choices you have, like additional greys or colors. A 24-bit color image can have millions of colors.

BITMAP A graphic in which the largest element that can be worked with is an individual bit. A bit-map graphic is stored by representing each pixel (picture element) as a bit (on or off) in the computer's memory. A bit-map graphic is usually a scanned image or a graphic you make in a paint program, as opposed to an object you create in a drawing program (like Aldus Freehand or Adobe Illustrator), in which lines and shapes are stored as single elements. © 1990 W. Richmond

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M A RC H I A P R I L I99 0

CD-ROM Compact Disc-Read Only Memory: A 4.72-inch optical disc, a memory storage medium used primarily to store computer data. A CD-ROM holds about 550MB (megabytes) of data. "Read Only Memory" means that you can't erase, change or record information, like you can on the floppy or hard discs you normally use. CD-ROM is perfect for huge volumes of reference material. It's also being used to store catalogues of clip art or stock photography. The CD-ROM disc player is connected to a personal computer. You specify what you want through the computer, which searches the CD-ROM and instantly locates and retrieves the information you're looking for.

CPU Central Processing Unit: Usually a single circuit board in the computer that performs the calculations and data manipulations in a computer. That covers just about everything you're doing on your computer. For example, when you resize a scanned image on the screen, the CPU is performing calculations and carrying out your instructions.

CRT Cathode Ray Tube: The "screen" in a computer monitor, and in your TV, too.

(Continued on page 23)

More lime to ~B No markers. No pens. No time wasted trying to produce a lot of different layouts. The images in this brochure were produced on an IBM AT compatible with Hercules Art Dept. A brand new product that opens up a whole new world of creativity for IBM computer users. You can create brilliant designs and visuals, and change them in a few seconds.

With the Hercules Art Dept., logos, ads and literature or packaging comps can be rendered in hundreds of different styles, colors and layouts. And then output to color printers, slides and transparencies or straight to color separations (through third party software).

As you can see from our examples, the possibilities are endless. Just imagine tackling the same job with conventional methods. Hercules Art Dept. gives you the freedom to experiment, in a more natural, fluid way and allows you to make creative decisions instantly.

e use d d ens wer tor masks an p 10 minutes.

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Fast Visuals The Hercules Art Dept. features the Hercules Graphics Station Card and LUMENA/Hercules software, the superb graphics/paint program from Time Arts.

You can start by scanning a photograph or illustration into the machine. These can then be sized sealed or rotated to any position, overlaid, increased or reduced in size- you can even change all or part of the color and draw over them. It's just like creating a visual, but so much faster and more flexible. If you prefer, you can create your own original art using "airbrush',' "chalkbrush" and "texture brush:' Add backgrounds with high impact color gradations, headlines and text in any number of sizes and at any angle.

Real Color L gons are t-ottt Look. s and P0 Y Matisse ctt .,.

FiLLed shaPe to create a. onLY an hott . nasY waY·ng g..,. '"'ssors. tn an "' withottt 'I.Lst

The Hercules Art Dept. allows you to have a virtually limitless palette of over 16 million colors (imagine having the same number of markers on your desk!) to create photo-realistic, continuous tone images.

Never again will it be a chore to change the color of the models eyes, a background color, position of a photograph or the size of your client's logo.

Just sit your clients in front of your screen and show them every option imaginable. Alternately you could print out your ideas or put them on slides.

Less Cost and Practical The Hercules Art Dept. can reduce production costs by as much as 50%.

Because everything from changing the layout to changing the visual can be completed in seconds. And just think of the money you'll save in supplies- markers, paper, paints, airbrushes, etc., because they're all included.

And the Hercules Art Dept. is practical too. It includes a Hercules Graphics Station Card featuring built-in VGA and a T134010 graphics processor. That means not only can you design on your computer but, you can also do project scheduling, correspondence, and billing or desktop publishing and CAD. In addition, the Hercules Art Dept. user's guide was created especially for the design professional, so you don't have to get bogged down in a whole lot of computer lingo.

The Hercules Art Dept. is available from authorized Hercules and Time Arts Dealers for much less than you probably think. Call 800 532-0600, ext. 210 (US) or 800 323-0601, ext. 211(Canada) for a video to see it in action. Take a look at it today. And see how Hercules Art Dept. can give you the creative competitive edge.

The Hercules Art Dept. makes it easy to create various comps in a matter of minutes.

1. This was our originalS x 10 B/W print. We took it and put it on our flatbed scanner using the L UMENA/Hercules software. We were quite happy with our model, but his nose was a little bent. So we gave him a nose job using pull and clone brushes.

2. Well, that got that problem straightened out (and not a plastic surgeon in sight). In just a few seconds we also evened up the cheek bone area and added a sparkle to the eye. But what's this? No one gets into our brochure looking scruffy. So we scanned another photograph with a tie, cropped the ear and overlaid the new image in the correct position.

3. Then we added some sky. This was created with a white "airbrush" sprayed on a light blue background. It was also stretched to give the clouds a wispy realism. Then we overlaid the sky in a marked area and softened the edges to remove harsh outlines. Wow, a final airbrushed sky in 20 minutes! Now that's a great turnaround.

4. We added some texture using airbrush on the right ... but this scribble effect wasn't quite working. We wanted more color variation with crisper edges, but a subtle look at the same time.

5. That looked better. We swapped our "airbrush" for a "chalkbrush" and thinned down the lines. And picked out a few strokes in color, all in a few short minutes. We also added a fluid effect by repeating a symbol on screen and overlaying it onto the required position.

6. We wanted to add a pixel effect on the ear. By continually experimenting with color and shade, we were able to see a new comp on screen every few seconds.

7. We finally settled on this ear, which complements the colors we used elsewhere. For a final touch, we took a few minutes and thought we'd have some fun with the eye. Using a few of the "shapes" tools we created a flat color effect. After experimenting with various shades and positions we opted for the above.

There we had it, finished art on screen. To recap, in one day we had airbrushed, masked in different backgrounds, photo retouched, combined two photos, changed colors, added chalk and cut-out paper techniques, pixelized an area and overlaid a graphic pattern. All that was left was to transfer to disk and convert to Scitex readable files, so film could be output for separations.

Using the Hercules Art Dept., we saved time and money by doing everything inhouse instead of using outside specialists. Approvals were able to happen in color, on-screen and changes made immediately.

Copyright 1990. Hercules Computer Technology, Inc., 921 Parker Street, Berkeley, CA 94710, 415 540-6000. Hercules and Hercules Graphi ·s Station Card are trademarks of Hercules Computer Technology, Inc. LUMENA images created by John Derry at Time Arts, Inc. AD1024-INS Ver. 1.0 1/90

~mcules

WENDY RICHMOND

DA Desk Accessory, usually seen as Font/DA: A desk accessory is a mini application on the Apple menu, and it's available no matter what software you're currently running. A desk accessory is typically a calculator, a clock, the control panel, etc. When Apple comes out with System 7, all applications should work like DA's-available at all times.

EPSF Encapsulated PostScript File: A file format for graphic shapes and objects that contains a complete PostScript definition of a file. It can also include a bit-map equivalent for the monitor. This format is widely used for transferring images from one type of document to another, e.g. from a drawing program to a page layout program.

Another format is called PI CT. HDTV High Definition Television: A new format for television that will increase the resolution of our home television viewing. Now we watch NTSC (see below) which has 525 vertical lines of resolution. Several standards are being proposed for HDTV, which will have as many as 1,050 lines or 1,125 lines of resolution. The picture will not only be sharper, it will also be able to accommodate the wider aspect ratio of movies, unlike today's TV. HDTV development has been in the works for years; its readiness for the public has more to do with international politics and economics than with technology.

HFS Hierarchical File System: A form of computer memory organization. You can put your files in folders, and then put those folders into other folders (directories, subdirectories and files). You can create as many levels as you want, depending on how you like to organize your work.

LAN Local Area Network: Hardware and software systems that connect computers together to share information like text or database files, and resources like printers and scanners.

The computers are joined together by a cable, and they're all within the same building.

LASER Light Amplification by Stimulation of Emission of Radiation: Ugh! Bet you never knew that was an acronym.

But it's interesting: a laser processes a beam of light through a crystal that makes the beam extremely narrow, precise and powerful. Laser beams are in most of the typesetters and printers we use now. They're also used by surgeons in eye surgery and by hip rock-concert light show technicians for lighting cigarettes.

MB Megabyte: A unit of measurement equal to approximately 1,000K (kilobytes) or 1,000,000 bytes. (More precisely for the nerds in the audience: 1,024 kilobytes, or 1,048,576 bytes. A byte, by the way, is 8 bits. Look, it's no worse than learning about points and picas.) This term is used to describe the amount of memory (storage space) you've got, say, on a hard disk, or how much storage space a file occupies. This is important, because you have to know how much storage space you need for the files you're working with. For example, you might have a 20-MB hard disk, and think that's more than enough. Then you start loading on software and fonts. A page layout program alone takes up a good 800K of storage space. This column, if stored in ASCII, takes up about 13K. If I add type specs to it, it gets bigger, about 23K. Scanned color images take up a lot of space, from 250K to 1MB for a full color, full screen image.

MSDOS Microsoft Disk Operating System: The operating system that's used in the IBM PC (under the name PC-DOS) and IBM-compatible computers.

MUG Macintosh Users Group: A group oflocal nerds and nonnerds who get together to help each other and/or find jobs.

NTSC National Television Systems Committee video format: The color television format used in the United States and prepared by the National Television Systems Committee.

Refers to broadcast-quality television. I hope it will be replaced, in this millennium, by HDTV. OCR Optical Character Recognition: Software that allows a computer to read printed text and translate it into a computer text file. Designers who can't type think this is real exciting. They'll use OCR to scan in text that their clients send. Usually this is major overkill. OCR is only useful if you have many pages of text. Otherwise, you're spending several thousand dollars and having to learn the software.

OCR's not 100% accurate and needs to be proofed anyway.

PICT Abbreviation of Picture Format: A format for the Macintosh for storing graphics, such as those created with MacDraw.

Other programs, e.g. page layout programs, can read the files directly from disk, or from the Macintosh Clipboard, and therefore the graphics can be created in one program

(Continued on page 26) C 0 M M U N I C A T I 0 N

A R T S

23

PEOPLE GET A BET1 SAYING VVHEN THEY CAN Your selection of typefaces can have a dramatic impact on how your message is received. That's a given.

The question is: where should your typefaces come from?

With all the different digital fonts available today, from all the different vendors, it's getting more and more confusing. Let Bitstream simplify your selection.

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Mac&PC Type Libraries We're the one,stop type company that specializes in bringing you the best type in the world.

For starters, Bitstream has the world's largest type library for

Typefaces like Bodoni Bold Italic, Bernhard Modem , and Swiss Compressed project different images.

Bitstream also has more

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complete type families: 32 Swiss

and typesetters - pushing 1000

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C1990 Bitstream Inc. Bitstream is a registered trademark of Bitstream Inc. PostScript is a registered trademark of Adobe Systems Inc. Macintosh is a reg istered trademark of Apple Computer, Inc.

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N I i\1 11 0

WENDY RICHMOND

(e.g. MacDraw) and used in different programs' documents. Unlike bit-mapped graphics, PICT graphics are stored as mathematical descriptions so they can be scaled and/or printed out at higher resolutions. Another format for storing and exchanging graphics between documents is EPS. PICT 2 An update of the basic format that includes color and grey scale information.

RAM Random Access Memory: The part of the computer's memory that stores programs and other information (on RAM chips) temporarily while you're working with it.

The data and the software is transferred from your hard or floppy disk into RAM while you're using them. That makes the response time much faster; if you 've ever had to work with a program running off a floppy disk rather than RAM, you know the meaning of "tedious~ ' You have to wait for many seconds while the computer gets the information from the disk that it needs to carry out your instructions. The more RAM you 've got installed in your computer, the more data you can manipulate at one time, like scaling a color picture.

RGB Red Green Blue: A type of color output to a computer monitor, consisting of three separate signals (on separate wires) for the red, green and blue components of the picture. This is additive color, the opposite of CYM (cyan, yellow, magenta), the primary colors in subtractive color mixing for printing inks. The Letraset videotape that comes with ColorStudio is very helpful in showing how this applies to actual use on the computer.

RIFF Raster Image File Format: A file format for bit map and scanned graphics, developed by Letraset USA. This is a lot like TIFF (see below), but it's used in Letraset programs like ImageStudio. It includes color and grey scale information.

ROM Read Only Memory: The portion of the computer's memory that stores information that you can access but can't change, and you can't store more information there.

For example, large portions of the Macintosh's operating system are stored on ROM computer chips inside the Macintosh. This stays in the computer even when you turn it off, unlike RAM. RS-232 Revised Standard-232: A standard for the serial interface between a computer and its peripherals. This is very slow 26

M A R C H I A P R I L I9 9 0

data transfer. I asked an expert how RS-232 compared to SCSI (see next item). He said it's like comparing a garden hose to a water main. You might use an RS-232 cable, for example, to connect a computer to a dot matrix printer, where you'rejust sending an ASCII file. (See? Now you know what ASCII means.) But you wouldn't want to use it for a laser printer where you're sending lots of data like outline fonts and graphics and pictures-it couldn't handle that much information all at once.

SCSI (Pronounced " SKUH-zee") Small Computer System Interface: A specification of mechanical, electrical and functional standards for connecting computer peripherals like hard disks and printers to personal computers. You connect your peripherals to the SCSI port on your MacPlus, MaeSE, or Macll. Any of these devices is referred to as a SCSI device. If it ain't SCSI, it won't plug in.

TIFF Tag Image File Format: A document format standard for bit-map graphics, like paint graphics and scanned images.

It includes color and grey scale information. Some sources say TIFF was developed by Aldus and Microsoft and leading scanner vendors; some say Aldus, Adobe and Apple developed it. When the TIFF images are printed, the shaded or colored pixels are halftoned.

WORM Write Once Read Many: This is permanent storage; you can record information on a disc and read it, but not erase or change it. You start with a blank disc and store or scan whatever you want to keep-usually a database of information that you need for frequent reference.

WYSIWYG (pronounced " WIZZY-wig" ) What You See Is What You Get: Supposedly, what you see on the computer screen looks exactly like what you get when you print it out. This capability was a breakthrough in the typesetting industry, because typesetters used to see typesetting codes and green stick figures on their computer monitors. With WYSIWYG, they, and now you, see actual typefaces and point sizes, with all elements in place. Now that we have products like Adobe Type Manager, which displays realletterforms, and color calibration tools from Radius, computer screens are looking more wysiwyg-y.

•

ONLY LIFE OFFERS MORE APPEAL.

HAMMERMI LL MORE OF THE APPEAL LIf E HAS TiQ OffER

Colors that mesmerize. Textures doesn't hook you , perhaps this · will: Six distinctly different that tantalize. It's no wonder thatHammermilloffset finishes, trominvitinglyopaque is such an irresistible textured Emissary and Linen t? ~he sup~r-smo_oth ~ustre choice for everything from annual reports, booklets and brochures to 11 • fin1sh thiS msert 1S pnnted on. portfolios, pamphlets and posters.

To send for a free 17"x 22" No other printing paper tempts you with so wide poster of this insert, write on your company stationery a selection of colors and textures and so broad a range to: Hammermill Papers, 6400 Poplar Avenue, Memphis, Tennessee 38197-7000. of stock sizes and weights. Nor does anyone offer you these text-like features at such an un-text-like price.

Give your next printed piece the special appeal Hammermill Offset Opaque comes in only Offset Opaque offers. Add life with 23 alluring colors in all, plus White and HAMMERMILL Hammermill Papers.

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Hammermill Cover colors. And if that Substance70, Lustre finish. Papersculpturebyi..eoMonaban. © 1989 International Paper Company

INTERNATIONAL@PAPER

PHOTO: DAN ARSENAULT

OPINION/COMMENTARY

P HILIP B. M EGGS

FAREWELL TO THE OPULENT EIGHTIES

D

ECADES PROVIDE US WITH A CONvenient means to map the woozy continuum of time. The Gay Nineties, The Roaring Twenties, The 1960s ... mention of these decades conjures strong images and feelings. Other decades left a vague impression. The first decade of this century was an exciting time of airplanes, escalators, taxicabs and submarines. Freud, Einstein and Curie announced their unprecedented discoveries. The world of art was rocked by Cubism, Fauvism and Futurism. The assassination of President William McKinley shocked the nation in 1901 as deeply as the assassination of Kennedy did in 1963. Yet, "The Noughts" (1900-1909) are locked between the Gay Nineties and war-torn Teens, with little residual public image.

Why do some decades live in the public mind, while others fade into oblivion? A suitable label must evolve, and potent graphic icons from photography, cinema and graphic design are critical in crystalizing a collective public memory. The Noughts have no label, and its best graphics are extensions of the new art of the 1890s.

How will the 1980s be remembered? Economic expansion, a massive military buildup and rapid technological innovation are the decade's legacy. Problems-massive public debt to pay for that military buildup, homeless citizens in the midst of plenty, environmental degradation and the sleaze factor in Washington-were pushed to the back burner by a public enamored with electronic gadgets, powerful new cars and the gilded affluence of the era.

What legacy does 1980s graphic design leave for the future? By any standard, the 1980s will be remembered as a golden decade for American graphic design. Design innovation exploded in cities beyond the traditional centers. Dallas, San Francisco, Minneapolis, Boston and Philadelphia designers proved that innovation could transcend location. Pluralism was the spirit of the times, with a healthy diversity rather than a dominant style such as the 1920s Art Deco or late 1960s Psychedelia. The critics' labels-Postmodern, New Wave and Deconstructionismare hard pressed to contain: the exuberant spirits of April Greiman and Deborah Sussman in Los Angeles; the typographic reinventions of Louise Fili, Carin Goldberg and Paula Scher in New York; the lush nostalgia of Joe Duffy and Charles S. Anderson in Minneapolis; or the dazzling California sunshine of Michaels Cronin, Mabry, Manwaring and Vanderbyl in San Francisco. These are just a few members of a generation of designers who achieved creative maturity in the 1980s. Art critic Robert 32

M A R C H I A P R I L I9 9 0

Hughes of Time magazine recently commented upon the famine of major fine artists to emerge from that generation of artists now in or approaching their forties: He should take a look at this generation of graphic designers!

Technology added to the excitement of the decade, permitting unprecedented new possibilities. Computer graphics allowed new approaches to typography and imagemaking, while making many design solutions more efficient and cost-effective. Six-color presses transformed traditional four-color process printing into lavish expressions as designers added special colors and varnishes.

Early in the decade before oil prices collapsed along with the Texas economy, 12- and 17- color posters were produced by some Dallas designers. Even the most ardent critics of USA Today must concede that distributing this fullcolor newspaper all over America each day is an amazing feat, and its daily weather map is a graphic miracle of sorts. Express mail, fax machines and color xerox, all contributed to changes in the tempo and logistics of design.

But all this technological innovation often resulted in nothing more than glitz, a superficial polish and dazzle, devoid of meaningful content or form.

The decade feasted on graphic complexity as designers delighted in energizing and filling their space with texture, gesture and vibrant color. If art moves forward by action and reaction, one might speculate that a " New Age" sparseness might emerge in the 1990s, making much of the 1980s graphics appear fussy and overwrought when seen from a later vantage point.

Information graphics came of age, and that most visually illiterate of professions, the newspaper editors, actually discovered that they were producing a visual media that had to compete with television and magazines for the hearts and minds of the public. Graphic designers working in the broadcast industry started their own professional organization, complete with an annual exhibition.

The corporate design and visual identification segment of the profession suffered mightily as mergers, hostile takeovers and leveraged buyouts taking major corporations private all combined to decimate the number of corporate clients needing annual reports and other corporate literature. Many surviving corporations are strapped with debt and are unable to adequately invest in research, communications and other normal corporate functions .

The Department of Labor declared graphic design to be one of the ten fastest growing professions in the country, and recognition and awareness of graphic design as an

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OPINION/CoMMENTARY

important profession increased over the decade. Women in design made quantum leaps forward in their professional status and accomplishments, achieving full equality in creative accomplishment, though not always in compensation. The AlGA shook its image as an elitist New York club and emerged as a badly needed national organization for the profession. Design education seemed to come of age with stronger standards and more cohesive curricula in many schools. One hears less bashing of design education from professionals than one heard ten years ago. The discipline discovered that it had a history, and fledgling efforts to forge a theoretical body of knowledge about graphic design began within the design schools. All in all, it was a heady decade for American graphic design. The optimism, economic expansion and newfound national pride characterizing the Reagan Era seems to have permeated graphic design.

,./" J '

.

Although the most memorable graphics from many decades are those which address the pressing social and political issues of the time, 1980s graphic designers score poor marks for social involvement and concern. One is hard pressed to find many powerful graphic statements about the homeless, the drug problem (except publicservice graphics of the "Just Say No" ilk), or the social disintegration occurring in poverty-stricken inner cities.

A blissful indifference toward pressing needs for environmental protection-from ozone depletion to toxic chemicals and acid rain-extended from Reagan's White House to Congress and rank-and-file citizens. Designers of the 1960s and 1970s made far more compelling and moving graphic statements about the plight of a fragile endangered planet.

Two poster exhibitions organized by Charles Helmken under the banner " Images of Survival" permitted designers to express their views about nuclear disarmament and AIDS. I predict that these two series of posters will endure, providing future generations with potent insight into attitudes and concerns about these horrible threats to the very existence of human life on this planet. This residual value to future generations will extend beyond these posters' contemporary impact.

The 1980s will be remembered fondly. Any fallout from its budget deficits, head-in-the-sand attitude about environmental issues and the growth of poverty will fall , not upon the 1980s where it belongs, but upon the 1990s. It was an opulent, gilded decade.

PHILIP B. M EGGS teaches design, typography and design

history at Virginia Commonwealth University. He is the author of A History of Graphic Design.

Re p rinted with perm issio n of the AlGA Journal.

34

M A R C H I A P R I L I9 9 0

Your Wmdow of Opportunity for the 90's ADVISORY BOARD

• •

Deirdre Devlin Marketing Development Manager, Graphic Arts Aldus Corporation

GRAFIX

Andrew Harris Senior Sales Representative Apple Computer, Inc.

The National Conference For Graphic Design Pr fessionals

Roger Black Designer

Alan Haley Executive Vice President lTC Allen Ayars Vice President of Worldwide Marketing Letraset, USA Curt Dwyer Director of Corporate Communications Pantone, Inc.

Corbett l. Saunders Manager of Marketing/ Advertising Services S. D. Warren Company Richard Wilde Art Chairman The Advertising & Graphic Design Departments School of the Visual Arts

• •

November 30 - De cem er , 1990 Jacob K.Javits Convention Center of New York

' 'This was an intense three days full of information-/ really enjoyed it, and my experience here at GRAFIX will help me a great deal professionally.' ' Laura Christopherson, Graphics Director The Hay Group, Hoboken, ~

''If

'89 was an energizing,

enterllllnlng, and thoroughly engrossing event for th the experienced design and design student alike.

I would s rongly rge anyone who wants to b up on tiJ latest design trends to at end GRAJ'IX '90. ' ' Diane Simpson, Co munication

sign

I had left after day # 1, even then, it woulJI h e been well worth the time 111Ul money.' '

Massachusetts Colleg of Art, Boston MA

Marla Vangeloff, Cr tive Director Brumbaugh & Yang loff, Fi dJay, OH

sive. Well worth the

Nancy Aldrich Ruenzel Editorial Director Step-by-Step Graphics

Director, LINTAS: Puerto Rico

Participate in the nation's largest educational nference and tools technolo&ies e hibition, exclusively forth gra hie design professional.

Be a part of the future! Call o r

rite for Info rmatio n:

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Return to: GRAFIX '90 Conferenc Manageme nt Corpo ration 200 C nnecticut Avenue, Norwalk, CT 06856-4990 phone (203) 852-0500 fax ( 20 ) 838-3 710

• • Th National Conference For Graphic Design Professionals

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FREE-LANCE

BARBARA GORDON

MYTHS & REALITIES OF FREE-LANCING VERY PROFESSION HAS ITS DREAMS and fantasies. Free-lancing is no exception.

While I don't want to burst anyone's dream bubble, I'd like to portray some of the more common myths and realities of our free-lance business.

E

Myth =#=1: All I need is the right campaign, lucky break, rep, publicity, award to make me into an instant success, sensation, superstar. (The rep's version of this fantasy is: "one of these days I will discover an Avedon, Glaser, Penn, Rockwell , fresh out of school, fully developed and ready to go to market, and we will scale the heights together.")

Reality: Once about every twelve and one-half years someone appears to be an overnight sensation, although further investigation usually reveals that the person has been involved in their full-fledged career for quite a while.

Unfortunately, it usually takes more than one campaign, one award, one lucky break, etc. to make a career. Those who get to and stay on top of the heap are actually constantly working to s'tay there. And all superstars have had their share of reversals.

As to the rep 's fantasy (I share it along with everyone else), every now and then a rep discovers a supremely talented artist, designer or photographer. They never, however, have a marketable portfolio, and there's a minimum investment of a few years to help the talent develop that portfolio. But hope does spring eternal. Maybe this next person is a potential Maxfield Parrish.

Myth=#= 2: My highest earning year is really my true earning year. My income will only go up every year.

36

either. Free-lancers who plan their cash flow on an earning average, are going to come out fine in the long run.

Myth=#= 3: I am going to live overseas and get a rep in New York, Chicago, Los Angeles (any or all of the above) and will only do advertising assignments in the U.S. Reality: Unless the free-lancer is doing something so extraordinary that they are the only source of that work, it can't happen. Most advertising agencies are operating on such strict time deadlines that they almost have to have someone who is at least in the continental U.S. In some cases, the deadlines are so tight that the agency must use someone in the immediate vicinity. Despite faxes , courier services and sophisticated airfreight, the bottom line is that, in a tight deadline, no one can afford an extra day or two. A last minute correction can be harrowing enough in the U.S. without the uncertainty of customs and overseas airfreight. So, for all but a few exceptional free-lancers and certain free-lancers in the publishing field , most free-lancers harboring dreams of doing lucrative U.S. advertising assignments stretched on the sunny beaches of Spain, will find that they are more apt to be just that-dreams.

Myth=#= 4: I have an interesting concept, idea, product design, game, film treatment, technique that simply needs a little marketing skill to turn it into big money. You, the rep, can make big money, along with me, ifyou 'lljust market it, and that should be pretty easy.

Reality: Reps are constantly being approached by people with the "sure thing;' who simply need the tiniest bit of marketing to make everyone millionaires. While there is nothing wrong with a good idea, that old adage, alas, still holds true: Every success is 1% inspiration and 99% perspiration. Marketing and promotion are always the backbreaking parts of the process and usually take time, strenuous effort and money.

Reality: Only a free-lancer with a Las Vegas mentality would think the highest earning year was a typical year and there would be no downturns. A photographer revealed the fallacy of this myth to me when he told me about his earning history. For years the photographer had grossed about $200,000 a year (that's gross, not net) and then for two years in a row, miraculously, he grossed four million.

He immediately assumed that his regular or normal gross was, of course, four million a year and promptly started to live at that income. When the gross fell back to $200,000 after two years, he was devastated, over extended and in debt. It took years to get out of that debt, but he said that the experience made him realize that basically he was a photographer who really had a $200,000 income, who periodically had multi-million dollar years and he started to plan his financial life accordingly.

Needless to say, the photographer is financially secure and thriving today.

The other surprising thing about people with the " million dollar idea" is that it never occurs to them that they may have to make an investment in promoting that idea.

Sometimes only a modest investment. When a licensing agency suggested to a designer, requesting their services to market a game, that the designer get a copyright for the game and also printed prospectuses for prospective clients, the designer asked the agent if the prospective clients (namely the toy companies) could pay for the copyright fee and the printing. The designer was unwilling to invest even a small amount of money in his " million dollar" idea. Unfortunately, his reaction is not uncommon.

Just as one wouldn't assume their worst earning year is typical, one shouldn't assume that their best year is typical

Just a few of the myths and realities of the free-lance scene. Things they don't teach you in school.

M A R C H I A P R I L I9 9 0

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Those eight gifts are listed at the right. They carry about 60% more editorial pages than the next largest design magazine. There are other reasons why we have been the circulation leader for over twenty years, but we suppose there isn't much we could tell you about CA that you don't already know.

If you are not a subscriber yet, however, may we suggest that you take a close look at this issue?

The care and extra preparation we utilize assures superior reproduction quality as well as the fidelity to the original piece. We follow that up with 175-line screen printing by one of the finest printers in the United States. Doing it better is expensive, but we believe the results are worth it.

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MICHAEL BROCK BY

JULIE

J

OIE DAVIDOW, EXECUTIVE PUBLISHER OF L.A. Style, is talking about her vision for her magazine, her baby, her handbook for Los Angelenos in the know. "It's not enough to be ahead of the times.

You have to stay ahead of the times. We're constantly trying to stay on the edge. There are clones of L.A. Style all over the country. I just saw one in Texas. But we'll always be ahead of the competition~' No small task for one of the people in charge of executing that vision: the design director. Especially when you're following the lead of visionaries-in-their-own-right, Rip Georges and John Van Hamersveld. But Michael Brock doesn't seem to mind.

Davidow says, "Michael did an update on Rip's design.

He took it from 1985 and brought it into the 90's. He didn't really change the design. He refined it. We're trying to evolve the magazine~' Working out of his own studio, Michael spends about a third of his time on L.A. Style. Since August, 1988, he's been designing type treatments, looking at photographers' books, approving colo(selections, going on shoots, sitting in meetings and managing the whole smattering of details involved in putting the look of a publication together.

Michael has final say on design decisions, but it rarely comes to that.

"We all confer about photographers and everything. We all decide. The fashion editor might say she's not sure about a photographer, and I'll say, 'I really think he can do it: but that's about it:' he says. "The nice thing about working on a monthly magazine is that you can go with the flow. Yes, you want it to turn out beautifully, but there's always the next issue~'

PRENDIVILLE magazine and Will Hopkins of Look magazine. "I liked the Swiss approach they both used:' he explains. "White space. Structured orderliness. And the printing: it was photo gravure-so creamY.' For his master's thesis in painting, Michael chose graphic design forms and toneon-tone same color as his subjects. ·'I had always thought I'd be a painter and a teacher:' Michael remembers. "But when I saw Twen and the work Willy Fleckhaus was doing and then Will Hopkins, I knew I had to be a graphic designer. I later found out that Will worked with Willy~' Will Hopkins remembers meeting Michael at a New York Art Directors' Club meeting. "He was just in from Des Moines. I took him down to the Look offices, which were in the same building, and we had a chae' That was around 1970, shortly before Look went out of print. Hopkins feels publication design has changed greatly since then.

"No one's taking advantage of the medium:' Hopkins observes. "There are too many cross purposes going on.

Editors hand over text and say, 'Move it around~ And the art directors do it. They've copped out. Everybody's under tremendous financial constraints. It costs so much to do anything nowadays. Michael Brock is in a wonderful position to be related to a magazine like L.A. Style, because all this other stuff's in terrible shape. Things are either extremely non-visual in magazines or they're noncommunicative~'

Michael's appreciation for Look is reflected in his own philosophy. "We're not just designing grey space. It really has to communicate. It must pull you in and make you want to read if'

Michael has either designed or redesigned many publications and he's seen the business change. "Before there were design directors, there were art directors. In many respects, they're the same. Design directors may oversee several publications and hand work over to an art director.

I don't get involved in the actual administrative duties.

I might design an introduction for a section and set the tone for the type~' Brock seems to have natural love of discipline and detail.

His covers for Auto Gallery, an upscale magazine for autophiles, reflect this with elegant, tight shots of smoothlypainted cars. He takes this approach to L.A. Style, too.

Marilyn Babcock, art director for the magazine, says, "Of all the art directors and design directors I've worked with, Michael is the most detail-oriented. He has a very strong overview, but then takes his visual and graphic instincts right down to the last detail, like type and color specing~' Even as a painting major at the University of Alabama, his heroes were art directors Willy Fleckhaus of Twen 40

M A R C H I A P R I L I9 9 0

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1990 calendar/Christmas poster for L.A. Style. "This calendar highlights some of the subjects that L.A. Style features: women's fashion and accessories, men's fashion , food and restaurants, interior design and architecture and personalities:' Michael Brock, art director/designer; Stuart Watson/Michael LaMotte/Herb Ritts/ Grey Crawford/Albert Watson/Kathryn Kleinman/Philip Dixon, photographers .

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

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41

MICHA EL BROCK

Michael began designing magazines in 1970, starting with Apartment Ideas, in Des Moines, Iowa, where he assisted the art director. After a couple of years, he was hired by Playboy Enterprises to try his hand in the new publications department. He moved to Chicago and became part of a research and development team exploring new formats and new publication titles. " It was a great idea~' he remembers. " They had their main publication, which was the bread and butter of the company, but then the business brain of the company wrote a white paper that stated they ought to have other advertising vehicles, like sports magazines, stereo magazines, photo magazines. All these were titles they were developing:' While Brock was there, Playboy Enterprises started Oui magazine to appeal to a younger demographic. Michael was hired as an assistant art director, and eventually became art director for the monthly. "They needed a magazine that was more irreverent, more European, better able to go against the competition. So I literally moved across the hall from the new publications department:' When Oui moved to Los Angeles in 1978, Michael moved with them. In 1980, he .went out on his own, opening Michael Brock Design. " Before I set up an office, I set up a bedroom ~' Michael says. " I would walk in at 8:30 and literally not leave until 5:00. I just started cold calling:' Within three months, he moved out of the bedroom into an office, sharing a space on Melrose Avenue with illustrator Tom Nikosey.

Today, he shares a studio with his assistant, designer Daina Howard-Kemp. He likes the fact that his business is nicely contained, and not immense. " This is definitely a small operation:' Michael says, " all the concept and design comes from myself or myself and Daina. If I get more clients, I might be forced to get more people. Growth

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is one thing. But I don't want my business managing me, rather than my managing it:' He also likes the fact that he's working on more than publication design. His studio develops materials such as packaging, corporate identity, advertising and media kits. He enjoys his mix of clients, too, which include Warner Home Video, Book-of-the-Month Club, MCA and MGM Grand Air, among others. On the publication side, his studio has designed formats for the 1984 Olympics magazine, Auto Gallery, L.A. Business and redesigned American Film.

The firm also acts as a design studio for L.A . S tyle. He recently developed their media kit, a Christmas card and a calendar. " I'm on a monthly retainer for the magazine.

Other projects are on a job-by-job basis, just like any other account~' he explains.

Brock learned the business side of design through the David Goodman seminars. To Michael, good business practice is just as essential as good design. He advises, " If you approach people in a businesslike fashion , they will respond in a businesslike fashion. A lot of designers have trouble talking business. They have trouble getting

Three-page gatefold ad for Warner Home Video. Michael Brock, art director/designer; Scott Morgan , photographer.

Right : Warn er Home Video catalogs. Cover from the 87/88 catalog.

"This was the third catalog we'd done fo r Warner Home Video. It contai ns the entire product li ne of over 500 titles:· Michael Brock, art director/cover illustration; Michael Brock/Gaylen Braun, designers.

Cover and spreads from the 89/90 catalog . "This year, due to the increase in total number of titles, the catalog was designed as three separate books slipcased into a folder." Michael Brock, art director; Michael Brock/Daina Howard-Kemp, designers; Stuart Watson, cover photography.

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A R T S

43

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44

M A R C H I A P R I L I 9 9 0

MICHAEL BROCK

an advance. What you have in your book is important, but how you conduct yourself is important too~' He decided to preach that philosophy, not just practice it. From 1980 to 1983, he taught at Art Center. As a guest instructor in senior editorial publication design and illustration, he came up with a graphic way of showing art students the dollars-and-cents side.

"I ran the classes as true to life as possible~' he says. "I had a business manager come in. I told the students they had to get their resale number. I showed them how to do invoices, keep records of jobs, and I gave them articles as assignments. I set a dollar amount from a pricing guidelines book. And then I printed up money and paid them.

Their grades were based on how much they made. They billed me through the mail, and if they were late on a project, they were docked. Real assignments came up, and several times it worked oue' Brock doesn't really have time to teach anymore. He likes to get home at a semi-reasonable hour each night to spend time with his wife and two children.

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As design director of L.A. Style, Michael feels the challenge is a healthy one. "If you're ever too comfortable, you're dead. A little bit of intimidation and discomfort are good for you~' he says.

The combination seems to be working.

Left: Logo for Tumbleweed Restaurant. "In order to depict the simple, earthy, yet elegant cuisine of this restaurant, we photographed a tumbleweed in black and white and then made a copy of this image on our copier to roughen it up and gain contrast. We had it printed in four-color at a local "quick" printer with amazingly good results:· Michael Brock, art director; Michael Brock/Gaylen Braun, designers; Tom Keller, photographer.

"This was the first in a series of brochures we've done for the Blind Childrens Center. This one deals with how to play with your visually impaired child . Up to this time, their printed materials looked like other fund-supported institutions, visually unsophisticated and not very well produced . We were able, with the generosity of the contributors who provided their services at cost, to produce a product which made us all proud:' Michael Brock, art director; Ken Chernus, photographer; Susan L. Recchia, copywriter; Blind Childrens Center/ Nancy Chern us-Mansfield, executive director/client.

This page: Packaging for Duggan's Ingredients. "Mumba Wave Dip is a new tropical salad dressing and marinade. The client wanted the package to have a casual, Southern California 'surfer' attitude, hence the name:· Michael Brock, art director; Michael Brock/Gaylen Braun , designers/illustrators.

Spread from a four-page ad to introduce Mumba Wave Dip and the Sicilian Sauce for Duggan's Ingredients. "The concept was very si.mple: we set up a feast of fruit and pasta in Philip's studio and let him do his magic, capture moments of the party:• Michael Brock, art director/ designer; Philip Dixon, photographer ; Robert Peak, copywriter.

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

45

MI C HAEL BRO C K

Michael Brock was the art director and designer for all of the Auto Gallery magazi nes shown . Cover number five , Glenn McCall ister, photographer. Cover number two and the Duesenberg SJ Roadster spread , Cindy Lewis, photographer. Table of contents page , various photographers. Mercedes Gull Wing spread , Tim Hargrove, photographer.

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

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MICHAEL BROCK

First in a series of ads for Ocean Pacific. Michael Albright, creative director/copywriter; Michael Brock, art director/designer; Mark Hanauer, photographer ; Albright/Labhart, ad agency.

Brochure with die-cut pockets and interior spreads from the L.A. Style media kit. "The concept was to produce an elegant, unique media kit to hold all the demographic, editorial prospective, advertising rates and related information necessary to the potential advertiser." Michael Brock, art director; Michael Brock/Daina Howard-Kemp, designers; various photographers.

48

M A R C H I A P R I L 19 9 0

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

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MI CHAEL BRO CK

Cover and spreads from L.A. Style. Michael Brock is design director and designer on all of the pieces.

September 1988 cover and "Looking New" spread, Deborah Turbeville, photographer. "The Most Beautiful Women in L.A.:' Sylvia Plachy, photographer. "Tar Pit Teahouse:· Grey Crawford, photographer.

AND FOil THE CASUALOISUVU, THIS UNI'f.Nt.TUTING CIIAUCTU.IZAl tON OF l OS A:-IGEI.ES MAY SU M ACC.UII.Al t.Oil AT I EAH ADEQUAH TO ~ ME

50

M A R C HI A PR I L I99 0

lHl JAR

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THE LOS ANGELES COUNTY MUSEUM OF ART, PERHAPS THE

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

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R 0 B

DAY

BY RHODES PATTERSON all the more practical since the emergence of communication's dynamic duo of overnight express mail and the fax machine. "The job I finish today in Indianapolis can be delivered to any place in the country-tomorrow~' Rob Day's white-walled studio on the second floor of his recently purchased house in the pleasant "Broad Ripple" area, some eight miles north of downtown Indianapolis, could be termed "spartan casual~' Its furnishings are limited to one large drawing table, one smallish desk, one well-filled bookcase, three chairs, four plants and one fax machine. Add one sleek male golden-tabby named "Woody;' alert monitor of all action flowing in and out of the studio, and you can visualize the operation center of Rob Day's impressive output.

T THIS EARLY STAGE of a career in illustration that has already gone far beyond " promising;' while the artist is still a mere twentysomething, one might well assume that if Rob Day occasionally sings "Back home, again, in Indiana;' it is not due to the primal forces of nostalgia. For Rob Day's case is that rare exception: He has made it all the way to the big time without moving away from his Indianapolis home base-in the geographic center of the Hoosier midlands.

A

"I'm convinced that the scale and ambiance oflndianapolis are just right for both my personal and professional life. I like it here and always have, so why relocate ?" Why indeed.

Day's resolve to resist the lures of living in the heavy action centers is 52

M A RC H I A P R I L I9 9 0

On the genesis of his artistic pursuit, Day says he can't remember not having pencil in hand and recording the action. "For most of my childhood, I would entertain my schoolmates with war pictures; developing entire scenarios of battle action, including tracer bullets flying in all directions~ ' In due course, young Rob's passion for drawing would develop a sharper focus. "In the ninth grade, Bob Brower, the art teacher in our junior high school, was very responsive to my work and encouraged me continuously. His influence was the primary inspiration for my choosing art as a career~ ' Thus inspired, Rob enrolled in the Herron School of Art, an element in the prestigious Indiana University/ Purdue University complex in Indianapolis. "The school was divided pretty evenly between the graphic arts and fine arts, and I opted for the graphics side. I had a few illustration classes along the way, but never actually studied painting at Herron.

Mainly, I was studying typography and visual communication and the like. I enjoyed being into graphic

design, and never thought that I might eventually be an illustrator~' After graduating in 1984, Rob 's first professional action was with L.S .

Ayres, one of Indianapolis' big department stores. " Officially, my job was fashion illustration, but since there were a couple of good illustrators already on staff, I got mostly women's underwear and shoe illustration assignments. In my spare time, I started painting and getting my portfolio together~' One key response to Rob Day's expanding portfolio produced the first publication of his work-a full-color illustration of " The Art Scene in Indianapolis;' for Indianapolis Magazine. Day left his job at Ayres, after ten months, to work as designer and production manager for the Saturday Evening Post (the magazine had transferred from its old Philadelphia home to Indianapolis some years earlier).

After three months in his new position, Rob finally got a job he really wanted; in a firm where the principals were both illustrators and designers: Young & Laramore, a leading local agency with national accounts. " I had wanted to work for them for a long time, so when they offered me the job, I accepted it eagerly~ ' Day says that his two years with the agency taught him a lot about the importance of positive, supportive associations, the kind of team spirit that inspires high achievement at both individual and collective levels, and helped him to make a decision about becoming an illustrator. " I really enjoyed my agency experience and

One of eigh t images for an article in Sports Illustrated on Mike Tyson,"Tyson the Timid, Tyson the Terri ble:· Steven Hoffman, art d irector. 4 ~ x 834, oil on paper.

Right : Ill ustration for Medical Econom ics magazine article, " Now it Pays to Blow the Whistle on Medi cal Fraud:' Ann Weber, art d irector. 9 x 12, oil on paper.

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

53

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M A R C H I A P R I L I99 0

Ros DAY

had the highest regard for the people there. Naturally, I hated leaving, but felt that I had to move on if I was ever going to make it in illustration.

And despite the insecurity of starting out to work alone, I figured that if I didn't do it while I was still young, I wouldn't have the courage to make the break later on:' Rob Day's official free-lance operation started in November, 1987. And in fairly short order, his distributed samples started attracting assignments. " Figuring that I might as well target the big national periodicals as well as the locals, I sent some of my samples to Sports Illustrated, among others.

And about two months later, out of the blue, an assignment came in from Steven Hoffman, the S.I. design director, to do the illustrations for a Bill Gilbert article on "Competition:' As so often happens in frenetic publishing schedules, before Day's first S.I. illustration appeared, his work on a second assignment, a Gary Smith profile of boxer Mike Tyson ("Tyson the Terrible"), had preceded it in the magazine's March 21, 1988 issue.

"Naturally, both ofthem improved my credibility, and my Indiana reach was further expanded by the reprint Left: "The baseball player with clouded vision illustrates the lack of concentration many athletes experience faced with high pressure situations:' One in a series of eight for a Sports Illustrated article about competition .

Steven Hoffman, art director. 81f.> x 81f.>, oil on paper.

Illustration for Business Week's annual issue , "Hot Growth Companies:· Malcolm Frouman, art director; Laura Baer, designer. 6 x 141f.> , oil on paper.

Th is page : An experimental painting . 8 x 10, oil on paper.

Self-promotion card . " I sent one to the Reagan office in Los Angeles. Although the portrait was not intended to be complimentary, I received an unexpected note from Mr. Reagan respond ing to the image ... 'Nancy and I got quite a boost from it."' 8 x 10, oil on paper.

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Poster for Indianapolis public radio station, WAJC, Butler University. 18 x 24, oil on paper.

Illustration for article in Indianapolis Magazine, "Families and Finance:· about the instability of living from paycheck to paycheck. Chantal Diedrich, art director. 13 Y2 x 4 ~ , oil and collage on paper.

Illustration from portfolio. "I created this image the day I paid my taxes, 4/15/88:' 7 x 10, oil and collage on paper.

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M A R C H I A P R I L I 9 9 0

Ros DAY

of the Tyson story in a German sports magazine, complete with full-color illustrations ~'

In the wake of his Sports Illustrated success, Day received an assignment to do a cover for another national magazine, Business Week, dramatizing a lead article on " Hot Growth Companies~ ' This time, the vagaries of scheduling worked out well: Day's first assignment for Business Week and Sports Illustrated, came out in the same week in May, 1988.

'Til never forget that particular week~' Rob recalls, " because I've been busy ever since ~'

Being busy as an illustrator translates into being happy for Rob Day. He really loves what he's into. " Even if I didn't get paid for it (heaven forbid!) , I'd still be doing what I do. I've been painting now for five years, and feel that I'm just starting to get a good fundamental grasp ofthemedium's possibilities. And looking ahead to where I'll be in five years, I'd like to see my work develop into a higher level, rather than stay where it is now.

As a kind of reminder, I keep this little Japanese proverb on my desk: First, acquire an infallible technique, then open yourself to inspiration~ ' For a knowledgeable professional's judgment on the quality of Rob Day's work at this early stage of his career, consider design director Steven Hoffman's estimate, as quoted in Sports Illustrated " From the Publisher" column shortly after Day's work started appearing in the magazine: " Rob's technique is so rich and oldfashioned looking, yet his work has this modern, psychological tone~ ' Rich, old-fashioned, modern, psychological: assuredly a quartet of qualities that should extend Rob Day's success well beyond his forty-something decade; by which time the upcoming Third Millennium will also be solidly in place-back home in Indiana.

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58

M A R C H I A P R I L I9 90

Ros D AY

Left: Ad in the Indianapolis 500 race program to announce an upcoming Senior PGA Tour. Scott Willy, art director; Cranfill Advertising Agency, Inc., ad agency; GTE North Classic, client. 12 x 16, oil on paper.

This page : Illustration in Rolling Stone for an article about a con man who created a false identity associated with an affluent European family in order to aquire loans. Fred Woodward , art director.

11 x 13, oil on paper.

One in a series of eight for a Sports Illustrated article about competition .

"This image represents a gifted athlete who lacks confidence to compete on the collegiate level: ' Steven Hoffman, art director. 8Jt2 x 8Y2 , oil on paper.

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GREAT MOMENTS IN DESIGN TOOLS BY

FORREST

RICHARDSON

P

URSUING THE HISTORY OF COMMON devices can be compared to the phenomenon that occurs when you 're late for an appoint-

((Great Moments In Design Tools" was originally

ment and you find yourself searching for keys. You

written/or Woods Lithographics, creators of the

know the keys exist. Like most missing items, they

UltraDot®Printing System. For this issue of

simply sit quietly in an effort to remain hidden and col-

Communication Arts, the many individuals

lect dust. Then, after some frustrating moments

connected with the companies represented were once again contacted and asked otherwise unusual questions about how, when and why. Dave Siegel,

searching, they' ll suddenly appear. What remains, however, is a haunting degree of curiosity over how they ever managed to get where they were. Lost information

the Phoenix-based photographer responsible

is only important when someone realizes it's lost.

for the images, was reenlisted to make a subtle

Common devices are not very exciting on their own.

addition to the series for this recent update.

They are, after all, 'common. ' What makes any piece of equipment great is always determined by who's at the controls. As Saul Bass once observed, " The computer is a marvelous new tool but, like the typewriter, it doesn't necessarily make for better poetry." People create ideas.

Tools help bring ideas to life.

The following tools are more than common to the communication arts. They have become universal icons long before the icons of today became universal. Although they are often the link between concept and finished work, they have been taken for granted. The brief moments in which they were invented have gone virtually unnoticed.

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As

the saying goes, "Everything begins with a pencil~' It is difficult to imagine a world without pencils or, worse yet, how civilization has managed to become civilized without the benefit of pencil sketches, pencil roughs or pencil tests.

The advantages of being able to make a mark without resorting to inks and dyes were as obvious in earlier times as they are today.

You can plan a drawing or page to fit your needs and then evoke one of the greatest privileges of all time; changing your mind. The Greeks and Romans are thought to have used small lead disks for ruling faint but straight lines on their papyrus. Today, we call this 'notebook paper' and strategically bore three holes in each sheet for ease of binding.

Eventually, awkward disks and chunks of material gave way to more refined instruments which were really nothing more than awkward pointed rods and styluses. Early styluses were made oflead and this is the apparent connection to why we still use the term 'lead pencil' despite the fact that pencils, as we know them, have never contained lead at all.

The discovery of graphite is generally viewed as a landmark date in the development of the pencil. During 1565 in Cumberland, England, an oak tree (some say an ash tree) was uprooted during a storm revealing a natural deposit of what was aptly named plumbago, a Latin

word meaning 'that which acts like lead.'

For several years, various methods for encasing pieces of natural graphite were employed ending abruptly with the revelation that wood casings would be the best solution. Although many individuals probably dabbled with wood casings, it wasn't until1662 that a man named Friedrich Staedtler successfully combined pulverized graphite with molten sulfur as a way of making pencil 'lead.' In an effort to establish the Staedtler name as leader in the pencil business, "Fred" (as his friends called him) knew he had to make use of the smaller pieces of graphite, which were previously unsuitable for pencil making. Until his discovery, graphite had been tediously cut into delicate strips and glued between cut grooves of two pieces of wood.

Why are more than three-fourths of the 500 million pencils produced annually painted yellow? Because someone once tested equal quantities of dark green and yellow pencils in an office and concluded that people complained about the quality of the green pencils despite the fact that all were identically manufactured.

In 1840 the pencil was given its familiar hexagon shape so it wouldn't keep rolling off desks. This, of course, has led to sloppy desk building as there is no longer an incentive for crafting a level desk.

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L atex is the raw liquid material naturally found within the rubber tree, Hevea brasiliensis.

Latex harvesting has been traced as far back as Christopher Columbus who is often credited with bringing the material back to Europe in 1496.

Mainly an oddity, latex was not taken very seriously because no one yet had figured out how to 'cure' it. In sunlight the stuff softens. In cold weather it hardens.

An Englishman named Thomas Hancock was the first to successfully chop rubber into little bits and mix them with solvents in a process known as ' mastication' and in a machine creatively called a 'masticator. ' Once mixed, products could be formed . This 1820 discovery is nearly identical to how rubber cement is made today. Charles Macintosh, a Scotsman, once marketed rainwear (called Mackintoshes) formed from dissolved latex. Unfortunately it became gooey in warm temperatures and brittle in the cold. Charles Goodyear solved this problem by inventing vulcanization, the process of mixing sulfur with rubber and heating it until it stabilized. Rubber, by the way, was named in 1770 by Joseph Priestley, an English chemist, who noted the ability of rubber to erase pencil m arks when 'rubbed.'

Pencils, you 'II recall , had just taken off around this time and people were probably making loads of mistakes trying to get the hang of them.

Sometime in 1920, a group of investors led by J.M. " Turk" Shear arrived in Trenton, New Jersey, with the idea of starting a company to make the rubb er parts needed for use in oil fields. Under the name "Union Rubber Company," they began selling specialized parts to oil companies. Later in the 1920s, a German chemist

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M A R C H I A P R I L I99 0

approached the company with the idea to market a rubber-based cement that would bond paper to paper without damaging the surfaces.

No one seems to recall much about the chemist other than the fact that he would deliver samples of his concoction on a small cart pulled by a bicycle.

After perfecting the mixture, small cans of " Best-Test Rubber Cement" were distributed to several New York ad agencies and publishers as samples by a salesman, Frank Donahue. While Frank was busy selling, Larry Shear (Turk's son) recognized the potential and, in 1935, persuaded the company to quit dabbling in oil well parts.

A good move, for in 1990 the company sells more than 100,000 gallons per year to 26 foreign countries in sizes ranging from 4 oz. cans to 55 gal. drums. (The package design was done in-hou e and has remained unchanged except for an endle s list of cautionary statements required by Uncle Sam).

The Rose Parade uses Be t-Test to attach flowers to floats. Hollywood special effects crews have learned that it makes for a dandy fire. During World War II, Best-Test was even used in skin grafting experimentswith real people. Speaking of people, how many would you guess it takes to run the plant, fill the cans and ship the orders? Twenty, the same number it takes to elevate small firms into the 'overhead zone.'

Try this recipe for your next office party: 110 lbs. sundried white crepe rubber from Sri Lanka. Cut into thin strips and mill until soft. Add 100 gallons of hexane and beat the living daylights out of it. When well-blended, pour into jar with brushe . S rves about 900.

Opening the chronicle on how illustration board came about could be made a whole bunch easier if there was, in fact, a chronicle on how illustration board came about. What is known is that two separate families played important roles in the manufacturing of art boards. The Bainbridge Family and the Ozmun Family.

Charles T. Bainbridge was most likely the first to introduce 'show card board,' a layer of cardboard and a layer of paper laminated together. Before 1900 he settled in New York City and founded the Charles T. Bainbridge Son's Company, named after his sons Henry and Bertram. In the beginning Bainbridge manufactured printed stationery and mat board (named for its velvetlike ' matte' finish). The company was also the first to make crepe decorating paper. Imagine the office parties they must have thrown.

In 1939, F. Russell Morro joined Bainbridge and would later have the sad task of making the decision to sell the company. In 1971, Bainbridge became part ofLetraset which is not at all sad except that very few people within Letraset today have the foggiest idea of what or who a ' Bainbridge' is.

Now for the ' Crescent' story. Charles T. Ozmun founded the Chicago Matboard Company in 1902. Their original service was simple. Theater posters were mounted to cardboard with the simple use of a brush and a bucket of glue. Soon afterwards, people began requesting blanksjust plain white paper glued to cardboard. This was a turning point in the company's growth. In 1925 the com-

pany changed its name to the Chicago Cardboard Company as a way to reflect the many other services they were providing.

Elaborate die-cut displays, jigsaw puzzles and those little things that come stuffed in shirt collars were all being cut from the various grades of paperboard created at the plant. During World War II, large cardboard silhouettes of airplanes were made for use as decoys. The enemy was supposed to mistake the cut-outs for parked aircraft and zero-in thus wasting ammunition. During the 1950s the company finally became the familiar sounding "Crescent Cardboard Company." Why? Because colored matte board samples were often cut out in the shape of crescents.

Why? No one seems to know.

The real contribution to advertising and design disciplines was, and still is, the development of both Crescent No. 201 and Bainbridge No. 172 illustration boards for layout use. Both companies will gladly customize the backs of their boards for a minimum order and nominal set-up charge. Both companies use one-of-a-kind machinery to laminate top surfaces to boards to backings.

In 1920, the late Ken Ozmun gathered used parts found in a field to build Crescent's " Liner No.1" machine. Not only did he engineer and build the machine from scratch, but it worked then and continues to work today to produce Crescent No. 201. Talk about dedication, Ken spent part of his wedding day finishing the project.

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At

his home in Palo Alto, California, probably in a drawer or tucked away in a closet, Doug Engel bart still has a small wooden model of the very first 'mouse.' The year was 1965, the report was called "Computer Aided Display Control:' The client was NASA. What Doug had done, along with Bill English, was something he had always wanted to do, even as early as 1951. ·· He successfully demonstrated that human intellect could indeed be augmented with computer machines.

Specifically, with something to point with-the mouse.

Working within the Stanford Research Institute, Engel bart and English tested several interactive devices for manipulating displayed information. Keep in mind that computer screens in the 1960s were fuzzy round things that looked like bad props from a Saturday morning movie. Among the items tested were light pens, joysticks, a 'Grafacon' (difficult to explain, equally difficult to use), mice and even a knee control which mounted under the work surface. These guys were literally developing the way we now work with personal computers. We input information. We point at it. Then we make it do something.

Measurements were recorded for speed and accuracy.

The results indicated, without much question, that the mouse was superior as it allowed a person to control a cursor with amazing ease and accuracy. The 'mouse' name was an obvious choice for here was a small box with a button for a nose and a cable coming out the other end for a tail.

The fact that the first mouse had only one button is significant. It had only one button because technology was such that more than one wasn't feasible. As the mouse 64

M A R C H I A P R I L I9 9 0

was developed, more buttons were added because this increased usefulness and allowed for a variety of fingertip choices. A single button severely limited choices and required letting go of the mouse to make certain keyboard commands, a question being dealt with today after coming full-circle from one to two and back to one button.

What happened in the subsequent years may never be fully understood. The Xerox Palo Alto Research Center (PARC) spent several years working on developing various forms of computers. Although Engel bart's mouse was there the entire time, it was never really taken seriously for mass production until1979 when a visitor was allowed to tour the Xerox Palo Alto Research Center. The man was Steven Jobs of Apple Computer.

He had a mission.

Jobs was not only excited by the developments at Xerox, he did something about it. The rights to the mouse were negotiated and Apple called on David Kelley, a Palo Alto electrical engineer and product designer, to make it work for everyday use. In an early progress meeting, Jobs was shown a prototype sporting a fifty-nine cent bright yellow butter dish from Walgreens. The first Apple mouse. Kelley and his team had attacked the situation in record time and with record success. Not only did they take Engel bart's 1963 concept and integrate 1980s technology, they made it affordable to mass produce.

Apple limited their mouse to a single button in response to manual writers who suggested one button "would be easier to explain~' There are obviously many more great moments to come in the mouse race. Unlike the simplistic pencil, we don't yet know how it will finish.

Level or not, the art director's desk may never see a more versatile tool. It can cut.

It can poke. It can help repel a nasty account exec. Although there are several manufacturers of'graphics utility knives,' you would probably be hard-pressed to overhear someone ask, "Where is my graphics utility knife?" Rather, we say "X-Acto~' Partly because the XActo name has a Buck Rogers-like charm.

Partly because people in advertising and graphic arts buy more X-Actos than any other brand.

To fully appreciate the history of the X-Acto, it's necessary to sharpen-up on some basic scalpel history. The scalpel is the oldest instrument known to surgery. Defined as being "a light knife held conveniently by the hand~' the scalpel is used for dissection, incision and excision. The first metal handle scalpel was introduced in 1905 allowing for more complete sterilization. Soon afterwards, an interchangeable blade system was introduced. This meant expensive handles did not have to be retired simply because the knife end was wearing out.

Enter Sunde! Doniger ofDoniger and Company. Here was a New York-based surgical supply distributor who was known as a marketing genius. Always thinking. In 1935, during a routine sales visit to the Army Medical Corps, he noticed a bucket of interchangeable surgical blades sitting idle. For one reason or another, the Army

was rejecting the blades due to slight inconsistencies with official Army specifications. Although not for Army use, Sunde! knew there had to be a use for them and offered to buy the whole lot for a few bucks. Sold.

After imagining several uses, he finally settled for a simple holder and set off to sell the world's first "X-Acto Knife~' a name he borrowed from a line of surgical products he sold.

Someone suggested the hobby and graphic arts industry would be good candidates for the knives and, boy, they were right. Soon, the straight edge razor blade was outdated and the hassle of trying to pick one up off a light table was left for crazed strippers with funny shaped fingertips.

Most graphic arts blades are made from carbon steel which is stamped out in basic shape and then sharpened 'til the cows come home. Ever wonder what conclusions future archeologists will come to upon finding little pieces of masking tape wrapped around old X-Acto blades? Today's No. 11 X-Acto blade is patterned after an original surgical blade of the same design. So, if your mother always wanted you to be a doctor, it's possible you could breeze right through medical school.

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65

Taking a lesson from many of the other progressions seen in design tool development, the technical pen has come a long way since its invention. Some of the earlier designs included a system of injecting ink through a tube with a hypodermic-type plunger and a variety of other ink delivery systems that often worked -only far too well.

The basic design for a 'tubular nib pen' was ·· purchased by the Koh1-Noor Company and developed jointly with the Rotring company of West Germany. In 1954 Koh-1-Noor began production on the fi rst " Rapidog aph" technical pens. At last, a pen that would deliver a constant flow of ink at a constant width. The advantages over other nib pens were many; the technical pen could travel in any direction and was not hampered by the grain direction of paper. The refillable cartridge allowed for continuous work sessions and might be the cause for designers throughout the world working long hou rs.

Koh-1-Noor is now part ofRotring. Although there are other brand names of technical pens, Koh -I-Noor and Rotring account for about 70% of the world's supply.

Koh-1-Noor actually means " Mountain of Light" in Arabic which dates back to the days when the company was limiting itself to making pencils. There's a long story about this, but it's really not that interesting.

What would be interesting is to see what kind of response you 'd get if you asked your local art supply deale r to deliver over a " Mountain of Lights ~' One of the most common challenges with te hnical pens, besides finding someone who knows th e histmy, is clog-

66

M A R C H I A P R I L I9 9 0

ging. As part of their customer service program, Koh-I-Noor actually employs technical pen technicians.

Imagine being part of a department which is responsible for reportedly cleaning and repairing more than 6,000 clogged, broken and abused Rapidographs each and every year. " Cookie ~' one of the two technical pen technicians assigned to Rapidograph servicing for Koh-I-Noor, gave the following advice (which has been slightly edited) to help extend the life of your pens: (1) always replace the cap when you 're not using the pen, (2) give it a good cleani ng if you 're going to be away for an extended period of time, (3) save the cleaning instructions an d t y following them for a change and (4) if you get in over your head, just pack up all the parts and send them to Koh-I-Noor with the appropriate repair charge.

Cookie's fondest memories include fixing pens chewed by dogs, a pair of pe 1s that were melted together and the many clever stories and drawings that have accompanied wou nded Rapidog aphs over the years. Everyone's favo rite to date is a line drawing titled " The Nib Is Dead ~' Sealed techn ical pens, ones which don't come apart and are meant to be thrown away, are catching on in popularity. Le raset's " Letratech " boasts one of the largest ink reservoi ·s in a professional disposable technical pen.

One marketi g p10blem: people don't dispose of them as often .

0

fall the ideas that have ever been rattled off on the spur of the moment, it would be safe to say that only a very small percentage are ever transformed into reality. We are not only a resourceful culture, we're a procrastinating culture as well. Having a good idea is only half the battle. Putting an idea to work is the true litmus test.

In February of1939, Jennie Zachs had an idea to have a ruler made of see-through plastic. As a New England schoolteacher, she didn't much care for the idea of constantly having to move her ruler to see what was underneath. Tracing the origin of a small transparent card she had acquired, Jennie arranged to have some rulers printed on a similar material. This was the beginning of what was aptly named, The C-Thru Ruler Company.

As the company grew, Jennie's brother, Ed Zachs,joined her and by the mid 1940s had brought much of the manufacturing process in-house. While Ed handled making the rulers and shipping the orders, Jennie was concentrating on meeting as many people as possible who might be potential distributors for the new " C-Thru Ruler." Traveling by bus, she would attend stationery trade shows and then return with more orders than anyone imagined possible. It was clearly Jennie's determination and contacts that would eventually lead to the development of the graphic arts proportional scale.

During the 1960s, when printing was becoming a more sophisticated process, universities responded by offering more classes in the art of pre-press and publishing tech-

niques. One such school was the University of Minnesota.

Although no records exist on the exact circumstances, it's believed that someone from the graphic arts department had the idea for several graphics-related rulers and scales. Among them was a device based on a logarithmic formula which would calculate both dimensions of a layout when reduced or enlarged. A simple two-piece "wheel~' In 1965, Harold Smith, the director of the university's bookstore, was approached with the idea to get the specialized tools manufactured. Because of his long-time acquaintance with people at C-Thru, Harold concluded that if anybody could bring the ideas to life it would be Jennie Zachs.

Since the company had been manufacturing other products including protractors, T-squares, triangles and even gauge dials, it turned out to be a good decision. The proportional scale was born.

Twenty-five years later, C-Thru makes about 100,000 proportional scales per year and has facilities for virtually every commercial printing process used in scale production; offset, flexographic, letterpress, pad and screen printing. They make several models of proportional " wheels;' none of which you can see through. A few years ago they changed the red type being used to designate fractional dimensions to blue so it could be easily read in a darkroom environment.

Considering the popularity of modern computers, is there a future for proportional scales? You decide. They don't flash system errors, they don't require back-up disks and, as far as we know, no one's ever had to lease one.

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

A R T S

67

THE BALL WCRS PARTNERSHIP BY

MAXWELL

A

CIVILIZED AMERICAN IS NOT SURprised to see fine art appear in exotic places.

However, the existence of indigenous art forms on a distant continent is still cause for wonder.

Movies, jazz and comic strips have all found their way into far-off lands, and now for some time it has been the American way of advertising. Although it is no longer surprising to see how much better it is often done, what is startling, at least to an insular eye, is to discover how brilliantly it is being done in places like Singapore and Hong Kong.

Even when one is reminded of the creative leadership British advertising has shown in recent years, it comes as a revelation to find what is going on in the old colonial outposts. It isn't just the concepts, or the quality of the writing, which should not be unexpected in realms where Kipling, Maugham, Orwell and the King's English have traveled. What particularly stands out is the beguiling use of typography and the stunning simplicity ofthe art direction. For the typography, the credit is again given to the British, whereas the art direction is acknowledged to be inspired by the Asians.

Of course, Singapore and Hong Kong have well-known advertising agencies with long-established creative credentials. Ogilvy & Mather, Leo Burnett, Saatchi & Saatchi, DDB Needham and others have all been very much in business there. But it is Ogilvy & Mather, Singapore, and the agency it spawned who have done most of the pioneering, have stimulated their competitors and to this day have dominated the scene. The agency that came out of O&M is The Ball WCRS Partnership.

68

ARNOLD

Hong Kong's most interesting creative shop, Synergie.

Although this caused dismay in advertising circles that admired Synergie's spunk and independence, it was a marriage made in creative heaven because it brought together four remarkable talents who went on to produce work that made The Ball Partnership the preeminent creative agency in the Far East. One of the four, Mike Fromowitz, who directed the creative work for Sheraton, has just moved over to BSB Hong Kong, and another, writer Eugene Cheong, is now with Ogilvy & Mather, London. The two who remain very much in place at The Ball Partnership are Michael Chu, chairman and creative director at Ball Hong Kong, and Neil French, group vice chairman for creative in all of Ball's offices in Asia and Australasia.

Mike Chu was the owner of Synergie, the agency he founded in 1983 and later merged with Ball. Holder of a Bachelor of Fine Arts degree, he had gone to the U.S. to work in various jobs before returning to Hong Kong, where he became creative director at Ted Bates in 1979. Four years later he started Synergie, which became Hong Kong's fastest growing agency. In his years as art director and creative director, he has won more than his share of Clios, One Shows and Cannes awards, and this year he became the first Asian to be featured in the Wall Street Journal's World Creative Leader Series.

Chu's experience in both local and international markets serves him well in the Hong Kong milieu, as does his dual-language fluency in developing creative strategies in an Anglo-Asian world. At Ball Hong Kong he runs a shop ofl41 people with $84 million (U.S.) in billing, handling accounts as diverse as Alberto Culver, Kent and Newport cigarettes, Hewlett-Packard, Toshiba, Newsweek, Remy Martin, Suzuki and Dreyer's ice cream. About 57% is TV and radio, and 38% print.

On their letterhead, WCRS is in red and the rest of the name is in blue, with WCRS better known outside of Singapore and Hong Kong. It is the parent company that owns Mathews Marcantonio in the U.K., Groupe Belier in France and Europe and Della Femina, McNamee in North America. Ball is Michael Ball, described in the local press as an extroverted personality, and he is the one who put together the creative talent that made The Ball Partnership a success. At one time a vice chairman worldwide for Ogilvy & Mather, Ball was head of the Meridian Group, an O&M network he bought in 1986 and re-named after himself. In 1987 The Ball Partnership became a wholly owned part ofWCRS. In addition to Singapore and Hong Kong, there are now Ball offices in Kuala Lumpur, Bangkok, Sydney, Melbourne and Hobart, Tasmania.

Deithelm Furniture. Neil French: "When we started this campaign, we realized all the stock was classic 'designer' stuff. If we showed only one piece of furniture, it might alienate any reader who didn't like that particular piece. And if we showed a lot, it'd cheapen the effect. So we showed no furniture and concentrated on the designers themselves, using illustrations to underline the 'arty' nature of the place:· Frank Lloyd Wright: Rob Speech ley, creative director; Neil French, art director; Neil French/Matthew McGrath , writers; Gary Powell , illustrator. Charles Rennie Macintosh: Rob Speechley, creative director; Neil French, art director; Neil French/Matthew McGrath, writers; Paul Leith, illustrator.

From a creative standpoint, the most important move Michael Ball made was in 1988 when he merged Ball with

Ad for Dynasty Wine. Mike Fromowitz, creative director; Mike Fromowitz/ Debbie Tiso, art directors; Rita Haque, writer; Bill Butcher, illustrator.

M A RC H I A P R I L I9 9 0

ODDLY ENOUGH, HE DIDN ' T DES IGN A RA INCOAT OR A COMPUTER

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PICK UP SOME FRENCH TO IMPROVE YOUR CHINESE .

' Dynasty i

a

But our F'rench frie nds believe

medium dry wine borne of three vines and two worlds.

France and China.

that such adver&ity is

+

a blessi ng as the vi nes seem to

l!!J Our vines wt-re born in

China.

+

wi ne

The F'ren h however 01ill have a hand in its

remembered as the very fir111 Chinese wine with the F'rench lou h.

The wine

t!!J Because although the vine

whi le Dynasty's fresh, subt le navour and fnoit softness is great mea l, connoisseurs

on its

own and would flatter any we tern

or Chinese cuisine believe il to be the

perfect drink for Chinese food.

+

Dynuty io produced and

bottled by the

+ So

Tianjin a nd is a vaila ble in Hong Ko"8 at Remy

lo protect them through our biuerly cold winters we cover them with

rmr

ililllliim::::=:

I

(A tri ne schi<ophrenic,

thri"ed in Tianjin's perfect ummers. they were not t]Uite prepared for its winters.

earth . And expoae them ar;ain IO nouri h and blossom in the

I

perhaps, but consistently so we assure you).

medals in intemational wine hows. However, creating a n

award winning "'ine wa not easy to begin wit h.

1EJ awmm

+

Small wonder thai the

itself has developed a unique

personality.

IEJ So, unde1111andably, Dynasty i oC!en

n1i taken for a fine French wine. But we don't really mind as Ions as we're

that ha won numerou

+

thrive on it.

France and are taking root in the Tianjin region of

c reation. (Merci beaucoup!)

in fac t

pring.

IB1

ino - Frenc h Joint Ve nture Wine ry Ltd., ie olu Wine

Shopo, le adi Df! hotel• and restaurants.

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

!

A R T S

69

TH E BALL WCRS PARTN ERSHIP

EINSTEIN SPARKER

-·-:.·"":"'..::-:-:::--·.:.'":'..:.-:...::7.=:-_·.-:---..::: .. - -

According to Chu , most of th e creative work he directs is done by individuals, at most a writer and an art director, seldom a group. " Committees are discouraged:' he says. " Committees produce dull work. It is often the sting of an eccentric personality that creates th e magic which lifts the work from the ordinary."

When asked to comment on the exceptional quality of the agency's print advertising, Chu first wants it known that their TV is every bit as good and harder to do. He attributes the quality of both print and TV in part to the size of Hong Kong as compared with the U.S . In Hong Kong, he says, more opportunities and faster turn-around time allow for a bolder advertising approach. (Another view, about Singapore, comes from Neil French: " Singapore is a nation built, in its most basic sense, on trade and America

01 P.UUI mna~.sns

tu.. lfflt.. lt.Uif

-L

~

;;:,;. ~

~

~

.....

Above : Mike Fromowi tz and Mike Chu .

Neil French : " It seemed a shame to us, that all pen ads fell into one of two camps : the pen as jewelry/accessory genre and the borrowed value bunch, as in 'made as beautifully as this car, chair, etc .. : Nobody seemed to want to sell a pen as a gadget for writing with . Since Parker's long -running claim is to be the ultimate writing instrument, we felt we had the perfect candidate. So, from the top of the ad to the bottom , we have " Here's an interesting bit of writing done with a Parker ; here's who did it; here's the pen . There's a whole series of ads waiting to go into production , and some of them feature people who are still alive which will be comforting to see:· Rob Speechley, creative director ; Rob Speechley/Coreen Aw, art di rectors; Ne il French/Rob Speech ley, wri ters; Ha n Chew, photograp her.

70

M A R C H I A P R I L I9 9 0

--------------·----· --·-·-·-··.. --··-------........ ...

Suzuki ad. Mike Fromowitz/Jimmy Lam, creative directors; Mike Fromowitz, art director; Kasey Lin/Jimmy Lam, writers; Ringo Tang , illustrator.

Portrait of Neil French .

Ad for Puma. Mike Chu: "Puma is one of the agency's most successful campaigns. We helped them overtake Adidas, Reebok and Nike to become number one in sports shoes, sports and leisure wear and jeans in only four years. Their sales have more than quadrupled:' Mike Chu , creative director/art director/writer; Kevin Orpin, photographer.

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

A R T S

71

THE BALL WCRS PARTNERSHIP

is now shackled to the mega-operation. So Singapore is far more entrepreneurial-as the U.S. was, once:') On the subject of the extraordinary typography in Ball advertising, Mike Chu was invited to comment on an observation recently made by writer Eugene Cheong, once with Ogilvy & Mather, Singapore. Cheong had remarked in Adweek's Winners: "The trouble with American print advertising is that they've got great ideas, but they don't know how to make it look good. They should get an English typesetter."

Says Chu: "The Brits are generally considered to be more sensitive in their approach to typography." Asked who influenced his own use of typography, Chu again says: "The Brits:' Yet it is interesting that the three advertising agencies whose work he most admires are Campaign Palace in Australia, DDB Needham in the U.K. and Fallon McElligott in Minneapolis, Minnesota.

As you see, w-eight-lifting is a m.ajor event at the Singapore Olympics. n.. at.ndard ol ..rvk• i h - dAy. W ao

for,.t aU ilK- huffl,..., puffi,.. c...,;...

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Tlok svsnl putla in wmpef;llor• from all - • the world.

A ,....ett..bleeddition toU.. l!.t.lhO.o-.

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WfiQ HI. ! IOINQ!! !T!j f !LNQte QIYII!QN!

Onrather.d!Hsrsni-.lsCOO'I'!Mth~unulu.al

Mike Chu is a happy ad man, thriving in The Ball Partnership, and his work shows it, but with all the vicissitudes that can affect an advertising agency anywhere in the world, an unavoidable question has to be asked about Hong Kong itself. How does he see the future of The Ball Partnership when Hong Kong becomes part of the People's Republic of China?

Says Chu: "We may have to change our name to The Ball Comradeship:'

svsM:ts,..rally.••J*'Oo.liatSV1tntfor,...J.uonly.

Th.b...krule.•,.qulte•lmpls.

Vo..r hotel._ • mu.1lc: .-...a di«o, or a

Thec:cwnpooUiorch.cluinlooneofSineapM•'•

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lu.JIUO")'hotel.,end ef.tem.,Ute ..... hllllttlsft,.....

s-.n.tpllynotllo}utipOp\nfortMCOftd .• .

Excuses, excuses.

Lc.n,n,_,,h,c.rtnn... .._rUl'Yablennea. unb..l..,.blennst.

H,.,.. ••• 11"'1 an ••c:uae fnr you O...n'l"tllfMiherelailvuln\nvlle)lt'Ubefnre ..... 1c1"11 the hipacmMihe cauae,.·ey

Se.....,nOyl().,,., ..... t.rl The pmaa,.hack..,.tnlnlt.. Pn...·er B-1 GrandPrl•whic:htake.pl..::enn Nc.vemberl'l · ll•l M.ri,..B..y.

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It is irresistible to call Neil French the one-man band of Far East advertising. The award credits for any number of spots and ads list him as creative director, art director and writer, most notably for the revolutionary Chivas Regal ads. Now he has overall creative responsibility for all Ball offices and has come to have a clear evaluation of his strengths: "I'm actually not a brilliant writer and I'm not a brilliant art director, though I can do both. But I'm a helluva good creative director..:' He has much to be responsible for, although he has strong support from creative directors like Singapore's Robert Speechley, originally another O&M colleague. The Ball

o.,...,.., •

Weunnnl pr<>miHinn...butfmm ~ember 19 In )an... cy 'l. ~can bs d.uled

I

by the brillitnc:c ,no:f,....,;., ri nur ''"""'' Chriai .....all.thluptlnniiT•nlllintndOrc:hard Rnada.lh,....,.,h In M11r\,.. Squtrs.

Brtn,ynurtun,.laa-Nihleyear'ap......,,_ In bs the bla,...t and bri...... INI dieplay evtr &enlt..lhnptolnd/v.tel. .. !llbedr..-.,dup lnlnodllln,..Jd..,.....tlnno•ndnr,......,nlluih..y c: ...... ,.,.._ r.... -The B...t D...:nrattod Bulldl,..- ,,...,J. Drink In th.o """rrl..,.nl •nd .....UI, ... fNn .......... u,.._,_.,,panw;l"ri"lnt • andlrlt ....... a.orbecauj!hll n lhe ..·hlrli"t!S.Jidle"""nl nlit..GrtndCh rletrnu f alr,lllal0f'l':hard Rn.J.

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M A R C H I A P R I L I9 9 0

A ! D f ! ' (IDHK

On:h~rdR"""nnAprll'l · JO .

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lhlnk)'(>Uk-llall. sh?

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lil.eane~lt~~·ndritt.you'll.tlu.lfHJ, Ch. Cha. S..mbe, Ol.oo"' Rod: 'n' Rnll.

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St>m.nltM_...w ·.moe~r.b..I&.....Mnnnt.. .... roc:lc.dupfcorthe.Jew•llsl")' Eahll!lflnnf.......,April7· IJ.1nd '-'<nik. carpet...,., piled hl,h Ill the h.rw:l·

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lt'aulled lh• M .. tiOt>n

72

AN

z ·m·.,.., r 1Nf QNCF" 'lU'iHK

,., hich bri"'l• ua In II!CuM number ..

2 Sf'fC!A!RfC!t!fJ!5 fnr tn.-nl you ,.,h,c. 11lll firmly believe In S.ntaCiaut.

H•'• the !Nin inlh.o bl,. ...d lult. 511 nn hllo k.- a ...I t ..ll him ,., ... , you 'd ,.,.IJy Ilk., fnr C hriHrnu.

Nt.....,mb.rllt<>N....'em ber~ .

Right: Hong Kong Convention Centre campaign. Mike Fromowitz, creative director ; Tan Khiang , art director; Simon Hayward, writer ; Neil Farrin , photographer.

'fttll I'M

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It almp/y-.·ei)H'U&...itnl_.,..y..,llh diec:.....,nil•ireel•ur~nlt. th<-oppl,..c .. Nr... •ndinurlal

This page : Ads for Singapore Tourism. Neil French : "The interesting thing about th is campaign was that it was widely read . People tore out the ads and kept them . We were still getting requests for information six months after the ads appeared! " Neil French, writer/creative director ; Neil French/Jon Teo/Jackie Coates, art directors; Brian Grimwood/ Ralph Steadman/Jeff Fisher/Paul Slater, illustrators.

Stnjlapnr•. •'••.dy the f~Ynurota '"""""'' hub ..r Aeil ••Pind•o •flh cnln..rful adlw ltlu llhibillnnl. peraJ•o•ndftlra.

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THE BALL WCRS PARTNERSHIP

Singapore office alone has clients that include Air India (Worldwide) , Hongkong Bank, Singapore Tourist Board, Sheraton and Mitsubishi. Unlike the Hong Kong office, print is 80% of the media here, and although there are notable successes in TV, it is the creative work in newspapers and magazines that has attracted unusual attention.

In spite of his success, Neil French has his detractors, just as The Ball Partnership has. He has been called pompous, overbearing and a showoff. A client with another agency called his work " creative masturbation .. . I can hardly believe that any of that advertising really sells or does any long term good for the produce'

French tells how the creative process works at Ball.

So no one should imagine that it is all an advertising paradise across the Pacific. Life in hell exists over there as well as in London, New York or Los Angeles-bloody rivalries, brutal politics, acquisition disillusionment, unpleasant clients and, as everywhere, the usual critics of innovative advertising.

" It's all very simple. The account handlers gather the information; then they and the creative team agree on a strategy with the client; then the creative team does the ads. Then we all take the weekend off?' And he adds, " No creative team at any office where I'm CD will even begin to consider the possibility of reading a brief" Uob description) " until an overall strategy has been agreed to by the client-and our system does not allow a strategy to be discussed with a client until it has the blessing, and ideally, the major input of the creative team itself."

To make sure such words have an official imprimatur, the age ncy has published a little black paperback titled The Book. It is a scripture of agency dos and don'ts that account and creative teams are expected to obey. Oddly enough, considering Ball 's reputation in print, both the so-called Book and a Ball self-promotion piece, A Dictionary of Quotations, contain strange errors or typos in punctuation, even allowing for certain British eccentricities in that area.

Fre nch 's opinions on print advertising and art direction have been widely quoted. He says what differentiates Ball from the competition is a manic insistence on a bold strategy in the first place and then a constant awareness of th e media environment in which their ads are going to appear so th at another manic insistence will have effect; ads that stand out in their environment. " Basically, nobody sl eeps when we' re on! " Eve n so, Neil French has been quoted as saying, " I don't believe in flashy ads, stuff that has more art direction than message ... I don't like clever bits and pieces that get in th e way of wh at you want to say ... I mean lots of cl everness-funny borders, great looking photographs, wonderful looking people dressed fabulously using the product . . . As far as I'm concerned, the product is the hero of every ad . .. What can I get rid of? If the headline do esn't help, throw it in the bin ... I think you should get rid of everything that doesn't actually contribute to the message .

A point he makes is that an ad does not have to be noisy to wake you up, and in that sense he expresses his admiration for Asian art direction . " I like absolute purity. There's a single-mindedness . .. which is very rare . .. The Asian mentality can be very precise, very persnickety. Their art direction is absolutely great:' 74

M A R C H I A P R I L I9 9 0

At one time, Neil French expressed some concern about the future of advertising in Singapore. He remembered when the economy was in a recession and the advertising business was going downhill. It was when he had arrived there, and in an interview he told Singapore writer Chia Ming Chien he felt he couldn't have turned up at a better time. " I was in the position a little like the Pied Piper;' he said. " He comes in when things are going reall y bad and says, 'Leave it to me: What happens is that in moments of desperation, people will take your advice. The Pied Piper walks into town, you 're infested with rats, he tells you , 'I'll play a tune and the rats will follow me out: The trouble is, after the Piper gets rid of the rats the people say, 'What rats? There aren't any rats~ " Since the time of that statement, there has been no downturn in the economy, and no interruption in the prosperity of The Ball WCRS Partnership or the highly individual quality of its work, even with the inevitable shifts, defections and corporate shuffling; and so it would seem t hat Michael Ball, Michael Chu and Neil French, along with their many talented partners, should have some reassurance that not all religions have to throw out Th e Book and not all Pied Pipers have to change their tune.

• The Sheraton Hotel campaign appeared in Asia, Europe, Australia and the United States. The Sheraton Towers ads were targeted at top management wh o ran co mpanies and could afford the best. Mike Chu: " The Sh erato n Hua Hotel in Shanghai had a 35% room occupancy rate. After the ads ran for three months, it increased to a substantial 82%:' Mike Fromowitz, creative director; Tan Khiang/K. Atkinson/Mike Fromowitz, art directors; Simon Hayward/Joe Lam, writers; ·Kevin Orpi n, photograp her.

(~\

,t.TSH(IIATONLTr L f ~

® A I SHfiAION l fill THINGS M(AN A LOT

JuST BECAUSE WEVE DROPPED OUR PRICES AT THE BEST HOTEL IN SHANGHAI, DOESN'T MEAN WEVE LOWERED OUR STANDARDS.

It happens co the best o f us.

exhibition fa ci lities in cown helped.

is in th e grip of a bear marke t. This

national ho tel, th at althoug h we've

center o f C hina's Sil ico n strip, we

dropped o ur pnces co U $79* a

yea r alone wi ll see an addit ional

and French restaurants an d the o nl y

will al l be ab le to c harge like the

nig ht, at the Hua Tmg Sheraton,

2,000 hotel rooms

authentic Italian food in Shanghai.

proverb1al wounded bull

we would neve r dream of lowe nn g

course

first

And rece ntl y being voted the

managed hotel in

"Best hotel vis ited" by Conde Nasc's

bemg

the

Shanghai gave us a head start

41 StH IIAT ON liTHE THINGS MEAN A lO T

When

apo logies co Shang hai's ot her inter·

Not co mention excellent CantO nese

Of

(§)

feather in our cap. the

incernacoonall y

®

Having the best business and

The hotel industry in Shanghai

H owever , when suppl y exceeds

o ur

demand, somet hing has co g 1ve.

Traveler's magazi ne is an obvious

AI S HfiAI O N liTTU THINGS MEAN A lO T

hang hai become

... , sHtii:A r o N liTTlE t HIN Gs M(AN,. 1or

We're pleased co re po rt, w1th

... , sH Eur oN

candards Fo r

urnf , ... ,. . c.s MEo\N ... Lor

reservations,

please

call

3-739-3535

.V 1-:;,. tt ®

,., s"tu t oN LitHE

1-fua Tinq Sher·a ton l-lo Lel Shanghai

-::-::--:-· I~

AI S l"'fRAT QN L Ill( TI"'INGS MI,.N A LOT

AI S l'tfiA TON lii!L f

IH I ... GS M(AN A LO T

41 5Hti A I0 N LI TTLE TH I NGS MIAN A LOT

,. , SHII AI ON LI TI L f TH I NGS M(AN A LO T

" ' S I'I(IAT ON LIIILf lt'IINGS MEAN A LOT

;r,t SHf iAI O N

(§)

NEGOTIATING A CONTRACT IN SHANGHAI? CHOOSE YOUR WEAPON .

Books have been written about doing bus in~:ss in The People's Republic of C hina .

It requ ires a sryle (and determinatio n) all of its own .

After all , do ing busi ness tho usands of miles from home in a country as uncompromisingly foreign as C hina, dcxs have its idiosyncrasies.

Time d ifferences mean o ur Busi ness and Information Cenrre is the only one in Shanghai chat never closes.

With a little notice, we can arrange interpreters and translators (th ere Is a difference) and give yo u access to all sorts of information .

"What abou t business entertainment?" you ask .

In hina, the 10 course ba nquet complete with sea

lug, shark's fin and chic ken's fee t, is the equivalent of the we tern power lunch .

Take care though, because what yo u o rder (and spend) will indicate exactly what yo u think of yo ur guests!

Our manager at the Guan Yue Tai, perhaps the finest Cantonese restaurant in Shanghai, would be glad to advise .

Nearer ho me, we have the only authentic Ita lian restaurant in town and an international coffee sho p.

So you see, no one in Shanghai goes further co cushion you from the effects of culture shock.

And at just US$85 a night , fo r one of the bigge t standa rd single rooms you've ever seen, the bill you run up will ~ a pleasa nt surpri se.

-lf.f$,:~.(§) fOil HSfi!V ... , oNs (All,,..'!' sH£U10N Hou. wo•tow,oE 0 1 CAll

,.o,..c I(QNG l 7HHH

SHANe ~... ~ .. ,, n•ooo H60oo

Ju

' " ' nooo• non1

TElEX

JH'' 51'1H11'1 ,,...

She•·aton HuaTing Hotel Shanghai ·~---· r.IT

COMMUNJCATIO

ARTS

75

TH E B AL L WCRS PARTN ERSHIP

Since Neil French uses the precision of bull fighting to illustrate many of his thoughts abou t advertising, something about his background is in order. Nothing could quite take the place of his own words in a bio he wrote for Communication Arts, and so most of it is repr inted here.

(§) ....... ... ............... ... .. ........ ... ...... ..... ... ....... ... .......... ..... ... ....... ... ........................ . .... .. .. ........ ... ....... .............. .. .......... ®

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ICICXX for th1t no! 10 m111n much

on lht mrdu 1M \Ome ol Aullr1h1' lnu

Tlln s n1h1 C1melt "fh.t> ""-'Y

The r1ce uuu 11 the Sheruon

wuh oroe kimp 11'01 two wert ICIIully

Ayen Rod. Hoed on Apnl lJrd 1911

~oblefutQ9C'III"IUPIIwoutbK..

lfi.CIIOflftlbnf:IUopovtllltht

D OES THI S M EAN TH E E N D O F

After telling us he was born in England, expelled from Public School, and fired from his first job, he goes on:

OUR L IM O U SIN E S ERVI

E~

Went to Spain in a huff (a small early aircraft) .

They~rctlw-lhonnoltht:

onhnnTnmory uu:dfor

Took job as waiter. Graduated to night-club singer.

Went to Bullfight school. Embarked on career as matador. Failed. Went home.

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trlntpottonll 1old 1nd provHirn1the

h()p'l 1nd twel¥t wed.t l"er lithe:

lint telet~r~ph polet

<ihl!'tJIOf'l "'"'~Cold Coau

So whtn we Wffelppro.tehC'd to

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tponWf 'The Gnr11 Autnodoul C.-mt-1

1 c;ht-ulo" Ho•tl '" 1hto Nonhn"

R.-ct' .,.,d Trtl1bou1 .-\ p111 of

Ttmlo.y 1murod 1h" ,,_ dooo1 PlfiOC

Au\UIIII\BICtnlt""'•lctlcbr.-hOfl\

ofyoumu1upwnh lhtoddCI~t~tl

You ~t 1hhou1h we IIT!Vtd on

As last resort, went into advertising, as unde r-assistant account executive (the lowest form of life, next to plankton) . Soon became ad-manager of large British motorcycle company. Large British motorcycle co. soon became small BMC, with my help, then went broke.

1hc ou•b.ck coM•dc,.bly 1hu the

Tht- ch.ouffcwr dn~n lomcxmnn wtllbtiUUirOU...d!McorM"r

Went to Spain in another huff.

Lived on beach and off tourists. Accompanied one of them back to UK and went into dubious publishing venture. Made lots of money. Spent it all.

(§) .. ..... ... ................ ... ......................... ... ....... .. ............... . ........... ................ ... .. ........ .... ..... ..... ............. ............................ (§)

Forced to go back into advertising .

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lhtrnoo" lu1 yur

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Became copywriter. Easy.

Nccdlcnrouy lht¥1\IIOr

f01md h•msclfur•ndcdarTIInJI"

wn mou rthtvcd .-nd lfUtclul

lntcrn.-uoniiA•rpon

Started own agency. Huge and surprising success.

Made lots of money. Spent it all. Went broke. Again .

Went into discos. Made lots of mo ney. Started promoting rock concerts. Made more money. Went into rock-group management. Went broke . Decided to try and break habit.

Back into advertising :

wtnttr.th.c~"'"plywunl.-

Upltlhthottlwnhhiih.tllllt

ho1cl he wu boohd rnro urd

.-MI wanttd to chccl '"

WE OONT USUALLY LEAVE GUESTS OUT IN TH E COLD, BUT ONE DISMAL WINTER'S OA Y W E DID 1hey couldn 1 help

Became Creative Director of HKR (London), Won British TV Awards and other stuff for Tefal commercials.

lrNiflnt hK W'l'f'W whm M

Lchwllhnolhcrn"'"c. he

foundou••hcho•clwn"tllundtf

dn:!drd!onllu' jlylhl\llmc,

co,.,nrucuon .-nd would no1 be

M w.-~ h•Jf.frou"

ope" for 1notfwr month lnutlflnt

mt~nbk 1nd

At lht ShtniO" r ..... ,....

Met Michael Ball. Mutual dislike. Offered job.

I

Ultrttcbcllboy•n,wtrtdlht

Came to Singapore , to work for O&M. Three years of massive fun, great success and jolly people . Lots of awards.

lntrtnlc;by !htrN,.,tumcd

\lna lctn••" \llhl Wo"t tht

chtrnol~lwt:ourbdlboydKplaycd

CanH.drff.ettT~c.-meudr

if

phone Uponhur•"lf'htm.-... ,

vw wtll but II Shc-raiOfl "'

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httlt thl"lfS ltkc rhl\ tNt lttp our

dnp.~cchcd OM ol tfw hc:Hel \own

Alii"'' conH"If bKl

®

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Moved to Bateys. Three months of unadulterated misery. Won lots of awards though.

Ball offered CDship of new agency group. Took it .. . any port in storm. Agency now No.1 in Asia, creatively.

Won mega-heaps of awards, and lots of terrific clients.

(t:J ...... .. .. ...... ..... .. ...... ......... ..... .... ...... .. ... ..... .. ...... ... . ........ ..... .. ...... . . .. .......... .. ...... .. .. ..... .... .... .. ...... (§)

Made Vice Chairman of Group. Road to ruin.

A hoth n,. ...,ldvtri"'"IH«<..IIYt

This page : Sheraton "Getaways" was targeted at businessmen who travel a lot and stay in major cities to do business. Mike Fromowitz, creative director ; Tan Khiang/K. Atkinson, art directors; Simon Hayward/Joe Lam , writers; Kevin Orpin/Ringo Tang/ Neil Farrin, photographers.

Right : Trussardi Boutiques campaign. Neil French: "It just dawned on me that we seem to have a penchant for not showing our clients ' products! Maybe that is the secret to our success. Basically, fashion boutique ads look much like another. So we decided to give this brave client a fighting chance of standing out from the clutter by using a (hopefully) witty copystyle, some great illustrations and leaving a big blank box where the products ought to be. It works, I think:' Rob Speechley, creative director; Francis Tan, art director/ illustrator; Ben Hunt, writer.

76

M A RC H I A P R I L I9 9 0

lho1 •••ht•t•mh bowuor l'"t' hom IWJ)' I

OM

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Hot~ory donn! ~l..tt ......... Mhld

todotulf"1pn¥1tt,_lurourf'IHI at • pop.aiJrCh•nnt rnt.ou r1n1

UfiJ

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llur M mltWIIfCd n chc d'"""'' party

lfVt"'"l our run1 ~' 10 ho\1 an

wu 1 1~•• ween\ and tM xcuun1 """ WhtehJU\IfOniOI.h.owthlllllllc

A,.,.,.lllmolloondolllrKCOUnlhunl on thor b.ttllnn

How W E SAVED A BUSINESSMAN'S FACE

btl)'rhont hum1nly

AndUUIIfUHIWIIIboolltObcttVtn 1

vtv>dckrnon\l rii!Uflofuxtly what

weuiiiCKintfxe•nHonaKon, Noctobrfntdby •hulcthintlth •-wxm•ldownpourhconYnfll•ll lhonyfrvc,...,,uuploho\Wotorfur~b.ttnqwn"ldtplniMnt,MIIiloUI

rcq,ondf'd inU1n1ly and l.od on 1 maanlhcornt'fl~•dofw\hl. t.nhtmla nd

thonl' lo kt YYII\f 1 m1n frotn lot>nt fxe

mcanalor•o~tt••Shc,.ton

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

l ~RlSH ~~URSE IN DElLING WITH ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, Till DRIVERS IN F~REIGN ~~UNTRIES '''''''''''''''''''''''''''''''"'''''''''''''''''''' ,,,,,,,,,,,,,,,,,,,,,

suu , d1vtde the fare by twenty And 1f you're wearmg Oared trousers, with a 'make love, not war' T-shm, dJv1~ the fare by tWO. Or posstbly, double it.

THE INSOMNlAC

ham to forget the spectal shortcut he may take It as an md1cauon that , once again, you'd like a guided tour of d~mtirccity.

No way out? Nonsauc: ...Just thfOIN up.

WeU, wehopcyou'vc found the helpful hmtS hsted here informariv~ Wealsohopcyouusc them when tnvdling in

driving isn't ouctly the most fin:mci:ally rewarding of professions.

On cop of this. the ma)O"ty of wei driven S«m tO be supportang a w1fe. nine lods and a host of

Afterall.atTrussardiwe.

rtbtivcs in countries nght across n. ............... - - - . . . -... w.-...... o.-. make some of the world's finest the world. leather suitcases. passport hokhs and other mvd actt~soncs.

And , u such, we have a ~ted antcrest in making sur.: G1vm thJs respons1bihty. n is e:uy to undttstand why thq'rc so grumpy. And why they work such long hours. that peopk who tnvd continut ~o tnvtl.

Or should we say, rid1culou.s hours.

Now, whilst this may make the1r bank accounts look slighdy better, It nukes their driving look a lot worst.

So if you hop in a taxi, and notice the driver has matchsticks holding hiscyesopen,orthcre'sfiftcen empty coffee cups in the front seat, ho p out agam. lfhefalls:uleep.hemayncver wakt:up.

Andncithttmayyou. ntE 'SPECIAL SHORTCUT' Thu IS some thing tO avo1d at all costs.(Andcostsarcthenub,herc)

~~~::;s=;;:; lav.tory).

Then theft: a~ cctremes 1n ~pen­ ruru to contend with. AJ well as tht

prosp«t of losmg one's lugg1ogc. being robbed or, heaven forbid , forgetting to tipdl<bdlboy.

H~.u pnilousuthesethingt

may be:, they paJe in comparison to, without doubt, the most dangaous of .tU . . .,.. iliol.""-"' -· 1 travt.llingpnctlCCS. rudinginwcis.

Unforturutc:ly, th~'s no rut way to avoid this.(Unkss..ofcounc, you're: pl'q)ared to atch a bus.Wluch, mor~ often than not, is~) .

And if you hirt ~:-;;:-;:-::.':::-.=:...":"" a car or walk , there's a dishnct possibility of being tut by a UXI .

However, txforr: you cancel your 0Yene2s holicby, we suggest you read the information that follows carefully.

HOW FAIR JS ntE FARE? In most parts oftM world, axis haw mttrrs. lnthcscplaca. oiMously)'OU've no say m how much your fare 1s gotngtobc:mthccnd

hundred doll ars before: you've even blinked) .

Howcver,lfthetaxiyou'reridingandocsn'thaveamctcr, or it's hidden under the dri~ 's hat, thttt you're faced with an entirely differmt problem.

1llC' 6nt rule here is to neva accrpt the 6rst pn« offerN bythcdnYCT. lnstod, you must haggle. Now, how much you haggle depends entirely on what you're wearing.

If you look like an Arabian o1l Shdk,divxl<thc&n:byonchundml.

If you're wearing an expens1ve

,.......,.__,MMol.---k ...... __ Whtnataxidnversaysheknows a special shortcut , unless ht's also a barbcr, whathc~allymeansasthathe

1ntmds to give you a guided tour of the cnurecitybcforecvc:ntuaUydroppmg youatyourdcsrirucion.

On the other hand, should you ttU

IAI"-• o........I,._, N.w i-OodleNw!:.~~.o.,.--....~s.......,o-...u..,c-

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

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

How To ~CK ~cKroCKET. A

Youthe nn~pmandr«:ovtr your

dough. (Useful tunt: For some reason invaauon for the chiefs particular

thts method has had the most stnlong

bknd ofh•nky-p•nky.

success in Poland . Something you11

In the end, we probably get

find out 1f you ever vacauon there.)

what wtcksttve.

THE SYSTEM SHUT- DOWN

lfyou areoncofthoscpeople

METHOD .

for whom concepts like "nih

Our favouritt' , howev.:r, is the Oa::oy Ploy. 11m mvolve1 stuffing a wallccintoeachbackpockct .Orcarrymg two handbags.

To understand the efficacy of this parucular method. you should know somtthmg abo ut the nature of the Pnty llu<(

down-paymems" and "a surething-quinella" make the cyt'S mtst over, allow us to offer somt helpful adviCe. Is THAT A WALLET IN YOUR POCKET OR ARE YOU JUST GLAD

Ha is a hf.: driven by smgh~-

TO SEE ME !

lfyou carry a wall.:t, for

trundcdn.::ss. lfthcn you prtS('nt tum With an opuon, he11 be forced tO malt.: lWIOWt.S~~I+IWft.IW.~IIO-Al~....,tU''OI""ll"'U<""-'l'O<IIAHOOtuloM\/AfUAHO COUII1

THE I NSTANT P OLIS H POLKA PARTY ,

Handbag earners will apprtt!alt: this 01'\11:.

It's m6rutely mort \ 1 difficultforthePick-

IAHKHORSO H . . OS<ASI.

Not to be admirttJ perhaps. But ce rt<~.ml y to be nurvc.Uedatforlustechruquc.

~~3::..~ so 1nc:redibly easy for him?

W.:.lka andhandbagsstuffrd to breaking pomt, wewaddleaboutthestrttts. an open

you snll end up having your

~ we offer one last pu~c.: o(

_-:• ·;:,--_~~~~E·~~i~ -

• -

Rendering him nothinB but a US('kss. babbling \.'~ctabl~ For your part , you11 have your money and the undymg

lfhe tnes, you1J probably catch him in the aa. =•'=;~

wallctorhandbagpinchcd,

The second reason IS that he11 have to come fact: to fac.:

~~ · .

1 . f

" ''

Fit your handbag wnh a musical chip that plays Polish polka-muJic when (orobly opened.

Then you can stick ham with an indecent assault ~:':.":"~ c harge and hav.: him locked away for good . ""..:!~

L1ke a talented ptantst 1n full swmg, he shdes hos fing<." ddowdy moss th< not<S.

l

~::po.~t~ it::;....--.;_ \ /

a deCISIOn between the tWO.

As thiS is totally contud1ctory to hu nature. h.: w11l 1mplodew1tharuocty.

_- -

' _-

cheque books. Benusc: .,. atTrusurdiw.:havea vr:strdmtercstinKangthat or not he's single.

'I'OUINOVI..OOIVll nM .... IM l'CH.fl:f>OW'II lOMOl.ON'to'I'OUI HAMOU.O. MO\IIItiVll, fMd If DI 'IHifUt AM l.UimoH.

ductS go together. And stay together

b«ause there's not quit.: as much room for

·:~~.~~. -ro; : f'ICa~•~ the gents, has proven to be a b1g hu wuh -.oonc.wM1'.

advicr for you . Carry

woth you on otd<r to m<k u . ln whkh

members oftht: fairer soc .

-------------~-------------C O MMUNICAT IO N A R TS

77

TH E B ALL WCRS PARTN ERSHIP

Th is page : Chivas Regal campaign. Neil French : "Our longest running success. The advertising became a local legend . Loved and hated , but never ignored . They pushed up awareness, brand share and volume in a declining market. This year the client wanted to change the strategy, the look, everything. We couldn't in al l conscience , go along with that, so we reluctantly said goodbye to the brand. Better to quit while you 're a winner." Neil French , art director/writer/creative director; Alex Kai Kheong , photographer ; Seagrams Marketlink, client.

Right : Two ads for Lindt confectioners. Mike Chu , creative director ; Tan Khiang , art director ; Simon Hayward/Douglas Brown , writers; Ringo Tang , photographer.

New campaign for Singapore Tourism . Neil French: "After the ads full of te xt, the client's management changed and the new school of thought decided that tourism ads should have minimal copy. So, we came up with this campaign which is almost entirely visual: ' Rob Speechley, creative director; Francis Tan , art director/illustrator; Tim Isaac/ Ben Hunt, writers.

78

M A R C H I A P R I L I9 9 0

~

~

~t:/Jd

~d;;

~

~

dd~.!!J

dand;;r.

Sinagp_ore. The world's most colourful cicy.

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

A R T S

79

T HE B ALL WCRS PARTNERSHIP

This page : Ad for ABN Bank. Neil French: "One might not normally associate the Dutch with the ability to make money. But when you start to look close, they're an amazingly astute bunch :' Rob Speechley, creative director ; Neil French, art director/writer; Vincent Van Gogh/Francis Tan , illustrators.

Neil French: "This is probably the most talked about campaign of the last five years. The local market is far from ecology conscious, although the government is extremely so. When this ad appeared, the big insecticide companies squealed and whined to such an extent that they managed to get the ad banned! The resulting furor created such an incredible weight of PR that they had to start labeling their cans 'ozone-safe ' and run their own rather petulant ads to say that they had always been safe . The ads ran only once . But there was five times as much space devoted to editorial comment afterwards. Rob Speech ley, creative director ; Neil French, art director/ writer ; Han Chew, photographer ; The Body Shop , client.

Right: Tosh iba campaign. Mike Chu: "Tosh iba's sales have consistently climbed each year by 45% to 50% over the previous year. We 've helped make their advertising stand out from Panasonic, Sony and Hitachi:' Mike Fromowitz, creative director ; Simon Yung/Tan Khiang , art d irectors ; Douglas Brown/Simon Hayward, writers ; Jonathan Brade/ Raymond Li , photographers.

By now,everyone has heard oftheozone layer;asort of natural filter in the atmosphere that kee ps the planet cool, and how it is being eate n away by products that contain gases called CFCs. If we continue to use these products, the temperature of the world will rise, the Polar ice will melt, and Singapore will vanish . beneath the sea, like a modern Atlantis.

80

M A R C H I A P R I L I9 9 0

IFA DUTCHMAN CAN GET THE JAPANESE TO PAY EIGHTY MILLION BUCKS FOR A VASE OF FLOWERS, MAYBE YOU SHOULD LET ONE HANDLE YOUR CASH. The Dutch have been smart businessmen for centunes. Jugghng currenc1es. commodities, and

In s•mple terms. this means that we sh•ft cash from currency to currency, accord•ng to the exchange

shares. to end up w• th a profit IS second nature

rates. and use our cons•derable expenence wtth the

to them. You m1ght say It 's an art form.

a•m of enchng up w1th a profit for our dtents.

Soot could weH be worth your whole talkong to us a ABN Bank (the largest onternatJonal Dutch bank) aboutourD&ret•onaryCurrencyManagement servK:e.

~ you'd hke the ful pocture. call us and ask for details. After all. although we're bankers. were Dutch. so we'll be hapPt to lend you our ears. AI!N Bank

Not that this will matter much by then, as it will be too hot to live here in any case, and most people will have problems of their own, like skin cancer, from exposu re to the unfil tered sun.

This is not a rumour, it is a facL Unless something is done, it is not a remote possibility, but an immi nent cer tainty.

These CFCs are contained in many products, but among

the most widely used are household aerosols. Things like insect killer, bug repellent, hai rspray, and ironically, ai r freshener.

You can now buy aerosols that are marked as "ozone·safe~ or "no fluorocarbons". We urge you to look for these labels.

DON'T BUY AEROSOLS THAT COST THE EARTH.

COMMUNICATION ARTS

81

GEOFKERN BY

IS WORK HAS BEEN compared to Magritte or Man Ray, but I would liken him more to David Byrne with a camera than say, Horst with a welding rig. However you look at it, Geof Kern's work stands apart on its own. About the only thing on which everyone agrees is that he produces very interesting images chock full of meanings of some sort. And they are beginning to be seen everywhere.

H

A good deal of luck (good, bad and weird) brought Kern to his present spot. He started out studying film theory, but was drafted into the VietNam war. Once out, Geof returned to get a BFA from Brooks Institute, ·ultimately moving to Dallas to nab a job offer from his best friend 's father-in-law who ran a photo studio there. After a year of shooting everything from truck grills to barbecue grills, he opened his own doors and has remained busy for the last ten years taking uncommon shots of common subjects.

Anyone who looks at Kern's work would likely be surprised by a close look at the man himself. I was. Maybe I just expected the person who created all those tightly controlled and highly stylized images would be much the same himself.

When I first arrived at his studio, I was struck by the lack of pretense. Both his and the studio's. There were no luxurious offices, no pristine shooting areas, or dressing rooms with spotlessly clean toilets and beveled glass mirrors. No massive banks of all black stereo gear or other modern cliches.

Not that his studio is a pig pen, mind you , but rather it looks like what it is: a place to work. He has already professed to having " the worst, cheapest equipment in town" and owns only what he begrudges necessary for his work.

I'd made reservations at Routh Street 82

M A R C H I A P R I L I99 0

MIKE

HICKS

restaurant and my stomach was beginning to growl when Geof announced we were having dinner at his house to avoid distractions. So much for controlling the interview. The sommelier at Routh's would be bitterly disappointed. Shortly thereafter I found myself cursing the cheap windshield wiper control on my rented Mustang and trying to follow him down the freeway on one of the foggiest nights of the year, bound for the suburbs of north Dallas. Kern may fancy himself a family man, but he doesn't drive like one.

I thought all self-respecting photographers lived in loft spaces in the inner city. Not Kern and family. They've opted for the burbs. Oddly enough, a lot of people I know have chosen to live in the Land of Lawns lately. And most are like Geof: so strange they seem normal, or so normal they seem strange, which is more likely the case.

When grilled on the subject, Geof explained, " This area of Dallas is like LA used to be when I was growing up there~' In spite of that, I'll wager the Kern clan doesn't completely fit in here, but Geof disagreed. " I'm Mr. Suburban ~' he proudly proclaimed as we plowed into a surprisingly good meal oftortellini and pesto whipped up by wife, art historian, mother and stylist Debra. " It's like living two lives ~' I believed him. " Sort of like Dr. Ward

& Mr. Cleaver?"

"Yeah~ ' he agreed. " If I were to draw a

parallel to my life, it might be to Joseph Cornell's~' Quickly I scanned my diminished memory for the name, but Geof saved me from an intellectual gaffe by continuing. " He made these incredible constructions with French words stenciled on them. If you were to look at his work

you would think he was French, but he lived in Flushing just four or five blocks from where I grew up. I know the neighborhood. He lived in a dark little house and took care of his retarded brother. Yet all the time he was making these wonderful works out back in his garage. His escape was his work~' Scooping a few errant pine nuts off my lap, I wondered if this was an exact parallel and stole a quick glance over my shoulder to make certain no murderous dimwits were lurking about.

True, Kern does seem to lead two dramatically different and separate lives. Let's face it, he's already admitted to growing up in two separate places (with his mom in New York and his father in southern California). And his background's a little different than most. He hasn't mentioned his mother was a Radio City Rockette, for instance, or that his grandfather was a principal inventor of anti-halation backing (but who am I to pry?). For whatever the reasons, the more I talked to him, the stronger my conviction grew, that Kern is simply an artist who uses cameras. For example: " I'm waiting for someone to help me define my work. Debra helps me a lot with that ~' he said. " I don't have very much education, but the more I learn the more it drives me crazy. It's polluting in a way. Because everything you learn becomes part of your storehouse of impressions. So I look at the work of other artists and writers, rather than photographers ~' Al l ph otograp hs © Geof Kern 1990 Right : D Magazine article " Re-defining the Dal las Male:· David Harris, art director.

First image in Bloomingdale's ad campaign "The Subject is Roses: · This campaign broke new groun d by not showing a product. John Jay, art director.

Prelimina ry sketch and photograph for Georg ia Arm ani ad in th e Bloomingda le's campaign .

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

A R T S

83

GEOF KERN

84

M A R C H I A P R I L 19 9 0

a glass of ice water on him, his eyes cleared and he smiled. "Of course~' he replied, "and fortunately I can do a lot here now. It's become less of an issue where you live. I mean, there are some difficulties working long distance, but if I'm working in New York for someone twenty blocks away, the logistics are about the same as if I'm working in Texas. It might cost a little more is all~' This is a good thing since only a tiny fraction of Kern's work is local. These days he works mostly out of New York with an ~ncreasing amount of work coming from Europe. He's producing his images for a heady roster of magazines that include Spy, Esquire, Texas

Monthly, Time, Newsweek, Rolling Stone, HG and others. Plus, there's a rapidly growing number of commercial clients headed up by Bloomingdale's.

"We fax things back and forth the same as we would if we were twenty blocks away. It's just getting used to it. Technically, it's as easy~'

"Has being a father (twice in sixteen months) changed things?"

"It requires more discipline, and you don't have the leisure. I can't come home and work like I used to. But people who are in charge, older people ... well, as old as me (Kern is 39) suddenly all have children. And they are changing their work styles to meet the needs of their homelife~' "So it doesn't matter as much?" I croaked in disbelief. My four-monthold daughter has got me reshuffiing deadlines like a Vegas dealer on speed. " Well, let's face it ... there's a bond.

When I shoot in New York the first thing everyone talks about is their children. Or for instance, someone may say 'This shoot has to end at six because I have to pick up my daughter~ That's well accepted today. You don't have to put your family in the back seat anymore~'

"Ah, but the question is, can you do that and not let your work be put in the back seat instead?" I asked.

"Yeah, but you have to sacrifice somewhere~' Geof admitted reasonably.

"Quality? Quantity?" I asked.

"Or your aspirations even ... which is OK. I mean, I could be traveling around Europe shooting if I wanted ... ~' Kern added a little too wistfully for me to disregard.

"But you would rather be doing what you 're doing ... right?" I said.

It must be easy. The fact that Geof Kern even exists in Dallas is proof enough this is true. And, if you can judge a photographer by the art directors he keeps, Kern is in grand company. John Jay, Fred Woodward, Rip Georges, B.W Honeycutt, D.J. Stout and a host of others seem to have discovered him almost simultaneously. Of course, not every job has gone smoothly.

"I've had some problems with general interest consumer magazines~' Kern confessed. "I've had some failures~' He said it in such a somber manner I wondered if he honestly believed he Left : Family man Geof Kern .

Texas Monthly article "The Sins of Walker Railey," about a high -powered Dallas minister accused of attempting to murder his wife .

D.J . Stout, art director.

"Now I've got someone that misses me when I'm gone, so it's not a good time to travel~' he mumbled, eyes wandering around the ceiling in a Walter Mitty-like trance.

Commissioned cover for a new, unpublished magazine, Classical. Richard Siu, art director.

"So you'd rather be here, right?" I tried to shout him out of his introspection but he seemed to be slipping away.

This page: Taxi magazine fashion -accessories piece "After the Rose:· Geof said, "The art director had been involved with 'The Subject is Roses ' Bloomingdale campaign, thus the title:· Tuan Dao, art director.

Just before I threw the remainder of

Rolling Stone article "To the Manner Born:· a general interest story about a study of identical twins. Fred Woodward, art director.

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

A R T S

85

86

M A R C H I A P R I L I9 9 0

GEOF KERN

is the only one who blunders occasionally. The two instances Kern then described as "his failures" sounded more like classic miscasting to me.

Both were basic assignments more in need of high powered photo decoration than Kern's extraordinary concept solutions. Sort of like trying to break a door down with a scalpel. However, those art directors who hanker for the precise image solutions Geof provides are the sort who rely on Kern's mind more than his camera. And that, necessarily, involves trust.

"Surely you've got some secret pet peeves:' I asked, wondering if I could prod a vicious comment from a guy who was coming off as being too nice to believe.

After mulling this for a while, he said, "Everyone asks me if I do color~' As weird as it sounded, I can see how this might happen. I'm sure it's annoying to Geof, but the fact is, color is not one of the things that you remember about his work. His shots are so composed and have so much content interest, I hardly noticed myself whether they were color or black and white. Color is simply one of the elements he uses to express his thoughts. At any rate, this was hardly what I'd hoped for in the way of a monster slur. About the only sort of controversial comment I was able to wrestle from Geof was in reply to my question about why he got into photography in the first place.

Left: This photograph was done for an article in American Way magazine on Deep Ellum, a renovated area in Dallas. Connatser & Company Design, design firm .

This page: In 1989, Geof was an associate editor of Spy magazine . He was responsible for three photographs in each issue illustrating short articles. This image was for an article, "Buy Now, Welsh Later, Chapter One: Spend , spend, spend. Chapter Five : Bills, bills, bills.

Chapter Eleven: Chapter 11:· B.W. Honeycutt, art director.

Personal photograph. "Once in a while I have about half an hour to do something for myself:' Geof said .

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

A R T S

87

GEOF KERN

" It seemed like an easy field to be recognized in ~' he said. " What do you mean, Kern? Haven't you been out on the streets lately? 3,000 people trying to be a photographer in this zip code alone ~' " The pool of talent is not as large as it once was ~' Geof stated flatly. " I really do think a lot of the more talented people have been seduced into TV Photography is not as interesting to young people ~'

It was late when I realized I'd yet to ask all the pithy questions I'd planned.

But the old parental body clocks had kicked in and our eyelids were drooping like we'd been on a five-day binge.

Time to call it a night.

As I was leaving, Geof said, " You didn't ask me any of the questions the others did . You know, like how I approach my work and . . . ~ , " Damn, Kern, now you remind me.

Now that it's too late and I'm fresh out of tape and besides . . . I'm sleepy.

How about you?" " Yeah, me too ~' Being perpetually groggy is the curse of fatherhood . I climbed into my rented Mustang and paused a moment to listen to a dog snoring three houses away. If I was lucky, I could catch a late plane and be kissing my own baby on the head two hours from now.

Detour magazine shoe-fashion series "If the Shoe Fits:· Luis Barajas, art di rector.

Hand-tinted portrait of a fashion-design student modeling his own design fo r Texas Monthly article "Most Likely to Succeed:' D.J. Stout, art director.

Right: Unpublished variatio n of a panel for Bloomingale's "Paris" shopping bags. Robert Valentine, art director.

Unused cover for Southpoint magazine.

Michael Walsh, art director.

Hand-tinted photograph for Texas Monthly article "Most Likely to Succeed:' D.J. Stout, art director.

88

M A RC H I A P R I L I99 0

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

89

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M A R C H I A P R I L I9 9 0

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Left : GQ magazine fict ion story " More Than Human" about a boy's relationship with his father. Ale x Gonzalez, art director.

This page : One from a series of personal images " Seven Objects:· One from a series of photographs used in ads, posters and brochures to promote different Neiman-Marcus departments. Th is image was for the cosmetics department. Michael Matthews, art director.

One pane l from " Paris" collection of shopping bags for Bloom ingdales. Robert Valentine , art director.

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

91

MADSEN AND KUESTER BY

PATRICK

COYNE in Houston, Texas-born Eric Madsen decided to move on.

"I had come to Minneapolis for about four or five summers singing folk songs in coffee houses around the university; ' Eric said. " I really loved this place, although I was always here in the summer, never in the winter.

When I came up here to see what the job market was like, I never left~ ' He found things quite different than they are today.

"There wasn't even a graphic design category in the yellow pages:' Eric said. "There were probably three or four people doing really good work.

I remember reading a profile about Smith & Frink in CA and thinking they would be a good firm to work for."

The same year Madsen arrived, Glen Smith left the partnership and Bob Frink offered Eric a job. In seven years Eric became a partner in Frink Casey Madsen.

From left to right: David Forn ey (seated), Tim Sauer, Debbie Becker, Sh eila Hendrickson, A lan Wi/fahrt (seated), Elinor Clark, Mike Lizama, Gail Greenberg (seated), Craig Schommer, Bob Goebel (seated), Gerri Bern stein, Eric Madsen, Kevin Kuester.

DIVERSE CLIENT base ranging from international corporations to small, single-product companies would appear to be a fertile environment for creativity, so it should come as no surprise that good design and advertising are flourishing in Minneapolis. And yet Eric Madsen and Kevin Kuester occasionally still find themselves defending their location.

A

" This is a city of culture:' Kuester said. " Often times assumptions are being made that Minneapolis is provincial and backward. Those statements are being made by people who haven't spent any time here . " There is good solid work going on in design and advertising agencies.

When I make out-of-town calls, people say 'What's so hot up there?' Many of us have worked hard in this town and it's really coming around ~' In 1973, after seven years as a designer

92

M A R C H I A P R I L I 9 9 0

" My other two partners each had their own accounts. Bob Frink was heavily into food packaging and did a lot of work with Pillsbury. Dan Casey worked almost exclusively for 3M. That left me responsible for getting my own work. For the first couple of years, I made one or two presentations a week. Cold calls are tough. I think it was harder on me because I left seven years of client and vendor contacts in Houston ~' After a few years, the cold calls started to pay off. Needing help, Eric hired Kevin Kuester, a Minnesota native. " I just brought in a huge corporate identity project that had taken me two Vector magazine is a quarterly publication for the employees of Nort hwest Airl ines. Cover and spread from Fourth Ouarter/1988. Kevin Kuester, art director; Kevin Kuester/Bob Goebei/Eric Madsen , designers ; Laurie Kumerow, editor ; Peter Kao, cover ph otographer. Cover from First Ouarter/1 989, Kevin Kuester/Eric Madsen , art di rectors ; Bob Goebe i/Eric Madsen, designers; Laurie Kumerow, editor ; Sissie Brimberg/Dan Wa lbridge, photographers.

Copenhag••n Is just waking up this time of year. Midwinter's four hours of daylight intoamorehospltableaevenandelghthours.ByJuly, tourlsuean until nearly midnight. il'l hard to be In a bad mood when ll'saunny 10 mueht't said Manager Bente Nellsent one of20 Northwest Copenhagen employees. capital city quickly become beneftclarlesofOanl h good lsonereason the cltylssuchapopularvacatlon spot. spealtEngllsh andwillgladlypracticetheir secondlanguage. Ask about national hen><" and you'll hear of Hans Ch ristian Andersen , whose falrytales

I

sisters, Little Cayman and Cayman Brae. Most of the action (or non-acllon, de· pendlnaonyourmood}llon Orand G.yman. The lslandt area Britlshrolonyand the lifestyteia Western - wttha dash or lald·back JamaiCL As in Enaland , ban are caiJed •pubt" anddrivin&ls onthelert. Mostvtsitorsare rromtheUnltedSwea."You

can stay here and not. feel like you are In a forelan country," ll)'l MukNebon, Northwest's aene ral man· a&erfortheCaymans.

It should be no surprise thatactivltyonthe iJiands

revotvtsaroundthe~e~.Sall·

ina, waterskli n&, paruall· lng.ftshinaand,aboveall, akin and scuba divln& are consideffilamona the bet

In the Caribbean. Reputable dl\-e shops, such as Soc.o's Di· ving, provide auides and equipmentforcard-carryina sc uba divers. Snorkeli n& ,ear is widely available for rent.

One top dive s pot It I "The Wall" - a spectacular 8,()()().rootunderwaterprecipice visible to snorkelera rromthesurfaceandhostto

I

Caymans' maey attractions. In years, came within an D~n, lovers and all who worship the sun an vtsitlnt thesequietCaribbeanaem• in arowina numbers. Llu~ wonder. The Caymant otrer aomeolthebeltrelaxation Lhi.JtldeorVaJh&IIL

e~lash ol their shorn But damaae was li&ht on the Caymana, and manyreiOrtl lhruged ofl' the etrecu of Lhe ple within a week. How·

~r, wordolthequickrecov­

the Clymans! For starters booklnp th is ytar to the iJ. there is a white-sand beach Lands have noc. returned to almost seven miles lona. normal.

Thenthere isthesun, whleh TuekedbelowCubanearly warms the ialandtoa neal" SOO mile south of Miami, perreet 85 dearees f'aren· the Caymans comprise three heltlnwinter. The.unshlnt lslandt- the main IJ~ of is said by one Caymans en- Grand Cayman and Ill two

The Cayman Islands: For Sunlovers Only C 0 M M U N I C A T I 0 N A R T S

93

MADSEN AND KUESTER

and a half years to land and Kevin had the perfect skills to do the job~' In 1981, after working together for four years, Eric and Kevin decided to leave. "It was probably my push a little bit more than Eric's~' Kevin said. "I was not a partner in the firm.

I felt I was working just as hard as one but not seeing all the rewards~' Most of the accounts they had established left with them. Non-competition clauses were not yet the norm. "There was nothing like 'can't compete in the universe for ten years or half the radioactive life of plutonium~" Eric said. "It helped us tremendously to have that client base~' Madsen and Kuester's formation coincided with a significant change in leadership of the local corporations and subsequently, a change in attitude toward design. "The old guard usually turned everything over to an ad agency, who would then sub-contract to a free-lance designer;' Eric said.

"The typical call we got was, 'Our art director's going on vacation. We need a logo done between Christmas and January 1st. Can you do it?'

"What we've witnessed is a change in the age level of the people in key positions. They are well-traveled, they are well-read and they have a peer group that is buying design. Rather than turn over every problem to an agency, someone in their group will say, 'You need a graphic design firm to solve that problem~ "What we hear from clients is, 'We find ourselves with fifteen or twenty divisions and in a whole different market than when we had this little-bitty cute logo that we all sat down and scribbled out together on a napkin~ "We now have a complete process in place for doing corporate identity: the planning, the positioning, the front end management interviews.

Service is one of the key elements.

94

M A R C H I A P R I L I99 0

We've been called in on a half dozen or so CI programs where the relationship has broken down between a client here and an East or West coast design firm. It's terribly time-intensive once you get a program started. It's like fighting a fire; you've got trucks to do and suddenly somebody needs forms immediately."

"CI is also cyclical~' Kevin added.

"When they were last done 15 to 20 years ago, there weren't any firms in town that were really approaching CI with our kind of methodology."

As with other successful firms around the country, Madsen and Kuester know producing good work requires working with the company's principals.

"The older we get the wiser we're getting~' Kevin said. "If we're not talking to senior people, we've learned how to get there. We've been very aggressive in getting an audience with that right individual in the corporation:' The partners claim that aggressive marketing and positioning of their firm has been the key to success from the beginning and, although they always worked with a detailed marketing plan and objectives, they both remember working in a response mode, with 90% of the work coming in the door.

"We knew the kinds of clients we wanted~' Kevin said, "but it's only been the last few years that we've been able to firm up our client list and clearly set out to be a regionally dominant design firm~' In the beginning of their partnership, Eric and Kevin shared almost the same job description. But in the last year and a half, they've realized that, as they've grown, it isn't the best economic policy to have both principals equally sharing all the responsibilities.

"Sometimes we'd both be doing the billing and estimates on the same accounts~' Kevin said. "Sometimes

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Top: Cover and spread from Northwest Airlines annual report. The 1988 report focused on the airline's employees in As ia and the Asian market. Kevin Kuester, art director ; Kevin Kuester/Bob Goebel , designers; Greg Booth & Associates, photographers; Mike Lizama, illustrator.

( M..Hl.IY. .1-, '-:uul. \..up.u1. (,wm, !Jrpo.,, \I.JmU. llo 10~ "''"'~ \h.m):h.u, tk:11111~ ltln~>l. ..,,J\11\t-:J.f"lf\'.lho. .... m.ir\,._'h.&I\<IMllk"t.ft·Jv.nh!\lt,·l \.ti,II\IO\N1'f''o4.'1"'M.l'fn>ll1"-"\tll l., ""0!\-v.J\, 'tV. )uri,.,l)l;!n>ll.(hlo..\!o'tl,ltl' \llt-'f."k.... 'Mnlr.trlo.l .... tl .....",lflk (.... 110\.1 ..111J Hunulul l~\'1

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'' nn' "' n"'"'"'- ~'-~'"" nJ.:,-r nuk' ( ~1r l'.~o.rt" rln·t nu.k .m ~tt-r.l~ •of !NO ""'"lh Jo:p.l/' tun• .-t II'Tf\..al' .\llnL.In-, ''"'-' \ul'"" 111 1'1\11( ~.JI'l"\111!: up hi ~4.UIWI '""h""t.._l

Middle : Madsen & Kuester developed the concept of a customer magazine for Federal Express and this was the premier issue for the company.

Kevin Kuester, art director; Kevin Kuester/Bob Goebel , des igners ; Wells & Company, writer ; Arthur Meyerson, photographer.

Bottom : Promotional brochure for Heritage Press.

Childhood memories were the focus of this holiday greeting . The design centered on the favorite toys of designers who were customers of Heritage Press. Kevin Kuester, art director/designer ; Dick Cinquina, writer ; Greg Booth & Associates, photographer; Rex Peteet, illustrator.

Putting America's passion on the roadand keeping it there

5

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

A R T S

95

MADSEN AND KuESTER

ness is changing, you're going to be your own worst enemy.

"Doing good design is a given;' Kevin continues. "A firm will simply not exist if you're not doing good work.

It's all the other things that are going to make you successful: client service, concepts, planning and strategy."

"We are in a service business;' Eric added. "What you don't get in school or anywhere else until you're immersed in the business, is how critical that service is; how the clients are treated, how they're responded to. Having the project on time and on budget is just as important as how it looks~' While the partners feel the marketing side of the firm is in place, the creative staff has been stretched by a heavy workload and they need to hire one or two senior designers. our people wouldn't know who to ask about something and sometimes the clients weren't too sure. It led to a lot of duplication. We've always been looking for ways to strengthen the creative, but with both of us splitting responsibilities, we were finding less and less time to do thae' The answer was to polarize the responsibilities with Kevin taking the lead in marketing and Eric taking on more creative direction.

"Kevin's real strength has always been in walking in and getting bids;' Eric said. "It's amazing to see what we've landed since we've made this change~' "I still maintain a few accounts;' Kevin said, "and I don't have any desire to walk away from the creative side. But I couldn't handle many accounts and grow the firm the way it needed to grow and be managed. The same thing was happening to Eric. So he has shed some of the responsibilities for proposals and marketing and spends more time working with our designers and improving the product.

"What will allow this firm to grow and to have the creative work keep getting better is to constantly look at our business and make changes.

If you aren't aware of how your busi96

M A R C H I A P R I L 19 9 0

"It's difficult to get the right people to come to Minneapolis;' Kevin said.

"I don't really know why that is. I've always thought the weather is one of the things that has made this city so successful. There's not a whole hell of a lot to do on some days so you might as well stay in and chip away at your work. There's a good solid work ethic here~' So how do they plan on attracting senior people to Minneapolis?

"Big bucks;' Kevin replied. "Or invite them here in the spring~'

• This page: Poster designed for Jim Brandenburg and The Nature Company.

Its arrival in the stores followed the White Wolf book. Eric Madsen, art director; Eric Madsen/ Mike Lizama, designers; Jim Brandenburg, photographer.

Right: Leasing brochure done for three historic Minneapolis buildings located downtown on the edge of the Mississippi River. Formerly flour milling buildings, they've been renovated for office space.

Eric Madsen, art director; Eric Madsen/ Bob Goebel, designers; Dick Cinquina, writer; Steve Brady, photographer; Scott Baker, illustrator; Cityside Development, client.

"''"""

S< us ~ven stones to roollop skylight.

lntcnor ollkc ;race on all lloors open. onltllhc atnum. whr h.,, hrghhghted hy the :rght and sound ol a ca ·admg water tall Nearby you wrll al: find a conven renle store a· well as a ·h p ollcnng a wtJe range of lake ·outtood n the ni'Nth Ilk ollhc Crown Roller Mill Ollke. p.KI<lU ollkc~ wrlh 10 tool cerhng

g<~Lc down

on the MISSISSlppr Rrver Th<' Fulls ol Sl Anth ny are at your doorslep. a are James J ~1111' arched Great Northern rarlro<ld tmdge and Pill. bury's hislOlll

the ...:eml \\ ·st Rrwr R<l.od rarkway svs

I'Jlhs mNndcr pa t the Crnwn Rnll.:r Mrll Ollitc al,mg the: 11\'CI bank To the south (ruwn Rnller 11.1111 ollkc. t'l11\l)l spt-t:t.l ·ular 'It'\\'$ <ll thctowcrmg d<lWnlown ·kylinc.

a ronstanl rt·mmder that •our r-1rl.. hke

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

A R T S

97

I'ROLOGUE

undlcod up 1n my n~lftai ArctK ~.If I m~1 luvc 1uukll:\l hkc

w abtJtnJrnihlc ouwnun Mv 1«1 WCK coven'\! w11h unbuu h1dc muklulu !lut reached 1hnuM m my kncn On my Ran.b

I wut\' ""'•llln-.nl dccnk1n Jd<:wn ill!l.dc ~nl m111cn1 lilnchcdby lou11 womrn from huvn t k1n1 ~ Y hn.J wa cruwlllo'dwllhah.atuttcdhJIIJ!Cht att~hln~mrhc:Chu....-w who...,NuUtlf'<Jf(~op#u.<mlmtto.Jna"'uryonMM11:huN

Tn lfrnl!l.lrK' tlw 1h1s furry chmw:n cnouchm~ 01od lum hen~ Kf1 th.:- t« m!Jin rtarc 1hc noucc ol the wol¥n wu ludk.nlll~ W11h !hc:Jr nua•nhnoary cyn1~:U hun~ !oC'tl!ICIII!II'TICIIandnauvcwoanncu,.wulvnnuywdlbethc mtl!!iiJII:1UT'IIV1:amnulsonnnh Evmw. lttA.II.Jhmilykn:r m,-,clt fn»n mukm,; My hc1n p.oun.J..-.1 wnh ucnnncnl I ~w llud 1l>h111" 1 tn:Mt~rc:. and mf body~'\! alnwll!il rch~t~nu~ly . ulktq~ln""IC't'f'iii\IJZI~my ch1n.:n l'an•lirhJJaru.M:!yunho:urlau·•c.Jby!hc:l~httiUI')'

of myqunt Fur many rca~. w!Xvnarc my fnonlcanun~ an.Jfutlhc:pnclwuda:.adni'Jbttn loolu11Jkw thcm1n Canada Alatlui noo:hc:m MumcSotJU. Ch1na, 1M Sov!C't Umon alluvcrlhcwmi.J Wh•kl¥ h.addo.J::toluollla::un,; cno:uun1cn with wolv~. JOmC11mct .11 ncrcmelf dc"'C rlfl# htm••up.-d•wcr20}'('a~wuokconlytc'V<'nf'hi>luJnrhtt!l

w•klwul¥n Nt>lnncul!hcxf'lliUtnh....!thc:ancht-uoula pntJ'htllup;nrft ~~>lmiP.tW!uw_hlfiMIM'I«.awult~n,;

llbKurdy fn11n ;a tan&k ol bud\n In .anothn 5hot. tht: wolf mtltht he: h•PI•••In~A away tmm my tiiii1(T.II You uoui.J ,ltl'l

MEETING THE FAMILY

wo quc.uonslmmahlttly come to mind when }'QU an: U')'ll\l m(!hotopaph•wolfpx.lt.FirSI, howdoyuufmdJpx.ldAnd s«:ond, •S&Umlnc)'OOhndone, wllllhcpx.km<'mbcn~~«c-pt

ruurrracncewttboucahmr~~d,.-ubeh.v!O'f

MtoonathcCqraplllch.dJivmmctMnodtodoan fJktmerc ttOf)', I ailed up fellow Mmnaoun, l DaVId M «h. I wolf tclmt15C and IUthcx of The Wolf The EcoloaY andlkhavl()(o(anEndanJtttdSp«r~(UrnvenilyafMmnc­

IOCI PteM, 1970). 0vctthc 18ycanwc'd knowncachotker, Mtothtnd lhadtlwa)'lhopcdtofmdt wolf~atuationthat m!Jht lend utclf to 1 tueenWI intqpuon of ICtrntt and phowsrartnc XMhc1Ka. In MmnctOU. the bnn componmr h.:! Jlmrly ~ 1mpoulbk Noc only an: thc w<llva cxu~mcly shy 1nd clust~, but the dcnJc IJ'IRIU and .apm IttDin mtkc unobstructed phoi:Q~"rhs nearly u~~o~u..amablc Tbc ont occasion m 20 yun whm I actually h.d 1 chance tO phocopaph I Wlki MIMHOU wolf m the open IIJUS• tflltts.omeolrhcproblcmsofwoHphowpaphylncvma beM-cuc~«Nno. II harpmcd IC'Yoal fCaB'F whm I anowshoranJKmMifrozmlab:ncarmyhomeanEJy A larsc maknmbttwolfcmcrp:d from thcforal: a hun drcd yardt•w•y Wuh the wuM! blow• Ill from du~uon, he wn unable to atch my Knit It was 1 r:~n: 1n1tai'ICC: where I Mwthcwolfbefortthcwolfuwmc lmmcdlatcly, lrnchcd m)'Kif forward 1n the deep tnow and rmu1ncd mouonkM Wnh•niC'COnlb. ofcounc,hclpOC!cdapceuli.ar, OOI-ol-platt lumplnh•todw:rwiJCJ'flJUncdornaJn. TbewolfUMJmcda

w•

h••

ADAPTATION

romthcu)'hyt.i~!olhcubr:h..iviOI', woi¥Qm~l•nd

the Ellttl'nC'rc: wolvc1 m piifUcubr art con.summatcly ad.pted IO!htlarshdcmandsol!htJrmvnonl'nC'nt Contldcr, for ln.tmotC', 1hc di#IUVC Uac:t. 1Jos OWI'Il'I'J who h..~ JNUd Vl'IS !on:p.trthc•rdoi'•nnaun.al pc'rfont1001from chtckm bones lrnowhowibrw::!'OlljJICM~btforc.an•ncslolwiUowbonc

fnpll.'ntt. Fonunatclyfot!htwoiVft,tharpnmaryprcylrc: ~red wuh h.au, 1101 ft~thcn I fouod many wolf Kill conlllll"'ol"'arpricce&clboncnc:ldywrlppcdlnlrnlll'l'Uvc ~tolmuskoxorc.anbouh...irltunoiCcidcntth...tthccvo­

luuon..aryPJtlft:MwOUidikvclopfiiChandfl'l'l•.,ellfqu..anlto thl'•ntttmuluact Likcw~~t , ooruldcrchclur•nc•blluyloiiOionlyawv•w

bu1 thnw '" bmn cold Evm dunna wm1cr, when the: sun don 1101 appear fot four mondw 1nd rcmpcn1ura un plum mn to minut 7().dqrca f•hrcnhcu, 1hc wolva l ll'l'JI OUIIIIIc Evidcnrly, thcyprdcr•vJcwto shthcr-•n•nycvc:nt, ll'll'vcr obK~•wolfwhoactedchtiN:doruncomforublcPmhcr·

•bly, tharwJnlerCOIIJ•rc:tuperbiy•ntUlated,mak•nathc:n Jtploolr.tWICCI.IduckiftWintl.'fiSihtydolnJUmmcr 'flut wuoncolthtmorcpmm•nmtd•ffl'rc:ncubrtwecnthcArcnc wolvl'l md their dolt umbcr wolf KIIIIVU In MiN'ICIDU, whc:K thc tcmpn-;IIUK riKiy drcor- below • I'I'IOC!cntc m1nu1 ~filhrcnhl'H. Mitettilt, !hcwolvl'tiWISUtcdto IC'l'in&~dcvclopedthe " ll'gln.p" dfect,andlttOOkmc• whtlor:IOFtUsedtohowJiotkylhtArcucv•riny•~by

ronnatt, lllca61dunnathccoldtcMOn..

98

M A R C H I A P R I L I9 9 0

MADSEN AND KUESTER

Left : This 160-page book documents photographer Jim Brandenburg's three-year experience photographing a pack of Arctic wolves on Ellesmere Island. He wanted a high quality, photographic essay in which design would play a major role in the book's marketing position. A large part of the design challenge was editing , with the photographer, almost 10,000 images, and deciding how the position and scale of those images worked to support his story. Eric Madsen, art director/designer/ calligraphy ; Jim Brandenburg , photographer/writer ; James Thornton, editor; Jim Brandenburg/Northwood Press, Inc., clients.

This page : The Musicland Group is the largest specialty reta iler of pre-recorded music in the United States in terms of both revenues and number of retail outlets, over 600 stores. The annual report was designed to reflect the company's product diversity and the kinetic industry in which they operate. Eric Madsen, art director ; Eric Madsen/Tim Sauer, designers ; Frank Miller/ Steve Brady, photographers.

M U S I

A N 0

u p

G A

1987 Annual Report

C.phali1in& o n Sigai fi c:ant Home Entertainment T~nd t

putfewyeara,andtheyaccountedfor nurly30percentofThe Muaicland Group'• totaJ pre· recorded audiotaletinl987, up fromjustonepercentin1984.

The Muaicland Croup clearly benefiufromcoruu.meracceptance of new home entertain· ment teehnologie&. The com· panyhuparticipatedfullyin t.hestronggrowthofthe home entertainmentsoft•a.remarket, . and ou r ules mi:r closely paral.lelsmajorindullrytrendL

Reflecting this shift, LPt have declined from 37 pert:ent of ourtotalaudiota1esin l984to on1y l3pe:rcentin i96'Z Through· outthitperiod,talesofprerecorded cuaettea accounted for about SO percent of ou r _ audioaalea.

. Two trends are particularly significantwhenana.lyzingthe . future prospecu of the pre· · recordedentertainment10ftware market: • The emeraence of compact ditcs(CDs)andthecorrespond· ingdilplacementoflong-play· ing phonognph records (L Ps~ • The steady growth of pre· recorded home video.

Therapidtaletgrowth ofCDa itbuedon thei r t upe rior to un d repro du c tion and durability in eompa ri ton to LPt. Broad acceptance of the CDformat itoccurringdeapite the higherretai l pricet usually uaociated with co mpact ditca.

Beeauae th e ho uae hold pe netration of CO players is estimuedatonlyabout 8per· ce nt, the market for COs hu substantiaJpotential forfuture expansion. Thisexpansionwill befurtherstimu.latedbyredu.ctioruin priceandtheincreued availability of CO titles.

COs represented nearly one· thirdoftota.l induatrywideprerecordedmuaicaaleainl961 1n 1983,CDsaccountedforonlya fractionoftotala udiou les whilel.Ptwereadominantform of prerecorded audio softwan~.

However, LPshawbeenste:adily

PrerecordedvideoLi theaecond growth segment of the home entertainment software market.

Theindu.llry•idevideorentaJ and video-foNile market totaled 14.7 biUion in 1987, up from 13.9 billion in 1986. By 1989, theto talp rereco rdedvideo market ill projected to riae to SS.6 billion.

displacedbyCDa,andinl~

LPu.lesdropped to only about 16percentofthetota.lmarket.

Para.Uelingthi.ainduatrytrend, CDshavebee.nourfuteat growing product category over the

~!::...Ud~:u~ Mb {Dol ..n ia Mill- 1 ~ie S.Iet

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.,..._

a c.-ua

t 1f

• C 0 M M U N I C A T I 0 N

A R T S

99

MADSEN AND KuESTER

Th is first issue of May Typography's magazine is aimed at local art directors, designers and type specifiers. It features the art of typography and the human factors involved : taste , skill , judgement, knowledge and intu ition . Eric Madsen, art director; Eric Madsen/Bob Goebel, designers; Ke ith McCormick, writer ; Terry Heffernan/Craig Anderson, photographers.

0

Right : Promotional brochure for Potlatch, Northwest Paper Division, announcing a paper-grade change. Kevin Kuester/Eric Madsen, art directors; Eric Madsen/Tim Sauer, designers ; David Forney, writer ; Ben Saltzman, photographer.

Leasing brochure for the new World Trade Build ing in St. Pau l. Kevin Kuester, art director; Kevin Kuester/Bob Goebel, designers; Dick Cinquina, writer ; Jim Sims, photographer ; BCED, client.

The Stanford University Graduate School of Business magazine. Since 1985, Madsen & Kuester has served as design consultants to the magazine and designed the school 's recruiting material. Eric Madsen , art director; Tim Sauer/Eric Madsen, designers; Richard Kurovsky, editor ; Richard Barnes, photographer ; Stanford University Graduate School Gf Business, cl ient.

No !Nifn t.,., hnonoful., HKI•vodua!WuKIUrm mt~,hcbr,chomori""Ja'-'nrllMlabdMyto<Wtlflon

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TIAOITIOH & TICHNOlOGT If all 1hr 'Y~"""'"' llllhrh•wyGldwwurld-pallnlb<t..wop"""'uf •hr-•od.ty-.Jendo.andrntood<ypoeft«,chMcn..,..

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NOC"ho:.ob.jmoundn<Jnnl_.cUtlhrli.. liN'Roman blrahuutiPO t lorh;odft'l:on...Uacomrn-...fiUnlthr k<nfCufl'r-.oncO'III•uo.lylwhm-t'lwbuUon Mallu ,(on. rnanyUnti.rtun.l<..ly,by<hrt,... hrfCUibcltruFnnr... a nrwLo"'l..-...,.loNtft'tllnlonholonnuvM..- I Irruun.J worL~nh;olyRucbyHn..ronomOC"IilK.....Jhlmbckrv

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.

100

M A R C H I A P R I L 19 9 0

.

--~...--............. "'*"

..,.. '"""""""

Wrth &ood &oodl, performance always matches expe<tation . You do your part,

and tan17. • It all comes out /U5t u you dreamed when deep Into late winter

they de liver. That 's qual ity. • Prepare the soU, planttotheri&htdepth,water

well and weed. Reds and yellows. Blues and wh ites. Snapdra&onsandbachelor's

buttons. Hollyhocks and morn in&&lorles. A rich riot of color.

• Performance that matches expecu.tions. Northwest Glou. A brl&hter, &lou-

Plump purple&rapes. Ju lcy oran&esand trmeswith&reen•yellow

coatedlheet.Ourableandconslstentwlth inkholdoutthat&ivesyoucle.ln, fresh

sk ins . Ripeapp lutur n ln&rl ch red at summer's end . Sweet

color. You appty your skill. Northwe5t Glou perform1. That'l quality. Good Joodl.

APictorial1bur of the Edmund Wlittlefield Center ......

Wllyn-ohlllt,wl»>lf-Mtlw~Yf lf-/Didwlu,.fil ,..~.._,~ ,.,_.,...,.~......,

A

::~~=~:::

W. littJehcld Center, the wcondlacllityof theStanford BualneaaSchoolofficlallytalteslta placeuanewlandmarltontheSu.nford Uniw.nity umpu~. However,

theurtmonyw\llnece...rllyipott thef.c:t that thebuildin&lwbeen allw. and maldn& !taU known kw almott two ~annow .

Consuucd oa bepn late in the tummer of 1986. 'The buildlll& was bomWr the first tted

:::u:~;r!:C:':ro:; ;r:~ fromtheYenetableStanlordquad-

enhanced ita pre~enceandmadeit

attmlarae r than itactuallytt. The thape and KUinl of the Uttldkkl Center, even u • steel altekton,

t«rnedtOJUlranteethat ltwouk1 1

make a apeclal•rchitectural ltatemern oa the Stanfont campu1 abuildina tobenotiud,diacUIKd, and admimL

Jinkn pw. the IUUCtUff Ita charactcrittK u ..hapeearly intheconstructionphne:. T'lw:

buildinc't locationuulddletht:LuuenStfftt

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

A R T S

101

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1)

·~-~~=~'.!~~~!~=;~-~~":."~~:: ~~u: ~k~·u:;:~~.h..UJM•n..

··-~ THE MINNESOTA OPERA

if

102

M A R C H I A P R I L I9 9 0

MADSEN AND KUESTER E

w

D

M

0

E

N

Left: Parasole (umbrella in Italian) is a holding company for several Minneapolis restaurants. Kevin Kuester, art director; Kevin Kuester/Bob Goebel, designers; Parasole Restaurant Holdings, Inc., client.

Each year, the company makes a contribution of their design talents to a non-profit organization. The identity for the Minnesota Opera reflects the spirit of this leading music theater. Eric Madsen/Kevin Kuester, art directors/designers.

Fund-raising brochure for Minneapolis Children's Medical Center. The artwork and photo captions were done by the young patients. Eric Madsen, art director/designer; Rich May, writer; Judy Olausen, photographer.

foruwprortnglht

JOOtl). "

Cover and spread of Performance magazine, published for the customers of the Defense Systems Division of Unisys. After the approval of the magazine prototype in 1987, Madsen & Kuester has been responsible for the design, art direction and production of three issues each year. Eric Madsen , art director ; Eric Madsen/Tim Sauer, designers ; Gary Teagarden, editor ; Kerry Peterson/Dave Bausman, photographers.

...

A CASE

TATEMENT FOR

Building fund brochure for the College of St. Thomas, St. Paul. The new building, in downtown Minneapolis, will architecturally reflect the well-known main campus. Eric Madsen , art director; Eric Madsen/ Tim Sauer, designers; Bill Kirchgessner, writer; Phillip Prowse, photographer.

ST. TH O M AS I N M I NNEA PO LI S

HISTORY REVI ITrD

.. In

188~.

t

Thomas was

conhuns f~uc-m rrfr:renc~ ro cht·

foundtd co pnwKk rtlucat~on for

nttrs of our suuc; ho"'t""tt, ("' m

wrrt" arnvins m rhe small seult--

the= thousands of tmmigrancs who

chose crowded council chambrrs

~nu

apol1s

of Sr

Paul and Mmnc-

te' And then on char

dcnce o( htscoucal C\oCOU con-

cold Wimer day '" 19H9, ~~~

ccrntng those rarlr p1onccrs

hascorical ~\~ms c.amc: tog~chC'r

whtch occurtTd

a rtsulr of rhlt

ovtrwhdmulg maroruy

\'Ott .

an a dramoauc fashton . Thrtc: ct-munu a he-r Ht-nntpin,

i' The stquenct lxg.an m t~ latt

De U :alit and Marquttcc mack

1600s. Two French e-xplorers -

chtar nploncory jounlt')'S, and

Marqucnc and Hrnncp1n -

a cent ur)' llf[tr John lrt'land

l't'achtd, rrs~uvel)', the up~r

founc.kd c. Thomu, rile M an~apola~

icy

ouncil Jt'stgnartd

ohony Falls (1680). Father Hennt·

a 92,000 squ•"'· fOO< block of

" Wt art appromhmx ptoplt

pm 's companton on pan of the

propf!rt)'On /...JSal/t A\f'OUC', SIIU-

u ho lor r rhu Of) and u host chJidrtll , grantkh1ldrm .

rourocy -..•;u fnnsteur De Ll&l.llc .

Marqucut' and I I nntpm a\ nut"S

qlltllt and Htnnrput An·nut"s, ro

Iacer h«allk well known SHttts

be chc- sur of a scrakang , new

Sr. TJH.,as campm

rrlallt'tJ nttd fi"mrdJ wtl/ bt~ufirfromrhttdllcaflonut

prorrdt and 11 11/ apprtctatt thtntu dw1tnS10n

St. Thomas u dl hrmg to Almntapolu. Ill JJ1b11rbs andtiHtnflrtJtatt."

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

A R T S

103

CHIATIDAY: THE BooK BY

DICK COYNE

350-PAGE BOOK. HUNDREDS OF GREAT ads and commercials spanning twenty years.

Not one picture of the office(s). Or of the principals, except for a somewhat unflattering one in the reproduction of a house ad, "Chiat/Day wants to join a motorcycle gang~' This book is about their work. After all, isn't that what defines an agency? Not buildings, or even billings.

A

The work is shown chronologically, not grouped by clients. Each chapter is a year, and work for some accounts appears in several chapters. The text is fairly brief, a page or page-and-a-half to open each year. There also are occasional anecdotes or comments by one of the creators as captions for some of the work shown. Example: With a very funny 1985 Pizza Hut commercial featuring Roseanne Barr, "We had to retouch the film frame by frame because you could see the food in her mouth while she talked~' I found the text fascinating, a collection of advertising tales and descriptions of events, some monumental successes, some huge disappointments, some revealing the lifestyle of the agency. An interesting touch was, with the exception of Jay (Chiat) and Guy (Day), no names were used. Just titles like the art director, the copywriter, the creative director in San Francisco, the creative director in Los Angeles, the client, the president, the number two man, etc. Thinking about this, it probably would have been impossible not to use Jay's or Guy's names.

They couldn't even have been identified with a title like "our president" since, in the early days at least, that title was determined every six months by a coin toss. Not using the names created a unique effect. I felt I knew something about all of the C/D people.

The book was written by Stephen Kessler. Author of Why We Advertise and Sell It To Yourself, Kessler is a former Chiat/Day copywriter who is currently involved in film production. Taking on the project as a favor to his friends, he spent many hours with present and former employees probing recollections of the what, why, when and how of certain happenings. All too frequently, as he mentioned in his preface, there was some confusion and minor conflicts in the recollections. Sometimes they could not be sure who had worked on a specific ad or campaign, or even if they had worked on it.

This could be a reason why there are no credits with the work. As an explanation of why there were no names in the text, Kessler wrote: "By leaving out everyone's name, I have left out no one, so none of my friends will be tempted to clear a room when I enter ie' The agency had a reputation for working long hours. This 104

M A R C H I A P R I L 19 9 0

motivated a 1984 invitation. "This year the Chiat/Day Christmas Party will be held during our regular business hours~' Inside: "6:30 pm to 1:30 am~' That may have been an exaggeration, but the competitive pressure to do great work probably induced longer hours.

This was paralleled with a relaxed attitude on dress code and even a tolerance of unusual behavior. One example of that in the book was a creative team that stopped talking to each other and left messages instead. One of their projects was a commercial for US Life Savings with a man sitting in an overstuffed chair with an antimacassar on the back. "I'm not an actor. I'm a 74-year-old man in some financial difficulty. I retired ten years ago with what I thought was plenty to see me through my retirement in comfort. But it just wasn't enough. I've got one piece of advice for young people. The time to start saving for retirement is when you first start working. And the company that asked me to do this commercial, US Life Savings, is a good place to do it. I'm glad I had the chance to do this commercial for US Life Savings.

I needed the money."

This was the first commercial by the agency to win the Belding Bowl Sweepstakes. It also was in the CA Annual.

Turning the pages and reading the ads was a pleasurable memory trip. Great advertising, almost forgotten, suddenly familiar again. One could envy somebody seeing this work for the first time.

I also found myself becoming conscious of precedents.

A 1969 ad used four consecutive spreads to introduce Fairchild's entry into the power transistor field. Their 20-page ads for Yamaha motorcycles were a first in that industry. Now everybody does them. In the mid '70s, Chiat/Day did an award-winning series of television commercials for Pacific Northwest Bell, creating an awareness of the wondrous variety of things that could be found in their directories. "Looking for a magic shop?" A puff of smoke, two white-gloved hands lift the directory cover and begin pulling out rabbits. "It's in the Yellow Pages~' This is a fine book. The design is handsome, and flexible to accommodate the various shapes of the advertising.

Jill Savini, the designer, works with Bright & Associates, the design affiliate of Chiat/Day.

CHIATIDAY: THE FIRST TWENTY YEARS

By Stephen Kessler Published by Rizzoli International Publications 300 Park Avenue South New York, New York 10010

$50.00

Pro Bono Publico ad for Direction Sports, based on an experience told by O.J. Simpson, named as one of the unreal people in the ad.

Though the ad might seem mild today, it was adventuresome in 1969.

One publication did change the headline to "My Idol, the Thief:' Follow-up ad for a series that had offered testimonials from testing labs using Fairchild semiconductor test equipment.

Redeem

MY IDOL,THE PIMR When you're born in a ghetto, odds are ten to one you'll never get out.

What's worse is, you know it. You know it from the first day you step into society and fail .

That first day of school.

So what do you do?

Well, you look down the street at the corner.

And you see a guy with a chick on each arm, a $200 custom tailored suit, and you say: " Man, I'm gonna be just like him.

He was born here. He lives here. And he's beaten it.

He lives here and he ain't part of the garbage.

I'm gonna be just like him.H Not like O.J. Simpson. otlike Willie Mays. o~Iike Mike Garrett or Bill Russell.

Because nobody's really like them. At least, nobody you know.

So right then and there you decide. I I years old and you decide to place a value on your future.

You' re going to be a pimp.

Because when you're born in a ghetto, that's what you do.

But you weren't born in a ghetto, were you?

And it really isn't your problem.

Right. It's ours.

Then you become part of a team. And you're not alone.

If you miss a basket the first time, you learn how to make it the second time. Or the third.

If you never could understand math, you suddenly become a pro at batting averages.

And instead of being a boy from the gheuo, you're Tommy Brown. Football player. umber 16.

You're somebody.

thyself!

(

5,)

If you missed coupons 1thru send in coupon '6.

Here's where you can help.

We need money. $10.$20.$50.

We need it for helmets, for sneakers, for footballs.

And for whatever else it takes to make these kids feel like pros.

We want you to use the coupon.

In return for your contribution, which is tax deductible, we'll send you an a utographed picture of one of our teams and a schedule of the games for this season.

If the plight of these underprivileged kids isn't enough to move you, if the little rew'ard

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

Ifyou're coocemed about semiconductor test system rellablllty. send this coopoo to Floyd K.lruleg.

g:ii"'

Direction S ports.

We help kids.

Bright underprivileged kids. ot by recognizing the symptoms, but by attacking the causes.

We're interested in building self esteem. We' re interested in giving these kids an identity. And attitudes. And a reason for being.

How do we do all this?

As our name implies, with sports. But as our we can offer isn't enough reason, maybe this is : name also implies, with direction.

No matter what your profession is, Quite simply, we took the universal magnetism no mauer where you grew up, or who your father of everyday sports and turned it into · • • • • • • • • • • • • • • • • was, no matter if you couldn't 0 : afford a movie every Saturday, a tool for teaching and motivating. : :,;~:::'~ ..':,!~ It works.

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

A R T S

105

CHI ATIDAY: TH E BooK

Apple ad congratulating IBM on their first personal computer and welcoming them on their en try into the field .

Outdoor board for PeoplesBank, Seattle .

Obviously, a good, emotion-evoking phrase is worth using more than once.

One of a series of house ads to target specific types of clien ts. Othe rs included: fast-food , "Chiat/Day is looki ng for a good place to eat:' Package goods, "Chiat/Day is starving:· Airline, "Chiat/Day is airsick:' Packaged goods, "Chiat/Day is still hungry, but no longer thirsty." (They'd just got a wine account.) Pet food, " See Chiat/Day sit up and beg:· The other ads used clever graphics. This was the only one showing agency personnel.

The book tells the interesting on-and-off story behi nd "1 984:' the famous Mac intos h commercial that ran only once, the broadcast of Superbowl XVIII. Ad for Pioneer.

welcome, ffiM~

Serious~ Welcome to the most exciting and important marketplace since the computer revolution began 35 years ago.

And congratulations on your first personal computer.

Putting real computer power in the hands of the individual is already improving the way people work, think, learn, communicate and spend their leisure hours.

Computer literacy is fast becoming as fundamental a skill as reading or writing.

When we invented the first personal computer system, we estimated that over 140,000,000 people worldwide could justify the purchase of one, if only they understood its benefits.

Next year alone, we project that well over 1,000,000 will come to that understanding. Over the next decade, the growth of the personal computer will continue in logarithmic leaps.

We look forward to responsible competition in the massive effort to distribute this American technology to the world.

And we appreciate the magnitude of your commitment.

Because what we are aoing is increasing social capital by enhancing individual productivity.

Welcome to the task.

tlapplcz

aoplesBank.

Member FDIC and the human race.

106

M A R C H I A P R I L I9 9 0

Cbiat/~

wants to join a motorcycle gang.

It takes a tough bunch to handle motorcycles, accessories and snowa motorcycle account. But Chiat!Day mobiles like nobody else's business. has what it takes.

And if we can't, you'll get your Speed. Balance. Savvy. Talent. money back.

E.erything.

That's right. You read it correctly.

Except a client.

If we can't increase your sales, we11 That's where Yamaha comes in. refund the difference on a percentage Between your innovative products, ba is from any media commissions planning and marketing expertise; or fees we may have earned. and our proven adverti ing and Chiat!Day isn't afraid to join a creative abilities,we sell motorcycle gang.Especially Yamaha'.

AT PIONEER,WE ONLY CARE ABOUT 1WO 1HINGS. Nobody listens to audio equipment recei\6" from a receiYerA Pioneer car

Tiley listen to music.

•

I

Asmall distinction to make, but the YeiY thing that distinguishes a Pioneer

stereo from a car stereo.A Pioneer

that what really matters can't be measured in watts per channel, or total harmonicdistortion,or-,orflutter What matters isn't just cassette decks with three direct.<JriYe motors, linear tracking turntables or quartzlock tuning.

What matters isn't that we make more audio equipment than the next

guy. 01; for that matte; that we'Ye sold more in the last fiYe years than any other audio manufacturer When all is said and done, plugged in and switched on,what matters, is the music.

C.0 PIONEER.

Because the music matters.

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

107

CHIATIDAY: THE BooK

Nike commercial showing Carl Lewis jumping in slow motion. Lewis: "I believe you should never give up.

When that's your philosophy, there's no telling how far you can go:· Porsche commercial. A 962 pulls into the pit and the crew goes to work. Announcer: "At Porsche, key personnel meet on a regular basis to discuss alterations and refinements. (Driver and technicians, speaking German, engage in a heated debate about a detail of the car's performance .) At these times, many important contributions are made in the perfecting of our cars. (Car accelerates out of the pit.) We try to keep the meetings short:' Opening spread of year eighteen.

Outdoor board for Nissan .

Announcement for opening of the Toronto office.

Opening page of year twenty.

·-oo mau mau. pa pa oo mau mau.

creative director in L.A., because. as it turns out.

Glug glug glug glug glug:·

this man did not just live at the beach. This man is the beach. He talks about the big tubs they mixed this stuff up in. He talks about wooden surfboards. He talks about buying ice by the block.

He talks about what bikinis used to look like.

He talks about friends with names like The Chai rman and No Pants Lance. He talks about recreating The California Beach, circa 1965.

Every top executive of California Cooler and its parent company comes to the presentation. The creative director presents the new work.

The room is quiet. The number two man from California Cooler rises. He's got to say it. but he is really disappointed with Chi at/ Day. First of all. he doesn't like "Louie.

Louie:· he's never liked .. Louie, Louie:· and then the thing with making this drink on the beach. it's so unsanitary. and maybe if it was done in a cleaner tub. or maybe if you put the tub on a clean towel. and on and on. he basically dumps on the campaign for what seems like an eternity.

"Is there anything more you'd like to add?" his boss asks him.

The man shakes his head from side to side. " Well then. I've got to tell y'all. this is the greatest thing I've ever seen. Go make it :· Around the time the

In San Francisco, they have gone in eight thousand different directions for the new California Cooler campaign. and the client hates them all.

The client wants heritage.

You don't have any heritage, the copywriter says. You've only been in business two years.

The client doesn't care. He wants people to like his drink, and feels he is making a very modest request. After the "One more reason to hate California" campaign, he doesn't want to have anymore west coast weirdness associated with his product. He wants it to be Miller Time, except everybody is drinking coolers.

The creative director in San Francisco calls up the creative director in Los Angeles and says, "I don't know what to tell you. the guy wants heritage:· The creative director in LA, having grown up at the beach, says "Rent some surf movies, maybe it'll put you in the mood ~ So a rew of the creative teams in San Francisco are watching surf movies, throwing back some coolers. and a copywriter says, " this Y'know, usedItolived make a drink at thewe beach near.Andlike three other people in the room have the same story about growing up at the beach and mixing this stuff up. They stan talking about panying at the beach. the old surf music.

"Louie. Louie:· "Surfin' Bird," and they stan thin king. well, maybe we can do something with this.

Two weeks later the creative guys from San Francisco find themselves working with the

l:t~~~~--~~~i~~~

214

108

M A R C H I A P R I L I 9 9 0

California Cooler commercials are being fin ished. Apple Computer calls and says that they have decided to put their account into review, and that Chiat/Day is invited to try and keep the business. Apple's new chief executive i; no longer happy with the work ofChiat/Day. Three months later, Apple is gone. The press will have its opinions why. and the man from Apple will have enough explanations to fill a small book. but to the creative people who worked so long and hard to make Apple the most watched. most read. most talked about advenising in America. it will be a simple case of one man who did not like ano1hcr man.

The day after Apple announces its decision. the creative director ofChiat/Day's L.A. office will call everyone into the conference room.

"I was here when we lost Honda. And everybody thought that was the end of the world:· he says. "And I was here when we lost Fotomat. and Olympia and a lot of other accounts. And each time. it was terrible.

"Chiat/Day is not defined by anyone account. Chiat/Day is defined by the work we do.

And if Apple doesn't want us. we will find someone else who does, and we'll do great work for them. And if they fire us. we'll do great work for somebody else.

"That's all I have to say."

Towards the end of the year. Guy will decide that it's time to leave Chiat/Day one more time. He feels he's helped to do what he set out to do when he came back three years ago-the agency's success is no longer tied to one large client. There are no big goodbye panics. no speeches, no tears. no testimonial dinners. On his last day. he finishes his work. gets in his car. and drives home to see his wife.

That's Guy.

215

"How big can we get without getting bad?"

At a hotel restaurant in Los Angeles, Guy Day is having breakfast. He is talking about the future of the agency that has his name. " You take Jay's well-known Une-.' 1 want to see how big we can get without getting bad.' Irs just that, I don\ want to know. Thars pretty much the basic philosophical difference:' He smiles when he says it, and you wonder if he reaUy means it.

"When you've been around long enough to have witnessed what Bill Bernbach me.ans when he talks about good advertising. and what David Ogilvy means, and Mary WeUs-and you know they reaUy me.an it. Irs not some veneer or some pitch. And then you see what happensBembach lives to see everything he stood for erode ... I think at some point in time, to protect your sanil)l you have to detach yourself.

"The only hope is, and whether it can he done is still yet to he determined, there has to be the ability for the culture to repUcate ilSelf in the next generation. Because you can\ expect the same core of people to hold it together forever.

And, you take Chiat!Day, when you have four offices and five-hundred people, to hope that aU the right people will step forward at the right point in time and assume the reins with the same passion and enthusiasm as two or three guys had when there were thirty people on Olympic Boulevard, you know, the ndds aren\ with you. You still try and do it, but you need that next generation to stand up and say, "Okay, I want to work as hard as the first generation~

Odat/Daytumscwera new leaf.

After 20 years in the States, we've just opened our f1rst international olf1ce. Our thanks to the people of Toronto for making us feel welcome. And, of course, to Nissan• of Canada for making it all possible.

Oliat/Day'IOronto

In a conference room in the New York office, Jay Chiat is leaning back in a chair, talking. He is tallcing about the agency that used to determine its president with a yearly coin toss.

"I think the question has become, how many clients can you do great work for? It isn\ a case of size. Size is measured in dollars. Irs reaUy a case of, can you do great work for a hundred cUents?

The jury's out on that. We now have lf7 that we're doing great work for. And that work's aU being

done by the second generation. My influence may still be there, because I'm still around, but the reality is, we're doing better work now.

"If you dissect the agency business, irs almost more like a guild than it is a corporation.

Irs not a typical corporation, because you can\ send creative work to Thiwan, to Korea, to get it done che.aper. You can\ copy a campaign and have it built off-shore. You don\ have the ability to computerize your manufacturing tine or increase the productivity of your production capabilities. Irs reaUy a little guild, a handful of people, almost like during the Renaissance, malcing armor for knights.

"If you took a look at adverti ing horizontally that way, then look at aU the thing.'l weve done to accommodate that kind of growth, like dedepartmentalizing- getting rid of geographic departments so that a group of people can work together for a client inste.ad of a department he.ad- you can see that what we've done is say, hey, you can grow, because what you do is, you break the agency down into forty or fifty small businesses, e.ach dedicated to one client. And then, size is no longer an issue.

"I never thought of us as big. Even now I still look around and say, irs not reaUy big because you could do 500 million, a billion dollars in one year. And I don\ think it reaUy matters how big your clients are or just how many people are working at the agency, as long as they're good people, and the environment is right to do good work, and you insist on doing good work.

"Th me, the key is environment. I think there was always an intellectual commitment to the kind of environment we wanted to create. I wanted to be working at a place where you wouldn\ be embarrassed to say you worked in advertisin~

He pauses fnr a second.

"Listen, I have to go pick up a suit. You wanna come?"

303

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

A R T S

109

EXHIBIT IN THIS AGE Of

WE'RE LooKIN G FOR NEw, outstanding work for Exhibit.

Send samples of your latest and best. Describe the purpose, background and include creative credits.

Exhibit, Communication Arts, 410 Sherman Avenue, P.O. Box 10300, Palo Alto, California 94303. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return material.

THE BRAND IMAGE OF Mazola Corn Oil was one of quality bu·t perceived as a bit old-fashioned. " In order to encourage sales, there was a need to educate consumers with a single-minded emphasis that Mazola stands for purity followed by the derived benefits of health~' said Michael McLaughlin, vice president/group creative director MacLaren:Lintas Toronto.

te levange lists wl.o s in ,

tas:es, 111ovie s tars

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who gamble ..,.J teen ;Jol• who mal..e home •ovie11 .. . isn' t

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Michael Mcl au ghl in, art d irector ; Michael Mcl au ghlin/ Stephen Cree!, creative di recto rs; Step hen Cree!, wri ter; Rick McKec hn ie, photographer.

No addit ives.

TH E 1989 ANNUAL REPORT was the first for the " new" Broad, Inc. that emerged from the restructuring of Kaufman and Broad Inc. into two companies, both listed on the New York Stock Exchange. The other company is Kaufman and Broad Home Corporation.

The report theme was " Change ~' reflecting both the start-up of a $7 billion financial services organization and its rapid transformation from traditional life insurer (Sun Life Insurance Company of America) to a marketer of investment-oriented products, primarily annuities, appealing to the fastest growing segment of the market.

In a brainstorming session, Jana Waring Greer, vice president of Broad Inc., and Joan Libera, Libera and Associates, came up with the concept of a kaleidoscope to symbolize the dynamic change and progress underway.

A pattern of squares, complimenting the square Broad mark, shows through a die-cut in the pocket cover. The pattern is made up of narrow vertical stripes of red, yellow and blue. A sheet of clear acetate, printed with vertical black lines, is in the pocket over the pattern. As the acetate is slowly pulled, the pattern changes colors in a kaleidoscope manner.

Using the umbrella marketing name, " SunAmerica~' the financi al services companies have undergone a dramatic change. This is emphasized with symbolic color photographs: "Nest Egg~' tax deferred savings products; " New Vision ~' services; " Performance;" and "Growth:' Management, sales force, agents and support personnel are candid black and white photographs. In the financial pages, the current fiscal year (ten months) figures are reversed out of black bars for impact.

Joan D. Libera, art director ; Libera and Claire De Nador, desig ners; Jana Waring Greer, writer ; Pete Saloutos-color/Scott Slobodia n-black and wh ite , photographers; Joan D. Libera/Cia ire De Nador/Cathi Bleck, illustrators; Libera and Associates (Los Angel es} , desig n firm .

110

M A R C H I A P R I L I99 0

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

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EXHIBIT

FoR A NuMBER OF years WXRT had been doing advertising in-house before they hired Young & Rubicam, Chicago.

As one of the most progressive, nonconformist radio stations in Chicago, WXRT wanted advertising that reflected that, something that would get listeners to question the preprogrammed, unimaginative music formats of other stations.

Y &R decided to illustrate the error of rote behavior and support the message with the most def music they could find.

LEFT PAGE: Flack & Kurtz, Consulting Engineers, celebrated their twentieth year in business and wanted to produce a poster commemorating the event. Peter Flack contacted de Harak & Poulin Associates. Flack and Norman Kurtz, his partner, wanted a poster they could send to their clients, employees and friends both here and around the world, that would celebrate the firm's work without appearing to be an advertisement, in other words, no emblazoned logo, no construction images, no client name.

The design of the poster would be such that clients and friends would want to display it for its visual appeal alone.

"We had scripted a number of spots on some pretty silly animal behavior and art director, Faye Kleros, remembered seeing a BBC special with the Dune Lizard doing an unusual dance of futility.

So we put it to music, wrote some words and dialed up the color:' said creative director, Tom Shortlidge.

To define the work of this international engineering consultancy, de Harak and Poulin used visual metaphors: earth, wind, water and fire, the four elements in nature. These parallel Flack & Kurtz's work in construction: mechanical, utility and electrical engineering. The solution was to illustrate each of these elements in its natural state and its applied state.

Although not identified as such, each of the small photographs document a Flack & Kurtz project.

"A few months after its release, the Chicago Herpetological Society wrote to us, and said that it was the best use of a reptile in advertising. Not long after that, the station's ratings went up in a big way~' "Lizard " :15.

Richard Poulin, art director/writer; Richard Poulin/ Mieko Oda, designers.

MOVE

~~~[ COOLER.

(Open on front view of lizard, lifting feet) Music: Heavy beat under throughout.

An ncr. (VO): The Dune Lizard lifts his feet so they don't burn .

(Rear view of lizard) This is his life.

Running in place and eating insects.

What's the point?

(Side view of lizard) Why bother?

Why not move someplace cooler?

(Lizard runs off screen) Camera card : Move Someplace Cooler. WXRT. 93. Radio Chicago.

Faye Kleros, art director; Tom Shortlidge/Mike Faems, creative directors; Scott Burns, writer; Ellen Israel, producer ; stock footage .

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

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EXHIBIT

This book is the second in a series. It is full of critters made from a single piece of tape about the size of the one on the cover. It represents a greater exploration of the medium (sticky) and a deeper probe into the mind (stucl<). If you consider this an odd use of one's time, imagine the alternative of living with these things in your head.

DESIGNER CRAIG FRAZIER was given the opportunity to squeeze out another project on a press sheet.

'

"We had a 4" x 6~ 48-page, perfect-bound book at the printer:' Frazier said. "The day before they plated the job, the printer informed me that I had room for an additional 4" x 4" book left on the sheet. I took home a roll of black masking tape and an X-acto knife and whittled out 24 critters that night. The assignment: Begin with a llf2'' piece of tape and use it all:' Tape Critters Volume I received such delightful reactions from friends and clients, that Frazier did a sequel, Tape Critters Volume II, as well as some posters. "It has reaffirmed my belief that little is OK, a couple of colors will do and computers can't do everything:' Craig Frazier, designer/writer/illustrator.

JOHNSON INDUSTRIES manufactures conference, seminar and dining tables.

Before the introduction of their new synthetic marble laminate, Novastone, Jeff Barnes was consulted to help select the number and range of standard colors and plan for its integration into the Johnson line. He continued the project by designing the product brochure and developing advertising.

"The concept behind the advertising was simply to create curiosity about the product. To get people to send for more information:' Barnes said.

"This was accomplished by showing people's reaction to it, mistaking it for the real thing, instead of featuring the product itself.

"Reaction has been fantastic. Johnson has received a record number of inquiries from throughout the U.S. and great interest from Europe and Japan:' Jeff Barnes, art director/designer; Jeff Barnes/ Pam Rubin , writers ; Gina Uhlmann/Christopher Hawker, photographers ; Donna Forst, stylist.

/14

M A R C H I A P R I L I9 9 0

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

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EXHIBIT

Is IT PossiBLE to play out a full-blown Hitchcock-type thriller in less than a minute?

"Well, your characters have to develop rather quickly and the plot moves right along, but we pulled it off," said writer Greg Eiden.

Borders, Perrin & Norrander was asked by Portland General Electric to dramatize the benefit of a heat pump-that it keeps a home at a comfortable, even temperature all day long.

The creative team used a domineering matriarch and her long suffering butler to tell their story. The spot follows Melvin as he struggles throughout the day trying to keep his insufferable employer comfortable. By misdirecting the audience slightly, viewers may think Melvin is plotting her murder. Producer Josh Reynolds noted a very cinematic look was desired, and a director with a feature background would be a plus. "Director Graeme Cliffo[d, who did the film Frances, really kept things moving:' "Melvin's Call" :30.

Music : Dramatic music throughout.

(Open tight on domineering woman in parlor, speaking into intercom) Woman : Melvin! Melvin ... it's cold in here.

(Cut to Melvin, the butler, in the kitchen) Melvin : Com ing, miss.

(Cut to Melvin approaching parlor holding an afghan) (Cut to woman in parlor, speaking into intercom) Woman : Melvin! Now I'm roasting!

(Cut back to Melvin in kitchen cutting meat) Melvin: Coming, miss. (To himself) Cold, hot.

Never happy.

(Quick cut to Melvin getting a fan) (Cut back to Melvin in kitchen) Woman : Me lvin!

(Cut to woman talking on intercom again) Woman : I'm freezing!

(Cut back to Melvin in kitchen) Melvin to himself : That's it.

(Melvin throws cleaver into cutting board) (Close-up of Melvin's hand as he picks up phone and dials) Melvin : When I'm through, she'll never complain again.

(Cut to close-up of Melvin's eyes.)

SFX : Phone ringing .

Woman's voice on other end of phone : Heat Pump Hotline.

(Cut to scrap of paper. Reveals full number : 1-800-443-7867.)

VO : For comfortable temperatures year-round , call PGE's Heat Pump Hotl ine.

Terry Schne ider, art d irector ; Bill Borders, creative director ; Greg Eiden , writer ; Josh Reynolds, agency producer ; Graeme Clifford , director; Berkofsky/Barrett Productions, production company ; Steve McCoy, Film Core , ed itor ; Wyatt Helin, music.

116

M A R C H I A P R I L 19 9 0

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BOOK REVIEWS

EAMES DESIGN The work ofthe Office of Charles and Ray Eames

By John Neuhart, Marilyn Neuhart and Ray Eames Published by Harry N. Abrams, Inc. 100 Fifth Avenue, New York, New York 10011 $95.00

Destined to be the standard reference on the subject, this is the first book to present the complete works of the prolific husband and wife team of Charles and Ray Eames. Their impact on post-war industrial and exhibition design is still being felt. Eames Furniture has been mass-produced in the millions.

What appeals to me the most is that all sides of Charles Eames are presented; the wonderful designer, architect and film-maker, but also the dictator with little praise or credit for his staff, the low pay, the ambiguous comments or the nurturing of proteges. As the Neuharts mention in the introduction, "Charles was the office and it essentially died with him:' This same balance is used throughout the book. To achieve a true critical assessment of Eames' work, every project the office was responsible for (over two hundred), are

Pinwheel.

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Screen printed design and package camps, beauty packs, color corrects, shrink wraps, decals, transfers, Identicolors~ wax backs, die cutting and embossing. Especially for art directors and designers in short runs of two to 200. Also pre-press camera services, super veloxes, High Definition® and Laserline®halftones, ad composites, b&w and four-color special-effects and precision fine-line camera work.

Send business card or letterhead for free subscription to the Pinwheel Pink Pages and 24-page booklet which explains why Pinwheel screen printing is A Horse of a Different Color.

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examined in considerable depth with drawings, plans, models, period photographs, film clips and graphics. Major successes are reproduced side-by-side with failures, proposals and uncompleted work.

The work is organized chronologically. Judgements on the placement of projects was made on the basis of completion dates and the first public appearance of the furniture, film or exhibition.

Credit is due to theN euharts, who were able to remain objective even though they were friends and colleagues of the Eames. The detailed documentation was made possible

by Ray Eames, who for the ten years following Charles' death in 1978, kept the office open with as many as ten staff members cataloging the immense amount of material in preparation for transfer to the Library of Congress.

It took seven years to produce this book, and it was worth the wait and the high cover price.

GRAPHIC D ESIGN IN AMERICA A Visual Language History Introduction by Mildred Friedman Published by Walker Art Center and Harry N. Abrams, Inc. 100 Fifth Avenue, New York, New York 10011 $49.50

This 264-page book accompanies an exhibition of the same title that opened at the Walker Museum last November. The exhibition is the first large-scale effort to examine America's most pervasive, yet misunderstood, art form.

I had the opportunity to see the show in January and thought it was well done. It was organized in three parts: Design in the Environment, including signs, posters, maps and charts; Design for the Mass Media, including newspapers, books and magazines; and Design for Government and Commerce, including packaging, advertising and work for the WPA and the National Park Service.

As to how the general public responded to the show, I overheard several museum goers commenting that the work was just advertising and why would they want to bother reading about it. I suppose art is in the eyes of the beholder.

I assumed that the book would be an historical overview of design similar to Philip Meggs' excellent book, but focused on the American experience. I think the title might be somewhat misleading. There is a 42-page timeline that explores the cultural and technological development of the discipline from 1829 to the present and relates them to changes in American history by arranging the text and limited visuals with presidential tenures.

The remainder of the book is essentially a collection of (Continued on page 123)

118

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BooK R EVI Ews

essays and interviews. The essay topics include graphic art for the public welfare, how changing technology changes the look of design, design in the service of commerce, European designers in America, the poster as a tool for protest and the current state of editorial design.

Interspersed between the essays are brief interviews of notable designers by Steven Heller.

I thought this was a good book as far as the provocative essays were concerned, but the selection of pieces from the show reproduced in the book is so incomplete (e.g. only six books, five magazines, four logos, etc.), I wonder why the publisher even bothered.

BRI EF LY NOTED: HISTORICAL ART INDEX, A.D. 400-1650 by Mercedes Rochelle (McFarland & Company, Inc., Box 611, Jefferson, North Carolina 28640, $39.95, cloth). Writers and designers share a problem of trying to find artwork to accompany a chosen historical subject without knowing whether a person or event has ever been represented. Most indexes of art tend to list work under the name of the artist. When the artist isn't known, where do you start? What Rochelle has done is organize depictions of a person or event under the subject. This includes paintings, sculptures, frescoes , woodcuts, drawings and engravings. Works are listed chronologically by date of creation. Each listing includes the artist's name (when known), location of the original art and widely published books where the artwork is reproduced. I only wish the index covered a longer period of time. Rochelle admits that this isn't even a complete listing of artwork from this period, but that it's a starting point.

Appendices list most of the major museums and libraries in the world.

Barcelona PAINTING

Paris GRAPHIC

DESIGN

TH E HAMM ERMILL GUID E TO DESKTOP PUBLISHING IN Bu siNESS by Bruce G . McKenzie (Hammermill Guide, P.O. Box 34006, Berkeley, Missouri 63134, $24.95, paper).

While I was first skeptical that this would merely be a self-promotion piece for the paper company (there is a sampling of all the Hammermill papers for desktop publishing), I found a wealth of good information packed into 250 pages. Topics include basic DTP hardware and software, how to use type and layout for readability and impact, how to construct charts and tables, choosing paper (preferably Hammermill's) and preparing artwork for reproduction. An afterward outlines the cost and productivity issues ofDTP. An index, glossary and bibliography add to the usefulness of the book.

TH E ARTIST's TAX WoRKBOOK 1990 EDITION by Carla Messman (Lyons & Burford Publishers, 31 West 21 Street, New York, New York 10010, $16.95, paper). I don't think documentation and tax preparation can be explained much easier than this. The workbook covers guidelines for C 0 M M U N I C A T I 0 N

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BooK REviEws

receipts and record keeping, IRS reporting requirements, generalities of state tax returns and common artist's tax questions. Actual1989 tax forms are included along with examples of typical completed returns. The book even tells you what color of ink to use for bookkeeping.

MAKING EFFECTIVE PRESENTATIONS by Robert B. Nelson and Jennifer Wallick (Scott, Foresman and Company, 1900 East Lake Avenue, Glenview, Illinois 60025, $9.95, paper).

This is not a book on how to make better comprehensives, but on how to communicate your ideas confidently and persuasively. Written for business managers who need to speak publicly, this clear and concise book offers a logical formula for determining what to say and how to say it.

There is also some interesting advice on how to deal with stage fright, using humor, and how to deal with a hostile audience.

CLOSED CIRCUIT HISTORY by Ardeshir Mohassess (Mage Publishers, Inc., 1032 29th Street, NW, Washington, D.C. 20007, $50.00, cloth). Long-time readers of CA may remember two articles on Mohassess. A noted Iranian artist and political cartoonist, Mohassess's drawings of domination and subjection by the Shah forced him to

leave Iran. After the revolution, he was forced to stay in exile when he began to publish drawings of domination and subjection by the the new Islamic regime. A large collection of these are reproduced in this 232-page volume. Ramsey Clark, former United States attorney general, presents an historical background for Westerners to better understand Ardeshir's motivation.

59 MORE STUDIO SECRETS FOR THE GRAPHIC ARTIST by Susan E. Davis (North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $32.95, cloth). People in search of new design techniques and creative shortcuts may find this book helpful. A follow-up to Studio Secrets for the Graphic Artist, published in 1986, this book was compiled with the help of 52 working professionals. Comprised of two "how-to" sections, part one describes 26 techniques that the author claims will produce "dynamic results on a limited budget~' which translates to creative use of the photocopier. The second part describes illustration techniques by using markers, airbrush, technical pens, photography and computer graphics.

-Patrick Coyne

COLORWORKS

Make complex color decisions easy with these ultimate color guides.

Main color*with type and color options (type is serif and sans serif, 7pt. and 9pt.) * The examples here use 70Y 1OOM, one of 25 colors shown in the red book.

Half tone options using main color Main color from full strength to white Main color shown in actual designs The Red Book, The Blue Book, and The Yellow Book will help you visualize exactly how colors will look on your finished pieces. You'll see how process colors look as half tones, tints, in combination with other colors, or even reversed out of black in 7 pt. sans serif type. Never before have all of these elements been combined in a single volume. Each book includes an endless variety of color combinations, hues, tints, tones, and paHerns based upon 25 shades of a particular color-red, yellow, or blue.

See sample pages from The Red Book to the right.

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124

M A R C H I A P R I L I9 9 0

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

DESIGN ANNUALS November 1983, 1984 and 1985 ..... . ... $36 November 1986 and 1987 ......... . ... $30 ADVERTISING ANNUALS December 1983, 1984 and 1985 ......... $36 December 1986 and 1987 .... . ........ $30 DESIGN AND ADVERTISING November/December 1980, 1981 and 1982 $36 ILLUSTRATION ANNUALS July 1984, 1985, 1986 and 1987 .. .. ...... $32 PHOTOGRAPHY ANNUALS August 1984, 1985, 1986 and 1987 ....... $32 ART ANNUALS July/ August 1981, 1982 and 1983 ........ $26

Because some combinations have only several hundred copies remaining, we reserve the right to refund your money on any that have sold out, on a first-come , first-served basis.

Postage is included. Please allow up to three weeks for delivery. Foreign orders will take longer.

To order, circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with payment to: Communication Arts P.O. Box 10300, Palo Alto, CA 94303 Or you can call (415) 326-6040 and give us your VISA or MasterCard number.

Pri nt

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MATERIALS

GOGGLE- STYLE 3D MAGNIFIERS

Although you could end up looking like Darth Vader, these magnifiers, from Gaebel Enterprises, will free your hands and are designed with enough space for eyeglasses to be worn while in use. The ONS-170 series consists of four models with magnifying powers ranging from 1.75x to 3.5x. The viewed object is enlarged in three dimensions and can be seen clearly, preventing squinting and eye strain. This series employs prismatic lenses and the strap adjusts to fit any head size. Even mine. In addition, these goggles will protect your eyes when that deadline approaches and sparks begin to fly. For purchasing information, contact Peter C. Anderson at Gaebel Enterprises, Inco rporated, 100 Ball Street, Syracuse, New York 13217, or call (315) 463-9261, fax (315) 463-9034.

DRAWING TABLE

From Alvin & Company, we are presented with the white oak ARDA drawing table, sporting a smooth, natural finish with a functional design. I prefer the unstained look, but they suggest staining, painting or lacquering as a means to match your decor. The few pieces of hardware are rustproof and galvanized for durability, and this table can be pressed into service as an easel. The top, available in two sizes (24" x 36" or 31" x 42") has a sanded finish with wood grain vinyl edges and a pencil ledge. Table height is adjustable from 30" to 40" and the top can be angled from zero to eighty degrees. Though hardly unparalleled, the design is basic and would blend nicely into a "no-frills;' smaller office. Write to Alvin & Company for more information at Box 188, Windsor, Connecticut 06095, or call (203) 243-8991.

PHOTOGRAPHERS STUDIO WALL UNITS

Infinity Wall Corporation otTers photographers a wall system constructed of fiberglass called Infinity Sections.

Designed by a photographer to give you a smooth, consistent three-foot radius joining wall to floor, while creating the "illusion of infinity" in your studio, the basic system consists of two types of components, a corner section and wall sections. These lightweight sections are durable and flexible , and designed for simple installation by the " average individual;' according to Infinity. That probably eliminates most of us, but I'll continue. Simply attach the pre-formed sections to your existing walls and floors , then conceal seams and joints with drywall tape and filler and your Infinity wall is ready for primer and a final coat of paint. Then you' re ready for carpenters' school.

The wall sections are available up to 16-foot lengths and the corner section pulls it all together. A corner can be a pain since you 'd need the mind of a trigonometry major and the patience of a saint to come up with your own 126

M A R C H I A P R I L I9 9 0

solution. To give Infinity Walls the illusion of a big sale, write them at 533 Eastlake, Longwood, Florida 32750, or call (407) 331-9528.

MAGNIFIER LAMP

Also from Gaebel Enterprises, the ONS-0300 provides balanced 22 watt fluorescent lighting with a distortionfree 2x, three diopter lens. The lamp features three-joint extension arms which can be adjusted 360 degrees in all directions. The 4.75" diameter lens is made of optical glass and protected by a thermoplastic shade. The unit has a 42" reach and the on/otT switch is located in the head of the unit, allowing room for an electrical outlet in the base to power other devices. The "C" mounting clamp fits most tables and work surfaces. Operating on standard 115 volt A. C., this unit comes in white, grey, black and chocolate finishes. For more information write Peter C. Anderson at Gaebel Enterprises, Incorporated, 100 Ball Street, Syracuse, New York 13217, or call (315) 463-9261, fax (315) 463-9034.

MAILING TUBES

Here is a sampling of Laminations Corporation's subtle press release concerning their new mailing tubes: Nicknamed the " mail animal"; Mailing tube fights postal disaster; Pizzazz, toughness, economy and on-its-waytoday delivery are features ... ; OK, we get the picture, guys. I think your PR man could use a valium. LamcoRound is the chosen name for these four-ply, spiral-wound laminated paper constructed tubes, and they sport a bright blue shade, ostensibly to counteract the normal boring brown, but I think these folks simply like to stand out.

The LamcoRound (somebody was actually paid for coming up with that name!) uses white " friction fit" plastic endcaps for a tight seal, and these tubes are available in various sizes up to 36" in length. To meet the " mail animal:' or simply to fight postal disaster, write Laminations Corporation, P.O. Box 469, Neenah, Wisconsin 54957, or call (414) 725-8368.

NEW TECHNOLOGY D EVELOPMENTS Info rmation on hardware, software and electronic services for graphic designers, art directors, ph otographers and illustra tors.

GRAPHIC ARTS SOFTWARE

Letraset has added Design Effects and Halftone Preview modules to its ImageStudio software, providing graphic designers and illustrators more flexibility in creatively experimenting with designs. Design Effects gives users freedom in rotating images at any angle, scaling images, dropping shadows and controlling the opacity of any shade (Continued on page 130)

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F F E R

EXHIBITS-PLANNING AND DESIGN

by Larry Klein With introductions by Albert H. Woods and Harold J. Skramstad, Jr. Designed by Walter Bernard Published by Madison Square Press Over 100 exhibits by 45 internationally known designers including Barry Howard, John Follis, Herb Rosenthal, David Strong, Bruce Burdick and Chermayeff & Geismar.

252 pages, full-color. 275 photographs, hardbound 10" x 10~' Containing diagrams, charts, blueprints and a resource section.

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

Larry Klein

Because of a quantity purchase, we can now offer

The extensive portfolio section includes: The Treasures of Tutankhamun, The Olympic Experience, Chicago's Field Museum of Natural History, Energy Expo, Harbor Point, Cartier Restrospective in Los Angeles and the John Fitzgerald Kennedy Library.

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

this important book at a great savings to CA readers.

Fill out the information below and send to: Communication Arts, P.O. Box 10300, Palo Alto, CA 94303 D Payment of $33.00 is enclosed. CA will pay postage.

Originally priced at $45.00, Exhibits: Planning and Design is now available at the new low price of $33.00, shipping

D Please charge my credit card D MC 0 Visa CardNumber

Expiration Date

LLLLLLLLLLLLLLLL Telephone Number

Signature

Name

and sales tax included.

Address

City

State

No books will be shipped until payment is received.

Zip

MATERIALS

or object before creating the final version. This module enables you to specify a screen area or object to be modified , create a copy of it, adjust it to your liking, then save it to the full image. Halftone Preview gives you the freedom to create and preview a wide range of halftone screens on your Mac at any resolution, and it converts grayscale pictures into black and white bitmapped images that simulate halftone screens configured with various dot shapes. The entire system, including the two new modules, costs $495. Purchased separately, the Effects Modules are $99 and are available directly from Letraset.

For more information, write Tyrone Lam at Letraset, 40 Eisenhower Drive, Paramus, New Jersey 07653 , or call (201) 845-6100.

Low-END CoMPACT CoPIER

In an attempt to expand its market, Sharp Electronics is introducing a compact copier designed for small businesses or your home office. The SF-6000 is an 8-copyper-minute unit that includes auto exposure control, a two-way paper feed system and disposable cartridges for simple maintenance. This copier also provides 5-color single tone copying ii1 black, red, green, blue and brown, and the list price was very conspicuous in its absence

on the press release. Chris Arnold of Sharp Electronics Corporation may want to broach the subject of cost to you.

I would think since this is a low-end (read inexpensive) model, that price would be its foremost selling point.

For more information, write to Chris at Sharp Plaza, Mahwah, New Jersey 07430, or call (201) 529-8933.

FONT MANIPULATION SOFTWARE

TypeStyler, as we reported last issue, is a font manipulation software from Broderbund Software. One major drawback was its inability to work with Adobe encrypted typefaces. Now they are introducing TypeStyler 1.01, which can manipulate Type 1 typefaces from Adobe.

This new software, initiated because of numerous requests from TypeS tyler users, is compatible with Adobe Type manager, but does not require it. In addition, now users can import Adobe typefaces into Adobe Illustrator as editable PostScript objects. According to Harry Wilker ofBroderbund, " For many users, this capability alone will be worth the purchase price ~' Suggested retail price is $199.95 and if you already own version 1.0, upgrades can be purchased for $7.50. Contact Nanci Buck at Broderbund Software, Incorporated, 17 Paul Drive, San Rafael, California 94903 , or call (415) 492-3200.

Better color. That's what you'II get with Design"' Art Markers. Color that's more brilliant. More consistent. That lays down beautifUlly, thanks to a unique ntb that glides across thepage. Theprofessionals' chm·ce for over 20 years. It's easy to see why.

For more information on Design Art Markers. send your name and address to: Design Art Marker Information #I. P.O. Box 2223. Lewisburg, TN 37091.

130

M A R C H I A P R I L I9 9 0

FaberCastell®

ACCOUNTING SOFTWARE

In the ever changing world of computer software, upgrading and enhancing your existing product is becoming almost mandatory, with a failure to do so resulting in being left behind. With this in mind, Marketing Resources Plus introduces Adman 3.0, an upgrade of their original Adman. Faster running when used with 286 and 386 processors, 3.0 is the first major revision since 1986, according to MRP. Adman is a modularized system that streamlines the agency accounting and reporting process.

New features include the ability to tailor invoices to provide information required by the client, mid-month financial statements in the General Ledger module, on-line help windows, pop-up calculator window, application of credits and overpayments and processing in multiple accounting periods. An expansive, informationpacked booklet is free for the asking, and any other questions you may have can be answered by Lynn Wehner of Marketing Resources Plus. Call her at 1-800-759-0181.

HEADLINE SOFTWARE

Macintosh-based LetraStudio now has PostScript font compatibility, which will allow agencies, design shops and

publishers, among others, to " ... maximize their software investment by using their fonts as display type:' according to Michelle Blank ofLetraset. The new Version 1.5 software allows you to incorporate any PostScript Type 3 font into headlines, signage, logos, fi lm titles and other d isplay applications as well as reshape, resize or otherwise modify the fonts to your liking. Other type libraries accepted include Bitstream, Compugraphic, Monotype an d U RW LetraStudio 1.5 is priced at $495, and further information and literature can be obtained from Lisa Wellman at Letraset, 40 Eisenhower D rive, Paramus, New Jersey 07652, or call (201) 845-6100.

LITERATURE FOR YOUR FILES A request on your letterh ead to the following companies will bring you the literature described .. .free unless otherwise noted.

The Explorers Club ... is Neenah Paper's newest promotion showcasing both the venerable Explorers Clu b and two of its premium papers, Classic Linen and Classic Crest.

Artfully put together by Wages Design, the spiral-bound booklet is a beautiful compendiu m of this revered organization, chronicling some of its more famous voyages

GILBERT I . pape;rwitJi

TM

700 Years Ago, Italian Papennakers Brought the Beauty of Private Watennarks to the World.

prese;nce

Now you can introduce it to your clients.

Gilbert & The Private Watermark is a two-part, tell-all reference tool for the serious corporate identity designer. The craft, the history, the features, the paper, the do's and don'ts- they're all here.

';:t: ~ ::/~}J GILBERT & THE PRIVATE WATERMARK

There's a reason the most prestigious stationery programs include a private watermark. Find out what it is.

For information on how you can receive the set, contact your authorized Gilbert Paper Distributor or call us at 1-800-828-4553 for the Gilbert Distributor nearest you.

GiiOOrt~ A Mead Company C 0 M M U N I C A T I 0 N

A R T S

131

MATERIALS

and explorations. Ranging from mountain climbing (pun intended) to ocean voyages, from air travel to arduous crossings of the polar ice cap, from exploring Mexico's caves to raising the Titanic, the Explorers Club has always supported the wanderlust of man, pertaining to both science and man's innate curiosity about his surroundings.

This brochure, combined with beautiful design, original illustrations and informative writing, eloquently supports everything the Explorers Club believes in. Neenah Paper combines its own subtle promotion with an impressive presentation of a class organization. To get your free copy, contact your local Neenah Paper merchant or call 1-800-992-0412 ext. 138.

Details on Flannel ... demonstrates James Rivers line of Curtis Flannel papers in an elegantly designed new promotion. Drawing a parallel between architectural detail and the communication arts, this booklet involves an interaction of form and material, color and texture, and points out how this particular stock enhances communications and invites examination of the printed page.

Sibley/Peteet designed this promotion, which incorporates an extensive range of printing and finishing techniques including printing duotones over foil, using tinted varnish for a tapestry effect and die cuts to "demonstrate the color interaction of this stock's palette~' Whoa, that's heavy. For your copy, write Alan J. Rowland at James River Corporation, 145 James Way, Southampton, Pennsylvania 18966, or call1-800-441-9292.

1989 Statistical Fact Book ... is published by the Direct Marketing Association as a reference of more than 325 charts and tables that provide target marketers with data for strategic planning and marketing decisions. This 262-page book pinpoints consumer and business attitudes and buying habits; quantifies and compares marketers' outlooks and expectations on key issues and provides expenditure and cost figures. Updated yearly, this publication falls under the "unless otherwise noted" section listed above because it will run you $84.95 for a copy.

If you're a DMA member, the price drops to $59.95. To get yours, write the DMA Publications Department, Direct Marketing Association, 6 East 43rd Street, New York, New York 10017, or call (212) 768-7277.

Meeting Materials Catalog ... is a new directory featuring meeting products and services such as 9800 stock slides, presentation graphics, computer graphics, overhead projection equipment, sales and training materials and six articles on planning effective meetings. Consisting /32

M A R C H I A P R I L I9 9 0

of 48 pages, this catalog is free for the asking from Visual Horizons, 180 Metro Park, Rochester, New York 14623, or call (716) 424-5300, fax (716) 424-5313.

Art ... is the latest promotion from Monadnock Paper Mills created for their Astrolite, Caress and Dulcet text and cover grade lines. Intended to show how designers and illustrators communicate abstract ideas, this portfolio covers a wide range of styles such as collage, computer generated designs, dye transfer, pastelle, pen and ink and watercolor. The list of contributors reads like a who's who of the design community. People lending their talents and services include Mike Weymouth, Kit Hinrichs, Robert Appleton and Guy Billout. Pictured diving headfirst into a bin of wasted paper from a press run, Michael Weymouth is quoted, "Art is where you find it ... " A true craftsman. For a free copy, write Karlene Leland at Monadnock Paper Mills, Bennington, New Hampshire 03442, or call (608) 588-3311.

Starwhite Vicksburg ... is Simpson Paper Company's premium text and cover paper, and Simpson has added several changes and "improvements~' I've always wondered, when something is improved, does that mean the "old version" was flotsam? Just curious. Presented in a simple yet effective swatchbook, the changes include a whiter Tiara shade with higher opacity, a new soft-white Archiva shade with archival quality, a new Hi-Tech embossed finish in Tiara and new cover plus weights to add to text, cover and bristol weights. If I'm interpreting the press release correctly, I think Simpson is quite pleased with this stock: " ... long been recognized as the leading premium white text ... unsurpassed printing surface ... exceptional formation ... ideal choice~' I love understated sales pitches. For your free copy of this tremendous, stupendous, outstanding and just plain perfect swatchbook, write to Terri Morin at Simpson Paper Company, One Post Street, San Francisco, California 94104, or call (415) 391-8140.

-William Rayburn

NEW KIMDURA F P G 3 0 0 In a flash, the way you think about cover stocks will change forever when you specify our new FPG 300 grade of KIM DURA®Synthetic Paper from Kimberly-Clark.

Never before has a single stock combined outstanding print fidelity with a tough-asnails durability.

As with other grades of KIMDURA, FPG 300 is tear realstant, water repellant and ~ resistant to almost every kind of chemical, oil or soil because it's designed from the ground up for rugged durability. The ultra-smooth surface delivers crisp, high fidelity images from flexo, offset or screen printing.

New FPG 300 KIMDURA also lends Itself to a variety of finishing techniques, like die cutting, and can be scored and folded repeatedly without cracking or tearing. #

When your next job calls for great print quality and outstanding durability, choose KIM DURA®Synthetic Paper from Kimberly-Clark.

Available in 8 weights and 3 embossed patterns.

Kimdurci -b\'lltlxile l~tper

@ Kimberly-Clark

Endurance •••••••••••••••• •• • ••• • • • • • • •••• • • • •• • • • •

an~ eye a~~eal

HALLMARKS OF THE DURABLE PAPER CLAN FROM KIMBERLY-CLARK. F or everything from menus, maps and manuals to bags, tags, banners and flags, nothing beats the durability (and printability) of durable papers from Kimberly-Clark. Call your paper merchant or contact the Technical Paper group at Kimberly-Clark, 1400 Holcomb Bridge Road, Roswell, GA 30076, for more information on the following papers.

TEXOPRINT® Durable Coated and Uncoated Papers Coated TEXOPRINT®is the original "baby-book" paper. Developed over 35 years ago, this durable performer is formulated to be water, stain and tear resistant and provides exceptional folding endurance. It's ideal for folded pieces such as maps, manuals and promotional pieces. Today, the first-ever latex coated stock is still handling the tough jobs with ease ...and beautiful results. Available in 80#, 11 0 # and 140# text weights.

U ncoated TEXOPRINT® provides a durable alternative to uncoated printing papers, with comparable print qualities including excellent moisture and tear resistance. Its ability to endure more abuse than plain bond papers makes it ideal for oft-handled documents that require frequent updating, like sales presentations, parts and stock lists and operations or procedure manuals. It prints easily and requires no special handling. Available in 55# and 75# text weights.

DURAWEB®Durable Paper The durable paper for web-offset printing. With the same quality printing characteristics of TEXOPRINT®Coated Paper, but specially engineered for high-volume web printing. Available in 80# text weight.

BUCKSKIN®Durable Cover Stock This cover stock features the look and feel of supple leather. The construction of this sheet makes it tear resistant, as well as sewable and washable. BUCKSKIN creates a unique impression with its unusual look and feel qualities. Popular uses range from menus to tags and book, folder or portfolio covers. Available as a 150# cover weight in several rich colors.

PREVAIL®Fiber Reinforced Paper Whatever the task, PREVAIL®can handle the toughest jobs. Reinforced with synthetic fibers, it is sewable, washable, heat-resistant, UV resistant and extremely tear resistant. In fact, while it prints beautifully it's as close to indestructible as any pulp-based paper can be!

PREVAIL is especially suitable for outdoor uses including banners, posters and tags. Available in 150# text weight.

@ Kimberly-Clark Technical Paper 1400 Holcomb Bridge Road, Roswell, GA 30076 ® Registered Trademark of Kimberly-Clark Corporation, Roswell, GA 30076 () 1989 KCC. All rights reserved. 5Q-910

CA90 31st ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Work that has been first printed, published or broadcast between July 1, 1989 and June 22, 1990 is eligible for CA-90. Deadline for submitting entries is June 22, 1990.

Entries may originate from any country (twenty nations have been represented in past Annuals). English translations are very important for the jurors.

All of the entries selected by the juries will be reproduced in two indexed issues of CA-90. The November Design Annual will show all accepted entries chosen by a distinguished jury of designers. The December Advertising Annual will show all of the accepted entries selected by a distinguished advertising jury of writers, art directors and creative directors.

The largest (27,820 last year) of all the juried competitions, this is also the toughest to make. Having your work selected is of corresponding significance.

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

The Design Annual and Advertising Annual (combined total of528 pages last year) will

incorporate special reproduction techniques developed by CA, quality 175-line color separation, printing on premium 80 lb. coated paper by one of the finest printers in the United States with everything that was originally in color reproduced in color at a size that allows the copy to be read.

Award of Excellence certificates for firms, individuals and clients will be mailed in January, 1991.

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

No entries can be returned. Submission of entries to CA-90 acknowledges the right of Communication Arts to use them for publication and exhibition.

• Please note: Illustration and photography categories are not included in CA-90. Work in these categories should be submitted to the Illustration Annual or the Photography Annual, separate juried competitions published in July and August, with an entry deadline of March 21.

DEADLINE FOR ENTRIES IS JUNE 22

CATEGORIES CONSUMER MAGAZINE ADVERTISING 1A Single ad, any size, including spreads ($25) 1B Campaign, limit of five ($40) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size, including spreads ($25) 2B Campaign, limit of five ($40) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising appearing in consumer magazines and newspapers, and corporate-sponsored public service advertising) 3A Single ad, any size, including spreads ($25) 3B Campaign, limit of five ($40) POSTER/ ADVERTISING 4A Outdoor, 24-sheet .or larger, includes painted ($25) 4B Series of 4A, limit of five ($40) 4C Transit (bus, subway, shelter) ($25) 4D Series of 4C, limit of five ($40) 4E Point of purchase ($25) 4F Series of 4E, limit of five ($40) 4G All other advertising posters ($25) 4H Series of 4G, limit of five ($40) AUDIO/VISUAL PACKAGING SA Single record, cassette, compact disc, video, software ($25) 5B Series of5A, limit of five ($40) PACKAGING/LABELING 6A Single package, label, shopping bag ($25) 6B Series of 6A, limit of five ($40) IOENTlTY 7A Trademark (place the company name and nature of the business next to the mark for the jury's information) ($25) 7B Corporate identity program (mark, signage, identity manual, packaging, vehicles, etc.) at least five, limit of ten ($40) LETTERHEAD 8A Letterhead/ envelope/business card ($25) 8B Company business-paper series (invoice, purchase order, label, envelope, letterhead, etc., from the same company) at least five, limit often ($40)

COMPANY LITERATURE 9A Annual report ($25) 9B Institutional booklet or brochure ($25) 9C Service booklet or brochure ($25) 9D Product booklet or brochure ($25) 9E Real estate booklet or brochure ($25) 9F Catalog: product ($25) 9G Catalog: school ($25) 9H Catalog: exhibition ($25) 91 Miscellaneous company literature (announcement, invitation, greeting card, data sheet, conference literature, etc.) ($25) 91 Series of91, limit of five ($40) POSTERS/DESIGN lOA Posters (exhibition, institutional, theater, gallery, etc.) ($25) lOB Series oflOA, limit of five ($40) EDITORIAL llA Consumer magazine (cover or page or two-page spread) ($25) llB Multi-page section ofllA ($40) llC Newspaper (page or spread) ($25) llD Multi-page section ofllC ($40) llE Trade magazine (cover or page or two-page spread) ($25) llF Multi-page section ofllE ($40) llG House organ/newsletter/association (cover or page or two-page spread) ($25) llH Multi-page section ofllG ($40) BOOKS & JACKETS 12A Book, entire unit ($25) 12B Book, cover or jacket ($25) 12C Text book, entire unit ($25) 12D Text book, cover or jacket ($25) 12E Children's book ($25) 12F Children's book, cover or jacket ($25) 12G Cover I jacket series, limit of five ($40) SALES PROMOTION 13A Direct mail/sales presentation ($25) 13B Series ofl3A, limit of five ($40) SELF-PROMOTION 14A Printed promotion for design firms, printers, paper companies, art schools; illustrators, photographers ($25) 14B Series ofl4A, limit of five ($40) 14C Printed promotion for ad agencies, art directors, copywriters, suppliers ($25) 14D Series ofl4C, limit of five ($40) 14E Art/design clubs, communication/ promotion ($25) 14F Series ofl4E, limit of five ($40) 14G Advertising clubs, communication/ promotion ($25) 14H Series ofl4G, limit of five ($40)

DEADLINE FOR ENTRIES IS JUNE 22

TELEVISION ADVERTISING 15A TV commercial, 3!4'' video tape NTSC or 16mm film ($45) 15B Series ofl5A, limit of three ($60) RADIO ADVERTISING 16A Radio commercial, V4" magnetic tape, 7112 ips ($45) 16B Series ofl6A, limit of three ($60) TELEVISION/RADIO STATION PROMOTION 17A Poster/billboard ($25) 17B Series ofl7A, limit of five ($40) 17C Ad (magazine or newspaper) ($25) 17D Series of17C, limit of five ($40) 17E Printed pieces (brochures, etc.) ($25) 17F Series ofl7E, limit of five ($40) 17G Program promo, 3!4'' video tape NTSC ($45) 17H Series ofl7G, limit of three ($60) 171 Radio, V4" magnetic tape, 71h ips ($45) 17J Series ofl71, limit of three ($60) 17K Program title, logo, signature, 3!4'' video tape NTSC ($45) 17L Series ofl7K, limit of three ($60) PUBLIC SERVICE (To be eligible for this category, the creative element must have been done as a donation or at cost for a non-profit organization) 18A Magazine ad ($25) 18B Series of18A, limit of five ($40) 18C Newspaper ad ($25) 18D Series of18C, limit of five ($40) 18E Poster ($25) 18F Series ofl8E, limit of five ($40) 18G Booklet, direct mail ($25) 18H Series ofl8G, limit of five ($40) 181 TV commercial ($45) 18J Series of181, limit of three ($60) 18K Radio commercial ($45) 18L Series ofl8K, limit of three ($60) ARCHITECTURAL GRAPHICS 19A Signage, interiors, architectural graphics, limit of ten slides ($40) 19B Display (trade show exhibit, point of purchase, etc.) limit often slides ($40) MISCELLANEOUS 20A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 91) ($25) 20B Series of20A, limit of five ($40) 20C Calendar ($25) 20D Menu ($25) 20E Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc., limit of five ($40) 20F Anything not covered in previous categories ($25) 20G Series of20F, limit of five ($40)

A

PREPARATION OF AUDIO/VISUAL ENTRIES All television commercials must be 16mm film or W' video tape cassettes NTSC. Include only a 10 second countdown, no slates or bars. Single tape commercials must be on individual cassettes. If your tape commercial is accepted, please furnish us with film (16mm or 35mm) or 6 color frames for reproduction in the Annual. 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 should be on V4'' magnetic tape, 71J2 ips in reel-toreel format. Audio/visual series are limited to three commercials.

This form and entry fee must accompany entries submitted to CA-90.

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

Phone

Fax Company Address

PREPARATION OF PRINT ENTRIES Submit ad tear sheets or proofs, UNMOUNTED and trimmed as published. Send annual reports, brochures, folders, books, catalogs, etc., in bound form. For posters over 18" x 24;' packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS.

City

State

Zip

_ _ _ Single entries . . . . . . . . . . . . . . . . . .

. . $25 each $_ __

_ _ _ Campaigns or series . ................ .... . $40 each $_ __ _ _ _ Single TV Commercials ................... $45 each $_ __ _ _ _ TV Commercials series ........ . ........... $60 each $_ __

PREPARATION OF PACKAGES Send entries in flat packages only, no mailing tubes (they frequently arrive damaged). If more than one package is sent, please indicate on the outside wrapping: "Package no. __ of __ packages:' If the package contains TV or radio entries, indicate on the outside wrapping: "Broadcast Entries:' NonUnited 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. International entries should be sent by mail, not air freight.

Mail entries to:

Air Express entries to:

CA-90 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

CA-90 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

_ _ _ Single Radio Commercial .................. $45 each $_ __ _ _ _ Radio Commercial series .................. $60 each $_ __ TOTAL FEE $_ __ Self-addressed, stamped envelope included for acknowledgement

B

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

Category] [

I Letter

mber

For campaigns or series only This is No. _ _ of _ _

Submitted by

FORMS AND ENTRY FEES Form A (or a facsimile) and the entry fee must accompany your package of entries. Please make checks or money orders payable to CA-90. Foreign contestants must send an International Money Order or a check in U.S. funds drafted on a U.S. bank.

Company

B

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.

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

For foreign acknowledgements, enclose a self-addressed envelope and include 30 cents for Canada or Mexico or 45 cents for other countries in your entry fee. As soon as we open your package we will send the acknowledgement to you.

Category] [

Letter

Fo~ c~mpaigns or series only

~Fo<CAuse~

This IS No. _ _ of _ _

Company

r ---------------------------I

I I

I I

NO RETURN OF ENTRIES

I

mber

Submitted by

I Call (415) 326-6040 if you have any further questions.

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

B [

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

Category]

Fo~ c~mpaigns or series only

I Letter

This IS No.-- of _ _

mber

I

I

Submitted by

I I

Company

I

l

~Fe<CAuso~

Birds of a Feather.

Captured on Productolith Gloss -the high performance No. 2 enamel from Consolidated.

From pj's to pillow fights , count on Productolith to capture it all, economically.

Productolith is available in gloss, dull and two embossed finishes with matching cover.

Contact your printer or your Consolidated Paper Merchant for more samples of Productolith Gloss.

Paper: Productolith Gloss 100 lb.

CONSOLIDATED PAPERS, INC. 200 WEST MADISON STREET CHICAGO, ILLINOIS 60606 Photography: Eileen Glenn

CLUBS, CONFERENCES, SEMINARS

ToRONTo/VIcoM '90

STUDENT DESIGN

The VI COM trade show and seminar series takes place at the Metropolitan Toronto Convention Centre April 5-8.

Topics presently scheduled include photography, electronic imaging, illustration, video production, art direction, cinematography. Seminar instructors will include Jay Maisel, Bob Ciano, Joe Baraban, Alan Cober and Joe Duffy, among others, at the largest visual communications conference in Canada. Also included is a seminar on designing and marketing environmental products. For further information, contact Jai Cole, VI COM, 7-70 Villarboit Crescent, Concord, Ontario L4K 4C7, Canada.

Phone (416) 660-2491 or fax (416) 660-2492.

International Typeface Corporation announces the sixth annual Herb Lubalin International Student Design Competition, "Drive Smart, Drive Sober." The winner of this juried competition will be awarded the Herb Lubalin Medal and a cash prize of$5,000. A second prize of$2,500 and eight third prizes of$500 will also be awarded. Design students from around the world are invited to create graphic interpretations of a specified passage of text that has been selected by lTC. The competition's theme addresses the global problem of driving while under the influence of alcohol. The deadline for submissions is May 18. To obtain a copy of the call for entries, which includes the required text and competition requirements, contact Ms. Sharon Fuller at lTC, 2 Hammarskjold Plaza, New York, New York 10017 or call (212) 371-0699.

ATLANTA

Art Supply Expo (formerly Tools of the Trade), a showcase of supplies for artists, designers and illustrators, will be held April 20, 21 and 22 at the lnforum, Atlanta Market Center, 250 Williams Street, Atlanta. The show features exhibits by retailers and manufacturers of art materials and equipment. Seminars and free workshops, taught by professionals, will be offered for fine and commercial artists. Arlene Matteson, Art Supply Expo, 1516 S. Pontius Avenue, Los Angeles, California 90025. For complete seminar and show information call (213) 477-8521 or (800) 826-8257 between 8:00a.m. and 5:00p.m. Pacific Time.

CMG " Color, Colour, Couleur, Colorida Colore, Farbe-An International Color Marketing Conference" is the theme of the Color Marketing Group's spring conference to be held at the Royal York Hotel, Toronto, Ontario, Canada on April29-May 1. At this meeting, CMG members will forecast the 1992 consumer color directions and present the 1992-93 contract colors which were forecast last September in Scottsdale, Arizona. For more information, call (703) 528-7666 or write Color Marketing Group, 4001 N. Ninth Street, Suite 102, Arlington, Virginia 22203.

WADC

The Western Art Directors Club announces the 1990-91 executive board of directors: president Rick Tharp, Tharp Did It; vice presidents Stephanie Paulson, The Stephenz Group and Alfredo Muccino, The Muccino Design Group; treasurer Debbie Palmer, Order From Chaos; secretary Eric Gouldsberry, Eric Gouldsberry Design. In February, PICA (People in Communicating Arts, Monterey, California) merged with WADC boosting the total membership to over 600. For information, contact Rick Tharp (408) 354-6726, WADC, P.O. Box 996, Palo Alto, California 94302.

ADAC

The Art Directors and Artists Club of Sacramento will sponsor Envision 16 on June 1, 2 and 3 at the Sacramento Community Center. The theme is "The Risk Factor" and the confirmed speakers at this time are New York executive editor Susan Morrison, Spy; San Francisco graphic designer Michael Mabry; Los Angeles photographer Scott Morgan; Boston graphic designer Nancy Skolos. Early registration fees, postmarked by March 31: students $90, ADAC members $135 and non-members $180. Fees postmarked by May 25: students $100, ADAC members $180 and non-members $225. For more information or to place your name on the mailing list, write to Marie Carvidi, Executive Director, ADAC, 279124th Street, Sacramento, California 95818 or call (916) 731-8802.

GDEA

The Graphic Design Education Association will focus their second annual national symposium on "Defining the Boundaries of Graphic Design Education" in Chicago on June 7-10. The four day symposium will be held at the School of the Art Institute of Chicago. Housing will be available at nearby hotels. For additional information, contact R. Roger Remington, Rochester Institute of Technology, Box 9887, Rochester, New York 14623.

GRAPHIC ARTISTS GUILD

New officers were elected by the Graphic Artists Guild National Board of Directors for a two year term at its annual convention in New York: president Simms Taback, illustrator New York; first vice president/chairman Polly M. Law, illustrator, Brooklyn; secretary Anna Rich, illustrator, Elmont, New York; assistant secretary Regina C 0 M M U N I C A T I 0 N A R T S

141

Envision 16 begins with a trade show at noon on Friday June 1, and continues with the speaker program starting at 9am on Saturday June 2, and ending at 5pm 011 Sunday June 3.

Registration fees

• Postmarked by March 31: Students (with valid !D) $90 ADAC Members$ 135 Non-members $180 • Postmarked by May 25: Students (with valid ID) $100 ADAC Members $180 Non-members $225 • After May 25 or at-the-door: Students (with valid lD) $110 ADAC Members $200 Non-members $245 Hotel I airline group ~ rate infor~nation

Hyatt Hotel 916-443-1234 I 1-800-228-9000 Clarion Hotel 916-444-8000 I 1-800-252-7466 Hotel El Rancho 916-371-6731 I 1-800-952-5566 House of Travel 916-442-7307 I 1-800-444-9996 ~Identify with group name 'WAC"

Note the fee schedule.

Enclose aphotocopied student lD if applicable.

Make checks payable to: ADAC !279"'1 !24 St. Sacraftlcnto CA 958"'18

Telephone 916.731.8802

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CLuBs, CoNFERENCES, SEMINARS

Ortenzi, textile designer, Jersey City, New Jersey; treasurer James Schauweker, graphic designer, Palm Harbor, Florida; vice president publications Michael Patterson, graphic designer, Burlington, Vermont; vice president legislation Alfred Ramage, illustrator, Winthrop, Massachusetts; vice president chapter development Frederick H. Carlson, illustrator, Pittsburgh; vice president recruitment Paul McCall, illustrator, Marietta, Georgia. Membership in the Guild is open to professionals and students in the graphic arts and allied fields. For additional information, call (212) 463-7730 or write to the Guild at 11 West 20th Street, 8th Floor, New York, New York 10011.

ASPEN

" Growing By Design;' the 40th International Design Conference in Aspen, June 17-22, will explore the relationship between design and children. Co-directed by Jane Clark Chermayeff and Ivan Chermayeff, the conference will bring together more than forty prominent designers, architects, authorities on child development, educators, legislators, filmmakers , artists and computer software specialists. They will examine the various objects and environments from which children learn basic information about themselves and their inherited world: television, day care centers, toys and playgrounds, movies, computer programs, libraries and museums, and advertising. The fee for the five day conference is $575; one additional household member $325; full-time students $150; children (7-17) $75. For further information, write or call Deborah Murphy, IDCA, P.O. Box 664, Aspen, Colorado 81612, (303) 925-2257. Fax (303) 920-1167. Deborah can also provide information about the "Kids Aspen" program which runs concurrently with IDCA 1990.

AlGA/Detroit Chapter, P.O. Box 3172, Ann Arbor, Michigan 48106. Telephone (313) 487-3388.

SANTA FE

Santa Fe Photographic Workshops announces it will offer thirty-five, one week workshops from June lOth to August 4th for professional photographers and dedicated amateurs.

The inaugural summer season of1990 will bring to New Mexico a seven week program with five different workshops each week. The program will offer workshops in corporate advertising, editorial and photojournalism, studio photography, landscape, architecture, portraits and a weekly vision course called "New Ways To See~' Some of the guest instructors will be Bill Pierce, Peter Papadopolous, Michael O'Neill, Hans Neleman, Steve Northup, Greg Heisler, Rodney Smith, Neil Selkirk, Steve Simmons, Peter Aaron, Jim Krantz, Rob Gage, Sam Abell and others. Corporate support will come from the Professional Photography Division of Eastman Kodak Company and from Apple Computer. For the past fourteen years Reid Callanan has been associated with The Maine Photographic Workshops, and now he will bring his practical experience to New Mexico. For a 44-page catalog or further information please write Santa Fe Photographic Workshops, P.O. Box 9916, Santa Fe, New Mexico 87504 or call, toll free, (800) 388-3256.

Los ANGELES Photo West will take place June 22-24 at the Los Angeles Convention Center. Professional photographers will be able to attend informative seminars, intensive workshops and behind-the-scenes studio tours led by some of the top shooters in the industry. Topics discussed in the seminars will include everything from self-promotion to lighting.

The seminars will be complemented by an exhibit featuring professional products, equipment and services from over 300 vendors. For more information, contact Sharon Green, Program Manager, Conference Management Corporation, 200 Connecticut Avenue, Norwalk, Connecticut 06854 or phone (203) 852-0500, ext. 247.

AlGA/DETROIT

The Detroit Chapter ofThe American Institute of Graphic Arts announces its new officers serving a two-year term through 1991: president Jim Houff, WDIV-TV design director; vice president Skip Davis, principal of Design Network, Southfield; secretary Joann Kallio, design director General Motors Design; and treasurer Bonnie Detloff-Zielinski, principal ofBDZ Design, Rochester.

1 I I I I I I I

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Our graduates have an average starting salary of $25.000.

So whether you're interested in advertising. illustration. design or photography spending eight quarters with us is the smartest investment you can make. Send for more information or call 1·800-255-3169.

NAME

~~ CITY

PHONE

STATE _ _ ZIP__

~ PORTFOLIO CENTER

125 BENNETT ST. N.W.•ATLANTA . GEO RGJA 30309

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CA BACK ISSUES Some of th e back issues are still available. They' re all fairly rece nt because time has always m anaged to depl ete our in ventory.

There are several hundred extra copies of some of the iss ues in this rece nt period (1977 on), a hundred or less of others, and non e 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 accompani ed with payment.

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

Issu es not listed are no longer available.

NOV/ DEC 1977

$21

CA-77 Advertising & Design Annual JUL/ AUG 1978

$14

The Art Annuall978 Illustration & Photography NOV/ DEC 1978

$21

CA-78 Advertising & Design Annual NOV/ DEC 1979

$21

CA-79 Advertising & Design Annual NOV/DEC 1980

$21

CA-80 Advertising & Design Annual JUL/ AUG 1981

$14

$14

The Art Annuall982 Illustration & Photography NOV/ DEC 1982

MAY/JUN 1985

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel's Ballet JUL1985

AUG1985

NOV1985 $21

JUL/ AUG 1983

$14

$21

CA-83 Design Annual $21

CA-83 Advertising Annual

$14

Photography Annual NOV1984 CA-84 Design Annual DEC1984

$21

CA-84 Advertising Annual JAN/ FEB 1985

Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche + Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference; Index to Volume 27 $7

$7

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game $14

Illustration Annual $7

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

AUG1986 Photography Annual

$21

CA-86 Advertisi ng Annual $7

Heinz Centennial Annual Report; Richard Hami lton 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

$7

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems MAY/ JUN 1987

$7

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 $14

Illustration Annual $14

Photography Annual SEP/ OCT 1987

$7

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie May; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising NOV 1987

DEC1987

$21

$14

$14

Illustration Annual AUG1988

$14

Photography Annual SEP/ OCT 1988

$7

Tony Schwartz; Julie Lieberman; Franc;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer $21

CA-88 Design Annual DEC1988

$21

CA-88 Advertising Annual JAN/ FEB 1989

$7

Edelstein Associates; Myron; Joy Radio; Muller+ Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhibit MAR/ APR 1989

$7

Tom Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure MAY/JUN 1989

$7

Ammirati & Puris; Computers in the Studio; Scott Morgan; Richardson or Richardson; Exhibit; Yesterday inCA JUL1989

$14

Illustration Annual AUG1989

$14

Photography Annual SEPLDCT 1989

$7

Lewis Moberly; William Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit NOV1989

$21

CA-89 Design Annual $21

MARLAPR 1988

DEC1989

$21

CA-89 Advertising Annual $7

Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction"; Kunia Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29 $7

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen MAY/ JUN 1988

JUL1988

NOV1988

JAN/FEB1987

CA-87 Advertising Annual

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

JUL1986

CA-86 Design Annual DEC1986

JAN/ FEB1988

MAY/ JUNE 1986 $21

$21

CA-87 Design Annual $7

MAR/APR 1986 $14

Illustration Annual AUG1984

$21

JAN/ FEB 1986

The Art Annuall983 Illustration & Photography

JUL1984

$21

CA-85 Design Annual

CA-85 Advertising Annual

NOV1986

AUG 1987 $7

$7

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertisi ng Museum; Next

JUL1987 $14

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

DEC1985

DEC1983

$14

Illustration Annual

CA-82 Advertising & Design Annual

NOV1983

$7

SEP/OCT 1985 $21

CA-81 Adverti ing & Design Annual JUL/AUG 1982

$7

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

Photography Annual

The Art Annual l981 Illustration & Photography NOV/ DEC 1981

MAR/APR 1985

SEP/ OCT 1986

$7

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

JANLFEB1990

$7

International Posters; Deutsch; Joyce Kitchell; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference Ill; Earthquake; Exhibit; Index to Volume 31