marapr1996

March/April 1996 Volume 38, Number r

fe

A British animator/filmmaker whose imaginary landscapes enliven commercial TV.

By Noreen O'Leary

52

Political Posters Both Sides of Peace: Israeli and Palestinian Political Posters.

By Dana Bartelt

62

Peggy Sirota This Los Angeles-based photographer is equally comfortable with stars and children .

By Julie Prendiville Roux

72

Andrea Ventura An Italian illustrator in Manhattan with a painterly vision .

By Michael Kaplan

80

Lucille Tenazas A San Francisco-based designer combines language, typography and imagery to build levels of meaning in her work .

By Noreen Rei Fukumori

90

Weiss, Whitten, Stagliano This New York agency has an international bent.

By Warren Berger

100

Olympic Design The second of a two-part series on the history of graphic identity for the Olympic Games .

By Wei Yew

113

Eco The second of a two-part look at designing for sustainability.

Designed and edited by Eva Anderson

117

Exhibit The latest and the brightest design and advertising projects .

Cover : ©1996 Lucille Tenazas

tee

Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne

140

Design Technology Wendy Richmond claims the computer is not a tool.

144

Technology Reviews Richard Koman looks at PageMaker 6.0.

154

Advertising and Circulation Director M ichael Krigel

Barbara Gordon answers the questions most asked by freelancers .

Design Issues David Lance Goines explores the role of beauty in society.

Legal Affairs Leonard DuBoff discusses what photographers should know about copyright.

162

Advertising Jack Neary opines on creative brats .

dep

Production Manager Scott Perry Production Ron Niewald

coluc~" 36

Managing Editor Anne Telford Associate Designer Mark Eastman

Technology Resources Books, magazines, newsletters, seminars and training .

28

Consulting Editor and Designer Stephanie Steyer-Coyne

s

12

Contributors

16

Letters to the Editor

145

Design and Advertising Call For Entries

166

Book Reviews

172

Materials, Available Literature

177

Clubs, Conferences, Seminars

178

Directory

Administrative Assistants Nancy Hagemann Kris Johnson Nina Kitching Editorial Assistant Sue Gariba ldi Subscriptions Gloria Rosario Prisc illa Brooks Founder Richard Coyne

Communication Arts (ISBN 0010-35191 is published eight times a year.

January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October November (Design Annual) December (Advertising Annual)

by Coyne & Blanchard, Inc. 41 0 Sherman Avenue.

Palo Alto. California 94306 Volume 38, Number 1 Copyright 1996

by Coyne & Blanchard. Inc. Second class postage paid at Palo Alto.

CA and additional offices.

1 year U.S. subscription price: $53 POSTMASTER : Send address changes to Communication Arts P.O. Box 10300 Palo Alto. California 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 contractual 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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Editor's Column

BY PATRICK COYNE

A

s the first issue of a new volume, I use this column to present an annual report on the previous year and suggest what may be in store for the future.

Change was the buzzword around our office this last year.

We redesigned the magazine, published our first CD-ROMbased content and launched our World Wide Web site (http://www.commarts.com). Our darkroom is now an Agfa scanner sitting on the counter next to our production workstations.

Despite a tumultuous past twelve months that included rising postal rates and a dramatic increase in the cost of paper, we begin our 38th year in a position of strength.

Circulation grew to 66,ooo, 4. 75% over last year. I was surprised by the increase since we had to raise subscription prices and reduce our direct mail efforts because of increased expenses.

We've always had to be careful to plan our promotional efforts for maximum impact at minimal expense since we need subscription dollars to survive. Most magazines rely on advertising revenue for income and use whatever subscription dollars they receive to help offset circulation promotional expenses necessary to justify their ad page rates. A difficult game to be sure, but also one in which subscription prices are kept artificially low. This makes it difficult for small publishers like us who don't have a large enough audience to attract major advertising revenue.

With such a specialized readership, I know that a circulation plateau is inevitable, we just haven't found it yet. Since there is no other publication in our field that's even close to our numbers, I don't really have a benchmark to target. The widely varying estimates I've seen on the number of practitioners in visual communications makes it impossible to determine the maximum saturation point.

A few things will help us this year. Discussion of another postal increase directed at small publishers appears to have been tabled until at least this summer and paper prices have finally stopped their upward spiral. In 1995, we were finding it difficult just to get paper at the same price for more than two issues at a time. We kept looking at alternative sheets and prices, not knowing what we might print on for the next issue. We had to raise subscription rates last year (our first in five years) and I was fearful that we might have to do it again. Now that these two factors have stabilized we should be able to hold prices for a while.

Our competitions went up 4% to a record number 39,217 entries during this last volume year and we are extremely proud of the importance and recognition the Annuals enjoy in the creative community.

8

MARCH / APRIL

1996

Advertising pages increased 15.6%. I attribute this to our increased coverage of technology and new media. Considering the technical sophistication of our readers and their predominant use of high-end equipment, our subscribers are coveted by hardware and software manufacturers. And, while our cost-per-thousand rate is high in the graphic design field, it's a bargain when compared to most of the computerrelated publications that have been the primary advertising vehicles for technology-based products.

The single most important factor that will affect us and the industry this coming year is the Web. This became clear as we processed the entries to our second Interactive Design competition. In our first year, only three Web sites were entered. This year, we received over 140. As I mentioned in my last column, there is a real opportunity here for designers to utilize their skill in organizing and communicating information. It's also an opportunity to recoup some of the investment we've all had to make in hardware and software to keep up with the demands of our clients.

1996 is going to be another year of dramatic change and we'll do our best to continue co inform and inspire you. As always, your continued support allowed us to continue our philosophy of innovation, information and inspiration.

Thank you.

Our credo remains the same: "A magazine is not a piece of property like real estate. It is only a franchise to sell subscriptions and rent advertising space. That franchise is granted by you the reader."

In Memoriam We lost two design innovators chis lase year and I want to acknowledge their passing. Walter Landor, possibly more than any other individual, understood the power of design as an identity and branding cool. His work for consumer produces, airlines, hotels and financial services made Landor Associates one of the most recognized design firms in the world.

Bradbury Thompson expanded the boundaries of the printed page and influenced a generation of art directors. His innovative work for Mademoiselle and the Wt>stvaco Inspirations series will influence another generation of designers who are just now becoming familiar with his work.

Olympic Design In the second part of our Olympic coverage, designer/author Wei Yew focuses on the unified identities typical of the games for the lase 30 years. Wei is in the final production stage of completing his book, The Olympic Image-The First IOO Years, and I would highly recommend it. The book is 448 pages, contains over l,500 color images and is published in five languages. You can order direct by calling Quon Editions in Edmonton, Alberta at (403) 428-3333. Our coverage will conclude in our May/June issue with a look at the 1996 Olympic games in Atlanta. •

STRATHMORE GRAPHICS

G A L L E R Y Best of Show SECREST ARTISTS SERIES POSTER

AWARDS

DESIGN

Hayes Henderson Henderson Tyner Art Co. Winston-Salem, NC Design & Production Excellence

PRINTER

Jostens Graphics Winston-Salem, NC

AMSOUTH BANK BOOKLET DESIGN

Marion English, SlaughterHanson Design Birmingham, AL

CLIENT

Wake Forest University Winston-Salem , NC

PRINTER

American Printing Co., Inc. Birmingham, AL CLIENT

AmSouth Bank Birmingham, AL ESKIND WADDELL STATIONERY SYSTEM DESIGN

Roslyn Eskind, Nicola Lyon , Malcolm Waddell Eskind Waddell Toronto, Ontario PRINTER

Grafe Printing Toronto, Ontario MICHAEL REIFF & ASSOCIATES CORPORATE SCULPTURE STATIONERY SYSTEM

s

DESIGN

Dean Hacohen , Nora Vaivads Goldsm ith/Jeffrey NewYork, NY PRINTER

Trejon NewYork, NY CLIENT

Michael Reiff & Associates Corporate Sculpture Plano,TX NEDERLANDS ARCHITECTUURINSTITUUT ANNUAL REPORT DESIGN

De heer A. van der Kouwe, Manifesta Rotterdam, Holland PRINTER

Drukkery lndustrie Amsterdam , Holland

s

E

s

CLIENT

Nederlands Arch itectuurinstituut Rotterdam , Holland

Q3 Jur y ALAN COLVIN Joe Duffy Design, Inc. HALEY JOHNSON Haley Johnson Design Co. ERIC MADSEN The Office of Eric Madsen

The Strathmore Graphics Gallery recognizes work which successfully combines imagination and the power of the printed image to

~')

Strathmore

create effective communication.

The competition is juried quarterly.

For entry information call I-800-423-73 IJ.

INTERNATIONAL@PAPER

©1995 International Paper Company.

Except ows.

Steve Grubman, Eric Meola, Walter Iooss,]r., Stephen Wilkes,

Howard Berman, Steve Bronstein, Hans Neleman, Tim Bieber.

If we sound like we~ dropping names, it's because we are. Our collecti.on of

shooters reads like a Who's Who

list ofphotographers and illustrators. So ifyou want to use the best talent available, give us a call We have the right image, at the right place, at the right

time. QJJ 1-800-TIB-IMAGES and ask for ext 900 to receive our latest catalogue,

brochure, CD or information about our film footage.

US. 1-800-842-4624, ext. 900 Canada 1-800-387-9837, ext. 900 Atlanra Boston <JJicago Dallas Fort Lauden:Jak Houston LosAngdes Minnapo/il Moaawl NewYorlc SanFrandtco Seattle Toro1210

Contributors Features Warren Berger is a New York-

based writer specializing in advertising. His work has appeared in numerous publications and he

traveled to Los Angeles to interview London-based animator/filmmaker Osbert Parker.

Columns

years at Chiat!Day Toronto, the

Barbara Gordon, an artist

last two as creative director,

and photographer representative

which makes him the longest-

since 1969, is a past president of the Society of Photographers

standing creative director in that office's history. He wrote the

is currently the editor of an

Julie Prendiville Roux is a

and Artists Representatives and

Advertising column, edited by

advertising newsletter published

free-lance writer based in Los

member of the Society of Illus-

Tom Monahan.

by the One Club. Berger interviewed the principals of the

Angeles. After graduating from college in 1980, she worked as an advertising copywriter for Ketchum Communications, Chiat!Day and Foote, Cone & Belding and as a staff writer at Dick Orkin's Radio Ranch.

Prendiville has written for CA

trators and the Graphic Artists

Sam McMillan is a San Fran-

Guild and is also the author

cisco-based free-lance interactive script writer. McMillan's Retire-

New York agency Weiss, Whitten, Stagliano for this issue.

Dana Bartelt is a graphic designer in Raleigh, North

Carolina. She has established a Central European Design Studies program through North Carolina State University School of Design and lectures frequently around the country. Ms. Bartelt has curated an exhibition of Israeli

since 1987 and has also written a book titled Graphic Design,: Los Angeles. She profiled Los Angeles photographer Peggy Sirota.

Wei Yew emigrated from

journalist, writes frequently on

Singapore to Edmonton, Canada, in 1976. In addition to running a design business, Studio 3 Graphics Ltd., Wei publishes design-related books.

In 1991, he began collecting material for his book, The

the subject of graphic design.

His work has appeared in a

Olympic Image: The First IOO Years of Design, which is sane-

and Palestinian political posters and wrote about the history and importance of these posters in this issue.

Michael Kaplan, a New York

variety of magazines including

Spy, GQ Premiere, American Photo and Manhattan, inc. He has written many feature profiles for CA; for this issue he interviewed illustrator Andrea Ventura in his New York studio.

Noreen Rei Fukumori , a

graduate of the California College of Arts and Crafts, began her career in the San Francisco design offices of SBG Partners and Michael Mabry Design. She moved to Tokyo, Japan, in 1987, to work for Takenobu Igarashi.

She returned to Berkeley in 1993, and since has been working as a graphic designer and photographer. She profiled San Franciscobased designer Lucille Tenazas in this issue.

Noreen O'Leary is a New

York-based editor-at-large at Adweek. Her pieces about media, design and architecture have also appeared in the New 12

York Times and the Wall Street journal. For this issue, O'Leary

MARCH / APRIL

I

tioned by the International Olympic Committee for its centennial celebration. We feature exclusive excerpts from this book, in the second part of a two-part series.

Eva Anderson is principal of

Eva Anderson Design in Providence, Rhode Island, which specializes in ecologically-conscious design. She is also editor of Eco, a newsletter that specifically addresses environmental issues faced by graphic designers and their clients. Eva received a grant from the NEA in 1991, and an EPA Environmental Merit Award in 1992 for her work with Eco. Dan Imhoff is a San Franciscobased writer who primarily con-

centrates on issues of design, the environment and agriculture. He completes a two-part series on the concept of sustainability for this issue's Eco newsletter insert.

9 9 6

of two books. She heads her own firm, Barbara Gordon Associates, based in New York City. She has written on freelance issues for CA since 1982.

ment Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and was cited as "easiest to use" by the

Richard Koman is a Northern

Wall Street journal. He wrote the

California free-lance writer and

Technology Resources column

editor specializing in graphic design, publishing and multi-

and profiled San Francisco-based Organic Online for our Tech-

media technology. He is the co-author of The Mosaic Hand-

nology feature.

Wendy Richmond is recog-

book, published by O'Reilly &

nized internationally as an inno-

Associates and editor of the

vator and commentator on visual

Global Network Navigator's l Media Center, an Internet-based

communication and technology.

publication about online publishing. A frequent contributor

and for computers in 1977 at MIT. She is an NEA grant

to CA, he wrote the Technology

recipient, and served on the

Reviews column.

national board of AIGA. She

Richmond started designing with

David Lance Goines founded

teaches at Northeastern Uni-

Saint Hieronymus Press in the same shop where he learned his

versity and is an associate in

trade, and where he currently

sity. Her column Design Tech-

designs his work and prints it by both letterpress and photo-offset

since 1984.

lithography. His artwork has been reproduced in numerous

education at Harvard Univernology has appeared in CA

publications and is represented

Book Reviews

in both public and private collections. He wrote the Design Issues

for 30 years. As a former college

Byron Ferris has written for CA

column, edited by DK Holland.

design instructor and creative

Leonard D. DuBoff is a prac-

director at McCann-Erickson, his

ricing attorney who specializes in representing creative people

letterform and typography. His

interests are in design, advertising,

throughout the United States and Canada. He has been a law professor for more than 23 years and

studio symbol is a pig with wings

has authored numerous books.

wallow in the mud of reality."

He wrote the Legal Affairs column, edited by Tad Crawford.

Francisco-based consultant spe-

Jack Neary is creative director

cializing in print and online

and partner of Cossette in Toronto, where he oversees a

publishing. She writes and

group of twenty creative adults.

Before Cossette he spent four

to denote "the flight of imagination with the reminder that we

Pat Soberanis is a San

reports regularly for Online

Design,, a California monthly on electronic and interactive design.

The meeting's in an hour, the charts are in Wmdows, and you can't find the sticky with the client's address.

Let's talk System 7.5

Macintosh S"'tem 7.5 '] u Its {JOl11!1f11/ //'11mr to 1~<1·-/1\ tbe 111.Yi

OJMW/iw..11 S1emfer1rn111k1Clll/A<JJ

Millions of Apple®Macintosh®users are finding that life at the office is a whole lot easier with Macintosh System 7.5-especially in a crunch.

It's better organized, so you can be too.

System 7.5 is full of new ways to help you be more efficient.

Like 'WindowShade' to let you get at what's behind a window without closing or moving it: a double click on the title bar and the window disappears, but the bar stays. 'Find File' now has more search criteria so you get to the document you want, faster. And the Apple menu has new hierarchical sub-menus that take you straight to control panels and applications-no more clicking your way through layers of windows.

Putting it all together.

Integrating other people's work into yours is a snap with System 7.5. No matter what application or personal computer they used, System 7.5 treats their files just like Macintosh files.

And now with a free copy of MacLinkPlus translators, it's even easier to share material with others.

A whole new level of on-line assistance.

System 7.5 's new Apple Guide interactive help system walks you through functions step by step, pointing out exactly

what to do next. Now you can learn faster by 'doing', instead of just reading instructions.

~

\'O\lc:anopent.nd v... mU\Yd.ocwnentJ.....,n ifl't'\l don't Ntw the proera.m th.i cruted them . n.

Madnto.h u.... "'traJUlatorf" (lnclu.4ed with the fY'tetn toftwve and with appliC•tiOn proennu) to open th_. tu• with ont ot the procramt JOU N.w.

Tobtgfn.cldctht,...,.,t~.

It's powerful, it's ea.sy to use-it's the new operating .system for your Macintosh.

Of course the best time to upgrade to System 7.5 is before the next crisis hits. So order today by calling 1-800-950-5382 ext. 785 (1-800-361-6075 ext.131 in Canada). Or call 1-800-538-9696 ext. 250 for the Apple reseller nearest you. ,l/adntosb Srstem 75 runs on !opple ,l/ac1111osb. /lJ1n>rBooil and /lJ11..- Macinlosb comp111m and ""l"ires 4.llB of RAii. 8 .llB for llJ11..- Maclmosb (8 MB recommerided/or all ~'Sleoo) C/99; !opple C<Jmp111er; Inc All rigb1s l'f!Sf!rred Apple. 1be

SJ'"""

Apple~ ,\laclmosb, Jbl<er&Joiland /lJ11er .WacinlOSbareregiS1ered 1rademarltsof AppleC<Jmp11ter: Inc in /be l'S. a1idolher

C-01mlria 1bt ,\lac OS logo Isa lrtldemarll ofApple C<Jmpu1er Inc A/I olher mukmarltsare 1be propem•oflbeir lf!S{le<ll"ou""'

Ma( OS

TechJET 175 i TechJET is a registered trademark of Ca lComp, Inc .

What is this, some kind of cosmic practical joke?

You're born with a headful of bizarre ideas and no way to print them out. Time for the ultimate: the TechJET® color inkjet series from CalComp.

These things can go 360 dpi, the highest res known in the large format printing universe. Precise, vibrant color no other plotter can match.

And brilliant TechJET l 75i actually features our Intelligent Ink Delivery System®.

Massive ink capacity to run all night. Protection against voids and splatter. Computer controlled ink levels at all times. Which means majestic posters, banners and P.O.P. ready to hang. Go on. The world's ready for you.

Call for more information or a nearby reseller. Reference #821.

Letters to the Editor

Root of the Problem As one of the "disgruntled" North Carolina State University students interviewed for DK Holland's article, "The Root of the Pro blem," (1995 Design Annua4 page 265) I would like to interject a few words into the conversation about the value of higher ed ucation in the design profession.

First of all, I did not come to North Carolina State University disgruntled, I was excited to be in what I thought would be a rewarding academic experience. Disgruntlement came as a result of the experience, a byproduct if you will. "Disgruntled" as used by Miss Davis suggests a culpability that only the disgruntled bear, depriving it of any agency within the institutional context. Disgruntled suggests a taciturn immaturity which belies the fact that every effort to communicate with th e faculty and administration was met with resistance and indifference. I believe any mature individual would be disappointed in a context where speaking is met with silence especially within the context of an educational setting.

The Graphic Design program at North Carolina State University was immobile when it came to the very basis and reason for its existence, namely the educating of individuals it accepted for admission.

Miss Davis characterized our enrollment in the program as "not good fits with the program mission." I would like to point out the institutional responsibility from its own charter, "the University of North Carolina affirms that the first goal of each constituent institution is to educate the students admitted to its programs," insofar as North Carolina State University is functioning as a constituent institution it is to "provide within allotted functions and available 16

M A R C H / A P R I L

l

9 9 6

resources, opportunities for its students to derive educational benefits through developing their intellectual capabilities, encouraging their increased wisdom and understanding and enhancing this knowledge and experience applicable to the effective discharge of civic, profess ional and social responsibilities." I applied and was accepted on their terms, meaning interviews, portfolio submissions and letters of recommendation; to then excuse themselves by saying there was a "lack of fit with the program mission" on my part suggests an intellectual arrogance and economic indifference to the realities of an individual's quest to expand their horizons through educational endeavors. To put it plainly, Miss Davis is not responsible for descriptives of those she admitted into the program, she is responsible for delivering an educational value, and the final critique of its benefit are those who experience it. I left the program in the middle of my second semester, because it was not inspiring, not informative, not fun, not challenging, rather it was full of condescension, arrogance, indifference and frustrations.

Miss Davis's program may also align perfectly with the discourse on the future of education in the profession as per the Graphic Design Education Association white papers. What white papers don't reflect is the character of delivery of an educational paradigm.

As a faculty comprised largely of Cranbrook graduates, a veritable noblesse oblige of the design upper classes, I was struck by the rancor with which they took to their salaried, statefunded positions. Rather than creating an environment where good will and mutual respect could infuse some tangibly satisfying interaction covering a myriad of interesting issues, we were

left with a bleak research culture with no foundation. Miss Davis often positioned the new research paradigm of design education with the elevation of the profession to that of medicine or law. Yet both those research cultures combine in meaningful, discriminating ways the merging of theory with practice through highly organized, disciplined apprenticeship. To say that was lacking at NCSU would be an understatement; basically we were given a seminar/studio context where an expansive reading list was cursorily perused and the charge to "make things" covered for the application of theory. Not once in any studio context did I receive any information whatsoever on the practical aspect of design. That in itself negates any pretensions of a research culture.

Finally, I would like to summarize my ill-fated entry into design education. I was not served well, my resources were squandered under the aegis of a fallacious relationship and my respect for design educators is non-existent in keeping with what I learned from them. For the profession, I bid adieu, your enthusiasms may serve you well, you have the solace of clear voices spoken in unison, but you have lost your human face. It is now only in print or on the Web. LANSE KLEAVELAND DENVER, COLORADO

Navigating Without Maps To say the least, I am disturbed and concerned with the article "Navigating Without Maps" written by RitaSue Siegel in the 1995 Design Annual. This article makes young designers seem like egotistical, un-creative, all flash no substance, desk-top hackers. I am here to say that the so-called "Generation X" designers have more

conceptual and artistic ability than truly given credit for. I feel that many established designers refuse to see that.

Sure, recent grads like myself come out of school with idealistic notions of how design should be, but we learn how to use the computer just to survive in today's market, not as an excuse to not pick up a pencil and draw. The graduates of today are a product of modern demand-fast design-plain and simple. How can anyone generalize the new generation of designers as "[not] having imagination ... the technical attitude has taken over." Learning "human factors" and other professional skills Siegel refers to comes with "real life" experience, the one course that can never be taught in any college classroom. Internships only give a limited view of the "real world"-as us recent grads are learning right now.

In summary, I am disgusted by the negative portrayal of college designers (graduated or not) and the gross generalizations of my generation. Of course in defense I am also generalizing the abilities and motivations of my peers, but I feel that someone who has recently graduated can speak more accurately than someone far removed from it.

Bottom line, I thought that this article was a cheap shot to not only my generation but to my own personal sense of creativity, artistic ability and self respect.

DANIEL RUBIN SALT LAKE CITY, UTAH

RitaSue Siegel Replies In response to Daniel Rubin's letter, negative portrayal of "Generation X" designers, (not a term I would use), was not my intention. My principal criticism of recent

grads was on their education, not their abilities. To find out if my impressions were correct, I interviewed many practicing professionals, the people who hire new graduates. Their criticisms were consistent with mine. I believe much of the blame lies in the increased numbers ofnot very good design programs across the country that fail to prepare new grads for the real world. Thousands ofnew grads over the past few years have been ''conned into imagining they are being adequately equipped to embark on a glittering career.

Or even a creative one, "says Sutherland Lyall in a recent issue of D esignWeek.

Because they have not been taught differently, many new grads are more concerned with expressing themselves and "being creative" rather than learning to create the best ways and forms to deliver information, messages, impressions and ideas to people, which is what design is all about.

In addition, it is about attracting people's attention, to inform, teach, entertain, help or persuade them to do or think about something in a new way. And, it is also about differentiating companies from their competitors, with a point ofview, a sense ofstyle and sometimes a sense ofhumor.

As I said in my article, most ofthe work we see does look good, but most new grads haven't the slightest idea ofits purpose, the business climate into which it must fit, or the idea ofaccountability or performance measures.

ofbudgets, time and marketing constraints and benefits ofteamwork. I am very open to reading the results ofa survey that Mr. Rubin conducts.

In measuring the effectiveness ofa brochure that Mr. Rubin has designed to inform people about his product, a client is not concerned with Mr. Rubin's "own personal sense ofcreativity, artistic ability and self respect. " These elements, so important to Mr. Rubin, are not part ofthe criteria for judging whether or not the brochure achieved its business objectives or was visually excellent.

Missing Radio Words Thank yo u for including my radio spot for The Oregonian in your latest ad annual [December 1995]. It would have been even better if you had also included the punch line to the spot.

Then it would have made sense.

MARK WAGGONER AssocIATE CREATIVE DIRECTOR CoLE & WEBER/PORTLAND, OREGON

[Here is the commercial in its entirety.

Our apologies to Mr. Wtzggoner] uNeighbors" :60 SFX: Music under.

Anncr. 1: You know that Dr. Mancini used to be married to Jane, and to her sister Sidney, and to Kimberly, but then he fell in love with Amanda. You know that Amanda, who lives upstairs, got involved with Jake andwith Billy and with Peter, but then she got cancer

Mr. Rubin expresses skepticism about internships. But, in a recent survey we did of25 hiring managers and 25 new grads for a group ofschools offering visual communications programs, most said that internships are invaluable in imparting to students a sense ofhow things are accomplished in the working world. Internships alternated with classroom study provide students with insight into the importance

and lost her job to Allison . You know that Allison, who lives downstairs, has been with Billy, and with the guy from the " Hardy Boys," and with a whole string of other winners, but then she got Amanda's job and went on some weird psycho power trip. You know that Jo, who lives down the hall, decided to keep her baby, lost her baby, got her baby back, then lost it again . You even know that Jake blew up his motorcycle shop. That Sidney joined a bizarre cult . That Jane's Australian love interest ran off with all of her cash. And that Kimberly more or less returned from the C 0 M M U N I C AT I 0 N

A RT S

17

Letters to the Editor

dead. In fact, you know so much about what's

mation I gain about the design side of

going on in these people's neighborhood, there's only one question left: How much do

the business. I don't believe in censor-

you know about what's going on in you r own?

ship, nor infringing upon a company's

SFX: Oregonian music bed under.

freedom to advertise. However, most

Anncr. 2: For local community news that could affect you , just look in The Oregonian in Metro . And Thursdays in the Neighbors' Section, specially zoned for your neighborhood. That's kinda useful. Don 't you th ink?

SFX: Music up and out.

magazines choose what advertising shows up in their publication based on the expected response of their readership. I don't chink an ad from Screw

Mark Waggoner, writer; David Ayriss,

magazine would make it past the pub-

creative director; Ka ren Coster, producer; Eric

lishers. By letting companies advertise

Stohlberg, engineer; Digital One, prod ucti on company; Cole & Weber, ad agency.

their products chat destroy the integrity of an artist's work, you do harm to the industry as a whole. When arr directors

Usage Rights and Advertising I have just read through the January/ February 1996 Communication Arts, and have come away from it uneasy.

Maria Piscopo's article, "Pricing for Today's Client," couches on the problems of selling the copyright of a designer's work. As a photographer, I am well aware of the decline of the perceived value of one's work if the usage rights are sold without additional compensation. Ms. Piscopo says, "If you give it away, you can't stay in business."

This is true for all the arts. I have read many articles by Ms. Piscopo in photographic trade magazines, and respect her opinions on business practices.

images for national ads for $5.50, photographers suffer. How can we substantiate the integrity of our work if the perceived value of royalty-free

viewed as a commodity, too. I have seen programs and books chat make it easy to design letterheads, stationery and brochures with "Hundreds of Designs for free use. " Does anyone's skin crawl when they see chat?

press to tell the truth, CA should show responsibility to uphold the value of the work of the artists that you write

page 143 from takeStock, extolling 30 royalty-free photographs for only $175.

That's less than $5-50 each! Most photo trade magazines have stopped running

you are; the great reproduction of

M A RC H / A P R I L

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RrTASUE SIEGEL, IDSA PRESIDENT NEw YoRK CITY

[Editor's Note: The Art Directors and Artists Club ofSacramento has been running Envision for 22 years. J

Errata On page 126 of the 1995 Advertising Annual, Brett Channer should have been credited as the writer as well as the associate creative director of the public service newspaper ad for Oxfam Canada. Our apologies to Mr. Channer.

Just as it is the responsibility of the

about. Continue to do the fine job chat

I am a recent subscriber to CA. I enjoy your editorial content, and the infor-

in 195!.

images undermines it. Art directors and designers will suffer when their work is

What upsets me, is the ad chat runs on

such ads from companies chat are lowering the value of photographs, treating chem as commodities. Royalty clipphotographs are ruining our industry.

Photographers have complained and the magazines have listened. They are compelled to be responsible members in our industry.

18

and designers believe they can get

latecomer to producing design conferences of any scale and only does so every other year. Their first conference was in 1985. The annual Stanford Conference of Design, defunct as of two or three years ago, started in 1976-77, or thereabouts; the Design Management Inscitute's annual conference began over 20 years ago. If any, the Aspen Design Conference is the granddaddy, starting

images, the informational articles, but show restraint in the advertising you choose to accept.

CHARLES MARAIA NEW YORK CITY

Design Conferences Thanks to Laurel Harper for her clear review of the AIGA Seattle Conference.

In it she refers to the AIGA as the grandfather of design gatherings, a reference with no basis in fact. AIGA is a

The article "Why Art? Or Solving the Big Head Problem" by David Lance Goines on page 24 of the 1996 January/ February issue should have included a copyright notice for the reference to Jonathan Winson's "The Meaning of Dreams, " Scientific American, November 1990, pp. 86-96. Copyright ©1990 by Scientific American.

Apologies to all.

Address correspondence to: Letters to the Editor, 4Io Sherman Avenue, Palo Alto, California 94306. We reserve the right to publish letters and to edit for clariry and length. Please include a signature, address and phone number. Anonymous letters will not be published.

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The Questions Freelancers Most Frequently Ask Reps

BY BARBARA GORDON

A

s a working representative I get thousands of phone

relationship is going to be a long-term profitable one and

calls during the year and I've noticed that questions

it's better to rake time in the beginning to find the right

asked by freelancers have a pattern which most of

relationship for you.

my fellow reps have confirmed. I'd like to take this opportunity to answer some of the most frequently asked questions,

in order of frequency.

What does a representative want to see? Should I send my resume?

Representatives want to see your work and unless there is

How can I find the right representative to handle my work?

something distinctive about your resume , that is less

This is not an easy question to answer. A representative has

have to send many samples, ten pieces is enough. If you

the advantage of being able to look at your portfolio and

would like your samples returned, enclose a SASE for their

at least determine talent. You don't have such a clear-cur

return. Never send original work, ever.

route. I always suggest that a freelancer looking for a

The next question usually starts our with the narrative, "I've

representative ask arr directors and arr buyers to recom-

been told by friends, relatives and teachers that I'm a tal-

mend representatives with whom they like to deal and why.

You can ask other freelancers, bur their information may

ented artist, photographer, designer, etc." A variation of this is, "I'm an art director who has been downsized out of

not be as valuable since the style and experience of each

a company, bur I've always wanted to be an artist, photog-

will dictate how well they may do. A representative may

rapher, etc."

do very well with one type of freelancer and abysmally with another-again based on the talent, style and abilities of

important. A resume without the work is useless. You don't

How do I become a freelancer?

the particular freelancer involved. An arr director or arr

I hare to get this question when I'm in a hurry because it

buyer, however, will know who is a good salesperson, who

takes longer than five minutes to answer. I usually start by

does good promotion and knows how to handle, service and price a job.

asking a question of my own. Do you have a portfolio? In what form is it: slides, prints, tearsheets? Do you have an area of specialization? Tell me a little bit about yourself and

If you don't know the names of any arr directors or arr buyers, try to get some names from your associates or professors, or simply call an agency or publisher and ask for the names of arr directors or arr buyers. My experience has been that if you explain your situation to them they will usually be happy to pass on the names of some good professional representatives. And, in fact, you will probably notice some of the same names coming up again and again.

Proceed by calling those representatives. Talk to them to see if they are accepting new talent or are interested in your particular area of talent. If they are not taking on new talent, ask them if they can recommend any other representatives who may be interested in your work.

If you get to the point where the representative is interested in you, then there should be some discussion about your philosophy and style of doing business . Don't hold back.

why you want to be a freelancer.

I suggest that the person send me a few color copies of their work so that I may determine if I have any interest. If they have a unique talent and are motivated, I may offer to work with them to develop a portfolio. I personally do this a lot less than I did years ago, and some reps will not do it at all.

If the person calling is totally disorganized, has no working portfolio, or one that is outdated, I would suggest that they see a consultant to help them set up a selling portfolio and then look for a representative. In today's highly competitive climate, a successful freelancer must have the proper tools to sell with and everything starts with the contents of a portfolio.

The next question almost automatically follows .

How many pieces do I need in my portfolio?

Ask any questions that you have on your mind. Both of you

This is also a difficult question because in today's diverse

have to feel comfortable and have trust in each other. If

market, the more areas of expertise you can exhibit in your

there are any doubts, I always say, "trust your instincts." If

portfolio, the broader your customer base and the better

you have reservations, keep looking. Ideally, the rep/talent

your prospects of getting assignments.

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

A R T S

23

I often point out to freelancers that if they have only one

four pieces in your portfolio. You'll actually be showing

portrait in their portfolio and a portrait assignment comes

your entire range on the page, what will you back up the

up, a freelancer with twenty portraits in their portfolio has

page with?" I usually get the response, "You're right, it's

a better chance of getting the job than they do with one.

premature to do advertising, I have to get my portfolio in

For starters, to have even a bare bones portfolio, you need

selling condition." Once a portfolio is in a "go" position,

at least twelve to twenty very good examples of your work;

I am in great favor of advertising.

someone in this category must be continually working on

How do I get publicity for what I do?

upgrading their portfolio with additional excellent samples.

I think it's a good idea to enter all of the competitions

It is a long and arduous process to set up a good strong sell-

that the trade press and non-profit professional organi-

ing portfolio and a person with a limited one must be totally

zations have. And it goes without saying-only your best

dedicated to this task.

work of course.

How can I expand my markets?

Also, in the course of doing assignments, it doesn't hurt to

This is another question that demands more questions from

keep art buyers up-to-date with anything you are doing

me. What markets are you in now? What are your capabili-

that may be notable. Perhaps you've developed a new tech-

ties? What are your specialties? What have you done to sell

nique, solved a particular problem, broken into a new

yourself so far? Have you had a rep? Have you done advertising and promotions? Do you work locally? Nationally?

Internationally? The answer to this question varies greatly according to the answers I am given. I usually ask to see samples of the work to get some idea of what you have been doing and to see if I am interested. Depending on the answers, I may suggest you see a consultant. Once again, this is not a question that can be answered in a five-minute phone conversation without a good deal of knowledge about what you are capable of doing.

How long will it take me to succeed?

I get this question a lot from recent graduates and my answer has changed through the years. About ten years ago I would have said one to two years-tops. The economy

market, doubled or tripled

I firmly believe in advertising. However, you should only advertise when you have something to sell or something to show, as well as a good portfolio to back up the advertising.

was different. The competition was less. The market was

your sales with a new selling technique or had an adventure doing an assignment.

The possibilities are endless.

If you've done something newsworthy, write up a brief account and send it to publications or TV or radio stations with visual samples.

Professionals in the media are always open to these items.

And while you're at it, send the same item to the nonprofit organization newsletters, your college alumni

larger and there were more people willing to take chances

association newsletter and your local newspaper. Exposure

on new untried talent. Now, regrettably, I say it can take

of your abilities can't hurt and publication can be the basis

up to five years for the average freelancer to make a reasonable

for beginning a press file. The key is to make others aware

living and, depending on your idea of success, it can take a

of your accomplishments.

lot longer to get into the six-figure range. I know there are always exceptions, we've all had them, but I'm talking about an average situation.

The bottom line is that the majority of people calling a representative are really looking for direction. If you're looking solely for representation-no problem, just send samples.

Should I advertise my work?

24

But if you're looking for advice on career direction, portfolio

Does advertising get assignments? I firmly believe in

structure or publicity, I suggest that you begin by asking

advertising. However, you should only advertise when you

yourself questions about your goals, assets and abilities.

have something to sell or something to show, as well as a

While many representatives try to be helpful, their priority

good portfolio to back up the advertising. I am constantly

is to get work for the people they are currently representing.

amazed at how often a freelancer with four or five pieces in

For complex questions, I suggest that freelancers contact

a portfolio asks me, "Should I take out a page in such and

their professional organizations, consultants, trade maga-

such a directory? " And when I reply, "But you only have

zines and publishers of free-lance books. •

M A R C H / A P R I L

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PPG The stock photography resource that delves and spans wide.

Beauty

BY DAVID LANCE GOINES

"Beauty is truth, truth beauty;

London, Paris, New York, Los Angeles, Tokyo. These are, or have been, centers of beauty, taste and art. Not coinci-

that is all

dentally, these also are or were centers of political and

Ye know on earth, and all ye need to

financial power. Artists are paid to tell everybody what

know."

-

JOHN KEATS (1795-1821),

Ode on a Grecian Urn

1

And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these steps only, and from one going on to two, and from two to all fair forms to fair practices, and from fair practices to fair notions, until from fair notions he arrives at the notion of absolute beauty, and at last knows what the essence of beauty is.

-

PLATO (c 428-c 348 B.C.) 2

Dialogrm, Symposium.

M

aybe this is just a bad translation. Though the impenetrable load of double-talk that Plato has here shoveled out sounds nice, it isn't good for

much. When you try to figure out how you can actually use Plato's ideas to make something beautiful, or evaluate something to discover whether it is beautiful or not, you find that this sort of philosophical lumber lets you down rather badly.

So to begin with, let's just forget about totalitarian anti-

art Plato and his incomprehensible ideal forms and the other-worldly mystic Saint Thomas Aquinas, nasty lunatic John Ruskin and all those old frauds and their transcendent hogwash.

Beauty is real. Beauty is the expression through art of wealth and power. The vehicle by which beauty comes into the world is art; anticipating the ideals of wealth and power, art gives form to the standards by which society judges itself.

Art creates beauty. Art is the vanguard of taste, trumpeting fashion before it actually exists.

Art, like science, goes where the money is. If you follow the history of art, you also follow the history of political power.

beauty is, and to display that beauty for the glorification of their patrons.

Beauty is an index of leisure, which is itself an index of wealth, which is an index of power. Flower arranging, for example, takes a long time to learn and a long time to learn to appreciate. Poor people do not acquire these refined tastes. For the poor, these tastes do not exist. The subtleties of such things are totally lost on the poor. The poor do not much like the art of Rauschenberg, Oldenberg, Klee, Arp or Pollock. If they think of them at all, they think they're silly. Let's face it: only the rich can afford cesthetics.

When the poor want to become like the rich they emulate the tastes of the rich.

Beauty is real Beauty is the expression through art ofwealth and power. The vehicle by which beauty comes into the world is art; anticipating the ideals ofwealth and power, art gives form to the standards by which society judges itself

About the only thing that is constant in beauty is that it is the opposite of ugly. 3 Ugly, too is a constant. It is whatever the rich, healthy, youthful , strong and powerful are not doing.

Beauty is constantly changing, and culture-bound. What one person at one time finds beautiful, another person from another culture will often find ludicrous, incomprehensible and ugly. So few of our young women wear brass hoops that stretch the neck, plates in their lips and heavy facial or body tattooing. Hardly any men on the streets of New York sport a penis sheath. We do not dye ourselves blue.

"Clothes maketh the man."

-

MARK T WAI N (attributed)

Where is the nexus of culture? Why, it is always where the most impressive military and economic society of the day holds sway. Babylonia, Egypt, Athens, Rome , Florence, 28

M A R C H / A P R I L

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As an example of beauty in small, let us examine the infinitely fascinating arena of clothing fashions. First, what was

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fashionable (beautiful) yesterday is absurdly unfashionable

"Gather ye rosebuds while ye may,

(ugly) today. We can tolerate outdated fashion in specific

Old Time is still a-flying,

contexts, such as period costume in a play or film (though indeed it is usually heavily modified to suit the modern ::esthetic), but in real life outdated fashion is not attractive.

The more outdated it gets, the more ugly it becomes.

Clothing fashion before the 20th century makes much of the

And this same flower that smiles today Tomorrow will be dying. " -

ROB ERT H ERRICK (1591-1674), To the Virgins to Make Much of Time. 4

conspicuous, even lavishly wasteful, use of fabric. Fabric, especially fancy fabric, was expensive, and clothing was even more so. Common people had few clothes. Rich people had

Beauty is evanescent, and reminds us of our own mortality.

A beautiful young person will be neither beautiful nor

many clothes of relatively sumptuous make. Rich people kept up with fashion, and poor people mostly did not. What rich people wore was, by definition, beautiful. What poor people wore was, by definition, not. Rich people had window curtains, and the poor who emulated them, such as my "lace-curtain Irish" forebearers, strove to work the sympathetic magic and get rich by copying the rich.

In the latter part of our own dangerous century, we see little in the way of obvious contrast between the clothing of rich and poor. We have adopted as our models the class of performing artists (rock stars, movie stars) whose clothing is more a product of the imagination than a concession to either the elements or outward signs of wealth. We have put most of our effort into the body itself, neglecting the outer integument. The poor have as little ability to be "body fashionable" now as they did to be "clothing fashionable" in the 19th century. Rich people jog and have a membership in a gym; they watch their diets and are concerned with cholesterol; they do not smoke; they do not drink to excess ("Just Perrier, please"); they do not take drugs; they practice safe sex; they wear their seatbelts. Poor people don't do any of this stuff.

Beaury is constantly changing, and culture-bound What one person at one time finds beautiful another person from another culture will often find ludicrous, incomprehensible and ugly.

youth is fleeting makes youthful beauty all the more valuable.

Coarsely put, youth is beautiful because it is healthy, fecund , strong and rare. Age is ugly because it is moribund, infertile, weak and common. Much of fashion is an attempt to look powerful (rich), youthful (fertile or virile) and healthy (leisured). Though the outward expressions of these attributes may change dramatically, beauty in fashion is always aimed at

these things, and Bees from their opposites. Fashion is always as much the product of fleeing from ugliness, or those things that indicate ugliness (poverty, age, weakness) as striving toward beauty. Its Protean nature keeps every-

Throughout most of the world's history, fatness was admired

body on the hop, inevitably leaving behind those who are

as a sign of wealth, health and fertility; thinness was a sign

unable to keep up-the old, the poor, the weak.

of poverty, disease and barrenness. In the case of fatness in

The pallid complexion that indicated that one was not a

a time of general food shortage, the wealthy person is beau-

"horny handed son of toil," 5 suffering Apollo's furnace in

tiful because he doesn't look poor. In the case of thinness in

30

young for very long; that

rude agrarian pursuit, gave way to the healthy tan that indi-

a time of plenty, the wealthy person is slender and athletic

cated that one was not a member of the laboring industrial

by way of contrast to those who have little leisure time for sport and health maintenance.

and mercantile class shut away from the light, unable to winter in sunny climes. The tan became popular shortly

Fashion, created by art and adopted by the wealthiest strata

after WWI along with the rise of the twin sports of the

of society, began in the late 19th and early 20th centuries to

leisure class: tennis and golf. Pale is back now, just as the

model itself not after the old gougers of wealth but after the

rest of the world has figured out how to tan. Tough to keep

leisured, athletic, youthful figure.

up with the ruling class!

M A R C H / A P R I L

1 9 9 6

The much admired ivory complexion of the 19th century bespoke the most powerful stratum of society, as well as being a direct, intentional contrast to the "lesser breeds with6 out the law," whose skins were dark. Even freckles were de

classe as a sign of exposure to the sun, Irish ancestry or

his two-bit effort, his sedulous overstatement, because compared to those he apes, he is not actually powerful.

Even the formerly revered gods of the weak become ugly and foolish when they come up against the gods of the strong, and

mixed blood.

lose their worshipers to the gods of power. Hepheastus limps into oblivion faced down by the conquering resurrected

After the battle of Waterloo, the conquering English Duke

Christ. Who worships Baal? Who Mithra, Isis, Zoroaster, Ra?

of Wellington, coming upon a troop of his Irish footsoldiers

The powerful, the socially and culturally advantaged, can of

bathing in a creek, is reputed to have expressed amazement

course afford to admire the works of the past and of other

that they were white. This betrays not only a wealth of class

cultures. They have nothing to lose by it. Not too long ago,

prejudice, but an indication that their sunburnt faces and

the idea of arch<Eology and indeed, of cultural history was

hands were in some contrast to those of their superior officers.

Commodore Perry's black ships sailed into the Bay of Yedo

unheard of. The dead were weak, the past was dross. Rich people, such as 19th century Europeans, became interested

on July 14, 1853 and he and his officers walked ashore to

in the past, and treasured the works of the ancients for more

negotiate a treaty with the shogun. The Japanese were com-

than they would fetch melted down into ingots of gold and silver. That's more than the ancient grave robbers ever did.

pletely unable to prevent them from sailing where and as they pleased, and were immediately forced to accept a treaty

Or the Spaniards, looting the conquered peoples of the

opening Japan to Western trade. There was nothing the

New World. Except for their value in metal, they had no

Japanese could do about it except try and catch up, which they rapidly did to our envy and their own perfect satisfaction. In the process, they were transformed in Western eyes from ugly to beautiful.

If a race of technologically and politically superior aliens, to us as we are to the naked savage, were to land on the Earth, our first, xenophobic reaction would be fear and loathing.

They would initially appear to us to be ugly. But, as we grew convinced of their superiority, they would become the

"Ourshop grows because our creative side and our business side work together.

That's why we use Clients& Profit~.''

model of beauty, and we would lose favor in our own eyes.

Just as Saint Paul tells us that Faith without Works is dead, so is power without beauty. Beauty is the outward evidence of power. The pyramids are beautiful. They indicate immense power. They always have and they always will. Unless we reject power and wealth as desirable attributes, we will forever admire Stonehenge, the pyramids, the Parthenon, the Coliseum, Notre Dame Cathedral. All are symbols of power. Beauty is enduring, to show that even though the individual dies the works of his hands will serve to remind generations yet unborn that he was powerful; that he may be dead but his power lives on.

The fashions of the powerful displace those of inferior, subject or provincial peoples. Note how the pissant dictator gauds his glittering, overstuffed military uniform with spurious medals and decorations, plumes his hat, surrounds

Succes.sful ad agencies and desei 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, ~ biq and accounti1 software for the Macirtosh. It's designed only for creative busines.ses, so it works just like you do.

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himself with the outward trappings of power. We despise C 0 M M U N I C AT I 0 N

A R T S

31

use at all for the artifacts of the Americas. Conquered = Ugly. Weak = Ugly. Old = Ugly. Dead = Ugly. Beauty is power; power is beauty.

We admire the works of our ancestors, of primitive peoples, of the weak and powerless, in direct proportion to our own strength. We can afford to find them beautiful. Nobody else has ever been as rich as we are, and in consequence as benevolent, leisured, tolerant. It is only in the last few decades that the dream paintings of the Australian Bushmen have found favor in the eyes of their Western conquerors. We are no longer arm-wrestling them for their land; we've got itthey are no threat. We are so rich that we can even afford to give some of it back. Having nearly exterminated these people and their culture, we can now afford to look at what they might, in their quaint and backward way, have to offer us. In the 1930s American Indian women sold their silver jewelry, blankets and basketry by rhe side of the road to get money for ammunition and food. Nor many people wanted the stuff. We were all too broke to value the works of a down-and-our conquered people.

You will find, among other historical peoples, neither an interest in foreign culture nor an interest in the past that is in any way comparable to our fanatical pursuit of the antique, strange or primitive. The city of Cairo is built of the facings of the Grear Pyramid, which was generally perceived as a convenient quarry. Napoleon's artillerymen used the Sphinx to sight their guns, blowing off its nose. The Parthenon was exploded by accident when it was used as a powder magazine. Peasants farmed in the Coliseum. The Ukiyo-e woodcut prints of Utamaro and Hiroshige came to the attention of the West as wrapping paper for commercially valuable ceramics.

Rich people have big houses. They have more rooms than they absolutely need in which to do things they do nor absolutely need to do. They don't so much have big houses because they like them as to show that they are not poor.

Powerful corporations and governments erect big buildings made of expensive materials as outward indications of power.

An ugly building is one that is occupied by the poor and built to indicate powerlessness. A beautiful building, ipso facto, is one that indicates power and wealth. Fashions change, and now we do nor much admire the architecture of Nazi Germany (what's left of it), bur then again, they did lose the war.

To be sure, "there is no excellent beauty that hath nor some strangeness in the proportion." 7 Beauty needs to be balanced, to contain a hint of imperfection. As demonstrated by the hubrisric intentional error woven into the Persian 32

M A R C H / A P R I L

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carper, we mistrust anything too perfect as a temptation to the Fates to squash us for our presumption.

Beauty is rare and scarce. A diamond is beautiful, because it is costly. We bought Manhattan Island with the equivalent of diamonds. A chest of glass beads, paste and copper wire.

Tawdry baubles to us, the conquerors, they were precious jewels beyond imagining to the autochtons. Gold is beautiful because it is enduring, incorruptible and rare. If you really could transmute lead into gold, gold would be used for wires in high-fidelity sound equipment and to line pots and pans. Beauty belongs to wealth and power. That's what makes it beautiful. Likewise, the artifacts of the past are valued in direct proportion to their rarity.

Things can become "Power is the ultimate beautifal that aphrodisiac."

H ENRY KISSINGER didn't start out (attributed) that way. Things Beauty attracts beauty. A can acquire a Rolls Royce has a magniwealth of ficent paint job because the symbolism and car is so valuable that anything less would be silly. association, can What's a $5,000 paint job on start out in a $150,000 automobile?

Nowheresville and Gold, so valuable in itself, demands fine workmanship. end up in the Diamonds are agonized over nexus ofpower. to discover the best cut to Marie Antoinette's bring out their hidden fires. facial mole becomes Rich , famous and powerful men are often seen in the a beauty mark, company of beautiful women. copied in court The women are beautiful because they are with the plaster even unto rich men as much as the rich this day. men select them for their beauty. In the 19th century, they would have been well-upholstered, with small, regular features, deep dimples, good teeth, small hands and feet, smooth white shoulders and dark, flashing eyes, i.e., a cultural paradigm of wealth. Now, they are tall and leggy, full-bosomed and slender waisted, with blond hair, blue eyes and cerobically-toned muscles. It goes without saying that they have dazzling smiles. Each is an exemplar, a rubyour-nose-in-it of the ruling class. Each is an expensive ornamental object. Each is, in the main, what most of the people in the world aren't.

Things can become beautiful that didn't start out that way.

Things can acquire a wealth of symbolism and association, can start out in Nowheresville and end up in the nexus of power. Marie Antoinette's facial mole becomes a beauty mark, copied in court plaster even unto this day.

When our ancestors beheld the forests and prairies of the Americas, the limitless steppes of Central Asia, the vasty, briny deep, you may be sure that they did not see beauty.

What they saw was a hostile wilderness to be conquered.

The Noble Red Man, of course-despite the long-standing and somewhat offensive and condescending fashion of portraying him as living in childlike harmony with Natureenslaved his fellow man, polluted the environment as much as he was able, carelessly destroyed natural resources and wiped out 23 species of American megafauna (mostly by eating them) well before the White Man came to help him out.

It is only in the 19th century, when we got a handle on the workaday business of subduing Nature, that proto-ecological types like Henry David Thoreau (1817-1862) started talking about the unpleasantness of human society and the beauty of wilderness and so on and so forth. Now that we have won the war, and Nature bows her trembling head beneath our iron heel, now we think that she's beautiful.

Now that we have despoiled her, we too late discover that we want her virgin again. The only 19th century people interested in saving the whale were those who worried that next year's catch would be diminished if too efficient means of converting them into "oil for the lamps of China" depleted the pods below replacement levels. Gee, I sure miss the passenger pigeon, don't you? Talk to the folks in Brazil about the beauties of the rain forest. They don't think it's beautiful,

2.

Dialogu.es, Symposium by Plato, translated by Benjamin Jowett, Oxford University Press, 1871.

3. For a discussion of the role of physical symmetry in the selection of mates see Natalie Angier, "Why Birds and Bees, Too , Like Good Looks," New York Times, February 8, 1994· The premise offered is " ... a beautiful face and figure may be alluring not for whimsical .esthetic reasons, but because outward beauty is a reasonably reliable indicator of underlying quality. " 4. English Lyric Poems, published by C. Day Lewis, Goldentree Books, Appleton-Century-Crofts, Inc., l96i.

5. Denis Kearney (1847-1907) From a speech given in San Francisco c. 1878. (Source, The Oxford Dictionary of Quotations, Oxford University Press, 1955, page 284.)

6. Rudyard Kipling (1865-1936), Recessional.

7. Francis Bacon (1561-1626), Essays, 36, OfBeauty.

Editor's note: Beauty is power, as Goines observes. Design.ers create beauty. Failing to understand this, potentially powerful design.ers seem invested in their own ineffectiveness. Is this the same conundrum that blacks, women and other disempowered people faced before emergi,ng as a unified force? Ifyou missed "Why Art?" in the last issue, also by Goines, you may wish to read it for farther insights.

-DK HOLLAND

~ommunication Arts

because they haven't gotten their money out of it yet. As soon as they have done so, they will revere the source of it, just as do we. If there's any of it left.

In conclusion, beauty is what we, as people on the long end of the lever of social decision making, say is beautiful. We cast our eyes over past and present and pick and choose what is to be called beautiful, usually selecting things that are the product of dominant civilizations, cultures and individuals.

What they evaluate as beautiful remains cross-culturally and cross-temporally beautiful because both they and we are looking at things from the same perspectives of wealth and power.

The birds, my friends, sing only for the rich. •

http://www.commarts.com NOTES I.

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ERICKSON TEL WEST

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What Photographers Should Know About Copyright

BY LEONARD D. DuBoFF ecently, one of the major national wholesale membership chains developed an advertising campaign in order to promote its photograph-developing department. The advertising director purchased a number of scenic posters by several world-renowned photographers and had the works cropped. The names of the photographers, as well as the organization for whom the posters were created, were removed and the pictures were used as part of a construct which appeared to be an enlarged strip of film. The implication was that these photos were developed by the store's laboratory facilities and consumers who desire this quality work should use that facility.

R

The copyright owner ofa published work who does not put the appropriate copyright notice on that work runs the risk ofhaving that work appropriated by "innoThe photographers involved cent in.fingers, " were extraordinary photographers, as well as successful and thus losing professionals. Each was familiar comprehensive with copyright and placed the appropriate copyright notice control ofit.

Actually, none of the work was developed in the wholesale chain's labs and none of the photographers consented to the advertisement. In fact, when the photographers were made aware of the promotion campaign, they were outraged.

They retained counsel, and the attorney notified the chain that the unauthorized use of the pictures was infringement.

on the work. When asked by their attorney whether the copyright was "registered," each indicated that registration was not necessary as a prerequisite to the creation of copyright. As a result, none of the photographers had registered their work.

The Failure to Register While the photographers were correct in their observation regarding the creation of a copyright, they were, unfortunately, unaware of the consequences that result when a work is not properly registered and an infringement occurs.

Under the copyright law in effect today, there are several levels of protection available for copyrightable work depending on the steps taken by the copyright proprietor. To begin with, by merely snapping the shutter and taking a picture, a photographer obtains a copyright in the resulting photo36

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graph. Nothing else needs to be done in order to obtain the copyright; yet, the protection afforded for this unregistered form of copyright is weak.

The statute provides that one who copies a published work which does not bear the appropriate copyright notice and relies "in good faith" on the fact that the published work did not have the appropriate notice may be deemed an "innocent infringer." It is in the court's discretion whether these "innocent" individuals will be held liable for damages or may even be permitted to continue copying.

The copyright owner of a published work who does not put the appropriate copyright notice on that work runs the risk of having that work appropriated by "innocent infringers, " and thus losing comprehensive control of it. According to the statute, the only way to defeat the defense of "innocent infringement" is to have placed the appropriate copyright notice on the work in the first place. In the absence of such notice, the court in its discretion will decide whether to reduce the damages that infringers would otherwise have to pay. That notice(©, copyright owner's name, and year of first publication) must be permanently affixed to the work, though it need not be obtrusive. In fact, it could be put on the margin, back or even on the cardboard frame of a transparency or the border or back of a print.

A Costly Loss of Remedies Regrettably, this is not the end of the story. The copyright statute provides an array of remedies when a copyrighted work is infringed. These include the right to prevent all improper uses, the right to have all infringing works destroyed, the right to recover actual damages and, if the work was registered prior to the infringement, the right to obtain statutory damages in lieu of actual damages and reasonable attorney's fees. Additionally, if the copyright is registered within three months of the date of first publication, then the registration will be retroactive and deemed to have been made on the date of first publication. The copyright owner thus has a three-month window within which to register the work and have the registration deemed effective as of the date when the work was first published.

A copyright infringement suit must be brought in federal court. The cost of litigation can be extremely high, depending, of course, upon the complexity of the case and how far it goes. It is not at all unusual for a party to spend $50,000 to $100,000 to conduct pre-trial discovery and try an infringement suit.

Chicago, New York. Los Angeles. Seattle, Toronto, Vancouver

Infringers, such as the chain of stores involved in this case, are aware of chis fact. Even tenacious and successful photographers, such as the ones whose work was infringed, m ust be prepared to spend a significant amount on attorney's fees in order to recover their actual damages.

The attorney's fees are not recoverable where the work was unregistered at the time of infringement and "actual damages" are limited to the amount chat the photographers can establish that they lost or the amount of the infringer's profits. In many instances, this amount may be lower than the attorney's fees spent to recover it.

If statutory damages were to be available, then the photographers co uld expect to recover a minimum of $500 and up to $20,0 0 0, depending upon the discretion of the court, and if it can be shown chat the infringement was "willful," up to $!00,000. Settlement of a case in which a pre-infringement registration is present is more likely and the dollar value is greater.

Experienced copyright defense lawyers may still recommend th at their clients settle even chose cases in which a pre-

~ommunication Arts The Essential Creat· e Resource

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infringement registration is not present since defense coses can also mount up . An infringer who litigates to judgment will have to pay the cost of a defense attorney and, if it is determined chat there was an infringement, the actual damages. It would, therefore, generally be wise to settle for the guesstimated cost of defense and have the certainty of knowing that the case is over. In addition, by settling, the stigma of having been adjudicated an infringer can be avoided.

How to Register The process of registering a copyright is quite simple and comparatively inexpensive. The registration fee is $20 and the necessary forms (known as "VI\' forms) can be obtained from any federal office or from the Copyright Office itself.

A published photograph must usually be registered by itself, except chat all photographs which are contributed to a magazine or newspaper and published within twelve consecutive months may be registered as a group. Photographers frequently have huge numbers of unpublished photographs which can also be registered in a single block, provided they are placed in a uniform format with a single tide.

Care should be taken if a photograph included in a book or magazine is to be registered by the publisher, since the photographer must be certain chat the registration expressly covers the photographs and not just the collective work (which is a work composed of many contributions, such as text and images, chat are collected from different authors).

It has been generally held chat registration of a collective work does not necessarily provide protection for the elements of the collective work. In a recent unreported case, the court did permit a collective work registration to extend to an image within the work. It is believed chat, if the appropriate steps are taken when preparing the application for registration, protection for contributions may be available. However, the safest course is for the photographer to register his or her own work.

The copyright laws of the United States provide photographers with the ability to protect their work and prevent others from making unauthorized uses of it. The minimal protection, which the copyright law automatically gives all works as soon as created, may not be enough to provide a photographer with the extensive protection and extraordinary remedies that can be achieved by exercising some care in using the appropriate copyright notice and causing the work to be timely registered. With a minimum of effort and cost, a photographer can achieve a maximum degree of protection for her or his work. • ©1996 Leonard D. DuBoff

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BETTMANN

Osbert Parker BY

L

NOREEN O'LEARY

ondoner Osbert Parker has taken up

residence at his Los Angeles hotel home away from home. This particular

stretch of Sunset Boulevard in West Hollywood is known more for the fast car, fast life of the young and hip who party all night at the House of Blues and crash at the Chateau Marmont. But on a gauzy sunlit morning, Parker, in baggy shorts and beat-up Jack Percell hightops, entertains a visitor with his favorite, overlooked, sights around the hotel: lush, terraced gardens with "bunny rabbits" who come out for flower petal snacks from visiting children and a hidden grotto pool, offering a quiet hillside place to swim in the sky above Los Angeles.

It's a typically 'Ossie' Parker view of the world. In the past ten years the 31-yearold animator filmmaker has created imaginary landscapes where the ordinary takes on lyrical, fantastic dimensions. Olympic swimmers paddle sandy desert waves for Budweiser; animated clothes drive in chalk-drawn Coca-Cola® buses; floating goose down, shirt collars and forks serve up swirling Sunoco credit card type; California Lottery winners realize their dreams by riding Venetian gondolas in the clouds. Those painstakingly handcrafted films have been as likely to gain inspiration from torn images, photograms, clay and scribblings as from the found objects Parker collects in regular trips to the infamous Portobello Road junk stalls in his London neighborhood.

Ironically, it's in the U.S., not his native England, where Parker is far better known. (So much so, that he is frequently mistaken for an American director-even in his own country.) Nearly all of his advertising work has been created for U.S. clients and he works primarily out of L.A. That profile in the states should only grow larger now that Parker has 42

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been signed as the first director in Pulp Fiction creator Quentin Tarantino's new commercial production company, A Band Apart. Previously, he had worked with Limelight films.

Since joining A Band Apart last August, Parker has spent most of his time in the U.S. working on two large shoots involving live action and special effects, a new kind of mixed medium for Parker who is better known for his animated collages.

For Kinko's copy centers, Parker worked with Hal Riney & Partners Heartland, to create a surreal Daliesque Super Bowl spot which shows the evolution of man.

Some of the more startling imagery in the commercial are the twenty foot filing cabinets and human necks to match. Parker is more reluctant to discuss his recent shoot for Gatorade and agency Bayer Bess Vanderwarker, other than to confirm it uses Chicago Bulls basketball star Michael Jordan. That commercial is expected to break in March.

Parker, though, may still be best known for his animation. Music, he says, is a driving force behind those highly idiosyncratic films; their distinctive pacing and mood are closely tied to his eclectic tastes, ranging anywhere from bebop and jazz to opera.

"A lot of directors are known by their style, " says Parker. "I hope I won't ever be associated with one. I always try for something a little new. Sometimes it doesn't work out as well as I hoped, but it's important to always keep evolving the work. The look might change, but it will always involve the same thought process. With animation, all I've been doing is manipulating one frame at a time versus 24 frames for film. " For all of Parker's new involvement in live action, that way of thinking is firmly

Left: Four frames from a series of 15-second spots for Budweiser. All four spots open on out of focus black and white clouds which part to reveal the title, " Let the Games Begin ." Then each spot focuses on a different event: bottle tops exploding from the bottles in slow motion; a Bud bottle cap performing a surreal floor exercise; three condensation drips racing down the side of a bottle; and a pole vaulter jumping over a giant Budweiser billboard. All spots end with an announcer saying, "Play the Bud Summer Games. You could win a million in gold ."

Osbert Parker, director; Jim Borcherdt/Mark Choate, creative directors; Jane Liepshutz, vice president/agency producer; Jonathan Ker, executive producer; Howard Woffinden, producer; Herman Lederle, art director; Kathy Siegel, post production supervisor; Michael Bernard (black-and-white)/John Ignatius (color), directors of photography; Osbert Parker/Simon Blake, animators; Jim Gabel, editor; Limelight Commercials, production company; Coster/ Whitfield, music composition; D' Arey Masius Benton & Bowles, agency.

This page: TV commercial for Nike. " Newspaper": 15 (Open on a locked off shot of a sports magazine, including Mark Rowlands's photograph alongside a shot of another runner with the Olympic torch . The photograph of the Olympic torch spontaneously combusts . Cut to close-up of Mark's photograph as it comes to life and reacts to the fire. The pages jump out from the burn ing magazine, including Mark's photograph, together with close-up photographs of the Nike 180 shoe. The pages animate and form into Mark's body wearing the 180 shoe. He runs right to left away from the fire. Camera cuts to a close-up of the shoe as the flame catches up with Mark. Camera cuts back to the wide shot as Mark runs past a cup of water which he knocks over, putting out the fire) Osbert Parker, director/animator; Dan Wieden/ David Kennedy, creative directors; William McDonald, agency producer; David Jenkins, art director; Frank Gell, lighting cameraman; Creative Hands (London), graphic designers; Jerry Kronin, writer; Rod Howick, editor; Fiona Pitkin, stylist; John Zorn, music; Harry Rankin, executive producer; Bella Bates, producer; Limelight Films London, production company; The Mill (London), post-production; Wieden & Kennedy, agency.

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Osbert Parker

grounded in the cesthetic developed in his earliest animated work.

"I like the spontaneity of scissors, " he says.

"I like the rough edges and the naivete of the process. It's not just about the outcome; it's the process. You make a cut and it suggests something else which goes on to suggest another idea. Ir's like children and their wonderfully uninhibited imagination. They don't use rulers and straight edges to communicate beautiful things. Some of the best things come from accidents and mistakes. " Thar could also sum up Parker's own path into film. Raised in Berkshire, England,

the school. "I had to justify all the rime I spent down there,'' he says with a laugh.

"So I produced a film from the loads of scribbled drawings in my sketchbooks.

Ir was so different from everyone else's work-not better, bur different-and they really stood our. The school submitted the sketchbook collages to a competition and it won. " The collage, Brown Paper-a giant collage of brown papers and printed matter-won a gold in London's Creative Circle Awards. Soon after, his film The Biz, another short based on his animated drawings, received recognition at the L.A. Film Festival and the Cambridge Animation Festival. As his Creative Circle prize, Parker was given work internships at London's Valin Pollen design firm and ad agency Foore Cone & Belding. Those experiences only confirmed Parker's feelings about what he didn't want to do. But they also gave him some pocket money to extend his school sabbatical in exploration of what he did want to pursue. He rook another four months working at Broadcast Arts in New York City, the production company behind Pee Wee Herman. It was his first rime in the states and pretty heady stuff for a 22year-old from a university town in the south of England.

© 1996 Lee Page

The cable network commissioned promos from Parker. Still in his senior year, he produced IDs like "Blackboard," which uses bopping chalkboards who talk to each other through scrawled ideas.

That work, along with the animation short, Clothes, produced for his degree show, quickly drew outside attention to Parker. Clothes, was selected by the London Film Festival as an outstanding film of the year and was screened at other festivals around the world. Ir wasn't long before Parker got his first big break in the U.K. He worked on ride sequences for the popular British series, "South Bank Show. " He also produced pieces of a Moody Blues video, turning his bedroom into a studio for three weeks.

Next the BBC2 asked him to create rides for a religious program, ''A to Z of Belief."

The complex layered images, using everything from apples, fish , bird's eggs, clocks and jars to wooden figures and drawings, was Parker's most ambitious film to date. "Ir was perfect for me. There was so much willingness to do what I wanted,'' he says, still including the spot on his show reel. "It was the first time I tied an image to an idea. " Parker graduated in 1988 and barely a year later Limelight rapped him to do commercials. "I've always thought advertising [is] the perfect combination of ideas and imagery, " he says. "I know what I'm dealing with is selling a product.

If there's not something unique there, you have to create an aura. Bur in the end, what it is always about is advertising something. You can never sacrifice that for style. "

by Guyanese parents, he attended the local College of Arr and Design. He ini-

"Ir was an incredible four months ,'' he remembers. "I lived in Queens , never slept, was always on the subway into the

tially focused on graphic design, but soon had second thoughts. "I was very frus -

city. Ir was a great, wonderful time; the mid-' 8os. Andy Warhol was still alive,

trated by graphics. I knew I was good with images but I personally found it

Jean Michel Basquiat was painting.

Everyone stayed out all night at clubs

very difficult to express myself in that medium. I was never good with type,'' he says .

like the Paradise Garage. I came back with the most amazing piles of daybooks and photos. "

H e went on to Middlesex Polytechnic in London, where he developed a crush on a girl in the school's film department.

He also came back to his degree studies at Middlesex. MTV Europe was about to launch and execs there spotted The

Parker doesn't use a lot of those products himself and typically never sees his work on the air, back in the U.K. Yet the agencies he works with say he has a genuine interest in marketing.

He began hanging around that part of

Biz at the Cambridge Animation Festival.

"The thing you don't expect from some-

44

MARCH / APRIL

1996

This page: From Kinko's "The New Way to Office" campaign, this commercial premiered on Super Bowl Sunday 1996.

"Physiology": 30 (Open on sheet of paper drifting through a blue sky. Reveal scape of tall filing cabinets. Man appears and his neck elongates) Anncr. (VO): People in business once had to evolve ... to reach higher goals.

(Cut to over the shoulder POV of the longneck man . Reveal

FINE PRINT

caterpillar character on document) Anncr. (VO): To work as a team. Or to read between the lines.

(Caterpillar characters are punching holes into the document.

Cut to owl man sitting in tree with paper leaves. Introduce hero person character in background. Cut to an extreme closeup of the owl man's eye as it mutates, growing suddenly in size and contracting. Cut to his point of view as the camera quickly zooms into and between the fine print of a legal document.

Hero person is walking across a landscape, then enters the doorway. Camera pulls back to reveal stylized interior representing Kinko's . Close-up of video conference camera.

Hero is on video conference monitor) Anncr. (VO): Now there's a new way of working at a place that's evolved to suit all your needs.

Super: The new way to office. Kinko's.

Anncr. (VO): Every day, over two hundred thousand businesses use Kinko's. The new way to office.

Osbert Parker, director; Jonathan Harries, executive creative director; Patrick Hanlon, creative director/writer; Deb Lucke/Bill Karow, art directors; Joann Topetzes, agency producer; Michael Bodnarchek, executive producer; Michael Bernard, director of photography; Howard Woffinden, production company producer; Jamie Rosenthal, stylist; Ross Silverman, art director; A Band Apart Commercials, production company; 525 Post Production, post-production; Alex Frisch/Brian Buon Giorno/Kent Feeler, flame artists; Hal Honigsberg, Graying & Balding, offline editor; Trivers/Myers Music, Inc., music; Hal Riney & Partners Heartland, agency.

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This page: Public service TV spot for the World Wildlife Fund. " The Web of Life " :30 (Open on a man carrying a chainsaw. He approaches a series of walls, the first one reads " Rhino " ) Anncr. (VO) : He's one solitary species.

(The man saws through the wall and it falls, creating a domino effect) Anncr. (VO): But if we turn our backs .. .

(The other walls begin to collapse) Anncr. (VO) : ... and allow him to vanish .. .

(Cut to the other walls, reading "Bird," "Plant," etc., which begin to fall in sequence) Anncr. (VO) : ... he could take a few things with him. Forever.

(Cut to the man who, unknowingly, is now standing behind the last remaining walls which begin to fall toward him. Close-up of the man's face, looking alarmed. Cut to an aerial view of all the fallen walls in a circle) Super: Preserve the web of life. 1.800.CALL.WWF. World Wildlife Fund.

Osbert Parker, director; Mary Anne Zeman, creative director; Walt Connelly, art director; Bruce Richter, writer; John Ignatius, director of photography; Osbert Parker/Charlie Lovett/Gesina Kratzner, animators; Rod Howick, film editor; Mark Aarons, Avid editor; Asylum, model makers; Propaganda Films London, production company; Roger Moore/Cathy Lord, production company producers; Jane Rubin , agency producer; Complete Video (London), post-production; Chris McDermott, Harry artist; Chris Franklin, Big Sky Edit, sound design; Dirk Campbell, music; Ogilvy

& Mather, agency.

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one with a reel like Ossie's is his concern with product," says Bayer Bess Vanderwarker art director Jennifer Letscher.

"Most directors want less product shots, not more. Ossie says to you, 'No we have to keep this shot in the final cut because it showcases the product. "' Immediately after signing with Limelight, Chiat/Day, S.F. wanted Parker to redo his student film Clothes, for client Class Act, a World of Wonders product line.

Parker said no , but worked with the agency ro create a new interpretation using children and objects.

"Seventy percent of the agencies calling me want some rendition of Clothes,; it's become a calling card. But I'm not interested in doing that over and over again.

What drives me is the idea. If the idea isn't there, I don't do the job unless they say 'Will you help us develop the idea?,"' Parker explains. "In America, agency people are far more receptive to working like that than in England. "

Clothes, would later most recognizably be incorporated into a spot for CocaCola, from Creative Artists Agency. Production of the spot was characteristic Parker, painstaking and obsessive. For a month, the director designed the spot frame by frame, drawing the various chalk lines, adding the clothes characters, color and texture and then washing out the chalk and beginning again from scratch.

Parker has spent up to three months on a project, with much of that effort in post production.

"Because of his approach, Ossie is necessarily more involved in editing than most other directors," says Hal Riney senior vice presiden r/ creative director Patrick Hanlon. "Working with him is quite an experience. He's the Wizard of Os. " "Being an art director, you have this vision in your head and you don't want to let

go of it," adds Bayer Bess Vanderwarker's Letscher. "But Ossie actually makes it so much better. You just have to give your boards over to his world. He gets these ideas, giggles and then has a wonderful time with them. He's like a little kid, with a juvenile awestruck view of things that keeps his work so fresh. " Indeed, ask Parker about the influences on his work and he has little interest in advertising. Instead, he loves children's drawings and the way they see things.

His face lights up as he tells the story of a friend's child, who saw his first sheep on the English moors, and exclaimed "Cloud Dog! " "That was fantastic, so pure and simple," says Parker.

Another influence is Picasso, because of the artist's ground-breaking originality and constantly changing output. Some of Parker's own collage sketches bear the fingerprints of a Cubist's recreation of space. Even Parker's taste in music tends toward the avant-garde; his favorite group is a Swiss band, Yello, whose members combine ethnic music with rock, when they're not making songs our of abstract sounds like golf swings and wine bottles opening.

As he did in his student days, Parker continues to work out his ideas in sketchbooks. He now has at least 50 of them, filled with beautiful drawings , photos , magazine images and collages. Along with his fashion designer girlfriend of ten years, Parker lives in a cramped West London garden flat filled with his found objects- a virtual work in progress of a singular curious mind. Step into his home studio and you'll find walls papered with collage figures and faces , film strips, Cubist-like constructions , stuff from the local junk stalls , tottering stacks of books and old jazz. The place is bursting with ideas.

"These things are all very ordinary, really.

They're not precious," Parker says. "I like playing with objects, taking things out of context, rearranging them in a new and interesting way. It's like taking pepper and sprinkling it on a dessert to get an interesting new taste. " Because of the peculiar quality of his work, Parker doesn't use conventional storyboards to plot the execution of an idea. Typically he creates a collage, three dimensional montage or a set of photographic stills . Earlier this year, Ogilvy & Mather, New York, for instance, approached Parker to film a complex parable about biodiversity for rhe World Wildlife Federation. The commercial uses a man who comes upon huge playing cards with images of life forms on them.

He takes a saw and cuts into the one with a rhino, causing a domino effect that leads back to man himself.

"Ossie used junk from around his house to illustrate his ideas for the spot. He spread sand out on his kitchen table and used a little metal figure as a woodsman," says O&M producer Jane Rubin. "He had a little chain saw in the woodsman's hand and it was cutting into a tarot card.

It was amazing. Even the lighting was close to what we wanted. He completely laid out the commercial for us and took stills before we had even spent a cent with him. " The result? Not only did the WWF committee of fifteen scientists sign off without debate, they approved more money for the commercial. The process of working with Parker, says O&M's Rubin, was as seminal as the final commercial product.

"I think he's brilliant, a genius. Every day I worked with him I saw something in a new way," she says. "In the land of visual invisibles, he's incredibly gifted. " • C 0 M M U N I C AT I 0 N

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Osbert Parker Left: Commercial for Gatorade.

"Michael Jordan's Head" :30 SFX: Music up.

(Open on a dark sky with clouds on the horizon, camera pulls away as illuminated basketball rises and lights up the sky to reveal half of Michael Jordan's head-from this point, the spot consists of various sports being played on MJ's head. Two basketball players jump up from behind the head and MJ catches the ball. Close-up reveals MJ and another

/ ,r· .

u·· z- • -1t.1t • ' .:ilt'~ .

'

.. . . .... '

~

'·

player, playing one on one. Michael throws the ball and the camera follows. Jump to side shot of five players. The ball bounces off backboard and Michael catches it. Close-up of Michael dunking. Camera follows Michael down to reveal close-up of runners feet on wet ground . Cut to a pack of runners running toward the camera.)

Super: Gatorade is a registered trademark of Stokely-Van Camp Inc. (Cut to half shot of Michael's head, runners spread out all over. Cut to close-up of bike rider riding next to Michael's ear. Cut to half shot of Michael's head with five bike riders doing stunts. Cut to close-up of baseball player hitting, camera follows ball to reveal four baseball players trying to catch it. MJ jumps up, flys through the air and catches the basketball. Cut to MJ dunking. Cut to close-up of Michael drinking Gatorade) Anncr. (VO) : Gatorade.

(Pull back to reveal him standing on his own head with towel in hand) Anncr. (VO): Life is a sport.

(As he closes his eyes, the sky darkens) Anncr. (VO): Drink it up.

Super: Life is a sport. Drink it up. Gatorade logo.

SFX: Laugh.

(Illuminated basketball flies across the screen) Osbert Parker, director; Ross Silverman, art director; Jennifer Letscher, agency art director; Danny Shuman, writer; Mike Collins, creative director; Colleen Dirsmith, agency producer; Michael Bodnarchek/Lawrence Bender, executive producers; Eric Liekefet, producer; Michael Bernard, director of photography; Einstein Bros., Canada, music sound design; Hal Honigsberg, Graying & Balding, editor; Kathy Siegel, post production supervisor; Pacific Ocean Post, post production; Lisa Tomei, Henry artist; Kristin Johnson/Scott Sora, flame artists; Bayer Bess Vanderwarker, agency; Quaker Oats Company, client.

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Right: Television title sequence for BBC1 Television, London .

"A-Z of Belief" :45 SFX: Song "Beat Back" by the Art of Noise, throughout.

(Open on a photograph of a cloud tied up and sitting on a grassy background. The camera, in one seamless move, pulls out through a series of animated worlds illustrating and revealing the symbolic thoughts of a man) Osbert Parker, producer I director I animator /production company; Janet Street-Porter, executive producer; Bill Hillary, producer; BBC Television Department, postproduction .

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Left: TV commercial for Anheuser-Busch. " Summer Games:" :30 (Open on a shot of three large refrigerators in a desolate sandy area) Anncr. (VO) : Let the games begin.

SFX: Starter gun.

(Cut to shot of refrigerators with doors open and swimmers diving out of them . Cut to close-up of swimmers swimming through sand. Cut to shot of discus thrower, surrounded by sand dunes. Close-up of discus thrower grunting with exertion as he hurls an oversized bottle cap through the air.

Cut to shot of the giant bottle cap landing on the Bud Dry bottle next to man holding distance flag) Anncr. (VO): Play the Bud Summer Games.

(Cut to pole vaulter running toward, and jumping over, a Budweiser billboard) Anncr. (VO): Look for details wherever you buy Budweiser, Bud Light or Bud Dry Draft.

(Dissolve to three winners in front of an oversized Budweiser flag surrounded by falling gold money) Anncr. (VO): You could win a million in gold .

Super: Play the Bud Summer Games.

Osbert Parker, director; Herman Lederle, art director; Bob Powers, writer; Jim Borcherdt/Mark Choate, creative directors; Michael Bernard, director of photography; Jane Liepshutz, agency producer; Jonathan Ker, executive producer; Eric Liekefet, producer; Stella, stylist; Osbert Parker/Simon Blake/Judy Bamber/John Bermudez/Timmy Myers/Roger Webb/Sally Adler/Peter Houser/Chris Waugh/ Howard Fine/Mark & Tina, animators; Coster/Whitfield, music composition; Jim Gabel, Graying & Balding, off-line edit; Limelight Commercials, production company; 525 Post Production, post production; Kathy Siegel, post production supervisor; Matt Mooney, Harry artist; D' Arey Masi us Benton & Bowles, agency.

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Right: TV commercial for Sega Super Street Fighter II. "Countdown" :20 Music: Rapid drum-based rhythm.

(Through a burst of interference appears a piece of animation. In it we travel through a series of bizarre worlds at high speed. We pass through and by numbers in a countdown sequence from 10 downward) Anncr. (VO): You're about to see Sega's latest challenge.

(When we get to "3" a skull bursts through the animation in a haze of interference, ripping through the screen) Skull: Ah!! Get on with it.

(Cut to a rapid edit of Super Street Fighter II) Super: Super Street Fighter II. £49.99 Super: More characters, more moves ...

Super: And the rules are ...

Super: There aren't any.

(Cut to skull, end sequence) Anncr. (VO): To be this good takes ...

Skull (screams): Sega.

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Osbert Parker, director; Vu Kung, art director; Darren Bailes, writer; Peter Cowie/Hugh Derrick/Chas Sharp, creative directors; Colin Hickson, producer; Siobhan Barron, executive producer; Asylum, model makers; Osbert Parker/Charlie Lovett/Gesina Kratzner, animators; Kate Sylvester, producer; The Mill (London), post production; Limelight Commercials, production company; WCRS, agency.

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Osbert Parker

This page: Pages from Osbert Parker's sketchbooks. "It's a bit strange having to verbalize and write down my work process, as I'm used to visualizing and instinctively doing it without thinking about it-I guess that's why I'm a director and not a writer!, " Parker claims. "An important starting point for me is within a sketchbook. The sketchbook is my playground, a paper playground. It's a world where there are absolutely no agencies, no clients, no budgets and no rules. I' m limited only by my imagination and the tools I have around me at that point in time.

"I may or may not have an idea in mind when I start work in my sketchbook, but whatever it is I'm developing, whether it's a technique, a character, a story or simply an idea, my objective always remains the same-to playfully explore and to discover the unexpected. " I find that working spontaneously, for example, sketching, cutting out and creating collages are some excellent and immediate ways of creating that unexpected happening or interesting juxtapositions.

"The results, whether good or bad, most importantly allow me to see something in a new way. This is the key that opens a door in my mind and leads me into the corridor of possibilities-my favorite place. It's where I' ll experiment and develop an idea with the intention to surprise myself, and ultimately to excite and inspire an audience. This method will often develop an idea very quickly into a new visual style or technique that I'll often use to enhance the personality of a character, or the message of a film or even a commercial.

"The pages within my sketchbooks are an exploratory and personal visual record of my pursuit for a unique cinematic language which comes not only from my mind, but also from my heart, with passion. "

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Left: TV spot for MTV Europe.

"Using the language of animation, this film should visually and intellectually motivate people to break down racial barriers and communicate positively with each other. The strategy is: Through communication we can turn negative behavior into positive behavior."

"Blackboard" :38 SFX: Walking chalk sticks scratching against blackboards.

(Open on a room containing a chalk board with a chalk drawing of a white head. A second blackboard enters the room, containing a chalk drawing of a black face. The white head turns around and looks at the black face. His features immediately vanish as the white head fails to see a person. Only a "gollywog" comes to mind and is seen illustrated inside his head, which is erased as he changes his mind. An eye appears and opens on the black face. The white head animates and moves closer to the blackboard. A cannibal's nose comes to mind.

Simultaneously drawn words animate and float out from his mind, "Change what we think." Cut to a close-up of the chalk drawing inside his head, which is erased as he changes his mind. A nose appears on the black face. The white head moves closer still to the blackboard. A "Keep Out" sign is illustrated.

The "Keep Out" sign is then erased as he changes his mind.

Cut to a close-up as lips appear on the black face. The animated words "Change What We Do " are seen moving in full color and floating out from the drawn white mouth, breaking through the blackboard's wooden borders. The ace of spades is seen illustrated within the drawn white head. His eye closes as he changes his mind. His eye reopens as the ace of spades turns upside down into a colorful heart. Extreme close-up as finally his last feature, the eye, appears and opens on the black face.

He smiles. The two drawn heads move face to face next to each other, both with the symbol of love (a heart) shown within their minds. The camera pulls back to reveal a wide variety of colored chalk drawn heads coming together. We see their negative thoughts "hate," "anger," etc., being erased.

Osbert Parker, director/animator/production company; Kati Haberstock, producer; Kathy Siegel, animation supervisor; Michael Bernard/Michael Wojciechowski, directors of photography; Bruce Wooley/Ken Dahlinger, music/sound design; Alex McDowell, production designer; Jim Gabel, editor.

Right: TV spot for Sunoco. " It's All Fuel" :30 (Open on animated supers) Super: The blue button-down shirt Super: The goose-down comforter Super: The pasta primavera Super: The circular saw Super: The gas for the weekend Anncr. (VO): All those credit card purchases fuel the economy.

But they could also be fueling your car. Introducing the Sunoco Mastercard. When you use it, you'll earn free Sunoco gasoline.

There's no annual fee . And unlike other cards, the savings on gasoline is unlimited . We firmly believe what goes on your card should go in your car.

Super: Call 1-800-4-SUNOCO. Super: Sunoco. On the driver's side.

Osbert Parker, director; Creative Hands (London). graphic designers; Osbert Parker/Robin Grierson, photograms; Rochelle Klein, writer; Jenne Byers, art director; Pam Ferman, producer; Bruce Woolley, music; Siobhan Barron, executive producer; Kate Sylvester, production company producer; Limelight (London), production company; Complete Video (London), post production; Chris McDermott, Henry artist; Alastair Hearsum, Symbolics artist; John Swinnerton, Peerless, motion control camera; Asylum, model makers; Angotti, Thomas, Hedge, Inc., agency.

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BOTH SIDES OF PEACE:

Israeli and Palestinian Poli ti cal Posters

BY DANA BARTELT

A

s I sat in the audience watching a slide presentation of posters by Dan Reisinger and then Yossi Lemel-both

Israeli graphic designers-I was impressed by the powerful, provocative images shown on the screen. Yes, they were welldesigned, after all Dan Reisinger is an internationally acclaimed graphic designer and member of AGI and Yossi Lemel is an award-winning designer who had just received the Silver Medal at the Brno Biennale, but the statements made by these posters were what really impressed me. They didn't speak of Israel's rights to the land, the more prevalent argument in the Middle East conflict; they pleaded for an end to the violence on both sides (Reisinger's No More Victims) and

showed empathy for another people's struggle for freedom (Lemel's Happy

Chanukah). Reflecting on these images, I could not help but wonder what Palestinian artists would say to these issues from their point of view. This is how the seed for the idea of the poster exhibition "Both Sides of Peace: Israeli and Palestinian Political Posters" came to be planted and took me on an adventurous journey into two very different cultures, but with similar hopes and dreams. Many of my own stereotypes and preconceived notions of Israelis, Palestinians and their conflict were shattered along this journey. In bringing this exhibition to the American public, I hope to share this "enlightenment" through juxtaposition of the languages, both visual and written, of the two peoples involved.

For so many years, the Israeli-Palestinian conflict has been and

The issues as they were presented by the media sometimes seemed all too simple, but at other times so complicated it seemed to take a Ph.D. in Middle Eastern Studies to untangle and to comprehend the events taking place. Amos Oz states in his essay, "The Israeli-Palestinian Conflict, " " . .. there is no basic misunderstanding between Israelis and Palestinians; there is a very real conflict: [both people] want the land because they think it belongs to them," and also that there is " ... an ocean of arguments which have been used, misused, refuted, reformulated or turned upside-down during the course ... " Unfortunately, we were all subject to the biases of the press in determining our views of what was really going on. The sudden and unexpected peace agreement signed in September 1993, the importance of which has been confirmed by the awarding of the Nobel Peace Prize to Arafat, Rabin and Peres, has given some hope for peace where none existed before. It also served as an awakening to certain realities over stereotypes and slanted reports. Unlike the exhibition ''Art as Activist-Revolutionary Posters from Central and Eastern Europe" which I curated several years ago , the villains in the Middle East conflict are not as obvious, and the peace process must steer away from pointing blaming fingers if it is to succeed. Both parties now agree that peace must be obtained and that they will focus on making peace. Leah Rabin, widow of assassinated Prime Minister Rabin , called on the "silent majority, " the "peaceniks" oflsrael who usually tend to be less outspoken than the hawkish right, to continue the struggle towards peace. And under criticism from Palestinians dissatisfied with the terms of the agreements, Yasser Arafat still attempts to control actions against Israelis and the fighting between Palestinian factions which can hinder the ongoing process towards peace.

In Israel the most visible statements for or against the peace process (other than mass media) were the posters found on hoardings, walls and kiosks and banners hanging on balconies and windows. Many of these posters were produced by rightwing movements relaying anti-peace sentiments. One depicted Rabin's face as a mask over Arafat's face, and another showed Arafat in a Nazi helmet. In March 1995, I was invited to give a

continues to be the subject of editorial commentary and media coverage in the United States. The names of Yasser Arafat, Yitzhak Rabin and Shimon Peres are quite as familiar to the

This page: Exhibition poster designed by Yossi Lemel.

of the endless reports of acts of war, occupation of territories,

Right: Prisoner's Day, Sliman Mansour, Palestinian. A painting made into a poster remembering the Palestinian prisoners in Israeli camps. The message is hopeful with the rainbow inside the prison made from colors of the Palestinian flag (red, green, black and white) turning into rainbow colors outside the prison bars.

incidents of terrorism and the plight of refugees and prisoners, many of us felt that there would never be an end to the conflict.

Six Numbers, 1945-1995, Vossi Lemel, Israeli. Commemorating the liberation of Auschwitz (the numbers belong to the artist's father living in Israel) .

American public now as were Moshe Dayan, Golda Meir, Menachem Begin and Anwar Sadat in previous days. Because

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presentation to the Israeli Graphic Designer's Association in Tel Aviv. Yossi Lemel, the Israeli co-curator of the exhibition, sent out announcements which included an invitation to members to bring political posters they had produced. It turned out, not too surprisingly, that most designers and artists were liberals, leftists and/ or pro-peace people. Many were critical of certain Israeli government stances or military actions against the Palestinians or they stated the frustration of the status quo-that bloodshed on both sides continued.

In essence, they were sick of people dying and most major problems remaining unresolved.

In 1988, to mark the 4oth anniversary of the independence of Israel (1948), an exhibition was organized. Yarom Vardimon says of the exhibition, " ... the works were more critical than praising, and more disturbing than exciting . .. The phenomenon of ugly and aggressive design, which connects pain and anger through cynicism and through efficient and simple tools, was at times almost revolutionary." The images that I found on most of the current political posters were similarly dramatic and powerful. Many of the mostly photographic images employ layers of complex symbolism and yet, at first glance, appear simple and straightforward. Yossi Lem el says, that "[Israelis] use a lot of western culture's icons and slogans and make associations with the West, using literature and commercial products."

Vardimon noticed earlier that the sociopolitical undertakings in graphic design, "generally critical, naturally deal with new and local symbols, and their relationship to the culture's previous symbols. Symbols of Middle Eastern society's distress are pictures of bereavement, violence and religious rituals."

The varied references to old and new produce the multiple layers of meanings in the political poster. In David Tartakover's Who Will Utter the Mighty Acts ofIsrael, these layers are only discovered by those familiar with Israeli culture and Biblical history.

The title is the opening to a children's festival song about the heroic Maccabees-Jewish fighters against Greek conquerors in the 2nd century B.C.-evoking the voices of little children, but the viewer is confronted by a mother in anguish over the presumed death of a loved one, perhaps a child. The cultural identity of the mother is ambiguous, she could be Arab or Jewish.

Further, the Hebrew word for "mighty" is similar in sound pattern to the Hebrew word "graves" suggesting an affinity between the two concepts. The line is also a transformation of the more ancient Biblical phrase, "Who will utter the Mighty Acts of the Lord. " Tartakover produced this poster after the massacre of thousands in the refugee camps of Sabra and Shatila by the Israeli military. He is one of the most prolific poster artists in Israel, producing many self-initiated posters to express his political and social views. He has exhibited internationally in group 54

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and one-man exhibitions as well as in joint projects with Palestinian artists.

I asked some of the designers if their outspokenness created any problems in their work with clients or if it ever resulted in government censorship. Most said no, but Lemel cited a case when he designed a theater poster about two soldiers undergoing an investigation of the killing of a Palestinian prisoner.

He used the particular green and red colors of the Palestinian flag and the theater made him change these colors to some less recognizable. The word "Palestine" was also taboo.

Judaic symbols are used extensively, since Israel is a Jewish state, a decreed refuge for all the Jews of the world. Most notable is the Star of David, also found on the Israeli flag.

When the Star is shown in sky blue, we know it refers to the flag and nation; when it appears in yellow, the reference is to the Holocaust when Jews were made to wear a yellow patch in the shape of the Star of David. The Holocaust is ever present in the psyche of the nation with so many of its residents survivors of this horror. Lemel's father, a victim of medical experiments, and other members of his family survived the concentration camp at Auschwitz, while the rest of his family did not. His poster Six Numbers, which commemorates the 50 years since the liberation of Auschwitz in 1945, is simply and most powerfully an image of the numbers tattooed onto the arm of his father. The number six refers to Lemel's six family members and the six million Jews exterminated by the Nazis in World War II. Lemel says, "I wanted to show that the numbers were on real flesh, a human being. I used color and enlarged it to burn it into your memory as it was burned into their flesh. " He also says that "The Holocaust is like a thread that weaves through the entire culture ... after what happened in Europe, to my family, it was hard to believe in human nature and not to want to be vindictive, but during my school years I began to realize that 'they' are not all devils and I began my mission to be more just and fight against racism. And now when I teach, I assign topics dealing with justice, racism, domestic violence and religious tolerance to my students-rather than consumer issues. " Along similar lines Amos Oz notes in his essay "The Israeli Palestinian Conflict," " ... some victims of oppression and discrimination and racism indeed become more tolerant, more receptive, more sensitive to the sufferings of others. Whereas other victims of the same horrible experience tend to become more vindictive, more angry and more suspicious. Both these contradicting responses are equally human. They may not be equally humane but equally human. " Conceived of as a Jewish State, one of Israel's basic tenets is the ingathering of the exiled ancient tribes of Israel who are

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scattered around the world. Four out of five Israelis are Jewish. Many of these are Ashkenazi Jews from Europe who came after the Nazi Holocaust and even earlier during the pogroms in Russia in the early 1880s and the Bolshevik Revolution in 1917 when thousands of Jews were killed. From these events and continued persecution of Jews, sprang the Zionist movement, with Theodor Herzl leading the way for the creation of a national home for the Jewish people in Palestine.

Several waves of immigrations, or aliyahs, firmly established the Jews' place in the "Promised Land." Many of these immigrants settled in kibbutzim, the communal settlements, which today, for those located in the Occupied Territories, are points of contention between the Israelis and Palestinians. Israel continues to welcome immigrants with recent aliyahs from Russia (about half a million) and Ethiopia. Lemel produced a poster Welcome in 1991 upon the arrival of 20,000 Ethiopian Jews, who were airlifted from Ethiopia to Israel during a secret operation in one night. So as not to lose the children, they were marked with numbers on their foreheads . Lemel and photographer Israel Cohen took the picture of four children with their actual numbers forming 1991. The word "welcome" is in both Hebrew and Amahari, the Ethiopian language.

My notion of posters, which admittedly comes from a European background, was radically jarred when I started searching for Palestinian posters. It was becoming quite evident that I had come into this project with more than one preconception. Yossi Lemel put me in touch with Sliman Mansour, who was the president of the League of Palestinian Artists in East Jerusalem, the predominantly Arab part of the city. He quickly set me straight on what I would find, what I wouldn't, what Palestinians considered posters and what it was like for a Palestinian artist to live in the Occupied Territories and in Israel.

The name Palestine is the Roman name for the ancient Philistines who came from the Greek Isles to settle the land of Canaan. Palestinians once referred to all those who inhabited Palestine including Muslims, Christians and Jews. Today, when we say Palestinians, we mean the Arabs who live in what was British-mandated Palestine. As the influx of Jews grew, the Arab population began to realize that its future

This page: Peace For the World and For Us, 1993, Tayseer Batniji, Palestinian. A poster produced for an art exhibition in Gaza promoting peace between the Palestinians and Israelis.

Happy New Year, 1987, David Tartakover. Produced the same year as the intifada. The Coca-Cola bottle appears as a molotov cocktail, which was used by the fighters in the intifada, but the bottles were also used in the markets to sell olive oil. Oded Klein, photographer.

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sovereignty was in jeopardy. Arabs did not agree with the United Nation's Partition Plan to divide Palestine between an Arab and Jewish state. But, after months of fighting, the Palestinians lost

intifada for the Palestinian people. Mansour would work with

their battle and Israel proclaimed its independence in 1948. Conflicts between Jews and Arabs ensued. The most decisive one was the Six Day War in 1967 when Israeli forces devastated the Egyptian air force which resulted in new territorial gains for

included the fear of imprisonment for any images deemed subversive by the Israeli government such as nationalistic images (the Palestinian flag, etc.), the banning of travel outside the

Israel including the West Bank, East Jerusalem, the Gaza Strip, the Golan Heights and the Sinai peninsula (which would be

to indigenous materials such as earth or clay, and made their palettes from the pistils of flowers. Not being able to travel out-

later returned to Egypt in the 1979 agreement). During these years, the Palestinian people suffered dozens of massacres, mass expulsions and arrests and their homes and villages were destroyed. The Palestinian National Council (P.N.C.) was formed

side the Occupied Territories created a sense of both physical and creative isolation. Dweik told me that artists have no art

in June 1964 and in 1965, under the leadership of Yasser Arafat, the Fateh Party (a P. LO. faction) continued its struggle towards independence. The Camp David Accords were intended to bring peace to the Middle East and even included provisions for Palestinian autonomy. These initiatives were interrupted by the assassination of Egyptian President Anwar Sadat and the Invasion of Lebanon in 1982. Finally in December 1987, the Palestinians living in the Territories could wait no longer under the oppressive conditions and an uprising took place known as the intifada.

The Palestinians were armed with stones, anger and despair.

The stone-throwing youths gained the attention of the West, and world leaders focused on

many other artists in keeping the artistic traditions alive and flourishing, even under the most oppressive conditions, which

Occupied Territories and lack of materials. Many artists turned

criticism outside their own small group and he feels that his growth as an artist might be stymied by this limitation. Many of the artists have not been allowed to accompany their shows to other countries while others have had their works confiscated from exhibitions within the Territories.

Mansour organized exhibitions (both inside and out) and lacer established the Al-Wasiti Art Centre in East Jerusalem to promote growth and exposure in the arts. He told me the incredible tale of how the Art Centre came into being, which included, at one point, his being sold to a Bedouin tribe, struggling with bureaucratic red tape in obtaining property, having to negotiate with Jewish religious leaders and his life was threatened. He hopes to offer courses in art and design at the Centre, bur is in need of computers and other equipment and materials before this can happen. He also recognizes that the training of graphic designers would have to be accompanied with courses for businessmen on how to employ graphic designers. I assured him

a resolution. The peace talks in Madrid in 1977 were the prelude to the secret negotiations in Oslo which culminated in the historic signing of the peace agreement on the White House lawn in September 1993· The intifada was an uprising not only of a people in revolt, but an uplifting of a spirit and a time of inspiration for the Palestinian artists. Taleb Dweik and Sliman Mansour say that the intifada has brought great changes to the expressions of artists, filling them with courage to paint in a new bold way. Some of the images show fighters on powerful stallions, a vision of hope and strength characteristic of the 56

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This page: Who Will Utter the Mighty Acts of lsraell, David Tartakover, Israeli. Produced after the massacres at Sabra and Shatila refuge camps, the artist asks the question of responsibility.

Right: Welcome, 1991, Yossi Lemel, Israeli. The word welcome is written in Hebrew and Amahari, the Ethiopian language of the more than 20,000 Jewish Ethiopians evacuated in one night by Israelis in 1991. Because there was a chance of losing or "misplacing" so many children, numbers were stuck to their foreheads to identify them. Even though it praises Israel's commitment to be refuge and home to all the Jews of the world, it is also cynical in the treatment of the people as cattle.

Carry On, Sliman Mansour, Palestinian. Mansour paints a refugee carrying Jerusalem on his back. This poster, another reproduction of a painting, is a popular poster in Palestinian households. Jerusalem has been central in the conflict as to whom the city belongs.

The Visitor, Issa Abeido, Palestinian. Many "posters" produced by Palestinian artists were paintings reproduced and circulated or sold as posters or postcards. This poster is a reproduction of a painting by a Palestinian prisoner of his daughter. Without being overtly political, Palestinians value these images as reminders of the thousands of prisoners held in Israeli prisons. Around her neck she wears a pendant with a picture of The Dome of the Rock in Jerusalem, another symbol of Palestinian/ Arab/Muslim unity. The grapes denote that she is from Hebron.

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that to a perhaps lesser degree, this was a universal problem.

Fawzy El-Emrany, a 26-year-old artist in Gaza, has never been allowed by Israeli authorities to leave the Gaza Strip. Even though his education was interrupted when the Israeli government closed the Gaza universities for four years due to student riots and demonstrations, El-Emrany eventually earned an art degree.

He produces his own fine art, writes poetry and teaches art to children at the YMCA. He wishes to travel outside Gaza "just to see what is beyond" and perhaps attend a graduate program in graphic design in the U.S., since there are no graphic design programs in Gaza. Artists like El-Emrany and his friend and colleague Tayseer Batniji are self-trained graphic designers.

Batniji's poster Peace for Us, Peace for the World, is reminiscent of the traditional decorative calligraphy seen on the graphic store signs in the streets of Gaza. This particular poster uses only one color, but many of the Palestinian posters use a rich kaleidoscope of colors also found in the elaborate works of embroidered Palestinian dresses and ancient and contemporary mosaics with intricate geometric patterns.

Sliman Mansour showed me posters which are reproductions of paintings that to an ignorant eye look like passive pictures of everyday life: women in traditional Palestinian embroidered dress, or a simple image of a mother embracing her children.

These are all symbols of a tradition, of national pride which they feel the Israelis have tried to destroy.

The mother represents Palestine and her children the people of Palestine. The poster The Visitor, an innocent looking painting of a smiling Palestinian girl, served as a reminder of the Palestinian prisoners who were deprived of being with their families and who inspired the people to continue their fight. Some posters were so popular that Israeli soldiers found them on routine house searches and knowing their significance, confiscated them. One of the most 58

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popular posters, by Sliman Mansour, titled Carry On, is of an old man carrying Jerusalem on his back. Jerusalem is the actual and symbolic sacred center of the Islamic religion (as well as of Christianity and Judaism) and remains a volatile issue in whether the Arabic quarter will ever be returned to the Palestinians.

Mansour was arrested by Israeli soldiers at the Jordanian border for possession of this subversive poster.

Many of the paintings have hidden symbols through metaphor or vague reference, because any blatant portrayals of anti-Israeli images or pro-Palestinian independence could result in arrest.

Other objects such as the Palestinian flag and its colors and the word Palestine were all disallowed and this use was punishable, as was any reference to the P.L.O. Similarly, the kaffiyah, the red-and-white or black-and-white head scarf worn by Arabic men-most notably by Yasser Arafat-has a pattern which is immediately identified. Naturally, all posters produced underground or outside of the Occupied Territories employed these symbols freely. The Dome of the Rock, a mosque built in 640 A.D. in Jerusalem, also stands as a symbol of unity amongst the Arabic people. This image is seen in theater, political and peace posters.

Almost all of the P.L.O. posters were produced outside the Occupied Territories; many by Palestinian artists or by artists of other nationalities sympathetic to the Palestinian cause. About two-thirds of the Palestinian people live outside of the Occupied Territories, most exiled or forced to leave because of intolerable conditions. The posters produced by artists in exile often speak of the longing to return to their country, their attachment to the land of Palestine and the pain of the loss of family, home and homeland. Nabil Mohamad, director of Roots in Washington, D.C., born in a refugee camp in Lebanon and living in

This page: Freedom For All Prisoners. Small-format poster produced on photocopy machine and pasted on walls. Thousands of Palestinian political prisoners were held in Israeli prison camps. In 1995 most were released after negotiations.

Right: Jonathan's Teddy Bear, 1990, Eytan Hendel, Israeli. During the Gulf War, Israelis had to be under constant alert of chemical attack from the Iraqis. A child has drawn a gas mask for his teddy bear.

Untitled, 1995, artist unknown, Palestinian. A popular street poster with

all the icons of Palestinian nationalism: The Dome of the Rock, a Muslim mosque in Jerusalem; Mr. Vasser Arafat, P.L.O. Leader; and doves painted in the colors of the Palestinian flag-red, green, black and white.

Israel's 40th Anniversary, 1988, Iris Dishon, Israeli. Produced for the 40th

Anniversary of Israeli independence, the image is based on a famous photograph of Theodor Hertzl in Basel, Switzerland, where he predicted the establishment of a Jewish state. Here Herzl is replaced by Vasser Arafat.

Day of the Child, Adnan Zubaidy. The artist shows a child in typical

embroidered dress engaged in a child's activity of picking flowers, but behind her looms the bulldozer which was used to demolish Palestinian homes by the Israeli government.

6-y<:u-Old J00>than m:ide a ~:J.< mask for his l•'Cldy.

Now. nc:i1hcro(11k:mart.•a(raid.

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Political Posters Washington D. C. for the past twelve years, told me of his continuous "dream to touch the soil of Palestine." This is the main issue for the Palestinian people-the right of return to their land and homes.

The posters produced within the Occupied Territories (prior to

in this tiny country [Israel] makes it an ideal laboratory for dealing with questions of visual communication ... you can simultaneously follow the reactions of Ethiopians, Americans, Indians, Swedes, Kurds ... who are exposed to sociopoli ti cal messages as a daily routine."

1994) are almost impossible to find now. They were small-format posters usually produced on photocopiers and then hand-colored.

These were pasted up on walls overnight and scraped off the next morning by Israeli patrols. The artists are unknown, of course, since identification would have led to certain arrest. Most of these posters were commemorative of an anniversary of a significant day such as Land Day, Day of the Child, Martyr's

With such a diverse citizenry comes a diversity of written lan-

Day or the establishment of a political party or movement like the P.L.O. The walls of Gaza and the West Bank are still covered with the faces of the many young fighters who died in their

in the Middle East conflict to the attention of an American audience in written and pictorial form, to see them, learn from

guages-Hebrew, Arabic, Russian, Ethiopian, English and even Vietnamese-all with their own written alphabets. Yossi Lemel observes that, "the Arab culture is totally separate (from ours) especially from the European and American Jews, we are less familiar with their icons and symbols." This exhibition is intended to bring the different voices of the cultures involved

Palestinians took to painting the walls with revolutionary slogans and images. The walls became their canvases; their "posters"

them and, hopefully, begin to understand them, thereby eliminating prejudices and stereotypes. This exhibition is not simply about Jews and Arabs and it's not simply about right or wrong.

It is about a passionate and desperate show of desire of all people to want to live in peace, to grow and to flourish and to be

were painted directly onto the walls. This was also an action

allowed to raise their children with pride and joy. •

struggle for independence.

Because material was scarce and printing shops forbidden, young

that was punishable by death. Israeli soldiers were allowed to shoot at those painting graffiti on the walls; Mansour told me that a youth was shot and killed while, ironically, writing the word "peace" on a wall. Many of the vibrant murals are pictorial documents recording the events of the intifada, and while the artists will remain anonymous, their party affiliation is known through the coded color of paint used: black for the Fateh Party, green for Islamic movements and red for the socialist parties. These are simple codes which are easily translatable; other symbols are more complex and depend on the viewer's knowledge for their translations.

Acknowledgments: All slide reproductions ofIsraeli posters by Greg Plachta Photography, Durham, North Carolina. Thanks to Yossi Lemel, Tel Aviv; Sliman Mansour, East Jerusalem; Fawzy El-Emrany, Gaza; Nabil Mohamad, Roots Palestinian Youth Organization, Washington D. C.; and all the artists for the collection and loan of materials and tremendous assistance in preparingfor this article.

Editor's note: "Both Sides ofPeace: Israeli and Palestinian Political Posters" will open at the City Gallery of Contemporary Art in Raleigh, North Carolina, December 6, I996. The exhibition will be circulated to destinations around the country.

A Palestinian with his head wrapped in a kaffiyah is, to an Israeli, a rock-throwing shebab, something quite threatening-to a Palestinian he is the symbol of revolution and resistance, a hero, a martyr. To a Palestinian, a young Israeli soldier is potentially an assassin, a gun-happy bully, a destroyer of family and home-to an Israeli he or she is part of the tough disciplined Israeli Defense Force that has risked his/her life for the protection of the Jewish State. These images are obviously formed from an individual's own experience and perspective, either individual or collective.

The way we as Americans interpret the images and events of the Middle East is almost entirely based on news media coverage, and to the icons and symbols that are part of our vocabularies and cultures. Biases and prejudices are easily formed through ignorance of these different cultural styles, beliefs and languages.

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Right: No More Victims, 1993, Dan Reisinger. The artist produced the poster as an expression of appreciation for politicians' positive contributions to the peace process. The star is made of red and yellow. The red refers to the triangle of red in the Palestinian flag and the yellow is reminiscent of the yellow Star of David patch that Jews were forced to wear during the Nazi occupation of Europe-together they compose the Israeli flag in different colors.

Where is Palestine?, Adnan Zubaidy, Palestinian. The artist depicts a youth spraying the words, "Where is Palestiner over the sky of Jerusalem. Illegal and punishable by imprisonment, Palestinians still resorted to spraying political messages on the walls of the city. Printing presses were not allowed in the Occupied Territories and they were not allowed to produce anti-Israeli material, so that the walls became their means of disseminating information and political propaganda. Some youths were shot and killed while spraying grafitti on walls.

Happy Chanukah, 1987, Yossi Lemel. Just after the beginning of the intifada, Lemel set up a chanukia made of nine burning tires, symbolic of

the Palestinians's fight for freedom their way. The Jewish year is 5748 which is the same Hebrew characters for Be Happy.

n"nmn ~Jlln

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good at everything. From fashion, food and children to Michael Jordan slam-dunking in the most intense sports shot for Nike."

BY JuuE PRENDIVILLE Roux

many subjects so well. There aren't a lot of people Nike would

Wieden and Kennedy's John Jay, creative director on Nike, adds, "It's very rare that you find a photographer who can cover so trust to cover authentic sports. She does portraiture as well as

I

n the distance I see what appears to be a twelve-year-old surfer

movement, both with a very high degree of sophistication."

holding a really expensive camera. Her blonde-streaked hair hangs past her shoulders and her tiny frame fidgets as though

Trained in ballet from ages 6 to 21, much of Sirota's work has

she's waiting for the next set of waves to curl in.

simplistic way," she says. "I'm very tuned into when a body

Since I'm here at Olvera Street in downtown Los Angeles to talk with photographer Peggy Sirota, I think maybe this kid is

a dancer's sensibility to it. "Ballet has helped me in the most looks relaxed. I can help someone move in a way that makes them look more graceful. I love movement in pictures."

an assistant. She's not. She's Peggy Sirota.

Peggy was raised in New York, in an area surrounded by lush

The same Peggy Sirota who's shot major celebrities for major publications like Vtmity Fair and Rolling Stone, and whose impressive credits include Coca-Cola, Maybelline, Microsoft,

trees. "We used to play in the woods," she recalls. "We'd play

Columbia Pictures and other luminaries. And she not only looks like a child, she has the mischievous spirit of one, too.

different characters. I think that's really influenced me." She moved to California when she was 21 and lived in Hollywood for ten years. "I loved it for a while, but I started to want more land," she says.

"She's an imp," explains Suzy Tompkins, co-founder of Esprit de Corp clothing company. "When she's working with children,

She and her husband, Jay, moved north of Los Angeles into a

she gets right down with them. By the time she gets behind the camera, they know her, they've played with her. Even though

hiking paths. In the mornings, if I don't have an early call, we'll

she takes her work very seriously, she has a lot of fun."

Populated with a menagerie of animals-two dogs, a cat, two

Sirota, 39, began shooting pictures twelve years ago. "I was working at Fred Segal (retail clothing store) and I wanted to make some extra money," she remembers. "In fact, I was always com-

ducks, two rabbits, a miniature goat and a turtle, at the

plaining about the money I was making. This guy I befriended said, ' Hey, everybody working here wants to be an actor. Why don't you buy a camera and shoot their pictures-do headshots for a hundred bucks apiece? ' So I did that for about six months to a year."

more rural area. "Our house is surrounded by horse trails and take a walk. It's very peaceful," she says.

moment-her California ranch style home serves as a respite from her busy shooting schedule.

"Right before Christmas, we shot 30 or 40 days in a row. That was about 20 jobs," she says with a laugh. And of course, travel is sometimes thrown into the equation, which can make a jammed schedule seem all the more hectic. Peggy recalls, "We once went from shooting a job in L.A. to New York on the red eye, where

Dorn Weinstein, owner of Los Angeles processing lab Photo Impact, remembers her in those early days. "She came to me

we shot a job, then we left for London on the red eye, shot a

with very little technical knowledge. She simply photographed her vision," he says. "I knew she could do it because she had an artistic side. She sketched before she shot.

then flew back to New York that night for a job.

"A lot of photographers think they're supposed to have all the schooling," he continues. "They think there's only one road.

job, then flew to Paris where we went from the plane to a job,

"It's intense," she allows, "you kind of feel like a rock band on the road. And with that kind of schedule, you have to be very careful to eat well, get enough sleep and take vitamins. It's very demanding; I could never do it alone. "

Peggy was determined to get what she wanted."

Peggy's crew, Eric Larson, Dave Radin and Jim Wright have First assistant Eric Larson explains, "Since Peggy doesn't have formal training, we break rules on a daily basis. She'll shoot fashion at high noon. She doesn't have a formula. She works intuitively."

been with her about three years. The photographer and her assistants work so closely together, and for so many hours on end, that they've developed a sort of non-verbal communication.

Both Eric and Dave remember a client's remark at one shoot:

As photographers' careers have become more and more specialized, or segmented, Sirota has earned an enviable position: while she's primarily fashion, she's never been pigeonholed. That day

"You guys are like watching the Lakers. "

at Olvera Street, she was shooting ailes de poulet-chicken wings-for McDonald's France.

Right: From a profile article of the actress Rosanna Arquette in Italian Glamour. "Rosanna was adorable pregnant. We had a lot of fun ... and we used non-toxic paint." Valeria Corbetta, art director; Jonathan Skow, stylist; Katherina Ehrhardt, Cloutier/Aveda, hair; Joanne Gair, Cloutier, makeup.

"We shoot everything," assistant Dave Radin explains, "and she's 62

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First assistant Larson runs the camera. "I work more like a D.P. [director of photography] in film," he explains. "Peggy will tell me she wants a shot a little warmer or cooler, let's say, so I'll do that. She shoots predominately with available light and sometimes, when we're shooting outside, Peggy will want a quality of light that looks like window light, so we'll sculpt the existing light to achieve that."

Dave says, "Peggy is totally spontaneous as a photographer. We can go in many different directions in terms of lighting. We keep Peggy unharnessed, loose. And she facilitates our doing that."

"I happened to get very lucky with these three guys," the photographer says. "They're very motivated separately and together.

We're all very devoted. This whole business of hierarchy bothers

get them to show me a deeper part of themselves. Some people let their feelings come right to the surface, and it's a wonderful exchange, a lot of fun for everyone to watch. Then there are others who won't let that side out. They're much more guarded.

I'll try different approaches and maybe I'll only get one moment.

To be able to capture it is very rewarding."

"Peggy's work is very genuine in personality and spirit," says Tricia Burlingham, her Los Angeles-based representative. "We would all like to be living in a Peggy Sirota book. In the last four years, coming through the recession, people in this country have wanted to feel this strong sense of family. When we all turned our focus, there she was."

me. I like things to feel equal. I want them to have input, and it's great that they care enough to have input. We could not work the hours that we do if we didn't have that support."

When advertisers

The support she has at home is vital to her demanding schedule, too. Her husband, Jay Foster, handles the business side of Sirota's photography. After graduating from the Brooks Institute

generally gets a

of Photography in 1985, he called on Peggy to find work, and became her assistant. Four years ago, they were married . "Jay's our troubleshooter," says Peggy. "He's invaluable to all of us."

"They might show me a general concept and

For wardrobe and props, Peggy works regularly with free-lance

say, 'What do you want to do with this?"' she explains. "If I

stylist Jonathan Skow. "He's my soulmate in the business. We speak the same language. We have something special," she says.

if I like it. If not, I don't take the job. Even in the beginning, it

and agencies come to her, she lot of freedom conceptually.

have to stick with the exact concept they bring me, I'll shoot it was that way for me. I have to like it."

Peggy has excelled in two areas that traditionally have been considered dicey, if not difficult: children and celebrities. She has

A recent job for Neiman Marcus had the markings of a Broad-

a similar approach to both-she has fun with them.

way production. For the last three years, the clothing empire

"With celebrities, I always try to bring something out," she explains. "I like to find something that's childlike. I find that's a revealing part of people. It's a challenge to get that part out because some people see themselves as glamorous. I try to

has published a biannual series called "The Art of Fashion" in

Harper's Bazaar. The photo essay displays the fashions of their top clothing designers. Richard Avedon, Helmut Newton, Annie Leibovitz and Geof Kern have shot past installments.

Spring 1996 is Peggy's.

Neiman Marcus creative director Georgia Chistensen said, "We

Left: Actress Christina Ricci from an article in Italian Vogue. "This is one of my fa vorite images. I'll love it forever." Franca Sozzani, art director; Alice Genti lucci, fashion editor; Cemal, Cloutier, hair; Lucienne Zammit, Cloutier, makeup.

Article on actor Anthony Hopkins in Interview magazine. "This is not a t rue representation of Anthony's personality, but it's a true representation of his talent." Richard Pandiciou , art director; Jonathan Skow, stylist; Katheri na Ehrhardt, Cloutier/Aveda, grooming .

Actor Jeff Bridges from an article in the London Sunday Times Magazine.

"W hat a guy ! I felt like I was eight years old playing with my cousin out in t he woods . He's really fun to work with because he gives so much ."

Isabella Kullmann, art director; Jonathan Skow, stylist; Katherina Ehrhardt, Cloutier/Aveda, grooming .

Portrait of singer Natalie Cole from an article in Tempo magazine. " Natalie sang to us all shoot long- it was fab !" Carol Born, art director; Jonathan Skow, stylist; Janet Zeitoun, hair; Tara Posey, makeup.

didn't give Peggy much to go on. But we knew she could orchestrate amazing productions. The whole premise she came up with is 'Flower Fairies.' First we shot pictures of flowers and these pictures were drawn into shapes. Then we had the shapes of the flowers constructed into 3-0 forms. So Peggy had the model interact with the form. In one shot, a pomegranate is hanging off a branch and the model's arms are wrapped around the stem. We're just getting the film back and it's fantastic."

The one thing Sirota resists, even in her fashion shots, is the plastic or contrived. She strives to shoot people, not models.

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Left: One from a series of photographs for an Esprit ad campaign. Mark Burkhalter, art director; Jonathan Skow, stylist; Katherina Ehrhardt, Cloutier/Aveda, hair; Susan Houser, Streeters, makeup.

Cover of Vogue Bambini. "I'm so happy they ran this shot as a cover.

The little girl's nipple was showing and they had to retouch it before they would allow it on the cover." Daniela Cattaneo, art director; Jonathan Skow, stylist.

Print ad for Nike. "The assignment was 'Michael Jordan dunking.' I just clicked the shutter and he did all the work." Warren Eakins, art director; Jonathan Skow, stylist; Wieden & Kennedy, Inc., agency.

This page: From an article on actor Mel Gibson in Vogue Hammes magazine. "Mel was very coordinated. Thank God!" Christian Ravera, art director; Jonathan Skow, stylist; Kim Carrillo, Celestine, grooming.

For an article titled, "This Boy's Life" for GO magazine. "This series was really important to me. It was a story that I'd wanted to shoot for a long time. I tried so hard to make it feel sentimental, funny and beautiful."

John Korpics, art director; Jim Moore, fashion editor; David Cox, Celestine, grooming.

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Left: Print ad campaign for Club Med. " I shot the whole campaign with a very free-form approach . I didn't have anything specific on my agenda apart from capturing a spirit." Michael Lee, art director; Jonathan Skow, stylist; David Cox, grooming; Messner Vetere Berger McNamee Schmetterer/Euro RSCG, agency.

This page: Print ads for Volvo. " We wanted to capture a quality of life and a sense of security with this campaign .

Art director Michael Lee was great to work with. It was my first car campaign and he was so supportive and relaxed." Jonathan Skow, stylist; Katherina Ehrhardt, Cloutier/Aveda, hair; Bethany, Celestine, makeup; Messner Vetere Berger McNamee Schmetterer/Euro RSCG, agency.

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This page: " The Art of Fashion" ad insert for Neiman Marcus in Harper's Bazaar. "Chrystelle was a chameleon! In the 24 pages she looks like 24 different people." Georgia Christensen, creative director; Jonathan Skow, stylist; Katherina Ehrhardt, Cloutier/Aveda, hair; Agostina, Celestine, makeup; Chrystelle, Elite, model.

Ad insert for Neiman Marcus featuring Nikolaj Hubbe. " A dancer shooting a dancer .. . What more can I say7 Very exciting!" Bob Robertson, art director; Jonathan Skow, stylist; Susan Houser, hair/makeup.

Right: Actress Alicia Silverstone for Rolling Stone magazine.

"Alicia is one of my favorite people to shoot. She doesn't hold back. She's not the type of girl that's so obsessed with how she looks that she can't have any fun." Fred Woodward, art director; Jonathan Skow, stylist; Jetty Stutzman, Cloutier, hair; Agostina, Celestine, makeup.

Actress Alicia Silverstone for US magazine. Richard Baker, art director; Jeffrey Hill, stylist; Katherina Ehrhardt, Cloutier/Aveda, hair; Kim Carrillo, Celestine, makeup.

One from a series of ads for SPA Nine West. Mike Toth, creative director/art director; Joanne Biron Reeves, designer; Jonathan Skow, stylist; Susan Houser, hair/makeup; Toth Design & Advertising, design firm/agency.

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BY MICHAEL KAPLAN

0

n the top floor of a tenement on Manhattan's Lower East Side, Andrea Ventura carries on a family tradition. The son of a package designer/illustrator,

he arrived in the United States nearly five years ago, with the intention of pursuing the only craft he knew: painting pictures. Ventura appears to be equally happy whether doing them for magazines, for personal commissions or for himself. As long as he can eke out a living with his work, the 27-year-old native of Milan, Italy, seems blithely contented.

Some of his images hang in the decent-sized, light-filled room out of which he works and lives. They are rough-hewn , stern-faced portraits of pianist Glenn Gould, actor Ralph Fiennes and dissident Russian poet Anna Akhmatova. Though the pieces originally ran as illustrations in the New Yorker and New York Times Book Review, none of them would appear out of place on the walls of nearby art galleries.

Ironically, however, he feels that the commercial implications of his work seem to disassociate him from his artsy surroundings. "Illustration's kind of a taboo in the world of painting," says the trim, neatly dressed Ventura. "When people see that you do illustration, they kind of feel that you are not a real artist. But if you want to be an illustrator, you have to know how to draw, and a lot of fine artists don't have that capacity. So maybe they like to use the excuse that illustration is not art. " Ventura cocks his head, then considers his statement before adding, "I don't think of myself as being an artist. Also, though, there is nothing dirty about what I do. " Only four years out of a one-year crash course at the School of Visual Arts, Ventura finds himself receiving steady illustration assignments from some of the toniest publications in town , including the previously mentioned tides. Things began progressing for Ventura as he neared completion of his studies at SVA. That was when a professor arranged for him to meet with a well-established representative of illustrators. "The rep liked my work, but she didn't think I was ready yet and suggested that I come back in a year," remembers Ventura, acknowledging that he is far too impatient of a person to spend twelve months cooling his heels at the drawing table. "So I started showing my stuff around. And a few weeks after finishing school, I got my first job at Time." Modest, practically to a fault, he averts his eyes and insists, "I was very lucky. " Presenting Ventura with an overnight deadline, the Time art director handed him a rough sketch for a drawing that would illustrate an article about Russia's influence

Right: Cover for Interstate by Stephen Dixon, a novel about a man who went crazy after his daughter was killed on a highway. Raquel Yaramillo, art director/designer; Henry Holt and Company, Inc., client. 24 x 30; acrylic and charcoal on paper.

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on China. "I used a photo of Sitting Bull, made his face kind of Asian looking, and put him alongside a portrait of Yeltsin," Ventura remembers, adding that the job was a success and has since led to larger, more challenging assignments from the newsweekly. By nature, in fact, he is a perfect illustrator for the art director of any publication with intensely tight deadlines.

"I like co do everything right away. Varoom. If it doesn't come out that way, I am not happy. The faster the work goes, the happier I am. " Consistent with chat way of thinking, Ventura is not big on researching his subjects or mulling over concepts. His preferred modus operandi is to have as little background information as possible, lest he gum up his muse with unnecessary information. "I recently had to do a portrait of Vladimir Nabokov for the New York Times Book Review. I had heard the writer's name and I knew he was Russian, but that was about it. I had never even read anything by him. The art director sent me photographs of Nabokov, I did my work in a day or two , and handed in the illustration. "

a far wall-"and look at all fifteen or so of them. " Ventura prefers to draw on brown paper-"Actually anything but white paper, " he says- and he uses his favorite preliminary work as the basis for what will become a finished illustration.

The next stage employs the application of acrylic colors, more charcoal and colored pencils. "Sometimes, ifI like only a detail of one drawing, I'll cut it out and apply it to another, " he says, nodding to the Ralph Fiennes piece, in which the actor's mouth has been layered in from an earlier effort. "It creates interesting contrasts. " The finished pieces tend to be idiosyncratic and artful. Appearing to be built in layers, they have as much to do with what is going on in Ventura's head as they do with the subjects themselves. Sometimes the balance shifts dramatically toward the former. "When I did a New Yorker illustration about the movie

Living In Oblivion, the art director called to make sure that I had sent her the right picture, " Ventura recounts , explaining that he fiddled with perspectives so that a full-size actress appeared to be as short as an actor who played opposite her in

It wound up running on the Book Review's front cover and

the movie. "The actor's family was so excited to see him in the

inspired a Nabokov aficionado to buy the original illustration

New Yorker, that they asked to buy the picture from me. But

from Ventura. That the collector believed he had captured

then I received a call from the actress's husband, who's a Holly-

Nabokov's inner essence left the illustrator "feeling funny-

wood producer. He wanted to buy the painting as a gift for his

very happy but also surprised. Now chis guy has commissioned

wife. Since I'd already sold it, he asked me to copy it for him.

me to do a portrait of Vladimir Horowitz for him. He wrote

That was kind of boring to do, but I wanted the money. "

me a letter, telling me all about the personalities of Horowitz and Nabokov. He thought I needed all that information ."

Ventura appears a bit bemused by it all, as he adds, "I only have to look at the photo and like the face. Then I copy the expressions and invent my own compositions. "

The very fact that subjects frequently buy paintings from an artist who knows nothing about them beyond their facial appearances-Ventura sells off half of the originals he producesspeaks volumes about his talent. While he plans to continue to do portraiture, he also expresses an interest in working on more

Assignments always begin the same way: an art director messen-

conceptual projects. But, then again, even the most bare-boned

gers a batch of movie stills, publicity photos or previously

of the illustrator's portraits tends to be inadvertently shot through

published reference graphics. The illustrator then lays all of

with his own ideas and opinions. "I try to invent situations

the images out on the floor of his room. He inspects the facial

[about the subjects], " he says. "After the New Yorker published

structure, the nuances, the clues to character. He likes to smoke

my illustration about an American Jewish Theater production

hand-rolled cigarettes and pace as he does this. Then he gets

called Shabbatai, the playwright called to say chat my [ren-

rid of all the photos except for one. Having zeroed in on what

dering] looked better than the play. " Ventura smiles, then

will inspire his illustration, Ventura tacks it to the wall near

concludes, "I just used their photos to create my own story." •

where he works, enjoys another smoke and paces some more.

Then he sits down at his drawing table, where a mirror is strategically placed so that he can look at himself as he creates.

"Working with charcoal, I begin to draw very fast, " Ventura explains. "You would not want to see me when I do it, that's how frantic it becomes. I do all kinds of shading, chiaroscuro [techniques], and smearing with a [water dipped] brush that melds everything together. Sometimes I use correction fluid for the eyes. Then I hang up every portrait"-he gestures toward 74

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Right: Unpublished CD cover for Sinead O'Connor. Isabella Finzi Contini, art director; La Voce Milano, client. 11 x 15; acrylic and charcoal on paper.

Spotlight portrait of the Bosnian Serb General Ratko Mladic. Kenneth Smith, art director; Time International, client. 35 x 42; charcoal and acrylic on paper.

Film review of Far Away So Close by Wim Wenders for the New Yorkers "Goings On About Town" section. Chris Curry, art director. 53 x 43; acrylic and charcoal on paper.

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This page: The New York Ttmes Book Review article on a new collection of stories by Vladimir Nabokov. Steve Heller, art director. 8 x 11; acrylic and charcoal on paper.

Portrait of Frank Lloyd Wright for an article on houses by Le Corbusier, Wright, Juhl, Roth and Seidler in the Italian architectural magazine Abitare. ltalo Lupi, art director. 26 x 33; acrylic and charcoal on paper.

Right: A review of the independent film Living in Oblivion for the

New Yorkers "Goings On About Town" section . Chris Curry, art director. 45 x 60; acrylic and charcoal on board.

Play review of The Black Rider for the New Yorkers "Goings on About Town" section. Chris Curry, art director. 32 x 56; acrylic and charcoal on board.

Article for the New York Ttmes Book Review on the correspondence between philosopher Hannah Arendt and writer Mary McCarthy.

Steve Heller, art director. 51 x 34; acrylic and charcoal on paper.

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Andrea Ventura Left: Personal painting, A Nice Cafe, was purchased by the New Yorker and used to illustrate an article. Chris Curry, art director. 41 x 46; acrylic and charcoal on paper.

Unpublished CD cover for Handel organ concert. Isabella Finzi Contini, art director; La Voce Milano, client. 32 x 28; charcoal and acrylic on paper.

Film review of The Oak by Romanian director Lucien Pintilly for the

New Yorker's "Goings On About Town" section . Chris Curry, art director. 39 x 14; acrylic and charcoal on paper.

This page: To illustrate a New Yorker article featuring the new book of former gang member Nathan McCall. Chris Curry, art director. 33 x 36; acrylic and charcoal on board.

Portrait of the author Graham Green for an article by Norman Sherry in Atlantic Monthly titled, "The God Haunted Adulterer, The Life of Graham Green." Robin Barnes, art director. 23 x 32; acrylic and charcoal on paper.

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BY NORE EN REI FuKUMORI

he renown surrounding Lucille Tenazas happened to coincide with her entry into the realm of graphic design. In

gained national recogni-

1980 she was a senior design student at the California College of Arcs and Crafts (CCAC) located in Oakland, California.

the International Paper

T

tion for her designs for Company. She spent three years in New York

I was in my first year of design at the school, and I remember being among the many design students and design faculty who attended the open critique for the senior poster competition.

The selected poster design was to promote the senior show held later chat spring.

The memory of that evening is clear because the discussion amongst the faculty centered on Lucille's work. She had submitted three posters for the critique rather than the expected single entry chat everyone else had delivered. Take note chat in 1980, the personal computer was not available and an Apple was still an apple. Each of her poster designs was outstanding and immaculately executed. The final decision came down to her design chat was an intriguing composition of type elements and text; the foundation of what has become a hallmark in her work.

The impression she made as a student is still remembered by her teacher-now friend and colleague-San Francisco designer Michael Vanderbyl. Vanderbyl, who is currently dean of design at CCAC, was part of a group of professionals who were instrumental in the development of the design program at CCAC in the early 1980s.

"Lucille's work has always exuded a lyrical and poetic quality. She was an amazing student not only for her sense of design but also her work ethic," Vanderbyl says. "For instance, on Tuesday I would discuss the development of a project with her and she would come back on Thursday with not only what we discussed,

before being coaxed into returning to the West Coast by Vanderbyl, who offered her a teaching position at CCAC in 1985. Lucille accepted the teaching post and at the same time established Tenazas Design in San Francisco.

An account of Lucille's work reveals an exploration chat began well before her studies of typography and formal design. Her work is a chronicle of an evolution and awareness for the multiplicity in the use of language. The layers of meaning of the word is now a predominant force in her work. The essential inspiration integrated into the dimensions of type, text and playful manipulation of elements- better seen, much less described-evokes a musical composition chat conjures a subliminal narrative.

As Lucille's experiences broadened, her reputation blossomed along with a client list chat includes: Champion Corporation, James River Corporation, Rizzoli International, National Endowment for the Arts and San Francisco's latest cultural landmark, The Center for the Arts at Yerba Buena Gardens. Her reputation continues to expand through numerous lecture engagements and exhibitions in the U.S. and in the international design communities.

"My early work did not investigate language as a vehicle to explore another dimension. I started to see words as objects with a

which was really good, but also a totally different design chat

Lucille Tenazas was design director for all projects shown and also

was far superior. Everything she produced was meticulously hand rendered; what people aren't aware of in her work today

provided the captions.

Buena Gardens. "This was a long-term project. When I was hired they were

is her incredible ability to draw."

Lucille went on to Cranbrook Academy of Art in Michigan, to further graduate studies which garnered an MFA degree. She then joined the New York Design office of Harmon Kemp, and 80

M A R c H

I Ap R I L

l

Right: Fold-out program for San Francisco's Center for the Arts at Verba

9 9 6

very clear about the mandate for the Center-to be a visual arts/performing arts center producing cutting-edge works from different cultural groups in San Francisco. I tried to do something that wasn't culture-specific. The square component of the logo takes on different cultural references depending on what is displayed." Lucille Tenazas/Todd Foreman, designers.

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

A R T S

81

Lucille Tenazas

physicality that can be held and touched and I seek to empower their meaning, " Terrazas explains.

"My expression lies in the meaning, form and content of the language. I'm interested in addressing the client's needs, but in ways that provoke the viewer to complete an unfinished idea that has been presented to them. This is one reason why my work has many layers."

Her sensitivity to words and language began in the Philippines in 1953· The second of six children, Lucille was speaking Tagalog, the native tongue of the Philippines, and studying the English language in school as a formal means of communication.

Terrazas says, "When I call home to my family in the Philippines, I speak Tagalog but in correspondence, I write in English; English is the norm for written communication. I developed a verbal fluency and later a mental affinity of being aware of the nuances and the

An account of Lucille's work reveals an exploration that began well before her studies oftypography and formal design. Her work is a chronicle of an evolution and awareness for the multiplicity in the use oflanguage.

subtle readings of English. But I often wonder at what point do I lose the identity for my home country."

A close look at the archipelago unveils a long history of cultural influences ranging from India to China to the surrounding Southeast Asian countries. Add

The emphasis on education and its importance as a building block in life is visible in her family. Lucille's mother was a history teacher in Manila and her father was a civil engineer. He was the eldest of eight siblings who took the responsibility of seeing to all of his brother's and sister's needs. He put his youngest sister, Lucille's aunt, through ten years of medical school. In Philippine culture, as in many cultures steeped in an unspoken tradition, the debt of gratitude can transcend generations.

"My aunt offered me a chance to come to the United States to further my studies. I got here by being accepted at CCAC and she took care of my needs. There were no conditions-this was her way of repaying my father, who passed away when I was sixteen. Originally I didn't want to leave my friends, family and a good job, but I've always believed that you meet opportunity halfway. You do a certain level of work and achievement and that puts you at a different level of opportunity. By putting yourself out there and moving in a direction, you open yourself up for things to happen. It's serendipitous."

When Lucille arrived in California, she already had a BFA degree and three years of design experience working at Bristol-Myers and Smith Kline

to this the roots of westernization that began three centuries ago with Spanish col-

onization, Catholicism and, since the Spanish American war in 1899, an American presence that brought education, MacArthur and democracy. Lucille's distinction is as a person who was keen on the layers of cultural markings, gifted with an artist's touch and ambition to test the boundaries. She is a reflection of what lies at the heart of the homeland.

"My work does not contain any of those cultural clues that say I'm from the Philippines. There are no physical representations 82

of my culture in my work since there is no need for it. But when people discover that I am Filipino, they may ask: 'What is it about my background that produces work like this?' If there's anything that indicates my background it's my affinity with a language, a work ethic prevalent in the culture and close family ties-together these gave me an opportunity. I believe that they have all contributed to where I am today."

M A R C H / A P R I L

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9 9 6

This page: Fold-out 'Save the Date' card for Center for the Arts at Verba Buena Gardens opening week festivities. "I was trying to simulate the look of a Chinese calendar for the days." Lucille Tenazas/Todd Foreman, designers.

Right: Center for the Arts at Verba Buena Gardens New Year's card. The word "peace" is shown in many different languages, including Tagalog, to reinforce the commitment that the Center was interested in showing different cultural events. Lucille Tenazas/Todd Foreman, designers.

Center for the Arts at Verba Buena Gardens note card. Lucille Tenazas/ Todd Foreman, designers.

Cover and spreads from a Center for the Arts development brochure produced a year before the Center opened. "The brochure talks about the site itself, this cultural mecca that will arise in downtown San Francisco. The die-cut is a metaphor to show what is missing-a hole which indicates the site which was just under development at the time and the need for funding to complete the project." Lucille Tenazas/Todd Foreman, designers.

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A R T S

83

Lucille Tenazas

Corporation. "I was working in the realm of pharmaceuticals and redefining what pharmaceutical design was. I exceeded

I came into design because of an a:sthetic interest," Tenazas asserts. ''I've always had a good hand at drawing, but part of

their expectations and my work was truly appreciated. It gave

me is also rational and methodical. I'm interested in solving

me self-confidence because I was able to let them see things in a different way. I realized that I could recreate the same

problems, but through a creative means and with an intuitive sense." Design is where art meets science, the field between as

effect anywhere I went."

her mentor Katherine McCoy says, '"desire and necessity'."

Her attendance at CCAC was a way of acclimating to the stan-

Lucille's life illustrates this balance between desire and necessity.

dards of design education and work in the U.S. "I had a friend

She has a thriving business with two assistants who use Macintosh

going to Cranbrook who encouraged me to show my work there. I was hesitant because I

computers and the latest in production technology. Lucille, however, maintains her craft by sketching, cutting and pasting

The whole idea ofauthorship is important. I try to instill in my students that you have to make your voice heard. I feel that ifyou are aware of who you are, then you can ultimately take on the identities and problems a client may pose yet not lose your own voice.

But during a visit to my aunt in

together her ideas. Her commitment to design is clear as she enters her eleventh year of teaching at CCAC, and by her

Michigan, I showed my CCAC

direct involvement with the local and national chapters of the

portfolio and based on that, I

AIGA. These responsibilities harmonize with family and her

was accepted into Cranbrook."

role as a mother to Max, Lucille and photographer husband Richard Barnes's two-year old son. Richard and Lucille often

had been rejected twice before.

Under the direction of Katherine and Michael McCoy, Cranbrook achieved a wide reputation in the 1980s. The

collaborate on projects. "We have a compatibility in a lot of the things we do that allows for close collaboration when called for," she explains.

underlying dynamic of the

"When I first came to the U.S., my interest in English was as a

design program attracted

form of verbal communication. My interest in the layers of

students who were seeking to

language has evolved over the last five years. Since I came to

explore the intellectual expres-

this understanding later in my career, it has affected my way of

sion of ideas through the process

teaching. The whole idea of authorship is important. I try to

of design. The look that people

instill in my students that you have to make your voice heard.

associate with the school during

I feel that if you are aware of who you are, then you can ulti-

this period has much to do

mately take on the identities and problems a client may pose

with the individuals and their

yet not lose your own voice.

analytical approach to design.

"Whether working for myself or for ochers, I've always seen

"Cranbrook was a more formal

opportunities to do something new. The secret is to answer the

continuation of my studies in

client's needs as well as satisfy my desire to further my own

California. We delved into design history and a critical way of

creative exploration." •

seeing things. At the time we were concerned with Swiss punk, California design, Wolfgang Weingart-people who were pushing Swiss formalism, but in a radical way that tested the

Right: Promotional poster for The Body, edited by William Ewing. The folded size was dictated by the size of the book, which is 6" x 8 1/2".

boundaries. Katherine and Michael were good at allowing

Lucille didn't want the poster to be mutilated by folding because the final product had to be small, so she chose a vertical format "showing frag-

these ideas to flourish. They helped foster a spirit and create a

ments of images from the book. I opted to use images that do not show

climate where students were encouraged to think about design

the face, precisely because the book is about the body." She also appro-

in unconventional ways. That is the lasting gift they gave us."

Lucille's interval at Cranbrook helped to channel her ideas about design, rather than formalizing a style. She is a designer whose history allows her to draw from a consciousness not reliant on patterns and cliches of historical or pop culture. Her resources come from a place that is both rational and emotional. The client provides the statement and Lucille creates the appropriate approach bringing an idea and message to life.

84

MARCH / APRIL

1996

priated the words which form the book's chapter titles, such as Probes, Prowess, Fragments and Metamorphosis, to establish more evocative relationships with the photographs. Lucille Tenazas/Todd Foreman, designers; various photographers; Chronicle Books, client.

Three spreads from the book Witness: Endangered Species of North

America, a follow-up to the book Here Today, by the same photographers.

"One is drawn to these photographs because they are beautiful and evocative, but the adjacent chart contains facts about why these species are endangered-this matrix of information throws you back to reality."

Lucille Tenazas/Todd Foreman, designers; Susan Middleton/David Littschwager, photographers; Chronicle Books, client.

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·-C 0 M M U N I C A T I 0 N

A R T S

85

I can recall an extraordinary )rof sio of iri ~ s i ass ousanil upon t ousa rf-ds of itrs s , a r bordering on a mass of yellow , a velvety blue -violet confronted with a pale , pale mauve, black Irises the color of sp i derwebs , white I rises with the sweet smell of Iris , I r i ses blue as a nocturnal storm , and

Japanese irises with long tongues.

neasiness, qualms, the certainty hencefor th of inflicting a rea l d eath wi th every te p , re mor e a t seeing tha t which

The greatest learning will once again give way to Lhc greate~l anxiet).

we ho ld to our breast , to our li ps, that which we most cheri sh , falter and succumb a t our own hand .

86

M A R C H / A P R I L

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9 9 6

Lucille Tenazas Left: Two spreads from the book Rearrangements: A Book of Flowers, featuring the photographs of San Francisco-based photographer Debra Heimerdinger with text by the French author Colette. Each page displays phrases choreographed around Heimerdinger's still life photos. " The way I arrived at interpreting the text and working with Debra's images, was to read out loud the passages by Colette. I created a mental picture of what these words looked like. I had to do something expressive of its emotion, like concrete poetry." Lucille Tenazas, designer; Chronicle Books, client.

This page: Postcard for the 1994 San Francisco Museum of Modern Art Design Lecture Series, " Sublime Subversives" which Lucille co-chaired . " The concept was to come up with an idea that subverts a conventional way of looking at things by showing the sky down and the ground up.

The field which is symbolized by the yellow square at the bottom of the piece is the area open to the viewer to complete the meaning of the word."

Lucille Tenazas/Tyler Wheeler, designers; Richard Barnes, photographer; SFMOMA and AIGA San Francisco, clients.

AIA lecture series postcard, " From Rome to Cyberspace. " " This was my

art

c I as t

response to two polarized ideas: a contemporary vision of cyberspace

a t o r

with a historical overlay of the architectural plan of the Campidoglio in Rome, designed by Michelangelo." Kelly Tokerud, designer; American

s s Ive

Institute of Architects/San Francisco, client.

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

A R T S

87

Lucille Tenazas

This page: University Art Museum/Pacific Film Archive calendar. This was a redesign of a calendar to follow through on an identity change within the Museum, showing that the two entities were of equal importance; the bimonthly calendar would alternately focus on an event from each venue. Tenazas kept the tabloid format and made the front page a pictorial essay showing highlights of the next two months.

This calendar emphasized the Pacific Film Archive which was showing Czech and Slovak films that had been banned during the Russian occupation. Lucille Tenazas/ Raul Cabra/Todd Foreman, designers; various photographers.

Call for entries poster for the San Francisco Embarcadero Waterfront Competition.

"The poster is two-sided; where the poetic and the pragmatic come together. While one side talks about the logistical information regarding the competition , the other strives to bring out an emotional response to the waterfront-what it meant to recover the waterfront from its former blighted state." Lucille Tenazas/Todd Foreman, designers; Simon Yuen, photographer; Center for Critical Architecture/2AES, clients.

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Right: Details keyboard product brochure. " I was drawn to the object itself, the engineering, the mechanics, the articulation of the parts. As a piece of design it was

KiluSm.ct.

well engineered. The typography is treated in a way to make it very kinetic. I wanted the flexibility of the product reflected in the design . Because I work so much with paper, I'm interested in creating three-dimensional qualities. I wanted to transcend

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what a typically two-dimensional piece is by bringing it to another level." Lucille

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San Francisco Is one of the world ' s most beautlful cities . It Is a city known for Its fln e -1ra lned bulldln l• cover lnl the hlll al dea , as we ll .. 1rand urban-s caled plannln l elements wh ich or1anlze 0 Develop a aet of ldeu whic h organize the waterfr on t zonethe city on a lar1er scale . "'· ,r..1...11, ••••••• t• • 11 ..,0 ...11• ,.,. the Embarca dero Bouleva rd and adjacent land and pier properties .

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88

M A R c H

I Ap RI L

I

9 9 6

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

A R T S

89

Weiss, Whitten, Stagliano

BY WARREN BERGER

t a time when many of the smaller creative-driven advertising agencies in America fear that they'll be abandoned by brands opting for consolidation at large "global" agencies, the partners at Weiss, Whitten, Stagliano don't seem particularly worried. In fact, this modest agency located in New York's Greenwich Village has seen its billings nearly double in the past year. And much of that new business has come from large, global marketers that are based overseas.

A

they had to ask a translator whether Mr. Armani liked it.)

shares that view about his agency's clients.

But what WWS lacks in size or multilin-

soul,'' he says, "so what we try to do is

gual fluency, it more than makes up for with its creative work- which utilizes

bring that soul to the surface. " WWS often does that in unexpected

elegant design and strong, simple con-

ways. Just as its clothing ads for Armani

cepts that transcend barriers of culture

don't show clothes, its campaign for Bass

and size. For example, one of the agency's

Ale steers clear of the usual beer advertis-

print ads for AIX Armani Exchange con-

ing images of partying and cavorting on

"These are brands and products with a

veyed the "back to basics" approach of the store with an image that didn't need This page: Almost all of Weiss, Whitten, Stagliano. Bottom row: Derek Jamison, Danielle Flagg, Laura Stamm, Rebecca Buckwald, Ailie Donald. Second row: Liz Roman, Henriette Lienke, Marty Weiss, Nat Whitten, Karen Wilder, Adam Stagliano. Third row: Troy Torrison, Edna Torres, Mary Ix, Paul Budd, Bill Balber, Graceann Bennett, Ben Whitten, Brian Rosen, Scott Lukas, Neil Cotton . Fourth row: Joe Pastore, Fred Pustay, Kimberly Berzack, Evelyn Fontanez, Steve Silvestri, Erika Kipreos, Jeff Greenberg, Louise Fischer (hair only), Todd Gallentine. Fifth row: Jeff Compton, Mark Mendelis, Howard Lenn, Scott Junk. Top: Marcelo Guidoli.

translation: the ads featured , simply, a Indeed, Weiss, Whitten, Stagliano's client roster reads like a "who's who" list of premiere European brands, including Guinness Stout, Bass Ale, Ferrari sports cars , Giorgio Armani clothing and Guerlain fragrances. This may seem a bit unusual for a New York agency with no foreign offices, and with three American-bred partners who speak only English. (When the partners presented their first campaign to Giorgio Armani,

picture of a nut and a bolt. Not all of the agency's work is quite that stark or minimalist, but all of it does have an understated style that appeals to the sensibility of WWS 's worldly clients.

"When a brand has a strong heritage and an identity, it doesn't need heavy-handed advertising,'' maintains Nat Whitten, who, along with Marty Weiss, serves as the agency's co-creative director. Weiss

The creative directors on all work shown were Marty Weiss and Nat Whitten; they also provided the captions .

Right: Outdoor ad for Guinness. "In an effort to bring new drinkers into the fold without disrupting Guinness Stout's extremely loyal following, we decided to romance the many unique qualities of the Guinness experience. New drinkers find it educational, and the loyalists can never talk too much about the magical qualities found in a pint of Guinness." Todd Gallentine, art director; Mark Mendelis, writer; Nadav Kander, photographer.

Direct response ad for the Nation. "Subscriptions for this left wing magazine increase during Republican administrations. So we used conservatives like Bob Dole to inflame the passions of their radical audience." Heward Jue, art director; Troy Torrison, writer.

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Print ad for Cole Haan . "Our job was to create a less provincial, more modern campaign which didn't abandon Cole Haan's sense of quality and

attention to detail. We featured collectors who comb the world searching for objects of charco ~ acter." Danielle Flagg, art director; Jennifer @ Sandbank, writer; Geof Kern, photographer. ~

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Weiss, Whitten, Stagliano

the beach ; instead, the campaign features portraits of intellectuals like Nietzsche and Kafka, positioning Bass as rhe thinking man's beer. One isn't likely to find many brewers taking that high a road, which is fine with the agency. ''Aside from just having a nice design and witty tone, we want our ads to stand out in their categories," explains Whitten.

Weiss and Whitten could both be described as advertising purists, part of a breed of throwback ad men who favor crafted copy and preci se de ign over brashness or trendiness, and who sweat the executional detai ls. Though they share this unifying princi ple, the two are in some ways an odd couple. Marty, 41, is tall, dark and square-jawed, with a somewhat reserved mann er and a knack for perfectionism. Nat, 35, who ports a scruffy beard, is a onetime rock ' n' roll band member who is a bit more casual and freewheeling in his speech and his ways. In fact, th e pair admit their differences caused some uneasy moments when they first partnered-up about six years ago. Bur as Whitten states, "We discovered our di ss imilarities actually had a positive effect on our creative output. " Adds Weiss, "We use it as a checks and balances system to make the work better."

They started Weiss, Whitten after working together at the same agency, Chiat/ Day, though their paths leading to Chiat and their experiences at that storied agency were very different. Nat had no advertising experience before joining Chiat in 1984, having come to New York from Pennsylvania to pursue a dream of making it in the music business. He played in various bands and worked as a reporter and screenwriter before reading an article about Chiat/Day in Fortune magazine. " 'uddenly, I realized there was a place where I could combine journalism, filmmaking, rock ' n' roll and creative writing and actually get paid for it," Nat recalls. So he started as a secre92

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tary and soon established himself as one of Chiat's rising stars as senior copywriter on the Reebok, NYNEX and Ricoh accounts.

Marty arrived at Chiat on a faster track.

He'd known he wanted to be in advertising since his high school days in Los Angeles , when he and a buddy with rhe same last name, Jeff Weiss, began dreaming of their own agency. A bit of misfortune helped the two Wei ses to realize that dream in 1976; they survived a serious car accident that landed Jeff in the hospital. Afterwards, feeling that they had a new lease on life-and knowing they had six month's disability insurance to fall back on- the two decided to quit their jobs at a local agency and started their own shop, called Weiss2.

The agency quickly became a small hot shop in L.A., known for its stylish ads for local companies.

By 1980, Marty decided it was rime to fly solo and came to New York. After working on some eye-catching campaigns for the Marschalk agency, Marty was hired

by Chiat/Day in 1987. Within a year, h e would emerge as one of the agency's biggest stars, thanks to a single ad campaign that became a phenomenon. Working with partner Robin Raj, Marty's "Human Cartoons" campaign for NYNEX Yellow Pages was a kind of "Charades" game played with TV viewers. In each spot, odd characters would appear onscreen and do puzzling things; then an appropos Yellow Pages listing would flash onscreen, serving as both the solution to the riddle and the funny punchline. A spot featuring an incompetent food server ended by showing the NYNEX listing for "Dumbwaiters, " while another, featuring uniformed soldiers playing air guitar, ended by flashing a listing for "Rock Drills. " The campaign changed Weiss's life. Shy and unassuming by nature, he was soon being courted by the advertising press .

)

MUSIC HAS THE POWER TO DO A LOT OF THINGS.

Left: Television commercial for Van Heusen Wrinkle-Free. " First we came up with the tag· line. Then the visuals fell right into place. When it came time to shoot the commercial, we wanted to demonstrate that the wrinkle-free process didn't make a shirt feel stiff as a board." " The Shirt That Irons Itself" :30 Music: Moody contemporary throughout .

(Open on extreme close-up of a white dress

music industry organization which helps fight AIDS, we avoided the typical scare tactics associated with public service advertising . Instead, we chose to disarm ou r audience with a bit of humor." " Earring " :30 Music: Loud and fast, from the band L7 .

shirt. As the camera moves over the fabric,

(Open on a preppy girl dressed in her best J .

the corner of an iron enters the frame, then

Crew outfit. It's time for her to accessorize, so

disappears. Camera continues its romance of the billowing fabric)

she puts on a simple black headband, then a strand of pearls. Finally, she's ready for her

Anncr. (VO) : After 97 years of creating the

earrings. But after putting one on, she pauses, a strange gleam in her eye. Cut to super)

finest shirts known to man ...

(Cut to the iron again and then down the

Super: Music has the power to do a lot of

sleeve)

things.

Anncr. (VO) : .. .Van Heusen recognized that

(Cut back to the girl, who opens her mouth to

there was still .. .

(Camera begins to pull back as the iron

reveal the earring is now pierced through her

continues over the shirt) Anncr. (VO) : ... one little improvement we could make.

(Camera pulls back to show the shirt lying on an ironing board. It's further revealed that the IT ALSO HAS THE POWER TO HELP.

This page: Television commercial for LIFEbeat. " To deliver the message that LIFEbeat is the

shirt is actually ironing itself) Anncr. (VO) : Presenting Van Heusen Wrinkle-

tongue) Super: It also has the power to help.

Super: LIFEbeat. The Music Industry Fights AIDS .

Super: Support. House. Treat. Feed. Counsel.

Inform .

Jeff Compton, art director; Laura Fegley, writer; Myra Paci, director; Ben Whitten , editor.

Free. The Shirt That Irons Itself.

(Cut to shirt hangtag, then wide shot of shirt ironing itself)

Catalog for METER . " The idea was to conceive,

Super: The Shirt That Irons Itself.

name, design and market a product that we

Marty Weiss/Todd Gallentine, art directors;

created ourselves. Since collecting fine art photography is becoming more popular, why

Nat Whitten/Mark Mendelis, writers; Jim Sonzero, director; Chad Sipkin, editor; HSI, production company.

not make it easier to see and collect new works? So we cr eated a photo gallery in catalog form ." Daniell e Flagg, designer; Marty Weiss, writer; Nadav Kander /Constance Hansen/Torkil Gudnason /Geof Kern/Andrea Gentl (cover)/others, photog raphers.

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One magazine even convinced him to pose for a naked photo with a strategically-placed NYNEX phone book, a stunt that has been a source of mild embarrassment for him ever since.

But Weiss wasn't looking for glory so much as the opportunity to continue to do good work, and that became increasingly difficult at Chiat/Day in the late '8os, as the New York office went through tremendous growth pains. By 1989, Weiss wanted out, as did Whitten. The two had shared very few assignments at Chiat, but had nevertheless grown to like and respect each other. They decided to set up shop in Marty's apartment, and initially took on a number of creative projects, including publishing a humor book and producing a fundraising video for a Holocaust museum. They also shot a quirky, hilarious film about themselves, narrated by their parents and featuring choice comments from Nat's psychotherapist and Marty's dry cleaner. The film was sent to Swatch, the watch company, which subsequently became the agency's first real client.

The following year, in 1990, the writer and art director decided to join forces with account manager Tom Carroll and account planner Adam Stagliano, who had their own agency. "We knew we needed to develop a strong business side in order to go beyond being just a little creative boutique," says Whitten. Carroll eventually left the agency, but Staglianowho had previously worked with the pre-

eminent American researcher Daniel Yankelovich-made account planning a core ingredient ofWWS's structure and approach. Adopting the classic planning methodology, the agency typically spends many hours living with target consumers trying to glean insights that can be applied to a creative strategy. In the case of Bass Ale, for example, Stagliano and team probed the hearts and souls of Bass drinkers , and gradually discovered a literary, artistic bent that became the essence of the campaign.

With Stagliano on board, the agency was able to strike an enviable balance between pure creativity and strategic smarts.

And that helped WWS to achieve steady growth through the early '9 0s , with clients such as Rolodex, Van Heusen and Aer Lingus coming on board. But the agency's biggest breakthrough came in 1995, when Guerlain, a Paris-based marketer of cosmetics and fragrances, turned over more than $50 million worth of busi-

more important than the number of offices an agency has. " While WWS is still one of "the little guys" in advertising, its recent growth brings a new level of respectability among larger potential clients. "I think some clients that would have dismissed us before will look at us differently, just because we've passed the $IOO million mark," Weiss claims. The goal for this 50-person agency now, Weiss says, is to attract one or two high-profile clients that will tap into their diversified resources, including WWS Design and WWS Interactive.

But if, and when, such additional growth does come, the partners insist they'll stay focused on what's really important. In the late '8os, Weiss says, the growth of ad agencies sometimes seemed to take precedence over the quality of the work. "Here, we're totally focused on the work," he says. "We're determined to keep raising the creative bar. " •

ness to WWS, who pitched the account as a joint venture with Paris-based agency Australie. The big win brought WWS 's total media billings to $II5 million.

That Guerlain would hand such a plum piece of global business to an agency like WWS was unusual , considering the recent trend that has seen IBM and other global clients consolidate their business at multinational agencies. "I suppose we are bucking that trend, " acknowledges Weiss. "Fortunately, some clients understand that the end product-the ads-is

This page: Truck design for Bass Ale. "Can a truck make you thirsty? We were asked to design the Bass Ale delivery trucks in a way that would inspire people to have a Bass. We couldn't think of a better way than to show the icon we had established in the advertising: the rich, amber pint." Mike Fiore, designer; Michael Mazzeo, photographer.

Right: Bus shelter for Bass Ale. "We received the ultimate compliment when pubs like the White Horse Tavern displayed these ads above their bars. In addition, thousands of framed copies of the ads were sold to consumers for $30 apiece. This one with Kafka ran during the Halloween season, the empty pint signifying a trick rather than a treat." Danielle Flagg, art director; Ernest Lupinacci/Nat Whitten, writers; Michael Mazzeo/stock, photographers.

Print ad for The Post House restaurant. "This ad's been running since 1992. Not bad in an age when clients change their minds every three weeks or so." Ellen Steinberg, art director; David Bromberg, writer; Mark Weiss, photographer.

Billboard for the New York Observer. "When some of the best journalists in New York are judging your work, it puts a little pressure on the copywriting department." Andrea D' Aquino, art director; David Bromberg, writer.

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1996

WHAT IS MAN'S GREATEST FEAR?

Horrify ing Vegetarians Since i980.

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Left: Print campaign for Apriori. "This campaign for a new line of clothing had to inspire consumers as well as open new doors with retailers. With tongue firmly planted in cheek, we took the assumptive approach that all designs in the world have in some way stolen their idea from a piece of Apriori clothing. We created twelve ads in this campaign . Other objects which 'borrowed' from Apriori included a waffle iron, a potato chip and a fly swatter." Ellen Steinberg, art director; Paula Dombrow, writer; Guzman, photographer.

This page: Print ad for Atomic Skis. "While most ads in this category feature extreme skiers flying through the air, we decided to present Atomic's credentials in a more relevant way. Since most of Atomic's designers grew up surrounded by the Austrian Alps, they seemed to be qualified to design skis." Heward Jue, art director; Troy Torri son, writer; Austrian Tourist Authority, photographs.

Print ad for Ferrari. "Unlike other marques, which devalue their sports cars with too much attitude, the only scream you should hear from ~ ~Swiss make watches The Germans make car5 And the French,,., known for pastry Here 1n Austr a. INf keep trying to make

~ the perfect turn No great shock when you cons•der that over 80% of Austria is covertd by mountains. So how did Atom ic

Ferrari is when you turn on the engine." Heward Jue, art director; Troy Torrison, writer; Gil Smith, photographer.

become the number one ski maker •n a country that makes more skis than any other? Atom1c's n.w ATC 3 skis may offer some clues Onceagan,we·vetakenourrace-drrventechno1ogyand1ncorporatedn1ntosk1sthatofferprec1se.h1gh-energyturnsm1llcond1t10ns on alt terrain Our new ext!fnal damper11ng module 1$ )USt the sort of breakthrough that comes from letting th~ !flt of tht world ma1c:e the steel 11nd the cars

J.... A

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1n Austria, we·re focused on making the important stuff 1111#• II 11' Ofll lt OOO.

The Ferrari 456 GT is, quite simply, the fastest four-seat production car in the world.

Not surprising when you consider Ferran has won more races than any other marque inh1Story OrthefactthateveryFerrari2+2producedsince1960hasbeenthefastestcar in its class. And now. with the 456GT, Ferrari engineers have created a new benchmark an automobile that in addit!On to astomshmg performance, offers four passengers an

.....,...

O&lttrse,ower 39111t·ftlor11ue

unrivaled degree of comfort This was accomplished with a computerized, self-levelling suspen~1on that adjusts to anydriv1ngcond1tion-deliveringexceptionalstabilityandprecisehandling-evenat

speeds ••ceed1ng 186 miles per hou< But anent1on paid to a speed-activated rear spoiler and weight-saving composites hasn't come at the expense of an interior that makes 1t one of the most elegant touring cars ever built That its Pm1nfarina design sets new standards in passenger comfort might well be e•pected from a new Ferrari 2+2 What can't be anticipated without driving the 456 GT, however, IS the level of driver involvement and reward that must be experienced to be appreciated. Something as unique to Ferrari as the caritself. Call 201.816 2686 for more information.

-

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Weiss, Whitten, Stagliano

This page: Print ad for Victorinox Swiss Army Knife. "Swiss Army Knives have helped conquer Mt. Everest and have been included on every NASA mission. So it stands to reason that these knives would make a great holiday gift since they have so many uses. Of course, there are hundreds more reasons to give a Swiss Army Knife, so maybe we'll do a sequel next year." Jeff Compton, art director; Howard Lenn, writer; Michael Mazzeo, photographer.

Outdoor poster for Harp Lager. "Since the Irish know a thing or two about beer, we wanted to get across that Harp was the authentic lager from Ireland. Sales have doubled in every market in which the advertising has run." Jeff Compton, art director; Laura Fegley, writer.

Right: Print ad for A IX Armani Exchange. "Once the concept of A IX had been introduced, the stores began to evolve and go beyond just jeans and T-shirts. We wanted to reveal more of the clothes as well as add copy that would crystallize Armani's philosophy about his designs." Andrea D'Aquino, art director; Nat Whitten, writer; Michel Compte, photographer.

Packaging for AIX Armani Exchange. "When Giorgio Armani hired us to launch his new line of stores, he wanted us to carry our advertising concept through to design and collateral materials. So we started by developing the logo for A IX Armani Exchange. We then created the packaging, signage and point of sale pieces for the stores." Marty Weiss/Danielle Flagg/ Alex Isley, designers.

Print ad for A IX Armani Exchange. "Mr. Armani envisioned A IX as a cross between an Army PX and a food market, where everything is stacked in bins and relatively self-service. We took this notion and created a fruit stand for his spring ad. Within six months after the first store opened, A IX

1.Loosens a tight jar of mango chutney 2. Scales a yellowfin 3.Screws training wheels on your kid's bike 4.Prles the pebble out of a boot S. Re -s titches a baseball glove 6 .Snlps the tip off a tube of super glue 7. Plcks the candied fruit out of the fruit cake S. Adjusts binding 9 . Removes a staple 10.Starts conversation at a cocktail party 11.Tlghtens a sink knob 12.Helps carry bags of groceries 13.Scrapes the clay out of a horse's hoof 14.lncreases tension on a storm door spring lS . Punches another belt hole 16.Cuts a swatch of fabric 17.Trlms off the basketball net after a victory 1S.Screws IMNLOV vanity plate onto car 19.Removes a splinter 20 .Sharpens blue pencil eyeliner 21. Pulls the O·ring off a scuba tank 22. Chops off a branch of holly 23.0pens the birthday card from your mother 24.Spreads brie over crackers 25.Gets that little ugly green th ing out of your teeth 26.Pops a balloon 27.Dlgs a clam 2S . Lets the air out of tires 29.Pinches loose bracelet links back together 30.0pens the latest mlcrobrew 31.Makes keys a little harder to lose 32 .Spllts your Prozac• in half 33.0pens a fresh bag of kitty litter 34.Snlps the tip off your client's cigar 35.Scrapes lichen off a rock 36. Plucks that stray eyebrow hair 37.Tightens a wobbly globe 3S.Changes the brake pads on ln·line s kates 39 .Strlps_telephone jack wires 40 . Unlocks a locket 41.Cleans the groove on a nine iron 42 . Uncorks a bottle of Cabernet 43 .Scratches the silver stuff off lottery tickets : 44.Tightens the brackets holding 29 volumes of Shakespeare 4S . Unwraps a new CD 46 . Make s a corn cob pipe 47. Crops vacation pictures 4S .Assembles the ergonomic wrist re st for a PC 49 .Prunes a tree SO . Tightens the Phillips head screws on dresser knobs Sl.Trlms your goatee S2 . Ejects the dis kette stuck In a disk drive S3.Pares a pear 54 . 0pens a can of refried beans SS . Breaks the seal on a good bottle of single malt Scotch S6.Repalrs eyeglasses S7.0pens a can of imported kippers SS .Slices a baguette S9.Splits a piece of chocolate in two 60 .Makes a paper s nowflake 61.Cuts a wedge of Swi ss cheese 62 . Tig htens a skate lace 63.Adjusts the blades on a fan 64.Cracks a tough nut 6S. Peels Florida 's finest ruby red 66 .Pushes back cuticles 67.Fastens the lock nuts on a stair-climber 6S.Cllps coupons out of Sunday paper 69 .Adjusts a radlo·controlled airplane 's throttle 70.Spllts open the box of a new espresso mach ine 71.Cuts bubble gum out of your hair 72 .Chlsel s a miniature ice sculpture 73. Attaches a new hook to a Nutcracker ornament 74. Cuts a slice of apple 75 .Repairs a ball mark on the green 76. Trim s a bouquet of wildflowers off a racquet 79.Trims a s tray thread SO .Gets batteries out of a blister pack Sl.Peels expired registration sticker from car window S2.Carves a potato stamp S3. Removes that scratchy shirt label S4 .Cleans the wax out of candle holders

SS . Makes a great gift

doubled its sales projections for the year." Marty Weiss, art director; Nat Whitten/Paula Dombrow, writers; Mark Weiss, photographer.

ftl VICTORINOX

THE ORIGINAL SWISS ARMY-KN IFE

WITH ONE EXCEPTION.

HAllPe A PROUD llllSH LAe•ll•

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The Olympic Image: The First 100 Years of Design-Part II

BY WEI YEW Part I ended with the I964 Tokyo Games, which set a precedent by producing a unified look for all promotional material. Part II traces the development ofthis important trend up to I994· he look begins with a theme: a motto inspired by the host nation's heritage or by its sense of what the Olympics mean to the nation. That theme is interpreted in a whole array of items: posters, stamps, souvenirs, pageantry, programs, tickets, venues, even mascots. Each of these conveys the message through

T

the language of color, shape and gesture.

"A Mexican Fiesta" was how Lance Wyman, designer of the 1966 Games, described their look, which fused Mexican color and culture with '6os Op Art style. The logo set the tone for the

to large black signage panels. The promotional material by Pierre Yves Pelletier and Georges Huel combined simplicity with individuality. Huel's official logo incorporated the Olympic rings , the shape of the stadium, the winner's podium, the letter 'M ' for Montreal and red for the Canadian Bag. Design Forum members Jon Jerde, Deborah Sussman and Paul Prejza describe the look of the 1984 Los Angeles Games as "festive federalism." Their "canvas" was enormous, so they were challenged to devise a unifying concept for 28 venues, airports, hotels and highways. The solution was what they term "a kit of parts," the principal elements of which were a palette of colors and a

parallel lines outward, creating an image of Mexico as an expanding center. The radiating Mexico '68 became the official poster.

language of iconography. This look was applied to everything from badges, uniforms and judges' benches to highway signs and landscaping. Scaffolding painted magenta and ornamented with simple forms signalled the approach to sports venues; highpeaked yellow tents supplied information. Painted sonotubes were used as colonnades to delineate avenues. Sussman writes : "The look touched everything . . . you walked on it, ate out of it,

Applications of this style ranged from postage stamps to massive sculptures, from film tides to plazas at the sport venues.

wore it ... No one needed language-everyone followed the magenta 'bread crumbs' to attend the Games. "

The design for the 1968 Winter Games in Grenoble was characterized by typical French Joie de vivre. Artist Jean Brian broke with a tradition of Olympic solemnity in his light-hearted official

The 1988 Calgary Winter Games were hosted by a city proud of its landscape and western heritage, which were reflected in

entire graphic system, incorporating parallel line typography and imagery from pre-Hispanic and folk art. An important kinetic application of the logotype was created by radiating its

poster, which depicts the five Olympic rings racing each other down a ski slope. In an original set of pictograms of athletes, the sense of motion inherent in the figures is amplified by rippling lines. This style was also incorporated into the

the design for the event. The palette was intended to represent the prairies, foothills and mountains that make up Calgary's topography. These Games were the first to use two official mascots, male and female. Hidy and Howdy were the perfect embodiment of western hospitality. The theme "Coming

medal designs.

The 1972 Games in Munich presented the first coordinated look to encompass all aspects of the event. Graphic designer Otl Aicher developed a set of pictograms to identify venues and sporting events, creating a universal language still in use today. Aicher was also responsible for the official Munich poster and companion pieces. He used a rich palette without reds, which created a light-hearted nonaggressive mood. The radiant spiral logo known as "the universe, " coupled with the O lympic rings, appeared on everything from tickets to souvenir merchandise. The poster program for sporting events made extensive use of polarized photographs. An impressive series of art posters by well-known artists such as Vasarely, Hundertwasser and d'Arcangelo was commissioned for the Games.

Editor's note: While every attempt was made to supply proper creative credit for the following projects, many names were not available. Our apologies to those involved .

Right, top row: 1968 Grenoble Games Poster by Jean Brian reproduced as a lapel pin . Wh ile the organizing committee was delighted with this design, they were uncertain about its possible reception elsewhere , so they distributed a second , more conventional poster with the nationa l and Olympic flags flying side by side.

Olympic medals from 1968 Grenoble Games featured official pictograms on the front and the official logo on the back .

Second row : One from a series of posters featuring specific events at t he 1968 Games in Mexico City.

This two-ton sculpture of the logotype, designed by Lance Wyman , w as placed at the entrance to the stadium .

Third row: " Knock-down" exhibit using sporting event pictograms.

The 1976 Games in Montreal adopted the pictograms of Otl Aicher, which were printed in white on red squares and applied 100

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A model in one of the souvenir dresses poses in front of an informa tion kiosk .

xmesJEUX OLYMPIOUES D'HIVER

[I]

6/1 8 Huier 1968

GRENOBLE F HANC ..

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The Olympic Image

Together in Calgary" was also reflected in the official logo, which combined Canada, Calgary and the Olympic rings into a snowflake emblem. An Arts Festival held in conjunction with the Games featured a tongue-in-cheek official poster of a four-man bobsled team seated in a pink ballet slipper.

The Seoul Games of 1988 were held against a backdrop of a 5,000-year-old history and culture. Painted columns crowned with colorful buttresses lined streets and venues. Decorated with a myriad of vibrant banners, the city resembled a festive marketplace. A series of fine art posters paid homage to this legacy.

The 1992 Winter Games at Albertville utilized a new series of pictograms rendered in whimsical brush strokes. The opening ceremonies featured innovative pageantry with choreography

by Philippe Decoufle and costumes by Philippe Guillote!. The message underlying these wonderful and somewhat bizarre proceedings was that the Games should focus on joy and play, rather than on the competition of superpowers.

In the Olympic city of Barcelona, where the visionary architecture of Gaudi co-exists with the bold paintings and sculptures of Miro, design is everything. From the classical broad stroke logo design by Josep Maria Trias, to the decorated obstacles in the equestrian events, to the creation of the most profitable mascot in the history of the Games, Javier Mariscal's Cobi, a unique modern look shaped the entire 1992 Barcelona Games. Famous Catalan artist Antoni Tapies and other figures of contemporary Spanish art such as Antonio Saura and Eduardo Chillida produced a selection of Olympic posters. The signage program included the design of 28 pictograms mimicking the brushstrokes of the official logo.

Nature and the Norwegian heritage were important elements in the look of the 1994 Lillehammer Winter Games. Its amazing series of pictograms inspired by prehistoric rock carvings are almost hieroglyphic in style and amusing in character. The official logo represented the shine of northern lights on blowing snow. The color palette chosen for the Games paired the

This page: Example from a poster series on art, designed by Allan d 'Arcangelo, U.S.A., for the 1972 Summer Games held in Munich .

Poster conveying the graphic elements of the 1972 Munich Games.

Right, top: Site identification and signage.

Second row: Poster featuring public transport to the venues.

One from a series of sporting event posters that utilized posterized photos.

Third row: Official Munich Games poster designed by Otl Aicher (1922- 1991 ).

Poster fo r t he 1972 Sapporo Games by Yusaku Kamekura, who also desi gned many of the 1964 Tokyo Games posters.

Far right: Welcome tower featuring the official logo of the 1972 Sapporo Games.

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Verkehrsnetz.

Wettkampfstatten Munchen und Regio Conduisant aux sites de competition Public Transport to th Competition Sites

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The Olympic Image blue of sky and the white of snow with the warm tones traditionally used in floral fo lk art. Two figures from a medieval Norwegian epic-Kristin and Hakon-were made mascots of the Games. Several poster series were commissioned. They too, captured the mystery and aura of the northern lights and the folk legends of Norway.

Although sporting events have always been the raison d'etre of the O lympic Games, the athletic exploits themselves are fleeting, and no photograph or book can quite recapture their feel.

The look of the Games, however, conveys something beyond mere physical achievement. It reflects our history, values, <esthetic sense and worldview-a testimony that is eternal. •

This page: As there was insufficient time, the Organizing Committee declined to hold a desi gn competition for the official 1976 Innsbruck Winter Games poster and commissioned Arthur Zeiger.

One from a series of " theme " posters for the 1976 Montreal Games .

Right top : One from a series of 21 posters for the 1976 Montreal Games.

A set of licensed souvenir cups .

Second row : Signage developed by a Montreal design team led by Georges Huel and Pierre-Yves Pelletier. Pictograms from the 1972 Munich Games were adopted.

Third row: The poster for the 1980 Games held in Moscow was designed

by F. Pegov and had a respectable print run of 120,000 copies .

Pictograms for the 1980 Moscow Games.

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The Olympic Image

This page: The front and back of the official medal for the 1980 Winter Games held in Lake Placid.

Robert Whitney's poster for the 1980 Lake Placid Winter Games.

Medal ceremony venue graphics for the 1984 Los Angeles Games used some of the elements of the "look" of the games conceived by the design team of Sussman Prejza & Co. in collaboration with the Jerde Partnership .

Examples of popular commemorative pins produced for both complimentary distribution and commercial sales.

Right: Monumental gateway at an athlete's residential village for the 1984 Los Angeles Games.

Olympic signature series poster designed by Ken Parkhurst.

Packaging for fast food products sold at the venues utilized the "Star in Motion " symbol created by Robert Miles Runyan & Associates .

A temporary fa~ade of the " look" covers the east end of the Los Angeles Memorial Coliseum.

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The Olympic Image

Far left: The official poster of the 1984 Sarajevo Winter Games was designed by Cedomir Kastovic and Kemal Hadzic.

Far left, below: Volunteer in official uniform during the 1984 Sarajevo Winter Games opening ceremonies.

Near left: Poster for an exhibition of professional hockey masks was part of the cultural celebration at the 1988 Calgary Winter Olympic Games.

Medals for the 1988 Calgary Winter Olympic Games had a Western flavor.

A Calgary Winter Game venue entry. The archway design theme, banners arranged on white scaffold, was designed by Justason lavender.

This page: One of the official posters for the 1988 Seoul Games.

Site identification and signage for the 1988 Seoul Games.

Prior to the 1988 Seoul Games, the Olympic torch was relayed for 22 days by 25,000 runners over 2,500 miles.

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Left: Official poster for the 1992 Albertville Winter Olympic Games.

One from a series of winter sporting events posters for the 1992 Albertville Winter Olympic Games.

Far left, bottom : Albertville Games identification signs at venue entrance.

Near left, bottom : Pictograms applied to directional signage for the 1992 Summer Games held in Barcelona .

This page: Poster from the Barcelona Olympic designers series sponsored by Telefonica Espana, S.A. Josep Pla-Narbona, designer.

The City of Barcelona transformed into an Olympic city. Streets were lined with banners of the official logo designed by Josep Maria Trias.

Example of the environmental graphics used at one of the Barcelona venues .

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The Olympic Image Right : Poster from the sporting events series for the 1994 Lillehammer Games.

Below: Commemorative stamps for the 1994 Lillehammer Games.

Lillehammer Games Merchandising items featuring official pictograms.

Directional signs utilizing official Lillehammer pictograms.

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THIS ISSUE OF ECO CONTINUES OUR FOCUS ON THE CONCEPT

ECOnnection: 2

BY DAN IMHOFF

OF SUSTAINABILITY AND HOW IT EXTENDS TO DESIGNERS. I TEND TO THINK HOLISTICALLY,

OT

From Designers to Optimizers

JUST ABOUT GRAPHIC DESIGN. IF I LIMIT MYSELF TO SPECIFYING THE BEST RECYCLED PAPER, BUT THE

GO HOME AND TRASH THE

For many years I have been developing a strong aversion to the word consumer. It carries with it a predatory tone-a dead-end feeling of wastefalness. CCOus'klm.er seems more human

PLANET, HOW MUCH EFFECT AM

and appropriate. So in thinking about Part 2 of our series on Sustainability, I mentioned

I REALLY HAV1NG? THE DECISIONS

to a friend that we '{1-eeded a new word to describe ourselves and our culture other than

I MAKE IN EVERY ASPECT OF MY

consumers. I suggested m~imia::~rn. She said, why not minimizers? After interviewing

LIFE AFFECT THE WHOLE. AFTER

Paul Hawken and William McDonough for this article, I settled on optimizers.

READING DAN'S ARTICLE, MANY WILL BE CONV1NCED, AND MANY INSPIRED TO ACTION.

Be well. ~ Eva Anderson, Editor

his exercise in buzzwords reminds me that the words we use to describe the process we're striving towards - design for the environment, sustainable design, ecologically intelligent design - often seem clumsy as well. They emphasize the rift between the business and natural environments, between the economy and ecosystems.

Although the words can be slippery, the ideas are ~ important and meaningful. = Because behind our rapidly ~ changing terminology, a great number of designers, chemists, engineers, farmers and others are in the trenches, working to incorporate ideas of sustainable design into mainstream business. Author Paul Hawken and architect William McDonough have emerged as two of the country's prominent thinkers and practitioners in the field.

Hawken and McDonough are often collaborators, and agree on a number of basic principles. Our economic systems - in which design plays an essential element - should not borrow from the future in order to subsidize today's standard of living. In their optimal world, waste is eliminated. Unprecedented levels of efficiency create a system where all organic materials return to

soil, and all synthetic products become "technical nutrients" in never-ending, closed loops of industrial reuse.

What does this mean for graphic design?

It could mean that inks are not reduced to sludge and then land-filled, but rather are designed to be easily removed from paper fibers, then sorted and reused,

= =

giving paper fibers a dozen times more longevity, since less chemicals and washing are needed in the deinking stages. Packages and products will function more as services than finished goods, continually reentering industrial or organic recycling loops. Software diskettes and packaging may be eliminated through electronic technology, while hardware will be leased, then returned to the original manufacturer for recycling. In short, we will be optimizing rather than exhausting, creating ways to make the most of sunlight, energy, local materials and most importantly, human ingenuity and labor.

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arly in the new year, I found Paul Hawken on a small houseboat, living among a floating community at the end of a pier in Sausalito, California. The former owner and co-founder of Smith and Hawken gardening company, and author of a number of books including The Ecology of Commerce, has changed his life from business ownership t9' one of writing and consulting. Hawken also serves as chairman of the newly-formed U.S. chapter of The Natural Step.

? How can The Natural Step help designers and others make environmentally informed business decisions? ! The Natural Step sets forth four principles that act as sort of a map and compass for companies or individuals in making business or policy decisions (see sidebar). Once educated on these principles, you have a way to assess how your actions relate to the sustainability of the environment and society. The system's conditions themselves are essentially non-negotiable. No advertisement or product will change them.

They are the principles that regulate the life of all cells, including our own. ? As I understand it, one of the main goals of the Natural Step is to turn our attention away from the minute scientific details of the environmental debate in order to focus on the broader issues. ! Definitely. For example, when you see a story on climate change, you are rarely told that 90% of the experts agree that it is a real concern. Instead, the media portrays the experts as having endless disputes about peripheral details like rate, effect, cost, etc. When citizens read that experts cannot agree, they understandably feel justified in not knowing what action to take or in not taking any action at all. But the version presented by the media is not true from a system's point of view. .Scientists are arguing about the rate and manner of environmental degradation, but what matters is the whole. And the conclusions about the whole are clear and simple.

Conditions for life on earth are deterio114

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method to analyze their actl based consensus on his p~~f;1 scientific community before all levels of society, particularlf Reader (Jan/Feb '96), Maryxoi..,.

1. Nature cannot stand a systernatit01 (minerals, oil, etc.); 2. Nature cannot withstand a 3. Nature cannot withstand a fertile land to desert); promote justice, because (e.g., the rainforests) for sh For information write: The TEL: (617) 227-1199 FAX: (617)

rating and .that rate of deterioration is speeding up. You don't really need to know what rate of emissions in pulp effluents is causing decline in the reproductive rate of the pinniped population, nor how high the oceans will rise due to a build-up of greenhouse gases. You need to direct yourself toward those activities that will reduce the impact we are having on living systems as a whole.

? You have been consulting with Monsanto and other large corporations in helping them integrate Natural Step programs within their organizations. Are they changing the approach to ecologjcal design? ! The next wave of ecological product design and manufacturing will come in the area of what I call "resource productivities." By this I mean that we will begin using 70% to 90% less energy and materials in the next economic revolution. The environmental and economic advantages are so great that you have the potential to eliminate the idea that the environment and the economy are opposed, and that we have to make compromises between the two to ensure there are jobs. In the area of resource productivity, the economy and ecology do converge. Major corporations are

embracing the idea that resource productivity is the best way to gain competitive advantage and dramatically decrease environmental impact.

? In The Ecology of Commerce you dedicated almost an entire chapter to how wasteful our design and manufacturing processes are. ! Today bringing a product to the marketplace requires fourteen polinds of waste for every pound contained in the finished product. Since approximately 80% of our products are thrown away within six to eight weeks, this means that 98% of the materials we use end up as waste within two months of production. Unfortunately, this is the present resource productivity report card for most U.S. companies. The flip side of the coin is that there is a huge opportunity for resource productivity that is unfathomed and unplumbed. In the future, we will be able to do 8 to 30 times more work for the same amount of materials and energy. And the real principle still waiting to be developed - and it represents the next revolution in economic theory- is that we can decrease costs while increasing the human labor input. We have to do this or we

will see increasing social breakdown.

? I heard that you were involved in the formation of the International Society for Ecologic~ Design. ! I proposed this nine months ago at a meeting on ecology and design in Esalen. In my travels around the country, I found that people who were taking up the environmental design mantle within their own professions were being marginalized. I felt we needed a mainstream organization with its own quarterly to provide a venue in which these ideas could be discussed.

N ot in just a single discipline and not with the same cast of characters who had been discussing this for years.

Because environmental design crosses disciplines. Farmers, chemists, engineers, architects, landscape ·architects and others all participate. ? Did you have a model for it?

! I was inspired by the International

Society of Ecologi,cal Economists, led by H erman Daly, Bob Costanza and Steve Viederman. It's the fastest growing

economic organization in the world, of which only 25 % are economists.

Anyway, I felt this design organization had to be broad-based, it had to be international and should be driven by a genuine sense of inquiry, discovery and innovation.

? Who eventually set it up then? ! A few of the organizers of the Esalen conference - Sim van der Ryn, Stewart Cowan,]. Baldwin - got excited by the idea, picked up the reins and changed the name slightly. They started the International Ecological Design Society and the result is a little more narrow than what I had in mind in terms of scope or internationality. I do support what they are doing but it's too early to tell whether it will provide the broad-based venue that I was hoping it might.

? What can designers do to improve the environmental performance in their studios? ! Perform an inventory of their studios, and make changes to the best degree they can. Unfortunately, there

al impacts over the com-

are many things which they can't change as individuals. But people can band together and form networks of customers who use a certain product such as a solvent which may be unhealthy for the environment. An association can write letters and approach producers and demand new types of products. By forming consortia like this, you use _a carrot and not a stick to stimulate change.

? Do you know ofany interesting developments in the area ofgraphic design? ! A European friend has developed a prototype for a new ink. The ink itself is polymerically encapsulated, in other words, the color is like a bead enveloped by a capsule and held in place with a bonding agent that comes off the paper at 13 0 degrees. The dye never touches the paper. When the item is no longer needed, that ink goes back into solution and is shipped back to the printer so it can be reused. And in this regard, the ink becomes a service. More interestingly, the paper can be truly recycled because there is no breaking up of the fiber by chemical bleaching so it can be reused 12 or 13 times more than in a conventional recycling system. To implement this type of system, you need the ink companies, the paper companies, the municipal recycling companies to work together on this issue to extend the life of fibers. hile Hawken has focused his flame on ideas and education, architect William McDonough has a pot on every burner. His design work ranges from products, to buildings, to cities. Over the phone from his office in Charlotte, South Carolina, McDonough told me that he was "personally establishing the pedagogy for a new industrial revolution based on ecological principles." His buildings are designed for maximum comfort without importing excessive energy.

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non-toxic materials and reusability.

In his spare time, he serves as Dean of Architecture at the University of Virginia.

? How do you educate students at the University of Virginia on these principles? ! I teach one course per year called Environmental Choices and it's a requirement for graduate students in the architecture program. I emphasize that design is the first signal of human intention, so we need to ask ourselves as designers, what do we want for ourselves? What do we want for future generations? The course'-pfovides ecological literacy for students, beginning with ethics, then branching into economics, energetics and resthetics (because as we know, it won't happen unless it's beautiful.)

In the ethics section, we emphasize religion, for example, the JudeoChristian concepts of dominion vs. stewardship. How can you have dominion over something you've killed? This leads naturally into Native American ideas about kinship. In general, we try to find out how humanity is meant to fill its rightful place in nature.

? What kind ofsystems thinking do you use in approaching your design work? ! I drafted the "Hanover Principles" for the 2000 World's Fair in Germany and these create a set of guidelines with respect to design. These are (and they're trademarked by the way) "Waste Equals Food," "Use Current Solar Income" and "Respect Diversity."

In the case of "Waste Equals Food," this means designing for closed loops in both the technical and the organic realms. Those products which are synthesized should not leave their worlds and be permitted to toxify the organic realm. They should become "technical nutrients" which are continually recycled and down cycled. Organic materials should return to soil safely, without the contamination of mutagens, carcinogens, endocrine disrupters or heavy metals.

? What kind ofsystems thinking do you use in approaching your design work? Your 116

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Design Tex upholstery uses free-range wool and raimie as well as a chemical dye process which produces no effiuent. What other innovations have you been working on? ! Interface Corporation has just introduced the option of leasing rather than selling carpets to customers. The cost is still the same, but under this new arrangement, office carpeting becomes more of a service than a product. When you're through with it, you call the company and it becomes a technical nutrient, ready to be recycled into a new product. In this way the company builds its assets rather than dumping its capital into holes in the ground. We have just started this service and there are already three leases in existence.

? How are you applying your design ideas to architecture? ! Another interesting thing we're working at is generic building types, meaning office buildings that can be later converted into housing. In this way, you could say we're respecting the element of diversity over time.

However, there are deeper operating principles at work. If people can live in a building, then the proportions are probably better, and so are the air flows, the amount of natural light and overall resthetics. So it will be a more human environment to work in as well. We need to respect the temporal diversity of buildings rather than designing toxic office boxes that become dead the minute the market changes. Right now we're designing the new GAP corporate offices in San Bruno, California. ? Do your ideas on energy efficient buildings draw from traditional designs? ! Much of our thinking on optimization calls back to traditional designs, using local materials and emphasizing natural energy flows to create maximum comfort without importing energythereby respecting diversity. You plug into the angles of the sun. Use local materials. Take advantage of shade trees. The stored sunlight of the day is dispersed at night and then the house is cooled down for the following day, like an old hacienda.

But there is a difference between then and now. And the era of brute force, where architects have forgotten about solar energy, is soon over. Today we can work with very sophisticated windows which create a source of transparent insulation. With super glazing, windows now can provide more insulation than walls. Here you have the new architecture, but one which is respectful of the traditional design ethos, only taking advantage of materials which our forefathers never had.

? Do you agree with the experts-often accused of being doomsayers- that the earth 1- environmental situation is critical? ! Yes, I consider the situation we're living in very dire. But there's something an associate of mine calls the McDonough Paradox, by which I mean that we doomsayers are working as hard as we can to prove ourselves wrong. So it's very easy to stand back and say "don't get too worked up, our problems aren't that bad." Those who are really concerned, ultimately want the other side to be right.

Suggested Reading "Cultivating Design Intelligence," Stuart Cowan, Whole "Earth Review, Spring 1995, pp. 44-47.

"The Natural Step," M ary Scott, Utne Reader, January/February 1996, pp. 26-28.

"Biorealism: Reading Nature's Blueprints," Robert Frenay, Audubon, September/October 1995.

"In Search of the Green Machine," Karrie J acobs, International Design, March/April 1995, p. 54.

CREDITS

Editor/Designer: EvA ANDERSO Contributing Writer: D A I MHOFF Recycled Paper donated 'by: VISio P APER, ALBUQUERQUE, NM

This newsletter is printed on Trailblazer~, 52 lb. Text, 100% kenaf tree-free paper.

(See the September/October 1994 and January/February 1995 issues of ECO for more details on kenaf and other tree-free papers.)

Exhibit s

The Exhibit section of CA regular issues]anuary!February, March/April, May/]une and September/October-features a selection of the latest and best work.

We're looking for new, outstanding, original work and want to show it to people worldwide, using the best reproduction techniques in the industry. Send samples of your most recent collateral, packaging, print ads, television and radio commercials, direct mail, shopping bags, CD covers, books, trade and museum exhibits 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 or your Federal Express number.

This page: Two trade ads for Treasure Island

by Hal Riney & Partners, San Francisco. "Every time you turn around, there's a huge new spectacular something or other opening in Las Vegas," said writer Joe Perry. "Given this incredibly competitive environment, our client, Mirage Resorts , wanted to elevate and sustain awareness of their Treasure Island Resort. The Mirage spared absolutely no expense in creating an authentic pirate theme, so we tried hard to duplicate that personality in the advertising. After exploring a bunch of things, we thought it would be cool if the ads looked more like old pirate notices than ads. That's how we landed on the parchment approach. We used existing visuals in the ads, so the parchment was a nice discovery because it's really flexible; it looks great with photography or illustration. When developing concepts, we sought a tone that would reflect the theme of the resort. Within milliseconds it occurred to us that surliness would work great. Since most Las Vegas resorts are into serious chest thumping, we thought we'd disarm our audience with a fun, self-deprecating approach. We were selling a good time, so we figured we should have some fun in the ads. " The campaign has strengthened Treasure Island's reputation in the resort and travel industry, successfully communicated its position as the World's Only Five Skull Resort and has an occupancy rate near 99%.

Terry Finley, art director; Sam Avery/Ruth Rosenfield, creative directors; Paul Franz-Moore, photographer; stock illust ration .

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Exhibit This page: Covers shaped like the acoustic guitar that gives the show its distinct sound, MTV's Unplugged documents the five years of Unplugged performances in a truly acoustic style.

The book was designed by MTV's OffAir Creative Design Department, New York, using uncoated recycled paper, exposed wire-o binding and letterpress labels which combine to give this book a raw, natural look and hand-made feel.

For the interior spreads, photography was pulled from existing archives or, in some cases, was replaced with video grabs.

Christopher A.O. , art director; Jeffrey Keyton, creative director; Charles Melcher, producer; Melcher Media, production company; MTV Books/Pocket Books/Melcher Media, publishers.

Right: Two spreads from Many Beginnings, One Singular Adventure: The Astra Merck Story. "This book, commissioned by Astra Merck Inc. and Andersen Consulting, describes specific milestones and activities that led to the creation of this new pharmaceutical company," said art director Charles Read, MJM Creative Services, Inc. "After conducting over roo interviews, writer Beth Kephart Sulit devised a two-part story: part one tells the official story; for part two , interview segments were edited and structured into chapters reflecting key business/building episodes (foundations, vision, communications, milestones, etc.) .

The designers developed a shifting linear grid that extends horizontally throughout and reflects the non-linear narrative. Small photos, graphics and illustrations provide visual interest and allow readers to enter the story anywhere. Video still frames are treated to convey their electronic origin and emphasize the information technology systems at the foundation of this company's success. Occasional full-page illustrations serve as "mileposts" that conveyin symbolic terms-the essential idea of each chapter. " John Mulvaney, designer; Steve Coan/Peter Olson/Michael Slack, photographers; Chris Gall/ Tom Curry/Nicholas Wilton, illustrators; Acme .

A Marketing and Design Group, design firm .

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Thelntertttlngthing1boutthlscompanylsthatitwas notcompelledtobenumberone; manyAstraMerck peoplehadalreadybeennumberoneasemployees ofMerck.NorwasAstraMercklnterestedlnbeatlng thlscompetltororthatcompelltor. Soafterawhlle,our se1rchfor1gatv1nlzlngstr1tegklntentgrtwfrustratlng.

Some rven wondered if the u.erclse was worth It. But out of one wry dJfflcult afternoon meeting came this tdea of revolutionizing the pharmaceutical Industry.

We began to SH that whit was rtally gatvanizing the people who had comt to Astra Merck was the deslrt to ultimatelychangethtlndustry. Thesepeoplewanted thepharmaceutlcallndustrytolookandactdlffertntly lnrespGnsetotheAstraMerckapproach.Once lhis whole ldea came Into play, a lot of other things fell In fa lrty qulcklybehlnd.

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Nurturr was my word. I remember some protestations people saying you can't nurture others at work, that nurture Is what mothers do with their children. And I --11111( said, 'Why can't we nurture7 What's wrong with 1hat7' The other phrase that was really lmpGrtant to me was rralizt Individual aspirations. We talked a lot aboutthls,abouttheglvtandtakeal'ldthetwo·way streetandthefactth1tAstr1Merckwou\donlybea ,,,,_ placepeoplewouldwanttojoinlf, lnthelrmlnd,they , - - got something back. It wu okay, we concluded, to have )... ourpeoplebehappy.

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:J Tome,thevlslonlngprocessmadealotofsense. lt i. playedakeyrolelndetermlnlngthedirMtionthecom· N pany would take, and how It would build Itself.

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Oneofthemostcontroverslalthlngsduringthevlslonlng processwasthtlncluslonofthewordfun. Therewas alotofanxletyaboutwhether,asabusinessandasa placeofwork,ltwasapproprlalfto thlnkaboutencour· aglngpeopletohavefun.

Then,oncewehadconcludedthatfunwasanappro· prlateelementtolnclude, wehadtoflgurtouthowto communlcatethatbothtoourparentslnsuchaway that they wouldn't think wt were terribly crazy, al'ld to other external folks that we deal with. Because when youshartthlsconceptoffunwlththosewhoartnotof Astr11Merck,youdotendtogetaqu lzzlcallook. Once uhaveanopportunltytoexptalntheconcept -to tlescrlbe how genuinely empowered people are bound tohavemorefunatthelrjobs - rverybodylhlnkslhat fun is terrific.

We spent a lot of time talking about the term pharma· ceutlcofsolutions,andhowltdlfferedfromtheterm h~althcarYsolutlons. Webaslcallyconc\udedthat ,

lfAstraMerckwasgolngtobeaconsultlngcompany sellingsoftwartandservlcesandldeas-thenltwould havetostructureitself1ccordlngly. lfltlnsteadenvl· sionedltselfasapharmaceutlcalcompany,thenithad torKognlzethatitsvatuewouldllelnthelicenseto 1hepa1entsandln its1bititytoprovldesolutions

c-'\ ar°';~!r~h:sa: ~l~;!~·enerry In the room as we debated

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no time to get comf()rt .1blc TheoriglnalbusinessplanwasbaslcaUyverytraditional. ltwasmoreorltssaskeletonputtogetherbythe Astra/Merck Affairs Group, which was part of USHH beforeWaynegotthere.TheplanmadeAslraMerck soul'ld like a miniature Merck-the same departments, thesamenames, thesameeverything.Andwhtnlread it,lsald,'No,theworldlschanging.ThlslsanoppGrtu· nity.' So I wrote Wayne a white paper that Indicated how lsawthlngsevolvlng,andWaynetookalookatltand said,'Let'sbulldonthis.'

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Theorlglnalfocusofmygroupwasmanufacturing al'lddistributlon,al'ldsolwashlrtdtobethemateriats mana1ementguy. But,then,becauselhaddeveloped PriloseC-asapharmaclstatMerckandhadsomechem· lstryandmanufacturlngexperlence,ElllottBergersug· gestedthatl takecareofthechemlstrymanufacturing forcontroldataforNOAs.lsald, 'Buddy,thatrtSPon~· bllity Is in your organization.' But he said, 'You know this stuffbetterthananybody.Whydon'tyoudothatr Solputaproposaltogetherthatsaldwecouldbe thesoup-10-nutsproductdrvek>pmentareatakJngcare ofeverythlngfromcllnicaloperatlonsthroughdrvelopment of the NOA. the t&ehno\ogy transfer to manufacturing, the manufacturing Itself, and the distribution . It was atrueend·IO·endsolution. That'swhatwesa\dwecould do,andthat'swhatwtdld.

Butthensomethingelsehapptned. Mattsuggested that we align our group 1 bit more with sales, so that we could pull the information bad: from the customers lntotheprocessandtaktholdofourtraderelations. furthermore , hesaidweshouldtakeOneCalland comblneltwithourprocesssowecouldcontlnuously lmproveoursupplychainmanagementbyllstening to the customers.

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Exhibit

This page: Magazine ads created for Goodwill of Maryland. "With store locations adjacent to Loyola College, Johns Hopkins University, University of Maryland and Towson State we felt there was a considerable market that Goodwill had never tried to reach ," said Cornerstone Advertising's creative director Erik Izo. "Everything at Goodwill is previously owned, so we created a life for each item that represented the kinds of things available, described who owned it and how it ended up at Goodwill. The campaign has developed a kind of a 'cult fo llowing.' Several stores have groups of loyal college students who frequently stop in to see what's available."

Michele Swanston, art director; Erik lzo/Bill Swanston, writers; Straight Shots Photography, photographer.

Right: New A&M Records identity materials.

"I began working on this project when I joined A&M in March of 1995,'' said Jeri Heiden, senior vice president creative services. "It was a wonderful process, made even more enjoyable by the vision and support of our CEO, Al Cafaro. " One thing that clearly sets A&M apart is the lot. Built by Charlie Chaplin for his movie studios in the 1920s, the site is near the corner of Sunset Boulevard and La Brea Avenue in Los Angeles. On the recommendation of historical preservationists, the buildings were painted and trimmed in muted colors that evoke the look of Los Angeles in the ' 20s. Those same colors were adopted for use on the new stationery, envelopes and packing labels. The company made the decision to return to the original A&M logo designed and drawn by Peter Whorf.

From a vintage, wide angle photo of the lot, a period engraving was commissioned. The result is an engraved, oval vignette integrating A&M 's past and future imperatives.

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One from a series of Lotus Notes magazine ads targeted to senior management/business by ad agency Hill, Holliday, Connors, Cosmopulos in Boston. The campaign demonstrates how Lotus is working today, by meeting and exceeding the unique computing needs of an endless array of high-profile, successful companies around the world.

This is an example of how Fireman's Fund uses Notes to increase productivity.

Simon Bowden, art dir ector; Christie Kelley, designer; Dan Balazs, writer; Fred Bertino, creative director; Mike Sheehan/Jamie Mambro, group creative directors; Edward Gajdel, photographer.

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Exhibit Romantics welcomed.

Cynics converted.

Left: Each year Canada Post Corporation publishes a book which includes one of every postage stamp issued in Canada that year. It was once again time to add value to the book to reflect the escalating price and redesign it to accommodate a changing stamp program. Canada Post was interested in developing a book that appeared to be less for the hobbyist and more of general interest to all Canadians. Toronto design firm Eskind Waddell had produced a number of stamp designs over the past few years.

The transfonnation could stan with a single ki. under any of Venice' 400 bridges. To get a brochure and jnformation on flights and tours to the place founded on romance, call

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Their knowledge about stamp design and production, plus their experience producing publications for large corporations, made them an ideal candidate to tackle the redesign of this collection. The book was resized to an almost square format to allow for long horizontal strips of stamps. The linear arrangements are often used to tell a story so it is important that the strips are not burst apart. The book is bilingual and the typographic arrangements allow each language to play off the other. The stories were changed from being a summary of the history to an explanation of what went into creating each stamp. The intent was to help the reader, especially the non-collector, understand stamp design.

Malcolm Waddell , designer; Louise Ellis/Leslie Elizabeth Ebbs, writers; Ian R. Baines, project coordinator; Maggie Cash / Gary Mansbridge/Eskind Waddell , production .

This page: One magazine ad for Alitalia Airlines, from a campaign by Ogilvy and Mather, New York. It's working. Reservation lines are flooded.

Kate Silverberg, writer; Craig Mannion, art director; Michael Ward / Eric Anderson, creative directors; stock photography (main shot )/ Brett Wills (border), photographers.

Magazine ad for Software Development Conference & Show Group, San Francisco. "Software Development is the acknowledged mecca for software developers," said writer Mike Yoffie. "Miller Freeman hired BigMouth

Advertising & Design to solidify that positioning and to create an image of confident leadership. Our goal was to create conference ads with a clean focus, a genuine personality and a pleasing visual style, to be leveraged through direct mail."

Todd Spina, art director; Mike Voffie/Todd Spina, creative direct ors.

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Left: Film spot created fo r Fossil by GS D &M ad agency in Austin, Texas. "Fossil's brand image is retro Americana,'' said art director Bryan Jessee .

"They needed a spot that would support this image all over the world and planned to run it in movie theaters. W h atever we came up with h ad to be cinematic, hip, retro and dialogue-free. W hy not entertain with a classic boy-meets-girl film, where a character shows us that Fossil watches are cool? And that, by extension, so are the people who wear them."

Germany and South Africa, the first countries to run the spo t, have shown positive sales gains.

"Doing Time" :60 SFX: Old Mississippi Delta blues throughout.

(Open on a bus rolling through the gates of a prison. Our hero gets off the bus and is led to the processing area, where an attractive female guard waits. The sexual tension is instant and obvious. He flirts with her as he turns in his sunglasses and wallet. She plays the ice princess. Finally he hands over his Fossil watch, pulling up the stem to stop the watch. She puts it into the box and gazes lustfully as he is led away. A long dissolve to a newspaper headline which reads "Innocent Man Released After Thirty Years in Prison ."

Cut to the same guard, now 30 years older, reading the paper. She gasps as a man's torso moves in front of her. We see a hand reach into the box, take the Fossil watch, push the stem in to start the watch ticking again. Cut to reveal our hero . He hasn't aged a day. He gives the guard a knowing look, then saunters off. Fade to black) Super: Some things are timeless. Fossil logo up.

Bryan Jessee, art director; Tim Hale, designer; Hillary Jordan, writer; Bryan Jessee/Hillary Jordan, creative directors; Guy Bommarito, executive creative director; Jeff Johnson, producer; Stephen Berkman, director; The End, production company.

Right: Namco's new Tekken game commercial directed by Gary Johns of Johns+Gorman Films. San Francisco agency, Darien & Kilburg, proposed a TV spot that would verify a truism in the game wars: the ultimate gaming system is worthless without the ultimate software. " Run to the PlayStation " :30 (Open on a young man running through a landscape composed of obsolete gaming systems. He eventually climbs a mountain and meets a wise man) Wise Man: (Pops open his Sony PlayStation) So, where is the game?

(The young man has forgotten it. The normally peaceful wise man flies into a rage, hits the young man with a stick and kicks him off the mountain . Cut to Tekken game play) Anncr. (VO) : What good is the ultimate gaming system, without the ultimate fighting game? Tekken for the Sony PlayStation.

Wise Man: And pick up a six-pack, you idiot!

David A. Wong , art director; Cordell Jeffries, writer; Robert Kilburg, creative director; Sylvia Kahn, executive producer; Lily Weingarten, producer; Michael Bartoli, editor; FilmCore, editorial company; Machine Head, music/sound design.

124

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ook up the word "start-up" in the dictionary, and that will give you a picture of the offices at Organic

Online, a quintessential multimedia gulch start-up

if ever there was one. Organic occupies the fifth floor of a

down-at-the-heels building that once housed San Francisco's police force, and now is equally divided between multimedia ventures, including Wired and HotWired and piecework Organic cullMns ....

power"' ... media.

Drawlne from our utemlft uperfence, w. .,,... rellable,ffexlble salullonttolhare and~ . . . .

garment sweatshops. Four-by-eight-foot pieces of paneling serve as ad hoc window shades that attempt to block the bright sun streaming in from a breathtaking view of downtown San Francisco. Hollow-core doors are used for table tops. Funky plywood storage panels sprout like pylons from the floor. A white board covered with a long list of office needs begins with "RAM cards, DAT drives, Desk Space." At ten in the morning, a pony-tailed, nose-ring sporting DJ, who also doubles as a Java programmer, spins the trance-like rhythms of rave music from two turntables. If the Web has a heartbeat, this is it, pulsing from the speakers in Organic's 4,000-square-foot loft. This is not your average design firm.

Organic began in November 1993 as a bright spark in the

This page: The Organic home page is designed to be simple, elegant and functional when viewed with any browser. Jonathan Nelson, Organic Online, creative director; Kevin Farnham, Organic Online/LMN Design, designers.

Right: Organic Online has augmented Clement Mok's design for Macromedia's Web site with a sophisticated randomizing script that showcases a different home page each time the site is accessed, giving the illusion of constantly evolving content. Essentially, Organic responded to a content question with an engineering answer.

Jonathan Nelson, creative director; Clement Mok designs, design .

"Working on the AIDS Ride site, Organic used its production infrastructure to support a nonprofit. This site was developed internally on a very low budget." Jonathan Nelson, creative director; Kevin Farnham, designer.

brain of founder Jonathan Nelson, who early recognized the potential of the World Wide Web. Perhaps too early.

For the first year, Nelson funded the company out of his own pocket and out of his own home. The first four employees were the founding partners, who along with Nelson included his brother Matthew, now chief production officer, Brian Behlendorf, a 22-year-old former Webmaster at HotWired and Cliff Skolnick, who brought seven years experience as a Sun Microsystems Internet engineer to the party.

"I saw the Web and it clicked," Nelson states. "It was so obvious. For me it wasn't a revelation. More like, 'Yes, here it is finally."' Within a few months, Organic was signing on its first few clients, risk-takers like the record company City of Tribes and publishers Conari Press Books. Lured by the low price of a few thousand dollars for a home page, they became Organic's first clients. For awhile, it looked like they might be Organic's only clients.

During the lean first year, Nelson traveled the country like an itinerant preacher, demonstrating the Web for anyone who would stop and listen. A prospecting trip to New York got him in the door of Messner Vetere Berger McNamee Schmetterer Euro RSCG, the agency that, among other things, handles MCI's television advertising. Thanks to a friendly account executive, Nelson was able to borrow a conference room, set up his Mac nci, his 14" monitor and one by one

130

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C 0 M M U N I C AT I 0 N

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corral creative directors as they walked past. The result was a collective "Thank you; we'll be in touch."

While agency execs were slower to understand the potential of the Web than Nelson would have liked, events were conspiring to put Organic at the center of a communications revolution that would be compared to the invention of television and movable type. First, Time magazine put the Internet on the cover. Suddenly corporate America began to get religion. And HotWired went live. Funded by advertisers in a business model that resembles traditional publishing in which advertising underwrites the bulk of production costs, HotWired became one of the seminal sites on the World Wide Web, and a test-bed for how publishers could make money on the Internet.

lines run in and out of the Organic offices. Eighty-five percent of the sites designed by Organic are served in-house.

Cliff Skolnick and Brian Behlendorf performed the R&D for Apache, a free, downloadable server software for the Web, which is the third most distributed server software in the world.

"These guys are making the Internet," says Geoff Katz, Organic's creative director. A combination of being able to provide high-bandwidth and control of the technology allows Organic to provide functionality over the Web that many design firms would hesitate to take on. Katz, the former director of interactive production at Foote Cone & Belding's San Francisco office, went full-time when Organic landed the McDonald's account in July. For awhile the 35year-old was the oldest person in the company.

Because HotWired was in the business of making an online magazine, not designing interactive advertisements for its sponsors, one of the first questions HotWired's potential advertisers asked was, "Who's going to make the advertising? " Suddenly, Organic Online had a reason to be. It didn't hurt that Nelson had an early relationship with

Wired before the first issue ever ran off a six-color press.

Or that by this time, Organic, which had left the Nelson bedroom, was now located one short flight of steps above the HotWired offices. If an agency marketer wanted to see the future of online advertising, he could simply take the stairs to Organic's new loft.

Nelson's early prospecting work began to pay off when Messner et al brought in four of the first twelve advertising underwriters of HotWired. Organic found itself at the top of the short list of production agencies that could design and program a home page. Of the dozen HotWired sponsors who created external sites, Organic was involved with half.

They created the first online site for Volvo, the first travel site for Club Med, as well as the sites for AT&T and MCI. The result has been explosive growth. Organic's staffing resembles the classic j-curve, ramping up from the original 4 partners to 29 employees, with plans to grow to 35 by the end of last year. Today, with several multinational corporations on board, including McDonald's, Levi's and RAI, the

Katz described the process of creating a typical Web site.

"We begin by addressing issues of functionality and creating an information architecture for the site. We present those ideas about metaphor, look and feel, and then sell down a creative direction. Once the project ramps up, the architecture gets storyboarded and approved on paper by the client. Then we go into production." Organic's engineers are involved in the process all along, attending meetings on an ongoing basis, but their work really begins once the project moves into the production phase.

The process is rigorous. Flow diagrams are created that chart the user's potential pathways through the site. Storyboards include, in addition to placed art files representing the look of the page, a list of user-navigational controls, potential hypertext links, as well as internal version control information. Created in QuarkXPress, the storyboards provide a template for the way in which the entire site works.

By creating an extensive paper trail, Organic can front-load the design process and save a great deal of trouble down the road. The precision of the process and the ability to visualize a Web site before it gets into electronic design and engineering phases is, according to Katz, "A revelation to the companies we work with."

In order to handle the sheer amount of work that was walking in the door, Nelson realized Organic would have to

national broadcast company of Italy, the going rate for the typical Web site as designed and programmed by Organic is now well over $100 , 000. And the 28-year-old Nelson does his demos with a PowerBook.

Organic's Partnership Between Technology and Design Organic brings a blend of design smarts and serious technological skills to the World Wide Web. Four Tr phone 132

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Right: "Form and function work perhaps most fluidly on the Advertising Age site. Organic's custom publishing tools and graphical templates allow the client to constantly update the content that resides on Organic's servers from a remote location." Jonathan Nelson/LMN Design, creative directors; Kevin Farnham, designer.

A project from the Organic Research and Development labs, Digital SOMA is a tool intended to foster community in the South Of Market area of San Francisco, commonly referred to as "Multimedia Gulch."

Kevin Farnham, creative director/designer.

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choose between becoming a design firm that could code simple pages in HTML or stake its future as a technology-driven company that could contribute to the essential functionality of the World Wide Web. "We are a company built around not what the Web was, or what the Web is, but what the Web will be," says Nelson.

The solution has been to focus on technology, while forging close ties to a cadre of free-lance artists and designers who work on a case-by-case basis. With only two graphic designers on staff on a full-time basis, Organic has learned how to bring freelancers on board.

"Usually we work very closely with designers, while educating them to the can and can't dos of the Web,''

Like the jeans we make, this site is mem to be an original. It's a tr¥i around many worlds, all on one globe. A tr¥ithn1 starts with you and never really ends. Explore and enjoy.

HOME

You con uso tlw l>bolad sr.phics above to explore tlw lotlwst reaclws of this site with only an imas• to so on. Or, you can scroll down and rnd ..U about it boli>ro you taka tlw la>p.

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Nelson says.

inner seam

It is not a simple process. "You talk [to] and you demonstrate to them until their eyes glaze over, " he continues.

"And then you stop for that day, and start again the next day and pick back up. We give them a written

T•ke 11 look from 1he huide at how w clo wtu1t we do.

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design manual that lists standards and file sizes. We dramatize what download times of different file sizes are.

In terms of navigation, all you can really do is demonstrate, and say 'This works and this doesn't' and hopefully it clicks. In terms of cesthetics, we're pretty rigorous, " says Nelson, whose background includes a degree in art history. "For every artist we use, we probably interview five to ten.

"There's a number of interesting facets to the challenge of design on the Web,'' Nelson explains. "Form and function must be implicit within a Web site. There are constraints in terms of interface design, file size, the brand image and, finally, there remains the question, 'is it attractive at the end of the day, is it .esthetically pleasing?' You are constantly being constrained by all of these factors. The clincher often comes when we say, ' OK, do something that's gorgeous , that has to be absolutely spot on in terms of navigation and brand image ... and by the way, it has to be 4K.' That's

Like the jeans we make, this site is mean! to be an original. It's a 1q:i around many vorlds, all on one globe. A tr¥i thnt starts with you and never really ends. Explore and enjoy.

HOME

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This page and right: Levi's Web site. Organic helped develop Levi's pages so that they would be fun, engaging and push the capabilities of the most advanced browsers. Geoff Katz/Robin Raj, Foote, Cone & Belding, creative directors; RGA Digital Studios (New York), design.

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inner seam T•k• • look from 111• in1id• ot how we do whot wo do.

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

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tlon Introduction to the Web- a beginner's path

when yo u see the blood pressure rising in the artist."

Nelson smiles ruefully. "It presents a pretty interesting challenge."

What makes one artist stand out from the crowd? A prior understanding of interactivity is, for Nelson, ''A plus, but not a given. I look for a clear vision, something that crystallizes in a style. I'm very interested in people who are willing to learn, put their ego aside and realize they don't know anything about this, and it is a two-way street."

to the Internet

Interactive design is a collegial, collaborative process, according to Nelson, that demands, "Someone who is willing to experiment, is

The Illlemet is a global network of computers that communic81e using a common language . When you connect to the MSN web site, you are connected to the IIlle met .

willing to go back to the drawing board again and again and still be true to their vision. It takes a combination of weirdness, selflessness and keeping the spine to protect a creative vision. Some people rise to the occasion and

It's similar to the inlern81ional telephone system -- no one owns or colllrols the whole thing, but ii is connected in a vey that makes ii work like one big network.

~f.f INTERNET

~LORER TIPS!

some people fall.

"The way our business works ," Nelson adds, "is modeled on the welding together of an ad agency, public relations firm, design firm, marketing and consulting firm. All are inextricably bound into what Organic is. A graphic artist needs to understand that at any given point in time they will deal with a client, with an account manager, a production manager, a code writer. All of whom are 'right.' And all of them might be saying different things. It is a rare breed of person who can synthesize this into something that at the end of the day they can tell those guys, here it is: "Small size, navigability, sheer beauty and brand image. " •

Thirty to forty million people have Illlemet access today. That includes you.

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Surfing Basics Web Sites

The Microsoft Network home page is intended for firsttime users. "We are assuming that the user knows just enough about the Web to get them to this page .

You can think ofthe World Wide Web as a big library on the Illlemet . Web "sites" are like the books in the library and web "pages• are like specific pages in the books . A collection of web pages is known as a web site . You start your journey through the web from a particular web site .

Once again, simple and elegant." Geoff Katz, creative director; Steve Tolleson Design, design; Gary Baseman, illustrator.

A "home page" is the starting point for a web site. It is something like the cover page or the Teble of Colllellls of a book.

~f.E INTERNET

""EXPLORER TIPS!

Each web page, including a web site's home page, has a unique address called a Universal Resource Loc81or (URL) . This page's address is "hltp:/lvvv.msn.comi\utorial/surfing1.htmL' A "browser" is a software tool that you use to look 81 web pages . You are using a browser right novto look 81 this page.

136

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IF A POST HOUSE CAN'T EDIT THEIR IDEAS, HOW CAN YOU EXPECT THEM TO EDIT YOURS?

http://www.photodisc.com

~ PHOTODISC™

"'--

The Computer is Not a Tool

BY WENDY RICHMOND

altered habits and perceptions that arise out of the existence of the car-the ground, in other words, of the automobile. " Think about the aura that surrounds the car: power, independence, prestige, freedom and sexiness. Didn't you get all fired up to drive cross-country after reading Jack Kerouac's

T

he computer is just a tool." I've heard this many times, and each time I hear it I worry a little bit more. This statement implies that we see the com-

town centers in favor of malls and Wal-Marts, and so on.

puter as an autonomous object that we can direct, one that we can choose to use or not use, embrace or reject.

As I read McLuhan's ideas, I exchanged the word "computer" for "automobile. " When we focus on a computer as a tool

That's like saying, ''A car is just a vehicle" and seeing a car as simply a means to get from one place to another. We know that a car is much more: it is a force that has shaped our

Street's programmed trading, the changing learning envi-

lives, our society, our world.

I don't own a car and I don't drive, and still I know that everything-the air I breathe, my choice of where to live, the food I eat, even my selfimage-has been affected if not governed by the existence

(as "figure"), we don't see the wired homes and offices, Wall ronments of children, the immediacy of information, the pressure to be computer-literate; in other words, the "ground"

To see a computer

as a tool is to suggest that it exists to carry out our intentions as we of the car. Even something as choose. I believe fundamental as our perception that this is a of distance (as in, "She lives about an hour from here.") is naive attitude. defined by the car. And that's Weare way nothing compared to the beyond the choice effects of the computer. Talk about a change in our percep- of whether or not tion of distance: because of to allow computthe computer, a person's phys- ers into ever)' ical location has become virtually inconsequential!

aspect ofour lives, Furthermore, we are beginjust as we are ning to picture speed not in beyond choosing terms of movement, but in whether or not to terms of bandwidth. make cars a part I've often thought of the car as analogous to the computer, ofour lives.

140

On the Road? And think about the effects of the car on our built environment: edge cities, the disappearance of small

that arises out of the existence of the computer.

The implications are powerful. If we focus on a modem, for example, as simply a tool for transmitting files , we do not see it as part of an infrastructure that supports telecommuting, which in turn has altered the definition of the "job" as we know it. And then we don't see it as a force which can change where we live and what we do for a living.

Marchand continues, "True perception, according to McLuhan, is the ability to hold both the figure and the ground in one's attention ... to perceive the total situation ...

One way of encouraging the awareness of the ground of a thing was to put it in a different ground-imagine a car in the nave of a church. " I continued to think about the analogy. Where would I put a computer that would be a different ground, that is, where would it be out of context? I tried picturing a computer in weird places: a church nave, as McLuhan did with the car, a remote mountain top , a baby's crib, a truck stop. After a while I had this eerie realization: I could not think of any place in which a computer, in one form or another, would be implausible. This "figure" has found its way into all "ground. " As I neared the end of the McLuhan biography, I decided to pick up another book, Does Technology Drive History? The Dilemma of Technological Determinism (edited by Merrit Roe Smith and Leo Marx, MIT Press, 1994). In his introduc-

and recently I read a relevant and enlightening piece in the biography of Marshall McLuhan (The Medium is the Messenger by Philip Marchand, 1989, Ticknor & Fields). McLuhan borrowed the artist's term "figure and ground" to address ideas about culture. Marchand states, "McLuhan believed that most people are trained not to look for the ground in any situation. They focus on one part and ignore the rest. With the motorcar, for example,

were the benefits of technology more evident than in auto-

they focus on the car itself, rarely perceiving the network of gas stations, highways, neon signs, parking lots, and

mobile advertisements ... auto makers let pass no opportunity to point to the latest technological features of their products

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tion, M.R. Smith describes the ways in which Americans in the 19th and 20th centuries have embraced the belief that technology means progress and that technology is the driving force in society. As Smith talks about the automobile, I see another aspect in the "ground" of the car: "Nowhere

and the advantages they would bring to buyers. 'Be modern,' the ad urged, 'Buy Chrysler!"' (Note that McLuhan's "ground" keeps growing: the car has added to the tremendous development of the advertising industry.)

Smith continues, "Being modern meant ... in this instance, ease of operation made possible by the latest advances in technology ... From the early 1900s onwards, advertising agencies sold the public on the idea that the latest advances in technology brought not only immediate personal gains but also social progress."

Does this sound familiar? With advertising comes persuasion and pressure to join in the progress, and nowhere is this more true than with computers. Even stronger than the advertising is the tremendous hype that threatens us with professional demise if we don't have a URL. I have seen designers rewrite their mission statement to become Web site developers before they had any experience with the medium, let alone question if they even liked designing for it.

To see a computer as a tool is to suggest that it exists to carry out our intentions as we choose. I believe that this is a

We obtain computers, and set up workstations. Our shades are drawn (to reduce reflection) with computers lined up in rows. The room is arranged for computers (i.e., tools), not for people. It is not a creative space and, when the screens are off, it could be mistaken as a computer lab or office for any other profession. The workspace does not encourage interaction with artifacts of the world; it's easier to copy and paste from the digital realm. It's as if there's a sign that says, "Only bits allowed; leave your atoms at the door." Do these conditions match our best sense of who we want to be? I think not. Instead, shouldn't our working and learning environments reflect our goals for creativity, diversity and communication? I prefer to discuss and even use the "figure" in a changing backdrop of "ground," from a beach to a kitchen to a modern dance studio.

The computer is not a tool, just as a car is not a vehicle.

I say this repeatedly because if we allow ourselves for a moment to see it as just a tool, we will ignore the ways in which it controls our lives. We will prove Thoreau right, when he wrote in Walden, "Men have become tools of their tools." •

na·ive attitude. We are way beyond the choice of whether or not to allow computers into every aspect of our lives, just as

© 1996 W. Richmond

we are beyond choosing whether or not to make cars a part of our lives. Instead, if we look at them in their "ground," as a myriad of pieces in an interconnected support system, we might be able to obtain a clearer picture of where we want to fit in the system.

Smith goes on to quote Langdon Winner, author of Auto-

nomous Technology (MIT Press, 1977). "We do not use technologies as much as live them," Winner argued. "Highly

~ommunication Art~ The Essential Creative Resource

developed complex technologies are tools without handles, or, at least, with handles of extremely remote access." The reason for this is that "men release powerful changes into the world with cavalier disregard for consequences; that they begin to 'use' apparatus technique and organization with no attention to the ways in which these 'tools' unexpectedly rearrange their lives."

In his book The Whale and the Reactor (University of Chicago Press, 1986), Winner gives us an optimistic direction to follow: "Faced with any proposal for a new technological system, citizens or their representatives [should] examine the social contract implied by building the system in a particular form. They [should] ask, How well do the proposed conditions match our best sense of who we are and what we want this society to be?"

Though he is speaking of a society, we can ask the same questions of our own small groups. What about the environments that we build for ourselves and our students?

http://www.commarts.com

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EPSON STYLUS PRO XL INK JET PRINTER

Hey , you know what color's supposed to look like. Whether it's primary, complementary, cobalt, magenta or moon glow verdigris.

Which is why you'll probably appreciate the dialed-in color of an EP ON ty lus Pro

L printer. 720 x 720 dpi of ey e-popping,

Photo Quality color. Ep on Color. If y ou'd like a sample of it, give us a call at 1-800-241-5373 x3200 (no y elling) , or ee us on the Web at http://www.epson. com. And get y ourself a printer with an eye for color alma t a good as y ours.

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•

~

'{~ POSTSCRIPT faW software From Adobe

YOU'VE GOT TO SEE IT IN

COLOR:

Adobe PageMaker 6.0

BY RICHARD KOMAN

0

ne can hardly talk about PageMaker™without talking about QuarkXPress™. They go together like two old enemies, kind of like Matthau and

Lemmon in Grumpy Old Men. What would Quark do if PageMaker suddenly went away? They'd have to compete against themselves and that wouldn't be a pretty sight.

Quark has in fact been competing against itself in recent

years. In the boxing ring of professional page layout, Quark has been the long-standing champion who long ago stopped training for bouts against the perennial challenger. PageMaker was the fallen hero of a bygone age; it defined the sport back then but it doesn't know when it's time to hang up the gloves.

PageMaker kept on training, but all for naught. Time after time, Quark stood in the ring, extended one fat arm and knocked PageMaker flat on its back.

lean, sleek and cheap-and a brand-new product engi-

Talk about complacent: Quark hasn't issued a major upgrade

neered for high-end users.

in, what, three years? They come out with EfiColor and some

As it is, PageMaker 6.o loads a whole bunch of new features onto an inefficient structure and the result is a huge program (full installation requires close to 40MB) that is increasingly less easy to use, still not up to the task of professional publishing and in danger of losing low-end users to word processing programs.

trapping improvements and then go back to skiing the Colorado slopes and sipping hot chocolate for the next year.

They're worse than complacent. With their absurd upgrade policies, such as charging registered users for a straight port of the program to the Power PC, they almost dare users to look elsewhere.

Then came Adobe. The big boys from Mountain View gobbled up tired old Aldus and reinvigorated PageMaker.

Adobe is the master at acquiring raw, untrained kids and turning them into prizefighters. They took a skinny module from the small town of Barneyscan and turned it into Photoshop, the Muhammed Ali of desktop publishing.

But they'd never taken on an over-the-hill, punch-drunk has-been like PageMaker before. Could they pull it off?

A crack team of software therapists, trainers and engineers worked night and day; the result is Adobe PageMaker 6.o.

Here's the bottom line. There are several new features in PageMaker that add a lot of value. Some of these, like the Table Editor, are valuable; others are not worth the effort.

But the thing it comes down to is this: The nuts and bolts of PageMaker are still PageMaker and it just doesn't seem adequate to the task of professional design and layout. In my opinion, if Adobe wants to compete with Quark at the high end (which I assume they do) they must throw out PageMaker's old metaphors and rebuild the program from the ground up. Perhaps they could have two products-a PageMaker-style low-end program for the newsletter set, 144

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PageMaker 6.o still relies on the previous version's plug-in system, which is much improved. While plug-ins were painful in PageMaker 5, they are quite zippy in the new version (at least on a Power Mac). But there's still something about having to rely on plug-ins to do something like drop caps which rubs me the wrong way. In practical terms they work pretty well; my only objection is that they don't offer many configuration options. For instance in the drop cap plug-in, you can specify the number of lines but you can't simply spec a type size and font. The Continued On plug-in automatically creates a line that is flush right with a horizontal rule above it. Customizing the results is a simple matter, but I'd like the options up front.

Speaking of plug-ins, here's a PageMaker hack that doesn't work nearly as well: support for Photoshop filters. It's a neat idea. Why go into Photoshop if you don't have to? The answer is simple: It sucks. On a Power Mac 7200 with PageMaker running in I2MBs of RAM, it took close to half a minute for PageMaker to load the extrude filter and another 45-60 seconds to actually apply. Add to that the fact that PageMaker's native image controls are quite anemic, and you'll happily stick to Photoshop for imaging work and PageMaker for layout.

~ornrnunication Art~ Magazine's Annual Juried Competition

You are invited to submit work to the largest and most eminent of juried competitions in graphic design and advertising:

Communication Arts magazine's 37TH Annual

~ommunication Arts

~esi~n Annual

Exhibition. The results

--~~~i-----------------

will be published in the November 1996 Design and December 1996 Advertising Annuals. Last year, less than 3% of the 26,615 submitted

entries were selected for inclusion in these two exclusive indexed annuals.

65,000 copies of the highly respected annuals

will be distributed worldwide, assuring important exposure for the creators of these outstanding projects. Work first printed, published or broadcast

No Hanging Fees No Acceptance Fees

Design Annual Categories These categories are judged by the design jury and will appear in the Design Annual, November 1996:

AudioNisual Packaging 5A 58

Single record, cassette, compact disc, video, software ($25> Series of 5A, limit of five C$40>

Packaging/Labeling 6A 68

Single package, label, shopping bag ($25) Series of 6A, limit of five C$40>

Identity 7A

78

Trademark (place the company name and nature of the business next to the mark for the jury's information) ($25> Corporate identity program (mark, signage, identity manual, packaging, vehicles, etc.) at least five, limit of ten C$40>

Letterhead SA 88

Letterhead/envelope/business card ($25> Company business-paper series (invoice, purchase order, label, envelope, letterhead, etc., from the same company) at least five, limit of ten <$40>

Company Literature 9A

9B

9C 90 9E 9F 9G 9H

91

Annual report (publicly traded companies) ($25> Institutional/ facilities/real estate booklet or brochure/annual reports for non-profit organizations ($25> Service booklet or brochure ($25l Product booklet or brochure ($25> Catalog: product C$25l Catalog: school ($25> Catalog: exhibition ($25> Miscellaneous company literature (announcement, invitation, greeting card, conference literature, etc.) ($25> Series of 9H , limit of five C$40>

Poster/Design 1 OA Poster (exhibition, institutional, cheater, gallery, ere.) C$25> 1 OB Series of 1 OA, limit of five C$40l

Books & Jackets

Consumer Newspaper Advertising

12A Book, entire unit ($25> 128 Book, cover or jacket C$25l 12C Textbook, entire unit ($25l 120 Textbook, cover or jacket ($25> 12E Children's book ($25> 12F Children's book, cover or jacker ($25> 12G Cover/jacket series, limit of five C$40>

2A

Self-Promotion 14A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($25) 148 Series of 14A, limit of five C$40> 14E Arc/design clubs, communication/ promotion ($25l 14F Series of 14E, limit of five ($40>

11 B Multi-page section of 11 A C$40l 11 C Newspaper (page or spread) ($25> 110 Mu lei-page section of 11 C C$40> 11 E Trade magazine (cover or page or two-page spread) ($25> 11 F Multi-page section of 11 E C$40> 11 G House organ/newsletter/association (cover or page or two-page spread) ($25> 11 H Multi-page section of 11 G C$40l

Trade/Institutional Advertising (Including business-to-business advertising appearing in consumer magazines and newspapers, and corporate-sponsored public service advertising)

3A 38

Single ad, any size, including spreads ($25> Campaign, limit of five C$40l

Poster/Advertising 4A

Outdoor, 24-sheet or larger, includes painted ($25> Series of 4A, limit of five C$40l Transit (bus, subway, shelter) ($25> Series of 4C, limit of five C$40> Point of purchase ($25> Series of 4E , limit of five C$40> All other advertising posters ($25> Series of 4G , limit of five ($40>

Public Service

48 4C 40 4E 4F 4G 4H

(Any work produced for a non-profit organization for the purpose of the public good, including zoos, museums, orchestras, ballet companies, etc. The creative element muse have been done as a donation or ac cost.)

13A Direct mail, data sheets, sales kics collateral materials, ere. ($25> 138 Series of 13A, limit of five C$40>

Broadcast Graphics 17A Movie ride, station or program ride, music video, etc., % videotape NTSC ($75> 178 Series of 17A, limit of three ($120) 11

18G Printed piece ($25> 18H Series of 18G, limit of five C$40>

Environmental Graphics (Please provide the name of the project and a brief explanacion-25 words or less-of its purpose) 19A Signage, interiors, archiceccural graphics, limit of ten slides C$40> 198 Display (trade show exhibit, point of purchase, etc.) limit of ten slides C$40l

Sales Promotion/Advertising

Self-Promotion 14C Printed promotion for ad agencies, arc directors, copywriters, suppliers ($25) 140 Series of 14C, limit of five C$40> 14G Advertising clubs, communication/ promotion ($25> 14H Series of 14G, limit of five C$40>

Television Advertising 11

Miscellaneous 20A Greeting card/birch announcement/ invitation (company announcements and invitations belong in 9H) ($25> 208 Series of 20A, limit of five C$40> 20C Calendar ($25> 200 Menu ($25> 20E Series of menus from che same restaurant, e.g., lunch, wine list, breakfast, etc., limit of five C$40> 20F Anything not covered in previous categories ($25> 20G Series of 20F, limit of five C$40>

•

Editorial 11 A Consumer magazine (cover or page or two-page spread) ($25>

28

Single ad, any size, including spreads ($25> Campaign, limit of five C$40>

Advertising Annual Categories These categories are judged by che advertising jury and will appear in che Advertising Annual, December 1996:

Consumer Magazine Advertising 1 A Single ad, any size, including 1B

spreads ($25> Campaign, limit of five ($40>

15A T devision commercial, 3,4 videotape NTSC ($75> 158 Series of 15A, limit of three ($120)

Radio Advertising 16A Radio commercial, standard audio cassette <$75> 168 Series of 16A, limit of three ($120)

Public Service (Any work produced for a non-profit organization for the purpose of the public good, including zoos, museums, orchestras, ballet companies, ere. The creative element muse have been done as a donation or at cost.)

18A Magazine ad ($25> 188 Series of 18A, limit of five C$40> 18C Newspaper ad ($25> 180 Series of 18C, limit of five C$40> 18E Poster ($25> 18F Series of 18E, limit of five C$40> 181 Television commercial C$75> 18J Series of 181, limit of three ($120) 18K Radio commercial C$75> 18L Series of 18K, limit of three ($120)

Eligibility All work muse have been primed, published or aired for che first rime between June 23, 1995 and June 22, 1996. Publication means an ad appeared in a form of mass media exposed co a substantial audience. Entries may originate from any country, bur we need an English translation for che jurors. Submission of entries acknowledges the right of Communication Arts ro use chem for publication and exhibition.

A Form Design & Advertising 37 THIS FORM AND THE FEE MUST ACCOMPANY 1996 ENTRIES TO COMMUNICATION ARTS , 410 SHERMAN AVE. , PALO ALTO, CA 94306 USA EMAIL ADDRESS

NAME

FAX

PHONE

Preparation of Audio/Visual Entries Television commercials must be on %" videotape cassettes NTSC. Include IO seconds of black, no slates or bars. Single tape commercials must be on individual cassettes. If your commercial is accepted, please furnish us with 6 35mm color slides for reproduction in the Annual. Television commercial series should be edited together on one cassette with 4 seconds of black between each spot. Radio commercials should be submitted on standard audio cassettes. Single radio commercials muse be on individual audio cassettes.

Radio commercial series should be edited together on one cassette with 2 seconds of blank tape between each spot. Tape Form B to the outside of each video or audio cassette case.

COMPANY

ADDRESS

STATE/PROVINCE

CITY

CAMPAIGNS OR SERIES .

· · • · · • · . . . . . . . $40 CU.S.) EACH

SINGLE TV COMMERCIALS ...

· • · · · • · · · · $75 (U . S . ) EACH

TV COMMERCIAL SERIES. SINGLE RADIO COMMERCIALS.

Preparation of Print Entries Submit ad tearsheets or proofs, UNMOUNTED and trimmed as published.

Send annual reports, brochures, folders, books, catalogs, etc., in bound form. For posters over l8"x 24'~ packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS. (Slides are projected for the judges.)

ZIP

SINGLE ENTRIES . . ... . . . . . ... . . . . . . . . . . $25 cu . s.l EACH

$120 CU.S.) EACH

$ $

$120 CU.S . l EACH

$

NO RETURN OF ENTRIES CA

JD

USE

[ DATE PROCESSED

$ $

. . . . . $75 CU.S.) EACH

RADIO COMMERCIAL SERIES .

FOR

$

TOTAL FEE CHECK THIS BOX IF YOU INCLUDED A SELF-ADDRESSED STAMPED ENVELOPE TO ACK OWLEDGE RECEIPT OF YOUR ENTRY

Preparation of Packages Send entries in flat packages only, no mailing cubes (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: "Materials for Comest Entry. No Commercial Value."

No provision will be made by CA for U.S. Customs or airport pickup.

Entries should be sent by pose or international courier.

Forms and Entry Fees Form A (or a facsimile) and the entry fee muse accompany your package of entries. Please make checks or money orders payable to Communication Arts. Foreign concescancs muse send an Internacional Money Order or a check in U.S. funds drafted on a U.S. bank.

Tape Form B (or a facsimile) ro che back of each entry. If che entry is a campaign, rape Form B co each piece. If a piece is co be entered as a single entry as well as part of a campaign, a duplicate piece with its own Form B and entry fee muse be submicced.

Acknowledgment of Receipt of Entries If you wane to know if we received your entry, please enclose a scamped, self-addressed card or envelope in your package. As soon as we open your package, we will send the acknowledgment to you. For foreign acknowledgments, enclose a self-addressed envelope and $LOO (U.S. currency) postage with your entry fee.

Accepted Entries Only accepted entries will be notified on or before September 15, 1996.

Complete credits and any necessary material for che best possible reproduction in the Annuals will be requested at char rime. Award of Excellence certificates for firms, individuals and clients will be mailed in January 1997·

• If you have any ocher questions, call c415> 326-6040, 8:00 a.m.-5:00 p.m.

M-F Pacific rime, or fax c415> 326-1648.

• Please note: Illuscracion, Photography and Interactive Media categories are nor included. Work in these categories should be submicced co che Illuscracion Annual, Photography Annual, and Interactive Design Annual separate juried competitions published in July, August and September.

B Form Design & Advertising 37 TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

CATEGORY

FOR

SERIES

THIS IS

0 .

ONLY

FOR

CA

USE

OF

SUBMITTED BY

DESIG

FIRM OR AGENCY

B Form Design &Advertising 37 TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

CATEGORY

FOR

SERIES

THIS IS NO.

ONLY

FOR

CA

USE

OF

SUBMITTED BY

DESIGN FIRM OR AGENCY

(THE FORMS ABOVE MAY COPIED)

Mail entries to: (U.S. mail) Communication Arts 1996 Graphic Design and Advertising Competition P.O. Box 10300 Palo Alto, CA 94303 U.S.A.

Delivery Service: (Federal Express, UPS, etc.)

Communication Arts 1996 Graphic Design and Advertising Competition 410 Sherman Avenue Palo Alto, CA 94306 U.S.A.

JOURN L Q p CREATI VE EXCELLENCE

THE

Design Annual

Advertising Annual

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Juried by nine top design professionals and attracting entries from 20 countries, each year's Design Annual features 250 pages of the best work in posters, brochures, packaging, trademarks, corporate identity, annual reports, catalogs, letterheads and signage, and is fully indexed for reference. Every project is shown in full color and at the optimum size to truly communicate its purpose. Last year's Annual attracted more than 14,799 entries with only 253 selected for inclusion.

•

Juried by nine leading creative directors, art directors and writers, the Advertising Annual displays 250 pages of the best in consumer and institutional print ads along with posters, television and radio commercials.

Everything is reproduced in full color. You can actually read the fine print. The television and radio commercial scripts and a complete index are included for reference.

Last year's Annual attracted n,816 entries with only 307 selected for inclusion.

THE WORLD ' S LARGES T CO L LECT I ON OF" D I G I TAL I MAGES I S JUST PART OF" THE STORY .

WHAT COMPLETES THE PICTURE I S THE WAY WE RESEARCH , CATALOG AND ARRANGE SELECT I ONS JUST F"OR YOU , ON CD- ROM OR ONLINE .

Qjr C 0

R

B

S

MORE THAN IMAGES .

SOLUTIONS .

US : 800 -2 60 -0 444 UK : 44-171-278-1387

Another neat-sounding addition is the HTML Author plug-in for converting PageMaker documents to HTML (HyperText Markup Language) pages for publishing on the World Wide Web. The first sign that something is amiss is the manual's note that "PageMaker will convert a publication that contains non-HTML features such as multiple columns and independent graphics, but the results may not be satisfactory. For best results, design from the ground up with the limitations of HTML in mind." Good advice, but in that case why use PageMaker at all?

HTML Author converts PageMaker tags to HTML tags, lets you set links for hypertext, etc. Unfortunately it supports only the most basic of HTML text tags (not even all of those supported by the original Mosaic, now over three years old) and none of the new tags invented by Netscape Communications, which give Web pages something of the richness of desktop publishing documents.

Most egregious, the program doesn't let you include graphics, which is the most basic thing you would want to do on a Web page. This line from the manual says it all: ''After creating an HTML page in PageMaker, you may use another HTML authoring program to add graphics and other features not supported by the HTML Author plug-in."

Don't get me wrong. There are a lot of good things in PageMaker 6.o: It automatically recognizes spot colors from imported EPS graphics; it adds step-and-repeat functionality; precise pasting; the ability to use different master pages in a single document; there's a tables editor; support for Kodak color management systems; there's grouping and locking (finally!)-the list goes on.

But in the larger scheme of things, it's hard to say that any of this is a quantum leap over PageMaker 5, much less Quark 3.3. As the bell rings, ending another evening in the boxing arena, it's Quark once again. Stay tuned for PageMaker 7 vs.

Quark 3.4 in a year or so.•

nnectiorr Adobe PageMaker 6.0 Adobe Systems, Inc. 1585 Charleston Road P.O. Box 7900 Mountain View, California 94039 (800) 833-6687 System requirements : Macintosh computer with a 68030 processor; Apple system software version 7.1 or greater; 10 MB of RAM for application; or PowerMac with 12 MB of RAM for application, 20-40 MB of hard disk space. Suggested retail $895, upgrades $149.

150

M A R c H

I A p R I L

I

9 9 6

·1111

The Top-Rated Graphics Program Just Got Better.

"FreeHand 5.0 [is] our No.1 choice for illustration."

"If I had to recommend only one draw program, it would be FreeHand. "

- MacUser

- Macworld

"Version 5.0 is a winner in all respects. "

"The new features and improved speed make it ajoy to use."

- New Media

- Publish

"FreeHand 5 is a 7.4, Illustrator 5.5 is a 7.1."

- lnfoWorld Roting - MacWeek

Feel 111 Power DI Freellllll™5.5 For MKintosh.

FreeHand 5 was a smash with users and the media, who named it the toprated design and illustration program.

So what'sthe scoop on FreeHand 5.5?

Well, let's just say we outdid ourselves.

Thanks to powerful new features, you won't have to leave FreeHand each time you want to scan an image or apply filters to one. FreeHand 5.5 supports virtually any third-party Photoshop-compatible scanner or

filter, enabling you to use plug-ins like Kai's Power Tools and XAOS Paint Alchemy. You can even use Photoshop acquisition filters to import new file formats, such as Kodak Photo CD. With FreeHand 5.5, you'll be working faster than you ever imagined. It performs up to 25% faster than before. In fact, FreeHand 5.5 has been clocked at speeds up to 2 times faster than Illustrator 5.5 for common tasks in preview mode. FreeHand 5.5 enables you to import and edit Adobe Acrobat

documents, create anti-aliased bitmap graphics, and it ships with 500 fonts (TrueType and Type 1), 10,000 clip art images,and more.

To get all the news on FreeHand 5.5 or to order your own copy, call Macr?media. ~~C8Se A Because 1f you ~ ~~ want the best, ~ ~ you'd better get .!E 311!

1 FreeHand 5.5. ~ •

I

~D-32 http://www.macromedia.com/

MACROMEDIA Too/£ To Power Your Ideas

'Offers valid inthe U.S.and Canada only.Outside the U.S., Canada and Europe,c.ill 415-252-2!XXlor FAX us at 415-626-0554.ln Europe,call +44-1344-76111 1."Frtt with each single-user upgrade,competitive upgrade,or new product purchase."•free with each ~ngle-user new product purchase.Macromed~ and the Macrorned~ logo are registered trademarks of Macromed~. Inc. All other product names are reg~tered trademarks or trademarkl of their respective owners.© 1996 Macromedia, Inc.All rightsreserved.

Er,Cr-~ r'r,C~ o~ ~ ~ Lai ~

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[ SX -70 manipulat ion by Mi cha el Goin9 , Los An9 eles, CA }

[ Emulsion tranifer by Peter Da ze ley, London, En9 lan d }

For complete instructions on how to achieve these photographic effects, call Polaroid at 1-800-662-8337, ext. 746.

Polaroid

{ Pola Pan In sta nt 3 5 mm slide f ilm by Lars Topelmann , Portland, OR}

{ lma9e tranifer by Fran cois Robert, Chi ca90, IL}

Visit us at http://www.polaroid.com

Books

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Photoshop Artistry: A Master Class For Photographers And Artists

By Barry Haynes and Wendy Crumpler paperback, 232 pages, includes CD-ROM $49.99 Published by Sybex Inc. 2021 Challenger Drive Alameda, California 94501

A couple of years ago, you'd have been hard-pressed to find books about Adobe Photoshop.

In the flood of Photoshop books published since then, you're hard-pressed to find many that cater to the everyday production needs of the artist.

Artistry. No matter how deep

so subtle they'll give you a new

may want to take a look at

they plunge into the depths of the technology, they never lose

appreciation for the master's craft. Though you may never

HTML Web Publisher's Tool Kit by David Fox and Troy

sight of the goal: to produce

reach these heights, you will

Downing. Instructions run the

eye-popping, detailed color images that will reproduce well

come away with a greater sen-

gamut from the simple, but

sitivity to slight color casts-

incredibly useful, advice on

in print (there are chapters on

and know how to correct them.

how to copy other people's

duotones and grayscale images,

There's a useful introduction

HTML code using ·the "View

but the emphasis is on color).

to Photo CD images, and pho-

Source command in Netscape

The exquisite print reproduction of Haynes's own images,

tographers will appreciate the authors' adaptation of Ansel

Interface (CGI) scripting that enables a web document to

using the book's techniques,

Adams's Zone System, a method for analyzing and

run useful stand-alone pro-

confidence-in the authors, and

capturing on film the full

grams. That is, if you can code

in yourself-is reinforced every

tonal range of a scene, from

in UNIX. An introduction

time you take a low-contrast,

shadows to highlights.

explains how to connect to the

Haynes and Crumpler pro-

Internet and, once online, how

color-casted original from the CD-ROM and transform it, following the book's clearly written steps, into something that looks surprisingly close to

Crumpler have filled that gap

Haynes's version in the book.

Artistry, a "master class in a book" that's as accessible as it is informative.

tary nor obscure, the authors color correction and enhancement, masks and channels, compositing, layers, calibration and color separations-and

care to define terms, show and explain concepts in plain

154

graphical browsers.

the lack of chapter numbers is

Even if you don't plan to pen-

cumbersome at times, and it

etrate the mysteries of HTML anytime soon, HTML Web

Publisher's Tool Kit provides a

and Windows users, the book

accomplishment.

great deal of useful informa-

mation and power-user "secrets" course or workshop. But the authors don't mind if you skip around to flesh out your skills, though they ask that you read

expert after just one read-

examples, provide short-cuts

layout to press check. Although

they are rightly proud of their

first. You won't become an

the way. They've taken great

possible from a variety of

could use a good copyedit,

a couple of requisite chapters

hold your hand every step of

to wring the most functionality

selves, from photography to

Structured for the classroom

as you'll find in an advanced

take you through the thickets of

duced the entire book them-

or a self-taught course for Mac is packed with as much infor-

In a tone that's neither elemen-

to complex Common Gateway

attests to his mastery. And your

Barry Haynes and Wendy and then some with Photoshop

))

Photoshop Artistry fills a critical

tion, especially for designers

gap in color reproduction-

just beginning to create work

how to ensure that you'll get

for the Web. The basics of

what you want in print. Its

design on the Web are intelli-

careful, thoughtful presentation

gently, cogently discussed, with

of complex material makes you

designers exhorted to astound,

feel that these skilled authors

inform, entertain and define

are sitting by your side, light-

their target audience before

ing the way and boosting

they ever create a single GIF

your confidence. It may be

file. For those willing to take

through, of course; you'll have

the only Photoshop book

the plunge, the authors include

to learn through practice how

you'll ever need.

plenty of technical advice on

English. The accompanying

and when to apply these tech-PAT SOBERANIS

interlaced GIF images, making

CD-ROM contains the images

niques to the appropriate

featured in the chapters, so you

images. The book presents sev-

can replicate them using the

eral methods for correcting and

techniques in the book. They've

enhancing color, for instance,

even provided in-progress ver-

for cases when true white and

sions for comparison with your own, as well as versions with

black points exist and when

smaller file sizes for those with

two exposures of the same shot

less powerful systems.

results in the best of both in

Haynes and Crumpler bring

one image.

If you are really serious about

their years of teaching experi-

Some steps, such as lightening

creating your own Home Page

tant section of this book for

ence to bear in Photoshop

a shadow on a tree trunk, are

on the World Wide Web, you

those interested in designing

MARCH / APRIL

they don't, or when merging

996

clickable image maps, reducing the resolution of on-screen

HTML Web Publisher's Tool Kit

By David Fox and Troy Down ing 673 pages, paperback, includes CD-ROM $36.95 Publ ished by Wa ite Group Press 200 Tamai Plaza Corte Madera, California 94925

images and creating transparent backgrounds. Throughout, instructions are written in clear, jargon-free, easy to understand language. Examples of pages, special features and HTML code are included liberally.

Perhaps the single most impor-

OtherPAPERs THAT •

LOOK THIS

enszve

re.

Presenting Hammermill Bond/ Writing. The

The textures and colors say expen ive.

The price, happily, says something else.

Hammermill Bond/Writing costs up to 20% less than

available in matching text and cover weights. For once, you won't have to cut corners to cut costs.

For free samples and information on where to buy Hammermill paper, call 1-800-242-2148. INTERNATIONAL@PAPER

(as opposed to programming)

to recognize the difference

version creates pre-defined lay-

to the natural-media paint and

on the Web is a section titled

between a Riot Grrrl and a

outs that stream the production

image-editing program. New

"What Can I Do?" While

Goth, the book provides a

process. The tool kit includes

features include support for

the Web as a medium can be

style guide, complete with

three modules, a Commerce

QuickTime and Microsoft's

defined by the activity of read-

photos, to the various care-

Manager which creates a data-

Video for Windows, enabling

~

ing or looking at information,

gories of this subculture. And

base of products and user inter-

users to browse through digital

er;

the authors prove there is more

if you need to speak like one,

face specifications; a Commerce

video clips to select individual

0

to life on the Web (but not

there's a glossary of terms that

Engine which provides a

frames for editing. A page rota-

threatens to do to conventional

graphic viewer for publishing

tion tool allows users of pres-

text on screen. "What Can I

spelling (hacker is spelled haqr,

on the Internee or via CD-ROM;

sure-sensitive tablets to rotate

Do?" lists activities such as dis-

because it is kewl, dOOd)

and Commerce Exchange, an

the screen arc to accommodate

electronic transaction system

their natural drawing style.

that enables order processing.

And the unfortunately named

(D

~

~

(") (D

er;

much more) than staring at

secting a virtual frog (http://

what the Arab oil embargo did

george.lbl. gov/ITG .hm. pg.doc

to Detroit. Imagine an entire

sf dissect/info .html), convert-

book written by Prince and U

ing text to speech (http://www

get the idea.

_cios .cs. u rwente.nL/ say/ for mp

Targeted toward pre-teen wan-

osr/) and talking dirty to a

nabe haqrs, or their misguided

foul-mouthed troll in Bianca's

parents who might purchase

Smut Shack (http://bianca.com/

it, the Cyberpunk Handbook

"Image Hose" allows users to

iCAT at (206) 623-0977, fax

substitute a series of graphic

(206) 623-0477 or visit their

elements for traditional dabs of

Web site at www.icat.com.

paint. Even QuickTime movies can be "sprayed" through Image

Postscript interpreter

Hose. For more information, call (800) 297-coOL.

shack/index/html). Clever

reeks of attitude. And you

Design studios, advertising

designers who learn to read

know what that smells like.

agencies, color separators and

Windows

between the lines of code to

Attempting to celebrate cyber-

service bureaus now have a

Arrange-It software from Kodak

pore similar functionality to

culture, the authors, who write

seamless path from Quark and

allows Windows users to design

their own Web sites (and chose

with their cynical tongues

FreeHand to Photoshop.

menu-driven interactive presen-

of their clients) will be able

planted firmly in cheeks, can't

Epilogue software, from Total

cations that combine high

to create increasingly useful,

help mocking both it and the

Integration Incorporated,

resolution images with graphics,

allows Macintosh users to

sound and text. A simple point-

directly Raster Image Process

and-click interface enables users

interesting and interactive

reader's interest.

experiences for the millions

-S.M.

currently surfing the Web. -SAM McMILLAN

Cyberpunk Handbook

Tools

By St. Jude, R.U. Sirius and Bart Nagel 192 pages, paperback $9.95

Interactive suite The Interactive Catalog Corpo-

Published by Random House Electronic Publishing 201 E. 50th New York, New York 10022

156

For more information, call

ration has just released the iCAT Electronic Commerce Toolkit Version 2.0, a suite of

(RIP) any PoscScript and

to create branching structures,

Encapsulated PostScript file

sequence images and embed

into Adobe Photoshop. Users

audio clips. A preview function

can RIP Illustrator files with

lets users view their presenta-

placed, high resolution files

tion on screen, before they ship

and use QuarkXPress to do

them off as a script file for out-

high resolution photocompo-

put. More than 500 Kodak-

sition. The Adobe-certified

certified service bureaus, quick

PostScript interpreter allows

printers and photo labs around

users to translate all types of

the country are equipped to

PostScript and EPS files includ-

turn the user's script file and

Brought to you by the wacky

tools chat enables the creation

folks who cooked up Mondo

and delivery of customized

2000, the Cyberpunk Handbook

interactive catalogs via CD-

is a craven attempt to cash in

ROM or the Internet. A ready

on society's recent passion for

to use layout and navigation

all things digital including,

system is combined with a rela-

apparently, kids who shave

tional database and multimedia

Fractal Design's groundbreak-

their heads, dress in black and

capabilities to act as a blueprint

ing graphics tool that simulated

write UNIX kernels. The

for the electronic catalog. The

traditional artistic tools and

Handbook ostensibly explores

professional edition gives users

styles on a computer has been

this brave new world of the

total control over the look and

updated in Painter 3.0. Fifty

Windows users can now add

digerati. In case you need

feel of their catalogs; a lite

new features have been added

the impact of 3-D graphics to

MARCH / APRIL

I

9 9 6

ing QuarkXPress EPS files and FreeHand EPS files. For more information, call (708) 776-2377.

image files in to an in teraccive Photo CD Portfolio disc. The discs can be played back on Macintosh and Windows-compatible computers as well as on

Painter upgrade

a TV using Kodak PhotoCD, CD-I or Panasonic 3DO players. For more information, call (800) 235-6325.

Presentation Graphics

Broadcast Production

Illustration

Photography

Multimedia

It may have worked for ghrenologists, but nowadays we have better ways of finding creative talent.

"Big head. Lots of lumps and dents. Perfect, you're hired ." If only it were that easy to measure creative talent. Well , with Portfolio it is. Portfolio is staffed by experienced creatives who know how to evaluate talent. So you'll always get a qualified freelancer without taking the time to search for one. It's that simple. With Portfolio, the only tool you 'll need to find great freelance talent is a phone. Call for a brochure. Or if you need a freelancer right now, call the Portfolio location nearest you.

p © r t f o lin

E-mail address: in-box@portfolio.skill.com.World Wide Web address: www.portfolio.skill.com

Atlanta: 404-817-7000, Chicago: 312-739-9102, Detroit: 810-352-5552, Houston: 713-871-1974, Los Angeles: 310-581-1600, New York: 212-691-7800, San Diego: 619-452-5500, San Francisco: 415-391-8100, Washington DC: 202-293-5700

~

Publishing Web site

released in medium format for

Subscribers will receive weekly

ness communications with

Hasselblad cameras and in a 4

summaries of user activity and

Peachpit Press, which has carved

addDepth for Windows from

x 5 view camera format. Call

a detailed log of inquiries, cus-

out a successful niche publish-

their presentations and busi-

Ray Dream. Starting with

(612) 895-3205 or fax (612) 895-

tomer questions and comments.

ing a wide range of books that

their own original work or clip

3258 for more information.

For more information, contact

explore the combination of

CERFnet at (800) 876-23 73,

computers and graphic arts,

("D

art and illustrations, users can

Cl)

create 3-D graphics in minutes.

Plug-ins

Email sales@cerf.net or visit

0

now has its own Web site. In

addDepth Wizard fully auto-

Cytopia Software has released

their Web site at

addition to ordering their titles

mates the creation of 3-D

two sets of plug-in tools for

http://www.cerf.net/.

directly via the Internet, Web-

(')

graphics , enabling users to

Adobe Illustrator, along with

("D

choose from dozens of 3-D

PhotoLab, a suite of color

graphics templates. Users

manipulation tools for Photo-

simply enter text, select the

shop. CSI Socket Set Volume

design they want and

One enables users to select

addDepth Wizard automati-

text and object paths, individ-

cally applies the design style.

ually adjust CMYK color com-

For more information, call

ponents and organize and

(800) 846-om.

create plug-in sets. CSI Socket

~

~

Cl)

Set Volume Two includes scale-

catalog, view sample chapters

Two popular Macintosh

and tutorials, send messages

graphics applications from

and queries to authors and

Specular, TextureScape and

staff and engage in dialog with

Collage, are now available in

other interested readers in

deluxe CD-ROM editions. The

forums on desktop publish-

Specular TextureScape CD-ROM

ing, digital photography and

includes 750 tileable, editable

computer safety. For more

royalty-free textures and anima-

information, key in the URL:

tions. In addition to a browser

http://www.peachpit.com.

Data management

to-fit plug-ins, and align plug-

DataManager I.I from the CSS

ins that extend traditional

Group is designed to automate

alignment options. PhotoLab

job tracking and work flow

includes eight filters designed

chores for the prepress indus-

for professional photographers

try. The Macintosh-based tool

which provide precise control

creates an electronic job ticket

and manipulation of exposure,

sample animation files and a

along with a user-definable

contrast, color cast, negative

desktop texture installer. The

schedule for each incoming

inversal, infrared simulation

Specular Collage Deluxe CD-

job. DataManager automati-

and flexible noise generation

ROM contains more than 300MB

cally creates job folders, page

to evoke the grain of film. Call

of free digital stock photog-

folders and elements folders,

(800) 588-ocs1 or fax (415)

raphy, as well as actual Collage

and instantly calculates the

364-4592 for more information.

projects from digital artists. For

that enables users to preview textures and copy them to a hard drive, the CD-ROM includes extensive tips and techniques,

more information, call (415)

needed disk space required to

DTP and interactive courses The Center for Electronic Art in San Francisco offers a range of hands-on courses in desktop publishing, animation, Internet publishing and designing for interactive multimedia.

For more information, call (415) 512-9300 or Email info@cea.edu.

ensures jobs are moved to an

Web server subscriptions

archive or trash queue and adds

If you are thinking of provid-

recently archived files to a

ing World Wide Web sites for

Fractal Design and Artbeats

@d:tech.96, a trade show

Cumulus database. Call (800)

your clients, you might want

have combined forces to bring

devoted to keeping advertisers

448-8432 for more information.

to consider CERF n' WEB , a

out a CD-ROM called Sensa-

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new service from CERFnet,

tional Surfaces. Each of the

of the multimedia curve, will

Digital camera

which allows users to establish

five libraries (wood, paper,

take place June 17-19 in New

Dicomed's BigShot, the newest

Web sites without actually own-

stone, tiles and other surfaces)

Orleans. The conference is devoted to the convergence of

cameras, claims to deliver the

ing or maintaining expensive , computer servers. CERF n

contains twenty natural media textures. The CD-ROM is

technology and communi-

world's highest resolution

WEB offers a subscription to

designed for use with either

cations and offers advertising,

their own Web server for a

Fractal Design Painter or

marketing and design profes-

handle the job. An Aging Table

entrant in the field of digital

instant digital image capture

158

surfers can browse the Peachpit

CD-ROMS

536-0360 or fax (415) 536-0345.

Conferences

with a single 4096 X 4096

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sionals a multimedia, multi-

pixel image that yields a 48MB

monthly service charge. The

both Windows and Macintosh

platform showcase of emerging

file. The BigShot, which works

account includes an individual

operating systems. For more

technologies. For more information, call (800) 346-8372.

with strobe as well as continu-

address, that will appear as an

information, or to place orders

ous lighting sources, will be

independent site on the Web.

call (800) 297-COOL.

MARCH / APRIL

I 9 9 6

-S.M.

Creative Brats, Creative Adults & Creative Director BY ]ACK NEARY

W

hoever said, "No man is an island," obviously never worked as a creative director. Ever since

I became a creative director more than four years ago I have quietly realized ours is a suffocatingly lonely existence.

Ever since I spent three days at a forum in Newport, Rhode Island, with twenty other creative directors, I realize I am, well, not alone.

Led by this column's usual author, Tom Monahan, we explored the gamut of what it takes to survive in the creative director's job today. (I'm surprised it only lasted the weekend.)

While I cannot speak for the other participants, the pivotal moment for me was discovering what I suspect all creative directors already know: we do not know it all.

As Tom has already argued in this space, that's good as far as creativity goes because knowledge usually gets in the way of fresh thinking.

The trouble is, not knowing it all when the rest of the agency expects you to know it all leads to the aforementioned loneliness. (Not in the agency, in the creative director.)

The Creative Directors' Forum was a response to the realization that the creative director's job does not come equipped with an instruction manual; that excellent art directors and writers are suddenly rewarded for their accomplishments by being promoted into an entirely different management function that has little to do with writing and art directing.

Like some foot soldier hauled from the trench, hosed down and thrust into the general's tent, new creative directors are asked overnight to stop doing what they are good at-making ads-and start doing something they don't necessarily know how to do: helping others make ads.

As any creative director will tell you, it's easy for them to create potent, drop-dead work that is electric with insight, bristling with verve, able to suck the wallets out of their clients' customers' pants and render their peers slack-jawed with envy. A cakewalk, right?

162

my fellow creative directors and I have come to know as the creative brat. Few things make us feel more isolated than dealing with this particular animal.

You know the type: Young turk, prima donna, been in the business for ten minutes, book filled with self-indulgent work for the local penis-piercing parlor or dog-grooming boutique. Every other headline is a Dan Quayle joke.

It is the advertising equivalent of playing tennis without a net. Or, as Tom put it: ''A homerun only counts in a game, not in batting practice."

The creative brat is usually the laziest in the department, conspicuously absent when the hairiest briefs or the most unglamorous jobs are being handed out. (Must be busy with free-lance.)

But he's the loudest whiner. "Nobody cares about doing great work in this place, " goes his mantra.

He's the first to dismiss his colleagues as hacks, the ones slogging it out on the tough accounts.

He's quick to point a self-righteous finger at the creative director or account executive for not falling on their swords when one of his own headlines dies in a meeting he never attended. In the meetings he does attend, he usually folds faster than a deck chair. Tantrum follows.

Creative brats in many ways make the creative director's job near impossible and are one of the reasons why clients increasingly feel agencies are not in tune with their business needs. They are giving our entire industry a bad name.

Creative directors can only blame themselves, of course.

We hire them. We coddle them. We give in to their demands for ludicrous pay raises.

What my fellow creative directors and I agree on is that something should be done to ensure the situation doesn't become catastrophic. We should be recruiting and cultivating what my former boss Lee Clow calls the creative adult.

Creative adults are that rare breed able to temper blinding talent and a taste for the avant garde with maturity and sound judgment. (Or is it the other way around?)

The hard part is teaching and inspiring others to do the same.

Creative adults know that great work only comes through

This is made all the more difficult when dealing with a particular species of creative person, an individual some of

hard work. Ergo, they never stop at the first idea that comes along.

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Creative adults listen.

Creative adults don't shove their work down clients' throats.

They share it with them.

They know that clients don't buy ads, they buy people; that the smartest way to get good work accepted is within a relationship of trust.

They actually care about their clients' success in the marketplace. They know they can make a difference.

They love to win awards, but are the first to admit that if an ad fails to persuade, it is an abject failure.

They believe in a brand's circle of acceptability: the kind of advertising that is appropriate for a zit-faced surfer from Zuma Beach is not necessarily right for the 64-year-old woman losing sleep over her medical bills.

They know when to hold 'em and when to fold 'em.

They avoid filling their work with bad puns, bathroom humor and cheap shots to advance their cause. They prefer to make a friend of the consumer with an arsenal of insight and intelligence.

They understand that when a cure for cancer is found, the best headline will be: Announcing the cure for cancer.

They know they can't do Rich Silverstein better than Rich Silverstein, so they find their own voice, style and ideas.

They know the difference between an idea and a headline.

They see as much opportunity in a glove-compartment manual as they do in a global television campaign.

And they know you don't have to work in the creative department to be a creative adult.

You know, if we worked a little harder at hiring creative adults and humiliating creative brats, we might not find it so lonely.

I have a feeling I'm preaching to the converted.

"You are not creative if your little dog knows you. " -Gertrude Stein The point being you cannot find new ideas if you are predictable. Surprise yourself, surprise others. •

How Sumner Stone &Fontographer Changed The Face Of ITC Bodoni.

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Maoool!Oa,thtMacnxn!<iab}la00~arel!<]lllemlllad!maltsitMaclOIMil~6•regoll!ldtrldtmallit.IOOb!~locl1Utljpt~all9'S1eredUademallitl.ppitCooipR111rK.ITCm ITCliabltil!Uademall.lollntematmalljptlact(<JpwnAl<Mllel'l9'11eredmma00trademarisaretht~olthtr"51J((!M'Compalll!l.019'JSMaclOfMil,lfK_Alnghtil!leM!d

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drawing tools. Use the spacing and kerning features that Stone found invaluable.

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Book Reviews Maxwell Sackheim's Billion Dollar Marketing

with ad #19 for Old Trust Incubators. Included are ads for

By Maxwell Sackheim Publ ished by Towers Club Press P.O. Box 2038, Vancouver, Washington 98668 $29.95 + $3 S+H

invented the "Negative Option Plan"-the marketing pro-

the Book-of-the-Month Club for which Maxwell Sackheim

I think I would have liked Max Sackheim. In the dozen years since his death, Jerry Buchanan and D avid Reecher have compiled his writings about direct mail advertising and published the Max Sackheim legacy in this book. It is deliciously larded with a sort of avuncular humor to give flavor to tough, bright and direct observations about successful direct response marketing efforts.

Over his 75-year career that led to his being a twice-selected recipient of the "Hall of Fame in Advertising" award, Max produced teachings, speeches and a historic body of "sell it by mail" ads that remain respected classics of mail-order

gram which allows the customer to reject a book selection by mailing in a choice card. If you don't say "no" in time, you buy the book. In today's market there are "Somethingof-the-Month" Clubs for everything from CDs to fruit and chocolates. Max knew how to sell.

You can call the hundreds of catalogs that fill your recycle bins direct response advertising. Some of these catalogs are so interestingly written that they are good reading and the more time you give to a catalog, the more you're inclined to fill out an order form. Max always included an order form in his ads: "Cut on the dotted line." Make it easy to buy.

persuasion. A 1914 list of rules for writing an ad that will create good mail-in response seems a bit musty. You must

Max's maxims still work and that's why this book is worth

follow these rules even today.

copy, this is a fine teacher.

The "Ideas for writing great ads" section begins with a 1915

I think Max would be appalled at what he would consider

news ad for the Sherwin Cody School of English and ends

the waste of ad money by some forms of today's advertising.

"Working with

ReCourses is by far one of the

best things I've ever done for my company. It's great to have an

objective third party come in and evaluate my

company from head to toe... is our pricing right, are proposals

the while. If you write advertising/promotion/marketing

Consider a business audit Review issues like sales, marketing trategy, marketing materials, management effectiveness, inancial issues, technology, productivity, portfolio, employees, retirement provisions, and specific growth issues. udits are conducted in conjunction with Creative Business, he organization that sets business standards

saying the right things, are we paying employees too much or too little, are the margins appropriate, what areas need help

•

or the creative community. Each audit includes thorough review, insightful analysis, and etailed mentoring.

and which are healthy, etc. It's also nice to let someone else

udits are performed anywhere in the US, for any type of

best

reative firm. To learn more, call for a free information kit.

help with the decision making. It is by far the

investment I have ever made in keeping my company

healthy and profitable."

- Roy Est1YJ1L". Crea /ire Partners. In c.

Westchester Co1111IJ: NY

R

E

C

0

U

R

615.831.2277 ReCourses@AOL.com

166

M A RC H /A P RI L

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S

E

S

Reel Assets

Lommuni~ation Art~ 1995 Award-winning Television Commercials

P.O. Box 10300, Palo Alto, CA 94303-0807 • Email: subscription@commarts.com • http://www.commarts.com 0 Please send me_ 1995 Award-winning Television Commercials@ $215 each 0 Please send me_ 1994 Award-winning Television Commercials@ $145 each 0 Also send me_ Communication Arts 1995 Advertising Annuals@ $24 each Name

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for faster service inside the United States and Canada call (800) 258-9111 or fax this form to (415) 326-1648

Book Reviews

The Arts & Leisure section of the Sunday Times is filled

store promotions. The growth of such things has affected

with full page ads announcing the release of new movies.

advertising and marketing in massive ways and the current

None of the ads say what the movie is about. They usually

climate adds up to the need for a radical alternative to the

have one large moody picture and a set of glowing quotes

traditional approach to mass marketing.

from reviewers. "No product description? A full page ad?"

Part of his analysis comes from this experience with Ogilvy Direct, the section which concentrates on direct response advertising with research into direct mail and other forms

Such a waste. Fashion pages are filled with the same careless use of space; a photo of a surly model and the fashion designand Bill have to keep their names in the fashion world's eye,

of messaging. We might call direct response a form of networking and "networking is a form of advertising."

but what a missed opportunity. There's plenty of room for

Networking, in this case, asks that you know a bit about the

product description and a nice little mail-back coupon.

customer you're contacting, so you collect and collate information to form a database. Database names and information can come for call-in numbers on a package or in an ad, from information on a mail-in coupon or rebate certificate, a point-of-sale deal coupon, a warranty mail-back card or from a sales slip itself. Database names lists and customer information files can grow to become valuable properties, often exchanged or sold between companies.

er's name make a full page ad. Of course, Calvin and Yves

But for most of the products we live with, marketing hasn't changed that much in a century and Max Sackheim's book forms a fine review of the basics. You'll get to know Max in the book's 225 pages, and that isn't the end of it. Towers Club Press includes a mail-in coupon on the last page (just like Max would) offering a 60-minute audio tape free. It is filled with talks to the Direct Marketing Association seminars and you can hear Max Sackheim's timeless advice. The timeless topic was "The Changing Market-or is it?"

-BYRON FERRIS

All Consumers Are Not Created Equal

By Garth Hallberg Published by John Wiley & Sons, Inc. 605 3rd Avenue, New York, New York 10150 $27 .95

lected 20 to 25 million names by 1987 and the cost of this database formed the largest single line item in the company's marketing budget. The Reader's Digest database of annotated information is said to be the world's largest commercial collection, with more than 60 million names and addresses on file.

Now, reality and research suggest that marketing of high-

The cost of direct response marketing databases for brand name products can steal from the advertising budget, though media advertising and promotion are necessary to maintain brand name acceptance. Hallberg recommends that the database, because of its cost, be examined as more than just a list of names, but as a listing of people with varied attitudes and preferences, as prospective customers who can be ranked on the database with the use of an "affinity model" program to discover "heavy buyer" households.

volume goods is not that simple. Loyalty to familiar brand

The author shows charts that analyze the brand-loyal, heavy-

names is fading as more and more house brands take over

buyer households as the segment of customers who give the product profitability. "Most people think of Diet Coke as a typical mass market brand, yet 84% of its U.S. volume and profits come from only eight percent of its households.

Shouldn't Diet Coke be spending more marketing dollars on this small fraction of consumers that are driving its business?"

This is about marketing, marketing in our post-mass-market world. In earlier times, when the ad industry believed in mass markets, the process of getting products from manufacturers to customers seemed easier and more simple. Through advertising, build your brand and image with "one size fits all" messages and ship your goods off to the store shelves.

That was marketing.

shelf space in the stores of more and more price-cutting chains. Hallberg calls this a changing, brand-hostile marketing environment.

Garth Hallberg uses his experience as Worldwide Director of Marketing with Ogilvy & Mather to analyze the changed scene of the market setting and researches a process that includes computerized customer lists, response profiles, mailout and newspaper preprint coupon deals, and extensive in168

Procter & Gamble and Kraft Foods have built databases of more than 40 million households. R. J. Reynolds had col-

M A R c H

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This is the heart of the author's differential marketing concept: "All consumers are not created equal." Advertising media buyers continue to base their judgements of where

• A bed, bath, shelter, chocolate, work , coffee, a pad, a pen, direction, inspiration, closet

self promotion,

organizer,

a

mate

p r aise,

who

(for oxygen purposes only ), tion,

can

spicy tuna rolls,

walk the damn dog,

glory,

cook,

a

care packages

an art director with taste,

self promotion,

fame,

a massage,

dedication,

money,

sunshine,

plants

mate,

from Grandma,

a pause button,

self promo-

ice cream,

that trip to Bora Bora,

clean paint brushes,

darts,

someone to

clean underwear,

trust funds, a fie l d trip to the petting zoo, uninhibited fun, a maid, a water gun,

funka delic, disco,

line dancing,

se lf promotion, discre -

tionary income

(y ea right!) ,

ego,

super ego,

cigar

a

really

good

is

just

cigar',

a

id,

peach ,

' some times Anna a

a

security

blanket,

a rep, speed dial , call forwarding, being ri ght , oils t hat dry,

a

filling,

controls,

jacks

self

promotion,

a nd

super

Paradi se,

bal l s,

2

bas ketball

h oop

behind bathroom doo r , a bathroom door, c ommun icati on, a winning lottery ti c ket, chunky p eanut butte r, award winning illustration, t ime, thyme, a good l icens e photo, toilet paper, a life, a great foot rub, s elf p romotion, a muscle, computer,

therapy, good vibes from Madame Zelda, a law degree,

a nice fishing hole,

a

B movies,

60's

scratch on

deadline

extensions,

tv,

a

rai nb ow,

an

latte ,

a pat on the back,

breathmin ts ,

the back,

freedom,

executive

creative

as sistant,

brainfood,

sex,

success,

se l f promotion, self promotion, self promot ion !

American Showcase .

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Book Reviews

to buy advertising space on demographics, analyzing their media placements on the basis of age groups, income levels, geographic sections, sex, race and education. The spending of these media dollars is judged on the idea that, since everyone gets the same advertised message, all consumers are equal.

With the possibilities offered by massive databases which include consumer buying habits, equality can be more finely judged. The high profit segment of the market can be more readily targeted through direct response contacts.

For marketing professionals, this book promotes the divisive quality of inequality. That may be considered to be antisocial, but it can be a valuable idea about marketing the database infested '90s marketplace.

June 9-13 (Graphic Design] Dana Arnett

-B.F.

June 18-20 (Multiple Media] Robert Schwarzbach June 23-27 [Computer Illustration] TBA June 30-July 4 [Graphic Design] Robert Aufuldish Kathy Warinner

Basic/Intermediate Com uter Technical Workshops •$450 Undergraduate •$500 Graduate July 13, 20, 27, Aug 3, 10 (Basic Computer] William gk French Special Saturday Workshops (5 Consecutive Saturdays] July B-12 (Quark ><Press 3.31] William gk French July 15-19 (MacroMedia Freehand 5.5] William gk French

Briefly Noted: The Graphic Designer's Sourcebook by Poppy Evans (Published by F&W Publications, North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $24.99). With listings for stock illustration, photo agencies, sources for out-of-the-ordinary paper products, design competitions, printers, type houses and about a hundred other items and services, The Graphic Design.er's Sourcebook could become pretty popular. The editor compiled this directory in a handson manner that involved locating and calling businesses

July 22-26 (Adobe Photoshop 3.0] William gk French

with appropriate products and services. She "encountered

July 29-August 2 (Macromedia Director 4.0] William gk French

many endlessly ringing phones, busy signals, snippy operators and hundreds of voice mail messages. Companies with

August 5-9 (Adobe Illustrator 6.0] William gk French August 12-16 (TBA] William gk French August 19-23 (TBA] William gk French

Program subject to change • Fees Subject to change All workshops are 2 semester credit hours and are 5 days in length. Held on the campus of Kent State University, housing is reasonable in cost at local motels, apartment complexes, or student dormitories.

For more information: j.Charln Walker Division of Visual Communication Design School of Art Kent State University Kent, OH 44242-0001 Before March 9th: (2181 872-7858 or 2192 FAX (2181 672-3894 After March 9th: (3301 672-7856 or 2192 FAX (3301 872-3894

unattended phone lines and those with rude sales help didn't make the cut for this book." The result is an index of businesses across the country with good products and knowledgeable staffs. The author realized that she couldn't possibly have found every service and every product so she has included a form in the back of the book specifically for the purpose of bringing companies to her attention so they can be included in future editions. Oh, and just for the record, Ms. Evans, your listing for Communication Arts was incorrect. We publish four annuals a year: Illustration (July), Photography (August), Design (November) and Advertising (December) plus a CD-ROM of our Interactive Design Competition winners that comes with the September/October issue. And subscriptions are now $53· -SUE GARIBALDI

170

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ammun1ca 1a e Essential Creative Resource

Creativ

and Techn New

aterials and Literat

tive Comm

I

,..., •

..

-

Clubs, onferences and Seminars, Job Listi gs

Advcnising Inform.at" n and Demographics

http://vvvvvv.co111111arts.co111

Materials Design Guide to Corrugated Packaging

known by people who use it as

this year they have gone one step

few minutes, even in inclement

"wall saver tape." Well, now it's

further and introduced Solarc, a

weather. " For ordering informa-

Jelmar Publishing has recently

available in widths ofl/2 to 23"

complete line of larger balloons

tion and prices contact Airmark's

issued Graphic Design for Corru-

and standard lengths of 72 yards

that provide lighting over an even

press office in the U.S., French

gated Packaging written by

(it is available in rolls up to 360

bigger area. The tethered, helium-

Technology Press Office, 401 N.

Donald G. McCaughey, Jr., a

yards). 3M sent me a sample of

filled balloons are fitted internally

Michigan Avenue, Suite 1760,

graphic designer and co-owner of

the tape and of course I had to

with metal halide lamps that pro-

Chicago, Illinois 6o6u, call (312)

a design and printing plate service

apply it to virtually every surface

vide high intensity lighting. They

222-1235 or fax (312) 222-1237.

company. All too frequently

within five feet of my desk. It

measure between eight and sixteen

designs for corrugated need to be

sticks easily to wallboard, glass,

feet, can be equipped with two to

redesigned; at a cost from 100%

plastic and wood and although I

four lamps (with a total of 2>400

to 120% of the original project,

wouldn't attempt to hold any-

to 12,ooo wans) that will blanket

many clients are paying extra for

thing very heavy with it, it is

43,000 to 129,000 square feet

designs that should have been

perfect for temporarily hanging

with light and a stainless steel

done correctly the first time. This

drawings, storyboards, posters or

cable or extendible stand that will

book has been created to assist the

window shades for slide presenta-

secure the balloon at operating

11

designer with an understanding of

tions. For more information

heights of 16 to 164 feet. A builtin safety device automatically dis-

the corrugated production process

about 3M's 9429 double-coated,

including characteristics of corru-

differential-tack adhesive, call

connects power to the lamps as

gate (chapter 2), the corrugated

your 3M rep or (800) 362-3550.

soon as the balloon begins to

printing process (chapter 3), rec-

-SUE GARIBALDI

Literature For Your Files A request on your letterhead to the following companies will bring you the literature described...free unless otherwise noted. Whenever possible, fax numbers have been included for convenience.

deflate. They are intended for almost any night time application,

Character Studies ... is a new

corrugate (chapter n), symbology

Airborne Illumination

including film sets and photo

paper promotion/capabilities

for packaging (chapter 13) and

Balloons aren't just for children

shoots, they "store conveniently

brochure from Champion Inter-

about fourteen other chapters.

ommended graphic standards for

anymore. Last year, Airstar, a

in a compact case" and "can be

national. And, although the

All for $86 (which includes surface

French manufacturer, introduced

unpacked and inflated in just a

year is still fairly new, I have to

shipping anywhere). To order

a portable illumination balloon;

Graphic Design for Corrugated Packaging or for a list of additional books for the packaging and printing industries, phone or fax Jelmar Publishing at (516) 822-6861.

Tack Tape

(ij

c

.Q

3M has done it again. First came

iii E

Post-it™ notes, then came transfer

E

tape, that's what we called it in

·a.

school anyway, the tape I couldn't

u

~

c

0

E

.c "'

have made it through my design classes without. Now 3M has introduced tape #9429, a differential-tack double-coated tape that is removable from wallboard.

The tape has been available for some time, but only for non-commercial use (meaning that it didn't come in large enough rolls). It's 172

M A R c H

I A p R I L

I 9 9 6

Materials and Available Literature

give them credit for creating the

printing (especially on uncoated

best paper promotion of the

papers), it contains six images,

year-it will be very difficult for

one on each sheet. The series of

any other company to outdo it.

black-and-white pictures of old

Everything came together per-

clothes was originally shot by

fectly for this one: the design, by

Sean Kernan because the subject

Keiler Design Group, in Farm-

matter interested him; however,

ington, Connecticut; the paper,

he thought they would be ideal

of course from Champion; the

to show the advantages of water-

printing, waterless, by Brodock in

less printing because of the strange

Utica, New York; and exceptional

tone breaks and odd colors. A

photography, by Sean Kernan of

limited number of promotion

Stony Creek, Connecticut. The

pieces are available by calling

booklet is large, about 20" x l(

Brodock at (800) 765-3536 and

and styled like a portfolio, with a

if the rest of their printing is as

ribbon holding it closed at the

good as what was done on the

Ample Sample 3 ... is Neenah

G i lbert Pap e r ... and Rick

top. Originally intended as a capa-

promotion, you should proba-

Paper's most recent portfolio

Valicenti, of Chicago-based

bilities brochure for Brodock, to

bly get further information on

showcasing printed samples sub-

Thirst, invited a group of artists

show the advantages of waterless

their company.

mitted to the Neenah Paperworks

from around the world, to "re-

Contest. Five design firms, each

design the earth. " They were

http://www.commarts.com

174

MA R c H

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996

using Classic Columns® paper,

given seven days to come up with

were contest winners. Of course,

suggestions and ideas. The result is

in my opinion, it would be tough

Global Presence on Esse. Written

to produce a project in Classic

by Todd Lief, the promotion

Columns and not have it look

introduces the new palette for the

good. The paper is great; if you

grade of writing, text and cover

haven't seen it and want a quick

papers. Twenty artists contributed

look, take a peek at the Eco news-

their thoughts and images; among

letter insert in the May/June 1995

them, in no particular order, are:

issue of CA. The really noteworthy

Neville Brody, England; Ryohei

thing about the paper is that it

Kojima, Japan; Stefan Sagmeister,

looks good with the columns

New York; and Paul Weston,

either vertical or horizontal. And,

Chicago. Responses varied from

it's recycled with 60% total recy-

a rainbow with black, by Chaz

cled fiber and 30% post-consumer

Maviyane-Davies, Africa, to eight

fiber. It's also laser compatible and

days of creation by Maira and

available in a variety of text and

Tibor Kalman, Italy, who wrote,

cover weights. For an Ample

"Day 8: Day of magical powers.

Sample 3 portfolio , samples of

Give people choice of either being

Classic Columns or any other

able to fly or to see through cloth-

Neenah paper, call the Neenah-

ing. " Like most paper promotions,

Link at (800) 338-6077 X200 . To

Global Presence also includes a

enter a project in the Neenah

section demonstrating various

Paperworks Contest, write Awards

printing techniques on Esse

Competition, Neenah Paper, 1400

whites, lights and darks. I spent a

Holcomb Bridge Road, Roswell,

decent amount of time looking

Georgia 30076.

through this piece and it is defi-

Lommuni~ation Art~

1995 Award-winning Television Commercials

P.O. Box 10300, Palo Alto, CA 94303-0807 Email: subscription@commarts.com http://www.commarts.com

0 0

Please send me __ 1995 award-winning Television Commercials@ $215 each Please send me __ 1994 award-winnin g Television Commercials@ $145 each

Please Check Format:

0

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Also send me __ Communication Arts 1995 Advertising Annuals @ $24 each

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My Check Is Enclosed Charge My Credit Card Visa MC Sales Tax: California Residents Add 7.75 %; Canadian Residents Add 7% GST

Card Number Expires

Telephone

Signature

For faster service inside the United States and Canada call (800) 258-9111 or fax this form to (415) 326-1648

Materials and Available Literature

nicely worth getting. Call (800)

newly created for chis promotion.

give them license to more than

445-7329 to get a copy for yourself.

My favorite (in this booklet) is

80,000 images from the country

tion has just the right image for a

Prozac Plain by Jon Barnbrook

and culture of China chronicling

project. Phototake also has a co-

of Virus in London; he recreated

its 5,000 year history; the collec-

ROM version of their catalog called

the 26 characters of the alphabet

tion will allow the rest of the

Image Shop. For either the paper

tion .. . recently released an inter-

using only six basic shapes .

world access to images that have

or computer version of their cata-

esting spiral-bound promotion

Genesis provided a subtle back-

never before been seen outside the

tided TYPE: Icons of1Jpography.

It's printed on Genesis-a 100%

log call (800) 542-3686.

ground for the piece and was

country. The "best and most mar-

an excellent paper choice. It is

ketable" parts of the collection are

post-consumer fiber paper- and

available in eleven colors and

available for viewing at the 70

views type through the eyes of

comes in text, cover and writing

Image Bank offices around the

used for making maps since the

ten graphic and type designers

weights. Copies of the Icons of

who discuss the evolution and

world and a CD-ROM of 15,000

1970s. As a matter of fact, it was

1Jpography paper promotion are

images will be available by May.

with a Tyvek map that Captain

creation of type. The booklet is

available through your Cross

Researchers at The Image Bank

Scott O 'Grady maneuvered his

cool , with each designer profiled

Pointe merchant.

are also able to search an 80,000

way around when his plane was

image database . To receive a

shot down over northwestern

brochure, with about two dozen

Bosnia. Its strength and durabil-

Cross Pointe Paper Corpora-

on a two-page spread communicating their philosophies through quotes and examples of their work.

The Image Bank .. .has recently

The booklet is splattered with

formed an alliance with the China

type designs including a handful

Tourism Photo Library which will

follow your sou l.

I

portfol io center you r style . your voice . your self.

You have creative energy, now develop it, ed ucate it, give it a voice and learn about it spiri t. Whether you want to be an art directo1; copywri ter, designer, illustrator or photographer, you 'LI learn you need one thing : your portfolio. After eight q uarters at Portfolio Center, the doors to the be t agencie and firm in the world will open. You'll walk right through.

portfolio center 125 bennett treet alianta, georgia 30309

ity enable it to withstand harsh

collection, or for further infor-

weather conditions, repeated

mation on any stock images ,

folding and any other sort of

contact The Image Bank at (800)

manhandling (so you can get a

TIB- IMAGES.

clear idea of its strength, it's the material they make FedEx envelopes out of). While the

Phototake's ... catalog just

material is probably familiar, the

arrived at our office. It's the cat-

idea of using it as part of a graphic

alog that has all the medical and

solution might not be so apparent.

healthcare stock photography,

It can be printed using a variety

including the microscopic views of

of methods including flexography,

blood-engorged mosquitoes, fleas

offset lithography, letterpress ,

and dust mites (things I could

gravure and screen and inkjet pro-

probably live without seeing up-

cesses. The continuous fiber

close). The catalog also has a

composed of 100% polyethylene

section on stock medical illustra-

is perfect for applications that

tion. Of course my favorite part,

require a lot of processing, such

of any catalog for that matter, is

as: scoring, die-cutting, perfo-

the nature shots which include

rating, punching, laminating,

flowing lava, the Northern lights

embossing, gluing and pretty

and the requisite lions and tigers

much anything else you can think

and bears. There is one section

of that requires a durable sheet.

in the catalog that I considered

For further information regarding

to be relatively useless; it's tided

Tyvek and its graphic applica-

"Ideas and Effects" and most of

tions, call (800) 44-TYVEK.

exceptions) are relatively weak Photoshop doctored images of shapes, textures and lights. Bur

176

M A R c H

I A p R I L

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9 9 6

DuPont Tyvek• ... has been

images which summarizes the

the images in it (there are a few

if the shoe fits call 1.800.255.3169

who knows, maybe even this sec-

- S.G.

Clubs, Conferences, Seminars The National Endowment for the Arts and the National Building Museum are searching for images showing examples of universal design excellence in the fields of architecture, interior design, landscape architecture, graphic design and industrial design. The jury-selected images will feature and credit the work of designers who are reaching beyond compliance with the Americans with Disabilities Act (ADA) to create products and environments that are usable by the broadest public. Universal Designers & Consultants, Inc., (UD&C) will gather examples of universal design to be considered for inclusion in a collection of color slide visuals and text to illustrate and articulate principles of universal design. All submissions must be received by April r, 1996.

The project will be led by UD&C president and architect, John P. S. Salmen, AIA, who has assembled an interdisciplinary team to assist in the evaluation of submitted examples.

Individuals or organizations who are interested in more information about the project or in receiving a submission package, should contact UD&C, qoo Rockville Pike, Suite uo, Rockville, Maryland 20852, phone (Jor) 770-7890, fax (JOI) 770-4JJ8 or Email jpsalmenudnc@delphi.com.

International Film & Video Workshops of Rockport, Maine, will open a satellite film center in Tuscany, Italy.

The new European Film Center will offer JO one-week workshops and master classes in cinematography, directing, writing, producing and camera work. The Tuscany Film Workshops begin May 5 and will run for six weeks. These one-week workshops include hands-on training in the latest J5mm film and video cameras, lights, electronic editing, production and directing methods used in feature film production. The Tuscany Film Workshop Center, located midway between Rome and Florence, is in a 14th century Benedictine monastery, set deep into the hills of Tuscany. The Center is an hour's drive south of Siena near the villages of Buonconvento, Pienza and Montepulciano. While most of the Workshops are for working film and video professionals, there are also introductory workshops for those just entering the industry. The Monastery offers space for studios and classrooms, a theater, editing rooms, rehearsal studios, interior and exterior locations. Accommodations and meals are also provided. A catalog outlining the film and photography workshop program is available by writing The Film Workshops, P.O. Box 200, 2 Central Street, Rockport, Maine 04856, phone (207) 2J6-8581, fax (207) 2J6-2558, Email MEWorkshop@aol.com. or Internet Web Page http://www.meworkshops.com.

Society for Environmental Graphic Design's Annual Conference and Trade Show will take place in

Boston, May JO-June r. "Finding Freedom" is the theme for the event. Activities include three days of speakers, seminars and workshops, combined with the hands-on 16,500 squarefoot trade show. Plenary sessions will take place at the Copley Plaza Hotel with the trade show located across the street at the Westin Hotel-both hotels are located in the heart of Boston's Back Bay. Registration: Members $545, non-members $645.

For information, contact conference manager Elizabeth Simmons at (617) 868-JJ8I, fax (617) 868-J591 or write SEGD, One Story Street, Cambridge, Massachusetts 02IJ8.

Package Design Council The 1996 Board of Directors for the Package Design Council (PDC) International held their first meeting of the PDC 1996 membership year. Presiding at the meeting was Howard Alport, Lipson-Alport-Glass & Associates, who continues his term as president. Continuing with Mr. Alport in officer positions are: chair Elinor Selame, BrandEquity International; vice president Phillip Federspiel, Group Four Design; secretary Richard Shear, Libby, Macdonald & Shear; and treasurer Thomas Pigeon, Thomas Pigeon Design Group. In addition to the officers, the following PDC members complete the Board roster: Richard Bird, R. Bird & Company; Ralph Colonna, Axion/CF; Karen Corell, Coleman Lipuma Segal & Morrill; Pamela DeCesare, Daymon Associates; Richard Gerstman, Gerstman +Meyers; Marc Gobe, Desgrippes Gobe & Associates; Mort Libby, Libby Perszyk Kathman; Roger Louden, Hunt-Wesson, Inc.; Edward Moeller, M Design, Inc.; Terry Schwartz, Kraft Foods; and Mark Smith, Avon Products, Inc. For information, contact PDC, 481 Carlisle Drive, Herndon, Virginia 22070, call (7oJ) 318-7225 or fax (70J) 318-0310.

The Joint Ethics Committee celebrated its 5oth year anniversary this past December. The committee which is comprised of elected members of the Advertising Photographers of New York, the American Society of Media Photographers, the Art Buyers Club, the Art Director's Club, the Society of Illustrators and the Society of Photographer & Artist Representatives, meets once a month to provide arbitration and mediation services to all members in the graphic communications industries. The code of Fair Practice was formulated in 1948. Currently, the board of directors is comprised of chairperson Mary F. Pisarkiewicz, vice chairperson Stan Carp, treasurer Gloriana Palancia and secretary Bev Don. For information, call (212) 982-7124 or write to JEC, P.O. Box 179, Grand Central Station, New York, New York 1016J. -JEAN A. COYNE

Copy must be received two months prior to the publication date.

Please include a contact, phone number and address.

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

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177

Directory Featured in this issue Osbert Parker

Lucille Tenazas

The Garden Flat 52A Blenheim Crescent London W11 1NY England (44) 171-221-8641 (44) 171-727-9392 fax

Tenazas Design 605 Third Street, Suite 208 San Francisco, CA 941 07 (415) 957-1311 (415) 957-0707 fax

Weiss, Whitten, Stagliano

Both Sides of Peace: Israeli and Palestinian Political Posters

96 Morton Street New York, NY 10011 (212) 255-3900 (212) 255-6347 fax

Dana Bartelt 117 Woodburn Road Raleigh, NC 27605 (919) 834-6533 phone/fax

Olympic Design Wei Yew Quon Editions 10103-97 A Avenue Edmonton, Alberta T5K 2T3 Canada (403) 428-3333 (403) 428-3966 fax

Peggy Sirota Peggy Sirota Photography 138 Colt Lane Thousand Oaks, CA 91361 (805) 494-8877 (805) 494-8878 fax Artist's representatives Elyse Connolly 23 W. 16th Street New York, NY 10011 (212) 255-0886 (212) 255-0964 fax

Eco Eva Anderson Eva Anderson Design 207 Will iams Street Providence, RI 02906 (401) 351-1211 (401) 351-5744 fax

Trisha Burlingham Artist Representation 10355 Ashton Avenue Los Angeles, CA 90024 (310) 275-3495 (310) 275-4397 fax

Vision Paper P.O. Box 20399 Albuquerque, NM 87154 (505) 294-0293 (505) 294-7040 fax

Andrea Ventura 2785 Broadway, Apt. 5 New York, NY 10027 (212) 932-0412 phone/fax

Exhibit Acme . A Marketing and Design Group 100 N. State Street Newtown, PA 18940 (215) 579-4946 (215) 579-4956 fax

Artist's representative Gerald & Cullen Rapp 108 E. 35th Street New York, NY 10016 (212) 889-3337 (212) 889-3341 fax

A & M Records 1416 N. La Brea Avenue Hollywood, CA 90028 (213) 469-2411 (213) 856-2600 fax Big Mouth Advertising & Design 1460 Golden Gate Avenue, No. 7 San Francisco, CA 94115 (415) 673-9393 (415) 673-9388 fax

178

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Cornerstone 519 W. Pratt Street Suite 104 Baltimore, MD 21201 (410) 727-2131 (410) 783-0335 fax Darien & Kilburg 639 Front Street #400 San Francisco, CA 94111 (415) 362-6400 (415) 362-3223 fax Eskind Waddell 471 Richmond Street W. Toronto, Ontario M5V 1X9 Canada (416) 504-6075 (416) 504-6085 fax GSD&M One Cielo Center 1250 Capital of Texas Highway Fourth Floor Austin, TX 78746 (512) 327-8810 (512) 327-1775 fax Hill Holliday John Hancock Tower 200 Clarendon Street Boston, MA 02116 (617) 437-1600 (61 7) 572-3435 fax Melcher Media 170 Fifth Avenue New York, NY 10010 (212) 727-2322 (21 2) 242-5628 fax Ogi lvy & Mather 309 W. 49th Street New York, NY 10019 (212) 237-4000 (212) 237-7223 fax Hal Riney & Partners 735 Battery Street San Francisco, CA 94111 (415) 981-0950 (415) 955-4267 fax

Technology Organ ic Onl ine 51 O Third Street, Suite 540 San Francisco, CA 94107 (415) 284-6888 (415) 284-6891 fax

Design Issues David Lance Goines St. Hieronymus Press 1703 Martin Luther King Jr. Way Berkeley, CA 94709 (51 0) 549-1405 phone/fax

Legal Affairs Leonard DuBoff Leonard DuBoff Associates 9320 S.W. Barbur Boulevard Suite 340 Portland, OR 97219 (503) 452-1228 (503) 244-2470 fax

Free-lance Barbara Gordon Barbara Gordon Associates 165 E. 32 Street New York, NY 10010 (212) 686-3514 (212) 532-4302 fax

Advertising Jack Neary 931 Yonge Street Toronto, Ontario M4W 2H2 Canada (416) 922-2727 (416) 922-9450 fax

How to Reach CA Commun ication Arts 410 Sherman Avenue Palo A lto, CA 94306 (415) 326-6040 (4 15) 326-1648 fa x World Wide Web : http://www.commarts .com Email : ca@commarts .com editorial@com ma rts.com advertis ing@commarts .com subscription@commarts .com shows@commarts .com No respons ibility w ill be assumed fo r unso licited ed itori al contributions . Manuscripts or othe r material shou ld be accompan ied by a se lf-addressed stamped enve lope adeq uat e t o return mate rial or yo ur Fede ral Express number.

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Please send press releases on Books, Materials, Literature and Technology Resources, including Technology Conferences to Anne Telford, managing editor.

Send press releases on Clubs, Conferences , Seminars, new hires , promotions, address changes , etc .. to Jean Coyne, execut ive ed itor. While we don't have a column that deals specifically with new hires, promotions and address changes, we do want to be notified to update our database.

The Exhib it section runs in our four regular issues. Send samples of your latest and best collateral , packag ing, print ads, television commercials, direct mail, shopping bags, CD covers , trade and museum exhibitions and books to Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, Cal ifornia 94306 . Describe the purpose, background and include creative credits . Submit TV commercials on 3/4' videotape cassettes NTSC. Pieces to be returned must be accompanied by a selfaddressed stamped envelope or your Federal Express number.

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Anderson Lithograph 3217 S. Garfield Avenue Los Angeles, CA 90040 (213) 727-7767 (213) 722-2328 fax

Paper Potlatch, Northwest Gloss 80 lb. cover Champion Influence 80 lb. text

Mailing Envelopes 28 pt. recycled kraft Calumet Carton 16920 State Street South Holland, IL 60473 (708) 333-6521 (708) 333-8540 fax

Hardware Apple Macintosh PowerPC, Ouadra and llci computers running on Ethernet network, Radius monitors, Howtek Scanmaster, Agfa Arcus II scanner, Apple LaserWriter Pro 630 and HP LaserJet 4M Plus printers .

Subscriptions (800) 258-9111 inside U.S. and Canada or (415) 326-6040 or subscription@commarts .com

Typography

Software OuarkXPress for page layout, Microsoft Word for word processing and Adobe Photoshop for scanning and positioning images.

Prepress

Advertiser's Index

Page

173 ADAC American Showcase 169 Apple 13 Bettmann Archive 41 CalComp 14 Clients and Profits 31 Cohen, Stewart Charles 159 Comstock 160 Corbis Media 149 Epson 142 Erickson Productions 34 FPG International 25 Froomer, Brett back cover Hammermill Paper 155 Hopper Paper 125 Image Bank 10 Island Paper 39 Kent State University 170 Klik 129 Liaison, International 165 Macromedia Fontographer 164 Macromedia Freehand 151 Neenah Paper 26 NewGen Systems 163 Photo Disc 138 Picture Exchange 6 Polaroid 152 Portfolio 157 Portfolio Center 176 166 Recourses, Inc. Repap Paper 19 Skyview 137 Stock Market 5 Strathmore Paper 9 Tony Stone Images 37 Weyerhaeuser Paper 29

Image Color and Filmwork Inc .

2161 O'Toole Avenue Suite F San Jose, CA 95131 (408) 954-8580 (408) 954-14 77 fax Pre press Assembly, Inc. 80 Langton Street San Francisco, CA 94103 (415) 621-8970 (415) 621-3105 fax Pre-Press Graphics, Inc. 2585 Leghorn Street Mountain View, CA 94043 (415) 967-5477 (800) 431-6262 (415) 967-0234 fax

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

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Back Issues For shipping within the U.S., please add $1 per issue.

Some back issues are still available. All orders must be accompanied with payment, but we will refund your money on any that have sold out. Allow up to three weeks to receive your shipment. Foreign orders will take longer. Issues not listed are no longer available.

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September/October 1986

September/October 1988

March/April 1991

January/February 1994

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

Tony Schwartz; Julie Lieberman; Frarn;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

Soviet Graphic Design; Bill Westbrook; C.F . Payne; Graphic Demographics; Michele Clement; Vaughn/Wedeen Creative; Creating an Eco-Safe Office; American Package Design ; Exhibit

VSA Partners; Vivienne Flesher; VirroRobertson; Atelier de Creation Graphique; Pere McArthur; Color Predictions; Colorado International Invitational Poster Exhibition; Eco; Exhibit; Index to Volume 35

January/February 1989 January/February 1987 Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn ; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right"; Index to Volume 28

March/April 1987

$8

Museum Design Competition; Levine, Huntley, Schmidt & Beaver; Jeffrey J .

Smith; Barbara Bordnick; Sibley/ Peteet; Car Emblems

May/June 1991

Edelstein Associates; Myron; Joy Radio; Muller+ Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhi bit; Index to Volume 30

March/April 1989 Tom Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure

May/June 1989 May/June 1987

Ammirati & Puris; Computers in the Studio; Scott Morgan; Richardson or Richardson; Exhibit; Yesterday in CA

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bach; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

July 1987

July 1989

$16

September/October 1989

s8

Lewis Moberly; William Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdr; Exhibit

January/February 1990

$24

1987 Design Annual

January/February 1988

s8

s8

Colorado International Invitational Poster Exhibition; Deutsch; Joyce Kitchell; Tim Bieber; Skolos, Wedell + Raynor; AIGA Conference III (San Antonio); Earthquake; Exhibit; Index to Volume 31

March/April 1990

Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction"; Kunio Hagio; Heller Breene; Gene Hoffman; AIGA Conference II (San Francisco); Index to Volume 29

Michael Brock; Rob Day; Grear Moments in Design Tools; The Ball WCRS Partnership; Geof Kern; Madsen & Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

March/April 1988

May/June 1990

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

Tim Girvin; Pagano, Schenck & Kay; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; "Design-Speak Vs. Communicating for Success"; Richard Mantel ; TED2; deGraf/Wahrman; Exhibit

May/June 1988

$16

July 1990

$16

$16

August 1995

$16

s8

September/October 1995

s8

Laurie Rosenwald; David Mendelsohn ; Riddell Adver~ising & Design; The New South Africa; Eco; Exhibit; Interactive Design Annual 1

November 1992

1995 Design Annual

$24

1992 Design Annual

$24

January/February 1996

s8

Nesnadny + Schwarcz; Rafa) Olbinski; Kirshenbaum & Bond; Clients and Designers: Lomas Financial Corporation and The Richards Group ; Malcolm Tarlofsky; Women in Design Roundrable; Merchandising Designers: Charles S. Anderson , Tom Bonauro, Higashi/ Glaser, Cheryl Lewin, Michael Cronan; Exhibit $16

1993 Illustration Annual

August 1993

$24

1995 Advertising Annual

Software Packaging Design; Mark Fredrickson; Morla Design; Color Predictions; OMON; Craig Cutler; Children's Book Illustration ; Srock Photography; Exhibit; Index to Volume 34

1993 Photography Annual

November 1995

December 1995

January/February 1993

July 1993 Craig Frazier; Bill Vuksanovich; Victor Papanek; Raymond Meier; Bartle Bogel Hegarty; Salary Survey Results; Color Predictions ; Ellis Island Immigration Museum; Exhibit; Index to Volume 32

July 1995

1995 Photography Annual

1990 Illustration Annual

January/February 1991

May/June 1995 Atlanta Art & Design; Ward Schumaker; Will va n Overbeek; Jung von _Marr; Grear Ideas on Li mired Budgets; Eco; "Creating the Future" Timeline; Exhibit

Graphic Design in China; Philip Burke; Fallon McElligott; Clients and Designers: Grand Union and Milton Glaser, Inc.; Lonnie Duka; Oriole Park at Camden Yards; The Next Generation of London Designers; Exhibit

March/April 1993

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

$16

s8

September/October 1992

$24

1995 Illustration Annual

1992 Photography Annual

$16

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising

1988 Illustration Annual

December 1994

March/April 1992

August 1992

$24

1994 Advertising Annual

$16

1989 Illustration Annual

September/October 1987

July 1988

November 1994 1994 Design Annual

Concrete Design Communications; Mullen Advertising; Cathleen Toelke; Emigre; Bruce Hands; SlaughrerHanson; The Changing Demographics of Design; Color Predictions; The City of Phoenix Logo Competition; Exhibit

July 1992

$16

1994 Illustration Annual

1992 Illustration Annual

1987 Illustration Annual

November 1987

July 1994

Museum Design Competition; Mandelbaum Mooney Ashley; James Marsh; Clients and Designers: Joseph Abboud Apparel and designer Tyler Smith; Johns + Gorman Films; Rick Rusing; Emery Vincent Associates; Pricing & Ethical Guidelines; Exhibit

$16

Colorado Internacional Invitational Poster Exhibition; Salt Lake City Advertising; Color Predictions; David Gaz; Maryjane Beginj Olympic Images: The First mo Years; Eco; Exhibit; Index to Volume 37

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