marapr1994

COMMUNICATION ARTS FEATURES

3BHILL/A MARKETING DESIGN GROUP A Houston, Texas design.firm with an international clientele.

By Mike Hicks

4B

DON ASMUSSEN

This former Michigan-based illustrator uses various media to create startling portraits.

By Laurie Freeman

56

KEIZO MATSUI

A Japanese designer with a global perspective.

By Noreen Rei Fukumori

Volume 36, Number 1

66

COLE & WEBER

This Pacific Northwest two-office agency hopes to become a national force.

By Warren Berger

7B

SUE B ENNETT

A Flagstaff, Arizana photographer gets to the heart of her subj ects.

By Anne Telford

BB CLIENTS & D ESIGNERS Chennayeff & Geismar's identity for The Knoll Group.

By Ellen Shapiro

101 Eco An examination of packaging materials and two green case studies.

Designed and edited by Eva Anderson

105

EXHIBIT

Reproductions of the latest and best in visual communication.

T E C H N 0 L 0 G Y

11 BTECHNOLOGY An overview of computer-based map design.

124 D ESIGN TECHNOLOGY Educator Ma ry Ann Frye discusses teaching in the electronic age.

ED ITOR AND DESIGNER

Patrick Coyne EXECUT IV E EDITOR

Jean A. Coyne

128 TECHNOLOGY R EVIEWS Richard Koman explores the advantages of Kai 's Power Tools.

133 TECHNOLOGY R ESOURCES Books, magazines, newsletters, seminars and training.

CONSULT I NG EDITOR AND DESIGNER

Stephanie Steyer-Coyne

COLUMNS

MANAG I NG ED IT OR

Anne Telford PRODUCTIO

27 HUMOR Dana Arnett's tongue-in-cheek designer aptitude test.

MANAGER

Scott Perry

34 ADVERTISING Carl R. Warner cautions against using the ad annuals as inspiration.

PRODUCTIO

RonNiewald Scott Teaford

138 D ESIGN ISSUES LeslieSherranalyzeswhyspecworkdoesn'tpay.

ADVE R TIS I NG

A

C IR CULATION

DIRECTOR

D

Michael Krigel RETAIL SALES

Art Carbone

144 O PINION/COMMENT ARY A panel discussion on typography, edited by David Brier.

151 LEGAL AFFAIRS Tad Crawford describes professional guidelines for artists' rights.

ADM I N I STRATIVE ASS I STANT

154 FREE- LANCE Barbara Gordon Looks at how the economy is impacting freelancers.

Nancy Hagemann ED I TORIAL ASS I STANT

Sue Garibaldi SUBSC RIP T I ON MANAGER

D E P A R T M E N T S

Jason Jackson SUBSCR IP T I ON

Gloria Rosario Priscilla Solera TRAFFIC MA

AGER

BEDITOR'S COLUMN

165 MATERIALS, AVAILABLE LITERATURE

12 CONTRIBUTORS

1BB CLUBS, CONFERENCES, SEMINARS

1B LETTERS TO THE EDITOR

170 DIRECTORY

Lisa Marie Perez FOU

DER

Richard Coyne

156 BOOK R EVIEWS 159 DESIGN AND ADVERTISING CALL FOR ENTRIES COVER : Blood tribal elder photographed in Standoff, Alberta, Canada.© 1994 Sue Bennett

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

Copyright 1994 by Coyne & Blanchard, Inc.

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

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

Editeur responsable (Belgique): Christian Desmet Vuurgatstraat 92,3090 Overijse. Belgique

All pieces reproduced in this issue are under prior copyright by the creators or by contractua l arrangements with their clients.

Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

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C O LUMN

P ATRICK COYNE

P

UBLISHING IS A TREACHEROUS INDUSTRY. With the exception of the restaurant business, there probably isn't a field littered with more failures.

There are innumerable things that can go wrong, which are out of the publisher's control. So it's with a certain amount of pride that I can say Communication Arts is now 35 years old and stronger than ever.

Frankly, looking back has never been as interesting to me as looking to the future. Still, it would be inappropriate not to acknowledge this milestone.

But rather than devote an issue to the subject, I'd like to limit it to this column .

In retrospect, the changes we' ve lived through , socially , politically and professionally in just the last 35 years are simply astounding .

In many ways, the late ' 50s parallel today. Big changes were coming. Television as a creative medium was in its infancy (only ten television commercials were accepted for the New York Art Directors show in 1958). Videotape had just been introduced.

Offset lithography was only starting to become popular, as was the title "Graphic Designer."

Copywriters created the ads and art directors made them look good. Doyle Dane Bernbach's revolutionary creative team approach was just beginning to impact the industry.

four-color editorial reproduction, more dependence on circulation than on advertising-it was essential that we build a broad subscription base in a hurry. " The magazine did attract a relatively large following early on, but it wasn't enough to make it profitable. Advertisers were excited about the product, but initially hesitant to commit ad dollars to a new publication. "I don ' t remember how many times we debated giving up ... or wondered if tomorrow was the day that somebody else would make that decision for us ," Dick wrote. "But we hung on stubbornly ... cut the staff even further , cut our salaries, worked longer hours ... about a hundred a week it seemed. Blanchard and I not only wrote and did the layouts, we did most of the litho stripping too . We didn't bother with paste-ups, we put the magazine together in negative film , in flats , ready to burn plates. Anything to save time and a buck."

Blanchard eventually left to go into business for himself, but Dick stuck it out, finally managing to get out of debt. In 1969, CA's tenth anniversary, Dick wrote, "What a decade it was. One could find little argument that this was a mo st important decade-probably Lloyd Pierce designed our inaugural cover. The CA logotype was the most important decade-in designed by Freeman "Jerry" Craw, creator of Craw Clarendon . the history of visual communication. Design , adverti sing , film , all were buffeted by extreme change."

My father , Dick Coyne, and his partner, Bob Blanchard, Having made it through the "Me" decade of the ' 70s, the were running a successful design firm on the San Francisco "Opulent ' 80s," as designer/historian Philip Meggs called Peninsula that included their own in-house typesetting shop. it, and our own turmoil over Dick's death in 1990, we ' re They wanted to build a color separation and litho stripping faced with extreme change again. Not just the pared-down, facility to provide better service to their growing list of lean-and-mean, socially and environmentally consciou s customers , but there simply wasn ' t enough work from the changes of the ' 90s, but the profound evolution from mass design business to keep a facility going. So, after some media to individual and interactive media- from designers thought, they decided to start a commercial art magazine and advertising creatives crafting and controlling the mesto pick up the slack. sage to the audience deciding which messages they want "Starting a new magazine is both an exhilarating and a to receive and in what form. frightening experience," Dick wrote. "For every Playboy, there were a dozen magazines that never published a second issue. Portfolio, directed to our field in 1948, was a visual delight, but only lasted for three issues. With a concept for a different kind of trade magazine-printing by lithography ,

6

M A R C H/APRIL

1 994

Will you be downloading from CA' s on-line creative excellence filter into your virtual reality goggles to see the latest trends in post-cyber-punk typography ? The possibilities of this wild thought aren ' t really that far off.

CA

CA MAGAZINE

Magazine

TIJE JOURNAL OF THE COMMUNICATION ARTI • VOLUME 10. NO 2. 1%8 • Sl

How many black Americans will graduate from art school this year?

One of our best rece ived covers appeared in 1966 when the Ajax white knight commercials were brighten ing our television viewing . Los Angeles based photographer Peter James Samerjan rented the same su it of armor used in the commercials and hi red a model (B ill Cosby's "I Spy" stand-in) who obvi ously enjoyed the idea as much as we did. This was just a spontaneous idea. one of those things that often happens when imaginations are turned on and the menta l wheels are in motion .

Fro do Lives ! Two of the buttons on the 1967 cover carry that message. If you can recognize the second, in Feanorian letters. you need no introduction to Frodo Baggins and the remarkable books of J. R. R. Tolkien . These buttons. along with beads. amulets and so forth, were common hippie adornment. Our decision to show them here was triggered by the rock posters we reproduced in the issue. The posters' ingenuous honesty had a rare appeal; and they offered a new kick for a public that was strangely and powerfully attracted to the subculture they reflected . Bill Arbogast. photographer.

"Not qualified" has been the explanation for the lack of minority participation in the vi sua l arts. Why not qua lify minority talent? It's there. We , the creative community, need to provide the incentive and encouragement that will validate this talent. Bill Tara. a contributor to CA during the '60s. created a program called Tutor/Art. tra ining Los Angeles innercity high school students so they could prepare portfolios for art school acceptance . It's a story worth repeating. Bi II Arbogast. photographer.

COMMUNICATIONS ARTS VOL 11, NO. 4, 1969 • 52.50

This 1967 cover celebrated Expo 67 . part of Canada 's 1OOth birthday party, a fantastic program of performin g arts , spectaculars , sports and entertainment.

Multi -screen films were presented at most of the pavi li ons at the World Expos ition in Montreal. The med ium permeated the experience and rose to the top position in exposition commun ication . The diffi cu lty was to find a single screen that delivered an honest well -structured message . Vance Jonson. des igner/ photographer.

This 1969 cover is a reproduction of a limited edition poster created by Dick Hess and Sam Antupit. It was an idea they had, inspired by the unfortunate incident when pop artist Andy Warhol was shot. Everyone agreed that the image made a bigger statement symbolizing a decade of artistic, social and political unrest. Stettner-Endress. photographer.

A special 1972 issue on the environment. edited and designed by Duga ld Stermer with contributions from Victor Papanek, Chris Blum. Clear Creek, Jerry Mander.

Ansel Adams and Bruce Davidson. We received several letters from readers suggesting if they wanted environmental coverage they would join Friends of the Earth .

Alfredo Rostgaard , symbol; Mary Stermer. needlepo int rendering; Bill Arbogast. photographer.

COMMUNICATION

ARTS

7

EDITOR'S COLUMN

Back to 1994. We never would have made it this far without the support and assistance of many people.

Thanks to our staff, past and present, who've worked hard to improve our product and service, to our separators and printers who just keep pushing the envelope of quality.

Thanks also to all of CA's contributors who've shared their ideas and experiences with our readers.

Special thanks to all the past judges, some of our industry's brightest and most talented people, who really shaped the content of the annuals and con equently the magazine. Not only did these individuals contribute their time and energy for the various judgings, they also are representative of those who SEPT/OCT 1962 • 12 have raised the standards for the field over these last 35 years.

It's been a pleasure and an honor to spend a few days with such diverse and interesting groups of people.

Personal thanks have to go to my father, Dick Coyne, whose extreme dedication and belief that the magazine wa worth doing made it the success it is today. I feel fortunate that I had the opportunity to work closely with Dick for four years before his death and that I can continue his personal vision of a quality publication. It pains me a great deal knowing he's not here to share in the succe of his efforts.

In fact, we've added 22.7% more editorial pages since our last price increase in July 1990. I hope there will be more growth to offset some of the ri ing costs, but that' hard to predict. The bigger you get, the harder it is to grow. Even though we are fortunate to have one of the highe t renewal rates in magazine publishing, the percentage begin to catch up and it takes more and more new subscription to offset the 20% or so that don't renew each year.

We've been fortunate that inflation has been extremely low and the oversupply of paper has kept one of our biggest expenses from rising. But there i a point at which the increa ed sub cription revenue will no longer pay for the increa e in content and we will be forced to raise the subscription rate. Another significant factor that could raise our sub cription price would be a po tal increase. It' coming, we ju t don't know when.

We will do our be t to hold the costs in line, as long as it is not at the expense of quality or our philosophy of innovation, information and in piration.

As Dick said in 1984, "I believe that the best is till ahead of us.

The magazine will be around as long as it can perform enough service to this field that you will believe it' s worthwhile keeping CA alive."

Our credo remain the ame: " A magazine is not a piece of proNeiman-Marcus art director Art Shipman designed this cover perty like real e tate. It i only a I'd like to segue this column as a statement on the fleeting life of newspaper advertising. franchise to sell ub criptions into our annual report, a tradiand rent advertising space. That tion with the first issue of each franchise is granted by you the reader." volume, because my biggest thanks belong to you. We' re a subscriber-based magazine. We ' re not part of some big media conglomerate, we're a small, family-run business with a simple philo ophy: produce a superior product and people will pay for it. We do accept advertising and it is a significant source of revenue, but that revenue could never pay for the kind of magazine this field requires.

CA ' s paid circulation is now close to 58,000, a record high.

By putting your subscription dollars back into the magazine we ' ve been able to give you more for your money. We added 28 Y2 pages of editorial this last year, bringing the total to 1,311 Y2 editorial pages over the eight issue subscription. That translates to 3.8 cents per editorial page, by far the best deal in this field.

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MARCH/APRIL

1 994

D

Knowing that the di cus ion of accreditation/certification is still quite active, it was amu ing to come across a tonguein-cheek graphic designer aptitude exam created by VSA partner Dana Arnett and writer Todd Lief for Mohawk Paper. The promotion, titled " Rethinking Design," i a collection of visual essay by different designers and edited by Michael Bierut. There was no room to run the exam in last issue ' s profile of VSA Partner , but Dana agreed to update it and allow us to include it in this i sue.

Rather than take away from the parody , it begin without explanation on page 27.

•

The 1975 cover painting by Dick Hess was his statement for the 1971 American Institute of Graphic Arts invitational exhibition, "Survival." Unfortunately, when he went to retrieve the painting, it had disappeared.

Although Hess offered a reward for its return, the artwork was never recovered, and he has since passed away. Any information on its whereabouts would be greatly appreciated.

Ron Scott's 1977 cover photog raph illustrated an ad for Wide lite, a manufacturer of commercial lighting fixtures. The headline was "How do you light the inside of an egg?" Steve Stanley was the designer of the ad and helped handle the chicken. The rented chicken wasn't too cooperative. Leg hobbles curtailed mobility, but with serious effect on its equilibrium .

After numerous ups and downs, the chicken finally just stood there and looked at Ron with utter disgust.

John Heck was the art director and Weekley & Penny the agency.

Paul Rand's design on the 1979 cover, to accompany an article on his work, written by his Connecticut neighbor and friend Allen Hurlburt. was originally created for the poster and literature of the 1966 Aspen Design Conference based on the theme "Sources and Resources of Modern Design," organized by Hurlburt. then art director of Look magazine.

COMM UN ICATION ARTS

COMM UN ICATIO N ARTS

COMM UN ICATION ART S

The 1987 cover art for this issue was done by the Dallas-based design firm Sibley/Peteet. "Since there seems to be a lot of interest in partnerships, as far as how they work or don't work," they wrote. "and it seemed in the interview that was one theme you were definitely going to discuss in the article, we assigned ourselves the problem of somehow suggesting 'partnership' in some illustrative or graphic form. " CA shot directly from the colorful. vigorous comp Don Sibley and Rex Peteet sent to us.

Our 1991 cover, "Frog Spurn," is one from a set of fifteen il lustrations for a book, with an environmental theme. written and illustrated by London-based James Marsh. Here is Marsh's accompanying poem :

0

0

~~ Per Arnoldi 's 1986 cover comes as close as you can get to the ultimate simplification of a message. The Denmark-based artist commented, "Masks have haunted me for years . They look back at you in the same strange way as the windows in the gable-end of a distant house seem to turn into eyes that stare.

Hvidovre Theater wanted a poster that stared back at the audience when there was nothing on stage. I did not invent the theatrical image of the smiling and crying masks, but combined the two, knowing the mechanism of the eye only allows you to see one at a time ."

The frog in your pond/I am bound to say/ls a friend in every way/Normally he's kind enough/ To be polite and not hop off.

The frog in your pond/I am pleased to say/ls fun to watch at work and play/If like me. of frogs you're fond/Don't be rude and spoil their pond .

COMMU

I CAT I ON

ARTS

9

STEPHENWILKES

w

tudio Stephen Wilkes 212-475-4010

Agents Doug Brown Judi Shin 212-953-0088

CONTRIBUTORS FEATURES ELLEN SHAPIRO is a graphic designer,

WARREN BERGER is a New York-based

writer and president of Shapiro Design Associates Inc., in New York City. She is the author of the book, Clients and Designers, and interviewed Tom Geismar and his client, The Knoll Group, for the seventh in a series of Clients and Designers profiles.

writer specializing in advertising. His work has appeared in numerous magazines and he is currently a contributing editor to Advertising Age 's Creativity.

Berger flew across the country to profile the Seattle and Portland office of Cole & Weber.

NOREEN REI FUKUMORI was born in

Berkeley, California, and worked in San Francisco for SBG Partners and Michael Mabry De ign before moving to Tokyo, in 1987, to work for Takenobu Igarashi and Creative Intelligence Associates Inc. She recently returned to Berkeley and is working free-Janee for a number of Bay Area design firms. Noreen profiled designer Keizo Matsui in this issue.

COLUMNS

SAM McMILLAN is a San Franciscobased free-lance writer. He wrote the Technology Resources column for this i ue. McMillan's Retirement Planning Kit oftware for T. Rowe Price Mutual Funds has old over 60,000 copies and was cited a "easiest to use" by the Wall Street Journal.

TAD CRAWFORD is an attorney, author

BARBARA GORDON, an artist and photographer representative, heads her own firm, Barbara Gordon Associates, based in New York. She is a past president of the Society of Photographers and Artists Representatives and has written on free-lance issues for CA since 1982.

and publisher for New York-based All worth Pre . A peciali t in legal issues pertaining to the art , he ha erved as chairman of the board of the Foundation for the Community of Arti t , general coun el for the Graphic Artists Guild and legi lative coun el for the Copyright Justice Coalition.

He has been a CA columnist since 1983.

MIKE HICKS is president of Hixo, Inc., in Austin, Texas. He wears many cowboy hats as a writer, designer and regional humorist and is the founding president of AIGA!fexas. He has been a contributing editor to CA for many years and his work is in the permanent archives of the Smithsonian Institute. Mike interviewed Chris Hill in Houston for this issue.

RICHARD KOMAN is a San Francisco-

MARY ANN FR YE i head of the

based free-lance writer and editor specializing in graphic design, publishing and multimedia technology. Richard is the editor of OnLine Design, a California monthly covering electronic design. He wrote the Technology Reviews column and the Technology feature on computerized map making.

graphic design concentration at Northeastern Univer ity and education chair of AIGA/Boston. She recently pre ented papers on the expanding role of de ign and visualization in culture and education , and wrote the De ign Technology column, which is edited by Wendy Richmond.

LAURIE FREEMAN, a former senior

CARL R. WARNER is an associate cre-

LESLIE SHERR is director of commu-

reporter for Advertising Age, is an Ann Arbor, Michigan-based free-lance writer specializing in advertising, business and environmental issues. Her profile of illustrator Don Asmussen in this issue is her first feature for CA.

ative director at DDB Needham/Chicago where his current responsibility is the Discover Card. Previously, he worked at Team One and The Richards Group.

He wrote the Advertising column which is edited by Tom Monahan.

nications at Cato Gobe & Associate in New York and she writes about architecture and design for a range of international publications. She wrote the Design Issues column, which is edited by DK Holland.

EVA ANDERSON is principal of Eva

DAVID BRIER is president and creative

Anderson Design in Providence, Rhode Island. She is also editor of the Eco newsletter, which specifically addresses environmental issues faced by graphic designers and their clients. Eva received an EPA Environmental Merit Award in 1992 for her work with Eco.

director of DBD International , Ltd. , a design and marketing company based in Rutherford, New Jersey. He has had three books published on typography.

The Typography Round Table in thi issue is an excerpt from his upcoming book, International Typographic Design.

BOOK

BYRON FERRIS has written for CA for 27 years . A a former college design instructor and creative director at McCannErickson , hi intere ts are in design , advertising, letterform and typography .

KYRA BUTZEL is a Providence, Rhode I land-based writer specializing in environmental issues. She is currently newsletter coordinator for the Rhode Island field office of the Nature Conservancy and wrote the lead article in this issue' s Eco newsletter insert.

DANA ARNETT is a founding principal of Chicago-based VSA Partners. He is a board member of the Design Industries Foundation for AIDS (DIFFA). Arnett i also an adjunct professor at the Univerity of Illinois at Chicago. He created the Graphic Design Aptitude Test.

ANGELYNN GRANT, a Boston-ba ed free-lance de igner and educator, i currently an Artist-in-Residence at Massachusetts Institute of Technology, where she i also a di sc jockey, pinning jazz platters. She began reviewing books for CA in 1993.

J2

MARCH / APRIL

1 994

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LETTERS TO THE EDITOR No More Shoes Number of times I have ever written to a magazine editor.

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Number of times I want to see a Nike ad in your next Advertising Annual.

JASON ZIMMERMA

West Covina, California D

A/GA Conference Rebuttal For a writer it is fun to resurrect such descriptive references as the chestnut about Nero and his musical role in the downfall of Rome, but it can also be misleading. DK Holland exaggerates in her recent CA article (Opinion/ Commentary , Jan/Feb ' 94) when she ostensibly ascribes the reasons for the downfall of graphic design to the AIGA Conference, and by extension to the AIGA. Nero may have been a disastrous emperor, but the AIGA is a significant institution. The lack of a viable conference focus may have been a problem but it was endemic to the conference not the organization as a whole. This year' s conference organizers may not have touched (or even sought to touch) the same raw nerve that spawned the vituperative debates at the San Antonio event four years ago, but it was far from being Nero's last barbeque.

The Miami conference was indicative of two problems. The first is that there are too many conferences-and too many opportunities for the same people to speak about tired issue . The econd is that too many conferences in this 16

M A R C H I A P R I L

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decidedly narrow field forces organizers to prostrate themselves into devising unusual events-hence the well-intentioned, though sometimes silly , AIGA cable shows. The original aim of this conference as I understand it was to redirect the focus of an AIGA conference (not the AIGA) away from the overriding, and perhaps overwrought social issues that underscored San Antonio and Chicago (which I was involved in organizing), and return to those also valid themes that celebrate the pleasure of making design. That it did not turn out to be the party that its organizers had hoped for was not the fault of the AIGA so much as it is inherent in organizing a conferenceany conference.

What Ms. Holland fails to acknowledge is that conferences are more difficult to organize (and hold together) than articles are to write. To achieve a balance of substance and entertainmentand substantive entertainment-is a Herculean, and often thankless, task.

Even professional conference organizers are stymied by not knowing what the public wants , which is why chair people from within are usually asked to do the conceptualizing. Remember, the AIGA is a design institution not a conference board. Balancing inspiring speakers from outside the profession with those who have something important, or at least worthwhile, to say from within is the key. But the equilibrium is shattered when one, two or three key speakers back out, as happened in Miami. Eight years ago when I organized a three-hour event on design history at the San Francisco AIGA conference, my main speaker backed out a week before and the entire presentation duly suffered. It was not, however, symptomatic of the downfall of the profession or of the AIGA's lack of leadership.

Ms. Holland seems perturbed at AIGA for calling its biannual event a conference rather than a convention (a semantic problem that its founders faced over seventy-five years ago when

they decided to call AIGA an institution rather than a club). As she says, "the best parts of the event are always the mambo dances, goofy gifts that appear magically under your hotel door and watching Massimo Vignelli bump and grind with the nearly naked showgirls," so why not call it what it is? Whether Nero called his instrument a violin or a fiddle doesn ' t matter. The AIGA Conference-or congress as Milton Glaser once suggested calling it-is still many things to many people, but most of all it is a way to bring a small part of the profession together for a brief time to share ideas and concerns , and have fun. The Miami conference did that as best it could.

Although I also had fundamental quibbles with this year's conference I do not believe that it signals, suggests, or is symptomatic of anything more or less than what it was. It was not the twilight of Rome or the dawn of Christendom-it was merely a flawed conference. Let' s talk now about how to make conferences better, if we need them at all.

STEV EN HELLER

The New York Times New York, New York D

Letter to DK Holland Last night I read your Opinion/Commentary piece in CA (Jan/Feb ' 94) about the AIGA conference and I wanted to let you know what a good job I think you did in crystallizing all of the seemingly random events that took place during that very long weekend.

That was my first AIGA national "conference ," and for me it was a pretty depressing event. I've always thought that we designers as a group are quite a defensive bunch, desperately wanting to be treated as respected professionals and thinkers. After Miami , I began to think that perhaps the perceptions of our clients and editors are right-we' re

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LETTERS TO THE EDITOR

just overgrown art students whose job it is to attractively package others ' ideas, and when we're given the task of giving an assignment meaning and thought we can ' t help but fail. I know I've been guilty of this , and so obviously are others.

Your essay was , for me, a quite perceptive and thoughtful summing up of the whole event.

If the goal of a conference is to strengthen attendees' perceptions of their profession and instill in them a sense of professional direction, then I think that this event, oddly enough, succeeded.

I know I couldn't have been alone in leaving Miami with a newfound determination to do better, both personally and professionally. So I guess it worked after all. Go figure. Anyway , thanks for such a good job.

ALEX ISLEY

Alexander Isley Design New York, New York 0

Color Correction DK Holland's otherwise fine review of the 1993 AIGA conference ("Nero Fiddles While Rome Bums") contained several disturbing inaccuracies, most notably her description of a twiceshown video featuring "Michael Bierut, climbing out of a dumpster nude except for PMS1375U surfer pants. " For the record, this video was only shown once, and the pants in question are closer to PMS123.

MICHAEL BIERUT

subject of graphic design is not always that exciting.)

Who cares about Tibor-What's-HisName-but girlie dancers , pasties and G-strings .. .when can I order my fez?

TYLER SMITH

Providence, Rhode Island 0

Eco In the Jan/Feb issue of Communication Arts you ran an article on recycled paper entitled "The Naked Truth: Uncoated vs. Coated." The article contained a few mistakes that I would like to bring to your attention. The author stated that The Nature Conservancy began printing its magazine on recycled paper last year. We have in fact, been printing on recycled paper since 1991.

The Conservancy supposedly noted that 10% was " the highest percentage of such post-consumer waste available in a magazine paper. " We have tested papers with post-consumer waste levels of up to 80% for the total sheet.

It is true that, in the months following the switch to recycled paper, the magazine was not quite as bright. However, because of subsequent improvements in recycled stocks, the magazine 's minimum brightness level is now 82a level higher than that of the nonrecycled stock used in the beginning of 1991.

I was incorrectly identified as the director of publications for The Nature Conservancy, a title that belongs to Karen Fishier. I am the organization's art director.

I have been reading Communication Arts for more than ten years, and it is great to see more attention on environmental issues surrounding design. My hope is that, in broadening your focus, you will not compromise accuracy.

Pentagram Design Inc. New York, New York 0

Missed Opportunity

K ELLY JOHNSON

Gee, I'm sorry I missed AIGA/Miami .

DK Holland's report sounded anything but boring. (As we all know , the

Art director The Nature Con servancy Arlington, Virginia

18

MARCH/APRIL

1994

Errata We were given incorrect credits for a Mercedes-Benz print ad, submitted by photographer Michael Furman and shown on page 51 of the 1993 Advertising Annual. The credits should read: Lisa Rettig-Falcone/Nel son Salis, art directors; Judith Atwood/Bernie Ro sner, writers; Michael Furman/ Robert Ammirati, photographers; Scali , McCabe, Sloves, Inc., agency; Mercedes-Benz North America, client.

We were given incorrect credit information for the Anti-Defamation League posters, su bmitted by Earle Palmer Brown and shown on page 133 of the 1993 Advertising Annual. Bill Westbrook was the creative director on the project.

On page 17, in DK Holland's Jan/Feb 1994 Opinion/Commentary column, Jerry Kuyper 's name was spelled incorrectly. Mr. Kuyper was formerly with frogdesign; he is currently senior vice president, group design director at Siegel & Gale, in New York.

We were given the wrong photography credits for the MTV print ad, submitted

by Chiat/Day inc. (New York) on page 96 of the 1993 Advertising Annual.

Mark Seliger was not credited and David Massey's name was misspelled.

In the 1993 Design Annual, on page 83, Bergdorf Goodman should have been credited as the design firm for the direct mail catalog.

We were given the incorrect credit information for the Monte Volpe Vineyards packaging shown on page 96 of the 1993 Design Annual. Bob Dahlquist was the designer as well as the illustrator.

• ADDRESS CORRESPONDENCE TO:

Letters to the Editor, 410 Sherman Avenue, Palo Alto, California 94306.

We reserve the right to publish letters and to edit for clarity and length.

PRINTING ON COUGAR OPAQUE CAN IMPROVE ANY CONCEPT. (EVEN ONE THAT STINKS. 1

Cougar Opaque's bright white shade ensures more vivid color, sharper contrast, and crisper resolution.

All for a very refreshing price. For samples of Cougar Opaque paper, call Weyerhaeuser at 1-800-227-2770.

COUGAR

TOWARD

A GREENER

TOMORROW.™

"Green~' It's the buzzword of the nineties. How-

ever, it 's been part of the Weyerhaeuser mission

ever since we formed the first American tree

farm and forest science staff in 1941. But back

then, we just called it planning for the future .

For we' ve always believed that environmental

science is key to not only sound harvesting, but

also enhancing the land, water, air, fish, wild-

life and , of course, the forests in which we work.

A Weyerhaeuser

e 1994 Weyerhaeuser Company

Pri nted on 80 lb Couga r Opaque , Smoot h Fi ni sh .

P-0 1-30-020 3/94

Pr inted in U.S.A.

Section 1 Time - 17 minutes

Section 2 Time - 17 minutes

1.

1.

Pentagram, an internationally famous design practice, started out with five partners. What should the name be now that there are twenty partners?

A) Megagram B) Pentamax C) J. Walter Thompson D) Tentacle E) Century XX

2.

Growing eco-consciousness is making designers feel a lot greener, especially when they would prefer not to pecify recycled paper.

What is your preferred approach to dealing with this issue?

A) Arrogance. "I can assure you that the brochure I create will never be thrown away."

B) Bait and Switch. "Recycled paper is really best used for Government work."

C) Denial. "The recycled grade we spec'ed is not available, and the printer says that soy inks don't come in the colors we want.''

D) Avoidance. "I grew up with clean paper. I just can't get used to tho e dirty little specs."

E) Petulance. "Sure, I'll use millscrap if you want. Sure. Fine."

3.

Ben Day is A) A well-known pain relieving ointment.

B) National holiday set to honor Founding Father B. Franklin.

C) Doris Day' recluse husband.

D) Sheets of old press-type with gray stuff all over.

E) The man who invented time.

4.

Match the Michaels. Many well-known vi ual thinker in San Francisco employ the same name (although not necessarily the same typefaces) in their individual identity systems. See if you can tell who' who.

Fred, a graphic designer, has spent the last nine months developing a comprehensive new corporate identity package for his client. He considers it to be the finest work of his professional career, and presents it with pride.

Client: I waited nine months for this? You call this good design?

Fred: (Select the response which produces the feeling of greatest satisfaction in the pit of your stomach.)

A) "The work you are seeing is that of my partner. Embarassed and ashamed as I am, I cannot claim responsibility for what you are now evaluating."

B) "It's what you approved in Phase I. This is purely refinement."

C) "Actually, annual reports are our specialty, we made this clear to you during the bidding process of this assignment."

D) "My wife loves it, my kids love it. Just last night they said, this is your finest design effort yet, dad. You really hit the jackpot!"

E) "As we stated in the beginning, nine months is definitely not the proper time frame to complete an assignment of this magnitude.

Given the appropriate time we certainly could have given you better results."

2. Marlene: How can you persist in complying with that antiquated grid system?

Roscoe: How can you expect a reader to consume that chaotic type-salad?

Which of the following best describes the relationship between Marlene and Roscoe?

A) Partners in a design firm .

B) Client and designer.

C) Husband and wife.

D) Cranbrook Graduate Students.

E) Judges at a design competition.

3.

MICHAEL A) Vanderbyl B) Patrick Cronan C) Mabry D) Manwaring E) Osbourne F) Douglas

Recently, much criticism has centered around the new, digital type revolution. Are the traditional values of typography being abandoned for the selfish purpose of creative expression? Given this argument, provide the correct answer to the following question.

What is Raygun magazine designer, David Carson's reason behind expressing his new form of typographic expression?

A) Raygun magazine is a beta sight site for new digital type foundries. David is forced to use strange typefaces.

B) The youth culture doesn't, in fact, care so much about classical typography. The youth movement enjoys an occasional diversion from the traditional three column grid.

C) Circulation and interest in Raygun has consistently grown from the magazine's beginning. Typography may be one reason.

D) David Carson's typographic talents are manifested quite by accident. The page format program he owns is defective and his publisher refuses to invest in new software.

E) Typography is creative expression, design is about originality.

Let Massimo be Massimo, and David be David.

4.

During complicated printing runs, clients and designers are often confined to cramped viewing rooms for long periods of time.

Typical press checks can last for days, often pairing overbearing middle managers with overly-sensitive creatives. Given these circumstances, indicate the best alternative to relieve both tension and boredom during the press-checking process.

A) Change your clothes between press form o.k.'s. Insist that nothing is different about your appearance.

B) Create a festive casserole out of vending snacks.

C) Fold the press sheets into interesting animal shapes and distribute them as client gifts.

D) Quietly escape to the loading dock entrance of the printing plant.

Ring the night service bell (at 10 minute intervals) retreat secretly back to the viewing room.

E) Frequently announce that you have just seen a remarkable variety of things outside the viewing room window-such as sheep, houses on fire, nude joggers, airplane crashes.

CLUE 1) walk, don't run 2) Ozzy's surrogate brother 3) doesn' t sound like it's spelled 4) "Streets of San Francisco" 5) wears nice shoes, designs nice sheets 6) originally from Illinois

5.

Annual Reports are read cover to cover by A) The client' wife.

B) The client's mother.

C) The stockholder's mother.

D) MBA's studying for finals.

E) Proofreaders paid on an hourly basis.

6.

The client says, "Wonderful! Brilliant! Extraordinary! I love this concept! But are you sure nobody ever used it before?" You 're the designer. You say, A) "I can assure you.''

B) "I can assure you, I've looked.''

C) "I can assure you, I've looked through every awards book."

D) "I can assure you, I've looked through every awards book since 1927."

E) "I'm not sure."

7.

The primary constituents of post-consumer waste are A) Pampers and Huggies.

B) Turds.

C) Discarded paper promotions.

D) Green glass and aluminum.

E) Old Quarter Pounder packages.

8.

Thermography makes me want to A) Touch myself.

B) Bathe.

C) Recite the opening lyrics to "Tommy."

D) Order 500 business cards for $9.95.

E) Engrave.

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9. The achievement of excellence in graphic design depends on A) The proper use of circles, squares, and triangles. .: B) The proper use of arrows, ovals, and bent lines.

C) Going to a certain chool.

D) Going to an uncertain school but maybe learning more.

E) Cultural hipness including aerobic conditioning and proper diet.

.

10. Once more with feeling. The achievement of excellence in graphic design depends on A) How good your office looks.

B) How good you look.

C) How good your client looks.

D) Original Diane Arbus photograph in your office.

E) Personally signed Saul Bass print on your boat.

11. Let's try this again. The achievement of excellence in graphic design depends on A) Sticking to your principles.

B) Sticking to your client' principles.

C) Adopting flexible principles.

D) Understanding 24-bit color.

E) Psychology, an all black wardrobe, and presentation skills.

12. "Photography is a technique for capturing the objective essence of the outside world as well a for registering an impressionistic experience of self. A single subject thus potentiates infinite diversity, forcing us to rethink our traditional definitions of reality." What is your reply?

A) "Film is getting too expensive."

B) "I think I prefer illustration."

C) "Camera" is the Italian word for "room" or "chamber."

D) "Can't we u e existing photography?"

E) "A picture is worth a thousand words."

".

-.

4.

If S and Tare seated in leather chairs and J and K are seated in cloth chairs, which of the following must be true?

A) M, N, 0, and P hould not have cancelled out.

B) Designers don't like to sit together.

C) Clients always arrive at a meeting first and get the best seats.

D) The cloth chairs should have been upholstered in a brighter color.

E) Leather and cloth chairs don't mix.

5.

Seven annual reports are shown to the panelists. One ha an embossed, foil- tamped cover, two feature six-color printing, three are saddlestitched, four are perfect-bound, five are printed on recycled paper, six use sans-serif type, seven strive to camouflage poor financial performance. How many awards hould be presented?

A) Seven.

B) As many as there are clients.

C) As many as there are designers.

D) Six. The embo sed, foil-stamped cover should be rejected.

E) None. People shouldn 't care about awards.

6.

Now it turns out that N and Pare able to join the round table discussion after all, an hour late. How should the other paneli ts re pond?

A) It depends on how famous N and P are.

B) They should pout.

C) They should bolt the door.

D) It depends on where N and P sit.

E) It depends on whether N and P bring sweet rolls.

9 minutes

1) Two designers, J and K, and four clients, S, T, U, and V, are engaged in a roundtable discu ion about the treatment of financial data in annual reports. The table was custom-made in Italy. Four participants, M, N, 0, and P, cancelled out at the last minute. All ten chairs were manufactured by Knoll. Five of them are upholstered in black leather, the other five in a nice putty-colored textured material. One of them ha a big bum hole in it.

Section 4 Time - 9 minutes Directions: Each of the following questions consists of a familiar design term printed in capital letters, followed by five other words or statements in lower case. Choo e the lower case word or statement which most accurately describes the word in capitals.

...

!

2)

Neither designer is sitting next to the other one.

3)

Two of the clients are female, two are male.

4)

Nobody is sitting in the chair with the bum hole.

5)

One of the clients had an extremely profitable year and is wearing a new uit.

6)

K and S used to work together.

7)

M and N are not designers.

I.

Which of the statements above provides no information not already available from the one immediately proceeding it?

A) All of the above.

B) 3 and 4.

C) Neither 3 nor 4.

D) Please repeat the que tion.

E) I don't know.

2.

What conclusions can be drawn from the data?

• I A) Clients don't care about furniture.

B) Knoll chairs attract cigarette bums.

C) While they are pleasant to look at, Knoll chairs are uncomfortable.

D) It is hard to work with clients of the opposite sex.

E) Italian furniture is round and expensive.

•

If U is the client wearing a new suit, and K is the company's annual report designer, which of the following statements be t de cribes K's chance to sell U a more exciting treatment of the numbers this year?

A) Slim and none.

B) Slim or none.

C) Slim.

D) None.

E) If U's new suit is double breasted Italian, pretty good.

3.

Section 3 Time -

I

1.

2.

REVJSION: l '•I• A) Yech.

B) Sorry, no room in the schedule.

C) It s fine the way it is.

D) I don't do revisions. ,: :.

E) (Screaming noise)

.

3.

•

{ CHAOS: A) My files.

B) My mood. : C) My clients.

D) My relationships.

E) Words are boring. Show me image .

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TOOCUTE: A) The client doesn't get it.

B) The client doesn't like it.

C) The client doesn't like puppies.

D) The client doesn't like me.

E) I don't like the client.

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Directions: Each sentence below has one or two blanks, each blank indicating that something has been omitted. Choose the word or set of words for each blank that best fits the meaning of the sentence as a whole.

4. A designer's success is more and more a race between good taste and _ _ _ .

A) money B) catastrophe C) violence D) magazine subscriptions E) Macintosh software 5.

When presenting a _ _ _ to a client for approval, a designer's best strategy is to _ _ _ .

A) chromalin proof ... apologize B) concept .. .look sincere C) budget. .. cough D) revision .. . shrug E) cost increase .. . buy lunch

6.

The difficulty with most of today's pretentious pseudophilosophy about _ _ _ is that you can't tell it from _ _ _ .

A) meaningful design trends ... ordinary self-promotion B) desktop publishing ... bad design C) creative integrity ... do it my way or else D) concept development. . .I just thought of this E) relationship building ... do what the client says

7.

Less is A) More B) Always a possibility C) Less D) < E) >

Section 5 Time - 40 minutes

1.

Please identify this object: A) Device from medieval torture chamber.

B) Scale model of AT&T Building.

C) Block of metal from type tray collection.

D) Element from prehistoric Macintosh screen font.

E) My initial.

Warehouse Plans ~------------'

2. Johnny D., that infamous designer, was also very cheap. To save money he bought a cut-rate set of floor plans for his new design office.

The plans didn ' t show where any of the rooms were in a warehouse he intended to rehab. The seller told him that the entire building was square and that the main room had a door to the outside. Inside, the warehouse floor plan is divided into six square rooms. Four of the smaller rooms have doors opening into six square rooms. Four of the smaller rooms have doors opening into the main room. The fifth small room contained a free stat camera. The seller told Johnny D. that all he had to do to complete the floor plan was to draw four straight lines across the square shown in the above plan. Where do the lines go and which room contains the free stat camera?

STOP! If you finish before time is up, put your pencil down and close your booklet.

Do not turn to any other section of the test.

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Please write the following statement in the boxed space below. Do Not Print. Then sign your name on the line provided and enter today's date (in numbers) , " I certify that I am the candidate whose name appears on this answer sheet. I am here to take the Graphic Designer Aptitude Exam for the sole purpose of being considered a legitimate graphic designer."

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Special thanks to Todd Lief for his invaluable input in the collaborative writing and development of the GDAE Test, Curtis Schreiber and Marc Rumaner of VSA Partners for all their hard work and patience.

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In 1987, Wacom revolutionized graphics

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batteryless, stylus digitizer. It allowed

artists to work on the computer in the same natural way they worked for centuries.

Now Wacom discovers new territory , reinventing and improving our technology, fmding even more pow er and more functionality .

lntrooucing The UD Serie<! GraphicJ TahletJ. At Wacom, we envisioned a revolutionary new tool, engineered from the ground up to be more powerful, more ergonomic, more natural and even more durable.

The UD Series tablets are the first to allow two-handed input. Professionals will gain speed and efficiency as they use both stylus and cursor on the tablet simultaneou sly.

The UD Series UltraPen is the lightest, thinnest and most responsive available. The 4 .8 meters per second tracking speed, means no delays even with the fastest CPU. The unique UltraPen technology emulates the feel of pen on paper and the new programmable side

WELCOME TO THE SECOND REVOLUTION

switch adds to your productivity.

• Two-handed input with cursor and pen simultaneously.

settings not previously available,

• Highest data rate at the fastest tracking speed .

• UltraPen is the lightest, thinnest, most responsive available.

The UD Series software control allows for a tremendous variety of settings that can be extended and personalized such as custom

Rarely haJ oneperipheral captured the attentwn and Jupport of Jo many graphic art/Jt and Jo/tware Jevelopet'J. The/ irJt revolution WaJ preJJure JenJiti11ity.

Now, the Jecond revolutwn LJ two-handed tizput.

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ADVERTISING C ARL R. W ARNER

THE WORLD Is AN AWARD SHow ECENTLY A FRIEND TOLD ME ABOUT AN art director who kept his face plastered to an awards annual the entire time they were trying to come up with a concept for a computer ad.

Finally, he handed her the annual, opened to page 128 with an ad promoting the early detection of breast cancer.

"Maybe we should do something like this."

R

My friend gave that noncommital reaction we all give when we don't want to hurt someone's feelings. But she was suddenly worried about this guy. The ad he wanted to emulate was in an awards annual, which, by definition, meant the idea had already been done.

That's one problem with the annuals. People end up copying from them. Which probably accounts for the fact that there have been an untold number of "listed below you'll find ... " headlines only to reveal that nothing is listed below. And ever since Tracy Wong created the Nature Company campaign a few years ago, countless ads now begin with big type that gets progressively smaller as it descends the page.

When it comes to using the awards annuals to generate ideas, I have a problem of another kind: Every time I've opened an awards book hoping to find inspiration for my latest assignment, I invariably discovered I was only reading the headlines or TV scripts, and occasionally even the radio section, for pure enjoyment; not as someone who had a deadline and needed a new layout or an idea for a headline.

Now this is not meant to incite an awards show book burning. If it were, I certainly wouldn't be writing it. I've had a subscription to CA since my freshman year in college.

And every December my wife notifies me the second she sees the postman coming up the walk with that brown cardboard envelope. And I also value the One Show books.

Every January I start calling book tores to see how fast I can get the new One Show. (I've gotten so adept at this I'm able to play one bookstore off of another: "Oh, you can have that in your store by Wednesday? Well, Rizzoli' s says their shipment is due Monday, and they're gonna give me the sale price, can you hold?- I've got Brentano's on the other line.")

And work? Not when there's a brand new annual to read.

"Yes, I know the campaign's due Friday, but you're just going to have to put the meeting off. Coupla days should do it-this year's One Show is kinda thin."

So why would I-someone whose priorities are God, family, country, the Dallas Cowboys and advertising awardswrite this article? Because I've come to believe something I first heard Donny Deutsch say. He said the last place we as creatives should be looking for inspiration is the award show annuals. He maintains creatives should find inspiration 34

M A R C H I A P R I L

I 9 9 4

at a movie, or the arboretum or while watching a toddler play in the park. And I think he's absolutely right. Studying the annuals is not the ticket to advertising immortality.

How many people have you known who could cite volume, page number and verse whenever asked, "Where is the ad with the six strong men getting you back into church?" but who themselves couldn't hit a good headline with the broad side of a barn?

No, memorizing the awards annuals is not the answer to creating better ads. So doe that mean I will allow my CA subscription to expire and take the local bookstores off speed dial? Not a chance. I'll still maintain my mid-winter ritual of tormenting the postmaster and the local bookstore salespeople. Because, even though I completely agree with Mr. Deutsch, I believe the awards annuals still perform an invaluable function in helping me to do my job better.

Although the annuals may not be a good source of inspiration, they are a great source of motivation.

After spending several days immersed in a new annual, I emerge a completely rejuvenated person. I want to do ads this good. I want to win so many pencils that I don't even bother to go on stage to collect the bronze ones-opting instead to send a junior writer. And I want two-no three lines worth of page numbers in the index after my name.

After I get beyond the I wants and I'm gonna do 's, then I start looking at the individual who did the work; "Oh, so and so got four things accepted. She and I started at the same place together." Or, "What's-hi -name got three medals this year, and all with different agencies." And, of course, no review of any awards book would be complete without at least one, "I don't care if he did win fill in the blank, he's still a hack."

Now there's probably someone reading this who's saying "Who is this guy? He's not exactly dominating the W section of the awards annuals. Maybe if he spent more time with the books, he'd be in them more."

Maybe. But I don't think so. Somehow I don't think the people who regularly appear in the books spend hours poring over awards annuals and suddenly look up and say, "Oh, that's how it's done." They're looking for-and finding-inspiration elsewhere.

I'm sure this won't stop people from searching the awards annuals for creative inspiration. I just think we'd all be better off if they don't find it there. I suspect the ads we do would improve. And I know there would be fewer ads which begin with big type that gets smaller as it descends the page.

•

CLASSIC• LAID CLASSIC• LINEN CLASSIC CREST• PAPERS E N V I R 0 N M E N T • P A P E·R S KIMBERLY• WRITING NEENAH• BOND OLD COUNCIL TREE• BOND UV/ULTRA • II PAPERS ARTONE• COLOURS K I M D U R A! T E X T A N D, C 0 V E R

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WRITIN, , TUT AND COVER

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HILL/A

MARKETING

DESIGN

T WAS A TYPICAL WINTER'S DAY IN Houston, with seventy degree drizzle oozing down on the greased freeways, making them slicker than deer guts on a doorknob. The sound of nearby collisions was slightly audible as Chris Hill and I hunkered down in a Thai restaurant on Kirby, gobbling Phat See Mee and discussing his career.

I

"Why in God ' s name do you like this town?" I grumbled.

"Hou ton' s a very misunderstood city, I think," he replied.

"The cost of living is low , it ' s culturally very alive and very metropolitan. Plus , it' s geographically perfect for me. I can get to any part of the United States easily from here. From the international airport I can go to pretty much anywhere quickly , especially Mexico."

For Chris, this is important. Over the last decade his client base has become increasingly international, ranging from Dent u and Fujitsu to Saudi Aramco and Monterrey Tech University. Even local clients such as Hines Interests have involved him in projects around the globe. I suspect his pa sport must resemble my old stamp collection.

"So how did you get all these international contacts anyway?" I asked.

"Mostly by being nice. " Chris smiled and then paused to let it sink in. "I know it sounds simple, but I was raised to treat other people like you want to be treated. For what it' s worth, just trying to be genuinely nice to everyone I meet has really worked for me, or at least it seems to have.

I've never actually promoted myself, so virtually all my clients have come by referrals from people I've met or worked with in the business. For instance, a photographer friend of mine was skiing and met a per on who needed a designer to work on a project. That ultimately led to some great projects for Michael Douglas and Kim Ba inger. It's basically having people feel comfortable with you. It's the same with Dentsu. They were interviewing designers from around the world, but I simply hit it off with George Tanaka [deputy director of Den tu' s corporate communication services]. It wa like we were old friends from the tart. And the same thing happened again in Mexico. " I know Chris to be a nice guy, but I was beginning to fear this was going to turn into a positive thinking seminar or worse, something religious. "All right, Chris , granting you' re the most wonderful person in the world, still, 38

M A R C H I A P R I L

I 9 9 4

GROUP

BY

MIKE

HICKS

most people want to see some work ... " "Listen , the quality of your work may get omeone interested, but there are lots of people who have great work.

The difference is whether or not new clients feel comfortable with you. There has to be a comfort zone created by something, and often that is purely personal. Sometimes it' s something else entirely. With Aramco, for example, I think it was somewhat due to my age. They felt more comfortable with me becau e I was mature enough and had worked in all these different markets. " I was beginning to grow insecure. I'm mature. Too mature in my opinion. And I always thought I was a really nice guy , even when I was getting those hate notes. We were clearly due for a change of subject and location, and quickly left the restaurant.

Hill/A Marketing Design Group, Inc. shares a mall, tasteful building with an art gallery, occupying the upper floor.

The interior, while filled with the inevitable collections and awards , was interestingly laid out and had enough fine art around to let the ca ual observer know it wasn' t a bail bonding service.

"What do you believe i the greatest re pon ibility of a designer?" I asked, once we were comfortably eated.

"The greatest responsibility is the responsibility it elf," he replied. "Clients are looking for more than an ae thetic solution. We are , after all , being paid to solve a problem in a business context. So there is an implicit re pon ibility to solve the problem in a way that is both ae thetically pleasing and works for the business needs of the client. A lot of designers get involved exclu sively with the de ign.

That's interesting, but it's only half of the problem. There's Hil l logo . Chris Hill , the creative director of the projects shown, made comments concern ing some of the pieces .

Right: Brochure produced to commemorate the 50th ann iversary of th e Lufkin Newsprint Mill, the first mill in the U.S. outside the northeast to produce newsprint. Carey Turoff. Champion International, ass istant creat ive director; Chris Hill/ Chuck Thermon, des igners; Champion lnternationa I, cli ent.

"One of ten posters produced fo r reta il sa le to promote awareness of the U.S. Nationa l Park System . The posters are prod uced from a photo series by Dick Durrance titled 'Eterna l Rhythms ' wh ich sta rted as a personal project. " Sean Patrick, Impact Group, ass istant creative director; Chris Hill/Laura Menegaz, des igners.

process improved. Within 1wo years all thccoanc grit pulpstoncs 11Lufkinwerc:rc:placcdw1thfincrgritvers1ons.

The other big problem was con1rolling pitch. Again. wha1 hadbec:ndoocmSavannahatthe Henylabdidnot woricona commercial basis in Lufkin. Under continuous opcra1ion pitch would accumu\a1e on the cquipmcm. II was learned that 1f 1he acidity of the furnish (wood fiber and water) was lowered , the puch cleared up and would not accumulate on the machine. It tookabouttwoyemtosolvelhcpitchproblemthroughupcrimcnting with the proper use of alum and caustic soda. As a teenager, Jim Moyn ihan was employed 11 thc mill in 1940 at 35 centsanhour8$atcsterworkmgundcrCarpcnter'ssupcrvi.sion.

He rc:mcmbcn the pitch problem: MDay after day . I spent six hoursscrapingp11choffthcpreuroll."

In 1940-41 the mill was us mg35 percent semi-bleached drart pulp and 65 pcrccn1 groundwood pulp. Newspnnt rrom lhis combination would run well on the presses but would print poorly. E.M. Dcalcybchcvcdthat"ourrcadcrsandadveniscrsshouldhaveaskcdforlhcir money back."'

•

--

Carpenter remembers that he used IO go down to the prcurooms al Beaumont and Houston to watch the opcnuion. He overheard pres mcnsaywhcntheynccdcdspccd,"let'sput on pincbct:auscitwillrunwithoutabreak." ThcCanadianncwsprintwou ldprintbctterbutwasbrittle. lnitiallythconlyvinue ofpincncwsprimwasi1Srunnability. Withthcuscoffincrgrit pulpstonc.sandsolvingthepitchproblcm,thcmillbcgan1omake adccentshectorpapcronahigh-volume , commcrcialbasis.

Anotherobstacleovercomcinthispcriodwasthedifficuhy

.THE HOUSTON POST SI'MOON EC/AL

ofsoakingwoodpriortogrinding,anopc~tingandmainte ­

nancenightmarc . Skepticismofthesouthcmpinccausedalead technician, a nonhcm papennaking cxpen.10 ''bathe" the wood ina large concrete vat for 16to24 hours. B01hCarpcn1erand Kunhconsidcrcd soaking unnecessary. and the economics of thesituationdictatcdsomcthinghadtobcdonc. Wi1houtthc technician's knowledge, " Kunh went to the woodyard. swore: thccrcwstosecrecy.andordcrc:dthcsoakingtankbypassed."

Forty-cighthourslatcr thcmillhadopcra1cdverywellwiththc unsoakcd pine and thus the "bathing" was discontinued and opcBtingcosts dcclincdaccordingly.

Sccuringthepropcrkindofpinewoodforuseinthcmill causcdscveralmorcproblems,asthcmill'swoodrcquircments were rather specific. The mill wanted young, green wood with no knots and infour-f001lcngths. Woodyardmanagersinspcc1cd1hc\ogsandrcjcc1cdthoscdccmcdunsuitable W orldWarllbroughtincreaseddemandfor wood; II the same time as wood , labor became scarce. Brown P aper Mill Company. West Monroe, Louisiana. andChampion,Pasadena,Texas,werc Southland 's compe ti1ors fo r both wood and labor. Their krart mills couldu 1ilizcanykindofpine. whereas Southland had 10 be very selective in its wood p rocurement. The problem became so critical for Luf'lr;in that the woodyard often ran what was on hand, then shut down to await the next load .

~ ~.. ~ I .

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

A R T S

39

cP

THE HILL GROUP

FUITSU

a duality involved in most a ignments that escapes the attention of many de igners."

"Knowing that, who would you consider the perfect client?" I said, "Perhap one without the duality of interests?"

"No," Chris responded after a long pause. "We are not in a patronage environment.

The perfect client is one who really trusts you and re pects what you are doing.

And the road is a two-way treet in that you also have to trust and respect a good client.

Great design occurs when a designer will listen to the client and understand why they may not like one solution, then use that knowledge to create another solution they both like as well as, maybe even better than, the original. It's mostly about each re pecting the other's opinion and knowing they are both trying to solve the same problem."

"By the way, most people are feeling the crunch of the '90s zero-margin mandate ... that is, the right-sizing of the economy. 'Squeezed' is the word I'm looking for. Has it affected your company?"

"Of course. But it hasn't necessarily hurt us. Financially, la t year was our best, but I believe everyone in this busines is working harder. We're all doing a lot of smaller jobs to make ends meet. We've just been fortunate to have some very large projects come our way. We jokingly referred to one as being ' out of the '80s' because of the budget and the scope of the project. But it's not typical of this decade."

Since hi company's beginning, Chris has been actively involved in education, with all his effort focu ed on Southwe t Texas State Univer ity in San Marcos. Today, even the most critical educators generally concede that his efforts have helped make the design department a force tatewide. The department's centerpiece, The Creative Summit, is now ten years old and today draw brand name designers from around the .c ountry.

"I know you have invested a lot of energy in teaching," I said, "Why did you pick Southwest Texas State or, better yet, why do it at all?"

"I chose San Marcos because there wasn't a program in Houston that wanted me," Chris commented sheepishly.

40

M A R C H I A P R I L

I 9 9 4

"I wasn't invited. Also, my idea of teaching was more problem and concept oriented which didn ' t fit into the theoretical approach to de ign education. A to why, it's probably becau e I had a lot of re pect for ome of my instructor at East Texas State University and well. ..

I think I have a knack for it.

But it' hard work and largely thankless. " "So it's not a labor of love?"

I asked.

"No, it's just labor," he tated flatly, before smiling, "But I'll tell you what I love, really love, about thi bu iness is the companionship in the firm. The sense that we are a group. We do a lot together. And our work i largely a product of the group. I could not compete in this arena without them, and I wouldn't want to try. It's one of the things I value most about the profession."

Before the background music began to well and Chris was carried out on the shoulders of his tearful colleagues, I figured to try just one more trick. "Ralph Caplan once Above : Fujitsu logo . "Fujitsu is an internationally known electronic communications corporation based in Japan. In conjunction with Dentsu.

Inc., we created a corporate identity that would clearly illustrate the company's international vision . We avoided high-tech imagery in favor of a classical looking typeface to reflect a stable, established company, and added the infinity mark to symbolize the company's unlimited potential in the global communications marketplace." George Tanaka , Dentsu, Inc., executive creative director; Chris Hill/Doug Alexander. designers.

The Hill Group (clockwise from left): Jeff Davis. Meredith Nordquist.

Tom Berno. Laura Menegaz, Chris Hill, Lisa Butler.

Right: Parking upgrade marketing program for the Galleria shopping mall in Houston . "This was a complete publ ic information campaign with several integrated components. from construction barriers to directional signage to letterheads for news releases . It was initiated when the Galleria needed to renovate its largest and busiest parking facility. The tagline 'Upgrade Countdown' and the use of descending numeral graphics was created to deliberately mark the passing of time as each construction phase was completed . McRay Magleby provided the illustration for the flower graphics. which were used in multiple combinations for the various pieces." Chris Hill/Laura Menegaz/Jeff Davis/Tom Berno. designers.

"This corporate identity was created for Hotel Okura. a luxury hotel in Japan . The hibiscus flower is a symbol of the city of Kobe . The flower in the center represents the hotel in the city." George Tanaka, Dentsu.

Inc., executive creat ive director; Chris Hill/Jeff McKay, designers.

GALLERIA

PAAHING

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

A R T S

41

42

M A R C H I A P R I L

I 9 9 4

THE HILL GROUP

called designers 'exotic menials'. Do you agree?" I asked, reaching deep into the barrel for at least one terse comment.

"You are a menial only if you let your elf be," Chris answered reasonably. "I don't mind being considered exotic, but designers have to recognize that as a profession we don't command a lot of respect from the business community. It has to be earned. We don't instantly have the respect given a doctor or lawyer because the profession is too new. But good design can change trends and drastically impact business, so in that regard it's very powerful. But only if it's done right. For the immediate future, most designers will have to prove their worth to the bu siness community on an individual basis before they are valued.

And frankly, some designer houldn't be valued."

"By God, Chris," I shouted, jumping up and spilling the remains of a warm Pepsi on his table, "I think you've just said something that could possibly, just possibly, offend someone. Congratulations!"

"I hope you won't put that in the article." he said wistfully.

"Absol utely not," I replied, "you have my word on it."

• Left: Proposed bottle for Pepsi . "Pepsi and Tracy-Locke initiated this project as a summer promotion; the objective being to create a package with great appeal to a younger market. We created the bottle to capture the feeling of summer. with frosted glass and primitive, painted-on type." David Allen. Tracy-Locke, creative director; Chris Hill. designer.

"The product is a gourmet chocolate used for dipping cookies. fruits and other snack items. It was important for the package to reflect not only the gourmet image of the product, but also its actual use ." Sara Brook. assistant creative director; Chris Hill/Laura Menegaz, designers; Sara Brook Desserts, Inc., client.

"The Creative Summit is a design conference hosted each spring at Southwest Texas State University in San Marcos, Texas. where I teach graphic design. For the last ten years, speakers in the field from all over the country have come to speak to an audience of students and professionals . For the last three years. each attendant has received a series of commemorative posters (donated by Padgett Printing in Dallas) featuring the work of each speaker." Bill Meek. assistant creative director; Chris Hill/Jeff Davis, designers.

This page : "We've had an ongoing relationship with the Galleria in Houston for a number of years . Point of purchase posters are a commonly needed item . This one was for a toy fair at the mall. The image is a fun departure from traditional symbols, yet the message is clearly communicated ." Chris Hill/David Lerch. designers.

"To market the Creative Summit for its tenth anniversary, we decided to create a poster which would communicate the complete roster of past speakers in addition to relating this year's speakers . This helped to generate awareness of the history of the conference by associating it with names of well-known former speakers. The graphic symbol for the conference was a roman numeral 10, rendered in a non-traditional fashion ." Chris Hill/Jeff Davis/Tom Berno/Laura Menegaz, designers.

COMMU

ICATIO

A RT S

43

THE HILL GROUP

This page: Covers from Developments magazine for Texas Children's Hospital, a marketing tool used for both donor recognition and specific information about treatment and research programs.

The Hill Group redesigned the magazine. Chris Hill/Tom Berno. designers; Ann Shullenberger. editor; Terry Asker/Chris Shinn. photographers .

Texas Children's Hospital donor recognition signage . "As a non-profit entity, they need a great deal of support from private donors. The silhouettes of children add liveliness to the signs and serve as a visual reminder of the hospital's purpose: to provide an opportunity for a healthy life to all children . The signs range from huge walls to small plaques, and are made from granite, with lightly etched illustration underneath the deeply sandblasted names of each donor." JoAnn Mitchell, assistant creative director; Chris Hill/Jeff Davis. designers; Rick Bo rem. i 11 ustrator.

Cover and spread from Aramco World magazine, published by Saudi Aramco to broaden knowledge of Arab and Muslim culture. history and geography. Chris Hill/Tom Berno/Laura Menegaz. des igners; Rob Arndt. editor; Bob Lebling, assistant editor; George Azar (cover)/Danielle B. Hayes (Asilah). photographers .

Right: Hines Interests/Del Bosque marketing program. "Del Bosque is a joint venture between Hines Interests in the U.S. and Promociones Metropolis in Mexico City. It is a commercial/ residential development consisting of two highrise condominium towers and a mid-rise office tower. Hand-painted maps and site plans were used in conjunction with photography to emphasize the dramatic location and views from the buildings." Ann Kifer, assistant creative director; Chris Hill/Jeff Davis/Laura Menegaz/Tom Berno. designers; Andy Dearwater. illustrator; Mark Green. photographer.

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

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44

M A R C H I A P R I L

I 9 9 4

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

A R T S

45

THE HILL GROUP

This page: Concretos logo. "This project was produced in cooperation with Ouali Communications in Monterrey, Mexico. Ouali is a marketing firm and an important partner for us in creating communication projects in Mexico for the last five years. Concretos is the largest distributor of construction grade concrete in Mexico. The logo required a very aggressive, rigid image, like that suggested by concrete blocks ." Karina Lopez, Ouali Communications, assistant creative director; Chris Hill/Jeff Davis, designers.

ITESM (Monterrey Tech University) 50th anniversary program materials . "This was an incredibly complex job, involving multiple sets of programs, invitations and name tags for several different groups of attendees, plus posters, banners, etc. To achieve a unified look to the program, we commissioned Linda Bleck to create two pieces of illustration interpreting the combination of historical symbols and high technology to represent the university's past, present and future . VI P's received a leather binder with the color illustration tipped-on and event program, note pad and nametag contained within ."

Sergio Sierra. ITESM. assistant creative director; Chris Hill/Jeff Davis/Tom Berno. designers .

Don Quixote book given as a gift to commemorate the anniversary of the Mexican school and the 400th anniversary of Cervantes. Karina Lopez. Ouali Communications, assistant creative director; Chris Hill/Jeff Davis, designers; Jack Unruh. illustrator; ITESM. client.

Right Posters for Dentsu International Design Exhibition . "Each designer was asked to submit a short statement about the role design plays in environmental issues. This was mine ." Chris Hill/Jeff Davis. designers.

"We worked in conjunction with the Impact Group to design this project. Wildcat Ranch in Aspen, Colorado, was the creation of actor Michael Douglas . Twelve ranch sites were located within a huge spread of acreage outside Aspen with the express purpose of preserving the local wildlife as completely as possible . A leather-covered folding binder contained a ranch guide, showing sites and amenities with photography, a field guide, illustrated to show all indigenous wildlife and large maps of the ranch ." Sean Patrick. Impact Group, assistant creative director; Chris Hill/Jeff Davis/Laura Menegaz/Doug Alexander. designers; Jack Unruh. illustrator; Robert Millman/various. photographers .

46

M A R C H I A P R I L

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COMMU

IC AT J 0

ARTS

47

ASMUSSEN BY

LAURIE

HE FIRST THING THAT STRUCK ME ABOUT illustrator Don Asmussen is the gentle, selfdeprecating manner in which he describes his work. He eems almo t startled that anyone would be interested in knowing what he thinks about when he begins to create his pen and ink, watercolor and collage illustrations.

T

"I never know really which direction any drawing will go until I start drawing and review my references ," he says. "Then while I'm doing the drawing I'll decide whether to use pen and ink to shape it or whether to make the foundation more based in collage -or whether it will stink either way and I should call Dr. (Jack) Kevorkian," a reference to the notoriou assisted-suicide doctor who lives and practice in Royal Oak, a short freeway ride away from Asmussen's Auburn Hills, Michigan, apartment.

He muses about hi "style," if it can be described as such, as a reflection of hi personality, going in many direction at once. Although Don does preliminary sketches, he admit that he likes to leave a certain amount of the final illustration to chance. "It looks a lot better, and it's more fun for me. Once I've done a sketch that's too tight, I don't feel really excited about doing the final drawing. It' ki~d of scary, because if it's a tight deadline, you . have those moment where you're wondering if you' re going in the right direction. I used to think that all arti ts knew what the final illustration should look like before they're done, but I've learned that the people I admire most do it the way I do."

A mu en, who in January moved from the Detroit News to the art department of the San Diego 48

M A R C HI A P R I L

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FREEMAN

Union-Tribune, like to pread out hi work throughout the Ii ving space of his home. He prefer to have his $50 drawing table and upplies parked right in front of his nineteen-inch television. Most nights, Don channel urf between the local community cable access channel, Bravo, and the "Talk Soup" how on E! The Entertainment Network, which review the schedule of talk hows. He keeps the volume down , so that he can listen to rock mu ic, mo tly The Pixies and Pavement, and talk to hi wife, Amy, when she pa es through his work area.

On the living room wall is a bulletin board filled with tearsheet featuring the latest creations of hi favorite illustrators. "I have an inability to draw unless I'm surrounded by all kinds of things," he explains.

Don describes the current crop of favorite : Alan E. Cober, "the ma ter-he' s o loo e and improvisational"; Philip Burke, "a god";

This page: Madonna portrait for the Arts section of the Washington Times, "The Queen of Obscene," was Don Asmussen's first free-lance job. "I was so nervous I must have drawn 40 Madonnas in two days-one of them had her revealing her internal organs . I finally picked the seventh one and sent it to art director John Kascht.

He played it very big on the page. My belief is that no matter how bad a drawing is. if you play it big it will look good . Or at least it will look big ." 11x17. pen and ink. hand-cut color overlays and collage .

Right: "This drawing of Clint Eastwood was for a feature article in The Fifth Estate, an alternative arts publication. which came out during the run of his film. In The Line of Fire. In the movie I noticed that Clint was starting to look like he was made of wood. I mean this in the best possible way. I wanted to have tree branches coming out of his neck because to me he was a great big acting oak tree .

The art director politely asked me to take the branches out. which I did." Matthew Sachuk. art director. 14 x 22. pen and ink. watercolor, collage .

DON ASMUSSE

Ian Pollock, "artist from Mars"; Ralph Steadman, "the greatest," and George Snow, "his whole style is based on hards of other things, creating a new world out of old. They're all experimental illustrators, they ' re doing things that are really strange," says Asmussen, happily showing samples of a few of his favored artists.

"There's a certain amount of risk and failure, but when it work , I can stare at their work for days."

Having days to do any one task would actually be a luxury for Don, who pride himself on the ability to turn around assignments within 24 hours.

Working for daily newspapers, he ay , the turnaround time is very quick, a selling point he uses when drumming up free-lance assignments from nationally-known publications such as the Los Angeles Times, The New Yorker, Texas Monthly and the Washington Times. "I am totally used to getting an assignment and sending back the finished piece the next day," he says.

Once A mussen get rolling on a project, he sticks with it, no matter how doubtful he is of the outcome. He attributes that to his childhood, when he would spend hour sketching out movies. "My father was an accountant and he'd always bring home graph paper by the box. I'd grab a box, watch Chitty Chitty Bang Bang, and draw out the whole movie, doing a 1,000 graph paper version of it," he says.

"I still have it," he add with a grin.

By age four, Asmussen was drawing cartoon characters like Yosemite Sam and Bugs Bunny, figures that were so realistic, his parents demanded that he show them that he wasn't simply tracing these figures but actually doing them himself. "They went nuts when they saw I could draw," he says. "My dad brought home even more boxes of graph paper."

Don, 29, grew up in Rhode Island and went to Rhode Island College and the Rhode Island School of Design in Providence, where he joined forces with a fellow artist to produce comic strips for underground music and arts new papers. The newspaper strips were often used in exchange for college credits, and in 1986, he released a compilation of all the strips through The Fifth Estate.

During his college years, Asmussen took a number of illustration courses with Enrico Pinardi, a professor whom A mussen says encouraged students to open their minds to all kind of influences. "A lot of professors taught the technique of drawing, but Pinardi taught me to have an open mind toward things, to see the many ways that things 50

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can be done. He was big on following in tinct and he had a great sense of humor," he say .

Straight out of college in 1986, Asmussen worked in adverti ing , drawing jewelry for print ad , before joining the staff of the Lowell Sun in Lowell, Massachusetts, as their daily political cartooni t. The job required that the arti t know how to u e Macinto h Infographics, but Asmu en managed to convince management that he could do it allthen proceeded to learn how to use computer-aided design while on the job.

Although the Lowell Sun got A mu en back in the direction he thought he wanted to go, the job required that he try to develop a consi tent tyle, something he says he felt he wasn't ready to do. "I felt limited by the a pect of drawing," he ay . "I was really sick of having to draw constantly in black-andwhite. I felt I should be doing more in color, in collage."

By 1990, Don landed a position with the Portland Press Herald in Maine, a new paper that at the time was going through a major rede ign and expanding its art department. It was a chance to create a position, Asmu en says, a chance that he grabbed a a way to break out of the political caricature cage.

Mo t of his work at the Portland newspaper was in the news sections, illustration for news and feature stories.

"Everything from scrod fishing to trees," he ay . "I had freedom to try new thing , to be different, to find where I wanted to go."

The combination of illu tration and CAD experience won Don a position at the Detroit News in mid-1991. "A chance to go to the big time," he says. "I felt I had to go to a larger paper to see how well I could do."

While Asmussen says he had pretty much figured out his style by the time he reached Portland, Maine, it wasn't until he came to Detroit that everything fell into place.

Right Caricatures of singer Lyle Lovett and actor Bill Murray were used for self-promotion . "I noticed in Bill Murray's last film that his face was like a big pillow coming apart. His hair was like all this stuffing coming out of his head . It seemed to fit my style ." 14 x 22; pen and ink, watercolor. collage .

Op-ed page article in the Detroit News. "African American Lessons," about affirmative action programs and their failures to fix things. "The broken wings are a bit of a cliche but I thought this drawing hit the story's mood well." Felix Grabowski/Ann Abate. art directors. 12 x 8; pen and ink, collage.

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"I was given incredible freedom by my art director, Felix Grabowski," Don says. "He allowed me to find myself by giving me a lot of rope.

Next to Pinardi, he's been the biggest help in getting me to figure out what the hell I'm doing. That is assuming I know what the hell I'm doing."

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While in Detroit, Asmussen participated in a four-person show with three fellow illustrators from the Detroit News at the Impact Art Gallery. Don contributed fifteen drawings, most of them originals he created just for the show. "And a few of them sold," he says, still surprised that his work found new homes.

Don uses the computer primarily for his daily newspaper work, with most of his free-lance jobs drawn freehand.

He often gets only a hint of what a finished story will be, and he's left on his own to devise an appropriate illustration. He regularly raids the newspaper archives for black-andwhite photos of his subjects, and gets color portraits from photo supply houses. An admitted movie freak , Asmussen also uses a lot of video, renting movies by the armful to capture the movements of various actors.

Asmussen' s "seat-of-the-pants" illustration style is an appropriate match for his personality and his preferred working environment. Even though he's just settling into life at the San Diego Union-Tribune, he_'s scouting for new opportunities. Don worries that if he's not doing several projects at once, he might lose his creative edge. And if he tries to plan out a specific idea ahead of time, it would lose the aspect of spontaneity that infuses all of his illustrations.

"I just love to draw, and not knowing exactly what I'm doing as I'm drawing," he says. "It's scary and unpredictable. I never know exactly where I'm going, and that's what I like about it."

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Left: Musician Neil Young for article , "Still Young," in the Portland Press Herald in Maine. "This was the first color pen and ink caricature I did." Rick Wakely, art director. 14 x 17; pen and ink, watercolor, collage.

This page: Portrait of TV talk show host David Letterman for the Washington Times, "The King of Late Night." "Because I combine pen and ink with collage, my drawings have a certain amount of improvisation. This piece went toward collage because my first attempt to draw him would have ruined my career." Dolores Motichka, art director. 12 x 17; pen and ink. collage.

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Bus iness section article. "Bravo and Bon Appetit," in the Detroit News. "Phantom of the Opera had been playing and for the first time in years Detroit restaurants had people in them . The concept is simple. but the drawing had a nice energy to it.

Art director Felix Grabowski gave me a ton of freedom to get as wacky as I could with the business pages. Of course this all stopped as soon as the paper tested elderly focus groups and found out my drawings were scaring half the readership ."

14 x 22; pen and ink. watercolor. collage .

Portrait of singer Rod Stewart appeared in the Applause section of the Portland Press Herald as a concert preview, "Master of Surprise." "First I tried to do a clay sculpture.

A local dentist gave me some dentures and a doll repair shop gave me some plastic eyeballs . The sculpture looked like Jamie Farr with great teeth . I panicked and whipped up this drawing in a half hour on deadline. Rod Stewart was in town the day it ran and asked me for the original. Rod was happy, but I got the feeling the dentist was miffed his teeth didn 't get in the paper." Rick Wakely, art director.

12 x 17; pen and ink. col lage and hand-cut color overlays .

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This page : Senator Ted Kennedy for a Maine Sunday Telegram Insight section article, "A Kennedy Divided." Ray Ragone, art director. 12 x 15; pen and ink, watercolor.

"Article in the Washington Times about how government brings two parties together and hacks out agreements, 'Political Liberalism.' I was originally going to draw full figures of two people but got lazy and just showed their hands and arms . I convinced the art director it was an aesthetic dec ision ." Dolores Motichka, art director. 14 x 17, pen and ink, collage .

"Supreme Court Justice Clarence Thomas was done during the Thomas hoopla. The story portrayed Thomas as a victim . This was a good exercise for me because I didn't agree with this viewpoint. I drew him as this target of abuse and it came out all right for a drawing with the same eye repeated twice ." Ray Ragone, art director; Maine Sunday Telegram, client.

12 x 14; pen and ink, collage .

Right: Singer Mick Jagger of the Rolling Stones. "I probably overdrew this one . All I had to do was take the collage mouth and stick it on the white paper and it was already there. The rest is redundant." Matthew Sachuk, art director; The Fifth Estate, client. 14 x 22; pen and ink, watercolor, collage.

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HIS ERA OF HIGH TECHNOLOGY HAS created a world that seems to be shrinking in proportion to a growing perception; virtual reality is reality. The influx of media information, travel and international trade has evolved into globalization. The romantic cultural association that characterizes all corners of the globe has integrated with 20th century progressthe borders are blurring, influences abound and a global culture has arrived. After all, actively or interactively, it's now possible to find someone lounging in a sarong drinking Coca Cola while listening to Tchaikovsky on a Sony Walkman-just about anywhere. Enchantment has given way to convenience; and a diminishing nai"vete has created a greater need to value the traditional qualities, differentiate between illusion and reality and bring to light the underlying similarities we all share.

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This world order has matured with the design philosophy of Keizo Matsui. As a designer Matsui has found that the spirit and imagination are "domains that do indeed possess cross-cultural appeal." Indeed imagination with a dash of humor is the hallmark of this engaging individual. Matsui established his own design office ten years ago in Osaka and a New York extension, Hundred Design Inc., in 1992, developing a reputation of solving design problems by "stirring the imagination" of the viewer. Matsui' s work exhibits his capacity to channel the influences of past, present and imagination into an individual style that has consistently produced intelligent, amusing and award-winning solutions; his works are in permanent museum collections throughout the United States and Europe.

Matsui is fascinated with archeology and history: "Modern archeologists have rich imaginations. From only one piece of excavated material they bridge an enormous gap of time and space. They develop a hypothesis, they look into the relationships between facts to solve the puzzles they have in their mind and then vividly restore remnants of a world they themselves have never seen.

Equally impressive are the imaginations of people from ancient times. :.>< During a visit to Taipei's Kokyu ~ Museum, I saw antiquated imaginary ~ animals and figures of an unknown 8i world embodied in solid form@ 56

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created from an imagination unthinkable today. These artists lived at a time when the scope of information relative to the world had limitations, a thirst and longing for the unknown extended the realm of their imagination."

Matsui translates that philosophy into his design approach, "When I do poster design or packaging design , it i my desire to come up with a totally new concept, a package that nobody has ever thought of before. Not necessarily coming up with something that will endure forever, but through motif and detail I want to introduce people to a different dimension, a world beyond reality."

Born in 1946, Keizo Matsui grew up in Hiroshima-one of two cities in the world struck by the atomic bomb. "The fact that I spent the first eighteen years of my life in Hiroshima has had a great influence on my life. Although I did not experience the bomb, my mother did," he say s.

Matsui's mother, who still lives in Hiroshima, was pregnant with him at the time of the attack. She evacuated to Kyoto where she gave birth, returning to her home town when Matsui was three. "Half of my school friends lost their parents or siblings and many people walking the streets of Hiroshima still have scars from the burns. I was not aware of the catastrophe until I was in grade school , but I sensed the amount of energy and determination to recover during that period; the effort was as great as the impact," Matsui relates.

"This background is my constant reminder of the importance of peace. My heart aches to think that in various places in the world, racial and religious strife continues."

Matsui graduated from the Osaka University of Art where he studied design and fine arts. His interest to Unless otherwise noted, Keizo Matsu i was the art director and designer of all projects shown .

Right: Packaging for fashion des igne r.

Hiroko Koshino . "A blend of simple practicality, layered corrugated cardboard with indentations in which to set the ceram ic dishes. I sought the traditional Japanese image: Japan= Harmony ('wa '). I aimed for something modern . refined and classy."

Shopping bags and wrapping paper for Morozoff. a traditional confectionery company. Yuko Araki. designer.

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see the outside world was triggered by the presence of Americans in occupied Japan. "There was a U.S. base close to where I lived so American pop culture, fashion and music was the center of our admiration. It also fueled my imagination about things overseas. In my early twenties, I went by ship from Japan to Russia and then took the Siberian railroad through Russia to Europe. I ended up in Italy and sold my art on the streets to earn money." Matsui then moved on by traveling from Greece to Thailand through the Silk Road, the ancient trade route that meander across southern Asia-the old world's version of continentalization. "Intersecting points of cultures, or what I would call 'mingling of various cultures' was very appealing and made a great impression on me," he claims. "The mixture of per uasions felt perfectly natural and ever since that experience, I see the world as one common ground."

After returning from his journey, Matsui began working in the design department of one of Japan's renowned department stores, Taka himaya, where he stayed for ten years before venturing out on his own. This period coincided with Japan's meteoric rise as an economic power that began through fierce competition at home, which can be as rough inside Japan as anywhere else in the world.

The boon of development allowed large businesse and cottage industries to :flourish although often at the acrifice of traditional ensibilities. Two spheres evolved: one adhering to traditional motifs that is considered cliche or kitsch and the other based on an international image that incorporates anything western.

Thus Japan's po ition, particularly during the latter half of the '80s, has been startling to those who had nose-to-thegrindstone participation in the post war boom. "Perhaps it is because I grew up in Hiroshima that Japan's development looks so impressive-on one hand Japan has become richer and richer, on the other hand it also appears to me Japan is losing the good qualities of it unique culture," Matsui reflects. "It' my reaction to this imbalance that draws me to beauty."

From the Western perspective, graphic design in Japan frequently appears as arti tic expression perhaps because, in Japan, emotion is often an integral element used in design and advertising. As a concept, expressing afeeling 58

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allows the designer to conjure words and images that may not nece arily be related to the character of the ubject.

The juxtaposition of words and image allow the viewer to experience something unexpected and memorable. "I like to make up something from the subconscious, in other words , that which appeal to the in tinct. I uppo e it would be 'wit'-I like my designs to have wit; that which draws people's hearts into my work," Matsui explains. "I think a good design is something that does not need a lot of explanation. A good design ha to be something that the viewer feels with their heart the moment they see it-one that make them ay, ' Oh that's really good. I get a en e of omething totally new.' Thi can ' t be explained in word and unle the per on who ees it feel it naturally, there i no meaning to it.

"Whenever I am involved in a project or enterpri e a a creator and de igner, I fir t think of what is being asked of us; whether it is product design, packaging or corporate identity. I try to match the ba ic expre ion with the goal or purpose. We have to keep in mind beauty, naturalness , functionality and conceptuality. First of all we think, 'What's new? I there a method of expression that has not been used before? ' On that ba i we come up with a design. As long as we participate as creators, the individuality is naturally expressed. Depending on This page: Logotype and packag ing design for sake [Japanese rice wine]. "I wanted to expand the taste for this local sake . My inspiration was the sharp ness and power of an ancient sword . I sought grandeur. along with the simplicity and gentleness of the Seto-uchi seas ide region ." Eh ime Prefecture Brewery Cooperative. client.

Right: Two designs for different grades of sake . "Hime-no-Ai was developed as the brand to represent Ehime Prefecture . The name originated from Hime-no-Kuni , the fictional name for the weste rn Ehime region in the Japanese classic. The Kojikii. It also stems from the desire to make it the local sake of the area . I designed it so that people would hold the bottle in their hands and look at it from various angles . I wanted it to be appreciated and recogn ized as a Japanese sake bottle. rather than a whisky or wine bottle. Nostalgic, yet newthat is Hime-no-Ai." Ehime-ken Brewery Cooperative. client.

Haiku Collection . "A visualized passing of the four seasons dep icted graphically and by use of 'Haiku ,' a unique poetic form in the Japanese culture . Although ancient. I feel these poems can still apply to ou r contemporary life." Yuko Araki. designer.

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the purpose, some of our projects may be stronger in artistic expression while others are stronger in commercial expression."

Matsui ' s work covers the realm of graphic design and includes posters, editorial, advertising and corporate. The multi-dimensional work seen in the packaging and promotional pieces inherently combines his conviction that the nature of interacting with a package or dimen ional piece automatically allows the viewer to experience work that is as stimulating as a child's toy. "Three-dimensional projects are interesting in that the viewer can participate in the work from the same pointof-view as the creator," Matsui says.

Given Matsui' s desire to reach beyond the boundaries, it is fitting that his expanding circle includes Dai Nippon Printing Company ' s DDD Gallery, the Osaka counterpart to Tokyo ' s acclaimed GGG Gallery headed by Ikko Tanaka. As chief curator and consultant at DDD, it is Matsui' s intention to showcase the work of international designers. "It is the quality of an individual creator that moves or impresses people and evoke a sympathetic response to their work. It is not important that the work come from large metropolitan areas such as Tokyo, Paris or New York; we are introducing those creators whose styles have an interesting perspective that resonates beyond their domain."

Matsui is part of a growing band of designers, Th is page : Poster for an exhibition of cha irs des igned by master des igners at the Cha irs Gallery. Ke izo Matsu i/ Yu ko Araki , art directors/des igners .

Bottle design in the shape of Venus and an angel for Suntory. "Has there ever been a bottle that can provide the drinker with such a fantasy and a certain type of narcissism? This is what was in my mind when I designed this bottle. " Ke izo Matsui . art director; Ke izo Matsu i/ Yuko Araki, designers.

Right: "The Laboratory" is an abstract calendar that features life-size subjects in the fo rm of lab equ ipment.

Subjects were photographed photogram style . Yuko Araki , designer; Masao Chiba , photographer.

"Image Laboratory." Poster series for a demonstration of the Simulation Plaza owned by Morisawa Co ., Ltd .

Keizo Matsui/Yuko Araki , art directors/designers; Masao Ch iba, photographer.

"Tears " promotional posters for DOD Gallery demonstrate the techn iques of Da i Nippon Printing Co., which owns the Osaka -based gal lery. Yuko Araki , des igner; Ke izo Matsui, photographer.

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illustrators and creative directors, whose work identifies with the quality of tradition and craft that reflects the spirit of the times. The same energy that propelled Japan 's growth to new levels of competition has enabled such creators to forge a new path. However, modernization has led Matsui to a crossroads. "We live at a time when a flood of information makes it possible for us to know about a whole world of things-as they are happening ; we have the illusion that we know a lot, yet our knowledge is still very limited," he says. "Civilization has made life convenient for us, but I feel it has impoverished our imagination-I would like to possess and maintain both the spirituality and the imagination of those people of ancient times."

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Special thanks to Yuriko Hayashi, Robert Engler-Persimmon House, Santa Cruz and Haruki Mori-Azane Associates, Tokyo for their assistance in translation .

Left: 1991 calendar for Fuji Bank . "There are many calendars that use photographs, but my aim was to use a photograph that would give an impression while serving as a prism for the emotions of the viewer."

Yuko Araki, designer; Sachiko Kuru, photographer.

This page: 1993 calendar for Comtecs Corporation, a computer sales and development company in Osaka.

"I produced the calendar using the 'design picture treatment system' on Comtecs's Dicomed computer and Crosfield scanner. I mapped photographs that symbolize ecology (the forest, desert sky) onto the forms of various flowers ."

Above: "Symbol for a hotel, built as a part of urban development in Osaka . The image of the design combines the city flower and people gathered there ."

Keizo Matsui/Yuko Araki, designers.

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Above: Symbol for a campaign sponsored jointly by the Osaka City and county governments. and the Osaka Chamber of Commerce and Industry. The theme of the campaign was development and urbanization . Keizo Matsui. designer.

This page: Poster for a design symposium held during the Tenjin Barca Art & Design Festival .

Poster for an exhibition of British graphic designer Russell Warren Fisher at DOD Gallery. "The fish motif was a play on Russell's last name." Yuko Araki . designer.

Right: Packaging and product identity for a new brand of candy.

"I imagined that a world of beings that we cannot see inhabited a forest. In jest. I developed this confectionery for them . I called it Patissbois [patisserie (pastry) and bois (woods)]. I tried to express the luxury and refinement of French cuisine with colorful new visuals." Yuko Araki. designer; Tamame Akamatsu. illustrator; Goncharoff Confectionery Co .. client.

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HESE DAYS, NORTHWESTERN ADVERTISING AGENCIES DWELL IN THE LARGE SHADOW CAST BY WIEDEN & KENNEDY, THE AWARD-WINNING AGENCY RESPONSIBLE FOR NIKE ADS. BUT IF ANY LOCAL AGENCY IS APT TO STEAL SOME OF W&K'S CREATIVE THUNDER IN THE NEXT COUPLE OF YEARS, IT MAY WELL BE COLE & WEBER. And what is perhaps most surprising about that is the fact that Cole & Weber is no new upstart agency. On the contrary, it is one of the oldest names in regional advertising, having produced ads for Oregon-based clients long before Dan Wieden wore baby footwear. Opened in Portland in 1931, the agency expanded to several other Western locations over the years, including Seattle-which eventually supplanted Portland as the main office. Through the first five decades of its existence, Cole & Weber was a model of quiet, sturdy, reliable Northwestern work ethics.

In other words, it was a bit on the dull side.

Hence when Wieden, along with Borders Perrin & Norrander of Portland, led a dynamic creative revolution in the Northwest during the mid- to late-'80s, C&W found itself in danger of being completely eclipsed by these newer agencies. And that's when Cole & Weber began to re-create itself, with the help of a few outsiders.

In 1989, C&W's parent company, Ogilvy & Mather, sent a couple of energetic malcontents named Scott Marshall and Mark McNeely from New York to Seattle, to try to rejuvenate the sagging franchise. Marshall and McNeely made two important decisions that would change the fate of the agency. "We decided, about a year into our stay in Seattle, that the creative work would take precedence over everything," says Marshall. And shortly thereafter, Marshall and McNeely also decided to turn their attention so uth and shake up the Portland office, installing new management there.

As these changes began to take hold, in '90 and '91, Cole & Weber slowly emerged from the shadows, with its work showing up more and more at the local awards shows 66

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previously dominated by Wieden & Kennedy. It wasn't easy to ay which C&W office, Seattle or Portland, was doing better work-both were contributing their share. By the time of the 1993 Northwest Addy Awards, the Seattle and Portland offices were in high-gear, and combined to win 34 medals-two more than Wieden & Kennedy.

Now, in 1994, it seems that Cole & Weber may be on the cusp of something very big. In Seattle, the agency recently hired its fir t "name" creative director, the former awardwinning Fallon McElligott art director Bob Brihn. Brihn, along with new CEO Austin McGhie , from Ogilvy & Mather in Chicago, have taken the reins from the recentlydeparted Marshall and McNeely , and are attempting to take Cole & Weber to the next level. "At this point," says Brihn, "it 's time for this agency to go beyond regional success and establish a national identity."

Comments were made by the creative team responsible .

Right: "This is one of the first ads in a campaign for Westin Hotels and Resorts that will roll out this year. Here we feature some of their golf courses which happen to be pretty spectacular. We just tried to capture the feeling you get when you walk out on the kind of course that just overwhelms you and puts things in perspective." Heidi Flora, art director; Kevin Jones. writer; The Image Bank/Aiistock. photographers; Cole & Weber (Seattle). agency.

"One in a series of trade ads meant to position London Underground as the most knowledgeable player in the distribution of Dr. Martens shoes.

This ad told retailers important things like the fact that kid's shoes would be hot back-to-school sellers and that the little nippers would be spending tons of their parent's dough on them." Joe Shands , art director; David Baldwin, writer; Gary Hush, photographer; Cole & Weber (Portland). agency.

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In Portland, creative director Jim Carey, brought in as part of the management shakeup three years ago, is thinking similarly ambitious thoughts-and has even hinted that he might be interested in working more closely with the Seattle office to jointly pitch national accounts. After years of strict separatism, and even a touch of bad blood between the two offices, such an alliance would be quite a turnabout. And given the current levels of creative firepower in each office, it's fair to say that a unified Cole & Weber could be a force to be reckoned with on the national advertising scene.

That' s not to say such a union would be an easy one. The two offices have distinctly different personalities. Cole & Weber of Seattle, with roughly $60 million in billings, operates out of a pristine multi-level office building that features an outdoor deck for entertaining clients, a sleek pool table that seems to serve mostly as ornamentation, and a glittering jukebox in one of the halls. The staff of 100, headed by the jacket-and-tie-clad McGhie, go about their business with a quiet intensity.

Down in Portland , the atmosphere couldn ' t be more different. The quarters are cramped and a little messy , with sketches of ads strewn about the floor and taped to the walls. A dime store basketball hoop nailed up in the main room is constantly in use, as members of the creative department laugh and elbow each other. Heading up this small (eleven people) but frenetic creative department is 40-year-old Jim Carey, wearing jeans and a flannel shirt.

"They have the pool table and the nice building," says Carey of the Seattle office, adding that "we' re more of a guerrilla operation."

What the two offices have in common, though, is good work. The creative styles-to the extent that either group can be said to have one-are distinct from one another, but similarly arresting. The Seattle office ' s recent work for Westin Hotels, the Nike i.e. shoe line, Aspen Skiing and Group Health Insurance features dramatic , designdriven art direction , with unusual type treatments and layouts. Meanwhile, the Portland group's work for the Oregonian newspaper, The Oregon State Lottery and Dr. Martens shoes tends to be, in Carey's words, "more concept and headline-driven," but is, at the same time, disarmingly smart and funny.

As recently as five years ago, Cole & Weber produced a very different kind of advertising, particularly in Seattle.

With a blue-chip client roster that included Boeing, the agency's work was functional , but unexciting. "When I came here, the agency produced ads for Boeing that pretty much just consisted of pictures of planes taking off," says Paul Neal , a veteran C&W/Seattle account executive.

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This page : Cole & Weber Portland creat ive staff clockwise fro m left: Scott Wild . Bill Karow. Ol ivia Sitea . Ron Saltmarsh . Mark Waggo ner.

Sally Morrow. Paul Hirsch. David Baldwin. Ma rk Watson . Jim Ca rey, Mike Sheen and John Heinsma.

Right: "The model in this ad is Jack Peterson . an account executive at C&W. Jack's a wild man who dives into every project head first; this one just happened to involve a pile of mud ." Joe Shands/ Mike Sheen. art directors/writers; Lars Topelmann . photographer; Kle in Bicycle Corp .. client; Cole & Weber (Portland), agency.

"These ads illustrate by example the insanity of the current fee-fo rservice healthcare system . The stories were lifted directly from th e newspaper. The target recogn izes that Group Hea lth Cooperative is apart from that system . Our message was impl icit: Gro up Health isn't like this; ergo, it's a better idea ." Steve Luker, art di recto r; Steve Johnston. writer; Kei Muto/Tatsuiko Sh imada . photographers.

"Every shoe company claims to make really comfortab le shoes. With i.e .. we had Nike-Air technology that actually was superior. but we needed to say it in a way that differentiated us . Instead of the overwrou ght cutaway shoe diagram. we let the presence of Nike-Air te ll th e story, presented in shoes in a simple. access ible way, and raised the co mfort claim to a higher plane ." Steve Luker. art director; Steve Jo hnston. writer; Langley Penager, photographer; Nike i.e.. cl ient; Co le & We br (Seattle). agency.

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But Marshall and McNeely changed all of that. "I think the turning point," says Marshall, "came when we were in a meeting with Nike and they told us our creative work just wasn't good enough. We decided we never wanted to be told that again."

Marshall and McNeely turned to top free-lance talent, such as Los Angeles creative star Mark Fenske, to help breathe new life into the creative work in Seattle. The agency's biggest breakthrough probably came with its work for Nike i.e. shoes, which was the first work under Marshall/ McNeely to attract national attention. That was followed up with stellar work for a number of new accounts-Aspen, Group Health, Westin and some smaller clients, including a barbecue sauce and a local record shop. Even the work for older, more conservative clients such as Boeing began to take some surprising turns.

Just as the Seattle office seemed to be hitting its stride last year, it was jolted by the departure in March of Marshall and McNeely, who left to start their own advertising and television production company under the banner "Scattergood." ("We felt like we'd accomplished what we set out to do at Cole & Weber," says Marshall.) C&W's owners responded by bringing in McGhie from the Chicago O&M office and he subsequently hired Brihn last October.

Brihn, 36, brings an impressive portfolio of work to C&W, having helped create many award-winning ads for Federal Express, Time magazine, Porsche, and the Wall Street Journal. Creative staffers at the agency say McGhie and Brihn have made it clear that they intend to stay the creative-driven course charted by Marshall and McNeely. If ~nything, Brihn wants to go even further. He foresees C&W/Seattle going head-to-head, creatively, with the best agencies in the country-Fallon McElligott, Wieden & Kennedy, Good by Berlin & Silverstein. And he believes his Fallon McElligott background will help: "I would love to be able to take the conceptual strength of Fallon's work and blend it with the exciting new style of art direction that's now coming out of the Northwest," he says.

McGhie believes that Brihn's presence at the agency will help C&W/Seattle bring in new creative talent from around the country; he would like to see the agency rely less on freelancers than in the past. Recently, Brihn hired Harvey Marco, a talented art director from Ammirati & Puris in New York. But at the same time, the agency is still deal70

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ing with the loss of not just McNeely and Marshall but also a couple of other key creative people who were responsible for much of the recent award-winning work. There ' s no question that this is a period of transition for C& W/Seattle.

The Portland office, on the other hand, has already gone through its period of transition, which occurred, quite painfully, three years ago. When McNeely and Marshall installed a new general manager, Debby Kennedy, an insurrection followed. The office's creative director and much of the creative staff left to form another agency. " I started the day after Christmas," Kennedy remembers, "and by the end of my first week it seemed like everyone had resigned. It was a nightmare."

But Kennedy salvaged the disastrous situation by quickly hiring a new creative director who worked to rebuild the Portland creative department. Jim Carey had come from Chicago-based Zechman &

This page: Creative director, Bob Brihn , of Cole & Weber Seattle .

Right: "Boeing is a large, long-term and relatively inconspicuous patron of Seattle's art community. When the Seattle Art Museum relocated to its new downtown facil ity, it made the African Art Exhibit Boeing had purchased years earlier a major exhibit. Most people don't understand African art and , in fact, the African concept of art is different from the classical Western approach; it is a societal tool, an intrinsic part of everyday life. We believed that helping potential museum goers understand this would help them appreciate the exh ibit.

The museum was hesitant to have wacky ad types degrade the beauty of the art with crass commercial messages . As it turned out, they were thrilled with the end product and the results . The ads drew thousands of first-time visitors to the museum and made their opening weeks a huge success ." Fred Hammerquist, art director; Hugh Saffel , writer; Robin Bartholick, photographer; The Boeing Company, client; Cole & Weber (Seattle). agency.

Part of a trade campaign for Bonneville Power aimed at architects and engineers to get them to use energy efficient products . "For approva l, this campaign went through three different government comm ittees, three different times, but it was never changed . Leo Burnett, eat you r heart out." Paul Hirsch, art director; Scott Wild , writer; Gary Hush , photographer; Cole & Weber (Portland). agency.

"Our previous campaign was nullified by the L.A. riots . We had to scramble to get replacement ads ready for the holiday retail seaso n.

Where the previous campaign focused on Beverly Center, the new work featured the Beverly Center shopper. The '80s power shopper was passe; we focused instead on the anxiety of people who have to shop, by us ing stream of consciousness copy. If that sounds like sanitary intellectual process, it wasn't. We came up with some lines and found images to match ." Paul Cournoyer, art director; Michele McKenna, writer; Dennis Manarchy, photographer; Cole & Weber (Seattle). agency.

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• We judge things from other cultures from the perspective of our own. So you might look at this Nkondi and call it a fi:tish. Old Hollywood movies and early psychologists contributed to this bcLief. • Now we rcali7.c this figure is used at the conclusion of legal debates or treaties.

Two people seeking an agrecmcm will take a bit of hair or doth , wrap it around a nail, and pound it into the figure. The Nkondi then has the authority to remind the people of their oath and urge them to stay true to their words. • Sounds likt: a pretty sophisticated way to handle judge, jury and law enfurccmcnt doesn' t it. • To the people of Africa. an is llO{ something that hangs, &amcd,on a wall. The art o f Afiica is integrated into every pan of the /iftof Afiica.• To learn more about this rich culture, its art and people, visit the Seattle Art Museum and sec this spccaatlar collection. Even if you're an attorney, you may never look at an the same way again

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MARCH / APRIL

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COLE & WEBER

Associate , where he'd written a number of outstanding campaigns for Illinois Tourism. Working with a core group of holdovers in the Portland creative department, including veteran art director Mike Sheen and writer Mark Waggoner, Carey brought stability and a sharp creative focus to the Portland office. Under his leadership, the agency began to attract attention with its work for the Oregonian, the Oregon state lottery , Klein Bicycle and other clients.

Today, the Portland office's billings have reached $24 million (up from a low point of $7 million three years ago). But perhaps more significantly, its creative work has earned respect-which doesn't come easily in Portland. "Wieden ' s inspired a love of advertising in this town,'' says Carey.

"The caliber of work here is amazingprobably second only to Minneapolis. And it's embarrassing to put out a bad ad in Portland, because everybody knows who did what and they talk about it."

Carey believes that atmosphere of competitiveness within Portland drives his creative people to do better work. And, he says, the town ' s reputation helps him to recruit talent from around the country, such as writer David Baldwin, who came from Hal Riney in San Francisco. With a wry smile, Carey adds: "People probably come here thinking they ' ll work for me for six months, then go down the road and talk to Dan." But no one seems anxious to leave right now. Creatives praise the soft-spoken Carey to the sky, and are visibly proud of their work. Baldwin, who's done stints at Della Femina and Deutsch/Dworin in New York as well as Riney, says: "This is by far the best place I've worked-zero politics, and the creative comes first. What more could you want?"

Well , a bit more national recognition might be nice. And that, too , may be coming for the Portland office, which is now producing its first high-profile national campaign, for Dr. Martens footwear. Still, to really break through as a national agency, the gang in Portland may need a little help from their brethren to the north. There was a time when employees of the two offices barely spoke to one another, stemming partly from a past incident in which the Seattle management demanded that the Portland office resign from doing ads for a local bankso that the Seattle group would, in turn, be free to pursue

the business of a competing bank.

But all that bitterness seems almost forgotten now. Recently, McGhie formed an advisory committee that includes Brihn, Kennedy and Carey. And Carey is encouraged about prospects for greater unity: "Hiring Brihn in Seattle sent a great message to us,'' he says. " It shows a commitment to doing great work. And I think Austin [McGhie] may be able to open some doors with national accounts. I wouldn ' t be surprised to see us working together-if we can figure out how to do it."

If they do figure that out, look out. Not even Bo knows what such an alliance might produce.

•

Left: Print ad campaign for the Oregonian. "We keep this ad on the wall to remind us of what we could be doing with our weekends ." Bill Karow. art director; John Heinsma. writer; Lars Topelmann. photographer; Cole & Weber (Portland). agency.

"A film festival presents a diversity of images. perspectives and emotions. We wanted to represent that idea in a graphic way. Like a good film. each photograph is meant to capture a story in a section of time- it's up to the viewer to fill in the rest."

Steve Luker. art director; Steve Johnston, writer; Dale Windham. photographer; Seattle International Film Festival, client; Cole & Weber (Seattle). agency.

Print ad for Aspen Skiing Company. "There is a feeling of euphoric anticipation when a skier stands at the top of a mounta in. That feeling can be significantly enhanced if the mountain is Snowmass . We wanted to communicate that in a way that would also create a visual identity and personality for Aspen's often-overlooked sister mountain." Steve Luker, art director; Mark Fenske, writer; Brett Froomer. photographer; Cole & Weber (Seattle). agency.

This page: "The art director designed a poster for a World Cup event that was to be one or two colors and as long and narrow as was physically printable . A curved. variable die cut ran through the center that was almost as long as the poster but as thin as a die would allow. The cut was designed to barely open when it was hung on a wall , yet enough to show that it was indeed a slit. The first die broke after snagging and ripping the poster. The die was replaced, and gave us 100 beautiful impressions ... only to break on the 101 st impression. We accepted several compromises and had die number three redesigned, shipped in and put on an alternate press. It worked." Steve Luker, art director; Mark Fenske, writer; Aspen Ski Company, client; Cole & Weber (Seattle). agency.

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Cover and spread from London Underground catalog . "We wanted to convey a sense of history and quality here, to assure buyers that the Dr. Marten's phenomenon is more than a fad . We tried for a vaguely revolutionary feel , in keeping with a product that rose from industrial roots to sweep the world . We tr ied to get Lenin or Trotsky to model , but they were dead ." Sally Morrow, designer; Jim Carey, wr iter; Gary Hush, photographer; Cole & Weber (Portland). agency.

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Left: TV commercial for Group Health Cooperative of Puget Sound . "The idea was to create an unusual visual approach and use it to address general issues common to the industry.

By acknowledging issues as being industry-wide, we were able to position Group Health as taking a high-road stand and being a leader in addressing those issues. The use of animation allowed us to focus on the depersonalized nature of the runaround experienced by common people in dealing with health care providers. The little animated man becomes 'Every Man.' A point of reference in early creative discussions was the art of M.C. Escher. From that and other conceptual points we built a world for our little man in wh ich he never really got anywherea world actually constructed of the physical materials- claim forms , unreadable prescriptions. maze-like directions, etc .that make up his dilemma . We wanted the audience to focus on the dilemma rather than trying to attach a specific person ality to the character. He represents us all. " "Stairs": 30 (Open on an animated metal figure with a lightbulb head, moving against a collage background . Figure goes up and down and around stairs) Woman Anncr. (VO): You think you're going up, but you 're going down. You think you 're walking in, but you 're walking out. You think you're getting somewhere, but you 're getting nowhere. You think you're being taken care of, but you're not.

(An imated figure enters doorway, walks through a paper boundary and transposes into the shadow figure of a man) Man Anncr. (VO): America is the patient. The current health care system is the ailment. Managed care is the cure .

Supers: The cure . Group Health Cooperative logo.

Steve Luker, art director; Steve Johnston, writer; Larry Pensack/ Fred Macdonald, directors ; Sam Walsh, agency producer; Lauren MacMullen. animation director; Group Health Cooperative of Puget Sound , cl ient; Cole & Weber (Seattle). agency.

Right: TV commercial for the Oregon Lottery. "Truth is stranger than fiction . And funnier too . We discovered Keno players used some bizarre systems for choosing the numbers to play.

They ranged from 'finding' lucky numbers on common items like ketchup bottles. to 'reading' numbers from people's minds.

We filmed 30 winners. editing 12 spots. Some fascinating people- a rap singer, two 350-pound identical twins, a karaoke bar owner and a guy who called himself 'Keno Man.' After listening to all their theories, we've come to our own con clusion : You don't have to be weird to win Keno. But it helps."

"The Bees :30 Super: The secret to winning Keno. Patricia & Adrian Bee, $4300 winners.

(Open on the interior of a cafe. The Bees are sitting at a table, eating breakfast) Patricia : I had this dream ...and these numbers just appeared before me. up kind of on the wall, and they were white with a black background, and they just kind of hung there .

(Cut to close-up of Adrian) Adrian : I didn't see the numbers.

(Wide shot of the couple) Patricia : ... and this voice came to me and says if you'll play these numbers they'll be very lucky for you. And they have been .

Adrian : Boy and they were, too .

(Cut to super) Adrian (VO): Darned if they weren't.

Super: Oregon Lottery logo. KENO! Thousands of winners .

Thousands of theories . Odds vary by number of spots played .

Mike Sheen, art director; Scott Wild , writer; Olivia Sitea, producer; Ron Gross, director; Blue Goose. production company; Cole & Weber (Portland). agency.

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I I I I I I

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COLE & WEBER

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Left: "With fewer and fewer people reading newspapers these days. the Oregonian needed a campaign to remind people of the wide range of topics and resources available in the paper.

For once I guess you could say we let the client write the headlines." Bill Karow. art director; Mark Waggoner. writer; Doug Petty, photographer; Cole & Weber (Portland). agency.

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One in a series of long copy heritage executions meant to give the Dr. Martens phenomenon a little substance. To add an air of authenticity to the shoes. this ad about an English cop wearing English shoes was shot right smack dab in the middle of Ye Olde Portland . Some of the other ads were shot in England."

Joe Shands/Mike Sheen. art directors; David Baldwin. writer; Lars Topelmann. photographer; London Underground. client; Cole & Weber (Portland). agency.

EYARDS o( COLUMBIA VALLEY •• WA HINGrDN STATl

This page: "Our objective was to present the Columbia Valley as a region on par with Napa and the great wine appellations of France. The target audience was influential decision makers in the wine industry. The only way to engage them was with sophisticated humor that challenged their attitudes about the Columbia Valley as a potentially great region . We wanted to break through the category clutter that relies upon bottle shops and point scores almost exclusively." Steve Luker. art director; Steve Johnston. writer; Julie Paschkis. illustrator; Stimson Lane Wine & Spirits. client; Cole & Weber (Seattle). agency.

One in a series of posters for a local snow/surf shop. "The funny thing is that two weeks after finishing this campaign, the art director suffered a severe concussion and a cracked joint in his back while snowboarding ." Paul Hirsch. art director; Scott Wild. writer; Lars Topelmann. photographer; Cole & Weber (Portland). agency.

SnOWboard. Surfboard , ' Windsurf Sales & Rentals. 7400 S .w. Macadam, Portland, OR 1.50).246.6646

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Sue Bennett BY

T ALL STARTED WITH A sheep herding trip. Sue Bennett's first professional photography assignment was to accompany Basque sheepherder Jean Etcharnendy, three herders, seven pack burros and 4,000 sheep for three weeks on foot over the Heber-Reno sheep trail in eastern Arizona. The project was part of a book for the U.S. Department of Agriculture documenting American agriculture for the U.S. bicentennial.

In typical direct fashion, Bennett first landed the assignment, and then convinced Monsieur Etchamendy to let her travel with him. "There'd never been a woman on the trail and he was shocked that I would want to go. To me it was a perfectly normal thing to want to do," explains Sue, who fits the nerves of steel image of an adventure photographer, except that she is a small, slender woman.

I

After graduation from the University of Southern California with a B.A. in political science, Sue attended Northern Arizona University on scholarship, making the dean's list and getting her B.S. in journalism. While at Arizona University she worked as a darkroom assistant for basic photography students and had her first photography exhibition. She began working free-lance and apprenticed at the Arizona Daily Sun and with AT&T. "The first time I came to the Southwest, I went to Sedona and I thought there was some kind of atmospheric phenomenon-all that blue sky," Bennett claims. Her affection for her adopted state has never wavered.

"Don't make Flagstaff sound too good," she cautions. Located amongst the lodgepole pines that gave it its name, Flagstaff, situated over 7,000 feet up a mountain in northeastern Arizona, is a far cry from Los Angeles, where she grew up. Its convenient location leads to the Painted Desert, the Hopi and Navajo reservations and what the locals refer to as "the Big Ditch"the Grand Canyon.

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ANNE

TELFORD

After settling in Flagstaff, Bennett began her free-lance photography bu iness in 1980, channeling her interests in political science and journalism into projects for the Bell System and Arizona Office of Tourism, focusing on people with a documentary approach.

She gets "very involved," displaying great empathy-and for some of her subjects, a clear affinity. Speaking of the Midwest farmers she photographed for Du Pont, she says, "These people put a million dollars worth of seed and fertilizer in the ground and they sit back and wait." She's silent for a moment, a look of awe crosses her face.

She recently became a landlord and briefly both amateur building contractor and carpenter. The renovation is still underway. Sue's studio is located in Flagstaff's historic downtown area, in the 100-year-old Babbitt building. She rents the additional space to the proprietors of an Indian jewelry store, an espresso bar and two other photographers, with whom she shares fax and copy machines. On a tour of the spacious studio, with its fourteen-foot ceilings and private lift, she proudly shows her "tool room," and relates with

some amusement that her father suggested adding a washer and dryer, but she explained to him that she needed the space for the tools she had accumulated during remodeling. In another room filled with light tables and files, hangs a life-size inflatable plastic skeleton her mother sent for Halloween.

Rough-hewn wood slab stair lead from the large ( till empty) entry room up to a cozy private office. Negotiating the curves of a steel spiral staircase leads one to the darkroom and a large work room with floor to ceiling shelves.

Torn Waits 's raspy voice trails out of large black speakers downstairs. Next door is a coffee house a la Seattle or San Francisco. Sue chats with the proprietor as she shows off her own backdoor entrance. "I try not to exploit it," she says with a grin.

In the mid- to late-' 80s in Arizona , there was lot of work, then the recession hit hard. "I think for a while

This page: Navajo singing originally appeared in the Italian magazine Airone and it has also been widely used in calendars . "One of the ways I approach Native Americans is to look at the continuity and endurance of a culture . To me, in his singing, he was transported back in time to the days of the buffalo hunters." Romano Vitale, creative director; Egidio Gavazzi, editor; Hara Argentine/Tom Morley, art directors; Pomegranate Calendars & Books. client.

Right: Photograph from an article on British expatriates living in Tuscany for Airone magazine. Romano Vitale. creative director; Egidio Gavazzi, editor.

The portrait of Antonio, a Tarahumara Indian, first appeared in Natural History magazine, and was subsequently picked up in both the French and German editions of Geo. "An interesting thing about the Tarahumaras is they showed me a lot about design. I would always do Polaroids, and offer the prints to them . They would go through the Polaroids and look at them all and keep the ones that had the best exposure. nicest composition, no dust spots.

They are visually sophisticated and have a wonderful appreciation for design." Thomas Page, designer; Natural History, client; Paul Probst/Udo Wohrle, art directors; Geo (France). client; Erwin Ehret/Franz Braun, art directors; Geo (Germany). client.

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SUE BENNETT

at the end of the '80s, every client I had either ended up in Chapter 11 or in jail," she relates with a laugh. Now, all of her assignments come from out of state, even if she ends up shooting in Arizona. "I' m totally location. Nobody hires photographers because they're next door," Sue says.

While she is on the road, Sue's business is handled by studio manager and longtime friend John Dunlap. Her commute is convenient, she lives catty-corner to her studio, above a magazine store.

Listening to Sue describe some of the shoots she's done recently gives an idea of her intensity, warmth and sense of humor. She tends to spend more rather than less time on location, getting to know an area and doing research. Her work has a documentary feel, an empathy that does not sentimentalize or trivialize its subjects but allows for a directness of expression in her sitters.

Sue sees beauty in ordinary working Americans and manages to photograph them in a way that elevates their status.

She excels at capturing honest expressions of people tied to the land: Native Americans, Palestinians, American farmers. "When you give your people freedom to do their thing, they always come up with something that you could

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never dream of; that 's what people give to a photographer,'' Bennett explains.

"I'm continually moved by that."

Sue has traveled to Mexico 's Sierra Madre mountains to photograph Raramuri, the Tarahumara Indians, during Easter and Christmas celebrations and she spent six weeks in the Middle East, photographing Palestinians in Jordan, Jerusalem, the West Bank, Beirut, southern Lebanon and the Gaza Strip. That work eventually found itself in European and Canadian publications.

"It 's not a story that America wants to see,'' Sue says.

Bennett 's credo should be: " I don ' t want to create situations. I want to find situations." Her style is simple. "I do my own production; I want to know what I'm getting myself into. " She prefers using athletes or actors as opposed to models: "They bring a different kind of energy." Whether it 's Alejandro the Vegetable Czar in Todos Santos, Baja, Mexico, or Raymond, a cowboy she first spotted wearing a "wild rag" [scarf] who turned out to be a mule wrangler at the Grand Canyon, Sue Bennett is always on the lookout for new, unconventional models. If you're out west, watch out, you could be next!

This page : Sue Bennett on location.

Portra it of young Native American boy appeared in several magazines. Paul Probst/Udo Wohrle, art directors; Geo (France), client; Erwin Ehret/ Franz Braun, art directors; Geo (Germany). client.

Right: One of a series of 24 album covers for BMG Music/Sony Corp. "Raymond Wesley Chan ley was one of the first cowboys I ever photographed . When I got the assignment to do the country western albums. I hired him as my stylist. He was there to make sure everything was looking 'punchy,' a cowboy compliment that means. 'You're looking good ."' S. Shinozaki, art director; Tokyu Agency International, agency.

Third Floor Band singer/songwriter for upcoming album cover, "The Third Floor." "The way we were shooting it we couldn't use modeling lights for focus . I explained to him that I wanted to know where his songs came from and how they feel ." Art Lofgreen, art director; Smit Ghormley Lofgreen. design firm .

Stock photo. Sue has photographed many Colorado River trips through the Grand Canyon, including a two-week rowing trip with 26 Belgian rafters where she rode backward in the front cockpit of a two-man kayak to shoot the action .

This photo of Peter Marissen was taken at Granite Rapids. "We bought the farm in another rapid. When I was in the water I was wondering whether I had taken the shot of us going over or not. Unlike many river runners who skirt the hydraulics [holes, standing waves]. the Belgians aimed for them . One of them told me he had waited all his life to run the Colorado and he intended to run it. not avoid it. "

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Left: "The picture on the previous page and this one are the extremes of the Grand Canyon-from bone-crunching rapids to these beautiful silent pools ." This one is in North Canyon and shows Salina Bartunek. who appears on "American Gladiators" as "Electra ."

This page: Portrait of model Brian To appeared on a poster and invitations for the Hair and Fashion Massacre AIDS Benefit, in Los Angeles . "This was shot at a state park in New Mexico. We were trying to avoid the Rangers who were after us for indecent exposure!" pHierce Productions & Marc Littlejohn. agency; Chris McMillan. stylist.

Kiowa-Comanche woman with a dentillium shell choker.

"What I saw in her was the strength of a Native American woman . I imagined what it must have been like when white people first came across the plains, and what they would have thought seeing a woman looking like that dressed in buckskin riding a horse." Siegel & Gale/Cross Associates, design firm; Simpson Paper. client.

From a series of portraits taken for an article. "Brainy Athletes : No Time to Play," in Business magazine . Kitty McGee, art director.

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This page : Palmdale Elementary School principal Laverne White and a student from a community services brochure for Intel. "Intel was involved in renovating the south Phoenix school and initiating a tutoring program where employees were 'adopted' by students. LaVerne was the motivating force; in ten years she brought the school from a dangerous place to be-no playground, leaking roof-to one of the top five elementary schools academically in the country." Steve Wedeen. designer; Vaughn Wedeen. design firm .

Airone magazine article on Sardinian shepherds. "Sometimes you get lucky." Romano Vitale. creative director; Egidio Gavazzi, editor.

Right Print ad series for Du Pont. Sue spent several weeks in southern Indiana and Illinois over the course of three trips to capture different phases of the harvest. It was the second largest harvest in history and came very late that fall. "I spend a lot of time talking and getting to know the people I'm photographing, that's important to me . I wanted to know what it's like to be a farmer." Steve Hall, art director; Rumrill Hoyt, agency.

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Left: Color version of one album cover from her country western album series. "David Ray Epps is a cowboy at Cataract Ranch north of Flagstaff. He's from West Texas where the ranches come big . I shot this while the war in the Gulf was going on . David said the Cataract was bigger than Kuwait. " S. Sh inozaki. art director; Tokyu Agency International , agency; BMG Mus ic/Sony Corp ., client.

This Palestinian man was photographed at a refugee camp in southern Lebanon while Sue spent six weeks in the area documenting aspects of life. presenting the Palestinian perspective in the Middle East. The work was publ ished in Europe and Canada . "I was trying to get at the endurance of people who had lived in refugee camps for 20 to 40 years; the pers istence. reso lve and strength of character involved. There's another side to every story and here. for me. the other side is more compelling ." Romano Vitale, creative director; Egidio Gavazzi. editor; Airone, client.

Advert ising for World Gym , a line of clothing that ProKnit produces ."! was trying to get the bicyclist smeared across the frame , using a slow shutter speed .

The shadow was a happy accident. " Art Lofgreen. art director; Sm it Ghormley Lofgreen. design firm; ProKnit Corp ., client.

This page : Close-up of a cowgirl from an album cover series for BMG Music/Sony Corp . S. Shinozaki . art director; Tokyu Agency International. agency.

Portrait of American bodybuilder Jackie Paisley ran in Flex and Men 's Fitness magazines . "I photographed Jackie a lot after the original assignment. They are the most controversial photographs in my portfolio. far more controvers ial than the Palestinians . There isn 't anybody who doesn't have an opinion about whether it's right or wrong for a woman to be that strong ." Ed Passarelli , creative director.

Stock photograph shot while visiting friends in Westcliffe, Colorado. "The light situation dictates technically what you can do . The sun had just set behind the mountains and I was using a slow shutter speed .

It's interesting what happens to the gesture here. it becomes a universal gesture ."

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ELLEN

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In the seventh article in this series, Ellen Shapiro explores the relationship between The Knoll Group and Chermayeff & Geismar Inc., which over the past four years updated and expanded the Knoll corporate and brand identity.

N 1940, HANS AND FLORENCE Knoll opened a design studio and shop on Madison Avenue that forever changed the face of the office landscape. Building on the tradition of the Bauhaus, they commissioned many of the most renowned architects of the modernist era to create or license designs for furniture that would complement modern architecture.

I David Bright served as vice president/ communications of The Knoll Group until January of this year when he joined Foamex International Inc.121 International Holdings in the same capacity. Westinghouse Electric Corporation created The Knoll Group in 1990, when it integrated the Westinghouse Furniture Systems, ShawWalker, Reff and Knoll International Brands. The Knoll Group continues to market classic furniture such as the Saarinen tables and Mies, Breuer and Bertoia chairs for which Knoll gained its reputation in the '50s and' 60s, as well as contemporary furniture by Gehry, D ' Urso and many others. Its key product lines today are affordable office systems and ergonomic seating, contract textiles and office accessories which are distributed through a network of independently owned dealerships. The author of a children's book, Mr. Bright received a bachelor's degree in art history from Brown University and an MBA from New York University.

Thomas H . Geismar is a principal of Chermayeff & Geismar Inc., the 25member New York design firm he founded with Ivan C hermayeff in 1960.

In addition to his designs for exhibitions such as Ellis Island, he has been responsible for over 100 corporate identity programs including Chase Manhattan Bank, Best Products, Rockefeller Center, PBS, Mobil Oil and Xerox . After concurrently atte nding Rhode Island School of Design and Brown University,from which he received a B .A., he earned a master's degree in graphic design from Yale University School of Art and Architecture. A member of the Alliance Graphique Internationale, Mr. Geismar has served as a director of the American Institute of Graphic Arts. His identity, print and environmental design work has been exhibited throughout the world and he has received numerous honors, including the AIGA Gold Medal , shared with Ivan Chermayeff in 1979, the Yale Arts A ward Medal and the Presidential Design A ward, conferred in 1985 by Ronald Reagan.

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In 1942, they published their first catalog, 25 piece of gray cardboard on which were pasted pictures of the furniture they manufactured and were specifying for increasingly high-profile corporate interiors. Over the next 30 years, the Knoll advertising and promotion created by Herbert Matter and later by Massimo Vignelli became synonymous with the interiors designed

by Florence Knoll and the products designed by Mies van der Rohe, Isamu Noguchi, Eero Saarinen, Harry Bertoia, Marcel Breuer, Niels Diffrient, Warren Platner and many others. The ads, catalogs and product brochures were breathtaking in their simplicity, bold use of color and extraordinary studio photography. In 1972, an exhibition at the Louvre celebrated the company 's achievements in product, showroom, interior and graphic design.

Over the past few years, a newly intriguing Knoll look and spirit began to appear: an award-winning capabilities brochure and product catalogs as well as perfectly executed small-space newspaper ads, which caught my attention with clever headlines ("Designer Recliner") and copy ("Now you can Right: An overview of the program Chermayeff & Geismar Inc., has designed for Knoll .

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buy classic and new furniture designs direct from Knoll ") that made me want to run right out and buy a Frank Gehry Power Play Club Chair for $1,653 and matching Off Side Ottoman for $518.

What was up at Knoll? I recently had the opportunity to find out by speaking with Knoll's vice president of communications , David Bright, at the Knoll Design Center in a spectacularly converted warehouse on Wooster Street in Manhattan ' SoHo di trict.

CA: A new corporate identity often signifies change, a restructuring or repositioning. What was the situation at the time Knoll began working with Chermayeff & Geismar?

Bright: From a pure identity point of view it was a time of considerable chaos. There were four companies with four separate identitie and corporate cultures, and we needed to fuse all those traditions, many of which were very strong, into a singular identity.

Once the strategic decision was made to create a new business based on the best aspect of all these players and to capitalize on the recognition factor of the Knoll brand name to leverage all their attributes in the marketplace, we embarked on the new identity program. Our goal was to reinvent or redefine many of the elements and messages that had existed in the pastwithout denigrating any of the work that had been done previously , especially by Massimo Vignelli, who, in collaboration with Don Rorke and Jeffrey Osborn, had been singularly responsible for the worldwide Knoll design and communications po itioning.

CA: It's widely acknowledged that the work Vignelli did for Knoll was worldclass in scope and execution. One might ask, why go somewhere else?

Bright: The company founded by Hans and Florence Knoll had transformed itself from one that was involved with object furniture for executive offices , corporate boardrooms, conference 90

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rooms and high-end residences to one primarily focused on office systems and ergonomic eating. The first dramatic change happened in 1986 with the launch of the Morrison Office System, a successful entry into areas of the market where Knoll had never been a player. We went from selling beautiful furniture to serving the broader needs of the workplace. In 1990, the scale of the company quadrupled in size overnight. Our graphic and communication demands became much greater, the markets in which we were operating were very different. Office system products such as ergonomic seating with adjustable features required technical and planning guides that had to rely on text more than on beautiful visual elements. We had a big job to do. It was an unparalleled opportunity to start at square one with identity issues, to strategically look at the ituation, to decide how we were going to approach the problem and then work out a written execution plan that would serve this company long-term. And there was the implementation of everything from business papers to truck graphic to plant signage to product literature formats.

CA: In addition to Chermayeff & Geismar, did you approach other firms that specialize in corporate identity?

Was there a request for proposals and a competitive bidding situation?

Bright: We did not solicit bids, and we did not go through a protracted evaluation proce s. We initially contacted Tom Geismar based on a referral from a writer/identity consultant who'd been doing some work for us, David Boorstin, who recommended Tom as an excellent person to work out bu iness and executional issues. We hired Chermayeff & Geismar on the basis of that referral and on the historic strength of their work and their ability to interact with a diverse group of people. Their experience in varied sectors of the economy was appealing to us , and they had proven themselves over the years by completing broad-

ba ed programs for large corporation A econd aspect of thi deci ion wa pure personality. I found Tom to be pragmatic, en itive, arti tic and concerned with the impact of hi s work on a client ' bu ine . Our senior managers were able to develop a good rapport with both Tom and Ivan.

They ' re ea ygoing and have a nonconfrontational style that i appealing to an organization going through lots of change.

CA: What was working on this project like on a day-to-day basis?

Bright: This wa not a project in which we ent designer off with an a ignment and a ked them to come back and make a presentation. It wa a proce , and as the client, we were embraced into it. Tom Geismar led the team, but all the partner at C&G have developed a practice that fosters collaboration and interaction. Ivan wa involved in the presentation and the development of the work, e pecially the work that related to trade hows and showroom interiors. We worked very clo ely with desig ners Cathy Schaefer, Emanuela Frigerio and Westo n Bingham. The presentations were more or less conver ations, and as a result of tho e conversations the work evolved. Maybe that's part of my personal tyle. I don't like hierarchical presentations; I can't work in the kind of mode where you fir t present to one group and you end it up to another group. We had di cus ion /presentations with all the people in the room who needed to make a decision; we would think about it for a while, come to consensus, and move on. And to establish a new identity in the marketplace we needed to move exceptionally quickly. In ome ca es our products had previou sly been sold by different sale forces in different showrooms.

Right: A group of materials-agenda , notebook, name tag, etc.-designed for visitors to Knoll facilities . Tom Geismar, design director; Weston Bingham , designer.

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CA: So a dealer could now be selling a chair under the Knoll name that might have been formerly sold by ShawWalker or Reff?

Bright: Correct. All of a sudden we needed to have a singular brand identity, and we needed our salespeople to be out there right away selling hard again t the competition. We compete in the general office market with Herman Miller, Steelcase, Haworth, Kimball, Allsteel and a host of smaller manufacturers that are also repre ented by our dealer hip . So one of our bigge t challenges was to get our dealer community behind us, understanding the commitment the corporation was making to upport the Knoll brand.

CA: Are you saying that a collaborative process can lead to better solutions because it doesn't foster situations in which the designer presents something and the client says, "We can't do that" -the traditional battleground with the client trying to change things and the designer desperately trying to hold on to them?

Bright: Ab olutely. Those type of confrontations don't happen here becau e they are adjudicated at a different level.

Since its early years, Knoll fostered the idea that graphic design i just as important as product design. We are totally involved in the design development process for our products and for the whole range of marketing materials we produce in-hou e. There's a common interest in design management and appreciation of de ign, especially as it relate to moderni m. One of the things I most respect about Tom Gei mar is

that he never comes in and says, "Here is the solution." He certainly has personal preferences and he may have a preconceived notion of how he thinks omething should be, but one of his strengths is to reveal a range of ideas. Unlike principals of other corporate identity firms that are more research-focused, he may not write lots of decks and create reams of documentation-that's not his style but he operates strategically rather than from a visual execution point of view.

CA: Some people might characterize this work-the colors, the imagery-as a bit of a departure for Knoll. What was the reaction in the field?

Bright: The response has been extraordinary. It was overwhelmingly positive from our salespeople-the folks who use the tools in the field every day. And it was overwhelmingly positive from the dealers-the individuals who are on the front lines of our business-as well as from the architects and interior designers and corporate facilities managers who specify our products. Every time something from Knoll comes across their desks, it just pops off the table. The materials are charismatic in a way that's not off-putting or unapproachable by a broad range of people. There is a visual sense that is exactly right for this company.

CA: Tell me about the ads with headlines like "Eero-Dynamic" and "Very Gehry'' that appear in the Home Section of the New York Times.

Bright: Those ads may be visually appealing, but they are strategically driven. There is a consumer end-benefit to every ad in the campaign, which is being done by our in-house graphics department. The message is that consumers can now buy furnishings at retail directly from Knoll at our 105 Wooster Street location here in New York City. Traffic has increased. The ads are just one of the things we are doing in-house. We have fifteen people here who work on a range of projects, including press relations, direct marketing, graphic design and advertising.

People in many areas of our company are using the new identity guidelines to produce packaging, signage, newsletters and corporate communications on a day-to-day basis. One series of pieces stemmed from Knoll research relating to the workplace and the Americans with Disabilities Act. Cathy Schaefer at C&G developed these formats, and my colleague Bill Robinson was responsible for the project.

CA: If another company would like to achieve identity standards and graphics of this quality, is there any rule of thumb you might offer as to what they should be prepared to spend?

Bright: Although implementation costs can add up, the relative cost of good design and corporate identity is minuscule compared to the total inve tment a company makes in undertaking a merger, upgrading manufacturing technology, building plants and showrooms. I am constantly amazed by the response of other corporate executives to The Knoll Group Identity GuideLeft: A series of booklets examining various workspace issues. and explaining how Knoll is addressing them . Tom Geismar. design director; Cathy Schaefer. designer.

Inside spreads from the workspace issues booklet series. printed in four flat colors . Tom Geismar. design director; Weston Bingham. designer.

This page : Shopping bags given out at the Neocon Show in Chicago . Figures reflect the theme of the showroom entry design. Ivan Chermayeff. designer.

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lines. They say things like , "I've never see n anything done to this level of finish before ," and " Wouldn ' t it be great if my company could take on this kind of program." My response is , in certain businesses you can't afford not to. If you believe your brand has a long-term value in the marketplace, building that brand among the people who work in the company and among the outside people with whom you do busine s is a key factor that will drive the success of the company.

CA: There' s also clearly an investment here in quality photography, printing, paper, in good writing.

Bright: Knoll historically has recognized the value of those components in marketing communications. Thi is a company that was founded on the idea that graphic de ign and communication go hand in hand with product design. It's just one of the special thing about Knoll. There 's never a need to rationalize or justify tho e investments.

CA: You do need to explain one thing: Near the entrance of this showroom, Florence Knoll's picture is displayed with the caption, "Good design is good business." As you know, that quote has been much-attributed to the late Thomas J. Watson , Jr. of IBM. Bright: If someone could tell us who said it first, it would olve one of the great corporate mysteries. Of course, IBM was an early client of Knoll, and Florence Knoll consulted on space planning and interior design.

CA: So she may have designed Mr. Watson ' s office?

Bright: Perhap , and one day whispered, " Good design is good busine " in his ear.

D

Later, I spoke with Tom Gei smar at Chermayeff & Geismar's art-filled offices overlooking Madi on Square Park.

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CA: Do you consider your work for Knoll a departure for Chermayeff & Geis mar?

Geismar: No. People aren't aware of the range of things that we do. I see the Knoll work as an expansion or further ex pres ion of that range. It's all part of a continuum. We have been purposely trying to reestablish the Knoll tradition and play up ome of the things that were done in the '50s through the '70 that established the company as a leader in design. Knoll graphics have a great modernist tradition going back to Herbert Matter and it just seemed appropriate to us that it should be carried forward. The difference is that we are now u ing computer , and that has enabled us to do things with imagery that might not have been possible before. So there is more complexity. For example, in the opening pages of the capabilities brochure, we were trying to convey the ba ic attitude of Knoll , the idea of the intelligent workspace, so we looked for imagery that would suggest that, and it ended up as photographic collages.

CA: Can you describe how the images were created and how they were reproduced?

Geismar: Actually we tarted out looking at something quite different, ymbolic fi h and animal , but eventually we decided to combine image that are more closely related to Knoll 's busine s. And as the collage developed they became more and more interesting a a visually exciting way to expre the me age of a company that sell design. The work you do i very much affected by your tools, and in this case the computer let u take pecially-shot and stock photograph and combine them. Then we manipulated the image on the system to change the natural color to a range we selected. We also changed the percentages of inten ity so certain layers became tran parent.

CA: How was the scope of the overall project described to you?

Geismar: Our original involvement wa to look at the identity of the newly

This page : Knoll forms are identified by the use of varied colored shapes that lend distinction even when copied or faxed . Tom Geismar, design director; Cathy Schaefer, des igner.

Right: Spreads from the 98-page Identity Guidelines manual . Tom Geismar, design director; Cathy Schaefer, designer.

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merged company, The Knoll Group , and its long-term business plan. We ultimately recommended that "The" and "Group" be dropped and that everything be marketed under "Knoll," which was so well known in the marketplace. We went through a whole study and came up with a new design for the Knoll logo. But in the end the decision was made to stay with the basic Knoll typography that had been in use since the late '60s. Our focu was on u ing the single word Knoll on everything. Colors were standardized.

We developed a stationery system with interim guidelines, how to do the letterhead, and very basic guidelines for the dealers. Dealers were encouraged to use the Knoll name but also shown how to u e their own store names on stationery. We did the same with signage. There were a whole series of interim guidelines books, and a compilation of them became the identity manual. In a company like Knoll there aren ' t thousands of people around the world doing these things; there are a few people in a few offices so it's not hard to communicate in a relatively compact manual that codifies everything in one convenient place.

CA: How did you present your ideas to the client? Was the reception always as positive as David Bright indicates, or did you ever have to go back and change things ?

Geismar: No, never (laughs). Knoll has always been a very demanding client, and it's also a company in flux.

It' been an extremely difficult time economically for the office furniture busine s. And there have been changes in direction, changes in people-all the things that make life complicated.

Even though we have had presentations with everyone from the chairman down, all along we worked closely with David and with Bill Robinson, and having those two contacts gave things stability. But, yes, things did go back and forth a number of times. The identity went in various directions, with agreements one way and then a shift. But these things are normal in the e adverse times .

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CA: Young designers often wonder how firms like yours get projects like thishow you make proposals, how you price, how it all really works. There's kind of a fantasy that only fi ve guys in the world really know how to do this-you' re one of them--and that you work some kind of magic no one can quite figure out.

Geismar: I don't know any secrets!

Identity is difficult. It takes a lot of experience and clear thinking because you 're dealing with long-term i sue .

Generally graphic design is ephemeral; you 're creating things that are een, used and done away with. There's a certain charm to that. But identity is different; if it work it's going to be around for many years. At this office we've always taken pride in the fact that most of what we ' ve done is still around and doesn't look dated. We're not interested in what's in fashion. In fact, we try to avoid being fashionable , and attempt to think through the implications of what we ' re doing and how it will physically work in all its uses and ramifications. So we go to great lengths to never simply present a mark or logo, but always to show it in context. As a way of evaluating it, we do mock-ups of the most-used and mostseen applications: the tationery, ads, trucks, brochures and signs. And sometimes when we get to that point we realize that the thing doesn ' t work and either throw it away and start again, or change it. If you don't go through that process you might fall in love with something and think it's really clever without ever objectively and properly evaluating it.

CA: How different is what we' re looking at today from the first presentation you made ?

Geismar: It 's only different in detail.

In fact, the cover of the identity guidelines manual is one of the first thing we showed: how we could break the logo into two parts and make it a little more decorative and abstract. There were certain concepts presented originally that have continued to form the basis of the ongoing program. One

is to use the Knoll logo imply and boldly. You can ee this on the truck , on the catalog binders, on the igns.

Another concept is to use Bodoni Book as the major typeface. It provide a nice contrast with the bold logo. It' elegant, and it was already being used for Knoll product literature. Limiting the number of typefaces can often be a big help in term of achieving a consi tent look, and you can see the Bodoni Book used on everything from stationery to the small new paper ad we developed. The third idea originally pre ented is to use overlapping and transparent imagery , in a variety of forms , to convey ideas and feelings.

We ' ve already talked about collaging photo images for the capabilitie brochure. Photo and word image were combined for the visitation program , and for the interim guidelines brochure the grid format it elf became the basi of the design. The fourth ba ic concept is to use bold colors.

CA: I've heard that "Vignelli red" was the starting point of the color palette.

How did you feel about that?

Geismar: That red i also our red. We always refer to it as 0-R-O which is the Color Aid designation of orangered-orange , which we u ed before Pantone existed, when Color Aid wa our only ource of color chips. We used 0-R-O all over the place, and it made us happy that Knoll ' color wa more or less the same. I per onally love bright colors. It seems like Ivan and I are the only two people in exi tence who still do.

CA: I wonder how many clients would automatically reject certain colors, saying things like, "Purple with green, that's too weird," or "We can't have

Right: Press kit/presentation folder. used throughout the company for all client presentations. features vibrant colors . Tom Ge ismar, design director/designer.

Standards for stationery and forms for use by independent Knoll dealers. Cover design reflects the grid of the stationery itself. Tom Geisma r, design director; Cathy Schaefer. designer.

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

A R T S

97

----iw.·.............

...._ .. .,....J.-.l..r\ °""" ..... ".....,..,_.i..r,,...... __.._..,.....,.,.., ..,;. ........

The lnte!Ugent workspace Is the resuh or more th•n fifty ye.rs of eaceUenc• In offic• design, end over e century ortechnofoglcal~ltdershlp.

11:..U"'--. U.. .,.W ........

~-.!..=-~~~

Since1938, Knollhestotlowedltavlalonof applying the flnest deslgn to worti. environments. Inspired by the crMtlve genius of the Bauhllua ac:hoc>l In Genneny, Hens Knoll founded hi s comp•ny on the Idea th•t good design could ~nefit everyone. Florence Knoll, his wife and partner, pioneered th• modem office by lntetr8ting every aspect or Its apace, furnishings •nd equipment.

WestlnghouM, parent company of The Knoll Group, hesbeenetthetechnologlcal forefront ever since 1IM, when Its system of •ltem8Ung current launched the ege ot et.ct;rictty. From energy to microefec:tronlca to tum-

These unm•tchedtr•dltlonsotadvanced designandhlghtechnology, alongwlthcuatomer-focused service •nd global dlatribuUon and manufacturing, at.and behind the KnoH commitment to create WOfitapacea where people can do their beat work •nd enjoy doi ng It.

he intelligent workspace.

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«•

No other company een match the arrey of Knoll products that worll together to meet any customer'• needs. Our complete HM ot open plan furniture, desks, fltea, ...ung, t•bl . ., teatllff and eccHaoriea oHers solutions for the lntelll~t workspace: Inspired by Knoll devotion to qual·

lty, produced by wor1d-claH m•nufecturlng end becked by the Industry'• Mghfft standard of Hf"Vice •

Knoll responds with diverse solutions for

CLIENTS AND D ESIGNERS

everything together it won't look like a mess. But you don ' t want to restrict the creativity that goes into promotional pieces and poster , whether directed to the consumer or the sales people. You want to make those thing lively and fun. They should be part of the interesting spirit of Knoll , and they are.

CA: Although this client came about by referral, do you ever get into competitive bidding situations?

Geismar: All the time. In the case of Knoll , David Bright called me up and it was as simple as that, but it usually doesn't happen that way. This week we spent a lot of time writing a proposal for a very large project and I have to do another one today. They are all competitive, ab olutely. an orange cover." Do you have to sell things, to convince clients of their rightness, or do you believe that a correct solution sells itself?

Geismar: Again, I think appropriate is the key word. Even in the chair catalog we cho e all the fabric , all bright color out of Knoll ' range of textiles.

They have a lot of fabric that are subdued , but it seemed to u that on the page color made the chair stand out di tinctly from one another and reinforced the whole identity. We might not photograph product the ame way for another client, but it wa appropriate for Knoll. In terms of "selling" thin g , we have a rationale for what we're doing , and explain it to the client. But the de ign itself has to be intere ting and convincing.

CA: There's a real contrast between the "New Wave" kind of sensibility in the visuals and the structured page layouts with classic typography on white paper.

Where do you stand in the visual excitement vs. legibility debate?

Geismar: Those thing don ' t have to be mutually exclusive. Cover can suggest a brochure 's contents in an evocative and attractive way, and the inside pages can be ab olutely straightforward if

they ' re intended to be used as functional tools. There is a tremendou s amount of self-indulgent design being done right now. Sometimes it 's intere ting and well done , but claims are made for it that go far beyond reality. I always consider what a piece i trying to convey , who's going to read it, who 's going to understand it.

The graphic design problems that most of us face every day can be a truggle.

But if people would stop looking at design magazines so much and think more about what it is they ' re trying to say, it would expand the potential of what they ' re creating. Here, we play ideas off each other and see if they work. We formed our office so that we could work in a collaborative way, and collaborating with each other and with our clients opens up more possibilities.

CA: What's your reaction to the inhouse work Knoll is doing?

Geismar: Very nice. They're doing some very nice things. It has always been our attitude that certain things should be absolutely prescribed, labels and binder covers, catalog pages and o forth , so people don ' t have to spend too much time on them. There has to be a commonality so when you put

CA: Chermayeff & Geismar is known for going far beyond traditional graphic design services: interior design, exhibitions, art consulting and so forth. Has that been the case with Knoll?

Geismar: We designed ome theme environments at Neocon, always looking to make them special. For example, we took crude drawings of people and laser-cut them out of aluminum. At the Wooster Street showroom we did a eries of wall graphics. At the IDCNY showroom they were trying to express environmental concerns, and we developed a large forest of abstract corrugated cardboard trees to convey the mes age. Our office works on many museum exhibits and we also do a lot of work with architects, uch as special projects in environmental graphics.

It 's interesting , though , that people in corporations who are involved with identity and graphic de ign u ually Left: !hree sprea_ds from a brochure explaining Kn?ll s overall philosophy and capabilities . Tom Ge1smar. design director; Cathy Schaefer. designer.

This page:_Entry to Knoll showroom at Chicago's Merchandise Mart, for Neocon week. Figures were cut from 14" aluminum, and spread throughout .the showroom as well . Ivan Chermayeff/ Chris Rover, designers.

COMMUNICAT IO

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99

CLIENTS AND DESIGNERS

don't care about these other areas. It's somehow mutually exclusive and can even be a hindrance if they think you 're involved in a lot of other things. One of my partners is an architect by training and Ivan comes from a family of architects, and we continue to do these diverse things because we enjoy them and they make our practice more interesting.

CA: You don' t see a competitive advantage to offering more services?

Geismar: I don't think so. But it does give us a slightly broader perspective on things, which is helpful. This week, in fact, we got involved in a strategic identity problem that is truly not a de ign problem, and we are bidding against a lot of firms that specialize in that kind of thing. We showed our work the other day and one of the potential clients said, " Gee, that worries me. You guys are designers."

I answered, "Yes, we are, but we also

] 00

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think about these things and know how to approach them."

CA: Do you also get involved in the copy concepts? For example , here's a cover that reads, "Smell, touch, taste." Are these ideas, in which the copy is integrated with the visuals, generated by you, the client or a writer?

Geismar: Actually by a designer. This eries-a visitor pack-was created for people who come to ee the Knoll plants and tour the facilities, and includes name tags, menus for luncheons, note pads, and so forth . Weston Bingham, a designer in this office, developed the idea of combining the words and imagery, and we had a lot of discussion about which words would be most appropriate.

CA: Do you think that companies generally undertake identities when the going gets rough, when customer or investor confidence is low ?

Geismar: They might, but management

soon learns that it ' s not a simple a that. Graphics don't make a company uccessful or unsucce ful. The products and the way they are sold and di tributed are at the heart of every company. Many of u think of Knoll for the Mies chair and the Saarinen furniture and all tho e cla ic pieces, but they repre ent a very mall part of sale . The real thru t i in the office sy terns market, and We tinghou e intended to bring its technological and management expertise to play, to make manufacturing more efficient, to make pricing more competitive , to make distribution better. In order to work, the graphic have to reflect reality , which in Knoll' case they do.

• This page : Covers for a full series of yea rly price lists were designed to give a clear fa mily look. but categorized by graphic co lors and shapes . Tom Geismar. design director; Cathy Schaefer. designer.

.

P:acka~ng's

THIS ISSUE OF ECO itbEVOTED EXCLUSIVELY TO PA KAGING. IT IS TH~. FIRST OF TwO PARTS

(lookfrJr part

rwo in Mayljune).

.

Bad "Wr,ap" BY

..~ ALTHOUGH DEPLETIO OF

.

KYRA

BUTZEL .

NATURAL RESOURCES, LACK OF. .

LANDFILL SPACE, ENERGY CON•

s·U MPTIO

.

1 love to open Rackdges. I don. 't car:e if it's·actually for me.

ANb.POLLUTION

My eyes li~ht up with a child's .

ARE MAJOR PACKAGING ISSUES 1

delight as I encounter the newness, the expectation, the rey;ard/. I'm not even picky-it

THEY CAN BE INTERP.REiED AS

could be a fresh box of cereal,·a mail-.order item or a ne.w computer p~ogrmn. But when -a

REFLEGFIO:NS ·OF THE INTER-

huge box.arrivei filled with plastic popcorn that cascades ~II.over the fi:<!or as I dig dwn

I

AND .INTRA-RELA.TIONAL CRISES ·

•

.

•,

.

ta get at th~ tiny ftoating,Product wrapped in six inches ofplastic and ~ea!e.d up with Yfl:~ds .

WE ARE EXPERIENCING GLOBAL:..

LY. BY TAK1NG-'fHESE ISSUES .

of maskingjape,: that exciteme~t quic~ly ~urns to .annoyance ... "Who's the genius who. .

TO AN INDIVIDUAL· LEVEL, WE

designed this?.Is. this even recyclable?° HO-W can I bear the. guilt of.thro7JJing all .this' away?" : · . . .

·1

.cA.N llli A MAJOR FORCE IN SWING- . fNG THE PENDULUM IN A POSI-

am not the only on·e·frustrated • by the ~~conve~ence. of o~er ·. : pa~kagmg. Des!gners and man:.ufacturers,. fac~d with more packaging Iegi~lation, having.to developmore streamiined, less environme~tal...; ly harmful forms of packagi~g. · Packagi~g takes .up 30% by weight and. 50% by volume of the solid waste .stre~ ..In a presentation to designers, Paul Ligon> research assqcia·re. at : Tellus Instit:Ute (a no'n-profit B0ston. based research. organization), advis.~d, "As·new l~gisl~tion is·promulgated ~d targeted at man~facturers~ companies that have the most envirolimentally efficient p~ckages w:lll have .a competitive" edge ·over comp~nies ~at do not.,; . · And designers that tan give them that · . edge.will be.the mo~t .readily.hiidd.

1:JVE DIRECTION. Special _thank~ to Mike Westcott for sharing his . wisdom! It Eva Anderson, Editor

are.

alternatives is an·import~nt arid ·essen-: tial knowledge that _designers cannot afford to overloo~ :anymore.

The ma I or ~aterla:ls usecl · · in today's packaging are glass, ste-el, · · aluminum, paper ·and six types of plastic. Each one of these ·mat~rials, .whether-all-natural or man-m.ade, impacts tlie environment.'.Through their production, .hazardous c;herrii~als are. created and emitted; .tons.of e~e.rgy ' is .used in production and transportation; h~rmful sludge can be . created in re_cyd~g; and landfill.

up·

Actlnig often as an ·ln-

te~inecllary ·betw•en ·, ·

:

. ,·

manufacturer and cli~nt ~and_, :hopefully, in".'olved in ptoduc- .· .tion decisions from inception), designers.can.help dictate material, size and s.hape. Of course," this fa not as easy as _it sounds; given all the:considerations to be .. taken into account. Decisions about packaging and its.·best and least.harm. ful uses ~re not easily made. ~owing about the v~rious forms of packag~ng, how they are produce.d, ·distrihµted and ~isposed of,. and_ha~g a .sens~ of viable, greene~, cost-effective ..

C 0 MM .UN IC AT i 0 N

ARTS

JOJ

·steel and recycled alu~~· Plasti.cs taken up 1n its .ultimate disposal. . . . and virgin aluminum.have the most. · .Despite the fact that all packaging On ~ per package basis, th·e· ligh.t est manufacture uses ern~rgy and causes packages -had the least e~vironmental . pollution, p~ckaging will always be . necessary'. It even helps reduce environimpact." Using this measu~e; plastics mental waste. ·:Preventing both brea~- ~ ·· . .can have a·Jower impact than some . · .age and spoilage, packaging ~educes · papeF prodticts.. For exa1!1ple 1 the s~.dy product and food waste. I.ti fact, <lue to- . conc~uded that on a per uriit basfs, fast food '~Clamshells" had twiCe the envipackaging for transport, the United ·.States has one of th.e lowest r.ate.s of ronmental imp.a ct when made Ol~t of p~perb~a·r.d instead of the food spoilage in·the wodd~only 3%..1 ._ . very light,

Th~re

a ·re · other ~e~ulre­

·nients ·In adclltlo~ . to the

myria·d of environmental issues. dis-

.cus~ed that ~hould b~ considered in ·. the package- design. Designer Mi~hael ·Westcott of Fire bran~; a new business . consultancy "in Providence,·Rhod.e· · Island, points out .that "client needs can be·met by balan~ing these ·five . important requirements for packaging ·. ' with envirom'nentally sensitive choices'~: 1~ P~<;:KAGING ~UST PROTE.C T-

THE J>RO~UCT Whetji~r keeping.

. glas"s from " hre~g, or minimizing food .contamination, protection is . pack~ging'~ first piiority.-Luckily, it . · _is also the ea~iest·area ip. whic~ to use enVironmentally sound materials. · Since the materials used are "intended · for shipping purposes and not.(or display,..there is no reason for boxes to. ~a. ck~glng dl~posal · lssu ·~· . . energy ~fficient polystyrene, although. be bleached or virgin materials to be p~per was voted .best choic~ for their have been the focus 9f criticism, but' .used ..Products.can be packaged in · burger and sandwich wrappers. there is tremendous environmer:ital · unbleached corrugated hox~s, buff~red Some ~~ckaglng 1.sn't as · · io:ipact in ·the production process ·alone. · . by.reus.able expanded polystyrene; (of. e .n ·v Iron~ en ta 11 y f .r 1 end I y ill !ts.comprehensive yet con.troversial which 1.5 - 20% is currently qeing .· as·it is advertised to }?e. For instance, packaging ·study, the Telhis Institute recyded 2), or better yet, mold~d.· fiber found 't hat the environmental im-pacts . . Joico h~r produc.ts company :uses a.l~­ pulp. Polystyrene peanuts can be · to pro.duce packaging rri~terials greatly minum cans emphas~zing their: high. replaced by cornstarch ba~~d "eco<?u~eighed the impacts incurre.d in· " . recydability. But al~minum cans ~re foam," peanuts that diss~lve in water ·the dispos·a~ of them. riot always as .efficient.as plastic . . down t<;> 5% ?f their volume, al).d that . The T ~llus study cafil:e ..to this .. · Impossjble to ~queeze, the.ii contents .5%· is e~sily biodegradable., conclusion by employing a ~e~od of · are easily wasted. And the.use of vir2. PACK.AGING MUST SELL THE ·an~lysis called Life-Cycle Assessments ·:.PRODUCT Designers must be able to gin alum~um costs the environment incorporate product name, regulated (L~). LCAs review how. a product at "leas.~ twice as much per ton as . impacts both water and air _fr?m proalmost any piastic.· . duction ta disposal. In i~ study, Tellus LGAs like'. Telfos Instirute's, have looked at m·ajor p~ckaging materials, their critic~. Elizaheth Collaton qf Environmental Action Foundation analyzed their producti~)n process, ranked hazardous emissions, -identified e.xplains, "the. EPA and the Society for Environmental Toxicolo.gy a..tid. · . . the. cost.o.f mai:iaging e.ach material.in ~ Chemistry have been ~tudying L~As · the waste disposal sy~tem ·and came ~- . ·o fo~ ·t he past. five years and have con~ up ·w ith a tota.1 ~n:virpnment~l cb~t per • ~ r;; eluded tliat until we get better method-. · .ton. The r.ecycle9 alternatives were & :> ·ology, no one should .u.se LCAs to .not ev;iluated for all materi;ils, but for : 0 u d .• lfor:rri p~bliC policy or·!ls.·a n. advertising gla:ss, aluminum, steel, ~er board and g . a:: claim." Collaton as.sures-that the folding boxboard there is one resound~PA is w~rking on better methodology. · ing conclu~ion: the. environmental Mottura's award-win_n ing bath line, . : Tellus r~searcher Pall:l.Ligon is impact .of these materials.is sig~ficant­ made prim'arily of recycled .aluminu·m aware of the criticism of LCAs but . ly redm;ed when their recycled coµncans and recycled paper 1 appeals . terparts are used. · . . believes that the final result of their to 'consum~~~ lookzng for ·quality .ecopackaging stuqy· is .the.sarrie as any The study also found th~t 1 on ·a friendly produc.ts . . . pert?~ basis, glass has the least.envio~er: "So~rce ·r eduction will alw~ys ..i

ronmental impact, foll9wed .by paper, . .· . . .

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be the best alternative:"

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

specifications and educational infor·.consumption) and it continues to pay . the.best.way to do· this. is. t"o e.n list the 4 mation on packaging. ·Proc;l~cts sold · vendor's".active p~rticipation early ~n.'l . today." Procter and Gamble h~s . exclusively in .specialty shops tend to reduced ship.p ing packaging by l'1 % We are beginning to see changes require less packaging.since salespeqby marketing their·con.c enttated lauii- .· ~cros~ the board, for hi.stance; Dur~~~l ple a~e usu~lly on hand to explaip. the . will s<;>on·be going to .an all-paper pack..: dry detergents. Not only do packaging prqduct's merits. B.ut in mass Il_l.arkets .age in Europe, ~nd they con~nue to : ·and light weighting reduce ·~e co.s t of (i.e.~ Kmart), packaging must do alhhe in-vestigate different strategies of pack•the packaging materials, they also ·. work. In these stores, packa.ges tend to · age waste elsewhere. r·educe prod~ction irripac~: Still, ·clients . . be bigger and brigh.t er. . . · There h .no doubt that .we neecl and conslline~S mll have to OVefGOme, Designei:s can e~courage environ.! to .. . . ~ m~~~ - ~hanges: ~nd . ~Ill • . · the ld~a that.bigger is better .. mentally sound ptactices' simply by .

Researching all thi"e ~v~ll- . . As we watch designer~ ill other nations . suggesting the use of non-toXic inks. such as G~rmany struggle ~th tightable packag ·l~g options and designing with light~r ink covere~ng pac.k aging: faws, we will watch . is a· time-consuming process. George . age. If packaging shape and size .can't be and l~arn. Mean"'."hile,. as a consumer, . · ·Goguen, principal at Praxi~ Develop: altered, designers can .t ake advantage I'll make my own purchasing decisions ment Corporation; a Cambridge, ·of ffi?.provements ill recycled materials according ~o which product has· the· .Massachusetts-based stnictural design :µid vegetable-based inks. Specialized . .. consultant firm, adyises that "it's incuil)...: least packaging and most e~sily reusable · and Rock Shox are.t:Wo comparues that bent upon the designer to understand or recyclable package. Who needs deserve . accol~des for using this e~ect and. ~1ppreCi~te'.the uniqu~ properties .that extra trip to the ·garhage bin: .. ·. in their packaging. Especially since ~e . : and limitations of the material, a:nd · ·or the guilt! bl.cycle industry is noted for its flashy graphics arid bright colors tha,t app~al Profile: Apple Computer ·· to their thriU-~eekiJ;lg market . .· 3~ PACKAGING MUST ENSURE VISI-

BILITY Sitting on the shelf, a package

must .stand·out to compete with the products ne.x t _to it~. But weff-executed (and.refillable)-di~plays can se:rve to reduce packaging size or eliminate it. · . altogether ~hile helping .clients claim more permanent"' real estate" at retail. · · These· displays can also .be. made qf recycled materials . . 4. PACKAGES SHOULD B~ TAMPER·,

PROOF AND THEFT-RESISTANT

. Designers often h~ve to package prod.ucts that can be easily open~d or . .stoien. If theft is a consideration and transp~!ent pl~stic or .blister p~ckS must. .be used, designers should ·encourage ma.pufactilrers and clients to ·use PET m~terial plastic coverirtgs for their . or fi.1-~pie ·Computer~ .packaging packages rather than PVC. PET has its dec1s10ns were .made for a . . . disadvantages_. It is more exi>ensive to · . variet:f of reasons· that included acqcire1 can scratch more easily and.is cost-efficiency, practicality and·enmo~e diffi~t to form. But, when . .· vironmental impact: Three years ago, ass~ssing the overa~ life cycle cost of Apple's w~te pac4gi"ng boxes with the two pro<;lucts, PVC is $5,0Slper ~. the re~own Apple..logo were inade· of ton versu~ $~54 per ton for PET. 3 fully bleached· kraft corrugated. · 5. PACKAGING MUST .BE . COSTThe un~oated box was bleach~d ·w hite EFFECTIVE Comparues can·save costs . through and through, and as a result; · by light weightip.g and c~mcentra~on. : . tended to blemish ill transportation. ; .

"Light weighting began in the 197.0s.

Apple's pa.ckaging engineers sought to c·u t transportation costs (and fuel .: . . cost-effective alterna'tive~ while aspjr.:.

.:·F

ing to move away from bleach. As a re~ sult,_Apple cl1:anged its software packages to an linbleached kraft ~th a white. . " . co~ted liner. There were no pr6blems · in the transition and consumers barely · noticed th~ addition of the small re-· . cycled ~bol. on the outsid.e of the box. · _ Hardware packaging tjiat si.ts on . · display shelves and .requires packaging . only for protection pu"rpo~es, ·indud- : · ing print~rs, computers and monitors, was changed to an un.c olored, uncoat- . ed, bro~n· corrug~t.ed box. -~a:ckaging COMJl.1· U ·NI "CATION

AR1:S

.)03

D..·e.

, ·

· . .··. 1-_p ·.s

engine.e r Ed Iwasaki said that rr{arket ~i·gn · T. · "you can't design away ·the need for packag- ~ research found Apple con~mp.ers were ~ ing, here·are 8 -suggestions.that can· make-· · not aware the original package wa·s , .. · . your design more .environ~entally friendly .. bleached, but·when the changes were. described to them, they were pleas.ed. ·1 • Reduce the size of the packag~, where possible.

2. l)esign the package foq·euse/s·t~rage. as appropriate. · Apple's engin.eers· continually res·earch safer packagii)g options, and 3. Use ~ecycled materials _w henever possible: wherever possible, have·reduced pack4. Use commonly recycled mater~ai~, e.g~ , glass, cortugatt?d car.d board, age size. '.fo-·.feduce .the use ofpolyunbleached ·substrates 3J1,d PET plastics. . · styrene m"sert~," Apple.thickenttd the s; Avoid toxic jllks ~nd highly blea-~hed or treated materials: . · ·6. Make it. simple to separate recyclable pacbging components. fro~ non. corrugated box an~ reduced the recyclable ones. .. .. . . ~ckn~ss 'of the molded plastic. They · · 7. Simpler packaging design is often niore resource· efficient. ha_ve c~t box ~pace · and made effort~ to reduce weight and .volume for both ." 8. · Consid~r tl_ie u~e of inform.atiorial displays to reduce or eliminate packaging. ~nvironm$!ntal reasons and transporta-. tion ·costs. Iwasaki explained that they Profile: Origins continue to use polystyrene ;is mold. ed inserts be~ause it is low-cost, high.ly pr~dic~able and available all .over he New York-based c;ompany, .. .· . Consumers are · . the world.·When asked about ·the pos· Origins N 3:tural Resources, enc<;>uraged tq bruig sibility of '1sing _a fully recycled mold- . sells environmentally friendly back their used boted .fiber pulp, Iwasaki e.xplained that . . cos~etics, cleansers, sensory therapy tle·s for the store to molded pulp is good in.some instances· recycle. According · .products and ~ifts through six inde(Apple uses it In s·ome trays and otlier . pen.dent. shops and reaches the masses . · to.Cheryl Crispen items), .but it.tends to slough ~nd is not ·through better d~partment stores. at Origins head- . . predictable enough to trust to ·highly · OriiJns products come in recycla~le . quarters ~New sensitive and fragile hardware like glass bottles and· jars, PET plastic· bot- · York, there.has.been a high ret:urll of CD-ROMs ·and ·di.sk drives. ·"Molded · ·the "empties.". tles,.plastic tubes and aluminum cans ... pulp has a place in sp~ci~c The Body Shop; one of the origiThree-fourths of their products are _applications,"· iwasaki nal "gr.een" cosmetic companies . .·. free-:-standing, requiring no addi-· ..: -e~lain.ed apologetically, also has refill and recycle programs tional packaging such ~s a box ~ "but it doesn't work · .. or paper wrap·. The products a.r:id proudly announced that by ~ · 8 · as efficiently as styrene · · th.at do have a pro~ec.:. November 1, 1993 they h~d r~filled i in many cases." . ·24)000 bottles. and recycled another·. tive wrap are the . ~ ·· ~ George .

300,00"0 bottles broug~t back by ~on~ . fragile glass bottles !-- . .· g Goguen at . sumers in that year. · · : . and jars that other- · . wise might get dam...~ Praxis.con. ~ firmed di.is·. ·· 1,4. Garbage Magazine, "Packaging in.the 90s," . aged in transport.

T

l,j

"Styrenes · . . Origin·s packTh e Introduction aging policy mir-. are mathe::.

Kit, 4esigned with .rors the companfs matically m~te predictable and inal..: leable for the designer." Molded pulp • heavy kraft paper., · overall philos~phy manufacture is not yet s~phisticated unbleached singleof reducing waste, enough. The production machinery is face .cqrrugated . .eliminating toxic · expensiv:<:!, unwieldy and designed for: bo.ard and minimal inks and perfunies, high · volu~e rims. Still G~guen, . · .. ink coverage, is using ·:l; high per- · who. is developing a .cellulose-derived ·part of Apple's new centage of plant-. substitute for foam, believes that · · ·packpging p·rogrartt. based ingredients in molded fiber·isn't as wi_dely used as i.t . their prodl}Cts and could be and·noted that companies promoting r~cyciing. The c~rnpany like Moulded Fiber Technology in ha;s grown quickly and attracts repeat · ..Maine are working to develop more customers impressed wi~ the atten- . versatile machin~ry and a ·more vi~ually . . tion paid to the environ~ent and the appealing p~odll;ct. . . ' customer's well-being. ] 04

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Decljari. 1993, Harm.ah Holmes and Pat:r.i.cia PO<J'.!e · 2.. Jerry Johnson of the Polystyrene G_ouncil 3. CSG!Tellus.Packaging Study, May 1992 CREDITS

Editor/Designer: E vA A D RRSON C~ntributing Writer: K YRA ByTzEL Illustration.=BR IAN C ALLA ~- · Electronic Photo Scans: G ENE D WIGGINS P H O T O G RA P HY/DM ~X

Rerycle4·Paper donated by: J AMES RI VE R,-S OUTHAM PTON, .P A

This neivsl~tter is printed rm James River Graphika 100, Fr.ost, 70# Text, a 100% · recycled stock wi'th_60% ·non-deinked postconsumer waste. ·

EXHIBIT SEND SAMPLES OF YOUR LATEST AND BEST TO EXHIBIT,

Communication Arts, 410 Sherman Avenue, Palo Alto, California 94306. Describe the purpose, background and include creative credits. Submit TV commercials on %" videotape cassettes NTSC. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return the material or your Federal Express number.

ONE AD FROM A CAMPAIGN SALT LAKE CITY-BASED AD

agency Williams & Rockwood created for National Public Radio. The "get in the heads of the target" approach utilizes the illustration and calligraphy skills of Bob Conge of Rochester, New York. "The thinking was to do a campaign that looked like a page from an NPR listener's journal," said David Carter, art director of the project. "The execution from my standpoint was fairly easy. Bob Conge did all the work. I just had to make sure the copy was legible."

Scott Rockwood, creative director; Kurtis Glade, writer.

TALK Of THE NATION "

l'llOM -l-l.A.TIONAL P\Jll\.IC RADIO."

A CALL · IN PROGRAM WH'ER.11 INTELl.IGENT DISCUSSIONS 111:.CllN.

TO GENERATE INTEREST BEFORE THE GRAND OPENING OF GIL'S

Espresso Bongo Lounge, a new coffee house in Milwaukee, advertising agency Laughlin/Constable, Inc., also of Milwaukee, created a series of teaser posters. "We wanted to connect with the disenfranchised youth of America,'' said writer/co-creative director Alex Mohler. "Specifically, college students with nose rings walking down the sidewalk in three-day-old Doc Martens, who wished they were living somewhere they could relate to. For Generation X-ers, Seattle seemed to be the obvious Mecca of choice. As a result of the po ter , worldwide latte consumption is up 38%."

Kris Jenson, co-creative director/art director; stock photography.

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LEFI': THE IDENTITY FOR THE NEW SAN JOSE, NONPROFIT US POSTAGE

PAID PHILADELPHIA, PA PERMIT NO. 25 9

California, sports arena began as a facility and code signage project assigned to The Office of Michael Manwaring, San Francisco, by the Redevelopment Agency of San Jose and the San Jose Sharks hockey team. "The Agency recognized early that the bold qualities of the signage had begun to establish a strong identity and invited us to be involved in many other visually important issues," said Michael Manwaring, creative director and co-designer with Jeff Inouye. "Architectural signage should function as mediator between human and inhuman [building] scale." The threedimensional signage elements help direct attendees, even during crowded events, and add interest to the neutral, modernist structure.

THIS PAGE : ONE COLOR DIRECT MAIL PACKAGE

for the Greater Philadelphia Food Bank.

"People are assaulted constantly with pious pleas for the homeless , the hungry, et al ," said creative director Mike Drazen. "We thought it would be more compelling to speak to them in a personal, even whimsical way.

It's been the Food Bank's most successful mailing to date."

Robert Shaw West art director/ designer; Phil ip Wilson. writer; Earle Palmer Brown/Philadelph ia, ad agency.

"think of all the starving childi·en" Who doesn't remember those motherly words of wisdom? Granted, they didn't always make us eat our brussels sprouts ; but we learned from our moms a sim-

.~1;. t;~~=~~t. :~:r;. c:r.e. =~~s.e. :e.s;.~ortunate than ourselves and it is our responsibility to help them the best w~can. • Right now over half a million

people in the Delaware Valley (children and adults) risk going hungry every day. The Greater Philadelphia Food Bank needs your help in feeding them. + For every dollar you give, the Food Bank can provide over $19 in foodstuffs to be distributed to m

I want to help my hungry neighbors.1 [ ] $200 [ ] $100 [ ] $50 [ ] $25 [ ] other$_ __ Enclosed is my gift to help the hungry throughout Southeastern PA. Make checks payable to: Greater Philadelphia Food Bank, 302 West Berks Street, Philadelphia, PA 19122.

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LEFT: PHOTOGRAPH! G UNDER LOW LIGHT

conditions i difficult under the best of circum tance , but Karekin Goekjian like to add a twist. The Athens, Georgia, photographer favors moonlight for capturing hi eerie and urpri ingly poetic interpretation of Southern landscapes.

He wait for the full moon and with his shutter open for up to an hour, adds both camera fla h and flashlight highlights to his romantic tableaus. "I love Magritte; I love the Surrealist painter ,'' Goekjian said. Using aged Kodachrome 64 film, Karekin achieves an other-worldly color saturation. He prefers the film to be at least two years over its dated limit, as K64 get warmer with age and helps counterbalance the green shift that happens with long exposure times.

He turned to photographing ruins after his van wa burglarized and 400 negatives were tolen , along with all hi photographic equipment. "I felt so destroyed my elf, I could relate to ruin ,'' Karekin explained.

His photographs have graced book covers for Little Brown and Vintage International; they eem eminently suited for the Faulkner novels they have illustrated.

Goekjian was born in Lebanon, and he attended Haigazian College in Beirut. He came to the U.S. in 1970 to study veterinary medicine at the University of Georgia in Athens. After five quarter he returned to his first love-art and witched hi major to visual art . A master clas with Ernst Haas at the Maine Photographic Workshop, held in Rockport, Maine, proved to be quite inspirational.

Karekin ha been a stringer for the Associated Press, a sports photographer for the University of Georgia athletic department and a staff photographer for the Athens Banner Herald/The Daily News.

Formerly he owned his own photographic studio in Athens.

The High Museum of Art, Hunter Museum and the Corcoran Gallery of Art, among many other museums and corporate headquarters.

His self-imposed restriction of working only during the full moon doe n' t eem to have slowed him down; he is currently working on a book on historic Southern ruins, slated to be published in July. He and his family plan a move to Naples, Italy , at the end of 1994, where he will undertake to photograph the considerably older ruins of Pompeii, Rome and Athens, Greece.

Clockwise from left: "Ode to Simplicity"; "Tails of a Cat"; "Surrender," shows Karekin's wife Ginger, whom he often uses as a model; "Windsor Ruins, " which shows the remains of the second largest plantation house in Mississippi . During the Civil War, the Federal Army did not burn the house, but used it as a hospital. It took 600 slaves two years to build the structure, whose 29 original columns were 45 feet tall with cast iron pediments; and "Steps at Fort Gaines ."

THIS PAGE: AS PART OF A

EW CAMPATG

to reposition perennial Life Saver candie , advertising agency FCB/Leber Katz Partner in New York, created a erie of commercials to celebrate the es ence of the candy itself. In "Ta La La,'' featuring Life Savers Five Flavor candies, a series of glamour shots of the candie are interspersed with the fruit the candy repre ents.

Sometimes the candy transforms into the fruit as it passe through water. The rhythmic a cappella mu ic, with lyric mentioning the flavors as they appear on screen, i by Grammy Award-winning Ladysmith Black Mambazo.

Ted Littleford , executive creative director; Sam Gulisano, group creative director/art director; Phil Guthrie, creative director/writer; Tony Macchia, producer.

His work has been widely exhibited throughout the United States and he has received many arts grants; he became a U.S. citizen in 1983. Goekjian' photograph are in the permanent collections of the New Orleans Museum of Art, C 0 M M U

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THIS PAGE: AD AGENCY GEOFFREY B. ROCHE & PARTNERS

in Toronto created this poster as part of a campaign to increase awareness and financial support for Operation Go Home, a non-profit organization designed to get kids off the street. The provocative visual and headline have generated some complaints, but countless donations and calls from people willing to volunteer their time have made the campaign a success. The photograph was supplied by photographer Steve Cavalier and Abbott Mead Vickers/BBDO, London at reduced cost. All other services were donated.

Geoffrey B. Roche, creative director; Deborah Prenger, art director; Glen Hunt, writer.

Two BILLBOARD EXECUTIONS OF THE "DON'T BLEND IN"

campaign created by the Colby Agency, Los Angeles, for the Beverly Center, an upscale, 200-store shopping center in Beverly Hills. The trompe l' oeil board artwork was created by electronically compositing photographs of the site. The "hidden word" board was put up as a teaser for two weeks, without the words circled. Some retailers are reporting 40% increases in sales.

Rick Colby, creative director; Laura Della Sala, art director; John Hage, writer; Julie Dennis, photographer.

54°0 of Toronto\ I0.000 st reet kid, .ire imohc(I in prmticutio n. 100 11 1• wi 'ih thl.'rwc rcn·1.

OPERATION go HOME

RIGHT: RICHARD POULIN DESIGN GROUP INC., NEW YORK,

was commissioned by architects Gwathmey Siegel & Associates to design and develop an architectural graphics program as part of the overall renovation of Sony Music Entertainment's headquarters, a Chippendale-pedimented building in Manhattan originally designed by Philip Johnson and John Burgee in 1983. The project included signage and environmental graphics for all public and nonpublic spaces, offices and meeting rooms. The modular sign panel system is derived from the jewel box CD package common to the music industry. Color coding is used to define each division-red for Columbia, blue for Epic, silver for Sony Classical and gunmetal gray for Sony Pictures. Company divisions are additionally identified by the color-coded wall murals in each elevator lobby.

The glass murals are comprised of portraits of recording and film artists associated with each division. In the employees-only health club facility, a continuous graphic mural, celebrating the theme "the body as machine," creates a common visual theme. Famous quotations, as well as relevant lyrics written by Sony recording artists, are placed intermittently on the mural.

Richard Poulin, creative director; J. Graham Hanson, designer.

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TIMES 3 PRODUCTIO S IS A TEXAS-BASED FILM

production company with a growing national reputation. Geer Design of Houston, Texas, was asked to create a serie of ad to appear in a weekly commercial production publication.

"Since film work does not translate well into print, our approach was to play on the company name through a erie of graphic image that combined metaphors for the film indu try and time," aid Mark Geer, creative director on the project. The graphic image in the ads were then incorporated into a new identity program including stationery, videocassette labels, proposals, baseball caps and T-shirts.

Mark Geer/Heidi Flynn Allen. designers.

EVERY YEAR, PIERCE TRA SIT I

TACOMA, WASH-

ington , has included Black History Month in their Cultural Awareness Program. Scott Morris, Pierce Transit's director of marketing, decided that an ad featuring Martin Luther King, Jr. was not enough for 1994. He contacted cartoonist/ illustrator Stan Shaw and commissioned him to do illu trations to replace the one Pierce Transit had u ed in the previous year 's promotions.

"I was interested in doing groups, rather than focusing on popular icons," Shaw said. "I wanted to reach young people, because to them the traditional ways of presenting black history eem pretty dull." After months of re earch, Shaw 's work re ulted in an exhibition of seven illu tration titled, "The Content of Their Character" on display at the tran it headquarters. "The response has been just what I hoped," Stan said. "People are taken with the illustrations and prompted to read the accompanying text and learn more ."

The illustrations al o appeared as informational ads in newspapers and transit boards a part of the Awareness Recognition Campaign and there are plans to publish them as posters.

Shown here is "Ministers in the Civil Rights Movement."

An excerpt from the accompanying text reads : "Ministers in the Negro clergy were effective organizers and vocal leaders. Reverend Martin Luther King, Jr. was at the forefront, his stirring speeches called worldwide attention to the plight of blacks in America.

Reverends Wyatt T. Walker and Ralph D. Abernathy assisted King and earned their own distinction as intelligent strategists and outspoken leaders. One of the organizers of the Montgomery boycott was Robert Graetz, a white minister to an all black Lutheran church. Graetz defied segregation laws by sitting in black sections of restaurants and movie theaters . Malcolm X. a skilled debater and lecturer. forced the public to confront racism and called for a religious model of government to instill equality."

20 x 18, airbrush and Prismacolor. ]J2

MARCH/APRIL

1994

Is paper necessary? Maybe t are right. Maybe will be e-mail, tel interactive multi d graphic d •

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Concord Carter Rice RourkeEno

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New York P.L. Thomas This is printed on Mohawk Poseidon, Vellum finish , 100 lb. text .

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JYRACUSE

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Independent Study Degree Programs at Syracuse University 61 OEast Fayette Street, Syracuse, NY 13244-6020 Phone: 315-443-3284 Fax: 315-443-1928

Technology

MAPMAKING WITH COMPUTERS BY

RICHARD

B

Y THEIR NATURE, FLAT MAPS ARE WORKS of distortion. Cartography is a process of miniaturization, abstraction and omission. Throughout history, mapmakers have created works that depict an imagined world or a willingly erroneous view of the world.

In modern times, maps tend not to politicize geography but each map's depiction of reality differs depending on its raison d'etre. Among the maps we present here, some are very highly detailed, some show only major avenues and tourist sites, and others are quite selective about which parts of an area are depicted.

Since the late 1980s the mechanics of mapmaking have also changed profoundly. Many cartographers are now creating maps on the computer instead of in the darkroom or at the drafting table.

This article profiles three mapmakers using the computer in different ways to create very dissimilar kinds of maps.

Pat Dunlavey Cartographies Pat Dunlavey leaves no stone unturned in his maps. Just about every stone, pit and rocky patch of ground is rendered in Dunlavey' s orienteering maps, which account for most of his output.

Orienteering is a navigation sport in which participants are given maps with a course drawn out. The goal is to navigate through several checkpoints and get to the finish line first.

With only the map to guide them, orienteers depend on highly detailed depictions of the terrain including fences, boulders and areas of stony ground.

"The information on the map is crucial; it's not just a cerebral exercise," says Dunlavey, a former orienteer himself before knee problems sidelined him.

A premier cartographer in the sport, Dunlavey' s maps were used for the 1993 world orienteering championships held in October. Most Americans would be amazed such a competition exists, Dunlavey admits, but in Europe it is a very popular sport and it verges on being a national pastime in the Scandinavian countries. In Sweden, he reports, some 25,000 people compete each day in the five-day national championship.

While the Williamstown, Massachusetts-based Dunlavey has spent most of his career making maps for orienteering, he has recently expanded his repertoire to include more general interest maps, such as a map of Acadia National Park done for the Appalachian Mountain Club and other work-for-hire maps of towns and cities.

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Looking at his orienteering maps, it's hard not to wonder: Is such detail really necessary? "That's the way orienteering mapping has evolved," Dunlavey explains. "Any little error in the map can be the reason somebody screws up. People in the sport have a snobby attitude about maps and the maps have reflected that attitude. The maps have gotten more and more detailed. The goal is for nothing to be missing."

On the other hand, maps have to be readable, especially since the orienteers are literally reading them on the run.

"The people reading these maps are skilled at distilling information, and disregarding the information they don't need," Dunlavey says . "My philosophy is that I like to see the less important information drop back visually and the more important information move up. I'm trying to achieve a photographic quality in my maps. Photographs present a huge amount of information and people take it all in very easily. I aspire to present a lot of information without overwhelming people."

Dunlavey says his work has been substantially advanced by applying the computer to the craft. " In the old days if I didn't have the right tool I was inclined not to do it. With the computer I can make any adjustment I want."

His mapmaking process starts with the original manuscripts of field data. He enters that information in a CAD program by tracing the maps on a digitizing tablet. "It's not dumb and brainless," he says. "You have to make lots of decisions along the way-when you' re digitizing contours, for instance, you have to set parameters for inputting points and how you layer the information in."

He uses a CAD program for input because, "CAD is oriented towards throughput, not towards being user-friendly or being pretty on the screen." Those pretty graphics programs redraw the screen everytime the user draws a line, Dunlavey explains. That results in a lot of wasted time.

When the data is entered, he exports the file as DXF, the CAD exchange format. Then he converts to Adobe Illustrator format, via a translation program he wrote himself. Finally, he opens the file in Aldus FreeHand.

While computer programming is not generally considered part of the cartographer' s bag of tricks , Dunlavey is comRight: Map of Acadia National Park in Maine, showing Mt. Desert Island.

Pat Dunlavey, cartography artwork/design; various sources .

Detail from the 1993 World Orienteering Championships map of Surebridge Mountain in Harriman State Park, New York. Pat Dunlavey, cartography artwork/design; Steve Key/Mark Dominie/Janos Soter/J-J Cote/ Kroum Sergiev, field survey.

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fortable with it. "I have done hobby-type programming since college. I have no fear of technology.

I'm what you call an early adopter."

The translation program allows him to retain all the grouping of data created in the CAD program, so when he opens the file in FreeHand, all the contour lines are grouped, all the trails are grouped, etc. He can then easily apply FreeHand styles to edit the colors and line strokes.

The computer has automated a process that was once an intricately fine craft. Traditional mapmaking involves scribing, drawing lines on a negative in the darkroom. "Everything has to be drafted at final scale, which is pretty intimidating," Dunlavey says. "Think of the Swiss watchmakers."

VanDam Inc. Stephan Van Dam has added a new wrinkle to mapmaking.

Actually, it's a new fold. Van Dam combines computercreated cartography with a unique folding process that folds a map down to one-sixth its full size. The process-called "Unifolds®"-allows customers to fold and unfold the map in one single step.

Based in New York, Van Dam invented the origami-like folding process in 1982, while studying architecture and product design at the Parsons School in New York. "It happened by accident," he relates. "I was working on a packaging design for stackable light bulbs, when I realized this was a great way to get information to fold in upon itself."

Once he discovered that his process-which is patented, as is the design for the machine that makes the folds-was a natural for mapmaking, Van Dam studied with some leading European cartographers living in New York. His first customer was American Express, which commissioned him to create maps of U.S. cities and international cities. The maps were given away in packs of six to AmEx card holders.

A typical Van Dam map is compact, and decidedly a tourist map. The Washington Smartmap, for instance, one of a series distributed by the Langenscheidt Publishing Group of Germany, divides the city in two and covers nothing west of Georgetown, east of Capitol Hill, north of the zoo or south of the government buildings. The product consists of a front, back and center flap with each map adhered to two flaps.

The 4 Y2 " x 8" product unfolds to 11" x 30" and back again at the flick of a wrist.

Van Dam admits that he has taken some flack for omitting large swaths of cities. The New York map, for example, omitted Harlem. "We're designing for an audience," he says; one that perhaps should skip the walking tour of 125th Street. On the other hand, "we also show the authentic New York," Van Dam claims, and from the Battery to 68th Street, 118

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the New York City Unfolds map shows the whole width of Manhattan, including Hell's Kitchen, Bed-Stuy and other unsavory parts of town. As it turns out, VanDam Inc. is now working on a map of Harlem.

Van Dam did his pop-up maps one better with "That VanDam Book," a erie of books that unfold to reveal a pocket guide on one side and an origami map on the other.

"When you have a travel guide, you can't read the map and book at the same time. We' ve solved that, I think," Van Dam says. The series covers New York, Paris , London and Disney World. · Asked if this means that he considers Disney World to be the fourth great city of the world, Van Dam philo ophizes: "The American landscape i sort of invented anyway. Disney World is a quintessential American landscape-the creation of something that isn't really there ."

The concept of mapping Disney World is an interesting one.

How does a map represent reality when the reality is so tenuous? How does the mapmaker decide what aspects of the landscape to emphasize and which to omit or downplay when all the sites are artificial?

At any rate, Van Dam is mapping Disney World and doing it all on the Macintosh. "We ' re redrawing every building and creating a database for every part of the Florida park, then we will take that database and turn it into a Unifolds® map. These are quite playful illustrations of every part of the park. The map will be sectioned so you can focus on one part at a time . We ' re trying to take the phobia out of the maps. " All current projects are being created entirely with Adobe Illustrator on the Macintosh, and Van Dam is converting

the older maps to digital format. While he doubts that computers actually save much money in the process , they do allow the mapmaker to easily spin off books , calendars and other printed pieces from the original work. For example, in the "Epcot Sky Calendar" Van Dam created a map for every day of the year. That data was easily reused in "The Universe Unfolds," a four-chart space atlas using the Unifolds® process.

That product was one of several map books in the "Cosmos Unfolds" series , which also includes The Rainforest, The Ocean, The Desert, Mars and The Moon.

"Maps should be fun ," Van Dam says. "'The Cosmos' tried to make the information playful. It takes extra effort to convince people to do something out of the ordinary. We were interested in how we can present information to attract people with a passing interest in the subject.

"You don ' t need to do something if you ' re not going to do it better. I like to do things that nobody has done. "

Eureka Graphics Berkeley, California-based Eureka Graphics has been working on the Mac since 1988. Since 1990, all of their maps have been created in Aldus FreeHand. The changeover happened as the power of desktop computers increased and PostScript imagesetters were able to output wider materials.

Eureka works almost exclusively for clients and ad agencies . They have created many maps for the GTE Yellow Left New York City Unfolds map. Stephan Van Dam. creative director/editor; Gunter Vollath/ Stephan Van Dam. cartography.

This page: The Rain Forest Eco Guide Unfolds map. Stephan Van Dam. creative director/ ed itor; Ron Dorfman. general editor; Dierdre Hyde/Marc Yankus. illustrations; Stephan Van Dam. cartography; GOnter Vol lath/ Shannon Brown. research and production .

ThatVanDam Book NYC . Stephan Van Dam . creative director/editor; GOnter Vol lath/Stephan Van Dam. cartography; Gail Pellett/ Derik Vail lant. writers; Ken Kern. research and production; Steve Lawson. cover design.

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Technology MAPMAKING WITH COMPUTERS

Pages, chambers of commerce nationwide and other municipal entities. Their maps also appear in guidebooks like Fodors and Compass.

Eureka' s maps are marked by high design and attention to detail , says Chad Moore , a staff cartographer and project manager.

The process at Eureka starts with a client meeting to agree on the goal of the map and the level of detail to be presented.

Then cartographers trace the source materials into FreeHand.

The program ' s Bezier drawing method makes creating curves easier than doing it by hand, Moore says.

For those not inclined to original cartography, there are a number of electronic map products for use with Macintoshes and PCs . For most purposes though, the maps sold in clip art packages are insufficient.

One superlative product, however, is Mountain High Maps, published

by Digital Wisdom , Tappahannock, Virginia . Distributed on two CDROMs , the set features over 100 relief maps- both flat map projections and globe projections . Each grayscale map is distributed in three resolut ions- 72 dpi, 100 dp i and 300 dpi- and with various masks for ocean and land areas . The product sells for just under $1 ,000 . These maps have been used in the Washington Post, U.S. News and World Report, Scientific American, CNN , European television, as well as by advertising agencies. school book publishers, travel guides , etc .

These stunn ing maps have a fasc inating history. Back in the 1960s, an English company called Geographical Projects Ltd ., launched an ambitious project of creating detailed and accurate mode ls of the continents and ocean floors of the world . Working from high-quality survey data, a team of cartographers and modeling artists created scale models . Each contour was carefully cut out of thin sheets of modeling material , which were then aligned and stacked on top of each other. building up a topographic relief view. Once checked for accuracy, the countour layers were smoothed, a process that transformed the model into a realistic view of the planet. Ocean floors. as well as continents were modeled in relief, and masks for the oceans were also created . The models were then lighted from a constant direction and shot using glass negatives to maintain the integrity of the models.

Digital Wisdom acquired the rights to the map images and started the two-year process of selecting images. cleaning negatives. scanning and retouching for publication as a CD -ROM . Images were digitized on a calibrated scanner and image retouchers corrected imperfections in Adobe Photoshop. The retouched images were examined by geographers. which revealed some alterations to the landscape, such as changes in river areas, since the original data was collected . Each of the maps was brought up to date by dig ital retouching .

Now Digital Wisdom has created a companion product, Mountain High Map Frontiers, a set of political maps that correspond to the relief maps . For more information , call (800) 800-8560 or wr ite Digital Wisdom , Inc., Box 2070, Tappahannock, Virginia 22560. For current pricing and ordering information in Europe, contact Digital Wisdom Publishing Ltd ., 7 Wellington Court, Wellington Street, Cambridge CB1 1HZ. London. United Kingdom, or call (44) 223566250; fax (44) 223-566246 .

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First drafts are based on United States Geological Survey (USGS) maps and other public domain map s. "Urban planning maps are very useful," Moore explain s. "We do our editing with a variety of sources, including copyrighted sources. Recently we started purchasing packages of digital information from sources like the USGS. That makes it sound easy but there 's a lot of editing we have to do. " FreeHand is Eureka' s tool of choice because it is "analogous to traditional cartography," says Moore. "It works in layers and styles. By using type size s and lines and styles, the cartographer goes through a thought process to create this hierarchical presentation. By having all the tool s there in FreeHand, you work through the process and create cleaner work. The program gives you the ability to design styles, to lighten this and darken that. Traditionally, that would be a nightmare."

Lately Photoshop textures have been showing up as backgrounds. "The freestyle look of Photoshop combined with the hard edges of FreeHand makes it more interesting visually," he says.

After the maps are created on the computer, they go through two editing stages-making sure that nothing has been missed and nothing has been added that doesn ' t actually exist-and to the client for approval.

"We' re trying to give clients a unique look," Moore clai ms.

"We're struggling for variety and creativity. It's important to have a good hierarchy of information. Our maps may have more information than other map s, but they appear le ss cluttered. If you ' re trying to emphasize unique architectural buildings of Chicago, you want to design it so those buildings come to the foreground. You want to include collateral information as well, but suppress it so it doesn' t interfere."

How has computer design and production changed things at Eureka? "It's made it more flexible and increased creati ve effort, " Moore says. "I started working here just when we converted to FreeHand and it' s really sped up the production process. We can get a Lino proof in a day . With traditional maps with sixteen layers of film and peel coats, it's much more cumbersome. Also, we can be runnin g ten projects simultaneously. Traditionally, you ' re limited by space.

OREGON TRAIL ModcmFru...,11;1Shown1nGn1y

"We've acrificed a little and gained a lot," Moore adds. "It's easier to get a novice up on FreeHand than it is to teach them to scribe and draw a steady line."

Above : Inland Empire map for GTE Yellow Pages/Community Access magazine . John Parsons/Neal Dinoff. Eureka Cartography, map designers; GTE Directory Sales Corporation, client.

The one major sacrifice has been output size, but Moore expects that is ue to soon fade from the map. "We have sacrificed on the ize of output because of Lino and computer limitations.

When I tarted learning computers, it was letter size. We had some rather ingenious workarounds back then. We tiled Linos together on the earn of streets. Now output size is much less of an i ue and oon I think it will be largely irrelevant."

Oregon Trail map for Random House Compass American Guides/ Oregon . Chad Moore. Eureka Cartography, map design.

COMMUNICATIO

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Represented by Micha.el Ash 212 807 6286

In Ca.na.da . by Westside 416 535 1955

"Couldn't we just tell the account people that the casting agency screwed up and couldn't find anyboJy?"

Design Technology

MARY ANN FRYE

KEEP YouR EYE ON THE BALL FTER SIX OR SEVEN YEARS TEACHING design with computers available, I feel like a veteran player in a team sport that hasn't been described yet. In this sport (which is played continuously night and day and probably while we Jeep), I mostly watch. I begin to understand that is the main strategy of the position I play. The playing field is being laid out continuously. No one knows the rules-no one has time. The ball is information, and it is everywhere at once. The game, which used to be ort of sand lot, street corner and local, with a few teams in the internationals, is transforming big regions of business and culture the way soccer finals take over the fabric of life in some European cities. In production industries, in de ign bu inesses and in schools, people are finding that there aren't any sidelines.

A

I am head of the Graphic Design Concentration at Northeastern University, a program which started at about the time personal computers began to have practical use for designers. President Clinton came to our graduation last spring and lauded Northeastern for its vision of the interconnectedness of education and work. Northeastern tudents typically leave the classroom for three months a year to work in their field. Graphic design students take many liberal arts requirements in the College of Arts and Sciences, and a number of course in history and media in the Department of Art and Architecture where Graphic Design is based.

The part of our vision that has survived the recent period of astonishing change is that people who want to be designers should have the best possible grounding in and the mo t ravenous possible appetite for the liberal arts and sciences. They should come to design not because they are interested in only one thing , but because they are interested in everything. The specialized skill the design program should foster in them are clarity, depth and force in the use of visual language, and increasingly , verbal language, sound, motion, and the symbolic codings of math and science. Design students should be dedicated to making connections and giving shape to information of whatever complexity.

The proper use of technology in this program is problematic. The goal is to get students so confident and accustomed and combative in the electronic environment that they surf on constant change, keeping their own objectives alway in view. Anyone in higher education who is committed to this will understand my experience. I have to spend an enormous proportion of time identifying and 124

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justifying resource need to (a fortunately enlightened) administration, while trying to ucce fully articulate to fellow academics that the equipment and software knowledge are not the point at all.

A designer uses every kind of intelligence to under tand the shape of the situation which is to be communicated.

The same designer use hard won skill to give it appropriate form in some medium-u ually a part of a team, often while managing the process. In essence, thi may not have changed with the growth of technology. Everything else has changed. I don't know what technical kills a designer will need in five year , or even if what they do will be called de ign. I am certain that word and images, and increasingly, interactivity and moving images, will communicate information. Great human attention, intelligence and acuity will be required to do it well.

Frankly I don ' t know how to teach with technology. I know how to spark interest, get different kind of people to focus, widen a discus ion and elicit creative interaction in a group. The computer is a participant now, in all my classes. Sometimes it's in the room, and students are bowing me something on it. Or they're using it to react, on the spot, to something I've aid. Often it' off tage, down the hall but still active in the conver ation. Effects, ea y to do with a particular oftware , appear in omeone's solution, but in group critique the cla reject raw hort cuts. Savants in one software or another throw in tip now and then.

I've gone over to explaining why we're not u ing the computer for omething rather than why we are. We talk about books as analog for moving image and other kinds of information development and acce . We talk about information structures and paths. The most generou and savvy of the student computer lab monitors are ju tly accorded the status of a tribal elder. I teach by watching, taking in the ab olutely new interactions that happen student to student, student to machine to teacher and all the combination thereof. To teach in thi constantly changing field, you have to keep raising the level of the game. It takes fierce confidence in proces -and the presence of mind to mostly watch.

•

They're Designing Toys for Meat

If you have talent , the magic of childhood in your

heart, and the desire to work toward a creative and rewarding career, F. I.T.'s Bachelor of Fine Arts degree program in Toy Design is for you.

More than ever, the toy industry needs outstanding designers-professionals who create children's products that are safe, fun, and challenge the imagination.

Working with the support of the Toy Manufacturers of America, F.1.T. has developed a program that will fully prepare you for a career in the toy industry.

Open to students with a minimum of an associate's degree in art or design, the program offers a curriculum emphasizing design development, and includes cour es in areas such as product safety, child psychology, marketing, packaging, and business practices. All are taught by toy industry professionals-inventors, product designers, production managers, and researchers-in an environment that simulates a toy industry facility.

How successful is the program? Ninety-five percent of Toy Design graduates have been placed in jobs at major toy companies and inventor groups.

F.1.T. , located in the heart of Manhattan , is a specialized college of the State University of New York.

Limited tuition assistance and housing are available.

For early consideration , call or write for an application : Judy Ellis Toy Design Department-Room 8231 Fa hion Institute of Technology Seventh Avenue at 27 Street New York City 10001-5992 (212) 760-7133 Educational opportunities at F.1.T. are offered without regard to age , ge nder, race , color, religion, national origi n, sex ual orientation, marital status , disabi lity, or vete ran status.

America's most colorful artist is adding pixels to his palette. Peter Max is a one-man fine art ind stry, creating cultural icons for 30 years.

As e enters the digital realm, he's still on the cutting edge-with the world's most popular ssing software, running on the

greatest graphics engine yet invented: Adobe® Photoshop on INDr from Silicon Graphics.

Now anyone working with graphics can work faster and easier. As a RIPping engine or pure visualization tool, INDY sprints past even the most souped-up Quadra:" It's also a natural entry 111

their respective holders. All art elements, exclusive of products and their signage, are property of and copyrighted by Peter Max and may not be used or reproduced except in conjunction with this contest.

into Silicon Stu iorn for Publishing: integrating 3-D, animation, and truly professional multimedia.

Prove to yourself how much better Photoshop can be on INDY. Create your own work of art using elements fro this ad, and you could win a visit with Peter M~ Call the number above to

receive your copy of the contest rules. And get ready for a breathtaking glimpse of the future.

SiliconGraphics· Computer Systems

Peter Max Co ri ht 1994 INDY supports up to 256MB of RAM, and high-res (1280x1024) 24-bit color, and comes standard with: lndyCam™ color digital camera; microphone; 3 juggling balls; 14', 16' or 19' non-interlaced monitor;

Technology Reviews

R ICHARD KOMAN

KAI'S POWER TOOLS 2.0 EW USERS OF ADOBE PHOTOSHOP ARE usually drawn to the program's Filters menu , probably because it's the most obvious means of committing image manipulation. Here one can twirl or ripple an image, apply noise or create motion blur. Indeed "Photoshop filter" has become an oft-heard disparaging description of much digital artwork.

N

That's about to change, thanks to programs like Kai's Power Tools from HSC Software. Now in version 2.0, KPT is more than a set of 33 filters; it' s a set of sophisticated imaging technologies that work with Photoshop and other imaging programs that support the Photoshop plug-in standard. These programs include Fractal Design Painter, Canvas, Pixel Paint Professional, Adobe Premiere, Video Fusion and DeBabelizer.

In the past, filters have been akin to photographic filtersspecific tools for specific tasks, like blurring or curving.

But as we shall see, Kai's Power Tools are a far cry from these simple filters; they are clever tools for exploring the possibilities that computer-based imaging presents.

I was amazed at those possibilities and at the powerful simplicity of inexpensive software that allowed me to explore "image space" on a $1,000 desktop computer.

Kai ' s Power Tools were created by Kai Krause, a Photoshop guru who made a name for himself by posting a series of advanced tips and tricks on the America Online information service.

That KPT is radically different from other software is apparent just by looking at it. The interfaces boast a great number of innovations (see illustrations). Whether these are improvements or disasters depends on your perspective. A graphic designer I know took one look at KPT and declared, "The interface is horrible." I beg to differ! found it engaging, fun and actually quite intuitive.

The interface is simultaneously flashy and laid back. It sure looks more fun than other programs. Most of the feature s are not labeled and those that are have hard-toread faded type that lights up when the cursor passes over them. There are other strange concepts like click-anddrag controls (the more you drag, the greater the effect) , "mutation balls ," gradient brackets and other weird stuff.

The Fractal Explorer, a complex module with few labels, is very pretty and a pleasure to come back to again and again. That was Krause ' s goal, a he explains in a foreward to the manual. "My criterion .. .is that those folks who really get the use of these tools still find it enjoyable and rewarding to come back to the dialog the lOlst time, not whether 128

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a stranger. .. can make a great effect in stantly. " KPT consists of a set of core "explorer" filters , as well as several other "apply" filters. There are a variety of special effects filters like Smudge, Grime, a few noi se filters, page curl and so on. One of the most interesting filters is Cyclone, which runs a slide show of color changes to your image. By pressing the return key when you see a color scheme you like, you can apply those colors instantly.

What's happening here is that the program is generating new color table for the image. This technology basically turns Photoshop colorizing technique on its head. Instead of having to master the various controls in order to achieve a desired result, the u er sits back while the computer does the hard work of generating possibilities.

Cyclone is but one example of a basic philosophy apparent in KPT. Clearly Krause believes that oftware can do more than simply carry out commands from the user-it can generate all kinds of possibilities from which the user can choose. Thus the user can have far more access to the capabilities of the program than would ever be possible by entering numbers in dialog boxes or drawing arbitrary maps . That's the real importance of the innovative interface-not just that it' s nice to look at after 100 uses but that it presents controls in visual, easily understandable ways.

Take for example the Texture Explorer. It looks so strange, so alien, the first time you run it you will say: "My God !

What is this?" The user is confronted by a ghostly tree with big red balls arranged on it, a colored marble hanging above it, and thirteen tiles-one large tile with twelve smaller ones around it- filled with bizarre patterns. What's it all about? This module randomly generates variations of a pattern. The variations are displayed in the twel ve smaller tiles, while the base texture is shown in the center tile. You generate new textures by clicking on one of the variations. This pattern then becomes the base and the permutations begin again. The red balls determine the degree of mutation in the process. By clicking higher or lower on the tree, you dictate how different the variations will be from the active image. By reducing the amount of mutation , you can fine-tune the process to develop the best texture. In this process, there is no limit to the number of possibilities that can be generated.

The Texture Explorer is a powerful engine that is running some pretty complex calculations. It's amazing how fa st the new variations appear, even on a slow Mac. It's also amazing how easily a user can move through thi s texture space. Also, one problem in the first version of this module

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has been solved. Since the patterns generate randomly, it is impossible to achieve the same effect twice. If you don't ave it, it's gone and you may never see it again.

This was a major drawback in KPT 1.0; in this version, the Explorer includes a Texture Protection option, which lets you keep mutating without affecting protected textures.

This seems to work pretty well, yet it appears somewhat less elegant than the rest of the program.

Adding substantially to the power of the Texture Explorer is the gradient preview, which lets you apply the color scheme from any of the saved gradient settings from the KPT ' s Gradient Designer module. Krause calls this Legostyle engineering: the modules fit together like Lego Blocks and the settings in one can be applied to another. This is a powerful feature since these gradients can be very complex and can include transparency values. Similarly, the Fractal Explorer provides links to the Gradient Explorer to set both the inside and outside colors.

Speaking of the Gradient Designer, it's an incredibly flexible program for creating blends and special effects.

After you've played with the possibilities here, Photoshop's blend options (two colors, linear or circular blend) will seem almost laughable. Over 500 shades of color can be used in a single gradient (no one's saying you should do that, though), half a dozen patterns are possible, they can be applied within any selection, gradients can be applied in any of Photoshop' s apply modes, and the results of all this can be previewed in real time. Perhaps best of all is the KPT color picker, which presents the entire color spectrum-plus transparency options-in less than an inch of screen real estate. That's a far cry from the Apple and Adobe color pickers Mac users are familiar with.

To start designing a blend, you simply bring up the color bar by clicking at one end of the gradient designer. The cursor turns into an eyedropper tool, allowing you to pick up color from the color picker or anywhere on your screen,

even your desktop. Repeating the operation on the other end of the Gradient Designer sets up a two-color blend.

Then by clicking in the middle, you can add a third color to the gradient. So by starting with blue and ending with red and adding green in the middle, you get a gradient that moves from blue to green to red.

What adds so much power to the module, though, is a moveable bracket. By reducing this bracket to a smaller part of the gradient, you can add lots of colors and finetu ne the image to a remarkable degree. The Gradient Designer works with the Mac's cut, copy and paste commands, so you can paste colors from one section to another.

(Cutting a section makes it transparent.) There's also a flip command for transposing the order of the colors.

Another nice touch: By pressing Command and dragging the mouse in either direction, you can reposition the order of colors; by dragging with Option depressed you can squeeze the gradient in one direction or another. The results are updated immediately in a real time preview window.

KPT doesn't just do linear blends. There are algorithms for ten styles of blends, including several proprietary ones for blending in and around selected areas. You can also set repetitions of your blend, looping patterns and distortions.

Plus there is a wide variety of apply modes, corresponding to Photos hop's Calculation options. You don't necessarily need to know what any of this means-you can see the results in the preview. Finally, you can apply color and transparency settings from other gradients (well over 100 preset gradients come with the program) just by clicking in small bars above and below the main gradient bar.

The third major module is the Fractal Designer. Fractals, of course, are the high-tech equivalent of tie dye. But they' re also something more interesting. Fractals are graphic representations of nonlinear equations. The thing about fractals is that they are infinitely chaotic surfaces.

The closer you get, the more complexity is revealed. This COMMUNlCATIO

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EAGER-TO-PLEASE

~EDITOR~

ii~ FLASHES ii~ STUNNED BURNETT

~ CREATIVES. ~

means that they have the potential to generate some quite interesting imagery at the deeper levels.

Until now it was very difficult to get at fractal s unless you were able and willing to enter a lot of numbers in some mysterious fields. But KPT's Fractal Explorer hands this whole weird world to you without ever requiring you to type in a digit. I doubt that many designers and illustrators will spend the time with the Fractal Explorer necessary to get the most out of it, but those who do will find an incredible resource with seemingly unlimited po sibilities.

The Fractal Explorer is equipped with a navigable map of the fractal, controls for zooming in and getting more detail, changing the spiral and spoke of the fractal , as well as the same apply modes, transparency settings and the ability to use gradient settings for colors.

In addition to these big guys, there are 30 more filter s, some quite useful, some only occasionally so. There are all kinds of sophisticated noise filters, find edges filters, smudge filters, the "seamless welder" for better tiling , and so on. My only complaint with Kai ' s Power Tool s is that the Explorer modules take a considerable amount of time to launch, at least on my Mac Hsi. Still that's a small price to pay for the power those modules deliver.

Every Photos hop and Painter owner should have Kai 's Power Tools. I believe it will do as much to advance imaging on the desktop as Photoshop itself did.

D

creatives Mark Jary, Reese Thompson and Produc e r Jamie Mortellaro w ere delighted with the results and ordered lots offood from the biggest menu book in the city.

Wild child editor Jim Staskauskas added some unorthodox finishing touches of his own while completing a new series of stylized, fast-pa ced spots for Oldsmobile. Leo Burnett

OPTIMUS Creative P os t Production

1 61

Ea st Grand Avenue, Chicago , Illinois 6061 1 3 12 .3 21.0880 FAX 3 12 . 321.976 5

Kai's Power Tools 2.0 HSC Software 1661 Lincoln Boulevard, Suite 101 Santa Monica, California 90404 (310) 392-8441 $199

Macintosh requirements: System 6.0.5 or higher, System 7 recommended. Macintosh computer with math coprocessor and color monitor, 24-bit video card recommended. Adobe Photoshop 2.0 or later or other plug-in compatible software. Windows system requirements: Intel 1386, I486 or Pentium Processor, I486 recommended; Dos 5.0 or higher, Microsoft Windows 3.1; minimum 4 MB of RAM , 8 MB recommended; color VGA Display Adaptor and compatible color monitor, recommended 24 bit color display adaptor; mouse or other pointing device ; Adobe Photoshop 2.5 or later.

For more information contact Paul Hayward .

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Natural Selection

Medallion ... proof of Cross Pointe 's continuing evolution of /ine papers with greater recycled content.

New Medallion 100% recycled-20% post-consumer.

Call it survival of the best-designed. The distinctive markings of the Styracosaurus dinosaur stopped his enemies in their tracks.

Today we borrow nature's markings to "knock 'em dead" in gentler fashion. The same principles of Natural Selection apply at Cross Pointe. Each of our papers must measure up to our own continually-rising recycled paper standards. That's why new Medallion is made with 100% de-inked recycled fiber, including at least 20% post-consumer waste. Now in two finishes: naturally printable felt and new vellum. With two new double thick cover weights. And an entirely new, rich color palette. All acid free. So for your next brochure, direct mail campaign or annual report, make the naturally better selection. For quality printing for your budget and for our environment, specify new Medallion /ram Cross Pointe.

© 1994 Cross Pointe Paper Corporation

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Saint Paul, Minnesota 55108 • A Pentair Company

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Technology

R ESOURCES Books IM AGING ESSENTIALS: PROFESSIONAL STUDIO TECHNIQUES

By Luanne Seymour Cohen, Ru ssell Brown , Tanya Wendling 118 pages, paperback $39.95 Publ is hed by Adobe Press Distribu ted by Prentice Hall 113 Sylvan Avenue Englewood Cliffs, New Jersey 07632

You ' ve bought the software. You ' ve glanced at the manual and its hundreds of pages of impenetrable prose. Now what? For professional designers looking for right-brain solutions to common computer graphics challenges , Imaging Essentials rides to the rescue with dozens of techniques thoroughly illustrated and explained, in clear, matter of fact prose.

Seven chapters cover topics such as Three Dimensional Artwork, Painting and Blending, Text Effects , Special Effects, Creating Files for Video, Color Reproduction and Printing Production.

Each chapter explores a variety of individual techniques that a designer will use day in day out-from creating spheres to generating metallic, extruded type to masking photographic silhouettes. Of special interest to designers concerned with color print output of their Photoshop files is the section on Color Reproduction in Adobe Photoshop. A brief overview instructs readers how to calibrate all the components of a graphic system to ensure that on screen images match color output. Step-bystep instructions then provide for color correction of images , adjusting color balance and sharpening the image.

Each technique comes complete with a "beauty shot" as an example of the desired end result. An introductory paragraph provides an overview of the task at hand and points out potential pitfalls and shortcuts. A list of the required software is provided. Detailed instructions accompanied by thumbnail illustrations , usually in full color, provide a foolproof guide to achiev-

ing the desired effect.

The net result of a book like Imaging Essentials is twofold. Readers are provided with a computer graphic design mentor of infinite patience, providing the inside secrets , tips and tricks it would have taken years to come by otherwi se. Second, this is a fantastic " swipe book" offering more than a hundred design ideas that might prove useful on an otherwise fallow day.

Either way, users of Adobe Photoshop, Illustrator and Dimensions will find this an invaluable reference and want to keep it close to their mousepads.

CONCEPTS IN COMPUTER D ESIGN: A PROFESSIONAL PERSPECTIVE

By Dawn Erdos & Leslie Singer 224 pages, paperbac k Published by MIS Press 115 West 18th Street, New York, New York 10011

$34.95

This full-color, how-to manual of desktop graphic design takes a real-world approach to its subject. Each of its eleven chapters focuses on a design case study. These range from the simple "port of call" newsletter produced daily on board the Royal Viking Line cruise ship, to the more complex design of Wired magazine, the production of USA Today and the landmark 1989 annual report for Time Warner Inc. created by Frankfurt Gips Balkind.

Each chapter profiles the design project, providing a brief overview, then delves into a step-by-step examination of the production process. The operative word here is "overview. " Despite the lavish use of full-color examples, the designer looking for useful production tips and techniques will, for the most part, come away empty handed and disappointed.

Typical of the nuggets of information provided by the authors is this from the chapter on the design and production of Wired: "Stories are placed into QuarkXPress documents to be laid out. " Also included in each chapter are interviews with the principal designers and

key production people who worked on each project. Sidebars list all equipment and software used. A gallery at the end of the book highlights a few of the participant' s efforts, showcasing the range of work being done by some of the leading practitioners currently working in the field of computer graphic design.

- Sam McMillan

Publications

dB Publisher, available free, from C.P. Guager is an educational quarterly newsletter for those who produce catalogs, price lists and other data-intensive material. Designed to increase quality, productivity and cost efficiency , dB Publisher includes "how-to" articles , technology features , case history reports, industry news , and answers to typically asked questions. To subscribe, call (800) 541-8270.

Multimedia Monitor Newsletter, a 32page monthly compendium of ideas and information, is dedicated to keeping subscribers ahead of changes in the burgeoning field of interactive multimedia and related technologies.

Industry experts cover new products , technology, business developments, and provide the latest financial and marketing sales statistics. Subscriptions are available for $347 per year. For further information, call (800) 323-3472.

Conferences

Crosfield Users Group annual meeting, to be held May 18-22 in San Diego, California, will focus on Business Strategies in a Digital World. Technical sessions, vendor presentations and exhibits as well as product demonstrations will be held. In-depth sessions will cover Networks & Communications, Desktop, CEPS , Image Capture & Exposure, Marketing and Service.

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Definition Color, Networking & Telecommunications , and the Unix Explosion. For more information call (609) 985-6452 or fax (609) 985-0105.

James H. Clark, who recently left Silicon Graphics, the company he founded, to form an interactive software start up , will be the featured speaker at Multimedia94. Multimedia94 will host more than 60 seminars on multimedia communications, visual communications , electronic design, multimedia production and virtual reality . May 25-28 , 1994 at the Metropolitan Convention Centre, Toronto, Canada. For more information, call (905) 660-2491 or fax (905 ) 660-2492.

Online Publishing '94, Graphics Communications Association's annual conference devoted to the business of on-line publishing, will take place June 13-16, at the Holiday Inn Crowne Plaza in New York City. The emphasis of Online Publishing '94 is the profitable production and sale of electronic publications. General sessions will cover technology , business and marketing, distribution methods, standards, content licensing, publishing on the Internet and tools for authors and readers . For more information, call (703) 519-8174 or fax (703) 548-2867.

Seminars

QuarkXPress Unleashed, a series of intensive two-day seminars designed for QuarkXPress professionals wanting to take advantage of the power of QuarkXPress , Xtensions and other utilities, is now touring the country.

Presented by Brad Walrod, author of the Random House book QuarkXPress Unleashed, the two-day course will cover text preparation, automating desktop publishing, typography , page layout, graphics , trapping and output.

Throughout, Walrod will emphasize the automation of production processes, the solution of workflow problems and turning a profit. Seminar registrants will receive course example printouts and a disk containing free demonstration and J 34

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shareware utilities and Xtensions. Upcoming dates and locations: March 31April 1, Seattle, WA ; April 7-8, New Orleans, LA; April 14-15, Chicago, IL; April 21-22, Los Angeles, CA. For more information call Computer Graphics Associates at (703) 519-8160.

Two-day-long PageMaker conferences emphasizing essential tools , tips and techniques for effective use will be conducted by Thunder Lizard Productions in the following cities: Atlanta Sheraton Colony Square, April 25-26; Seattle Sheraton, June 2-3; Chicago Marriott, August 29-30; Los Angeles Sheraton Universal, November 2-3. For more information call (800) 221-3806.

Products

Print Photo CD, a joint development from Kodak, Dai Nippon Screen, Crosfield, Linotype-Hell and Scitex specifically aimed at the pre-press market, will be released early in 1994.

The four manufacturers will enable their systems to read and display files from all Kodak Photo CD discs via a common format for CMYK image files. The Print Photo CD enables input capabilities from Photo CD and Pro CD Master discs. In addition, prepress system operators can scan input from all four manufacturers ' pre-press systems, store scanned data as well as second-generation images. Pre-press houses can store all job related files on a single disc or set of discs. For more information call (716) 724-2364.

Design Tools Monthly, the designer' s index to trade publications, has created a monthly release of software updates and bug fixes on a disk. Designed for graphic arts pre-press professionals, the subscription service includes every free update and bug fix to programs, utilities and system software commonly used in the industry. Also included, in addition to freeware and share, is every free QuarkXPress XTension, Pagemaker Addition and Photoshop Plug-in released that month. The Design Tools Monthly Utilities Disk

is available for $129. For more information call (303) 444-6876.

StrucSure, a busines s management software package specifically designed to meet the needs of commercial photographers , is available from StrucSure Software. StrucSure is a template that runs over FileMaker Pro 2.0 for both Windows and Mac applications . Crossrelated modules assist in keeping track of clients, vendors, estimates, invoices, shoot locations , stock photo libraries and equipment inventories. For more information , call (415 ) 772-8418.

CyberPuppy Software and Kodak have teamed up to produce Kids Studio, Mac-compatible software that lets children use their own photographs to create full-screen slide shows , Apple QuickTime movies and multimedi a stories complete with paint, text and recorded sound. Easy to use "Cookie Cutter Technology" makes it simple for kids to cut and paste 20 different shapes onto on-screen pictures. In addition to accessing scanned photographs from Kodak Photo CD s, a library of 250 stock images is available. Kid ' s Studio requires a compatible CD-ROM drive, such as an AppleCD 300 or PowerCD. For information, call (716) 436-3570.

Part interactive CD-ROM , part The Residents 20-year discography and part catalog of cool design feti sh objects , The Residents Freak Show is a celebration of the touring carnivals of the 1950s that brought a rough and ready entertainment to the hinterlands.

Designed by Jim Ludtke, and published

by The Voyager Company, Freak Show provides a cartoon-like simulation of a carnival midway , complete with carnival barker and half a dozen digital curiosities. The viewer of Freak Show simply enters a carnival tent to meet Harry The Head , Wanda the Worm Woman , Jelly Jack the Boneless Boy and others of their ilk. Each has a story to tell , and the viewer is free to explore them by clicking on a series of tunnels , doorways , windows and dresser drawers. Dig deep enough into one of Freak Show's winding funhou se tunnels and you ' 11 discover a true oddity : the future of advertising. Past

the glitzy 3-D animations, the spooky music and QuickTime movies is a catalog of The Residents' memorabilia called "Buy or Die." Call an 800number and a print catalog is whisked your way, chock full of Residents ' posters, mugs, records, ties and other effluvia generated over a career that spans two decades. In the not too distant future, we are going to see more of these marketing ploys, as advertising masquerades as entertainment. I doubt the junk mail of the 21st century will be as clever as Freak Show, but for now, those darlings of the avant-garde, The Residents, have once again placed themselves squarely on the cutting edge. Contact The Voyager Company at (212) 431-5199.

PhotoDisc, the CD-ROM stock photography house, brings more than 2,800 digital PhotoDisc images to local art suppliers, service bureaus and software stores around the country with ArtOn-Site, an interactive kiosk that lets users browse through the PhotoDisc catalog and select, purchase and download images onto floppies. Depending on the specific images selected and resolution required, PhotoDisc images cost between $39 and $99 per photograph. For more information, call (206) 441-9355.

Pantone and Light Source Computer Images have introduced the Pantone Open Color Environment (POCE), a comprehensive digital color management system designed to deliver true WYSIWYG color from scanned input to color monitor to print output. A single system that makes obtaining accurate, predictable color matching for photographic and spot colors possible, POCE will be open and available to everyone, including hardware and software licensees, platform vendors and end users. Pantone intends to incorporate POCE directly into software applications, so there will be no cost to end users for color-matching.

Industry supporters include Adobe, Aldus, Corel, Deneba, Fractal Design, GCC, Iris, Lexmark, Pixel Resources, QMS, Sharp, Tektronix and Xerox.

POCE is expected to be available on

the Macintosh in early 1994, followed shortly by a Windows version. For more information, call (201) 935-5500.

For designers whose clients demand full scale color proofs of large artwork, there is EDGEPrint Design software, which produces art up to 36 inches wide by 9 feet long in hours using Macintosh computers and HewlettPackard color printers. EDGEPrint supports graphics files from Adobe Illustrator, QuarkXPress or Aldus Freehand as well as scanned artwork.

Typical applications include color proofs, point of purchase displays, trade show banners, and short runs of posters. EDGEPrint Design Software is available for $5,995 from Visual Edge Technology. For more information call (408) 245-1100 or fax (408) 245-1107.

PMcopyFit, a professional software tool that manages vertical justification on single or multiple column documents, is now available for both Windows and Macintosh versions of PageMaker 5.0. PMcopyFit allows users to adjust vertical justification between lines of text, above and below heads, paragraphs and horizontal rule lines. Point and click functionality makes the justification of vertical blocks of text a matter of seconds.

PMcopyFit is available for $99 and can be ordered directly from EDCO Services at (800) 523-8973 or fax (813) 960-2356.

Virtual reality is coming to a desktop near you. The Virtus Corporation, developer of 3-D visualization software, has published a $99 software package designed to bring virtual reality to the consumer market. Virtus VR is available for Macintosh and PCs running Microsoft Windows. Designed with the novice in mind, Virtus VR features a drag and drop construction tool set, 3-D object galleries and six virtual scene templates-including Dealey Plaza Kennedy assassination site and the Branch Davidian Complex in Waco, Texas-which can be explored and altered to suit the user's needs.

Now we'll really know who killed JFK.

An instructional videotape included with Virtus VR promises to get users up and running within 30 minutes.

Available from most major mail order houses such as Mac Warehouse, Mac Zone and PC Zone. For further information, call (510) 549-7016.

On-Line

The ITC Font Library, from FontHaus, will now be available to members of CompuServe's desktop publishing forum, DTP OnLine. In addition to the ITC fonts, clip art and photos are due to go on-line in the next few months. The ITC fonts, for Macintosh users only, can be downloaded for $29 each. Windows desktop fonts will be available soon according to CompuServe. The DTP OnLine Service costs $8 an hour in addition to CompuServe's basic monthly charge of $8.95. For more information, call CompuServe at (800) 848-8199. Internet address for non-members, 76702.765@Compuserve.com; E-mail address for members , 76702,765.

Information

Agfa Graphics Systems, manufacturers of electronic and photographic prepress systems, has announced the formation of the International Agfa Users Group (IAUG). The IAUG is devoted to educating its members in order to strengthen their decision making ability in the highly technical environment of electronic pre-press. Agfa Graphics Systems will commit time and resources to the IAUG to provide educational materials on equipment as well as help members establish productive, profitable workflows, streamline their production cycles and better market and sell their services. For information on IAUG, call (201) 440-0111, ext. 4640.

-S.M.

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DESIGN

ISSUES

LESLIE S HERR

GAMBLING FOR YOUR FEE? WHY

SPEC

WORK

DRIED SO DEEPLY WITHIN THE ETHICS of most design firms that it often gets glossed over in books on professional practice is the position that graphic designers do not do work on spec. "Asking an artist to do work on speculation is not deemed professionally reasonable because of its potentially exploitative nature," reads The Joint Ethics Committee's Code of Fair Practice-a stance that puts the topic in the league of ethical practices we now take for granted, like "no plagiarism," and "completed artwork shall be paid for in full and returned promptly."

B

The industry bible, Pricing and Ethical Guidelines, published by the Graphic Artists Guild (GAG), defines speculation as: "Accepting assignments without any guarantee of payment after work has been completed."

Poor practice, right? Yet increased competition, a tough market and price-conscious clients have designers everywhere involved in emotional debates over the issue. In a letter to the American Institute of Graphic Arts (AIGA) Journal, Judy Kirpich, vice president/creative director of Grafik Communications, in Alexandria, Virginia, wrote, "Three times this month my firm has been informed that we were 'selected' to produce design comps for free and if the client chose the firm we would get to produce the work. [Each time] I have let the client know that we conform to AIGA standards that prohibit work on spec and I have watched several large, well-known firms walk away with contracts because they have not subscribed to the same ethical standards as I have. Three times this month I have listened to potential clients tell me that 'the other firms agreed to produce work for free."'

The editor of this magazine felt compelled to comment. "It is my feeling that creating work on speculation reduces the value of the designer's skill and demeans the profession as a whole," wrote Patrick Coyne in last issue's Editor's Column. "I'm not against pro bono work, in fact, I'm all for it. The difference here is inviting a number of people to create a visual or a concept (a creative's livelihood), and only compensate the winner whose concept is accepted or used. This is not an isolated incident. .. At some point we as a profession need to help educate the public on the value of what we do ... But first it requires we all agree not to participate in speculative projects. Policing ourselves may be the hardest roadblock of all."

That uninformed clients solicit work on spec is one of graphic design's most obvious problems. While other issues like technology and the economy rightfully capture the profession's main attention, that entities with a voice 138

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DOESN'T

PAY

would wish to publicly speak out against spec work should come as no surprise. In fact, with spec work on the rise, it seems natural to want to respond.

What's surprising, however, is the precise nature of the response-it's a straightforward, united and justified tone that grows more complex, divided and murky the deeper one probes. The topic reached a crisi point last month when GAG received a letter from Jessica N. Cohen, an attorney with the Antitrust Division of the Justice Department, notifying them that "a preliminary inquiry into whether the Joint Ethics Committee's Code of Fair Practice for the Graphic Communication Industry violates Section 1 of the Sherman Act," had been opened. Specifically, the inquiry encompasses Article 9 regarding work on speculation, as well as all other articles dealing with price terms.

This was not the first time GAG had received such a letter.

Four years ago, along with several other professional organizations including the AIGA, GAG was investigated by the Federal Trade Commission (FTC) on possible restraint of trade and price-fixing. Later, during a review of their code, the JEC' s Code of Ethics modified its language, inserting a carefully worded disclaimer that reads, "[This code] presents guidelines for the voluntary conduct of persons in the industry, which may be modified by written agreement between the parties."

The AIGA' s current Code of Ethics in the membership directory reads, "The purpose of this code is to provide all AIGA members with an accepted standard of ethics and professional obligations." Accepted? By whom? The word voluntary does not appear, apparently due to an error in typing or transcription.

What does appear is the following article under fees. "A designer shall not undertake any speculative projects either alone or in competition with other designers for which compensation will only be received if a design is accepted or used. This applies not only to entire projects but also to preliminary schematic proposals."

AIGA director Caroline Hightower adds, "The word voluntary has been in the AIGA Code since its adoption in 1983-just as it appears in our 1992 membership directory. In relation to working on spec however, its inclusion is evidently immaterial in the eyes of the law as the word 'code' implies specific rules of behavior that restrict the ability of members to compete."

When asked to comment on the merits of the Justice Department's inquiry, Tad Crawford, a publisher and copyright lawyer who has [ c 0 N T I N u E D 0 N p A G E I 4 0 ]

DESIGN ISSUES

worked on behalf of visual artists, offered these thoughts: "When in 1989 the JEC' s Code of Ethics was revised, Michael Remer (then general counsel for the American Society of Media Photographers) was wise enough to insist that an expert antitrust counsel review the entire Code of Fair Practice for possible violations. The expert counsel suggested revisions that were included in the revised code.

The most important addition was language that provided that compliance was voluntary. Beyond this, the language with respect to speculation also changed to comply with the antitrust law. In light of this, I doubt any current investigation will find that the provision on speculation violates the antitrust laws."

sources, vague. Antitrust enforcement mirrors an administration's ideology, just as the way individuals research a topic mirrors their determination to prove themselves right, even when it comes at the expense of entities de igned to protect them.

In the early 1980s, graphic designers considered spec work unthinkable. While younger designer wondered what the fuss was all about, established firms acted as if spec work was a crime tantamount to robbery. A decade later, faced with a shrinking market and the need for new business, many one time opponents are now swallowing their pride and uttering "maybe," even "yes," to spec work.

Further raising the stakes are young people entering the In fitting together the pieces of what may have initiated field who have few options for building careers than to do the most recent inquiry, there is sufficient work on spec. Eric Neuner, a recent evidence to suggest that it was sparked by graduate of Parsons School of Design an unwitting "tip" from an over-zealous now at Jessica Weber, Inc., can not recall member of the AIGA who, in an effort anyone even talking about work on spec to find out more about the Sherman Act, in school. "It was always how much THAT UNINFORMED directly contacted not only the FTC but money you should charge. They were a lawyer at the Justice Department who always pushing you to do things for a fee had been involved in a similar case CLIENTS SOLICIT versus for the client or your portfolio." against the American Institute of ArchiNeuner objects to the practice, recalltects (AIA) in 1985. It appears that the ing that, "a lot of students were taken WORK ON SPEC IS ONE former AIA lawyer then spoke to Jessica advantage of because they were doing Cohen, and so on and so on. Many design work on spec, turning it over to OF GRAPHIC DESIGN'S observers believe that had Jessica Cohen the client, and then never hearing from never been led to GAG, the case would them again or even getting paid." have remained closed. Paul Basista, MOST OBVIOUS PROBLEMS. It is important not to confuse speculanational executive director of GAG, is tive work with entrepreneurship. "What convinced that, as with an I.R.S. tax defines spec work is in part the origin audit, "a single incident brought to the of the pitch,'' says Basista. "If you are attention of the federal government gets trying to get a foothold in a new market something flagged which then erupts offer to do work on spec, that's and into an investigation." The point, howfine.

But when a client comes to you ever, is not to trace sources and place blame, but to call uninvited and asks you to do work, agreeing to pay you attention to a gaping hole in the profession's know ledge if they like it, that's bullshit." only of the specific laws that pertain to graphic design-laws As David Goodman, a Los Angeles-based management that impact how designers run their business, what they and marketing consultant to designers who specializes in say to clients, and, most obvious of all, how the educational new business development, explains, "The people who arm of professional design organizations set their priorities. gain from spec work are the young, the uninitiated, those This article is a wake-up call. with low overheads who have nothing to lose. Established Should the inquiry become an actual suit, it will be filed designers all agree that spec work is not good for the under section 1 of the Sherman Antitrust Act, the landprofession because it shortcuts the process. The problem mark 19th century legislation aimed at breaking up the of knowledge on the part of the client. If the client is a lack corporate trusts of robber barons. Section 1 outlaws alliances understood the process by which designers arrive at resulting in the restraint of trade, such as price-fixing conthey'd know who to pick." solutions, spiracies. The government seeks to create new competitors, usually by eliminating any suggestion of restraint of trade.

In lay terms, "Antitrust laws are designed to prevent companies from doing things that are anti-competitive,'' explains Crawford. In each instance, the Justice Department has a specific agenda it seeks to accomplish, despite the fact that it deliberately leaves its motivations, and its

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So what gives? Does spec work allow the designer a shot at a job they otherwise wouldn't have while it helps the uninformed client make a decision without investing a lot of money? Or does it damage and demean the profe sion for all, suggesting that designers don't have enough respect for their time, resources and talents to require clients to

pay them for their efforts? Does it set a bad precedent that has larger implication than just the use of unscrupulous tactic to win a single job?

These questions bring to mind the work of advertising and architecture firms, who often produce work on spec. As Marisa Acocella, a former vice president/associate creative director at Young & Rubicam, told me: "If you don't do new business pitches, you don't get work. How hot you are as an agency is in direct proportion to how many new business pitches you do. You do whatever you can to get the business, short of selling your mother."

commission, some clients will pay, but some will say, 'we have a contract, you didn't do your homework and that's why this additional work was necessary.' They refuse to pay and you are forced to eat the additional expense. Architects are used to doing work they don't always get compensated for. At the core of all this is the question: Why are we willing to do work, go to meetings, have our consultants begin work before we have a full written agreement?" Perhaps the willingness to do work on spec is linked to an overconfidence on the part of a designer who falsely assumes that their work is superior to the competition. Cockines may be the flip side of insecurity, believing so strongly you'll be rejected that you offer your services for free out of a lack of self-respect. We are all professionals courtesy of someone else, in need of clients to give us work, without which we begin to doubt our own worth.

The difference i that with every invitation to produce spec creative the agency is investing in potentially several million dollars worth of business, whereas for most de igner $50,000 is a "big" job. The stakes are different; so is the process.

Agencies are fir t invited to present The issue proves once again that design their credentials, which includes an and commerce are inextricably linked.

THE BEST explanation of their mission, their Goodman shrugs off complaints that creative and strategic approach, their when large and small firms don't adhere DESIGN SOLUTIONS ARE "reel" and related case histories. If, to the same business practices it creates following a credentials presentation, an unfair playing field. "Everyone has an agency has been short-listed, the client BORN FROM A a unique set of circumstances that drives then gives them a thorough briefing. their business decisions. The uneven The real reason, though, advertising playing field can be a firm who ha a big COMMITTED PARTNERSHIP agencies do spec work is that few clients overhead versus a small boutique shop today buy agencies for their trategy, which may be only two people working BETWEEN THE CLIENT marketing research or media buying. out of someone's garage. Should the larger firm be denied going after the There are too many other people who business they need to stay open? I don't AND THE DESIGNER. provide the same services. Clients buy propose doing spec work at all, but each agencies for their creative. And, a individual has to make a decision based Daniel Sherr, vice president of integrated on what's right for their situation." marketing services for Advo explains: "In today's world everything is so subtle, Professional ethics also get manipulated you can't do it with words anymore. depending on location. Large markets, like New York or There is no way, for example, to adequately show what a Chicago, support clear divisions between design and copy line means without going to spec art. It is the only advertising. In smaller cities, shops are often both an adverway to demonstrate the ability to create the emotional tising agency and a design firm, with two sets of ethics power that drives today's advertising." guiding how each side does business. Steve Liska, a Chicago-based principal of his own design firm who also The stakes in architecture are just as high. Architects argue sits on the planning committee for the AIGA's upcoming that it is often not their choice to do work on spec, but if Design and Business conference, is totally against spec the client has an eye for a certain type of building, he wants work yet sympathetic to interdisciplinary shops in smaller the best architect he can get. Once you have been shortmarkets. "They compete against advertising agencies who listed, there i ometimes a $20-30,000 fee to come up are blasting them with spec work and they have to keep with a scheme, but just as often there is no fee at all. Comup," he explains. "Spec work gets done in order to survive petition teams are always heavy with juniors to keep costs and yet they try to adhere to the AIGA Code of Ethics. It's down. Model building is a major out of pocket expense. easier to say no when you don't compete in an arena where And when all is said and done, the office sometimes ends one's biggest competition is agencies that handle both up juggling the books to bill the overhead to another job. advertising and design. That's when ethical question "Architecture i an industry where you have clients who become very difficult. But the biggest problem is that design will stiff you out of part of the project," said Dennis Austin, gets judged like a beauty contest. Agencies make money project manager for Rafael Vifioly Architects in New York. off of placing advertising. If they had to make money just "If suddenly additional drawings are needed for a zoning on creating ads, they wouldn't do spec work either."

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One of the most unfortunate aspects of the pending GAG inquiry is that it fall on the very organization that works tirele sly on behalf of designers', illustrators' and photographers' professional rights. GAG is also , like most non-profits, in a desperate financial situation. The thought of incurring legal fees even remotely like the $10,000 required for the last investigation is enough to make anyone's stomach turn.

concepts or visual solutions be adapted to work you are not assigned?

Furthermore, these are issues around which the entire profession needs to rally. There is no room for eliti m or competitiveness when it comes to matter that so profoundly affect us all. Not only i there strength in numbers , there is room for everyone, for every organization. The lack of knowledge about all laws relevant to the profession, combined with the divergent language between one Code of In a 1992 letter to the AIGA , Ron Kovach of Kovach Ethics and another, further complicated by the tartling Design, Chicago, argued that even if professional organizamultiplicity of ituations, some accurate some not, to which tions had the power of enforcement, which they don't, it "work on speculation" is applied, can only mean the term would be impossible to regulate "speculative practice" in confusion and disappointment.

The excuse, "I didn ' t read the field simply because a significant number of designers it clearly enough," or "I wasn't aware," doesn ' t hold up in including start-up companies and established firms of law.

Is it professional to allow a court consider it a means of doing business. a Code of Ethics to be rewritten without Among his recommendations was that review?

Is this all just a means of refusthe fees language be deleted from the WE ARE ALL PROFESSIONALS ing to reckon with our responsibilities? code entirely.

Roger Whitehouse, a New York environShould all mention of speculative work mental graphic designer who authored ultimately be removed from professional COURTESY OF the AIGA and the Society of EnvironCodes of Practice, the outcome will have Graphic Designers Codes of mental profound implications for the profession.

SOMEONE ELSE, IN NEED Ethics, offered a few words of encourIt will quickly weed out innovative "I refuse to do spec work, agement: competitors from those that feel safer and contrary to the widespread fear of OF CLIENTS TO GIVE US retreating into the traditional percepenraging potential client , have suction of creatives as romantically naive ceeded in walking away with ome creatures who know little about business.

WORK, WITHOUT WHICH handsome projects a a result, leaving Those motivated by the competition my competition standing there, elaborate will be forced to streamline their overWE BEGIN TO DOUBT OUR presentation boards under their arms , head, better market their services, trim looking rather foolish. Why did the their workforce and invest heavily in client choo e to work with us? Becau e OWN WORTH. new technology. Competition is the fuel we explained to them the difference of innovation. Even the most preeminent between good design and bad, and that players can not grow complacent about to offer them something of sub tance, their dominance. which they deserved, we would have to dig much longer Furthermore, with global competition intensifying, and and deeper into their needs than was required to come up the speed of change in both markets and technology, it i with some spur of the moment, harebrained , hoot-frommyopic to believe that an "accepted" position on an issue the-hip gimmicks. They appreciated the respect we had so closely linked to winning new business will be banned by for them, the courage we had of our own convictions, and every member of an industry. Acknowledging new realities the basi for a real relationship was cemented. " and adjusting to them may be wrenchingly painful, but Unfortunately, this article won ' t stop spec work from being may also lead to fairer prices, intensified research, innodone. Nor will it fully inform clients about the injurious vative edge and higher-quality design. consequences of spec work to both them and the designer.

It is equally myopic, however, to enter into spec work withIt may , however, get every Code of Ethics annotated. If out developing a well-conceived strategy for converting we don't understand the origin of the clauses, how can we uninitiated clients over to the understanding that the best responsibly agree to them? The Justice Department's investidesign solutions are born from a committed partnership gation of GAG should alert everyone to the folly of between the client and the designer along with other ways endorsing ethical practice simply because they appear in to diminish the more obvious risks of spec work. Why a professional handbook (much less revealing to anyone at a not, for example, ask the client to sign a letter of agreelaw enforcement agency that you are trying to gather ment prior to beginning work which states that should your information about conduct you suspect might be improwork not be selected, all rights are solely those of the per). It is time to raise the standards of profe sional practice. designer and under no circumstances may your creative It is no time to be meek, uninformed or complacent.

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OPINION/COMMENTARY

EDITED B Y D AVID B RIER

TYPOGRAPHY ROUND TABLE HE FOLLOWING IS AN excerpt from the upcoming book, International Typographic Design, by David Brier of DBD International, Ltd. It is based on a round table discussion that occurred just outside New York City on Saturday, September 11, 1993 with Neville Brody of London, Jennifer Morla of San Francisco, Kent Hunter of New York and David Brier of New Jersey, during the judging for the pieces to be included in the book. The topic of discussion was the current state of typography and the effect of technology on this graphic element.

T

NEVILLE

B R 0 D Y

h ere is no such

thing as good typography. There's

only appropriate typography

and the ability to choose the right

language for the right content.

With digital technology and the computer influencing the direction of type and design, what comments do you have-positive or negative-regarding type trends and the changes you see today?

Morla: I don ' t think a value judgment is appropriate. During the past decade, typography has neither improved nor degenerated. It has evolved. The Mac has changed and will continue to change typography more than we can imagine. Certainly there is a definite "transparency" with the increased use of the computer. At the same time , there is a classicism that designers are returning to.

Brody: As Kent said yesterday, with digital technology, everyone will have their turn to design typefaces. It actually allows much more personal access to communication-8,000 fonts this year, 6,000 fonts last year. In three years, there will be 20,000 different fonts. Just look at any digital font catalog and you can see it ' s growing very rapidly.

Brier: I agree with Neville. The opportunity for personalization is enormous. After all, a major tool is

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now in the hands of everyone. My only concern is with the uneducated notion that "a computer equals design ability."

For many purists, the broad use of the computer as a type tool by nonartisans is the death of type; for others, it opens up a whole new world. Unfortunately, the knowledge of type doesn't come on disk as well.

Hunter: I agree with everything said, yet I see an even more personalized and customized approach to fonts. One can certainly create one's own , of course. Additionally, I see quite an array of modifications of type available and, in logo design especially, you can really go all out. It's amazing what used to take so long can now be done quickly on the Mac. It's become so simple to modify a typeface, make something heavier, or even customize a rule.

This year, we worked with an illustrator who uses letterforms in his painting. We liked it so much that we had him do this alphabet for us. We then digitized it and that became our font for the book. So it' s pretty nice to have the opportunity to swiftly do a custom font for an annual report.

What are your views on digital type opportunities, on programs, and on trends that affect the design process ?

Brody: Our office policy: If it moves , digitize it. Today, most type designers don't often sketch-they go straight to the Mac. That is a notable change that should be welcome.

Brier: In terms of technology , I see differences in the direction of design, because type and type programs are in the hands of anyone and everyone.

The whole specialized field of typography used to be in the hands of the people who were ideally trained as

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OPINION/COMMENTARY

artisans in that field. Now it's in the hands of designers, most of whom have no formal training in the area.

There's a lot of experimentation going on with a lot of things that are making it to press that never would have made it before. Sometimes good things are comi ng out of it. There are some very bad things coming out of it, by which I mean inappropriate and noncommunicative solutions. A big metamorphosis is going on that is not going to ettle down for a whi le, but it's opening new doors and it's interesting.

What do you think of type standards taught in school that will affect the next generation of designers? Do you think standards will be maintained?

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Two years ago, we

weren't doing anything completely

electronically. Today, it's a whole

new world. It's certainly changed the

end process. A typo in a project is now

something you' re liable for-

not the typesetter.

Brody: There is no such thing as good typography. There's only appropriate typography and the ability to choose the right language for the right content.

Morla: It's still an issue of understanding that the total language itself is something any designer can and should refer to. I think there is less of a historic understanding of type. I was trained in a very traditional typographic background. With the Mac, you go through a type library- you never see the typefaces-all you see are the names of these typefaces. There was a time when you would go through a type book and literally see the alphabet and the entire font. Now, unless the student is familiar with every single font on the Mac, they are only going to be drawn to the ones they have used before. This is not necessarily absolute-there are those that break the rules-but you don't have that complete and quick visual reference.

Hunter: It's a problem- we can't keep up. Our in-house technology guys have to consistently update our reference books, and there is no way they can keep up. I've always liked looking over designers ' shoulders. They ' ll see new fonts and start trying them.

It's amazing the things that pop up on

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each person 's computer becau e of what they 've seen. It's al mo t like ... font of the week. It's sometimes even font of the day . You do go through love affairs with font .

Brier: I have a more traditional view.

I personally would have a designer do stuff by hand and really do comps by hand for a while before I would have him get on the computer. I feel that new designers are given uch a humongous tool and uch room and leverage without a balance of knowledge to maximize the tool. Additionally, the computer easily becomes the crutch that dictates-becau e of program limitations and exi ting font librarie already on the system-certain de ign patterns . At that point, the designer forfeits hi s or her initiative and freedom of vision. I have a traditional background very much like Jennifer 's . She 's got a traditional foundation from which to depart.

That 's my tendency as well.

Where do you think styles are going?

Brody: Style today is almost irrelevant.

Morla: Style is simply a matter of evolution.

Hunter: There's nothing that dominates.

Brody: Design is totally decon tructive in its current form.

Morla: It still has to do with what is appropriate, the editorial that accompanies visuals, and the audience that you' re addressing.

Brier: Stylewi e, I see a lot more plagiarism these days than I have een in the past.

Hunter: That's a different i sue.

Brier: Yes, it is separate, but quite relevant, because the next hot designer or the next hot magazine is going to be the next hot trend for the next twelve months.

Morla: Typefaces become an accepted

vernacular of the populace a lot faster than you think. When Helvetica was designed , it wa not con idered a legible typeface nor u ed a body copy.

Yet, within 20 years, it i a de facto face for any sort of modern textbook or annual report. The '60s and the '70s were all Helvetica- o we are adaptable. What today may eem somewhat indi cernible can influence a change in our vi ual language. In order to accommodate that, I put my designers on the Mac right away. I might provide a ketch, but there is no in-between with them. The knowledge of the computer i what allows them to push it and come up with ideas. Ideas are the most important element, but the computer and the software involved give you tho e ideas al o.

What is your concept of "computer?"

Brody: Tradition changes. You can't teach something from ten year ago as being valid now. So it is with these kid that are playing Nintendo from whatever age-it' econd nature to utilize a computer and they wouldn't imagine any other way of doing it.

Hunter: Computer allow for a lot more mediocrity.

Brody: That's the mistake! Mediocrity is actually what would have been shit before but is now reaching mediocrity.

Hunter: It's "passable design." Anyone can certainly buy Neville's fonts and do something that looks good because it' a nice font rather than there being good de ign or a good concept there.

I would like to think the higher end i more visible now because there's o much in the middle.

Brier: The truth is the pencil didn't require years of training or familiarity.

One either had talent or one didn't.

The profession i getting confused between a) an individual' ability to u e a program with literacy and skill and b) his native talent. One couldn't hide behind a pencil. Today, one can

hide behind a computer and a program. Computers only magnify the symptoms. In the hand of a truly talented designer, it's a marvelous tool.

Brody: And the criticism here is it's making it easy to sit at the Mac and produce something that looks good without having a single idea.

Brier: Exactly. Design is solely the vehicle that makes communication on a vi ual level possible. In music, the ynthesizer magnified the potential and became an exploited crutch for others. In the design and visual communications field, the computer offers the same liability, and the same promi e of new horizons.

Morla: Well, there's also an immediacy to it. With traditional typesetting, you'd get a job set five different ways and review the options. The computer and the printout is so quick that perhaps one doesn't go through as many stages of examination. The key issue is if the inquiry was done. That's important.

How do you see the role of the service bureau? Are client demands changing?

Hunter: Two years ago, we weren't doing anything completely electronically. Today, it's a whole new world.

It' certainly changed the end process.

It puts a lot more burden on us as designers. To take on the responsibilities of the typesetter was a huge change because you are responsible for proofreading and correction. A typo in a project is now something you 're liable for-not the typesetter. We just took it for granted that it wa proofread by a professional proofreader. It's an enormous problem for us, because we really are responsible for everything being correct, regardless of the volume of changes. We've had problems with electronic files going to printers, and the big frustration i that everyone is at a different point on the learning curve (Jennifer, David and Neville nod in agreement.)

JENNIFER

MORLA

D uring the past

decade, typography has neither

improved nor degenerated. It has

evolved. The Mac has changed and

will continue to change typography

more than we can imagine.

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OPINION/COMMENTARY

Brody: What we want are good prepress bureaus. We, as designers , are expected now to know about trapping, which must be done manually on the computer. If we sit down and do that stuff, we spend more time doing that than the actual job itself. They should know it but don't. We shouldn't have to do it.

Brier: They should be aware of the ramifications. Their role is so much more comprehensive and affects the ultimate success of a piece that a real redefining of our industry ' s functions should be offered and applied on a global scale.

Brody: Clients seem to expect this as part of the service now. You don't actually charge double.

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For many purists, the broad use of the computer as a type tool by non-artisans is the death of type; for others, it opens up a whole new world.

Unfortunately, the knowledge of type doesn 't come on disk as well.

Hunter: Clients aren ' t willing to pay for it, that's for sure. And printers aren ' t charging a lot less.

Brody: We tried to charge computer time as extra, and it sort of worked for a time. The reason we stopped this was because everyone does it and doesn ' t charge for it.

Hunter: Yeah, clients think tech time should be free as part of the design.

We have a department that does the final mechanical on the computer and sends it out. And yes, those people cost money . .. and yes, that equipment costs money. We have to justify it constantly.

Morla: In our office, that's a separate line item. Internally I know what part is typesetting or what part is design on the computer, but it' s a very gray area nonetheless.

Hunter: Everyone loves when we do that, right? Usually at the last minute.

Morla: At the last minute. That' s what you were saying pre-press gave you more time and flexibility for.

mediocre. So far, we are about halfway through the judging, and there 's about fifteen to sixteen thing I think are great, of which two or three are really inspiring.

Morla: Whenever you take something to an extreme, usually it's going to warrant more attention. I can be ju st as astounded by an amazing clarity of simplicity as I would be by a very dense layering of decon tructed type.

I usually have problem with work that falls on middle ground.

Hunter: I agree with Jennifer about the things that really stood out, and it's been one extreme to the other. The shockingly simple pieces were beautiful and really worked. On the other hand, I think some other interesting entries were very complex-a lot of effort went into the typography and the concept, yet they ' ve also restrained them elves. The problem we' re having is the excess. The trick is alway s knowing when to stop- knowing when it' s enough.

Brody: Those are the dangers we noticed. It seems to be that the more different papers , inks and techniques used , the les s substantial the piece.

In fact, the more the vellum, the more transparent the idea.

Brier: I agree. There are a number of circumstances where a little germ of an idea would start with a spark and then die out. It was like Jennifer said, the singular idea is paramount. There are very few pieces that show an idea that i not deconstructed. What's missing is the conviction of "Yes ! Thi s is what we' re doing! " and then carrying forth to really make the whole project a masterpiece, regardless of style .

•

Using the submissions we 're judging as a gauge, what is your view of the design efforts being made today?

Brody: The majority of stuff I see is 148

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LEGAL

AFFAIRS

TAD CRAWFORD

PROFESSIONAL GROUPS GIVE GUIDELINES HE GRAPHIC ARTISTS GUILD (THE GUILD) and the American Society of Media Photographers (ASMP) are organizations that can always be expected to lead in battles to protect and enhance the rights of creative professionals. Both of these groups recently issued guidelines to deal with troubling issues that have been with us for a long time but have never been adequately clarified. The Guild ' s guidelines explore what the allocation of rights should be when a three-dimensional illustrator has his or her work photographed. The ASMP guidelines , issued by the Atlanta/Southeast Chapter, deal with a range of issues that arise when photographers volunteer their services to help not-for-profit organizations.

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The Guild's Guidelines The Guild' guidelines break out three possible scenarios in which a photograph might be taken of a multidimensional work. First, the client might hire both the photographer and the illustrator. Second, the illustrator might be hired by the photographer. And, third, the illustrator might hire the photographer.

The guidelines assume the necessity of a contract. In the absence of a contract, the parties would have to look to the copyright law to govern their relationship. The photograph would be a derivative work (that is, derived from the illustration). The copyright law gives the creator of an artwork, such as an illustration, control over the making of derivative works. Without the permission of the illustrator, the photographer would have no right to reproduce the work. Yet the illustrator may not intend this and the photographer may not be willing to agree to it. In addition, the illustrator is not used to hiring other artists and may have no contract that would be relevant to the hiring of a photographer. The photographer's standard contract may not be appropriate when the subject matter is the copyrighted work of another artist.

If the client hires both the photographer and the illustrator, the illustrator has no direct contractual relationship with the photographer. In such a case the illustrator must rely on the client to limit the photographer's use of the photograph. Of course the client cannot transfer to the photographer any rights beyond those that the client has obtained from the illustrator. However, the situation lends itself to confusion , since the photographer may not be aware that his or her copyright is a derivative copyright.

The Guild ' s guidelines suggest that the illustrator not only define the rights licensed to the client with precision, but also restrict the right to make photographic (or other)

reproductions and include this restriction in any agreements with third parties, such as photographers. At the same time the guidelines advise the illustrator to require the client to obtain from the photographer the right for the illustrator to make any future reproductions that the illustrator may wish and also to have the photographer make available prints or dupe transparencies at a reasonable cost. Of course, the photographer may resist this and a negotiation may ensue in which the client essentially brokers a deal between the illustrator and photographer.

If _the photographer retains rights to use the photograph, the Guild recommends that the client require the photographer to credit the illustrator when the photograph is used as well as crediting the photographer.

The Talent as Client Either the photographer or the illustrator may be the client.

So the photographer' s contract with his or her client may require the hiring of an illustrator, and the illustrator's contract with the client may require the hiring of a photographer. In either of these cases, the negotiation may be simplified because it is direct.

If the photographer hires the illustrator, the Guild advises the illustrator to specify what rights in the illustration are being granted to the photographer and what uses of the photograph are permitted. The guidelines include having the illustrator retain copyright in the illustration and seek to share copyright in the photograph. In any event, the guidelines recommend that the illustrator retain the rights to use the illustration freely while also clearly indicating what usage rights the illustrator has with respect to the photograph (including the right to obtain copies or dupes of the photograph). The illustrator should specify the credit that he or she will receive when the photograph is used.

The fee for the initial use should be set forth. If either the photographer or illustrator wants to make additional uses of the photograph that are not authorized by the contract, the guidelines suggest that consent be required from the other party or that reuse fees be specified.

Finally, the guidelines deal with the illustrator hiring the photographer. This situation might be broadened to include any artist, such as a painter, who hires a photographer. The difference is that the illustrator definitely intends to publish or publicly disseminate the photograph, while the painter may intend more limited usage. However, the considerations are very similar to when the photographer hires the illustrator. The guidelines deal with the specification of rights granted by the illustrator, the photographer's perC 0 M M U NI C A TI 0 N

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LEGAL AFFAIRS

mitted uses of the photograph, the credit for the photographer when the illustrator uses the photograph, the illustrator's right (if any) to obtain a negative or dupe transparency from which to make prints, and the initial fee.

Interestingly enough, the guidelines suggest that the illustrator may want to agree to pay the photographer for certain of the illustrator's commercial reuses as a way of keeping the initial fee affordable.

Guidelines for Volunteers Another area requiring clarification has been the donation of creative services to non profit group . Whether donated by a photographer, an illustrator, an ad agency, or an author, issues can arise relating to such matters as copyright ownership, usage rights, credit, and payment for expenses. The famous work-for-hire case, Reid vs. CCNV, arose when a sculptor donated his services to a non profit group, only to find himself in a dispute as to who owned the work and could control its use. In Atlanta, the Atlanta/ Southeast Chapter of ASMP found itself faced with a similar situation when photographers wanted to help The Atlanta Project (TAP), a non profit group organized to improve the quality of life in the city's neighborhoods during a five-year start-up period.

Initially TAP needed fifteen photographers to shoot a tour of executives from sponsoring corporations. The photographers were willing to donate their services, but balked when TAP asked for ownership of the film and all rights of copyright. Led by then chapter president David Brill and helped by the ASMP national office, the chapter developed guidelines for non profit work in the form of a contract.

"The biggest difference between photographers and other donating professionals, such as carpenters and psychiatrists," Brill explains, "is that even though we donate the use of the work, we till own the copyright. So the agreement needs to be understood exactly. Both sides need to know what they are giving and keeping."

The Atlanta Project Still Photographic Volunteer Contract provides that all contracts must be in writing and that, "Except as otherwise specifically provided herein, all photographs and rights, including copyright, remain the sole and exclusive property of the Photographer." In addition, any licen e that is given will automatically terminate on January 1, 2000-or when TAP no longer has any employees, if that happens first.

The contract then allows the not-for-profit use of the photographs without payment of a fee. The permi sion is for worldwide use in any media in the not-for-profit context, including " .. .in-house newsletters, training materials, permanent or travelling exhibits, slide shows, press releases, books, etc." Not-for-profit use is defined as uses primarily by charitable organizations recognized under Section 501(C)(3) of the Internal Revenue Code. If there 152

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is any doubt as to a u e, an ASMP committee will make the final determination.

The contract goes on to deal with when the photographer may sell the photographs, use of the photographs by TAP for news releases and feature stories, use of the photographs for self-promotion by the photographer, retention of the original photographic materials by the photographer, labeling of second generation materials as such, the credit line and copyright notice for the photographer, a notice limiting usage that must be affixed to each photograph when it is distributed for further publication or u e, a limitation on alteration of the photographs other than by cropping (including alteration by electronic means unless the photographer's written permission is obtained), liability for use of the photographs by either TAP or the photographer, and the right to possession of second generation photographic materials after the termination date of the contract.

The Value of Guidelines Guidelines are valuable for their power to clarify the relationship between parties and reduce the likelihood of disputes that might lead to litigation. As David Brill observes, "If there's any question as to how the picture is being used in the present or the future, either party can simply look at the contract. Also, any photographer asked to volunteer can look at the contract to decide whether he wants to participate. We now have about 50 professional photographers who are working under this agreement."

Both the Graphic Artists Guild and the Atlanta/Southeast Chapter of ASMP de erve credit for their continuing efforts to uphold standards in the communications field.

Whether the relationship is between a multidimen ional illustrator and a photographer, or between a photographer and a not-for-profit group, guidelines such as these serve everyone by clarifying the intentions of the parties and en uring that contracts are given a carefully considered foundation based on ethical standards. © Tad Crawford 1994

FREE-LANCE

B ARBARA GORDO N

REVOLUTION IN THE WORKPLACE HEN JEFF SEA VER WROTE, "WHAT'S Wrong With This Picture?" in the Design Issues Column of the Communication Arts 1993 Photography Annual, he hit a nerve in the free-lance community.

W

I constantly encounter freelancers who completely relate to that article. I agree with it myself and I'd like to add another perspective to Jeff's view-the more complete your evaluation of a situation, the better your chances are of changing it.

First of all, what we are experiencing is different than anything in the past. In the past, a recession was usually followed by an upturn, or recovery, in the economy. If you survived the recession (and most freelancers could) you simply recouped your losses in the recovery.

Today, we are not undergoing the usual boom-bust cycle.

We are actually undergoing a far reaching change in our economy that is not just being inflicted on the free-lance community but upon almost everyone. In fact this cycle started decades ago with the decimation of factory and "blue collar" jobs.

Right now, not only are there too many people in graphic arts fields but there are also too many lawyers, architect , engineers and physicists. In just about every profession, where previously the professional graduates had their pick of five and six salary positions, we now find these same graduates working as receptionists, retail clerks and night watchmen while looking for permanent work in their chosen fields.

As freelancers, we are not being singled out or being treated any differently than any other part of the work force. We are just part of this employment revolution.

Everyone in a profession, ours included, wants to make at least a livable income and preferably an affluent one.

Meanwhile, the colleges, with a few exceptions, with their own money problems to solve, are looking for students who can pay tuition and continue to produce more and more MBAs, accountants, artists, designers, etc. , further compounding the situation.

The talent pool, however, is even larger than before because companies now access an international talent pool that was previously unavailable to them. Twenty years ago most agencies and publishers didn't even use out-of-town talent, so freelancers in the major metropolitan areas, where most of the work was assigned, had only to compete with the local talent. Sophisticated air freight delivery methods and computers changed all that; the free-lance pool available 154

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to clients has now become national and international. It is not unusual to find a company switching a lucrative freelance account from their New York, Chicago or Los Angeles offices to London, Munich or other foreign port, because freelancers in an overseas market will work for anywhere from 30% to 50% less than their U.S. counterparts. Sometimes just the change in the value of the dollar makes it economically feasible to give the work to freelancers abroad. And finally, with the recession, mergers and acquisitions, free-lance budgets have shrunk to one of their lowest points in years.

Add to this mix a less ethical climate, where not only do some businessmen and politicians feel it's OK to steal, but some artists, designers and photographers feel it's OK for them to copy styles, ideas and concepts. If this assessment sounds harsh, it is, but it is also realistic; it is in this climate that each freelancer has to plan their own strategy on how to deal with the current economy.

First of all, a lot of people are going to have to drop out of the business. These are the freelancers who are unqualified and do poor work. Not every freelancer with a computer is a "computer artist" just because they can generate some visuals on a machine. Not everyone with a camera and access to a studio is a "commercial photographer." And not every unemployed person is a "designer" because they did layouts in their past job. Some members of this group do get an occasional job, but if they really need to support themselves by freelancing, the marketplace is going to eventually decide their fate and they will be economically squeezed out.

What about the rest of the field? Well, there is always that cadre of super successful people. Some of them are brilliant leaders in the field. Some of them just happen to be doing the right style at the right time. This small minority is always in demand and will always be with us.

What about the majority of the free-lance field-the very good, professional, talented freelancer-how do they deal with this current employment revolution?

I don't have any pat or glib answers. I heartily agree with Jeff Seaver' s proposals: To be a better business person; have a business plan; bid jobs carefully, fairly and competitively, and take the time to get correct bids; get it confirmed in writing; keep up-to-date on what is happening in our field; learn to negotiate or get someone to do it for you; support your non-profit professional organizations and get involved with them; if the price and conditions aren't right, don't do the job.

KSfLJCOA

KENT I BLOSSOM and KSUCDA

Summer Workshops 1994 5-Day Graphic Design & Illustration Workshops offe red by and co-s po nso red by t he KSU KENT I BLOSSOM Prog ram, t he School of Art, the Division of Visual Commun icat ion Desig n and t he Unive rsity & College Des igne rs Association.

I also have a few observations that I'd like to add to Jeff's.

First of all, you ' re going to have to stay one step ahead of the crowd and this means constant work on your portfolio.

You're going to have to keep innovating yourself, your style and your perspective. Keep the classic pieces, but keep your portfolio growing. In a marketplace where things change quickly and where clients keep looking for the "hot" look, perspective or technique that will separate their ads and editorial pages from the competition, it's amazing how quickly a portfolio can get "dated."

Diversity of clients is critical in today's marketplace. The freelancers who are really in trouble in today's economy are those who work with only one or two major clients, doing a lot of the same kind of work . I know it's very comforting to have this type of situation, but when the client stops or changes freelancers (and they almost always do) not only is the effect a disaster financially, but stylistically it can be even worse.

Diversify your markets. Take some chances. If yo u're a fashion person, add samples for the corporate, direct marketing or pharmaceutical markets to your portfolio.

Not only will the diversity keep you on a safer financial footing but the variety of experience with art directors and new accounts will keep the creative juices flowi ng.

It's not high tech, but in today's impersonal world of voice mail and fakes and "drop-offs," never forget to pursue the personal selling aspect of your business. Clients are to be treated with respect and appreciated. Every job should be treated like your only job. Spend the client's money like you would your own . Keep the client informed on all aspects of the progress of the job. Make it easy for clients to use you. Service, service, service the job. If you can't do this yourself, find someone to do it for yo u. In a tight market, good selling and servicing techniques can be the deciding edge between you and a competitor.

We're in an employment revolution. Freelancers are not exempt. There's no quick fix. Good creative freelancers will ultimately win out, but there are going to be some rocky patches down the line. And since more and more companies are using the independent contractor anyway, freelancers may actually be one step ahead of everyone in the long run.

•

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Sun . May 28 - Thurs . June

Eric May Letterpress

Sun . May 28 - Thu rs. June

Jilly Simons Graphic Design

Sun . June

4 - Thurs . June

9

Margo Chase Graphic Design

$427 .00 Undergraduate* $457 .00 Graduate* All workshops are 5 days in length and are held on the campus of Kent State University.

Housing is available at local motels, apartment complexes or student dormatories.

Program subject to change * Fees subject to change

For more information :

j.Charles Walker Visual Communication Design School of Art Kent, Oh io 44242-0001 216 672.7856 Fax 216 672.3694

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

A R T S

155

BOOK REVIEWS THE MEASURE OF MAN AND WOMAN: HUMAN FACTORS IN DESIGN

By Henry Dreyfuss Associates Published by The Whitney Library of Design Watson-Guptill Publications 1515 Broadway, New York, New York 10036

$60

Million-year-old thumb tools, nine-thousand-year-old jagged-edged mirrors rimmed with plaster and fourthousand-year-old chariots measured to fit both a driver and an archer are just some of the archeological evidence of man's efforts to design with regard to the body's mechanical needs and comfort. But the study of human dimensional capabilities, limitations and range of movements, called human factors or ergonomics, did not arise until the engineering of the modern military in World War II. About 60 years ago, in order to build machines better suited to the human dimensions, the Department of Agriculture and the Works Progress Administration accumulated information on measurements of the average-sized man, and a few years later, the Department of Defense published standards based on 90% of the adult males available for military service. A precedent-setting book in this new science was The Measure of Man, published in 1959 by

"What can I say?

I sent my son there.

His book needed a little more refinement. To me the school is a rarity.

It really prepares kids for entry level positions.

Many students go on to do great things."

Harry Jacobs The Martin Agency

PORTFOLIO CENTER Recommended by the people you want t o work for School for Art Directio n, Copywriting, Photography, Design & Illustratio n 1.800.255.31 69 125 Bennett St., NW, Atlanta, Ga 30309 C 1992 Juon Peterson , Paula Raymond- AD, Scott Wiid, Matt Petenon- CW

Henry Dreyfuss Associates, an industrial design consultancy in New York, founded in 1929 by one of the forefathers of industrial design. Growing out of the work of Dreyfuss and his colleagues on the design of an army tank interior, The Measure of Man charted the human body in different postures. This recent work does much more than update the original; it include a vast amount of information which is useful and necessary in today's design and engineering: mensuration which takes into account such factors as user age, abilities, phy iological, psychological, cognitive stages and much more.

The Measure of Man and Woman contains 180 preciselydetailed anthropometric diagrams covering several age and ethnic variations in men and women (even pregnant working women) using new U.S. man/woman body dimensions covering a wider percentage of the population.

It introd uces new work on the stages of development and growth patterns in infants and children (boys and girls) including timelines denoting cognitive stages. Also here are comprehensive chapters devoted to the differently-abled (incorporating the requirements of the Americans With Disabilities Act), a chapter on the elderly, and considerations of the modern work environment including computer workstations.

What could have been an overwhelming amount of data is presented both clearly organized and elegantly designed, and is accompanied by ample tabular material and a wellwritten text explaining the history, the derivation and methods of human factors engineering, and with extensive information on environmental measurements: noise levels, mechanical vibrations, chemical hazards and many others.

The Measure of Man and Woman is a cornucopia of fascinating revelations about our favorite subject: ourselves.

One bountiful section is about color, detailing, among other things, color coding for road safety and dangerous products, the visibility of colors, colors for foods and even color symbolism in universities (for example, "scarlet stands for theology ... yellow stands for science").

This book would obviously be of value as a reference to architects, industrial and interior designers; it even includes two large posters to be used for making plastic templates of male and female figures. But anyone interested in ergonomics, or anthropology, will enjoy spending hours at a time finding insights into his or her own breadth and scope.

Alvin R. Tilley, a former Henry Dreyfuss Associates human factors engineer, was the major contributor to the original The Measure of Man and he also co-authored 1974's Human Scale; it was largely his compilation of data that is the foundation for this new book. Sadly, he passed away last summer, before the publication date. The Measure of Man and Woman will stand as a tribute to him, and is a notable achievement for all who worked on it.

-Angelynn Grant J 56

M A R C H I A P R I L

I 9 9 4

RADIO ADVERTISING THE AUTHORITATIVE HANDBOOK

frequencies and all other specialized languages involved in radio for advertising.

By Bob Schulberg Published by NTC Bu iness Books 4225 West Touhy A venue Lincolnwood, Illinoi 60646

For the developing advertiser, intelligent media strategy can mean the stretch of a small budget. Recently, we designed a marketing strategy for a small chain of spaghetti restaurants with 30 outlets across the country. Their limited budget was pent on a combination of radio and print rather than television.

$24.95

The broadcast age started with radio, but now it seems to be the forgotten tepchild in advertising communications.

At least, that seem to be the attitude of agency creatives that handle the big national advertising accounts. They know that advertisers want to see their commercials on TV. The author writes, "Thi overwhelming preference obviously affects the selection of media. Television accounts for 49 percent of all of the media billing of the 500 largest advertising agencies. Radio only about 8 percent."

The attention to television makes some sense because agencies make more money per production of TV spots than radio spots. The agency creative team-copywriter and art director-has honed itself to work with both words and visuals. It feels omething is mi sing when the pictures are taken away.

The average avid television viewer watches five hours and fourteen minutes a day , but also can listen to radio for two hours and a half while commuting or working. Less than dedicated viewer pend about one half hour with TV but listen to radio over three hours a day. Broadcast radio keeps proving it elf to be a powerful advertising medium; it costs less than television.

I listen to a lot of radio and there are too many annoyingly bad commercials. There's nothing worse than a dim-witted local' attempt at "funny" repeated twice an hour. In consequence, Ken Roman of Ogilvy & Mather said, "When there is a radio campaign to be created, all the major agencie go to outside specialists." These few specialists seem to be able to write spot that in pire the listener's imagination; " the theater of the mind ," as Stan Freberg called it in the '60s; they know humor and its limits.

There 's Dick Orkin of Dick Orkin's Radio Ranch , whose seminars at the American Adverti ing Museum have raised the level of regional radio writing remarkably. And there's "Barz," Alan Barzman, who with Bert Berdi and Jim Kirby worked as Bert, Barz and Kirby. Also in California are Chuck Blore and Don Richmond, known for their dramatic and musical spots. The radio specialist star in New York is Joy Golden of Joy Radio.

Though the creation of memorable radio spots is an important part of delivering the mes age, an expert media buying program is just as important. That's what Bob Schulberg's informative book is about- the business of radio today.

He's written a complete handbook of media buying comparisons, computer analyses of audiences, preferences, li tener characteristics, regions , dayparts, drivetimes, reach and

By selecting radio tations with defined formats we could target our audiences; people listen to radio stations for long periods of time as opposed to the constant zapping of TV channels to turn to other shows. Newspaper ads do not target audiences quite as well but the ads did erve to show the Victorian atmosphere of the re taurants. The combination of radio and print, of audio and visual, did the same job as television and got the same reach at half the cost; business at the restaurant increased by twelve percent.

During client conferences, I was impressed by Debbie Givens and her expert knowledge of radio audience segments in cities around the country. Her selections of stations and running times was the heart of the marketing of our messages. For the most part, agency media buyers are people who know how to shop.

"Ourshop grows because our creative side and our business side work together.

That's why we use Clients& Profit".''

Successful ad agencies and d~ studios get that way when everyone works together. Over 800 of today's smartest shops do it with Clients & Profits~ the best-selling job trackq, costq, biq and accoootq software for the Maciltosh. It'sdesigned only for creative businesses, so it works just like you do.

Call 800 272-4488 today for a free gaided tour and complete information.

Or fax (619) 945-2365.

RRKING COMPUTER 7be Tri11. ngle Building 4755 Oceanside Blvd., Suite 200 Oceanside, CA 92056 (6 19) 945-4334

C 0 M M U

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A R T S

157

BOOK REVIEWS

In advertising, agencies are forever searching for new clients. Agency people have to know a great deal about many different businesses to be able to talk to the prospects.

We've worked for many kinds of clients in many fields; manufacturing, distribution, service, financial, electronics, medical , government, education, food service, architecture, development and media. We've had to know going in, their forms of business and their objectives to be able to turn them into clients.

Part of the service tools of the smart people in any advertising agency must be a deep and technical knowledge of media forms. Bob Schulberg's Radio Advertising will equip you with that knowledge to talk radio. And "talk radio" is pretty big right now.

-Byron Ferris

B RIEFL y NOTED: DESIGNING THE FUTURE: THE COMPUTER IN ARCHITECTURE AND DESIGN, by Robin Baker (Published by Thames

and Hudson, 500 Fifth Avenue , New York, New York 10110, $45). Depending on your viewpoint, the computer is

Graphic

This guide defines the purpose Design: and practice of the field and identifies links between education A Career and practice. Statements from Guide educators and practitioners help the individual evaluate schools as and well a potential employers and Education noteworthy projects are presented to provide a specific sense of the Directory depth and breadth of the field.

The directory lists over 300 schools in the U.S. and Canada that offer 4-year degrees in graphic design.

To order send $18.50 (members) or $25.00 (non-members) plus $2.50 postage and handling to: American Institute of Graphic Am 1059 Third Avenue New York, NY 10021 For information about becoming an AIGA member or purchasing the 1994 Salary Survey call: 1-800-548-1634.

either a fun new toy, the hand of the Devil or just another (albeit, very complex) tool. But whichever your opinion, it is unlikely that your work does not have some contact with this truly revolutionary aid to the design process.

Robin Baker has assembled an overview of uses , from computer-based modeling in architecture, to industrial, automobile, graphic, fashion and textile design, photography and film/animation , virtual reality and interactive multimedia. Designing the Future also contains an excellent history of the computer in the visual arts. Given such a range, this book can serve only as an introduction to rather than a primer for any of these subjects. As a profes sional, you probably won ' t learn any new computer tips to speed up your everyday methodology , but you will gain a more general understanding of a tool you may have had to learn too fast. And all readers will get a glimpse of many of the innovations and concepts opened up by new technology.

One problem with any printed material related to computers: it is guaranteed to be a bit outdated by the time it hits the shelves. However this should not deter the person interested in one thorough source which surveys all these areas. A small point: this book could have benefited from better typography; readability is slowed to a crawl too many times as large areas of text overprint busy photograph s . The design of Designing the Future does not rise to the challenges presented within.

-A.G.

THE AMPHOTO BOOK OF FILM , A COMPLETE GUIDE To CURRENT PHOTOGRAPHIC FILMS, by George Schaub

(Published by Amphoto , an imprint of Watson-Guptill Publications, Inc., a division of BPI Communications, Inc., 1515 Broadway, New York, New York 10036, $16.95).

The 1994 edition of The Amphoto Book Of Film is a great resource book. Its 180 pages are filled with the most current information available about a wide variety of different film stocks. Meticulously researched, the book is logically divided into four major chapters-color negative films; color transparency films; black and white films and instant color print films, with each page listing a different type of film. The listing is then broken down into a number of categories that best describe a film's individual characteristics , such as: format; color sensitivity; contrast; speed; grain; exposure latitude; and processing guidelines, giving you an overall technical and aesthetic picture of what a particular film stock has to offer. I found comparing one description to another by flipping pages back and forth , a very easy way to distinguish between them, given that each page lists the same categories for all types of films. The Amphoto Book Of Film will fit easily into any photographer's camera bag as a very informative resource book.

-Scott Teaford

158

MARCH/APRIL

1 994

COMMUNICATION ARTS MAGAZINE ANNUAL JURIED COMPETITION YOU ARE INVITED TO SUBMIT WORK TO THE LARGEST

PUBLISHED OR BROADCAST BETWEEN JUNE 23, 1993

AND MOST PREEMINENT OF ALL JURIED COMPETITIONS IN

AND JUNE 22 , 1994 IS ELIGIBLE. DEADLINE FOR SUB-

GRAPHIC DESIGN AND ADVERTISING : COMMUNICATION

MITTING ENTRIES IS JUNE 22, 1994. THE NOVEMBER

ARTS MAGAZINE ' S 3 5TH ANNUAL EXHIBITION . THE

DESIGN ANNUAL WILL SHOW ENTRIES CHOSEN BY A

RES UL TS WILL BE PUBLISHED IN THE NOVEMBER 1994

DISTINGUISHED JURY OF DESIGNERS. THE DECEMBER

DESIGN ANNUAL AND DECEMBER 1994 ADVERTISING

ADVERTISING ANNUAL WILL SHOW ENTRIES SELECTED

ANNU AL . LAST YEAR , ONLY 2% OF THE 25,894 SUBMITTED

BY AN EQUALLY DISTINGUISHED JURY OF WRITERS ,

ENTRIES WERE SELECTED FOR INCLUSION IN THESE TWO

ART DIRECTORS AND CREATIVE DIRECTORS. BOTH

EX CL USIVE INDEXED ANNUALS. 65 ,000 COPIES OF THE

ANNUALS WILL INCORPORATE SPECIAL REPRODUC-

HIGHLY RESPECTED ANNUALS WILL BE DISTRIBUTED

TION TECHNIQUES WITH EVERYTHING REPRODUCED

WOR L DWIDE , ASSURING IMPORTANT

IN COLOR AT A SIZE THAT ALLOWS THE COPY TO

E X POSURE FOR THE CREATORS OF

BE READ . AWARD OF EXCELLENCE CERTIFICATES

THESE OUTSTANDING PROJECTS.

WILL BE GIVEN TO CLIENTS ,

WORK FIRST PRINTED ,

INDIVIDUALS AND FIRMS .

GRAPHIC DfSIGN &ADVf RTISING

Design Annual Categories These categories are judged by the design jury and will appear in the Design Annual , November 1994:

Audio/Visual Packaging SA Single record, cassette, compact disc, video, software ($2S) SB Series of SA, limit of five ($40) Packaging/Labeling 6A Single package, label, shopping bag ($2S) 6B Series of 6A, limit of five ($40) Identity 7 A Trademark (place the company name and nature of the business next to the mark for the jury's information) ($2S) 7B Corporate identity program (mark, ignage, identity manual, packaging, vehicles, etc.) at least five , limit of ten ($40) Letterhead 8A Letterhead/envelope/business card ($2S) 8B Company business-paper series (invoice, purcha e order, label , envelope, letterhead, etc., from the ame company) at lea t five , limit of ten ($40) Company Literature 9A Annual report (publicly traded companies) ($2S) 9B Institutional/facilities/real estate booklet or brochure/annual reports for non-profit organizations ($2S) 9C Service booklet or brochure ($2S) 9D Product booklet or brochure ($2S) 9E Catalog: product ($2S) 9F Catalog: school ($2S) 9G Catalog: exhibition ($2S) 9H Miscellaneous company literature (announcement, invitation , greeting card, conference literature, etc.) ($2S) 91 Series of 9H, limit of five ($40) Poster/Design lOA Poster (exhibition, institutional, theater, gallery, etc.) ($2S) I OB Series of 1OA, limit of five ($40) Editorial l lA Consumer magazine (cover or page or two-page spread) ($2S) 11 B Multi-page section of 1 lA ($40) 11 C Newspaper (page or spread) ($2S) 11 D Multi-page section of 11 C ($40) 1 lE Trade magazine (cover or page or two-page spread) ($2S) l lF Multi-page section of 1 lE ($40) 11 G House organ/newsletter/association (cover or page or two-page spread) ($2S) l lH Multi-page section of 1 lG ($40)

Books & Jackets 12A Book , entire unit ($2S) l 2B Book, cover or jacket ($2S) 12C Textbook, entire unit ($2S) 12D Textbook, cover or jacket ($2S) I 2E Children's book ($2S) 12F Children's book , cover or jacket ($2S) l 2G Cover/jacket series, limit of five ($40)

Trade/Institutional Advertising (Including busines -to-business advertising appearing in consumer magazines and newspaper , and corporate-spon ored public ervice advertising) 3A Single ad, any size, including spreads ($2S) 3B Campaign, limit of five ($40)

Self-Promotion 14A Printed promotion for design firms , printers , paper companies, art schools , illustrators, photographers ($2S) 14B Series of 14A, limit of five ($40) I 4E Art/design clubs, communication/ promotion ($2S) 14F Series of 14E, limit of five ($40)

Poster/Advertising 4A Outdoor, 24-sheet or larger, includes painted ($2S) 4B Series of 4A, limit of five ( 40) 4C Transit (bus, subway , shelter) ( 2S) 4D Serie of 4C, limit of five ($40) 4E Point of purcha e ($2S) 4F Serie of 4E, limit of five ($40) 4G All other adverti ing po ters ($2S) 4H Series of 4G, limit of five ( 40)

Television/Radio Station Promotion l 7E Printed pieces (brochures, etc.) ($2S) l7F Series of 17E, limit of five ($40) l 7K Program title, logo, signature, 314" videotape NTSC ($4S) I 7L Series of l 7K, 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) I 8G Booklet or brochure ($2S) 18H Series of 18G , limit of five ($40) Environmental Graphics l 9A Signage , interiors, architectural graphics, limit of ten slides ($40) l 9B Display (trade show exhibit, point of purchase, etc.) limit of ten slides ($40) Miscellaneous 20A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 9H) ($2S) 20B Series of 20A, limit of five ($40) 20C Calendar ($2S) 20D Menu ($2S) 20E Series of menu s from the same resta urant, e.g., lunch , wine li st, breakfast, etc., Iimit of five ($40) 20F Anything not covered in previou s categories ($2S) 20G Series of 20F, limit of five ($40)

• Advertising Annual Categories The e categories are judged by the advertising jury and will appear in the Advertising Annual, December 1994:

Consumer Magazine Advertising IA Single ad, any size, including spreads ($2S) IB Campaign, limit of five ($40) Consumer Newspaper Advertising 2A Single ad, any size, including preads ($2S) 2B Campaign, limit of five ($40)

Sales Promotion/Advertising l 3A Direct mail, data heet , ales kits, collateral materials , etc . ($2S) I 3B Serie of l 3A, limit of five ($40) Self-Promotion 14C Printed promotion for ad agencies, art directors, copywriters, suppliers ($2S) 14D Serie of 14C, limit of five ( 40) 14G Advertising clubs, communication/ promotion ($2S) 14H Series of 14G, limit of five ($40) Television Advertising ISA Television commercial, % " video tape NTSC ($4S) I SB Series of ISA , limit of three ($60) Radio Advertising I 6A Radio commercial, l,.'4" magnetic tape 7 '12 ips ($4S) 16B Series of 16A , limit of three ($60) Television/Radio Station Promotion 17 A Poster/billboard ($2S) l 7B Series of 17 A, limit of five ( 40) l 7C Ad (magazine or newspaper) ($2S) l 7D Series of l 7C, limit of five ($40) I 7G Program promo, 3/4 " videotape NTSC ($4S) 17H Series of 17G, limit of three ($60) 171 Radio , '14" magnetic tape , 7 '12 ips ($4S) 17J Series of 171, limit of three ($60) Public Service (To be eligible for this category , the creative element must have been done a a donation or at cost for a non-profit organization) 18A Magazine ad ($2S) 18B Series of 18A, limit of five ($40) l 8C New paper ad ($2S) 180 Series of 18C, limit of five ($40) l 8E Poster ($2S) 18F Series of 18E, limit of five ($40) 181 Television commercial ($4S) 18J Series of 181, limit of three ($60) l 8K Radio commercial ($4S) 18L Series of 18K, limit of three ($60)

Deadline For Entries Is June 22, 1994 • No Hanging Fees • No Acceptance Fees

Eligibility Work first printed, published or broadcast between June 23, 1993 and June 22, 1994 is eligible for submi ss ion . Deadline for submitting entries is June 22, 1994. Entries may originate from any country (twenty nations have been represented in past Annuals). English translations are very important for the jurors. Submission of entries acknowledges the right of Communication Arts to use them for publication and exhibition.

A Fonn Design/Advertising 35 THIS FORM AND FEE MUST ACCOMPANY 1 994 ENTRIES TO COMMUNICATION ARTS, 410 SHERMAN AVE ., PALO ALTO, CA 94306 USA

NAME

Preparation of AudioNisual Entries Television commercials must be on Y4" videotape 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 slides for reproduction in the Annual. Television commercial series should be edited together on one cassette with four seconds of black between each spot. Radio commercials should be on 114'' magnetic tape , 7112 ips in reel-to-reel format. Audio/visual series are limited to three commercials.

Tape Form B to the outside of each video or radio case.

PHONE

FAX

COMPANY

ADDRESS

CITY

STATE

ZIP

_ _ _ Sf GLE ENTRIES .. . . . . . . . . . . ... . . . . . . . $25 ( U .S. ) EACH$

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. (Slides are projected for the judges.)

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." Please mark each package: "Material s for Contest Entry. No Commercial Value." Foreign entries should be sent by mail or international courier, not air freight. No provision will be made by CA for U.S. Customs or airport pickup.

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 Communication Arts. Foreign contestants must send an International Money Order or a check in U.S. funds drafted on a U.S. bank .

Tape Form B (or a facsimile) to the back of each entry. If the entry is a campaign, tape Form B to each piece. If a piece is to be entered as a single entry as well as part of a campaign, a duplicate piece with its own Form B and entry fee mu st 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. As soon as we open your package we will send the acknowledgement to you. For foreign acknowledgements, enclose a self-addressed envelope and 50 cents (U.S. Currency) postage with your entry fee.

Accepted Entries 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. Award of Excellence certificates for firms, individuals and clients will be mailed in January 1995.

• If you have any other questions, call (415) 326-6040, 8:00 a.m.6:00 p.m. M-F Pacific Standard time, or fax (415) 326-1648.

• Please note: Illustration and photography categories are not included.

Work in these categories should be submitted to the Illustration Annual or the Photography Annual , separate juried competitions published in July and August, entry deadline March 16.

No Return Of Entries

_ _ _ CAMPAIGNS OR SER I ES . . . .. . ... . . . .. . . . $40 ( U .S. ) EACH $ _ _ _ SI NGLE TV COMMERC I ALS .

.. $45 ( .S.) EACH $

_ _ _ TV COMMERCIAL SERIES.

. . $60 ( U .S.) EACH $

_ _ _ SINGLE RADIO COMMERCCALS .

.. . . . . . . $45 ( U .S.) EACH $

_ _ _ RADIO COMMERCIAL SER I ES .

No RETUR FOR

. . $60 ( U.S. ) EACH $

OF ENTRIES

CA

USE

[ DATE PROCESSED

JD

TOTAL FEE $ CHECK THIS BOX I F YOU I

CLUDED A

SELF-ADDRESSED STAMPED ENVELOPE TO ACKNOWLEDGE RECEIPT OF YOUR ENTRY

B Fann Design/Advertising 35 TAPE THIS

FORM

I CATEGORY I

OR

FOR

FACSIMILE TO THE BACK OF EACH SERIES

TH I S IS NO .

0

LY

FOR

CA

PIECE USE

OF

SUBMITTED BY

DESIG

FIRM OR AGENCY

B Fann Design/Advertising 35 TAPE THIS

FORM OR FACSIMILE TO THE BACK OF EACH

CATEGORY

I

FOR

SERIES

THIS IS NO.

0

LY

FOR

CA

PIECE USE

OF_ _

SUBMITTED BY

DESIG

FIRM OR AGENCY

Mail entries to: (U.S. mail) Communication Arts 1994 Graphic Design and Advertising Competition P.O. Box 10300 Palo Alto, CA 94303+0807 USA

Delivery Service: (Federal Express, UPS, etc.)

Communication Arts 1994 Graphic Design and Adverti si ng Competition 410 Sherman Avenue Palo Alto, CA 94306+ 1826 USA

COMMUNICATION D E S

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JURIED BY NINE TOP DESIGN PROFESSIONALS AND

JURIED BY NINE LEADING CREATIVE DIRECTORS, ART

ATTRACTING ENTRIES FROM 20 COUNTRIES, EACH

DIRECTORS AND WRITERS, THE ADVERTISING ANNUAL

YEAR ' S DESIGN ANNUAL FEATURES 250 PAGES OF THE BEST WORK IN POSTERS , BROCHURES , PACKAGING , TRADEMARKS , CORPORATE IDENTITY , ANNUAL

DISPLAYS 250 PAGES OF THE BEST IN CONSUMER AND INSTITUTIONAL PRINT ADS , POSTERS , TELEVISION AND RADIO COMMERCIALS. EVERYTHING IS REPRODUCED

REPORTS, CATALOGS , LETTERHEADS AND SIGNAGE, AND IS FULLY INDEXED FOR REFERENCE. EVERY PROJECT IS SHOWN IN FULL COLOR AND AT THE OPTIMUM

IN FULL COLOR. YOU CAN ACTUALLY READ THE FINE PRINT. THE FULL TELEVISION AND RADIO COMMERCIAL

SIZE TO TRULY COMMUNICATE ITS PURPOSE. LAST

SCRIPTS AND A COMPLETE INDEX ARE INCLUDED FOR REF-

YEAR ' S ANNUAL ATTRACTED 14,107 ENTRIES WITH

ERENCE.

ONLY 248 SELECTED FOR INCLUSION .

ENTRIES WITH ONLY 298 SELECTED FOR INCLUSION .

LAST

YEAR ' S

ANNUAL

ATTRACTED

11 ,787

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For samples and the merchant distributor nearest you, call our toll free number 1800663 6221

MATERIALS VIDEO

U nknown to many people , Charles and Ray Eames, designers of the famous Eames lounge chair and a host of other revolutionary products, made more than 85 short films. These films are being distributed by Pyramid Film & Video; during the past three years more than 1,000 hours have been spent restoring and transferring the films to videotape. The latest addition to the series is "The Films of Charles & Ray Eames Volume 4. " Although the press release refers to these as films , I'm not sure that Volume 4 is a series of films so much as it is a chronicle of the Eames ' s design vision and ideas. The video begins with a brief introduction to the contributions of the Charles and Ray Eames we are familiar with and quickly launches into their first film, "Design Q&A. " This is a series of questions and answers with artistic flashes of their furniture interspersed along with the narrative ; the remaining films are of a similar type. While this isn ' t a videotape that you would sit down and watch with a pizza on a Saturday night, it is a valuable insight into the minds of two of this century' s noted designers and an excellent educational tool. For further information on "The Films of Charles & Ray Eames Volume 4," or any other Pyramid video , write Pyramid Film & Video , P.O. Box 1048, Department HV , Santa Monica, California 90406-1048 or call (800) 421-2304.

STAPLER

It always surprises me when a company redesigns a product that is already successful and useful. Eberhard Faber recently introduced a new half-strip stapler that looks exactly like its predecessors. But, it has a retractable staple remover and judging by the press release it seems the only thing it can ' t do is produce its own staples. It features "a built-in, retractable staple remover in its base to save time otherwise spent hunting for a separate remover." I don ' t know about yours , but mine is in my top drawer. The EF Rapid 4 7 (it even sounds fast) holds 50% more "standard wire staples" and the "top lifts up for easy, instant staple loading" and it "can also be adjusted for tacking and pinning ." Sounds hard to resist and you can finally throw away that annoyingly hard to find staple remover. Available in both black and putty , the suggested list price for this amazing stapler is $10.50 and it's available at retail stores where other, less-than-amazing, staplers are sold. For further information, contact Eberhard Faber, Inc., 4 Century Drive, Parsippany, New Jersey 07054.

-Sue Garibaldi PAPER MAKING KIT

It' s true-making your own paper can be "fun and easy" with Paper Anew, but first you need to be willing to sacrifice a blender to the cause. Using their easy-to-follow directions, it' s possible to transform junk mail, newspapers

or old wrapping paper, among other sources, into handcast paper. The Paper Anew Paper Making Kit includes a 5" x 7'' mold and deckle to make notecard-sized paper sheets; casting mold and cotton linter paper for making cast paper; a sponge, and enhancements to add texture and scent to your paper (small packets of lavender and colorful confetti).

With basic carpentry skills and some wire mesh, you could make a larger size frame, but for starters, the Paper Anew kit is fun , although I'll admit, my first paper came out, well, a little thick. It could serve as both greeting card and Frisbee. I'm sure with a little more practice, my paper making skills will improve. To order the kit, which is distributed by Chasley, Inc., call (800) 888-2898 , fax (206) 367-1105; in Canada, call (800) 667-8697 or fax (604) 241-2429.

-Anne Telford

LITERATURE FOR YOUR FILES A request on your letterhead to the follo wing companies will bring you the literature described ...free unless otherwise noted. Whenever possible, f ax numbers have been included for convenience.

A guidebook .. .highlighting the design potential of corrugated plastic for promotional packaging and displays, is available from Mills Industries, Inc. , leaders in the design and manufacture of corrugated plastic containers.

The nineteen-page "ideabook" focuses on Mills Industries' design options for promotional and product packaging, including a wide range of portfolio shapes and sizes with a variety of carrying and locking options. The cover is printed in four colors on 2mm Milplast™ corrugated plastic, and full color illustrations show the standard colors available. The guide also contains examples of their promotional packaging, plus full-size profiles of the material and basic specifications. For further information, write Mills Industries, Inc., 167 Water Street, P.O. Box 1459, Laconia, New Hampshire 03247, or call (603) 528-4217, fax (603) 528-5686.

Pyramid at Le Grand Louvre ... captures the magic of the city of love on The Repap Sales Corporation's LithofectPlus®, their No. 2 recycled coated freesheet grade. The brochure illustrates architect I.M. Pei's stunning architectural and engineering masterpiece-the pyramid that serves as the grand entrance to one of the most noted museums in the world. The brochure is a slick trip through Paris, demonstrating the reproduction quality of LithofectPlus®, using dull and gloss varnishes, blind embossing and metallic inks. It comes tucked inside a die-cut folder that opens to reveal an antique architectural rendering of the Louvre; the cover is printed to resemble panes of glass, C 0 M M UN I C AT I 0 N

ARTS

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MATERIALS

order. To receive a catalog, call (800) 367-3729 or send $5 to Charrette, 31 Olympia Avenue , P .O . Box 4010, Woburn , Massachu etts 01888-4010.

The Van Son 1994 Color Selector ... show 51 olid colors as well as 20% and 50% screen tints on both coated and uncoated stock. In addition, process colors, metallic and fluorescents are included for the first time. The protective folder which encompas e each watch card, contains a complete listing of all Van Son formulations and a description of each Black Ink. For a complimentary copy of their new Color Selector, call Van Son Customer Service at (800) 645-4182, fax (516) 294-8608 or write Van Son Holland Ink Corporation of America, 92 Union Street, Mineola, New York 11501. like those which make up Pei's pyramid. Pages fold out to reveal wonderful photography by Robert E. Demougeot, Charles F. Donnelly , Ingbet Gruttner, Serge Hambourg , Mike Sias and Leen Thijsse and illustrations by Lee Dunnette. Robert E. Demougeot designed the brochure and Charles F. Donnelly was the writer. His notes in the production booklet are quite useful and nicely designed.

To take a free tour of the Louvre via a purely imaginary flight, phone the Repap Sample Center at (800) 998-9831.

The Petals Everlasting Collection .. .is a recyclable paper enhanced with real flower petals and other botanical elements, distributed randomly through each sheet. Three flower combinations are featured in the Permalin Products Co. paper, including Pink Medley, Potpourri and Indigo Majik with two embossings, antique and handmade , available. The decorative paper has a wide range of applications from gift boxes , specialty bags and envelopes to picture frames, menu covers and more. It would serve nicely as a mat for an environmentally sensitive photo; the weight and texture would complement a matte finish photograph. Product manager Bill Fredericks, claims the posy strewn paper's appearance lends itself to many different uses, "limited only by the designer's imagination." If you'd like to accept that challenge, call Mr. Fredericks at (800) 544-3454, or in New York, call (212) 627-7750.

Charrette Corporation 's 1994-95 Art and Drafting Supplies Discount Catalog ... shows more than 20,000 items , ranging from inkjet and electrostatic plotters, graphics software and desktop publishing hardware to markers , pads and traditional graphic supplies, model supplies, fine art supplies, furniture and presentation equipment and supplies.

They offer a "Charrette Price" on every product in the catalog; this pricing allows customers to save up to 70% on everyday product . With locations in nine states, Charrette ships throughout the U.S. and to 21 countries.

The cost of the catalog is $5 redeemable on the first 166

M A R C H I A P R I L

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Metallized Paper and Film .. . is a brochure from Camvac America, the largest metallizer of paper and film.

"Metallized materials are used in printing and packaging to achieve a reflective, high-value appearance that attracts consumers and maximizes sales at retail," says the brochure.

The Environmental Protection Agency has identified source reduction as the main means of reducing solid waste. With a metallized material , the amount of aluminum is reduced substantially, while still achieving a high-gloss metallic look in product packaging. To receive a copy of the environmental brochure, write Camvac, 2801 Grant Street, Bellwood, Illinoi 60104, or call (708) 493-0036.

Some Photographic News: A guide on California child pornography laws ... to educate photo labs and photographer , is available from the Photo Law Reform Group, a working committee of San Francisco photographers and photo labs. The guide, sponsored by the American Society of Media Photographers , Inc., and written by ASMP president Matt Herron, resulted from the much-publicized Jock Sturges case, involving an FBI raid on photographer Sturges after a lab reported him for alleged child pornography in April 1990. Fifteen months after the FBI raid, the photographer was finally exonerated, but Herron said the incident-which cost taxpayers over a million dollars and did great damage to Sturges-made it clear that a guide was needed. Although the guide deals specifically with California laws, the information could be useful in other states. The guide delves into the background of the Sturges incident, and in imple language explains the law and what lab and photographers hould know in order to protect themselves and their legal rights.

To obtain a copy of the guide, send $5 check or money order to: Photo Law Reform Group , P.O. Box 50822, San Rafael, California 94915-0822 .

Photo 20-20 .. . a Berkeley, California-based stock photography agency owned by Ted Streshinsky, recently merged with Viewfinder, a San Francisco-based stock photo agency owned by Kimberly Parsons. The new name for the combined agencies is Impact Images. The merger brings together two medium-sized agencies, both founded by photographers, who share a lifetime dedication to photography; their combined stock library exceeds 250,000 transparencies. Unlike the East Coast, California has few large stock banks. "We share similar company vision s, business philosophies and one important principle: An agency is only as good as it is honest and trustworthy ," said Streshinsky, formerly Time magazine's San Francisco picture editor, (and the guy who accompanied authors Ken Kesey and Tom Wolfe during the Electric Kool-Aid Acid Test days , documenting the counterculture antic s of Kesey's merry band of pranksters). Photo 20-20 will relocate to Viewfinder's office at 435 Brannan Street, San Francisco 94107 . For further information, contact Laura Russo at (415) 543-8983.

stock agencies in Latin nations , has joined its network of affiliates-Stocknet. The addition of agencies in Spain, Argentina, Mexico , Colombia, Chile and Peru brings the number of Stocknet members to 36. In addition to distributing TSM images through their offices, Latin Stock will be submitting images to TSM and helping them to build a library more closely targeted to America's rapidly expanding Hispanic market. "This joint venture with Latin Stock will make The Stock Market the first big American source with a specialized file on the Hispanic minority and its global culture," explained Marcelo Brodsky, president of Stock Photos in Madrid. "What we do is more than just shooting the typical executive or family shots with a Latin casting; it is shooting them in their homeland, solving the styling and creativity, thinking of the images that say Latin." TSM is thirteen years old and they represent the work of over 250 photographers.

For a free copy of The Stock Market's latest full-color catalog, call (800) 999-0800.

-A.T.

Focusing on global expansion ... The Stock Market announced that Latin Stock, a group of leading affiliated

•

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MOUNTAIN HIGH MAP FRONTIERS™ is a collection of editable outlines of coastlines, borders, and states. This resource, presented in EPS and TIFF formats, perfectly complements MOUNTAIN HIGH MAPS TM relief

collection of projections and globes is available for you to use as a clip art base to enhance your map presentations. The images come on a two-disc CDROM set, and are available for Macintosh®, PC, or U IX computers.

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images, and is also available separately.

Mo NTAIN HIGH MAP FRO TIERS TM will keep you geopolitically up-to-date.

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

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CLUBS, CONFERENCES, S EMINARS IOWA

The Art Directors Association of Iowa announced the 1994 officers and chairpersons: president Jay Miller, SIP Meredith Corporation; secretary Debbie Kelly, Central Tractor Farm & Family Center; treasurer Kari Mebust, ZLR; vice presidents/exhibition Jody Tramentino/Eric Johnson, Kragie/Newell; vice presidents/programs Kelly Stiles, Pattee Design, and Janet Den Hartog, Porter Thomas C & Associates; vice president/membership Ann Francis , ZLR; newsletter editor Tamera Diggs-Tate, Perfection Learning; publicity Kiki Curtis, SIP Meredith Corporation; student liaison Denny Kaven, Grandview; philanthropy Kristen Cleaveland, SIP Meredith Corporation; executive director Harry Watts, True Penny Studio. ADAI, 10520 New York Avenue, Des Moines, Iowa 50322.

Aldus Corporation, explores the whys and hows of using computer-based tools to develop, manage and help evolve corporate identity. Jeremy Rewse-Davies, design director at London Transport, look at problems for managing a classic identity with a strong public profile. Keiichi Totsuka, director of the Sony U.S. Design Center, examines the philosophy behind their global design strategy. In addition, Michael Bierut, Pentagram Design; Clive Chajet, Lippincott & Margulies; Jean-Luc Viard-Gaudin, Gey er Branding Company; Alvin Schechter, The Schechter Group and others will give presentations. For information on fees, travel and hotel reservations , phone (514) 987-9900, fax (514) 847-8730 or write The Design Management Institute, 107 South Street, Suite 502, Boston, Massachusetts 02111.

SACRAMENTO

CORPORATE IDENTITY CONFERENCE The Design Management Institute will hold its sixth international corporate identity conference at the Hotel Inter-Continental in Montreal, Quebec, Canada, April 1013. Featured speakers will be seasoned professionals from both the corporate and consulting side of corporate identity management. Laura Perry , creative director at

Envision 20, "Discover the Fire Inside: Passion," sponsored by the Art Directors and Artists Club (ADAC) of Sacramento, California, is scheduled for May 13-15 at the Sacramento Community Center. After March 12, postmarked conference fees are $250 for ADAC members, $300 for non-members, $115 for students. With the exception of students, the fee will increase $80 for tho e who register after May 6. Call Marie Carvidi at (916) 731-8802 or fax (916) 731-4386 for a registration packet or information.

DIMENSIONAL Illustrators

Dimensional Illustrators, Inc. , announces the call for entries for the 6th annual international competition. Categories include advertisements, annual reports, direct mail promotions, magazine covers , editorials created from paper sculpture, paper collage, pop-ups, clay, plastic, wood and fabric sculpture, 3-D assemblage and modelmaking. The deadline is May 25th. For information or a call for entries poster, contact Nick Greco (215) 953-1415 or fax (215) 953-1697. Dimensional Illustrators , Inc. , 362 2nd Street Pike, Suite 112, Southampton, Pennsylvania 18966.

AIGA/WICHITA

The American In titute of Graphic Arts/Wichita Chapter has elected its 1993-1994 officers: president Jon Kowing , Sullivan Higdon & Sink; vice pre ident Karen Long , Sullivan Higdon & Sink; secretary Juliann Furr, Craghead & Harrold; and treasurer Jon Wippich, Pioneer Balloon Company. AIGA/Wichita, P.O. Box 2612, Wichita, Kansas 67201. Contact Jon Kowing at (316) 263-0124 for information.

-1ean A. Coyne

Copy must be received two months prior to the publication date. Please include a contact, phone number and address. ] 68

M A R C H I A P R I L

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CARSON:

GARRETT:

DAVID CARSON,

A PROJECT-BASED

ONE OF THE MOST

WORKSHOP THAT will show how the constituent parts of a multimedia presentation are

innovative designers in the world today will conduct an intensive Typography and Design

computer workshop at

Monday, June 27 - Friday, July 1, 1994 Class hours: 9 :00 am to 1 :00 pm

the School of Visual

Computer Workshop hours: 1 :00 pm to 5 :00 pm

Arts. The focus of the

5 Sessions - Tuition : $600.00

David Carson, Graphic Designer, Art Director. Clients

workshop will combine

include: Nike, Pepsi, MTV, Suzuki, Sony, Warner Brothers, Beach

experimental typogra-

Culture, Ray Gun. Publications include: Print, Creative Review, USA

Today, Creativity, Emigre, Graphis, International Design. Awards include: Best Overall Design and Cover of the Year, Society of

phy with your own experience as a way of

Publication Designers.

creating unique and expressive design solutions. Software: Quark XPress, Pagemaker, Illustrator, FreeHand.

Prerequisite: Workshop participants must know Macintosh operating procedures for Quark XPress and Pagemaker.

Design for Interactive Multimedia Monday, June 13 - Friday, June 17, 1994 Class hours: 9 :00 am to 1:00 pm Computer Workshop hours: 1 :00 pm to 5 :00 pm 5 Sessions - Tuition: $600 .00

Malcolm Garrett, Design Director, Assorted Images; Associate Designer, Protocol Creative Consultants. Reading University, England ; Manchester Polytechnic, England. Clients include: Duran Duran, Peter Gabriel, Simple Minds, Boy George, Design Museum, LSO, Royal Academy, Museum of Modern Art, Phaidon Press, Peter Greenaway, British Telecom, The Computer Film Company.

Publications include: Blueprint,

Creative Review, Design Week, Emigre, Baseline, 26 Magazine, Graphics World. One-Person Exhibitions include: Parco Gallery, Tokyo; Design Museum, London; Visual Arts Museum. Collection : Victoria & Albert Museum, London.

Co-teacher: Alasdair Scott, Consultant, Multimedia Director, CID Publishing.

Projects include: The Guinness Disc of Records. Clients include: lmageBank/Eastman Kodak.

Awards include: Best Mixed-Media Award , MicroSoft; Young Filmmaker of the Year, BBC Television ; Creative Futures Award,

Creative Review.

designed and integrated.

Emphasis will be placed on the creative and comm uni cation problems associated with the world of interactive products. Students will gain hands-on experience with audio, video and animation, typography and graphic design.

Software: Claris HyperCard, Adobe PhotoShop, MacroMedia Director, and Adobe Premiere.

Prerequisite: Workshop participants must know Macintosh operating procedures and have desktop experience. No technical or programming skills are required.

For additional information call Joseph Cipri, Director of Continuing Education at 212-592-2055 or FAX 212-592-2060.

SCHOOL OF VISUAL ARTS (S)~@ A COLLEGE OF THE ARTS 209 East 23rd Street, New York, New York 10010-3994.

DIRECTORY Featured in this Issue Cole & Weber 308 Occidental Avenue South Seattle, WA 98104 (206) 447-9595 (206) 447-1944 (fax) 55 SW Yamhill Portland, OR 97204 (503) 226-2821 (503) 226-6059 (fax) Keizo Matsui Hundred Inc. 1-3-7 #501 Uchihiranomachi Chuoku Osaka 540 Japan (06) 946-7698 (06) 941-6815 (fax) 100 Reade Street #SB New York, NY 10013 (212) 766-2078 (phone/fax) Hill/A Marketing Design Group 3512 Lake Street Houston, TX 77098 (713) 523-7363 (713) 523-6624 (fax) Chermayeff & Geismar Inc. 16 East 26 Street New York, NY 10010 (212) 532-4499 (212) 889-6515 (fax) Don Asmussen San Diego Union Art Dept.

350 Camino De La Rienna San Diego, CA 92112-4106 (619) 293-2224 (619) 293-2077 (fax) Sue Bennett Photography P.O. Box 1574 107 North San Francisco Street Suite B Flagstaff, AZ 86002 (602) 774-2544 (602) 774-5562 (fax) Typography Round Table David Brier DBD International Ltd. 38 Park Avenue Rutherford, NJ 07070 (201) 896-8476 (201) 896-3974 (fax)

Cartography Pat Dunlavey Pat Dunlavey Cartographies 40 Oblong Road Williamstown, MA 01267 (413) 458-9836 (413) 458-9273 (fax)

M A RC HI A PR I L

Page

Humor Dana Arnett VSA Partners 542 South Dearborn Suite 202 Chicago, IL 60605 (312) 427-6413 (312) 427-3246 (fax)

How to reach CA

Subscriptions

Communication Arts 410 Sherman Avenue Palo Alto, CA 94306 (415) 326-6040 (415) 326-1648 (fax)

(800) 258-9111 inside U.S. and Canada or (415) 326-6040

Stephan Van Dam VanDam, Inc. The VanDam Building 430 West 14th Street New York, NY 10014 (212) 929-0416 (212) 929-0426 (fax) Chad Moore Eureka Cartography 2030 Addison Street Suite 200 Berkeley, CA 94704 (510) 845-MAPS (510) 845-1474 (fax)

Please send press releases on Books, New Materials, Literature and Technology Resources to Anne Telford, managing editor.

No responsibility will be assumed for unsolicited editorial contributions.

Manuscripts or other material should be accompanied by a self-addressed stamped envelope adequate to return material.

Eco Eva Anderson Eva Anderson Design 207 Williams Street Providence, RI 02906 (401) 351-1211 (401) 351-5744 (fax)

170

Advertiser's Index

ADAC ................. ... .. . 145 AIGA ........................ 158 Bettmann Archive .... . . .... .. 17 Consolidated Paper. .. . . . .. .. 149 Cross Pointe Paper .......... 131 Digital Wisdom ............. 167 Erickson Productions .. . .. .. 122 Fashion Inst. of Tech . .. . . . . . 125 Froomer, Brett ...... back cover Giglio, Harry Photo . .. ...... 139 Image Bank ........ ...... .... 13 Island Paper . .... . ....... . . .. 163 Kent State University ....... 155 Mohawk Paper .............. 113 Neenah Paper............ . . ... 35 Optimist . .. . .. . . . .. . . . . .. .. . . 130 Photo District News . ....... 153 Portfolio Center ............. 156 School of Visual Arts .. .. ... 169 Sharpshooters ...... . ...... . .. 37 Silicon Graphics . .... .. . ... . 126 Stock Market . . .......... . ..... 5 Strathmore Paper........ .... 136 Syracuse University ...... . .. 115 Tony Stone Images .......... 14 T-26 ................... .. .. .. 168 ViscommWest 94 ..... . .. ... 143 Wacom Technology ... ....... 33 Weyerhaeuser Paper ......... 19 Wilkes, Stephen Photo ....... 10 Working Computers ........ 157

Subscription rates: U.S.: one year-$50; two years-$96 Canada: one year-$67 (U.S.); two years-$125. Includes GST #127848620 Foreign: one year-$95 (U.S.); two years-$185 Send change of address notification at least 45 days prior to effective date, include both old label and new address.

Single Issues January/February ............ $7 March/April. . . .... ........... $7 May/June ............ . .. . ... . . $7 July Illus. Annual . .......... $14 Aug. Photo. Annual .... .. . .. $14 Nov. Design Annual ........ $21 Dec. Adver. Annual ........ $21 California residents please add 8.25% sales tax. Canadian residents please add 7% GST. International orders: please add $1 (U.S.) per issue for shipping.

1 9 9 4

Retail Sales To carry Communication Art in your store, call Art Carbone, retail sales manager, at (415) 326-6040.

Hardware Apple Macintosh Ilci computers running on Ethernet network, Radius monitors, Howtek Scanmaster, and Apple LaserWriter Pro 630.

Software QuarkXPress for page layout; Microsoft Word for word processing; and Adobe Photoshop for scanning and positioning images.

Typography Text: Adobe Times and Univers family. Heads: Modified Adobe Times by Mouli Marur through T-26, Chicago, IL.

Pre-press Color Tech 780 Broadway Redwood City, CA 94063 (415) 365-8788 (415) 369-7206 (fax) Kedie Image Systems 744 San Aleso Avenue Sunnyvale, CA 94086 (408) 734-9005 (408) 734-9107 (fax) Pixxon 520 Townsend Street, #D San Francisco, CA 94103 (415) 861-2661 (415) 861-4366 (fax)

Printer Anderson Lithograph 3217 S. Garfield Avenue Los Angeles, CA 90040 (213) 727-7767 (213) 722-2328 (fax)

Paper Potlatch, Northwest Gloss 80 lb. cover, 80 lb. text

Mailing Envelopes 28 pt. recycled Kraft Walt Peterson 590 Embarcadero Road Palo Alto, CA 94301 (415) 326-9344

CA ' s 1993 Advertising Annual television commercial winners are now available on videotape. Eighty out s tanding commercials (from over 2,200 spots submitted) were selected by a di stinguished national panel of creative directors.

The videotape includes a complete listing of creative credits and is available on 3-4" or VHS format for $215. To order your copy of the 1993 award-winning commercials on videotape , please fill out the information below and end it to Communication Arts. Shipments will begin December 1, 1993.

Complete your library of great spots with CA 's 1992 awardwinning TV commercials, just reduced to $ 145. Order below.

COMMUNICATION AR TS [P.O. BOX 10300 , PALO ALTO , CALIFORNIA 9430 3 ) D PLEASE SEND ME CA ' S 1993 AWARD-WIN I G TV COMME RCIALS FO R $ 2 15 D PL EASE SEN D ME CA ' S 1992 AWA RD -WI N I G TV COMME RC IALS FO R $ 145 PLEAS E C HECK FO RMAT D %" PR OFESS IONAL D VHS D NTSC (U .S) D PAL

AME COMPAN Y ADDR ESS CITY

STATE

ZIP

D PLEASE BILL ME [NO TAPES WILL BE SH IPPE D UNTIL PAYMENT IS RECEIVED] D MY CHECK IS E CLOSED D PLEASE CHARGE MY CREDIT CA RD D VISA D MC

CARD NUMBER EXPIR ES

TELEPHO E

SIG ATURE

FOR FASTER SERVICE, CALL TOLL-FREE 1-800-258-9111 OR FAX YOUR ORDER AND CARD NUMBER TO 415 -326-1648

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