marapr2000

March/April 2000 Volume 42, Number I

~ommuni~ation Art~ a

Refined design is the hallmark of this Toronto, Canada-based firm .

By Ellen Shapiro

58

Amy Guip A New Yorker who combines the fields of photography and illustration .

By Michael Kaplan

68

Aerobleu Brooks Branch's unique project encompasses a range of products and media .

By Julie Prendiville Roux

78

Mauk Design This San Francisco firm designs in 3-D .

By Philip Krayna

88

Gary Baseman A glimpse inside the mind of this popular Los Angeles illustrato r.

By Anne Telford

98

Exhibit The latest and brightest work from here and abroad .

By Jean A. Coyne

109

Eco Alison Wald examines the environmental impact of computers and Dan Imhoff reports on packaging, hemp production and sustainable forest management.

Designed and edited by Eva Anderson .

113

Amsterdam: Europe's New Creative Center A look at advertising in The Netherlands .

By Noreen O'Leary

Cover© 2000 Gary Baseman. Inner-twined. "CA invited me to paint an image on the topic of creativity. And my mind keeps pu lling me into two major themes of expression .. .'sex and death'. the two extremes-to feel truly alive and to not feel anything at all." 11 X 11, acryl ic on canvas.

te

Technology Feature Sam McMilla n profiles New York-based Kioken.

142

Design Technology From the mind into matter by George Fifield .

146

Technology Reviews Kathleen M aher puts Olympus's Camedia digital camera to the test.

152

Executive Editor Jean A. Coyne Managing Editor Anne Telfo rd Associate Editor Rebecca Bedro ss ian Associate Designer Mark Eastma n

Technology Reviews Kathleen Maher reviews Right Hem isphere's Deep Paint.

156

Editor and Designer Patrick Coyne

Technology Resources Books , tools, resources and educational opportunities.

Production Manager Scott Perry Production Ron Niewa ld Technology Director Jeff Stafford

co

Interactive Media Designer Bonnie Smetts

Design Issues Confess ions of a closet Situationist by Veronique Vienne .

38

Freelance M aria Piscopo looks at Internet marketing for freelancers .

162

Conference Review Matthew Porter reports on The Illustration Conference in Santa Fe .

170

Advertising Beyond the Kenny G School of Advertising by Bruce Turkel.

de Volume 42, Number 1 www.commarts.com COMM UNICATION ARTS, (ISSN 0010-3519) is published eight times a year !January/ February, March/April, May/June.

July Illustration Annual, August Photography Annual. September/ October, November Design Annual and Decembe r Advertis ing Annual)

by Coyne & Blanchard , Inc ., 110 Const1tut1on Drive, Menlo Park, CA 94025-1107 .

Interactive Media Developer Gary W ium Information Systems Manager M ichael Hoyt Web Administrator Nancy Hageman n

Legal Affairs An excerpt from Don Sparkman's Selling Graphic Design .

176

Interactive Media Editor Sue Gariba ldi

General Manager Advertising/Circulation Michael Krigel Circulation Director Perry Fotos Retail Sales Manager Gloria Rosa ri o Subscriptions/Back Issues Pri scilla Broo ks

18

Contributors

Administrative Assistants Nina Ki tch ing Darcie Niewald

20

Letters to the Editor

Controller Ro nald Auge r, CPA

179

Book Reviews

184

Materials, Available Literature

189

Clubs, Conferences, Seminars

192

Directory

Periodicals postage paid at Menlo Park, CA and at additional mailing offices .

Copyright 2000 by Coyne & Blanchard , Inc. All pieces reproduced in this issue are under prior copyright by the creators or by the 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 .

SUBSCR IBER SERVICES: Subscription : 1 year, $53 ; in Canada, $70; All ot her countries, $11 0 . All payment in U.S. dollars , Canadian GST: 127848620. Direct all inquiries, address changes , subscription orders . etc ., to : COMMUNICATION ARTS P.O. Box 51785, Boulder, CO , 80322-1785 . Via phone : 800-6881971 ; 303-678-84 75 ; fax : 303-6611181 or e-mail : subscription@ commarts .com . Please allow six weeks for changes For back issues, please contact the editorial and business office .

Assistant Controller Gayle Gregorius

EDITORIAL AND BUSINESS OFF ICE : 110 Constitution Drive , Men lo Park, CA 94025-1107 .

Phone : 650-326-6040 Fax : 650-326-1648 E-mail : ca@commarts .com POSTMASTER : Send changes of address to : COMMUNICAT ION ARTS P.O . Box 51785 Boulder, CO 80328-1785

k)ABC

Traffic Manager W il Ta lton Contributing Editors Tad Crawfo rd, Lega l Affairs; Barbara Gordon/ M aria Piscopo, Free lance; DK Holland, Desi gn Iss ues; Sam McMill an, Techno logy Resources; Tom Monahan, Adverti sing; Wendy Ri ch mon d, Desi gn Techno logy Founder Rich ard Coyne (1926-1990)

THINGS THAT MATTER TO DESIGNERS . AND ONLY DESIGNERS .

WWW . DOL . COM

design ... . nhne

Editor's Column

BY PATRICK COYNE

W

space is the furniture. Ecowork, by Studio eg located in

the previous year. The bottom line: Subscriptions were down

made from 98% recycled materials and manufactured utiliz-

a little and single copy sales were up a little, resulting in a flat year. We were fortunate to see increases in advertising,

ing low-energy processes.

show entry fees and Web banner revenue. These helped us to keep our subscription rates unchanged for a fifth year in a row. How long we can maintain that price depends primarily on the Postal Rate Commission's decision on a proposed 12%-15% increase in postage for magazines.

While not obvious by looking at the magazine, 1999 was a year of significant change for Communication Arts. The biggest change was moving into our new offices at lIO Constitution Drive in Menlo Park, California. Designed

by Rob Wellington Quigley, FAIA, a San Diego-based architectural firm known for their inventive use of materials, our 25,000 square-foot space includes open and private offices, workgroup environments for our production and online departments, warehouse space, three large conference rooms to accommodate our annual competitions , a full kitchen

8

architectural design , another prominent feature of the new

ith this issue, we begin our 42nd volume.

Traditionally, I supply an annual report to you, our readers, on the magazine's performance over

Oakland, California, is a modular office furniture system

Now that construction is behind us, we have enough space and time to explore expanding into a second publication, a more robust Web presence, or some other projects. Stay tuned.

Another big change this last year was to send our subscription fulfillment out of house. The decision was pressed by the Y2K issue, since our old fulfillment system was not compliant. But also, by working with Centrobe in Boulder, Colorado, we're now able to provide a higher level of customer service online. In addition to starting or renewing a subscription, you can also check your status to see if a payment was recorded and when your subscription will expire.

You can also change your address and order gift subscriptions or a replacement copy if you didn't receive an issue.

Direct-to-Plate One of the most exciting changes has been the move to

and a dining room.

direct-to-plate technology. Three out of the five forms that

From the photos below and on the following page, you can

fill the main editorial well of this issue were produced with-

see the industrial cesthetic that acknowledges the building's

out any film output. We assembled these forms the same

light manufacturing origins. In addition to the interesting

way we do the rest of the book, but instead of traditional

MARCH /

APRIL

2000

Search multiple collections.

gettyone.com™ Allsport Concepts The Bridgeman Art Library Eye Wire Hulton Getty 1llustration Works The Image Bank PhotoDisc Stone

Editor's Column

film-contacted proofs, we looked at film-less proofs supplied by Prepress Assembly, one of our prepress vendors.

Corrections were made and then the digital files were sent to Anderson Litho. Prior to output, Anderson produced thermal laser Matchprint proofs as a final check. Plates were then output on an imagesetter and hung on the press.

We're very interested in this cost-effective, and I might add, more environmentally-responsible, prepress/printing method.

It also reduces makeready time and, if necessary, the correction cycle if something is found amiss on press. We are anticipating the day when we will receive all art as digital files, including advertiser's pages. In the not-too-distant future, we plan to assemble and proof all forms in-house, and then send them directly to the printer for plating.

While just about everything at CA is in the process of changing, one thing that won't change is our commitment to quality in all our ventures. Quality content and reproduction are the primary reasons that CA has become a success, and I thank you for supporting us with your subscription dollars so we can bring you the kind of quality you deserve.

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

One of design's most outspoken practitioners and critics, Tibor Kalman, 49, died after a four-year battle with nonHodgkins lymphoma. He was known professionally to many people, at different times, as a professor at the School of Visual Arts; the founder of M&Co; the creative director of Interview magazine; and editor of the frequently controversial Colors magazine.

Thomas C. Corey, the founder of Corey & Co. , a Bostonbased graphic design firm, died of cancer. He was 46.

Corey & Co. is the umbrella for four individual firms: Corey McPherson Nash provides print and interactive design for corporate identities; Blue Dot creates print, broadcast and multimedia design for children; Bug Island develops television programming; and Hatmaker specializes in on-air and identity development for such television channels as Nickelodeon , The Cartoon Network and Comedy Central.

Leo Lionni, 89, was born in The Netherlands and moved

P. Scott Makela died suddenly from an inflammation of his epiglottis. He was 39. Makela was co-director of the Graphic Arts Department at Cranbrook Academy of Arts, with his wife, Laurie Haycock Makela, and the director of their Michigan design firm , Words + Pictures for Business + Culture. A passionate practitioner, he incorporated strong, thoughtful images into his projects for print, new media,

to Genoa, Italy in 1925, where his abstract painting won

film and music. •

granted by you the reader. "

In Memoriam I want to acknowledge several influential practitioners who passed away this last year.

10

him an invitation to exhibit with the Futurists. After emigrating to the United States in 1933, Lionni worked as an art director for N.W. Ayer and succeeded Will Burtin as art director of Fortune magazine. He also wrote and illustrated 31 children's books including one of my favorites , Little Blue and Little Yellow.

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CAERTE NEW IDEAS

Shirley Hahn Product Development Chemist, Crayola

Imation, its logo and Matchprint are trademarks of frnation Corp, Crayola is a trademarl< of Binney·& Smith Inc. ©1999 Imation Cotti Alt ·

WHEN YOU'RE RESPONSIBLE

FOR INSPIRING A MILLION RAINBOWS

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Color is serious business, whether it's the periwinkle blue crayon in your hand, or the cyan in your presentation comp. Just as Crayola™ is the crayon kids trust for true color,

graphic arts professionals know that if a proof has the Imation MatchprintTMwatermark on the back, the color on the front is as accurate as humanly possible. Now, Imation introduces three new Matchprint systems, to help you get consistently accurate color from concept to press check. In the creative department, our new Imation Matchprint Inkjet and Matchprint Color Laser Systems bring affordable color proofing early into the creative process. In the pressroom, the industry standard Imation Match print proof has

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been joined by Imation Matchprint Laser Proof, bringing halftone proofing quality to fully digital workflows. Now, the color you had in your head is the color that ends up

in your hands. For more information call 1-877-MATCHPRINT (1-877-628-2477 ) or visit IMATION.COM. We're not talking kid stuff here.

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Contributors

production houses, who writes about topics concerning the interactive multimedia design industry. He wrote the Tech-

Features

Noreen O'Leary is a New

Michael Kaplan, a New York

journalist, writes frequently on the subject of graphic design.

His work has appeared in a variety of magazines including Spy,

GQ Premiere, American Photo and George. He has written many feature profiles for CA; in this issue, he interviewed New York photographer Amy Guip.

Adweek. Her pieces about

York-based Kioken.

media, design and architecture have also appeared in the New York Times and the Wall Street journal. For this issue, O 'Leary

Kathleen Maher works for Jon Peddie and Associates of Tiburon, California. JPA is a consulting and research firm specializing in graphics and multimedia. As a freelance writer, Maher has contributed to many publications including Communication Arts and 3D Design,.

She reviewed Right Hemisphere's Deep Paint and the Olympus C-2020 Z digital camera.

traveled to The Netherlands to report on Dutch advertising.

Eva Anderson is principal of

Ellen Shapiro, a Los Angeles

native and graduate of UCLA's College of Fine Arts, has headed her own New York design firm since 1976. Her company, Alphagram Learning Materials Inc., publishes products designed to help children, especially those with learning disabilities,

Providence, Rhode Island-based Eva Anderson Design, which specializes in ecologically-conscious design. She is also editor of Eco newsletter, which addresses environmental issues faced by graphic designers and their clients. Eva received a 1992 EPA Environmental Merit Award for her work with Eco.

learn to read. Shapiro profiled

Dan Imhoff is a Northern

the Canadian design firm of Dinnick & Howells .

California writer who primarily

Philip Krayna writes fre-

quently about design and the media. He is the principal of Philip Krayna Design, in Berkeley, California, and is an instructor at the California College of Arts and Crafts.

He profiled San Francisco-

concentrates on issues of design, the environment and agriculture. He contributed to the Eco newsletter insert.

Alison Wald is a freelance writer living in Providence, Rhode Island. She was a recy-

cling education coordinator for the state for many years, and now writes educational and promotional pieces for nonprofit

based Mauk Design.

Julie Prendiville Roux is

owner and creative director of Radioville, a creative and production services company located in Los Angeles. Julie has spent her career in advertising as a writer at agencies, including Ketchum Communications, Chiat/Day and Foote, Cone & Belding. She recently served as executive director of creative services at Hanna Barbera Cartoons. Julie is a 1999/2000 board member of American Women in Radio and Television. A longtime CA

18

York-based editor-at-large at

groups and businesses. She contributed to Eco.

Technology George Fifield is the curator

of media arts at the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts. In addition, he is director of Boston Cyberarts, Inc., a nonprofit arts organization. He wrote the Design Technology column, edited by Wendy Richmond.

Veronique Vienne is a writer who lives in Brooklyn, New York.

For years a practicing exhibit designer, she later became a magazine art director for publications such as Interiors, Image, Parenting and Self She now writes about design and cultural trends. Her articles have been published in numerous design publications and journals, including Communication Arts, Metropolis and Eye, as well as magazines including House &

Garden, Harper's Bazaar, InStyle and American Photo. She wrote the Design Issues column, edited

by DK Holland.

of interactive multimedia projects for a number of Bay Area

A p R I L

Maria Piscopo is a creative services consultant based in Southern California. She teaches the "Managing Creative Services" class for Dynamic Graphics Educational Foundation and "Selling Yourself (&Your Work)" class at the Art Center College of Design in Pasadena, California. She is on the Advisory Council for California State University at Long Beach Arts and Humanities Department and teaches classes for their extension program. Piscopo is the author of four videos and three books.

She is a frequent contributor to the Freelance column.

cisco-based writer and producer

design project, Aerobleu.

I

Columns

Sam McMillan is a San Fran-

contributor, she interviewed Brooks Branch about his unique

M A R c H

nology Resources column and the Technology Feature on New

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Bruce Turkel, raised on Miami Beach, majored in design at the

University of Florida and began his career in New York. Preferring a tan to an ulcer, Bruce returned to South Florida and formed Turkel Schwartz & Partners advertising agency. Bruce serves on How magazine's editorial board, the University of Florida Advisory Council and teaches at the Miami Ad School. He's authored two books, Brain Darts and New Design,: M iami. Turkel wrote the Advertising column, edited by Tom Monahan.

Don Sparkman is president/ creative director of Sparkman +

Associates, Inc., a Washington , DC, design/marketing firm working with Fortune 500 clients as well as small professional groups. With over 25 years of experience, Don has witnessed the incredible changes in the design field. This issue's Legal Affairs column is an excerpt from his book, Selling Graphic Design,.

Matthew Porter, a native

of Atlanta, Georgia, opened PorterWrite Design Consulting after spending ten years working with Rod Dyer, Keith Bright, Larry Klein and Bob Wages.

Today he works with design and advertising firms, writing copy, Web sites, scripts and marketing plans. He traveled to Santa Fe, New Mexico , to report on The Illustration Conference.

Book Reviews Angelynn Grant is a Boston-

based graphic designer, writer and educator. She has taught at Rhode Island School of Design, the Art Institute of Boston, Simmons College and MIT. Her freelance work ranges from compact discs to Web site design .

You can view her work on her own site at www.shore.net/ ,....agrant.

Letters to the Editor Communication Arts Issues From the 1970s I was wondering if there is a market for old CA issues. I have a number of them from the '70s, CA-72 (Vol. 14, No. 5), CA 73 (Vol. 15, No. 5) and a complete set for 1979· Someone out there may enjoy them. Contact me by e-mail at dl pa tter@facstaff. wise. ed u. Thanks.

been showing printed pieces from corporate design in my portfolio for years.

It is the only way to get work. I have a friend just starting out in the business and she has wonderful pieces that she created in school, however no one will hire her because she does not have printed samples. Usually you must be an employee or have a work-for-hire contract to get printed samples.

DEBORAH PATTERSON MADISON, WISCONSIN

Proper Credit Last year, our firm [Acme Design Group, Inc.] submitted a book tided Life s Play book for Success to Communication Arts where it was featured in the Exhibit section on pages 132-133 in the January/February 1999 issue. I have since learned that the typographic design showing stopwatch times on page 133 was actually designed by Gerhardt & Clemons, Inc. in Chicago, and was the copyrighted work of ABN AMRO North America, Inc. It originally appeared in a calendar tided "Fitness Journal 1997/98 '.' We sincerely regret the appropriation of this design by our designer without the prior knowledge and consent of ABN AMRO and take full responsibility for representing this design as our work. We have since paid ABN AMRO a fee for the use of the typographic design and have added a credit in the book in their name.

I really don't think the copyright law applies when an artist showing printed samples is merely trying to prove him/ herself in this competitive business. The deck has been stacked against us for a long time, this technicality should not be an added obstacle in finding work.

JANICE HAGEY-SCHMIDT

Los ANGELES, CALIFORNIA

Maria Piscopo responds: It is appropriate to air your comment as my original article was generated by a ''Letter To The Editor. "It is very much "real world" since we don't invent topics like this to write about. These tough issues often come to us. The article makes the important distinction between the law and industry custom.

The copyright law does apply to employees and work-for-hire freelancers. They don't

NEWTOWN, PENNSYLVANIA

culture" he outlined does embrace logos as vessels to transmit information, however they also demand motion. Consistency, no matter how powerfully executed, risks symbolic stagnation.

A new culture of dynamic thought surrounds branding and identity management and impacts what brands represent and communicate. Static thinking is not a part of this new culture; identity systems must communicate a Living Brand that evolves and changes. The future will be based on the fearless ability to develop flexible communication systems with unbending relevance and focused ethics. The brands of the future, in my opinion, will need to be malleable and confident enough to recognize cultural change and take responsibility internally and externally for this constant evolution.

Ask Nike if the global and consistent saturation of the swoosh was a fuel or a poison?

MICHAEL ]AGER ]AGER Dr PAOLA KEMP DESIGN

change the law. I can emphasize the indus-

BURLINGTON, VERMONT

try custom is for employees to get "Selfpro-

Mark Fox responds:

Bottom line, get it in writing. Nothing

A logo does not equal branding. Logos are

stated means the employee/artist has no

a component of branding, as branding

rights and that is the real obstacle. All

encompasses a companys identity, advertis-

creative professionals need to educate

ing, marketing communications, Internet

themselves to protect themselves.

presence, products and/or services, corpo-

tion Annual, July 1999, p. 185] seems

Design Issues: Logos = God

can become a ''Living Brand''-to use

utterly ludicrous in the real world, specifically Mr. Basista's view points. I have

Mark Fox's thoughts are quite powerful and bold (Design Annual, November

Who Owns Your Work?

The article by Maria Piscopo [Illustra-

20

tity evolution, the path to the future is not straight and narrow. The "fashion

own their work (the real property) or the

they can use the work [in their porifblios}.

ACME DESIGN GROUP, INC.

His logic path is clear and well-founded in most cases; however in terms of iden-

copyright (the intellectual property). I can't

motion rights reserved"for these pieces so JrM STEEN, PRESIDENT

1999, page 268). I applaud his righteous beliefs and willingness to question the all-powerful Mr. Rand.

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rate culture, etc. As a result, a company Michael Jagers term-without changing its logo simply by evolving its message

What's up?

Welcome to the world of P ETE M c ARTHUR, the still-life specialist serving up bold concepts with intelligence and wit. LICENSED TOCK offers rights-protected, high-concept signature imagery available on line. As IG MENT work delivers deluxe custom concepts on commission. Combine and coordinate if you like, and if you have a question, pick up the phone and speak to the man himself.

( 310 ) 815-1951. pet e

mcarthur.com

focus on an idea

Letters to the Editor

(which can then be conveyed through these other branding channels). I made this point in the article when I wrote that "the beauty ofa well-designed Logo is that its form will resist change even as that form allows the Logos meaning to evolve. " Mr. Jagers Letter outlines an identity model that mirrors the work his firm has done for Burton Snowboards. In short, Burton introduces multiple Logos each season and subsequently retires them.

While this is an innovative approach to branding (and merchandising) that I admire, it is a model that can hardly be applied to other companies. Could you imagine Intel or FedEx rolling out a new Logo every six months?

Finally, Nikes problems have nothing to do with the consistent application oftheir Logo and everything to do with the vagaries offashion. A brand that has saturated the marketplace is by definition unfashionable: one can't be cool and mass market simultaneously for very Long.

Advertising's Overdue Revolution I very much appreciated David "Jelly" Helm's advertising opinion column in December's Ad Annual [page 228). I often find myself having to defend my career choice to non-advertising friends and am not always comfortable or successful in doing so.

While I certainly don't dispute any of the facts, and I applaud his challenges to action, there are a couple of points I would add in the interest of greater perspective: r. Consumer advertising accounts for

only a portion of the work that we, as a community, produce. Some of us have spent entire careers creating trade and public service marketing, and only rarely get an opportunity to do consumer advertising. While our responsi22

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bility as citizens of the world is no less, our professional experiences do not mirror those of Jelly's. I found myself thinking as I read: "haven't done that," "not guilty of that," "never going to have to face that." It was too easy, given the picture he painted, to think of myself as not quite so culpable.

2. We can lead by example in more

ways than by our work. Consider the life-style of the busy urban professional, which again, only accounts for a fraction of the life-styles out there. It is the way that we choose to live our lives that necessitate the consumption of modern conveniences like microwaves and cell phones. But bear in mind that there are plenty of folks out there living happy, productive, fulfilling lives sans CD players with 200 disc changers.

You might be less likely to encourage people to aspire to a life-style if you, yourself, were not (happily) living it.

It has always been my argum~nt that we, as a profession, are simply providing information. And that it is the responsibility of an educated society to use that information appropriately.

However, if we are as influential as research would indicate, it is important that we more carefully consider our actions. Thanks for initiating a dialogue.

SANDI WEINDLING PusH COMMUNICATIONS CHICAGO, ILLINOIS

Printing Error I am writing to alert you that there is a printing error in the 1999 Advertising Annual on page 16 in the Chris Craft ad.

The tag below the logo has a double initial cap. There is supposed to only be one "O" in the initial word "One." Since this is my first appearance in CA, I was slightly more than bummed. The reprint

sent was fine, so I'm pretty sure it was an error in the proofing and printing.

DAVID DAMMAN CARMICHAEL LYNCH MINNEAPOLIS, MINNESOTA

Editor replies: You caught us with our process showing.

In order to read the copy on the winning ads, we make a second scan of the ad as black-and-white Line art, then delete the 4-color text and replace it with the Line shot. Unfortunately, our stripper missed one 4-color Letter, hence the double "O." Our quest for better reproduction also brings greater complexity and more opportunities for errors. Our apologies.

Errata On page 87 of the 1999 Design Annual, client Valence Health was listed incorrectly. Our apologies.

Also in the Design Annual, we were supplied with incorrect credits for the Pipoca Instant Fashion book on page 133· The correct credits should read: Elisabetta Ianucci, designer; Giovanni Bianco/Susanna Cucco, creative directors; Antonia Leigh, producer.

In the Design Annual, on page 151, we were supplied with incomplete credits for the Discovering Madison project.

Conceptual planner Peter Morais and exhibit developer Todd Palmer should have been included.

Address correspondence to: Letters to the Editor, IIO Constitution Drive, Menlo Park, California 94306 or e-mail Letters@commarts.com. We reserve the right to publish Letters and to edit for clarity and length. Please include a signature, address and phone number.

Anonymous Letters will not be published.

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Confessions of a Closet Situationist

BY VERONIQUE VIENNE

T

rapped in mouse-potato-dom, most of us are docile spectators, our idle hands forever deprived of the tactile satisfaction of actually making things. This enforced passivity has dire consequences for the brain.

There is evidence that toolmaking is linked to the development of language. Our hands are connected to our gray matter by a crisscrossing network of nerve pathways that travel back and forth from the righ t brain to the left hand and from left brain to the right hand. So, whi le manual dexterity stimulates our central nervous system, simple spectatorship numbs the mind.

But with nothing to fabricate, the majority of people are reduced to buying ready-made products-examining them, poking them and fondling them in the process just to satisfy the yearning in their fingers. Shopping is a substitute for producing. When my daughter was a teenager, she would often say, like so many of her contemporaries, "Mom, I have nothing to do. I am bored. Let's go shopping!" It soon became a family joke. We worked out a couple of silly variations, including "Mom, my closet is full of clothes . I have nothing

to wear. Let's go shopping," and "Mom, I have too many pairs of sneakers. I am confused. Let's go shopping."

From time to time, I indulged her shopping impulses, but I also suggested fun alternatives: fix toys, repaint the bathroom, make jam, wax the furniture. One of her favorite mood-uppers, it turned out, was doing the silver. I will always cherish the memory of her sitting at the kitchen table, a big apron secured around her chest, happily polishing our odd collection of forks and spoons.

"In his or her daydreams the passive worker becomes an active consumer," wrote John Berger, Britain's eminent critic and novelist, in his 1972 best-seller ~ys ofSeeing. Acquiring things, he believes, is a poor alternative for fashioning objects.

The spectator-self, no longer involved with the making of artifacts, envies the consuming-self who gets to touch and use new gadgets, appliances, devices and goods.

This perception is not new. More than 40 years ago in Paris, an obscure group of cultural critics calling themselves "Situationists" began protesting against the escalating commercial takeover of everyday life, and against the artists, illustrators, photographers, art directors and graphic designers who manufactured this fake gee-whiz reality. In his book, The Society ofSpectacle, French Situationist leader Guy Debord wrote: "In our society where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles." Yet, by today's standards, the spectacle hadn't even begun. This was before the Cuban revolution, before the invasion of Tiber, before the Pill, before La Dolce Vita, before Pop Art. In the 1958 Paris of the early Situationists, Edith Piaf was singing "Milord," Fran~ois Truffaut was shooting The 400 Blows and demure Danish Modern was the cutting edge.

Yet, with a clairvoyance that's startling in hindsight, the short-lived (1957-1972) Situationist International movement predicted our most serious current dilemma. According to the latest findings, we spend 58% of our waking rime interacting with the media; people sleep less and spend less rime with their family in order to watch more television; megaplexes and superstores are increasingly designed to resemble theme parks; and the Mall of America in Minneapolis hosts more visitors than Walt Disney World, Disneyland and the Grand Canyon combined. In his new book, The Entertain-

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ment Economy: How Mega-Media Forces Are Transforming Our Lives, Michael J. Wolf asserts: "We have come to expect that we will be entertained all the time. Products and brands that deliver on this expectation are succeeding. Products that do not will disappear."

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No wonder the Situationists' ethos has become the mantra of critics and detractors of our imagineering culture. Everyone who is anyone these days is dropping their namefrom Adbusters to Emigre magazines, and from Greil Marcus to J. Abbott Miller. Debord's seminal book, The Society of Spectacle, is on the list of the trendy Zone Books, and MIT Press has recently published The Situationist City, a comprehensive investigation of the Situationists' urbanist theories, written by Simon Sadler. Move over Paul Virillio. SI, as the Situationist International movement is now labeled, is the latest French intellectual import.

An underground movement that shunned the limelightthe members of this elusive group lived by the precepts they preached-SI's subversive ideology at first defies comprehension. Unless you understand the specific context of the period, many of their assertions make little sense today.

Influenced by Lettrist International, a radical group of the 1950s that sought to revitalize urban life through the fusion of poetry and music, Debord and his colleague Raoul Vaneigem used Dada slogans to spread their message. "The more you consume, the less you live," and "Be realistic, demand the impossible," are two of the most memorable SI pronouncements.

Yet in spite of its so-called anarchist mentality, the SI methodology was precisely constructed. The name of the group was born out of the realization that participants had to create special conditions in their everyday life-special "situations"-in order to resist the insidious appeal of the pseudo-needs of increased consumption and to overcome the mounting sense of alienation that characterized the postmodern age. They conducted open-ended experiments that involved playful constructive behavior aimed at scrambling mental expectations. Most popular of these strategies was taking aimless strolls through a busy neighborhood, deliberately rearranging the furniture in their apartments to create as many obstacles as possible, systematically rejecting labor-saving devices and voluntarily disorienting themselves by consulting the map of London when visiting Amsterdam.

Called "Drifting"-Derive in French-the technique was an effective way to "reclaim the night," to momentarily defy the white patriarchy of traditional space-time.

Like most rational people today, I too would find chis approach na'ive and dogmatic, if I hadn't experienced it firsthand. In 1960, as a student at the Paris Beaux-Arts school of architecture, I was unwittingly part of an SI experiment.

The very first day I showed up at the studio with a dozen other new recruits, the young instructor announced that we should reconvene at La Palette, a bistro across che street. Ac 28

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nine in the morning, the sidewalk had just been washed and the waiter was trundling the cast-iron tables out onto

And so, for the first semester, we sat at the bistro from nine

the boulevard. We each grabbed a wicker chair from a tall stack in a corner, picked our spot on the terrace, angled our

when we would drift through Paris, sketchbooks in hand,

seats to catch the morning sun, stretched our legs, yawned

stairway leading to the river bank, an abandoned gazebo in

and ordered a round of black coffee.

a park, the monumental gate of a hospital-you would find

a.m. to two p.m., five days a week. Except for mornings making detailed drawings of whatever caught our fancy-a

"This is your first lesson in architecture," said the instructor,

us huddled at the terrace of La Palette. This was in situ urban

a gaunt young man in a black turtleneck-the trademark

anthropology. I learned to observe how people choose the

look of the avant-garde back then. "For the next three

best spot to sit; how lovers fight, how couples brood and

months, we will spend six hours a day sitting right here.

how friends compete; how everyone sits straighter when a

I want you to learn about space/time-particularly how to

pretty girl walks in; how people celebrate on payday-and

use space in order to waste time. Unless you understand

how they scrutinize a menu when they are broke.

that, you'll never be good architects."

Sometimes we wo uld get into conversations, sometimes we

I now know that this is straightforward SI doctrine.

would draw, sometimes we would read, sometimes we would

Embracing Arthur Rimbaud's assertion that laziness is a

argue-and often we would simply daydream. As promised,

refusal to compartmentalize time, Situationists advocated

the space/time equation became a reality, one rich in sur-

"living without restrictions or dead time, " and "never

prises and discoveries. We became familiar with the angles

work-never risk dying of boredom." They wasted time

of the various streets, the movements of the sun, the sounds

deliberately, and playfully, as a guerrilla strategy against the

of the city, the rhythm of life around us. No two minutes

sense of emptiness imposed by the relentless spectacle of

were ever alike . As we sat there, absorbing what felt like

consumption that was quickly subsuming French culture.

vital information, we developed a perception of the human scale-a critical notion for architects. And then , almost reluctantly, after lunch, we drifted across the street to the studio where we worked late into the night to acquire the

We don't mean to namedrop, but (Wieden) our board of (Westbrook) directors is pretty (Dusenberry) impressive.

rudiments of the classical orders of architecture.

I never completed my architectural studies. Instead, I moved to the States and eventually became a magazine art director.

During my career in design, I often used the derive technique to avoid the pitfalls of linear thinking. Another Situationist construct also came in handy. Called detournement, translated as "rerouting," it consists of transforming images by interpreting them to mean something of your own making. SI theorists liked to describe the method as "hijacking, misappropriation, corruption of preexisting <esthetic elements." I simply call it sticking words on top of images.

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place a headline next to a picture, create a collage, single out a pull-quote or write cover lines, you subvert the significance of both word and image. I believe that most of the creative tensions between editors and art directors, or between clients and designers, evolve from a misunderstanding of how visual artifacts can be reconfigured into constructed situations.

Chris Dixon, art director of Adbusters magazine, the anticonsumerism publication that has wholeheartedly embraced the SI legacy, is probably one of the few North-American

designers to consciously use dttournement. "Often the captions we use in the magazine are much more provocative than the images themselves," he says. "In fact, we deliberately use rather conventional photographs to let our readers know that we speak the same language they do." Even though its overall message is anti-commercial and anti-advertising,

Adbusters is surprisingly well-designed, as if to mock the very cesthetic that drives the advertising community.

Where Adbusters and SI part ways is on the discourse they have chosen to promote similar ideas. "We link anticonsumerism to the environmental movement," explains Dixon. "Readers understand the correlation between buying too many useless products and depleting the natural resources of the planet." Concern for the environment never appears in the newspapers, journals, tracks, graffiti or manifestoes left behind by the SI. They didn't have much of a social agenda either. Their mandate was to resist the cultural imperialism that drains human beings of their Joie de vivre, a very French concept, indeed. Boredom was their enemy; happiness their goal. Another of their maxims was: "They are buying your happiness-steal it back."

The Situationist idea of happiness is very different from the "hedonomics" of the buying experience, as defined by Michael J. Wolf in The Entertainment Economy. Whereas Americans equate feeling good with having "fun," the French in general, and the SI in particular, describe happiness as liberating-as being euphoric, mischievous, prankish. It's the feeling that swept over France during the first weeks of the May 1968 general strike, when all Paris took to the streets in what was at first a festival more than a student revolt.

The Situationists were responsible for initiating the construction of barricades in the streets of Paris that month (Pull up some cobblestones, add a half-dozen trash cans, more cobblestones, some discarded lumber, maybe a broken bicycle.

Borrow chairs from a cafe, sit and wait). They also encouraged students to cover the walls of the city with Lettristinspired graffiti ("It is forbidden to forbid"). Last, but not least, they were credited with giving the rebellion its upbeat and high-spirited signature.

But the events of 1968-not only in France, but all over the world-were eventually "rerouted" by the establishment. As Thomas Frank, editor-in-chief of The Baffler, explains in his book, The Conquest of Cool, the anti-consumerism rebellion of the post-war era was commodified by Madison Avenue into what is now known as the "Youth Culture"-one of the greatest marketing tools of the second part of the 20th century. The Society of Spectacle was here to stay. Blaming 32

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themselves for their failure to change society, but also grieving for the millions of consumers who would only experience euphoria through shopping, Debord and his troops dispersed in 1972. Tragically unable to recapture the Joie de vivre of the early days of SI, Debord took his own life in December 1994, soon after completing a documentary film on his work.

Five years after Debord's suicide, events would prove that the spirit he had championed still survives. On December 5, 1999, the front page of the New York Times featured a I photograph that would have cheered him up. Taken by Jimi Lott of the Seattle Times, it showed Mr. and Mrs. Santa Claus being escorted home by four riot policemen wearing Ninja-turtle combat boots and padded breastplates. The violent protests against the World Trade Organization in Seattle had so disrupted holiday shopping, explained the caption, that the Yule pair had to be put under police protection.

learned to observe how people choose the best spot to sit; how lovers fight, how couples brood and how friends compete; how everyone sits straighter when a pretty girl walks in; how people celebrate on pay- As one flipped through the newspaper, one quickly realday-and how ized that the former Saint Nicholas (a historical figure they scrutinize a incidentally recast in 1931 by menu when they Coca-Cola as the beloved are broke. red-and-white icon we now

identify with Christmas shopping) was not the only consumer icon that needed police protection. National guards troops and riot paratroopers had been posted in front of all retail stores in downtown Seattle-guarding Starbucks , Banana Republic, Coach, Gap and Gucci, just to name a few. The entrance of Niketown in particular looked like the set of Star Wars, with hooded figures in black armor standing at attention, their four-foot bludgeons poised to strike.

It looked like the police were confronting rowdy crowds not to protect civil liberties and political institutions-but to protect global brands. Though one didn't have to be a trend forecaster to feel that brand backlash was coming ("My wish for the New Year was to get through meetings without someone mentioning branding," joked Web page editorial designer Jessica Helfand recently), [ c o NTINUED O N PAGE 35]

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most of us never expected it would be so sudden, so graphic, or so ready-for-prime-time television. "The revolution will not be televised," sang Gil Scott-Heron in 1974· Wishful thinking, indeed. The anti-consumerism, anti-brand revolution, complete with demonstrators smashing store windows, was on the eleven o'clock news. Replays showing the same scenes over and over were aired every ten minutes, as if to "brand" the violent images in the mind of viewers.

manifesto signed by 33 prominent designers worldwide. In fact, when AIGA president Michael Bierut, in his closing statement in Las Vegas, had made a passing reference to this controversial call for moderation-in-marketing, some people in the audience had booed his comments.

But, as luck would have it, that same week-for the fifth anniversary of Debord's death-I had given my graphic design students at the School of Visual Arts a series of

Kalle Lasn, editor of Adbusters magazine in Vancouver, Canada, and famous for advocating what he calls "culture

derive exercises directly inspired by my own SI experience

jamming," was one of the few people who wasn't surprised by the Seattle uproar. In fact, the December 1999 issue of his magazine had an article predicting that the WTO conference would be "a historic confrontation between

last three months, plotting on paper their perception of time/space in the Big Apple. Their map, I told them, was supposed to be an "aid to reverie," a tool for "annexing

civil society and corporate rule. " His book, Culture jam,

their private space into the public sphere." Then, they had

The Uncooling ofAmerica, had just been released. Time

to explore and draw the Beaux-Arts colonnade at the Manhattan Bridge anchorage, with the idea that urbanism was in fact "the organization of silence ."

magazine had praised him for taking arms against our 3,000-marketing-message-a-day society. Still he wasn't prepared for what he saw when he went to Seattle to observe the riots.

and studies. First they had to draw a map of all their travel/wanderings/whereabouts in New York City during the

No one really got it. But the discussions, laughter, confessions and astute comments generated by my students as we

"It was like a festival, " he says. "Except for a few people con-

reviewed their serendipitous maps and awkward sketches

fronting cops, demonstrators were laid-back, happy, having fun. There was a lot of street theater, spontaneous happenings and cheerful pranks being played. " It had a Situationist

reaffirmed my faith in design and art education. As long as we encourage each other to observe, imagine, construct and

ambiance, for sure. But then, unexpectedly, Lasn got his first whiff of tear gas. "I'll never forget that smell, " he says.

"Nor will I forget the savage look on the face of the policemen. They really didn't get it. " But who gets it? Why are the global brands a threat to our very existence-a threat so real it galvanized 30,000 protestors to take to the streets? "There were more than 100 different groups," tells Lasn. "Environmentalists, students, anarchists, but also musty old socialists , Christians tired of the violence on TV, critics of genetic engineering and card-carrying union members-every single one of them

manufacture things-whether useful objects or useless situations-we will never become bored and depressed consumers.

Let's not use design as an inducement to shop, but an inducement to Joie de vivre. •

Editor's Note: Many designers are in the position of both designing to promote consumerism and consuming. How difficult is it for that designer to detach and assess the right and wrong ofconsumerism? Vienne has helped frame the discussion: the May/]une Design Issues column will further the debate.

-DK HOLLAND

worried about some unofficial global government body enforcing an elite corporate agenda. " During the WTO riots, the design community was in a state of complete denial. No one talked about what was happening in Seattle. Heck, we were still nursing our Las Vegas hangover following the "hedonomic" AIGA conference held two months earlier. There had been practically no references to the social or environmental responsibility of designers , let alone their role in "supporting, or implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizenconsumers speak, think, feel , respond, and interact," to quote the language of "First Things First, " the Adbusters C 0 M M U N I C A T I 0 N

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T

he Internet is still a new environment for self-

Web site this year. The response to the new site has been

promotion of freelancers. We are all still learning

good . We have found the simpler the better when it comes

from our mistakes and our success stories. It is not

a portfolio. It is not an ad. This hybrid electronic tool is more

to the Web. It's much cleaner. Our copy is simple; it ~xplains what we do. We broke the photographs into categories:

like a showroom where clients can look or they can buy.

portraits, black-and-white and travel. Then there is a special

Your home page is the entrance to your Web site. With a

section, for a project that we did-that gets a lot of response. "

well-designed home page, your site should work as both an

As creative professionals, you do need to work with a design

advertisement and as a portfolio. It should make an impres-

professional with experience in Web site and page design

sion and get the client to respond for more information.

and production. Use this checklist when working with your

By using a home page with content that loads quickly, you

design professional. Remember that your Web site is a pro-

capture a client's attention and then show where to go next.

motion tool, not just a collection of your favorite work!

With thumbnail photos or even a text description, the pro-

• It is important to give clients options. Dennis Gray

spective clients can then click to their area of interest. Bot-

(www.planetpoint.com/grayincolor) suggests, "The first

tom line, your emphasis should be on content, ease of

twelve-image portfolio is constructed of 'Tear Sheet' samples.

navigation and usefulness .

The art buyer can click on 'View More Portfolio Images' to

The best sites use this formula and avoid extensive scrolling

see another twelve-image mini portfolio constructed of

down to reach your images or information. Lauren Brill

photographic images. The contact information for my rep

(www.brillphoto.com) comments, "We redesigned our

or me is on each page. This includes an ' Order this portfolio'

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button that allows the viewer to order my portfolio without leaving my site. "

the first-time anxiety that many art directors feel when

• You need to capture the visitors' information such as names,

working with someone new. " Robert Anderson suggests,

ad dresses, phone numbers and e-mail addresses. You can do

"It must be navigable by any person tapped into the Net.

this with a "Guest Book" or a system to track the quality of

I wanted someone from Japan or the Ukraine to be able

the visit. Tina Manley (www.tinamanley.com) found that,

to figure out my site without the ability to speak English. "

"Keywords listed in Meta Tags in HTML for the site and registering my Web name with NameSecure to transfer hits

• Discuss technical issues with your designer such as site navigation, file size, download time and color depth and

to my Charlotte's Web domain site have been very effective.

palette. As with print promotions, there can be a conflict

My site comes up in the top ten for most searches for

between "Make it pretty" and "Make it work. " Be

Documentary Photography. The Hitometer is valuab le to

careful with complex designs that slow down the navigation of your site.

me, but I have made it a hidden counter on my site to keep the results private. " Dennis Gray adds, "We count how many viewers my site has and how long they stayed on

• Use the quick speed of electronic response time to test different offers, page tides , image selection and response

the site each month. Not just the hits , but what we call

mechanisms. Feedback is faster than print promotions

'user sessions' ."

so you can quickly make any changes.

• What keywords will you use or purchase when you

• Find ways to add interesting content to your site. By

register your site with the available search engines? Robert

using "editorial" with your promotion copy, clients have

McClintock (www.robertmcclintock.com) says, "I have

another reason to revisit your site. Try industry-meeting

recently begun submitting my Web address to all the major

announcements, upcoming events or interesting news

search engines via a shareware program call VSE BeFound

items.

(www.vse-online.com). It's a program that helps with

Though Internet marketing for the freelancer is still

keywords and Meta names , titles and descriptions in your

new, you should consider how to add a site to your

HTML documents and then submi ts them so you can rise to

the top of the search engines. It works great, if the client

marketing plan. Robert Anderson concludes , "My

types in my name only. Currently, I show up as number

current site has allowed me to create a global presence.

I do feel that I have more control over who sees it. I can

two in the Yahoo! search, but if the client searches for

gather intelligence about who has been to my site, how

digital photo/illustrators or even digital illustrators, my

many times and from where people are accessing my site.

name or Web site doesn't appear, so you must be very

I have finalized two jobs from the United Kingdom

specific. Moreover, a study of the NEC Research Institute

directly from the clients surfing the Net and liking my

shows that most search engines need about six months to

work enough to send an e-mail to get the ball rolling. It

index a Web site. (Data provided by NUA Internet Surveys www.nua.ie. ) They used to need only about a month. "

still requires the human touch to close the deal , and produce the work, but the Cyber-salesman of a Web site

Robert Anderson (www.rapfoto.com) adds, "I have listed

is a tremendous boost to productivity for the freelancer.

my site on over a dozen free online lists, and these account

The Web never sleeps , and my sales force is always ready

for a large portion of my visitors. I'm not talking about just

to show clients my work, 24/7." •

Yahoo! or Excite, but specific places like: www.photo

© 2000 Maria Piscopo

directory.com and www.photographersindex .com. " • Make the site easy to use. Use easy-to-read fonts and backgrounds that are simple and do not interfere with the text. From Tom Cansler, (http://members.aol.com/tcpix), "The greatest design factor has been continuity of look and ease of navigation. For copy, the use of 'first person' with a conversational tone has been very effective. This is a 40

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Dinnick & Howells

BY ELLEN SHAPIRO

I

n a world where everything tries to scream the loudest for attention, the

quiet, refined work of Sarah Dinnick and Jonathan Howells stands out. The business cards of the firm are a case in point. On one side, Dinnick & Howells is set in spare, elegantly letterspaced Neue Helvetica®caps, reversed from a color field. Jonathan's card is periwinkle blue; Sarah's acid green. On the other side, name and address are set in the same minimalist style, printed in cool gray on white. No tricks, nothing decorative, superficial or extraneous. Everything about these slim little cards says professionalism, attention to detail; people who know what they're doing did these; they could do fine work for you, too.

Thus, the names Dinnick and Howells are getting known outside their native city of Toronto, Canada. The firm is growing and the work is getting some international recognition. All of which is accepted in an unassuming, appreciative way by Sarah Dinnick and Jonathan Howells. On a frosty December morning, the thirty-something partners-Sarah, fashionable in gray, with heavy-rimmed glasses, and Jonathan, tall and thin in white T-shirt and brown wool trousersare at their birch-slab conference table finalizing letters of agreement with two new affiliates, writer Bruce MacDonald and marketing guru Derek Lackey. Keith Jarrett provides cool background music while assistant designers Dwayne Dobson and Nadine Chasse work on projects ranging from book jackets for Knopf to collateral for emerging growth companies.

Not that the name partners are diverting too much attention to matters other than design, like office administration or marketing, these days. They would never 46

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have it that way. "Sarah and I are both creative principals," says Howells. "We're

books and objects. It's no accident that design firms are flourishing here.

quite hands-on. " Although they are "friends only"-Sarah is married with two young children and Jonathan is singlethe two have been a team artistically and professionally for eleven years. They met

This firm's clients are particularly fortunate to be recipients of what the partners call "informed" design. Informed by broad, overlapping interests in architecture, film , fine art and music, the partners bring a highly educated-almost intellectual-quality to product and service marketing. Dinnick maintains, "Clarity and simplicity always come first."

at Ontario College of Art in 1989 and spent three years as senior designers at Vandenberg & Co., a Toronto firm where they collaborated on packaging, corporate identity and multidisciplinary design.

five years ago, and renovated enough space in a former munitions factory in the up-and-coming King and Dufferin

For the Art Gallery of Ontario, Toronto's premier museum, the firm created the graphics for "The Warhol Look," an exhibition that traveled from New York's Whitney Museum. In the hands oflesser

warehouse district a few minutes from the center of Toronto to eventually

Captions provided by Jonathan Howells.

They decided to strike out on their own

accommodate a well-equipped design office of a dozen professionals. The way things are going, though, that goal may be reached sooner than anticipated.

"In Canada, companies are really beginning to value good, smart design, " explains Howells. "Following the lead of the States, the larger corporations realized this a few years back. Now the mediumsized ones, our market, are following suit." To an American, however, this explanation may seem a bit disingenuous; crossing the border or disembarking at any north-of-the-border airport, it's apparent that Canada is a country that values design. From the signage to the postage stamps, a vigorous professionalism permeates the country's graphics.

The most public symbol of this is the Design Exchange (the "DX"), the former stock exchange building on Bay Street that now encompasses a design library, exhibition space that introduces the public and the business community to the uses and benefits of design, a lecture hall and a handsome shop for design

Right: "The Courtauld Collection" art cards and passbooks. "The art cards and passbooks are essentially collectible, gift certificates from the Art Gallery of Ontario. The cards, like full color credit cards, carry various images from the gallery's main show and the passbooks hold them as well as providing gallery and show information." Sarah Dinnick, art director; Tracey Hanson, designer.

MJ Series. "MJ is the name of the Members Journal at the Art Gallery of Ontario. Our first exercise was to create a design template that would guide the covers and interiors of each subsequent issue. Color palettes were determined for each issue based on the cover artwork of the main upcoming shows. The typographic personality of the interior spreads are restrained, yet interesting, and evolve slightly from issue to issue while remaining faithful to the original template." Sarah Din nick, art director; Sarah Dinnick/Samantha Dion/Tracey Hanson, designers; Art Gallery of Ontario, client.

"Art in the Age of Van Gogh" campaign . "For this exhibit from the Rijks Museum in Amsterdam, we made strong use of three main paintings including a bold Van Gogh self-portrait, cropped in tight, dramatic ways. The titling block, also a main branding device, is an authentic Dutch frame used as a negative, which holds simple, classic typography. To slightly offset the classicism of the design, the title block sits asymmetrically in relation to the banded paintings."

Sarah Dinnick, art director; Samantha Dion/ Sarah Dinnick, designers; Art Gallery of Ontario, client.

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Dinnick & Howells

designers, this campaign might have fallen into cliches. Instead, the transit posters, street banners, bus graphics, invitations and images on the gallery walls took advantage of meticulously researched, beautifully cropped archival photographs by Vt>gue great Bill King.

"The Warhol Look" is a timeless, highfashion look.

A brochure for a company called "Afflatus" proves that big ideas can be presented in a refined, understated way.

Afflatus helps entrepreneurs develop million-dollar concepts. As you turn the pages, the word IDEA appears, letterby-letter, in singular Garamond caps reversed from color fields. No screaming testimonials, no pictures, no hard sell.

This project delineates Howells's watchword: "The brain stage comes first. " At the other end of the spectrum, Dinnick & Howells have been involved in long-term branding and communications programs for nonprofits, frequently with Eric Young Enterprises, an organization that creates campaigns for social change.

E.Y.E.'s president, Eric Young, says that it's rare to find designers who can present sensitive, complex subjects with real clarity, yet in a way that's engaging to the reader and not another exercise in "dull earnestness. " The hospice care campaign they collaborated on for the Glaxo Wellcome Foundation, with its Matisse-like motifs, is a model of this. "I really love those guys," admits Young. "They're a modern breed. Low attitude, high value."

Last year, colleagues at Iron Design asked Dinnick & Howells to help with the design of their stationery. Combining soft black-and-white photos of objects related to "iron"-a branding iron, an iron pill, an ironed shirt-with beautiful type, color, paper and embossing evocative of the periodic table of the elements, gave a 48

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cross-town rival an identity that conveys whimsy, smart thinking and professionalism. "There isn't a real sense of aggressive competition around here," explains Howells. "Like other big cities, Toronto is saturated with design offices.

But only a handful of them are doing really good work. We're all friends."

What's ahead for Dinnick & Howells?

The new affiliations with creative director-writer-strategic planner Bruce MacDonald and advertising-marketing expert Derek Lackey promise to bring the firm a greater sense of focus. Says MacDonald, "Jonathan and Sarah are two of the most talented individuals in their field in Canada today. But, like many designers, they've been operating on a project-by-project basis. " MacDonald and Lackey are crafting a business plan intended to position the firm "in a bigger way." MacDonald says that many graphic designers, by appearing too eager to serve and presenting too many ideas , have "commodified" the profession, downplayed their creativity and talents, and nearly invalidated their credibility.

"Designers have confused service with servility,'' he claims, describing the ideal client relationship as one in which you, the designer, set limits and are rewarded for your best thinking, and neither you nor the client will settle for anything less.

Lackey adds, "We're moving towards this

in our agency with some success. We're only interested in working with clients who offer us that level of respect, and we're willing to walk away from work that doesn't present that opportunity. That's not being arrogant. It's the only real way to add value to our clients' businesses."

Lots of people will be watching Dinnick & Howells closely. If this paradigm succeeds, it could not only benefit Sarah Dinnick and Jonathan Howells. Its ripple effect could bring positive change to many, many designers. •

This page: Sarah Dinnick and Jonathan Howells.

Right: Afflatus Booklet. "Background: Afflatus is a company that thinks up 'million-dollar ideas.' The inner spreads, page by page spell the word 'IDEA'." Jonathan Howells, art director/designer; Hasnain Dattu/Photonica , photographers.

Sam V3. "Softchoice, a distributor of software, required packaging for one of its own products.

Our big challenge was to work around a 'crappy' illustration that some guy in shipping had done and the president loved! We buried it behind some big type and used it in metallic silver. The interior of the package is sans booklets. All information is provided as attached, quick reference 'flaps' that each hide the information on the flap behind them . The effect is uncluttered and organized, and the absence of the booklet format means no booklet to lose. At the outer ends of the package gatefold are pockets. One for a software CD the other for floppy disks." Jonathan Howells, art director/designer.

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This page: Poet Farrell booklets. " The main challenge of the design brief was that these books should identify both the photo agent, Poet Farrell, and each individual photographer she represents in one glance, yet be 'separate.' Our solution was a common, translucent cover that carried Poet's name, which covered five different books. Every book cover carried the initial of each of her five photographers as well as a different color code. The photographer's full name appeared both on the back cover and the first page of the book. The inner layouts change from book to book, depending on the style and attitude of each photographer and their work." Jonathan Howells, art director; Jonathan Howells/Samantha Dion/Tracey Hanson/Nadine Chasse, designers; Keith Ng/Per Kristiansen/Ed O'Neal/Paul Alexander/nm Saunders, photographers; Poet Farrell/Keith Ng/Per Kristiansen/Ed O'Neal/Paul Alexander/nm Saunders, clients.

Right: Logo for Ora Oxygen retail spa , a spa concept to appear exclusively in airports around the world, the first three being Calgary, New York and Amsterdam. "We created a proprietary typeface for the identity and then blew the word 'oxygen ' out of focus for a literal, airy effect. The typeface was put to work in an extensive line of retail packages, for products including skin care, aromatherapy and dietary supplements." Jonathan Howells, art director /designer.

Cover and spread from a brochure for Trio. "The communication objective here was to express 'lots and lots and lots' of viewing choices from Trio, an entertainment network that features films, documen taries and TV dramas from around the world. While these three parts make up the whole, it was critical to create distinct 'islands' of information for each, so an unusual second binding technique was con ceived that effectively compartmentalized each section, allowing an interactive entering and exiting of each individual editorial environment.

The curtain cover, an extension of the network's identity and an important branding device, was printed on transparent paper, allowing visibility of the underlying visual montage of programs and suggesting 'the world behind the (Trio) curtain.'" Nadine Chasse/Jonathan Howells, designers; Jonathan Howells, art director; various photographers; Trio/Northbridge Programming, client.

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Dinnick & Howells Left: "When we were asked to design the 1999 Call for Entries and show materials for the ADCC, we recognized the opportunity to shake things up a bit. The design world tends to take itself too seriously at times and our approach was self-deprecating at best. We arrived, through consideration of other types of awards ceremonies (prize cows, giant gourds) at the 'Dog Show': a mildly mocking analogy.

Absurd archival images were compiled including grotesque dogs dribbling over their trophies; typography was designed that was complementary, but was intentionally bad in its typesetting." Jonathan Howells, art director; Tracey Hanson, designer; Advertising & Design Club of Canada, client.

For Searle's line of oral contraceptives, extreme close-up photos of flowers by Chris Nichols were used as a visual motif as well as a color-coding system for packages containing ten different product formulations. "The packaging system was one aspect of a whole educational campaign," says Dinnick. "Part of our work was educating young women about birth control. Part of it was creating something to stand out in the category, that would have the right personality, strike the right chord, be feminine without the cliches and not look like medicine." Sarah Dinnick/Jonathan Howells, art directors/designers; Chris Nichols, photographer; Searle Canada/Healthwise, client.

This page: Iron Design identity/stationery. "As unusual as it is to be asked by another design office to help in the design of their identity and letterhead program, this project turned out to be one of our most enjoyable and fruitful. With the simple brief of somehow integrating the period table into a new identity, we eventually arrived at a series of whimsical photo icons that actually relate to specific aspects of Iron's business. Each image is overlapped by a transparent rectangle of color that is Iron (Fe 26) from the period table, and the adjoining elements in the table appear as a subtle, embossed 'bridge' that tie everything together. The final program included five different letterheads and business cards, each with a different embossing position." Paul Garbett/Jonathan Howells, art directors; Jonathan Howells, designer; Vivian Gast, photographer.

Levi's• Red Tab Jean hangtags. "After an extensive creative development exploration that involved multiple presentations to the full executive team at Levi's as well as focus groups with the young target group, we finally arrived at a very simple and versatile new design system for Levi's Red Tab Jeans. It effectively addressed and solved the key criteria in the design brief: 'modernize, simplify, clarify and not become dated in the short term.' Color coding was evolved, the cowboy tradition was abandoned with the exception of the timeless '2 Horse Brand'; jean numbers that were meaningless to consumers, yet part of the Levi's tradition were downplayed while fit descriptions were played up and accompanied by simple, utilitarian but stylish fit diagrams. These diagrams, in addition to photo icons for both zipper and button fly jeans, communicate essential information visually, beyond language and cultural barriers.'' Jonathan Howells/Sarah Dinnick, art directors; Jonathan Howells/Sarah Dinnick/Sue Priban, designers; Levi Strauss & Co . Canada, client.

Levi's underwear packaging. "Designed to carefully position the new Levi's underwear line as its own proud and original product within the crowded and highly competitive underwear market, we proposed a number of key details. Colorful, close-up photographs versus blackand-white, full-body (Calvinesque) images, real people with visible emotion rather than stoic, posing statues and an unusual 'wraparound' package design that allowed dynamic in-store merchandising.

We also proposed a strong use of the historically secondary Levi's 'Tab' brand, and used the more familiar 'batwing' in a smaller, side position . The stark, utilitarian product diagrams were first developed here and later extended to the Red Tab Jean packaging." Jonathan Howells, art director; Jonathan Howells/Sarah Dinnick, designers; Edward Zaccaria, photographer; Levi Strauss & Co. Canada, client .

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Left: "Ace Bakery, a high-end Toronto-based bakery and cafe, wanted an evolution of their wholesome image; something more uptown yet still conveying the tradition of baking and the hand-made quality of their products."

Jonathan Howells/Sarah Dinnick, art directors; Samantha Dion/Sarah Dinnick/Jonathan Howells, designers.

This page: "During the renovation of the new Flagship store in Toronto, Club Monaco wanted a construction hoarding that would build huge anticipation of the opening in the months to come. Using images from the current ad campaign by Walter Chin, scale was maximized so that visibility extended for many blocks; both east/west and north/south ."

"In 1995, Club Monaco celebrated its 10th anniversary. We created an image campaign that was made up of stark blackand-white images on metallic silver. The main visual link is a ghosted '85-95' that appears in each of the campaign elements, from in-store signage to transit shelter posters."

"Club Monaco's new worldwide flagship store is within a historical building once owned by the University of Toronto.

Much care was taken with the renovation to respect the original space. For the opening party we created an invitation that reinforced this priority. Contained in a black tube that read 'preservation + rejuvenation' sat an oversized invitation printed on architectural vellum. On one side sat the original elevation drawing of the building, while the other side carried photos of architectural details and the opening party information." " For this line of men's underwear, we walked the very thin line between minimalism and over-simplicity, hopefully landing in the former range . As with all package design in Canada, there is always the additional design challenge of integrating both English and French text. In some cases a panel can be devoted to each, but here a bilingual solution

BOXER BRIEF JERSEY BQXER

·-----

BASIC BRIEF :ALECON INDISPENSABLE

CALECON BOXEUR

BOXEUR EN JERSEY

CLUB MONACO CLUB MONACO CLUB MONACO

was necessary to allow the back of the box to have a window." Jonathan Howells/Sarah Din nick, art directors/ designers; Walter Chin/Keith Ng (invitationl/Vivian Gast (underwear). photographers.

Above: "Agora restaurant was convinced that for their logo they wanted a sunflower with the word ' Agora' under it. We suggested that some other approaches might be worth exploring and they said they'd love to see a sunflower with the word 'Agora' under it. We presented a plate with the word 'Agora' across it and then they were convinced they wanted a plate with the word ' Agora' across it." Sarah Dinnick, art director; Samantha Dion, designer; Vivian Gast, photographer; Agora Restaurant, Art Gallery of Ontario, client.

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Dinnick & Howells

This page: "Thai Traditions is the brand name for the restaurant Bangkok Garden's line of Thai home cooking ingredients."

Jonathan Howells/Sarah Dinnick, art directors/designers.

Book cover for Scorned & Beloved. "We finally got to use these great old British game cards that we'd had since we were kids.

The object of the game is from a shuffled deck, to put all the bodies together with their proper parts. This book is about eccentrics, so we used the bodies all mixed up ." Jonathan Howells, art director/designer; Knopf Canada, client.

The Wise and Foolish Virgins by Don Hannah. "Sometimes it takes a few shots before you hit the mark and this book cover was no exception. The glowing nitelite was a perfect and appropriately absurd metaphor to evoke the tone of the book as well as reference a central image in the story." Jonathan Howells, art director/ designer; Keith Ng, photographer; Knopf Canada, client.

Right: Book cover for The Spirit Cabinet. "We blew our entire (very tiny) photo budget having the cape actually embroidered with the book title and author name, and used up a returned favor to get the cover shot. The little boy who posed for it stood for hours on the stage in one of Toronto 's oldest movie theaters, while his father slept in the seats behind us. We used a shot of him on the back cover. " Jonathan Howells, art director/designer; Derek Shapton, photographer; Random House of Canada, client.

"Oyster is a surreal and epic tale of exploitation, greed, deceit, murder and a cult set in a dusty, secret town in the Australian outback. The cover was inspired by a moment when a young teacher, an 'outsider', threatens to expose the town's crimes and its location , drawing a map in the red earth with her shoe. The nearest red dirt was on Prince Edward Island, Canada's potato capital on the East Coast. We called the tourism office in Charlottetown; after convincing them we really weren't joking, they agreed to send out the guy who puts stakes in the potato fields and the next day a heavy FedEx® box arrived. We found the lizard in a ' creepy crawly' pet shop outside of Tor onto. Amazingly it stood still for 30 minutes while the shop owner posed it like a toy and we took pictures. The dirt and lizard we introduced within the computer. Viola! " Jonathan Howells, art director/designer; Vivian Gast, photographer; Knopf Canada, client .

The Electrical Field book cover. "For this book that rests on the framework of a murder mystery, we wanted to convey life and death using front and back covers respectively and with a key image: flowers." Jonathan Howells, art director/designer; Keith Ng, photographer; Knopf Canada, client.

"For Bay of Pigs Declassified, we wanted a cover that felt almost cinema -like. This true, Cold War story has more tension, intrigue, twists and turns than a 'film-noir' thriller, and with access to a White House portrait of Kennedy, we extracted two tight crops of his face and his hand for the front and back cover respectively.

An invasion map is laid over top like a bad memory in Kennedy's mind." Jonathan Howells, art director/designer; The New York Press, client .

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AmyGuip

BY MICHAEL KAPLAN

S

he is the kind of multi-talented cross-over specialist whose approach to art and graphic design perfectly suits our fin de siecle culture where all media mix. Amy Guip's images usually start out as sketches, then they get worked up into photographs.

And, more often than not, they are graphically augmented on the computer-though she always aims to make them look anything but computerized. That probably explains the rich, textural, hand-hewn quality that earmarks her work-like the image she did for Newsweek, which illustrated movie violence by transforming film strips and bullet-holed targets into a human form.

Ironically, the 34-year-old illustrator, whose ::esthetic seems to be tailor-made for digital alterations-clients include Rolling Stone, Entertainment Weekly and ESPN The Magazine-had never used a computer until 1995· Clients had become so accustomed to receiving her hand-done work that a collective groan went up when they started getting photoillustrations digitally rather than the physical piece. "My stuff had been very assembled and tactile," says Guip, sitting beside a wall of windows at the far end of a large loft where she lives and works in New York City's East Village. "I work hard to transform that to the computer."

She inspects a piece that had been done to illustrate a column on the Internet for Sony Style magazine. Explaining that its Siamesetwinned space-age look was whipped together by manipulating a model and Photoshop~ ing her onto a lunar landscape, Guip acknowledges that the computer has been a boon for her productivity without stripping away her warmth.

"I have tried to go back and do some things by hand, but I wind up throwing it on the computer, " she says with a shrug.

"I can scan a piece of wood on there and change the grain, the color, the stain. The possibilities are so limitless on the computer that it's crazy not to use it. And my stuff doesn't hang on walls. It gets reproduced." So, the implication is, it does not need to have the kind of texture and physical depth that a displayed piece of art might require.

For Guip, the evolution of her style has been a long and involved process. Like most all illustrators, she traces her roots back to a childhood spent sitting around and drawing. Unlike most artistically-inclined kids, though, Guip had a father who owned 58

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an illustration studio. Hence, she had an early education in commercial art. "I had a box of markers that other kids would envy, " says Guip, explaining that her initial interest in art evolved into a plan to enter advertising. "I wanted to make money and create campaigns. But then I went to school and got D 's in editorial design. When I had the opportunity to go to London as an illustration major, I changed my focus to illustration. " It was in college that she became interested in photography and dreamed up the idea of applying illustration to her images.

"My technique, very specifically, was that I would take photographs and paint on top of them, " Guip says. "I would paint with the photo instead of against it. I transformed a photo from a very realistic thing to something that was illustrative. " By the time Guip graduated from Syracuse University, her style was fully formed. She had a portfolio of photo-illustrations that she felt was ready to be shown. And the timing could not have been better. "My work was very dark then," she remembers.

"So I went into the marketplace seeking work about the heavier kinds of subject matter. That era, after I finished college, was the beginning of the talk shows where Cl. ~ everybody's dirty secrets came out of the > ~ closet. It was the era of date-rape and 0 ~ molestation and all these awful things @ that people were finally talking about in the media. So there was plenty of subject matter out there for me. It was not difficult to break in. " [See "The Women's Room ," Communication Arts, January/February 1995.J Beyond the subject matter, though, Guip's ease in getting early assignments also had to do with the fact that she brought something unique to the table. Straddling the fields of pho-

Right: Portrait of recording artist Amber Sunshower for Rolling Stone magazine. Fiona McDonaugh, photo editor. 71/4 X 9112, photograph.

Promotional ad for Atlantic Records appearing in Billboard magazine.

Michael Robinson, art director. 22 X 30, photographic and mixed-media collage.

Artwork featured in ESPN Zone restaurant showing Muhammed Ali and his broken jaw. Steven Diamond, coordinator. 6' X 4' digital output of a collage displayed on a lightbox.

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tography and illustration, her work serves the purpose of skewing reality while remaining rooted in the real world. And at the core of what she does, her starting point for each job, is the photograph. Even as she acknowledges that her finished piece is conceptual, she takes a lot of pride in her self-taught photographic skills. "I get insulted when people ask me if I take my own photographs, " says Guip, who recently worked in large format for the first time and has been known to shoot everywhere from the living room of her loft to a full-blown photo studio downtown. "I would like to be credible in the eyes of a photographer as well as in the eyes of an illustrator.

But I don't really desire to be solely in either of those fields.

I wasn't trained as a photographer. I have learned by trial and error. I am a scientist who likes to experiment and see where it goes. But as a straight photographer? I don't know. However, I do get hired now to take portraits, but rarely for the image to be left alone. " An example of that can be seen in a shot she did of a basketball player for ESPN magazine. Designed to be part of a series on athletes who are depicted in horror movie moments, the hoop star was bandaged and placed in a coffin. The light around him is swirly, the props look suitably weathered and he resembles a mummy. Knowing Gui p's method of working, it would be easy to assume that she shot her subject in a very straight-ahead way and did everything else in her computer. Not so. "I have a fetish for wrapping," she says, explaining that he was bandaged, lit and propped live. "So I really enjoyed that job. The only computer work came when I added the moths. " More typically, people come to Guip when they are not sure what to do. Or if they can't get the photo that will illustrate a story. "Over the course of ten years, I have reinvented so many mug shots, " she says, rolling her eyes, leaving the clear impression that doctoring news-photos is not her favorite kind of work. Nevertheless, that is indicative of the degree to which Guip is regarded more as an illustrator, than a photographer who goes out and does a preconceived assignment. "When advertising This page: Internet column opener for Sony Style magazine. Julie Claire, photo editor. 11 X 141/2, photographic collage .

Outtake from a collage for a Coca-Cola ad. David Stevenson, creative director; M ccann -Erickson, ad agency/ client . 71/4 x 11 1/2, photograph.

Ri ght: CD packaging for the band Drill. Jeri Heiden, art director.

7 1/2 x 9, photograph .

Photog raph commissioned for the cover of Newsweek magazine, but published inside. Lisa Burroughs, photo editor. 8 1/2 X 101/2.

Book jacket for Wasp Factory by Ian Banks. David Stevenson, art director; Random House, client . 63/4 X 10, photographic collage .

Book jacket for Holy Smoke by Anna and Jane Campion . Jane Campion, art director; Mirimax Books, client. 8 X 12, photographic and mixed media collage .

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Amy Guip clients come to me, it's usually because they are unsure about how to convey a particular idea," explains Guip, adding that she gets her commercial work through a rep and snags editorial jobs on her own. "I don't just go out and take a headshot."

She fishes out a pair of spreads she had done for IBM. They each contain a dozen or so images and have obviously been worked up on the computer. "These ads took me two weeks to do," says Guip, explaining that she thinks up and photographs images that will best suit the ideas she has been asked to convey.

Despite the additional time that the IBM-style jobs may consume, they represent the kind of work for which Guip seems most suited. "I have a way of seeing things," she says, leaving the impression that the vision is highly personal and emphasizing that it requires her to be extremely hands-on in every stage of a project's creation . "People come to me for my thinking. Hopefully people come to me for my pictures as well. But I know that I am a problem solver. Ir's rare for somebody to call me and say, 'We have this particular picture that we want you to do.' Thar's OK, though. I love taking an idea"-from a journalist's article or a copywriter's concept-"and bringing it to life." •

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Left: Unpublished CD packaging for the band Hootie & The Blowfish. Benjamin Miles, art director; Atlantic Records, client.

10 X 10, photographs and mixed-media collage.

Image for Internet column " Web Adventure" in Sony Style magazine. Kristina DiMatteo, art director; Julie Claire, photo editor. 9 X 11, photographic collage.

Portrait of college basketball player Frank Williams for horror movie story in ESPN magazine. John Toolan/Nick Klein, photo editors. 11 X 18, photograph and mixed-media collage.

This page: Portrait of recording artist Moby for Rolling Stone magazine. Fred Woodward, art director. 17 X 19, photographic and mixed-media collage .

Personal piece. 141/4 X 91/4, photographic and mixed-media collage .

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Amy Guip Left: Ad for IBM's Universal Databases. Julie Elting, art director; Ogilvy & Mather, ad agency/client. 16 X 8, photographic and mixedmedia collage.

For a special issue on Independent Films for Entertainment Weekly magazine. Lisa Wagner, art director. 121/2 X 11, photographic collage.

This page: Poster for Levi's. Jennifer Morla/ Angela Williams, art directors; Morla Design, design firm/client. 8 X 12, photographic and mixed-media collage.

Issue intro quote for Wired magazine; the subject was about government video surveillance. John Plunkett, art director. 16 X 91/4, photographic and mixed-media collage .

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Amy Guip This page: House insurance article for Smart Money magazine. Jane Clark, art director. 91/4 X 11, photographic collage.

Ad for Levi's 501 . Antonio Navas, creative director; Foote, Cone & Belding, ad agency/client. 141/4 X 97/s, photographic and mixed-media collage.

Right: Portrait of author Richard North Patterson for Entertainment Weekly. Freyda Tavin, photo editor.

8 X 10, photograph.

Article on moving from your childhood home for Living Fit magazine. John Miller, art director.

16 X 20, photographic and mixed-media collage.

Part of a campaign for the Broadway musical Rent, this collage was used in many different contexts such as the front marquee, CD packaging, advertising, playbill, etc. Drew Hodges, art director; Spot Design, client. 17 X 22, photographic collage .

Article on teenage depression for Jump magazine.

Jennifer Seidel, art director. 83/s X 11, photographic collage.

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BY JuLrn PRENDIVILLE Roux

I

magine getting an assignment whose strategy statement reads: do what you love. Spend all your time on this one particular project satisfying only your own cesthetics. The measure of success will show in how much joy you've felt in creating it.

That's pretty much the task Brooks Branch, principal of Less Than 7, gave himself. After years of developing mass marketing campaigns in the entertainment industry-campaigns designed to hit as many eyeballs as possible-he took on a new challenge. He set out to please himself.

Branch started with a world he was very familiar with-entertainment merchandising. Here, the process is pretty predictable. You go to a movie. Hopefully you like the movie. So the studio gives you the chance to buy a T-shirt. Or a commemorative toy. Or a BMW roadster.

Branch and his partners took that scenario and turned it around. In a throughthe-looking-glass move, Aerobleu was created as a backwards merchandising tool for a story you may never see. If it's hard to understand, it's even harder to explain. Writer Gene Lees, who worked on Aerobleu extensively, says, "Brooks may be the only guy alive who 68

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knows how the whole thing works."

At 32, Branch has already had several careers, or so it seems. He's a painter who has been published and shown internationally. He served as a creative director at Sequoia Communications, which produced books on museums, national parks, music, fashion and film.

Branch then founded Paper Dog Publishing which focused on the music and film industries. He became a consultant to music labels which led to producing his own CD. Next, he headed up the creative division of licensing for Paramount Pictures. Now, besides running Aerobleu, he works as a brand consultant for companies including Virgin, MGM, Turner, NBC and the Discovery Channel. He is also set to direct a feature this spring that he co-wrote.

Branch laughs, and offers, "It's really hard for me to answer the simple question, 'what do you do?"' But given the magnitude of Aerobleu and all the pieces that had to fall into place, his experience reads as one big ball of expertise needed to pull off a venture this multilayered.

This is a project that melds story development, research, publishing, design, fine art, retail, merchandising, licensing and lots of hand holding. Brooks has

personally overseen or executed every step from hand picking the authors for the novels to researching materials for the line of products.

Aerobleu licensees include Chronicle Books, that not only published the novels, but various journals, art-prints, stationery and other gift items, Verve Records who released a classic jazz soundtrack, Bruce McGaw Graphics (fine art posters), Sasaki (dinnerware, barware and hand-blown glass vases), Acme Studios (ties and scarves), Umbra (clocks and various home furnishing accessories) and Sirmos (custom furniture). Full-scale promotional programs were done in conjunction with retailers such as Barnes & Above: Aerobleu script used on a variety of products. Henry Vizcarra/Brooks Branch, Less than 7, designers.

Right: Aerobleu logo. Brooks Branch/Henry Vizcarra, Less than 7, designers.

Photograph of Brooks Branch .

The Aerobleu story is told in fragments, primarily through the books Observations from the Bar and Max Morgan's Pilot's Journal, both from Chronicle Books. Each book is written from the character's perspective. Brooks Branch, Less Than 7, art director; Brooks Branch/ Gene Lees (Pilot's Journal)/Alston Chase (Observations), story; Gene Lees (Pilot's Journal)/ Alston Chase (Observations), writers; Brooks Branch/Caroline Herter, editors; Melanie Paykos/Stan Ng, designers.

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COMMU NICATION

ARTS

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Aerobleu

Noble, Bloomingdales and Tower Books & Records, when Aerobleu launched.

Aerobleu is, at its very heart, a tale about a jazz club in 1940s Paris where a pilot, Max Morgan, and a barkeep/writer, Leslie Ann Nash, fall into a torturous, unrequited love affair. But it's told through a line of novels, housewares, accessories and posters that invite you to live the story, not see the movie. In fact, there is no movie, as of yet. Brooks explains, "Our feeling was that if the stuff came out first and was done on a total, higher-end level, and you don't even know about the movie, then it would build up to a movie. It's working against the grain, really, because we started with something where there was no awareness whatsoever. " Branch's big adventure started about five years ago. He was sitting around with designer Henry Vizcarra, principal of 30Sixty Design, and licensing executive Linda Berman. Henry had worked on many projects for Brooks when he was at Paramount Pictures. Brooks and Linda had also worked together on several occasions. Vizcarra remembers, "Brooks wanted to develop a project based on something we loved. His love was jazz. Mine was aviation. Linda knew retail. We wanted to start in the store and kind of do a grass roots movement.

Each piece had to carry a little bit of the story. And it also had to be something we'd want to have in our own house."

By creating an upscale, totally unique line by licensing standards, the three knew they were breaking ground in several arenas. They decided to form a company to facilitate the process. Branch still laughs about how hard it was for three design and entertainment veterans to come up with a name for their ven70

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ture. He says, "We were in one of our many meetings having coffee or whatever we were doing, and we were coming up with all these names, and suddenly Linda jumps up and leaves the room saying, 'We've got to do this in less than seven minutes.' She left to use the restroom, and Henry and I looked at each other and said, that's great. Less Than 7."

For the next year, they developed a story line that folded aviation and jazz together.

"I wanted the nucleus of this thing to be a novel or novels. Everything we created had to be fabric from the story. That was everything to me. I didn't want anything that felt commemorative. So if it could stem from the story, even if it connected in a way that was about atmosphere, then I was OK with it. We did ties and scarves, but we didn't do bomber jackets, because that gets into cutesy commemorative apparel. If I could go back and do it again, I would be even more strict, really

This page: From Chronicle Books, Martini Diaries compiles various martini recipes such as Josephine Baker's Will She or Won't She Martini, told with anecdotes by Leslie Ann Nash-Aerobleu's bartender, and with a foreward by novelist Alston Chase. Brooks Branch, Less Than 7, art director; Alston Chase, writer; Brooks Branch/Caroline Herter, editors; Melanie Paykos/Stan Ng, designers.

Right: Verve CD. This compilation from Verve Records covers rare music from some of the most important influences in jazz in Paris in those years after the war, the years of Aerobleu. Artists range from Miles Davis, Billie Holiday and Django Reinhardt to Dizzy Gillespie. Brooks Branch, Less Than 7, art director; Gene Lees (CD booklet), writer; Patricia Lie, designer; Brooks Branch/Jodi Petlin, producers.

Hand-blown, Italian glass vases inspired by the industrial design of trumpets, clarinets, saxophones and drums from this era of jazz.

Brooks Branch, Less Than 7, designer.

A full line of bar and crystalware from Sasaki, with the industrial design shape inspired by the combining of jazz and flight-the same origin as Max Morgan's personal philosophy of life, which is where the name Aerobleu came from. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Henry Vizcarra, designer.

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putting the spotlight on the story," Brooks explains. As it is, he themed the product line Paris, Havana and New York; they're the haunts of the main characters. He adds , "Before we went wild with design , I met with authors. " Two writers seemed perfect for the job-author Alston Chase and Gene Lees who wrote the definitive biography of Dizzy Gillespie, among other jazz greats. Brooks and Henry had already spent hours and hours researching the jazz era, the 1940s.

They wanted to set their story in postwar Europe, a time and place they felt would best illustrate a story about Bight and jazz. The writers' collective experience seemed destined for Aerobleu on all fronts. Chase, mainly a non-fiction writer recognized for his political and social expertise, lived in Europe after World War II when his father was a military attache in Copenhagen, Denmark.

During that time, the family vacationed in Paris many times. He remembers , "After the war, the Europeans were so hungry for American jazz. The only time I ever saw Benny Goodman was in Copenhagen." Lees is a renowned jazz historian who publishes a newsletter and has written lyrics for Sarah Vaughan and Frank Sinatra, among others. He also knows a lot about aviation. Lees says, "I grew up near the Royal Canadian Air Force base. I knew guys like Max Morgan. " Adding further to his arsenal of experience, after World War II , Lees was a foreign correspondent for the

Montreal Star.

Brooks found a way to use both writers.

He says, "I thought, what if Alston takes on Nash's voice and Gene takes on Max Morgan's voice? I was the voice of the story, and I used them as historians and writers. " In Rashoman style, one story is told from two different points of view.

Max Morgan's Pilot's journal, Observations From the Bar and Martini Diaries. The authors knew the skeleton of the story and Brooks had already developed the main characters. Brooks coordinated their efforts by guiding the course of the story, making sure neither writer veered too far from the basic plot. Lees remembers, "Every once in a while, Alston and I would speak to make sure we weren't stepping on each other's toes. " The latest incarnation of Aerobleu is a line of fine art posters by artists and designers including John Baldessari, Michael Towey, Rod Dyer and M ich ael

Left: Havana formal dinnerware set from Sasaki designed to capture the essence of Havana in the '50s-this essence is also in concert with the end of the Aerobleu story that takes place in Havana. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Suppasak Viboonlarp, designer.

Paris dinnerware from Sasaki with designs inspired by jazz in Paris during the period of the Aerobleu story. A quote from various characters is on the back of each item. Brooks Branch/ Henry Vizcarra, Less Than 7, art directors; Chris Jaszkowiak/Christa Stone, designers.

New York dinnerware from Sasaki with designs inspired by Max Morgan's (owner of the Aerobleu jazz club) jazz and flight sensibility combined with the design essence of New York (Max's home) during his life. A quote from various characters is on the back of each item.

Brooks Branch/Henry Vizcarra, Less Than 7,

Schwab. The art, like all the work stem-

art directors/designers.

ming from this project, doesn't seem to

This page: Plane. Brooks Branch, Less Than 7, art director; Michael Towey, artist.

depend on the story of Max Morgan, Leslie Anne Nash and the bar Aerobleuthey're beautiful enough to stand on their own. But the truth is, without these fictional characters, these works wouldn't exist at all. •

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Left: Aerobleu posters. Jazz Nightly. Brooks Branch, Less Than 7, art director; Michael Schwab, designer/illustrator.

Black & Blue. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Less Than 7, design/illustration .

Les Series Du Concert De Havane. Brooks Branch, Less Than 7, art director; John Hillmer, designer/illustrator.

This page: Sax. Brooks Branch, Less Than 7, art director; Rod Dyer, designer/illustrator.

Paris 1953. Brooks Branch, Less Than 7, art director; John Baldessari, designer/illustrator.

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Aerobleu This page: Inspired from the Havana portion of the story, this clock comes from Umbra. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Anana Kalinka , designer.

From Umbra, the Target and Desk Beam clocks are inspired by the textures, materials and design of Max's DC-3, which he won, in an infamous all -night poker game. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Laura Jarrard, designer.

Right: Coasters. These are ' comps' created for Umbra to reproduce, with the texture, materials and design inspired by Max's DC-3. Brooks Branch/Henry Vizcarra, Less Than 7, art directors.

Illustrated with bits and pieces of Max's own notes, this travel journal from Chronicle Books is designed to inspire the same sense of adventure and unlimited possibility that characterized Max's life.

Brooks Branch/Henry Vizcarra , Less Than 7, art directors; Melanie Paykos/Stan Ng, designers.

This triptych photo frame from Chronicle Books was designed utilizing materials researched to create an indigenous look and feel for Aerobleu products. The paper cover is actually the backside of interior car paneling. Brooks Branch/Henry Vizcarra, Less Than 7, art directors.

Havana-inspired stationery set from Chronicle Books. The box was designed to simulate the box Max would carry around in the story to correspond with Nash, the bartender. Brooks Branch/Henry Vizcarra, Less Than 7, art directors; Suppasak Viboonlarp, designer.

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Mauk Design

BY PHILIP KRAYNA

A

close communication with decision makers in the marketing

s you enter the office of Mauk Design, you sense that you are in the workspace of no ordinary design firm. This is apparent-literally-from the moment you walk thro ugh the

from th e start. Volkswagen even flew Mauk and his senior

door: a massive, metal-clad firedoor that rolls effortlessly open

designers to Paris and Geneva to understand the European

on a pair of red skateboard wheels .

approach to exhibiting, and to see how cars were displayed.

Now in its thirteenth year, this San Francisco, California-based

The creative process began with traditional sketches and thumb-

firm has built a reputation thro ugh innovative exhibit design

nails, which were distributed through the office on a "Concept

for technology-oriented companies such as Apple Comp uter,

Delivery Sysrem"-anorher manifestation of Mauk's inventive-

department assured that the project moved forward smoothly

Intel and Sony Electronics. Mauk D esign garners awards from

ness. This magnetic bulletin board travels on carbon fiber

rhe major exhibition, industrial and graphic design competi-

mountain bike wheels along an overhead series of steel rails.

tions like clockwork, and has attracted an increasingly diverse

T h e contrap tion may appear somewhat humorous, bur it is an

list of clients including Levi Strauss & Co. and Volkswagen of

effective way to shuttle ideas through the office, and for Mauk

America. The key to this success, according to fo under and principal Mitchell Mauk, is the ability to express a client's iden-

the initial concepts are precious cargo , the key to a successful exhibit. "I am the last generation to be schooled without com-

tity in rhe three-dimensional realm, what Mauk refers to as

puters, " explains Mauk. "I learned to put effort into thinking

"total brand integration. "

through my design because comping with markers was so much effort. "

It is the balance between durab ility and mobility so cleverly expressed by the entrance to Mauk's studio, that is the framework of his design specialty. "Even though a trade show exhibit

After consultation with Volkswagen, he proceeded directly to

is a temporary display, it has to look permanent-a fragile ,

computer renderings, it allows for real-time changes to struc-

large-scale models, a technique that Mauk favors because, unlike

temporary brand is not acceptable," explains Mauk. His design

ture an d space. "There is a tremendous advantage to three

team addresses a wide range of challenges, both creative and

dimensional models-clients love to put their hands on ir. " Once

technical. Aside from space and budget constraints, they must

the floor plan of the exhibit was finalized Mauk used digital

consider fire and building codes, and coordinate with fabrica-

modeling to create more derailed views. Mauk's working

tors working throughout the country. "The whole thing has to

method is influenced by his pre-computer experience, how-

break down , and be disassembled into boxes, and this may

ever the studio remains at the cutting edge of technology-

have to happen 30 rimes a year, " he says.

both the latest Silicon Graphics®workstations and a Macintosh®

Trade show exhibits have come a long way since Foamcore®

G4 hum quietly beneath the desk of each workstation.

panels, hastily-printed banners and a few folding tables. They have evolved into elaborate productions of lighting, architec-

Mauk's final installation-a series of six modular exhibits that

ture and interior design-the venue in which to preview new products and services, and a place to gauge industry competition. "Because of this , shows are pure visual anarchy, " says

Captions provided by Mitchell Mauk.

Right : PlayStation exhibit. "The E3 1999 PlayStation exhibit built on t he success of the previous year's exhibit. In this, the last year of the ori gina l

Mauk. "You are surrounded by all your competitors yelling. It's

PlayStation platform , the emphasis was on the best-selling games'

like watching 30 infomercials all at the same time. " A major

characters, such as Lara Croft, Crash Bandicoot and Spyro the Dragon .

goal is to attract and focus attention, and Mauk Design's

Five 25-foot character balloons signal a unique PlayStation experience at the exhibit's entry. Attendees were led up a grand staircase to the Final

skillful combination of the practical and the playful is what

Fantasy VII portal. The eerily realistic burning torches were ach ieved

makes their exhibits engaging.

through moving silk and lighting . The eight-foot feathers and silverleaf

One recent success is the exhibit that Mauk Design created for Volkswagen of America. The car manufacturer asked Mauk to combine European sophistication with an American sense of humor, and work with a budget that was a fraction of what the company allocated to its overseas displays. Mauk describes Volkswagen as "an extraordinarily enlightened client, " and 78

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stone were inspired by this futuristic role-playing game. Panoramas of th e exhibit were featured in countless news reports on CNN, CBS and other world media networks. In the background is a 40-foot pterodactyl tea rin g off the corner of the DinoCrisis game kiosk. Th ree rea l cars were attach ed to three different road surfaces to publicize the GT2 driving gam e. The cars featured were a Mitsubishi rally car, a GT40 and a Shelby Cobra . This display utilized an unbelievable amount of structural steel I beams t o support these cars." Mitchell Mauk/Adam Brodsley/ Lau ren ce Rain es/ James Pennington-Kent, designers; Pinnacle Exhibits, fabricator.

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Mauk Design he walked among the exhibits, Mauk

can be reconfigured to fit various spacesare a tactile, interactive experience. A

immediately knew what he wanted to

"product playground" allows consumers to

do, even though at the time, he didn't

touch actual car parts such as a steering

know that an exhibit designer could be

wheel, compare fabric and paint color

a career option.

options and play with a series of hidden

Pursuing his fascination with three-

"feel boxes" that provide an element of

dimensional organization, Mauk later

surprise. Despite the emphasis on fun,

majored in graphics and packaging design at the Art Center College of

Mauk's design subtly communicates the car maker's concern for detail and safety.

Design in Pasadena. After brief stints

The exhibit has been extremely success-

~ with Saul Bass and Designworks in L.A,

j he landed a job at Mark Anderson Design

ful in expressing Volkswagen's brand to a North American audience, and has been

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U.S., Mexico and Canada.

Many of the studio's projects are much more ephemeral, but equally ambitious, such as their exhibit for Sony Playstation, installed at the recent E3 video game convention. Encompassing nearly 50,000 square feet, the exhibit is arguably an exercise in urban planning. The comparison is even more fitting when Mauk begins describing the necessity of "traffic flow." With almost 100,000 weekend visitors navigating through more than 200 video game kiosks, as well as a restaurant, theaters and an elevator, it was essential to keep attendees in motion. Mauk used lighting, sound and video screens to create a frenetic pace that kept visitors moving excitedly from one featured game area to the next.

in Palo Alto. "At that time," says Mauk, "almost every client wanted the same thing-a logo, business cards, packag-

ing, and then a trade show booth. We were given opportunity to design it all, and this pushed us to do great work. " The

experience was invaluable, and it trained Mauk to visualize a brand from initial sketches for a logo, to planning an entire three-dimensional space. In 1987, Mauk founded his own studio in San Francisco, and soon afterwards he was named Exhibit Designer of the Year by Exhibitor Magazine. This riming could not have been better, and the recognition helped propel his solo career forward.

Mauk will often go out of his way to find exactly the right material to construct an exhibit. His studio is scattered with samples of industrial flooring, textured metals. There is also

Some of his designs are realized on a much smaller scale, how-

the unexpected-a delicate, woven plastic filter material used

ever they can be equally effective. For aircraft maintenance company Duncan Aviation, Mauk created an intimate 20' x 3o'

in desalination plants, that he is considering for dividers in a

booth that highlighted the company's commitment to safety.

"Across the aisle was Lear Jet, with four sleek, full-sized planes parked in their booth," says Mauk. "The challenge was how do

booth. "We avoid trends in materials, " says Mauk. "As soon as

This page: Mauk Design staff. Back row: Adam Brodsley, Mitchell Mauk, Laurence Raines, James Pennington-Kent. Front row: Anna Hastings,

we get anyone to pay attention?"

Solange Mauk, Christiane Fortstnig.

Mauk's solution was to emphasize the importance of the individual. "We realized that in their industry, the technology is similar to everyone else, but you want good people, conscientious focused employees, and that's what they offer." He created an arced wall with framed black-and-white portraits of Duncan's workforce of nearly 700 employees. The kiosk is elegant, but understated; it makes a huge impact in a limited amount of space.

Mauk, a fifth-generation Californian, traces his interest in

Right: Volkswagen exhibit. "Volkswagen asked Mauk Design to develop a modular car show exhibit program for its North American Car Show circuit. The result was the Exhibit 2001, six exhibits that use low-tech interactivity, simple video and bulletproof materials. The Immersion Theater gives visitors the experience of VW's branding message and was used to help launch the New Beetle. The reception area featured glass flower vases secured with VW seatbelts, emphasizing the idea of protecting something fragile. The color and fabric selection wall is interactive, allowing attendees to slide fabric samples along the rail to match with exterior colors. To demonstrate highlights and shadows of the metallic car colors, painted bowling balls are mounted on bearings, allowing them to be spun. The reception desk has a shadow box that can

design back to childhood. "I was the kid that paid attention in

be customized. For example, images could be used to highlight the locale

woodworking class and metal shop. I liked to build things;'

of a given car show. Graphic panel display cases feature 'life-style hardware' such as carbon fiber mountain bike wheels to express VW's

he recalls. When his family traveled to the 1970 World Fair

youth-oriented brand essence ." Mitchell Mauk/Adam Brodsley/

in Osaka, Japan, "I was on fire. My mind was shorted out." As

Laurence Raines/Michael Minn, designers; ExhibitWorks, fabricator.

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Mauk Design

I see a fad emerging, I come into the office and say 'no more grinder-finished aluminum! '" Despite the growth of e-commerce and virtual storefronts , Mauk is confident that trade shows will continue to play a key role in the expression of a brand. "An exhibit is like a user interface. You can touch it, you can feel it, and I think that retail is going to metamorphosize into what a trade show is now. " He points to a prototype of a small storefront that features the Volkswagen B eetle~ A hybrid between retail store and temporary showcase, the cost to maintain this display for a year is about the same as a 30-second network commercial.

"But it has far more depth and impact,'' Mauk says excitedly. "Yo u can go into the store, sit in the car, feel the uph olstery, really experience the brand. " •

Left: " The Gratefish Drain was developed as a solution to the well-intentioned but hideous spray-painted warnings surrounding storm drains (i.e., 'drains to the bay ' and wildlife stencils) . The drain uses the universally understandable symbol of a fish to remind people not to pour motor oil or other harmful chemicals down storm drains. Cost, manufacturing process, strength and water-flow parity with existing products were objectives of the design." Mitchell Mauk/Laurence Raines, designers. " This light fixture design was chosen for manufacture by the prestigious Italian lighting firm Artemide." Mitchell Mauk, designer. " The Levi Strauss & Co. exhibit was based on the metaphor of a village . Each conference room is randomly placed and individually styled to avoid the monolithic walls too common at the MAGIC show (a men 's apparel industry show) . Artwork on the walls is taken from the company's ad campaigns, producing an exhibit inseparable from the branding. A sinuous wall in the exhibit's piazza divides Levi 's from the other two brands (Slates and Dockers). Levi's cutoff shorts are nailed to the wall between plasma screens playing commercials . Most of the exhibit's lighting came from softly glowing stairways and light emanating from the conference rooms, though glowing discs illuminated the central south wall. Levi's publicity room is encased in translucent red behind free-standing plasma screens." Mitchell Mauk/ Adam Brodsley/Laurence Raines/James Pennington -Kent, designers; Pinnacle Exhibits, fabricator; Foote, Cone & Belding, ad agency/client.

This page: The 48' X 80' exhibit for Intel at the 1997 SIGGRAPH computer rendering show in Los Angeles. " The exhibit used 20' high 'polygon people' in an animated sequence from standing still, to jogging, to sprinting to communicate the speed of Intelbased CPUs. Individual demonstration stations use internallyilluminated Fiberglas111 orbs surrounding 27" monitors. Slung on web belts below the pedestal is a dual processor CPU . The back wall is covered with cork flooring tiles and simple vinyl graphics."

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Mitchell Mauk/Adam Brodsley/Laurence Raines, designers; Exhibitgroup Giltspur, fabricator.

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Mauk Design Left: The brochure for Entec, a manufacturer of high-fidelity speakers, uses typography as a visual metaphor for sound. Mitchell Mauk, designer.

This page: The 70' X 165' exhibit for Sony Electronics at the 1998 COMDEX com puter show in Las Vegas. " The challenge was to convey Sony's far-reaching perspective about the future of computing and how to simplify the way people interact with its technology. Extensive press coverage of Sony's exhibit and products was due in part to the high vantage point the catwalk afforded to network news camera crews. The rocketship-shaped column covers are thin Fiberglas• forms which are joined with off-the-shelf rubber pull-over clamps. An existing Sony theater was re skinned and recycled to create an entirely new look with an 82% reduction over new construction costs. This display highlights and adds excitement to floppy disks and tape cartridges, items that are normally lost due to their small size. Sony's theme, 'Do You Dream in Sony; was encased in a spherical plex dome. Most wall surfaces in the exhibit, including the Trinitron display 'bubble wall,' consist of thin plastic vacuformed panels fastened with Velcro• over lightweight recycled steel tubing . By backpainting the 1/1&11 clear butyrate plastic, a beautiful high-gloss finish is achieved, eliminating the need for extensive hand-finishing. The vacuformed wall panels are also nested together during transport to reduce the shipping volume by 40-70%. A softly glowing Fiberglas dish surrounds each of the product demonstration kiosks.

The dishes were shipped nested together, allowing 36 of them to be crated in a single 4' palette." Mitchell Mauk/Adam Brodsley/Laurence Raines/Mike Vance, designers; Structural Displays, fabricator.

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Mauk Design Left: Logo for Exodus Communications, the leading provider of Internet data centers .

Mitchell Mauk, designer.

"Logo for Pluto's Restaurant which specialized in healthy fast food . The tag line was 'Fresh food for a hungry universe."'

Mitchell Mauk, designer.

Logo for Acros, a consumer PC manufacturer. Mitchell Mauk, designer.

"The 1999 Intel exhibit targeted the needs of high performance 3-D rendering for special effects and virtual environments. Yellow racing cars featured in Intel's advertising and exhibit video presentation were encapsulated within softly glowing bubbles in the entry portal wall. Intel's grand entry portal greeted attendees at the SIGGRAPH show.

The portal 's glowing bubbles illuminated icons of speed and intelligence: brains, racing cars and Pentium~ Ill Xeon integrated circuits in dual and quad configurations.

The Technology Showcase was a dramatic display of fairly ordinary looking circuit boards. Boards are protected under custom vacuform pillow-shaped domes while graphic color areas amplify the visual presence of the small products." Mitchell Mauk/Laurence Raines, designers; Exhibitgroup Giltspur, fabricator.

This page: Duncan Aviation Exhibit. "A 30' X 40' trade show exhibit program for Duncan Aviation, a maintenance specialist for business jets. The exhibit utilizes highquality materials to illustrate Duncan's reverence towards aircraft service. The photo wall of Duncan's employees emphasizes the importance of the individual. Versatility of the meeting area is achieved by using adjustable Eames dividers. Sixty clocks surround the caption, 'Experts in the Art of lime Management."' Mitchell Mauk/Adam Brodsley, designers; lronwind, fabricator.

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Playing Cranium with the Master

BY ANNE TELFORD

T

he es sen ti al paradox, as well as the charm, of Gary Baseman is that he's a nice boy who draws dirty pictures. If he can throw in a naked woman, or another element designed to shock the viewer into deeper thought, or even base reaction, he'll do it. He's driven to communicate messages, and has happily settled on those that stir people up.

became, in essence, an only child.

"So when I was left alone at the age of four, ['I'm making all this up,' he says in a mock serious aside] this is the way I perceive it, is that my brain developed in a certain way and I was

One of the primary themes of the Los Angeles, California-based illustrator/artist is the relationship between men and women. The duality of an intelligent, sensitive man who nonetheless is given to eye-popping leers over a busty female. In his fine art, he addresses the objectification of women; ''I'm dealing with that and [with] being a man. "

lacking all stimulation because the [other] kids were gone", he fell back

Baseman's lines are simple and his style often playful, even when the subject matter is dark. Like a cartoonist, he incorporates writing into his paintings and the messages work in concert with the images to create a sometimes poignant, sometimes hysterical effect for clients as varied as Southwest Airlines, Kodak, Celebrity Cruises, Inc. and a lengthy and impressive list of editorial clients from the New Yorker, the New York Times and Forbes to Starbuck's house-organ foe.

Although he has always drawn, he wasn't exposed to art at home. His dad is a retired electrician and his mother has been the "head sales lady at Canter's Bakery for the last 35 years. " While he was one of those kids who drew at an early age, he didn't just doodle in the margins. In the third grade he created his first book, Gary and the Monsters. "I was drawing full-out pictures from a very young age. I was the class artist forever. " The baby of his family by nearly a decade, he spent his first few years around teenagers. "I was inundated with pop culture," he explains as a rationale for why he does what he does. By the time he was four, his two brothers and his sister were going off to college or out of the house, and he 88

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older in a sense since I always had to communicate with teenagers with a strong view of the world and of pop culture. " Being left alone "and now

on his drawing to keep himself busy.

A first-generation American (his father was in the Jewish underground in Poland and met Gary's mother there during the war), he is a true product of the much vaunted American work ethic-"My parents stuck two things in my head: To be a good person and to work hard. " Consequently the ideas of democracy and free speech are very important to him; "Idealistically they are the most important things to promote," he says with conviction.

"When I was very young, I thought perfection was [the] old Warner Bros. cartoons, Bugs Bunny and Daffy Duck-they were the essence of the perfect way to draw," says Gary, who went to school with Ruth Clampett, daughter of Bob Clampett, who animated Porky Pig in "Porky in Wackyland" and created Tweety Bird. "From a very young age I wanted to be the greatest cartoonist in the world," Baseman pauses, This page: Self-portrait-simple and graphic; painted originally for Mother Jones contributor's page. 6 X 9; acrylic.

Right: Dare to Enter. "When SILA invited me to do the poster, I started to hear horror stories about how images were censored in years past.

One year, a Mark Ryden painting was rejected for religious overtones, and another year, an illustration was refused for being sexist. Thus, I felt I had a mission to create an image that included something to offend everybody. And to do it in a provocative way that would make people think, and make them laugh. There are a lot of competitions out there and SILA needed a poster that would get attention. They had nothing to lose." Gary Baseman, designer/illustrator; Society of Illustrators, Los Angeles, client. 18 X 24; acrylic.

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Gary Baseman

and gives a self-deprecatory chuckle. He didn't make a distinction between cartoonist and artist, knowing only that he wanted to exceed his own greatest expectations of fame.

"The main reason I am what I am today is because of Art Center [College of Design]," Baseman drolly claims. "Art Center was across the street from my old elementary school, Third Street, before it moved to Pasadena. And I would see these lazy good-for-nothing art students sitting under trees, on the grass, drawing cars." From age nine, he said he would never go to an art school, he wanted to go to UCLA, "a real institution oflearning."

And so he did. He entered communication studies there and never looked back. To this day, for Baseman, the fundamentals of his education are applied to every project he undertakes. The fear of failing as an artist was so scary to him, since he had talked about it all his life, that he decided to study hard, get good grades and attend law school so he'd have something to fall back on. He went so far as to take the LSATs and interned at the Federal Communications Commission in Washington, DC, in the fairness and political broadcasting branch of the complaints and compliance division.

Following his path to find a "mature way" to make a living, he ultimately rejected the idea of law school, returned home and went into advertising. He interned at Chiat/Day where he learned not just the theoretical end of message making, but how to make a strong emotional persuasive message. "If I was in New York, I'd probably be in advertising today because I would have gotten a job as an assistant art director," he says.

He worked at Dailey & Associates in Los Angeles as a media estimator, but he never landed his desired position as a fulltime art director. Lacking strong production skills, he concentrated on the visual impact of a project. The skills he developed as a fledgling art director: control of the visual, a clever headline and understanding the unique selling point of the product to come up with a captivating image, would ultimately be applied to his commercial illustration assignments to great effect.

Everything began pointing to following his undeniable but scary muse: art.

Baseman clearly was not made to confine his vision to a cubicle sort of business. He works surrounded by vintage toys, statues of gorgeous 1930s and 4-os lingerie models and various other ephemera in an office at the back of the two-story home in the tony Larchmont suburb of Los Angeles he shares with his elegant wife Mel, their aged dog Hubcaps and six 90

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black cats. A large bank of flat files are stacked to the rims with paintings and paper generated or collected over many years. (He still has a book he made on the art of cartooning while in the fifth grade.) He keeps seemingly everything.

Although after one early meeting in New York with Steve Heller, he tossed his portfolio in the trash where colleague Greg Clarke fished it out. "That was something rare,'' he admits. On one NYC visit, Gary was offered a summer cover of the New York Times Book Review, as well as all the inside drawings. That assignment precipitated his move from L.A. to the East Coast, where he learned to defend his work.

The more able he was to show his work, the more he had to face the occasional rejection. "I learned the best way to handle rejection was to be able to understand my work even more so, and to be able to defend it with my life; and become more confident in what I'm creating, and why I'm creating it. The only way the work is going to be completely pure is if you understand yourself. I basically accepted the notion of hating myself, of my misery. I'm attracted to pure passion and joy, and pure bitterness and pain."

That's when he came up with his tagline, "Where the line between genius and stupidity has been smudged beyond recognition." A philosophy that pertains to both work and life. "That applies to the things I collect also. I go after things that are completely <esthetically beautiful and almost pure and almost unrealistic, like mannequins-that are just gorgeous, and then things that are completely absurd, like clowns."

Right: "This game was invented by two former Microsoft whizzes who wanted to create the ultimate game. The goal was to create four distinctive personalities that would represent four different talents.

Cranium has become the top-selling adult game, and we have a fiveyear deal to develop new projects." Peter Stocker/Giorgio Davanzo, Foundation, designers. 18 X 18; acrylic.

Entertainment Weekly spread on "Gross Out Movies." "What was interesting was the editing process I had to go through with my images. I had to choose from their list of top 'gross out movies' of all time, but, ironically, I was not allowed to depict some visual images, such as dog feces, as in Pink Flamingos. Now I was allowed to depict a Baby Ruth 19 candy bar that resembles a 'dump' as in Caddyshack.

That was OK. Cut off limbs were fine, as was vomiting, but farting was a no no." Joe Kimberling, art director. 16 X 18; acrylic.

Seybold Conference. "This was a sister image to a painting I originally did for Entertainment Weekly. That is a nice way of saying that they were paying me a lot of money to copy myself. This depicted the future of computing, and I had one character wearing a mask. The head marketing guy demanded that the mask be removed. I tried to fight the request. I questioned if this man had some kind of S&M fetish where his wife caught him with pictures. I even asked the art director if I could call the executive and give him some marketing results concluding 85% of those who would attend the conference view masks in a favorable light." Joanne Cullen, ZD Events, art director. 24 X 18; acrylic.

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Gary Baseman Drawn to opposite poles, he likes to go in and out of the dark and the light. "The most important thing I've learned in communication, in making messages, is to be able to push buttons. Understand who your audience is, whether it's you who I'm talking to right now, or to a million people or even a TV show-what's going to make them happy, what's going to make them miserable, where their touchy subjects are and not do it maliciously, not to hurt somebody.

I love getting a rise out of people. I love making them think.

And hopefully maybe they learn from it."

Indeed Baseman's art begs some sort of reaction. "I always want to go a little further. In any publication you try to push the envelope, if it is a real message or just to question why people don't want to cross the line."

He relates a favorite story, with glee. Within that first New York Times Book Review cover, he had a character running through the various sections. In the art section, he used little details of real paintings, such as Bosch's Garden ofEarthly Delights. Heller asked about one detail in particular. Baseman replied, "'That's a detail from a Bosch painting, that's fine art.' 'Yes, but what is that?,' Heller further questioned. 'That is a flower sticking out of a man's ass. But it's in the Bosch painting, it's fine art."' Heller responded, "When Bosch does that, it's art. When you do that, it's a flower sticking out of a man's ass, take it out." Baseman chuckles. "That was my first big job and instead of being safe, I wanted to try.

"Have I failed? Many, many, many times. Am I victorious?

Many, many, many times . But it's worth it," he states unequivocally.

Left: Labatt's ad series. " This was one great job. Duri ng the sketch phase, they had me draw their ideas and my own solutions. The client bought all three of my ideas. I actually have about another good dozen funny gags. I hope they continue the campaign ." Stephen Jurisic, art director; Labatt Blue, client. 10 X 14; acrylic.

Mercury Records ad for the MTV awards. " The theme of the piece was fetishes. You would think that with the music industry one would have cart blanche. But I was dictated from the start ' no naked woman or S&M .' So I guess shoe fetishes are acceptable." Jeff Schulz, art director; Mercury Records/MTV Video Music Awards, client. 18 X 14; acrylic.

This page: Blab #9 magazine cover. " It was pretty much a personal painting except I added the ' Blab' title . I continued my running theme of the idealistic woman being distant and myself as a fool, or as the 'jack in the box,' in this case. The only thing my wife did not like was that I had our dog Hubcaps looking up at the woman in a loving way.

She did not think the woman represented her and did not like our puppy showing the ultimate affection to anyone else." Monte Beauchamp, art director. 18 X 18; acrylic.

Fiona Apple for Rolling Stone. " Even though I am not known for my caricatures, I am always up for a challenge. I am in awe of great caricaturists, like the 1930's illustrators Miguel Covarrubias and Paolo Garretto ." Gail Anderson, art director. 18 X 24 ; acrylic.

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"I have sketches that have to be approved, the art has to be a certain size, I have a particular deadline, but when I put down the line, it better give the impression that I'm putting it down for the very first time," Gary says, on the topic of spontaneity. And while he admits to having a vocabulary, he's always trying to add new components to his unique language of communication.

Like many creative people, his own self-worth is inextricably tied into his art. "If I create value, I have value," he says.

The fact that his pilot for Nickelodeon was rejected had a huge impact on him. When they didn't option "Louie and Louie;' he moved back to L.A. with the specific and determined goal to get a pilot picked up by a major network.

Nineteen ninety-nine was a good year for the Baseman vintage. He had his first major one-man show at the Mendenhall Gallery in Los Angeles, "Dumb Luck and Other Paintings About Lack of Control. " And as for TV, Disney bought his pilot "Teacher's Pet" and it will air this fall on ABC. Now he finds himself commuting from his studio to meetings at Disney with 30 people, post-production crews, director, writers, network executives. What's next? T he Baseman network?

Not beyond the realm of imagination for this 38-year-old.

"Ten percent of the work I do is p ure genius, it's brilliant, another 20% is professional-it looks good, it's done welland the other 70% is crap. Do I mean to do the crap?

No. I go after brilliant. We're so fortunate to be in this career. I feel I have an obligation, not just to make a living, but to go further and to do something that's never been accomplished before. It's just very idealistic, but I've always been a stupid optimist." Definitely not stupid.

Certainly optimistic. •

Left: Five spot illustrations for The Atlantic Monthly. ul really enjoyed coming up with all these different solutions for 'balls.' I felt I was creating little absurd icons. Also the word ball is a funny word." Beth Urrico, art director. 6 X 6; acrylic.

Dice, painting for one-man show "Dumb Luck and Other Paintings About Lack of Control." "These paintings are still hard for me to discuss. The need to feel in control and yet, feeling helpless to the idealized female form . I am attempting to deal with the never-ending themes of desire, longing and lust. " 24 X 18; acrylic.

This page: " The Last Wave" for Rolling Stone about surfing legend Mark Foo and his final wipeout. "Instead of a portrait for this sad story, I decided to solve the problem with an image paying homage to the ' day of the dead.' I thought it would be more powerful to the spirit of the story." Gail Anderson, art director. 14 X 18; acrylic.

Dumb Luck #1, painting for one-man show. " This painting relates to the notion that no matter how hard one works to accomplish something, inevitably, life seems to be left up to ' dumb luck.' And this rabbit symbolizes that so many are willing to cut off their right foot for success or fame. " 18 X 24; acrylic.

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

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95

Gary Baseman

This page: "The inner me for Joe Magazine. The art director called me after seeing my Celebrity Cruise commercial in American Illustration, with a head being sliced open. The image was just a play on the little devil inside all of us. Well, at least in me." Lloyd Ziff, art director; Starbucks, client. 10 X 14; acrylic.

Sweet Smell of Success, a painting created for the "Dumb Luck" show. " The battle between pure beauty, evil and the Teletubby Po. Just realize that Po is not as naive as you think he is." 24 X 18; acrylic.

Right : Friends and Family, a painting created for the "Dumb Luck" show and published in Blab #10. "I wanted to show a group of portraits of the true and imaginary world of the dear friends in my life today. Not that I don't have a nice group of close friends, but I do seem to spend quite a bit of time alone. " 18 X 18; acrylic.

,__ 96

M A R c H

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COMM U NICATION

ARTS

97

Exhibit The Exhibit section appears in the January/ February, March/April, May/]une and September/ October issues of Communication Arts and features a selection of innovative work in the various fields of creative communication.

lnforrnar·

ionen

We're looking for new, outstanding, original work. 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 Jean Coyne, Exhibit, Communication Arts, IIO Constitution Drive, Menlo Park, California 94025-II07. 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: The Solomon R. Guggenheim Museum

commissioned New York-based Real Design to develop a graphic identity that would visually link the different Guggenheim Museums while creating distinct programs for each. "In its transformations, the core identity takes on specific visual aspects of each museum's architecture and environment," said writer Jiirgen Riehle. "The program adapts to different urban and cultural contexts and integrates the presentation of an international institution with its distinctive local manifestations. The project is continuing to develop as we are presently completing a new signage and wayfinding system for Guggenheim Museum in New York."

Margot Perman, art director/designer; Margot Perman/Catharine Woodman/Amy Chan, design team; David Heald, Guggenheim Museum, photographer; Karen Meyerhoff, Guggenheim, New York / Alicia Martinez, Guggenheim, Bilbao, Spain, project directors.

Right: El Camino Resources International, Inc.

spreads from the 1999 annual report designed by [i]e design in Studio City, California. Art director Marcie Carson said, "Annual reports generally are lengthy, complicated documents chat leave the target audience with little enlightenment. It was our goal to educate and create excitement in the details of El Camino's business as a computer leasing company. The laser-cut cover [not shown] was designed to resemble a computer circuit board. Four different languages were incorporated into the existing design and all text that was affected in translation ran in a fifth color black to eliminate the need for a 4-color plate change on each page."

Cya Nelson, designer; Peter McGuirk, writer; Marcie Carson, creative direct or; stock photography; Jennifer Hart, managing director.

98

M A R C H

/

A P R I L

2000

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

A R T S

99

100

M A R C H

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2 0 0 0

Exhibit

IT'S NOT

JUST MONEY,

T'S ARELATIONSHIP. ~:

p J

(OKAY, ARELATIONSHI

ENTERED ~;.~~.

AROUND MONEY.)

Left: Rugby North America catalog spreads. "Founded in 1987, Rugby is a vertically integrated structure, which designs, manufactures and retails its products under the

Rugby North America label," said company spokesperson Marine Godfroy in Montreal, Quebec, Canada. "A manufacturer ofleather bags and belts, Rugby has expanded its product base to satisfy increasing demand and reach larger markets. This catalog illustrates Rugby's goal of becoming an international label recognized for its high quality, simple design philosophy and life-style, and was conceived in order to introduce the Rugby concept and increase brand name recognition at the international level. " Studio T-Bone, art director/designer/ creative director/design firm; Dominique Malaterre, Tilt/Nathalie Tremblay, photographers.

This page: Peachtree Franchise Finance magazine

ad from a campaign conceived by advertising agency Huey/ Paprocki Ltd. in Atlanta, Georgia. Peachtree needed to create a brand presence and personality to focus on multiunit operators of quick service and casual dining restaurants.

"The campaign was designed to show the human side of the loan company and to show that they follow through on their promises-a rarity in their business," said writer Bob Cianfrone. "We told borrowers, 'Look, we know the loan process can be difficult. It can be painful. Everybody gives you the runaround, but we make things go smoother, because we're with you every step of the way.' The campaign just broke, and response thus far has been positive. " Rick Kourchenko, art director; Ron Huey/Joe Paprocki, creative directors; Dave Kiesgan, background photographer.

London-based Bartle Bogle Hegarty Ltd. created

this newspaper ad for Barnardo's, the United Kingdom's biggest children's charity since 1869. The new print campaign is part of its five-year rebranding program to reposition the organization and raise awareness of the contemporary nature of its work in today's society. The campaign was deliberately designed to challenge the historically-based perception that Barnardo's is still a charity running orphanages. Barnardo's aims to help children overcome difficult experiences in early life thereby helping them to grow into emotionally-balanced adults. This concept of early intervention in preventing negative outcomes is reflected in the core advertising idea of giving children back their future.

Adrian Rossi, art director; Alex Grieve, writer; John O'Keeffe, creative director; Andy Bird, typographer; Nick Georgiou, photographer.

C 0 M M U N l C AT I 0 N

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101

Exhibit This page: Keene Taylor Theatre Productions poster

from a series, designed by CPd in Mel bourne, Australia.

"KTTP, a small theatre company with a reputation for incisive social comment, approached CPd to launch its ninth season," said art director Alan Morrison. "The plays confronted issues such as homelessness and insanity. Using a collage of photographic and found graphic elements, we fragmented the images of the principal actors to create an emotive series of posters. Making the most of a limited budget, each of the posters was designed so it works both individually and as a group forming a billboard. The posters also double as booklets as they were printed on the reverse side and folded in a pocketable dimension."

Tania Ennor, designer/illustrator; Chris Perks, creative director; Zoe Burton, photographer.

Southwestern Bell magazine ad created by Rodgers

Townsend advertising agency in St. Louis, Missouri. "SBC needed a campaign that empowered the small business owner and served up the local phone company as so much more than the local phone company," said Stacy Dambacher, agency spokesperson. "In the technology arms race, the mild-mannered phone jack is vastly underestimated as a tool for leveling the playing field. SBC has a laundry list of products that are all about making the most out of the equipment the customer already has. This ad spawned over twenty more for Southwestern Bell, Pacific Bell and Southern New England Telephone-all members of the SBC Global Network. " David Birke, art director; Michael McCormick, writer; Tom Townsend, creative director; Todd Davis, photographer.

YOUR PHONE JACKS ARE EXACTLY LIKE THE ONES FOUND IN FORTUNE 500 COMPANIES.

Right: Outdoor posters for the Star Wars prequel

Episode!: The Phantom Menace. "The campaign objective was to reach out to the latents-many of whom are womenhighlighting the intrigue of relationships and universal values expressed in the film as well as capitalizing on the numeral r," said Joshua Berger. "The solution depicts universal themes centering on character, emotion and human experience. The initial assignment was for Germany and Japan, the secondand third-largest markets. After the creative was presented, the proj ect expanded to include all the world, except the USA. There was much clandestine behavior-purchase of a safe and shredder-due to the top-secret nature of the project.

The response has been sensational. There have been numerous reports of stolen posters as well as broken box office records. " John C Jay, Studio J/Joshua Berger, Plazm/Markus Kiersztan, MP, art directors; Joshua Berger/Markus Kiersztan, designers; Barton Corley, writer; John C Jay, creative director; Florian Ribisch, digital colorist; Studio J (Portland, Oregon; Tokyo, Japan)/Plazm Design (Portland, Oregon)/MP (New York, New York) , design firms; Lucasfilm, client.

102

M A R

c H I

A p R I L

2 0 0 0

WHAT YOU DO WITH THEM IS UP TO YOU. ISL

•

llTEllET

•

CllllOTES •

•

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CD

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

A R T S

103

Exhibit

I

This page: Red Gold outdoor board

designed by Young & Laramore advertising agency in Indianapolis, Indiana. "To win shelf space, Red Gold promised a major Chicago grocery chain some significant marketing support," said acco unt supervisor Ann Beriault. "Outdoor let us project a quality image to the grocer's key neighborhoods. Midwestern winter hothouse tomatoes don't compare in flavor with the summer crop Red Gold packs."

Art director Pam Kelliher said, "Ever try showing tomatoes to a tomato picker?

Red Gold couldn't even look at my first comps. Too orange. To Red Gold, that meant underripe. I put in just a trace of blue-not too much or they looked rotten.

We looked at hundreds. The right stem was tricky. Shape, too . The client was very concerned with what he kept calling 'tomato cleavage'. In the end, we only found one that was acceptable."

Scott Montgomery, writer; David Young/ Jeff Laramore, executive creative directors; Tod Martens, photographer; Jeff Durham, digital illustrator.

The X Show TV commercial from a

campaign created by Fallon McElligott/New York. "We wanted to do commercials that demonstrated 'The X Show' understands the complex and highly intellectual mind of the average guy. Hence football, pizza and hot steamy jungle sex," said writer Kevin Roddy. Ratings have risen significantly. And no one will ever look at a late night lawyer ad the same way again. " Lawyer" :30 (Open on a typical law office. Although the lawyer onscreen appears to be hawking his services, what is coming out of his mouth are words like " cars," " beer " and " sex " ) SFX: Car crash.

Super: Injured?

Lawyer: Have you been cheese nachos? Well then, sex, draft beer, mile high club, ch icken wings. If hockey, jungle sex, three-way ... you could sex, cars, giant breasts. And with power tools, sex, sports, beef jerky, Miss November ...that could mean golf, scotch. fried bologna sandwiches. So pick up that threesome and poker, sex, sweaty sex, now. Call 36-24-36 ... t hat's 36-24-36.

Super: 1-800-555-0174. Roddy, Pearce & Barrett.

The Injury Lawyers.

Lawyer: And remember, we don't football, sex, bowling, until you pizza.

(Cut to title: We know what guys are really thinking. The X Show Weeknights at 11 :00 p .m . on FX) Neil Powell, art director; Kevin Roddy/Bobby Pearce, writers; Jamie Barrett/Kevin Roddy, creative directors; Julie Hampel, executive producer; Beth Barrett, producer; Frank Todaro, director; @radical.media, production company; FX Network, client.

104

MAR

c H I

A p RI L

2 0 0 0

u D?

This page : CyberCash , Inc . TV com-

mercial created by Katsin/Loeb Advertising Inc., San Francisco, California-based ad agency. The client, historically a secured transactions company serving merchantsclearing credit cards, checks and the likedecided to capitalize on their Internet expertise by helping merchants get up and running in the e-commerce area. "We wanted to tell business people that e-commerce offered the possibility of extreme wealth both as a business proposition and on a personal level, " said creative director Jef Loeb. "We decided to look for a unique way to express this notion, which was the origin of the PSA for the rich idea. We were inspired by magazine cover stories discussing the rising tide of jealousy and resentment toward the new Internet insta-millionaires.

Using this as a springboard, we reasoned that CyberCash could garner major mindshare, if it became the official advocate of the Internet rich and would drive business people to the Web site to see what CyberCash had to offer. " "Stared At " :30 (Open on motorcycle riders staring at a Rolls Royce) Woman (VOi : They are stared at.

(Cut to a gated community) Woman (VO ): Many have little cho ice but to live in walled compounds ...

(Cut to restaurant as wine steward presents w ine) Woman (VO) :... To eat in restaurants set aside for people just like them .

(Cut to vast grounds as a woman walks alone) Woman (VO ): It can be a lonely existence.

(Cut to rider and fox hounds) Woman (VO): Who are these people? The filthy rich .

(Cut to a little girl) Woman (VO) : Won 't you help ... by becoming one of them?

Title cards: The Partnership For A Filthy Rich America . www.cybercash.com Frank Beneduci, art director; Rod Kilpatrick, writer; Annie Uzdavinis, producer; Jeff Gorman, direct or; JGF, production company.

Black Forest Inn outdoor board from a campaign created by Gabriel Diericks Razidlo advertising agency in Minneapolis, Minnesota. What better way to survive a long Minnesota winter than by consuming lots of hearty German food? "The Black Forest Inn is a local landmark, " said Amy Vroom, account manager. "We wanted to convey a sense of fun and authenticity to the cuisine as well as atmosphere." Sales of Spaetzel and Geschnitzeltes are reported to be on the upswing.

Wayne Thompson, art director; Kim Bercaw, writer; Tom Gabriel, creative director.

(Cut to a woman carrying a pooper-scooper w alking her poodle) Woman (VO ): They are laughed at.

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

A R T S

105

PILOT9 BOOTS & BINDINGS

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Exhibit Left: Salomon 99/00 snowboarding catalog designed

by Research Studios in London, United Kingdom. "We have worked with Salomon Snowboard since 1995," said Gareth Wild, senior designer. "Each season Salomon produces a series of catalogs in support of its product ranges. At Research, we are responsible for many aspects of Salomon's brand direction. These recommendations are distributed to Salomon's activity subsidiaries in the U.S., Europe and Japan in the form of a visual language document. Salomon is perceived as a brand of quality and technical innovation, and we tried to reinforce this impression through a quality of simplicity where the minimum of graphic elements were involved. Flat areas of black and white were mixed with highlight colors taken directly from the graphic range in the product names.

Art direction of illustrators and of photo shoots combined with a few troublesome production issues meant that this was not the easiest project to finalize. The catalog was produced in five languages, all translations appearing as a fifth black plate. " Neville Brody, art direct or/creative director; Brad Steward / Tobin Teichgraeber, writers; Vincent Skoglund (action )/Grant Fear (portrait )/ Christian Chaize (product), photographers.

This page: Beaulieu Vineyard, centennial champagne

and centennial sales kit created by Buro Design in San Francisco, California. Part of an extensive brand revitalization to position Beaulieu Vineyard, or BV, as a premier winery worldwide. The informational kit was designed to inform sales teams about BV's family of wines as well as celebrate the winery's roo-year heritage. "Visually, the BV brand was dusty and inconsistent across the line. It lacked harmony, prestige and strength, " said creative director Kristin Beckstoffer. "The new designs solve all three objectives. We gave the package a crisp new look that pushes it into the super-premium wine category, while keeping the best of the old traditions. Details such as color, type, bottle shapes, corks, paper and capsules were harmonized across the 30 plus labels.

Concurrently with the new packaging, Buro has designed special package embellishments, gift boxes, a trade launch brochure and emblems that commemorate the BV Centennial year. Each wine shipped in the year 2000 will be adorned with a special Centennial seal. " Kristin Beckstoffer, art director; Jill Greene, designer; Lessley Berry, sales kit writer; Paul Moore, sales kit photographer; United Distillers

& Vintners, client.

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Exhibit

This page: A View From The Bridge commemorative

poster for the Lyric Opera of Chicago. T h irst, Barrington, Illinois-based design firm, has been designing the Lyric Opera's season poster for most of the last decade. This season, director Frank Galatti invited Rick Valicenti to create a design that looked to the post-war era in New York's Red Hook District, while at the same time spoke with today's voice, for the opera composed by William Bolcom, based on the play

by Arthur Miller. "The thinking behind the solution was to recapture and modernize the genre of post-war poster graphics, to express the family blood and passion with red water and identify the Italian characters with their flag, " said Barbara Valicenti. "The lead baritone, Kim Josephson, is the subject caught in a tangled web as illustrated by the bridge cables on the poster. The poster, printed by Lake County Press, was printed 4-colors on Gilbert Realm, Natural, and displays a new type design by Barry Deck titled Eunuverse':' It was the first commercial use of the font, besides its original context in Raygun magazine."

Rick Valicenti, art director/ creative director/ digital assembly; Rick Valicenti / Chester, designers/typographers; William Valicenti , photographer.

Restoration Hardware magazine ad created by Borders

Perrin & Norrander, Inc. in Portland, Oregon. The campaign objective included piquing the interest of new customers and reminding existing customers what's intriguing about visiting the stores. "The humorous, modern language complements the vintage imagery and classic products in a fresh way, " said agency creative director Terry Schneider. "In the store, you're constantly surprised and amused by the products they come up with. It's a nostalgic place, yet also contemporary. To get that across, we set off vintage photos with a dry sense of humor and a modern point of view. Judging from the positive comments we've heard from individual customers, managers and sales people and the unprecedented holiday traffic in the stores, the work seems to be striking a chord. " Tia Doar, art director; Ginger Robinson, writer; stock photography.

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!though we sailed into the 2 lst century without major technological breakdowns, from an environmental standpoint, we are not free and clear by any stretch. The numbers are dramatic. Over 50% of American households own a computer.

Last year 24 million of them became obsolete. That number will mushroom to approximately 315 million computers within 4 years, most of which will end up in landfills, incinerators or shipped abroad as hazardous waste.

In a previous ECO article Gan/Feb 1997), the environmental impacts of computers were aptly summarized by Joel Makower, editor of the Green Business Journal. He said, "The PC you're working on was made with more than 700 different compounds [and] a witch's brew of composites, solvents and gases. More than half of these materials are toxic, and nearly all will eventually be released into the air, water or earth when your PC is finally discarded." Such a potentially huge proliferation of computers in the waste stream is cause for environmental alarm.

The Silicon Valley Toxics Coalition (SVfC), a watchdog group for the electronics industry, has responded by creating the Clean Computer Campaign. Its goals are to raise consumer awareness about the environmental impacts of computer production and disposal, and to place responsibility on manufacturers to design their computers for clean production and maximized reuse and recyclability. As part of the campaign, svrc published an "End-of-theYear-Report Card" which rated 21 major computer manufacturers on three issues: their policies on hazardous material use and phase-out, the ability of consumers to upgrade their computers and the possibility of returning them to the producers for reuse and/ or recycling.

Of the 21 surveys SVfC sent, Unisys was the only corporation to return a completed survey. IBM sent their annual report. Extensive follow-up phone calls to these companies bore little fruit, so SVfC resorted to surveying their Web C 0 M M U N I C A T I 0 N

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109

sites for the information. Based on what SVTC was able to glean from these sites, Apple and IBM received the top scores, followed by Compaq/Digital Equipment Corp. and Hewlett Packard (the complete list of corporations and the results of this report card can be found at www.svtc.org/cleancd99reportcard.htm).

What set the top two contenders apart from the others was the detailed information they provided for consumers on their Web sites about the materials used in their computers and their Design for Environment policies and goals.

These included phase-out plans for hazardous materials, as well as increased recyclability and reuse of components in both companies. Apple measures a range of attributes of their computers against several environmental criteria. These attributes include energy conservation, ease of disassembly, recyclability and upgradability, hazardous materials and material conservation. Apple has no take-back program for computers, but advises people to donate them or find proper electronic waste disposal options.

IBM's Web site outlines their Environmentally Conscious Products program which lists five environmental design objectives for their products, including upgradability, reuse and recyclability, safe disposal, increased use of recycled materials and increased energy

efficiency. Using these environmental criteria, IBM also uses an assessment and rating model for all their hardware.

As for the rest of the field, SVTC concluded, "There is a distinct lack of information given to North American consumers about their recycling or disposal options for out of date computers."

Although the results of this report card may seem less than stellar, SVTC is hopeful. Because some companies are now providing environmental information about their computers for consumers, SVTC believes this will set the stage for all companies to follow suit. Ideally, the work of the Clean Computer Campaign will result in "environmental information consumers could access online about all computers, helping them to make informed choices about the electronics they buy," according to Michael Stanley-] ones, senior researcher at SVTC. Finally, the ultimate goal of all this scrutiny is to require producers to take

This issue of ECO is printed on Vanguard Recycled Plus™ which contains no virgin wood fiber. Vanguard Recycled Plus™ is made from 10% hemp and 90% post-consumer office waste in a chlorine-free process.

The need to make the transition to a sustainable paper economy is urgent. According to a recent Worldwatch Institute publication, U.S. paper use averages more than 700 pounds per person. Each year 12,000 square miles of U.S. forests are logged to provide fiber to the pulp and paper industry. Incorporating nonwood fibers and expanding recycling efforts are the two most important elements to more sustainable paper production and use.

Living Tree Paper Company offers a full line of cover, text and writing papers. They specialize in custom orders for both web and offset printing and can tailor fiber blends to meet one's budget.

For more information, call (800) 309-2974 or visit www.livingtreepaper.com.

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responsibility for the environmental and financial costs associated with their products. Faced with similar "e-waste" issues, the European Union has taken the lead in this by trying to pass legislation mandating Extended Producer Liability, which makes product manufacturers responsible for the total life-cycle of the environmental impact of their products, from raw materials extraction and manufacturing to use and disposal.

This includes phase out of certain hazardous materials by 2004.

Unfortunately, trade groups such as the American Electronics Association (of which all U.S. computer companies are members) are claiming such legislation would not only impede technological growth, but would also hinder export of American products to Europe, thus creating barriers to free trade. Heavy lobbying from these groups has caught the attention and support of the U.S. government and threatens this legislation.

So what can you do? Check out the Silicon Valley Toxics Coalition Web site at www.svtc.org for details about contacting state and national government agencies to register your support for Europe's Extended Producer Liability legislation. And let your computer company know you want to know: • What hazardous materials went into your computer and when are they being phased out? • How can you return your computer to them? • Why won't they take your computer back? • How much of your computer is being remanufactured or reused?

The environmental effects of computers will reach well into the new millennium, and the responsibility for this ultimately must be shared by both the producers and the consumers.

Packaging The Forgotten Product?

BY DAN IMHOFF

Our September/October 1999 "Unwrapping Packaging" story elicited a number of responses, many from designers who disagreed with Primo Angeli's views about packaging's environmental impacts. Our own interpretation is that there seem to be two general ways in which packaging is approached from an environmental design perspective. First is to scrutinize the package itself. The second-and we thank Minneapolis designer Wendy Jedlicka and founding member of the Independent Designers Network for articulating it so well - involves auditing the entire system in which a package is made and operates to define various other eco-entry points along the way.

Jedlicka views package design as a holistic endeavor which requires looking at the entire environment the package is working within-the product's durability; manuals, instructions and other printed materials that are stuffed into a package; and the package's ability to communicate on a retail shelf.

"In some cases I have a package engineer work with the client to make their fulfillment process more efficient,'' Jedlicka writes. "This integration starts at the very beginning. For example, are there wasted man hours due to repetitive task duplications? Each hour of repeated effort to complete a task- even electronic paper shuffling-increases the amount of energy needed to light and heat the office, increases the number of trips to the office and decreases the number of products completed."

Jedlicka also examines the role a package's facing plays in the shelfcompetitive environment. "With an instore brand,'' she explains, "the packaging can be reduced if the display environment picks up and carries the theme stronger. Integrating a pattern across a number of packages on a single shelf is a very effective strategy in the big

shopping malls where zillions of products scream for ever-diminishing attention spans of the shoppers."

Jedlicka and the Minneapolis-based Independent D esigners Network team argue that environmental package design is an interdisciplinary endeavor, commanding a thorough cradle to grave audit. They offer these tips:

Although made of recycled corrugated board, the more interesting part of this package is that it employs the puzzle style of facing maximization. Designed for Target stores, where it competes heavily with other products, three of the four vertical sides of the package form a single

1. Question if the product can be made stronger to require less packaging. Save money and resources by minimizing packaging materials and total product shipping weight.

visually exciting image. Shelf stockers (and customers} find this engaging, and will rearrange the store shelf to reveal the full puzzle image.This technique

2. Specify as high a post-consumer waste content as the package's structure will allow.

provides maximum visual impact and

3. Des ign with materials that can be recycled in the target market's community.

age bigger to occupy more shelf space.

helps eliminate the need to make the pack-

4. Look for every opportunity to use renewable resources such as kenaf, agri pulp or polylactide (PLA) polymers (from maize) in the primary package and the manual, etc.

5. Design to make the largest visual impact on the smallest package possible.

6. Maximize positive consumer perception.

7. The product and package are a team. Make them perform like one.

8. Review the www.indes.net reference page before you do your next job.

Hemp Over The Hump?

BY DAN IMHOFF

After agreeing to U.S. Drug Enforcement Agency demands that they construct a fortified, razor-topped compound with a 24-hour security system, the Alterna Hemp Research Project planted the country's first legal industrial hemp plots on the island of Oahu, on December 14, 1999. Industrial hemp harbors miniscule psychoactive properties, so one wonders

who is really suffering from paranoia?

World consumption of paper is expected to rise nearly 25% over the next 10 years, COMMUNICATION

ARTS

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Lyons in the Forest

BY DAN IMHOFF

Can working forests be managed sustainably for paper production? For more than a decade, an international movement has been underway to green the sources of forest products from building materials to musical instruments to paper. In October 1998, Niagara, New York-based Lyons Falls unveiled a complete line of processed chlorine-free papers made from postconsumer fibers and virgin wood certified as sustainably harvested by the Forest Stewardship Council (FSC).

limits to timber harvesting, yet still provides for economically viable levels of cutting. FSC also provides third-party certified chain of custody oversight from the forest to finished product. The United States forest products industry,

While a number of programs and initiatives have emerged in recent years attempting to lessen the impacts on wildlife and other species in working forests, FSC certification remains the clear favorite of most environmental groups.

FSC certification requires that areas of significant biodiversity be kept off-

on the other hand, has launched its own Sustainable Forestry Initiative (SFI) which requires only voluntary selfenforcement. As a certification standard, it pales in comparison to FSC and sets up the fox to guard the hen house.

The announcement of Home Depot in late 1999 to eliminate old growth lum-

Hemp Over with increased forestry in tropical The Hump? countries predict-

Carolyn Moran of Living Tree Paper Company explains that her company's blends of 10% hemp or flax fibers with 90% post-consumer waste are now competitive with mainstream 100% post-consumer papers.

During the past 3 years, 22 states have approved some form of legislation or resolution supporting industrial hemp, and North Dakota and Minnesota are expected to plant industrial hemp on experimental plots this year. The question now is: When will the U.S. government allow revitalizing solutions to farm communities beset by plunging commodity prices, toxic agrichemicals and consumers increasingly turning away from genetically-engineered crops?

(continued)

ed to meet much of that demand. Why not encourage the development of regional nonwood fiber supplies and higher post-consumer recovery rates instead of the elimination of trade barriers on logs which facilitate cutting the last remaining wild forests?

According to one source, worldwide hemp sales were only a few million dollars in 1993, but in 1997 surpassed $75 million, with year 2000 projections in the billions. Car parts, nutritional and personal care products and building materials are only a few of the hempbased products already in the market.

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her from its shelves by 2001 has caused a surge of interest among timber owners to switch to FSC certified management methods.

With markets ready to sell nationwide, supplies of FSC certified building materials are expected to increase dramatically over the next two years. As more and more lands become certified, the availability of FSC pulpwood will also increase as part of the selective management strategies.

According to Lyons Falls' Craig Updike, "Sales of FSC paper are finally starting to take off. Home Depot has become one of our largest customers overnight. Environmental organizations and university presses are supporting these products as well." Already a processed chlorine-free paper mill, Lyons Falls expects to sell up to 4,000 tons of FSC certified papers this year, all made from regionally sourced virgin and postconsumer fibers.

FSC certifier Smart Wood's Mark Comolli concurs. "In the past two months more than a half-dozen paper companies have inquired about FSC certified fibers. There will always be a need for virgin fibers, either through saw mill residues or chips."

Let's hope the Forest Stewardship Council can continually raise the bar for what constitutes sustainable forest management. A list of FSC products can be found at www.smartwood.org and www.certifiedwood.org.

CREDITS

Editor/Designer: EVA A

DERSO

Contributing Writers: ALISO AN D DA

WALD

IMHOFF

Contributing Photographer: Z ACHARY GRIFF!

' E-MAIL: zgriff3@aol.com

Recycled Paper donated by: LIVI

G TREE

PAPER COMPA Y, Eugene, OR

This newsletter is printed on Vanguard Recycled Plus™, 80 lb. Text, a paper made with 10% hemp and 90% processed chlorine-free post-consumer content.

Atnsterdatn: Europe's New Creative Center

StrawberryFrog, a small creative consultancy set up by Canadian Scott Goodson last February, is designed to operate with

BY NOREEN O'LEARY

a network of freelancers via the Internet.

And last September, 180 was formed by

A

msterdam, in all of its flawed per-

agencies really dares back some three

U .S. and U.K. principals who broke away

fection, may be the ideal backdrop for an industry straddling high and low culture. In this city of Rembrandt and

years when KesselsKramer opened its

from W&K to join adidas's agency roster.

doors in a town without many indepen-

180 is building its business with a delib-

dent shops. Multinational veterans Erick

erate emphasis on multinational mar-

gilded architecture, red-light brothels

Kessels and Johan Kramer drew negative

keters. Already the agency has landed a

and junkies, visitors these days can see

press for choosing to go off on their own

U.S . assignment for MTV and work for

plenty of evidence of a flourishing ad

rather than rake the expected route of

Canon Europa.

agency business that is becoming one of the world's most creative communities.

continuing to climb the ranks at network

No longer just an outpost for multinational networks, the canal-lined streets

to gain attention for its uncompromising creative and penchant for beautiful,

of Amsterdam have become home to a

often surreal film. Well-known mar-

growing number of start-ups squeezed

keters followed them-never mind the fact

into churches and stately townhouses; old brick factories; even a storefront boutique

ing account people-and a slew of other

near rhe Anne Frankhuis. They are an

Amsterdam big-agency renegades became

idiosyncratic group of locals and foreigners who like rhe free-thinking atmosphere of the place and share the international ambitions of the Durch as well: With

encouraged to strike our on their own.

multicultural staffs, Amsterdam's agencies

Saarchi and J. Walter Thompson, pro-

offices. Ir didn't rake long for their agency

KesselsKramer doesn't employ hand-hold-

Ubachs Wisbrun, founded by a creative director and account exec with combined experience at DDB Needham, Saarchi &

aspire to become no less than communi-

duces ads that have entered into the

cations traders in the tradition of the city's merchant predecessors.

ing to maintain an international feel.

national vernacular while still manag-

Ir's an eclectic mix. There is the 'oldest'

Schaeffer Wunsch Has, starred by a

of the new, Wieden & Kennedy, the

prize-winning DDB creative ream, has

Portland, Oregon, agency offshoot which set up operations over seven years ago

won client fans with in-your-face cam-

to service Nike and has since attracted

free media as they do through paid adver-

European clients through powerful, image-driven work. Bur the surge in new

those run by newcomers to Holland:

paigns that draw as much notice in the tising. More recent start-ups include

Much of the local industry's energy is being generated by those new independents. One exception, however, is TBWN Campaign Company. The shop, which has just become the city's biggest, has retained its highly-regarded reputation tied to chairman and creative director Bela Sramenkovirs, who founded Campaign & Co. in 1988 and sold a majority stake to TBWA in 1995· With work characterized by sophisticated visuals, humor and adept use of music, TBWNCampaign now creates Nissan advertising rhar runs in eighteen countries . As testament to the growing importance of the Amsterdam company within TBWA, Stamenkovits's long-time partner Perry Valkenburg-rhe 38-year-old managing director of The Netherlands operations-was named to the board ofTBWA Worldwide.

Amsterdam's buoyant advertising business reflects an extended period of national prosperity in a country that is the world's eleventh wealthiest economy. The Dutch C 0 M M U N I C AT I 0 N

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113

Amsterdam

offer aggressive tax incentives for compa-

Neil Simpson, adidas's Amsterdam-based

nies to locate headquarters there and the

global advertis ing director. "It has the

country has also taken good advantage of its location as a central hub: Holland is

cosmopolitan outlook of a big city, but doesn't have all the cumbersome things

increasingly becoming a key center of

that go along with that scale-both for

along with that system, the new breed of Amsterdam advertising entrepreneurs seek to reverse existing structures by creating a diversified world of thinking within a single office.

new corporate distribution centers for

indigenous residents and the outsiders

"Agency networks don't have a tradition

Europe. Amsterdam agencies, looking to

attracted to this kind of environment."

parlay that local momentum into inter-

Simpson is typical of the kind of large

national work, can expect the introduction of the Euro and The Netherlands's

advertiser seeking ideas outside of traditional multinational resources.

embrace of the Internet to expedite

KesselsKramer, with its staff of twenty,

cross-border selling opportunities.

won the country's largest agency pitch

But the city's swelling ranks of agencies

in 1998. It landed the megabucks launch and branding of 'Ben,' a mobile phone

of international work. What they have is a tradition of international offices," observes W&K creative manager Jon Matthews. "We want to do work that comes from the outside of a country, but is perceived as being very inside a culture. It's an idea whose time has come:

aren't just riding the current wave of good fortune in a transformational economy.

The Netherlands wants to outgrow its tulip-and-windmill image as it has come to be regarded a model co untry-an d the most successful one-within the European Union . Amsterdam hopes to be ground zero for what could become the continent's most progressive efforts

network with a $2.5 billion investment from Ameritech, Pele Denmark and Belgacom. (In keeping with KesselsKramer's singular-mindedness, it resigned the account shortly thereafter-which accounted for 60% of the agency's business-when the client changed the new company's name. ' Ben' was soon back at

to shape a 'New European' business and

KesselsKramer.) One of Ubachs Wisbrun's

cultural identity. With global concerns

first clients was Holland's largest insurance company, Nationale-Nederlanden.

like Shell, Unilever, ING Group, Philips the country's far-flung corporate influ-

StrawberryFrog handles the worldwide account for U.S.-based Pharmacia &

ence has long exceeded its small dimen-

Upjohn. In more recent account wins,

Electronics, Heineken and ABN AMRO,

We have 135 to 140 people, of 16 nationalities spread across all our departments."

Sitting in W&K's cozy warren of offices carved out of old, adjoining townhouses on the elegant Keizersgracht canal, a favorite ice skating spot for Amsterdammers, it's hard to imagine Matthews has a lot of trouble in recruiting multinational talent. But like many of his competitors, he complains it isn't easy to

Right: Adidas magazine ad. An adidas tactical magazine ad featuring Martina Hingis which ran during the 1999 U .S. Open. Laen Sanches, art director; Simeon Roane, writer; Larry Frey, creative director; 180, ad agency.

sions. Now Holland is emerging as one

W&K picked up the launch of a new

of Europe's most seminal centers in nurturing theater, dance , architecture,

Audi model for all of Europe and, in a surprise move, Post Bank, the country's

design and the arts. In keeping with

second largest bank, handed its account

of a mobile phone network in Holland. Ben also

national character, the Dutch Ministry

to Schaeffer Wunsch Has .

means 'I am .' lk ben Ben I am Ben. Everyone can be Ben. Dutch lesson ends here." Erik

of Culture, allied with the Ministry of

"When I was still at Young & Rubicam

Foreign Affairs, has also pioneered a model

and told people I was moving to KesselsKramer, they told me we would never

of international cultural aid, actively helping to build artistic infrastructure in

lk ben Ben° magazine ad. "One in a series of fifteen posters for bus and tram shelters," said agency copywriter David Bell. "Ben is the name

=

Kessels, art director; Johan Kramer, writer; Bert Theunissen, photographer; Matthijs de Jongh/ Engin Celikbas, strategy; KesselsKramer, ad agency; Ben, client.

needy countries outside Dutch borders.

make it because we would only pick up little projects," says the agency's business

"Long before Amsterdam was talked about

director, Engin Celikbas. "Not only are

Renova (Portugal). Headline: Envy (or Envidia in Spanish) . Copy (Spanish): Envy. Desire what

we making it, this city has ten- fifteen

you already have. Envy what you already pos-

new agencies started by creative directors who now see you can still work for

sess. In a sector where most beauty products still tap into old-fashioned values such as fear of aging or the quest for beauty and lost youth,

as the center of Europe, it was a small city in the center of Europe. Therefore it had to open itself up to other languages,

Launch magazine advertising campaign for DOSHA, a new range of toiletry products from

bigger clients and be on your own."

DOSHA shows that selfishness can be a virtue.

creativity here and when you mix that

Most of these shops are founded by execu-

The campaign is running in Portugal, France and Spain. Bertrand Fleuret, art director; Janet

creative essence with Amsterdam's open-

tives who cut their teeth on large pieces

Champ, writer; Jon Matthews/John Boiler,

mindedness, it becomes a very vibrant,

of business at agency network offices.

creative directors; Paul Bellaart, photographer; Anne-Marie van Overveld, project manager;

very well nourished atmosphere,'' observes

As survivors of the turf battles that go

Wieden & Kennedy Amsterdam , ad agency.

cultures and psyches. There's always been

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Amsterdam

bring in people who are up to the task.

"What strikes me is how different and

In more modern terms, that makes The

"Say you're looking for an Italian or

interesting it is to work here, especially

Netherlands an eager participant in the

Argentinean writer. They also have to be

after the U.S. where you can use a lot of

fluent in English and you have to con-

inside cultural references. You can't do

larger world community. In 1998 , Dutch businesses spent twice as much money

tend with the fact that they also may be the best in their market, are content and

that here; you can't rely on word play or

on foreign takeovers as they did the year

puns. You have to have real content," he

earlier, paying about 34 billion guilders

well-paid."

contends. "International work over the

A fat and happy agency life-style is not exactly to be expected in The Netherlands.

for instance. And Wim Duisenberg, the Dutch president of the European Central

work. That's not the case; it's a really nice

Bank, is an impassioned supporter of the

mix of challenges that keeps your brain

Euro. He argues that currency goes beyond mere money. Duisenberg considers the

For all of their historical commercial success and finesse with money, the Dutch hold modesty as a high virtue.

During a recent visit around Amsterdam's advertising community, the biggest obvi-

years has become synonymous with soft

working. We can do ads that don't leave for, or we can do big cultural campaigns

Euro as the symbol of a new European identity. And unlike the German or the

that have to speak a universal message."

French, who hold up their language as

the borders of the country they're made

nationalistic badges of honor, the Dutch

ous indulgences were generous plates of Christmas speculaas biscuits and chocolate

W&K's Dutch peers are no less eager in

or stunning canal views. Agency principals eschew restaurant interviews in

seem to mind the growing ranks of competition for those assignments.

become the most multilingual population on the continent, with three-quarters

favor of local staples like toasted cheese

"We like the fact that there are so many

of the country speaking English and half

and ham served in a conference room.

international start-ups here. Before, when

They are pretty much forbidden to do

clients thought of pan-European advertis-

conversant in two to four languages other than their own.

comparison advertising in their country.

ing, they immediately considered going

One practitioner asks a writer to tone

to a multinational network or the U.K.,"

their expansive ambitions. But they don't

realize their native tongue is of limited interest to the outside world. So they've

Dutch TV commercials and print ads often use English, whether it makes total

down a description of the successful early

says Mark Aink, a partner at Schaeffer

days of his agency, making a request"Don't let it sound too much like 'Look

Wunsch Has. "It's a great time to be start-

at me"'-that would be incomprehensible

ing they don't need a heavier hammer.

headlines, even if people don't under-

What they need are sharper nails. "

stand English and they're just reading

to most advertising executives. Another warns, "Don't think that if we make a lot of money in this country, we go out and buy Porsches. That's not the Dutch way. " They request their names not be attached to such statements, lest modesty itself become a boast.

ing a new agency. Clients are now realiz-

That attitude is particularly Dutch in its pragmatism and tolerance. Residents of Amsterdam's reclaimed marshland at the mouth of the Amstel River say they owe their existence to the 'democracy of dry feet.' That ability to pull together against

sense or not.

"Brands gain cachet here with English

the words as symbols, " observes 180 ereRight: Rover magazine ad. If it's about food, don't ask the English. However, this doesn't mean they don't have taste, considering the cars they produce. Boris Peters/Wim Ubachs, art directors; Kees Sterrenburg, writer; Aernout Overbeeke, photographer; Ubachs Wisbrun, ad agency; Rover Group Nederland, client.

"You have [potential employees] asking

nature has created an acceptance of politi-

'Do I get a BMW?"' smiles John Boiler,

cal, philosophical and social differences

Monsterboard "Cheerleaders" magazine ad.

W&K creative manager. "We don't exactly

that very much infuse the creative environ-

States as monster.com) started as a new job

have a company car pool here. So we say, 'OK, you can have a junkie (stolen) bike

ment of a city where beauty and serenity

for 25 guilders or you can go all the way up to a mo guilder bike."'

life. Out of necessity, it's also forged a

happily co-exist with the seamier side of Dutch survivalist view of themselves as

Early '99 Monsterboard.nl (known in the United site on the Net. To introduce the name and establish the brand in a very short time, a simple strategy was chosen: the Celebration of Ambition. The campaign that was made on this brief was equally simple and very impactful. By the end of the year Monsterboard.nl was known

More seriously, Boiler-who came out of

dependent on a much larger world, a way

W&K Portland three years ago-advises

of thinking that goes back to the 17th

by the vast majority of the target audience and the site had reached a shared number one posi-

creative people moving into Europe to

century when Amsterdam was the center

tion in its market. Lode Schaeffer/Erik Wunsch,

leave behind comfortable, insular ways

of a massive trading empire that stretched

of thinking about advertising.

across the globe.

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concept; Marieke Bokelman, designer; Carmen Freudenthal, photographer; Schaeffer Wunsch Has, ad agency.

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COMMUNICATION

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~~S FOREVER SPORT

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Amsterdam

Left: Adidas magazine ad. A brand campaign for adidas to show the breadth and depth of adidas's involvement in sports around the world today.

Dean Maryon, art director; Larry Frey/Lorenzo De Rita, writers; Larry Frey, creative director; 180, ad agency.

Upjohn "Mother" magazine ad. "Pharmacia & Upjohn has been an extraordinary example of the

ative principal Larry Frey. "They actually use the English language as an advertising device. It's amazing: There are Durch agencies creating these ads with strange English copy-that isn't quite correct English-for people who understand it

power of 'individual global branding' to completely

that way. It's like a language that lives in

rethink the fortunes of a big business," said cre-

its own zone of experience."

ative director Scott Goodson. "It is easy to visualize what a traditional corporate advertising campaign

With their facility of languages , the

is like. The company simply tells the world how

Dutch are also enthusiastic Web surfers.

great it is or how wonderful its products are, and simply adds some nice touching music. This is

The country's per capita server count lags

especially the case in the pharmaceutical indus-

only the Scandinavian countries and

try. But when companies in this sector wish to

Switzerland, and 45% of households own

reach out to the general public, the most you can expect to find is a: 'We care.' Against this is the Pharmacia & Upjohn 'YOU' strategy and concept, which is a contemporary way for companies to relate to regular human beings, both outside and inside the company. Internationally, 'you', 'tu', 'du', etc. work across all languages carrying the same meaning. The image work and the advertising

a computer. Even a member of the royal family, Prince Bernhard Van Oranje, is a partner in Clockwork, a thriving Internet consultancy.

"Amsterdam is really becoming the city of

express each individual person's own situations

the future in communications. The Dutch

and challenges, and presents them in an

are the most international of all people in

authentic way. Each person has a wonderful life,

Europe," contends Marian Salzman, the

where dramatic events have shaped them. We dramatized these stories and added style so they

worldwide director, Brand Futures Group,

came across beautifully and with impact.'' Peter

at Young & Rubicam, who has lived and

Neijenhoff/Helen Pak, art directors; Scott Goodson/Jenna Hall, writers; Mattais Edwall,

worked in Amsterdam. "The Netherlands's

photographer; Melanie Baillairge, agoodson.com,

polder model will become the dominant

illustrator; Peter Neijenhoff, visualizer;

manner of consensus business thinking in

StrawberryFrog, ad agency.

the next decade just as Japanese manage-

This page: Bavaria TV commercial. All the 'Pro-

ment practices did in the 1980s."

duct Placing' in Dutch TV programs these days

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has become quite a phenomenon and inspired

That idea-based on the fact that Holland's

Bavaria to have their commercials sponsored too.

dike-protected polder land is currently a

Lots of TV programs are being paid for by advertisers that have their products shown in these

peaceful home to the most densely-popu-

programs. Bavaria beer, always keen on spoofing

lated country in the Western world-

hot issues, uses other advertisers to 'sponsor' this commercial.

"Bar" :55 (Open on a very typical beer commercial: happy

trade union boss Wim Kok is now The

light bar environment. The strange thing is: every-

Netherlands's prime minister who is well-

in a bar: paint, towels, instant food, shampoo, etc.

liked by the business community for his

The next shot reveals that, if you would also like

running of the co untry with a balance of

to advertise in such a popular Bavaria commer-

(@i)

It's your lucky day!

the country for the last five years . Former

people drinking tasty-looking beer in a golden where we see products that are very out of place

Interested in advertising in such a popular 1ammercial!

refers to the coalition of labor and capitalist interests that have successfully governed

cial, well, you only have to contact the, so far,

social planning and market incentives. So

non-existing Bavaria Product Placing Department)

while the Dutch are known for their astute

Lode Schaeffer/Erik Wunsch, concept; Colin Gregg,

handling of fiscal affairs and financial

director; Violet van der Straaten (agency)/ Anthony

conservatism-companies can't go public

Taylor/Storm Redman, producers; Eclipse Pro-

unless they have three years of profits- the

ductions, production company; Hazazah/Will Holder, leaders; Marcel Walvisch, Vonk Sound,

country also continues to push the limits of

sound studio; Schaeffer Wunsch Has, ad agency.

social convention, whether through its casual COMMUNICATION

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Amsterdam

attitudes about drug use or by becoming the first place in the world to legalize gay marriage. "The liberalism of Dutch consumers make us better at what we do. We made one spot where everyone was naked.

It ran for four months with no complaints.

You couldn't run that in the U.K. or the U.S.," says art director Erik Kessels, of KesselsKramer. "' Dutch clients are more liberal as well. They're much more willing to take risks because the media landscape is so much smaller. If it doesn't work, you just pull it out of the media. That kind of freedom gives creatives much more nerve to try really new things."

And true to the country's national heritage of using adversity to advantage, Dutch agencies, in their home market, have also had to become resourceful to compensate for smaller budgets.

"The reason Dutch advertising is so creative is that budgets are relatively small, compared to places like the U.K. and the U.S. There yo u can take a mediocre idea and make it great through production. Dutch consumers know advertising so you have to find a way to reach them either through empathetic means, honesty or in an entertaining way rather than bore them," says copywriter Erik Wunsch of Schaeffer Wunsch Has. "We don't have the media to keep replaying an ad to make an impact so we have to make our advertising noticed through less means. It's about bringing brands to life through whatever means possible, not about wrapping a brand around a 30-second ad. "

This page: Canon TV commercial.

"Play": 30 (Open on four French kids watching a football match through Canon binoculars from the balcony of a flat overlooking the stadium. Despite the distance, the kids still yell and wave a huge flag.

Cut to a group of professional photographers with long Canon photo lenses at a football game. They join the crowd in doing the wave by hoisting their cameras in the air. Cut to a photographer with a Canon EOS hanging around his neck. He is standing in front of a life-size cut-out board depicting a footballer celebrating a goal. The footballer's head is cut out so people can place their own heads there and get photographed. Cut to a Spanish taxi driver talking enthusiastically to his passenger. His car looks like a football paraphernalia museum. Cut to two couples playing table-football in a crowded Italian bar, filled with football shirts, posters, etc.

The table-top player's heads have photocopies of the men's and women's faces. Cut to a bus full of football supporters pulling into a service station .

As the supporters get back on the bus, we see one fan filming his friends. Suddenly his friends lift him up in the air, passing him along the length of the bus. The images are all upside down and messy. Screen goes black) Title: CANON The image of football.

Dean Maryon/Sid Daffarn, art directors; Lorenzo De Rita, writer; Larry Frey, creative director; Asif Kapadia, director; Sid Daffarn, agency producer; Paul Weiland Film Co., production company; Colin Smith/Simon Elms, Amber Music, music; 180, ad agency.

Right: Mini magazine ad. Mercedes, together with watch-designer Swatch, developed the 'Smart' which is a small city-car. Rover, the inventor of the small car 'Mini' has mixed feelings about this. Cees Dingler, art director; Erwin ban Kralingen/Martijn van den Brakel, writers; Ubachs Wisbrun, ad agency; Rover Group Nederland, client .

HappyPoint magazine ad. "HappyPoint is a case study of Internet-era advertising aimed at building a brand, very quickly," said creative director Scott Goodson. "You could be forgiven for thinking that the strategy from this campaign is to get a huge bunch of people criticizing the ads-like the Kurt Cobain ad, which received a ton of mail asking for its removal (the same day as tons of people hit the

Agencies like KesselsKramer have taken that idea to a literal extreme, sticking ad flags into piles of sidewalk dog excrement

Web site). In this case, and especially with the

for client Hans Brinker Budget Hotel.

TEWA/Campaign Company, on the other hand, has institutionalized its expertise across communications channels, building twelve marketing companies from scratch since its core agency group.

Monique Richard, photographer; Peter Neijenhoff, visualizer; StrawberryFrog, ad agency.

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modest budget, transgression was definitely the key to creating a buzz around the brand in Europe."

Roy Antoine, art director; Dylan Ingham, writer;

Monsterboard "Replace" magazine ad. Lode Schaeffer/Erik Wi.insch, concept; Marieke Bokelman, designer; Carmen Freudenthal,

canon

photographer; Schaeffer Wi.insch Has, ad agency;

THE IMAGE OF FOOTBALL

Monsterboard.nl, client.

@

That's why we don't make watches.

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FOOT BA LL T RA I NI NG

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#8

YOUR 90 •UNUTES START HERE

CELEBRATION

F1 g 1

F1g Z

F1 g 3

F1g 4

Celebration Is one ol the most Important psychological weapons on the pitch .

Watch how even the usually reserved Chris1ian V1er1 can execute this move .

From a technfcal polnl ol view il's completely unnecessary tor Christian to lake oll the shirt The Nike Mesh Training Jersey is breathable and always leaves you dry (see below 3 . 1 and 3 .2)

Remember to remove jersey from head before the restar1 .

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Left: Nike "#8 Celebration Football" magazine ad.

In August 1999, Nike launched its pan-European Football Training initiative with a series of TV spots featuring the famous Italian football coach, Gianluca Balleri, and a galaxy of international footballers including: Ronaldo, Denilson, Roberto Carlos, Edgar Davids, Francesco Totti, Oliver Bierhoff, Luis Enrique, Hernando Crespo, Figo, Thuram, Vieri and Jamie Redknapp. The campaign consists of a series of TV commercials, print executions, posters, T-shirts and postcards. Frank Hahn, art director; Robert Krause, writer; Jon Matthews/John Boiler, creative directors; Mark Sokpolie (Bierhoff and Vieri)/Kam Tang/Robert Thorpe (technical drawings), illustrators; Uwe Dutmann (Davids and Ronaldo)/Grant Fear (Denilson)/Hans Pieterse (product shots), photographers; Jeffrey a Werbylo, studio artist; Wieden & Kennedy Amsterdam, ad agency.

Delta Lloyd insurance magazine ad. Diederick Hillenius, art director; Poppe van Pelt, writer; Paul Ruigrok, photographer; TBWA/Campaign Company, ad agency.

This page: Ben° is the name of a mobile phone network in Holland. This was one from a series of 30 TV commercials showing all the different ways people use their phone, in a kind of visual jukebox.

"Jan & Ben" :50 SFX: Cheering.

(Open on a guy with a humorous moustache waking up in his apartment. We follow him through an accident-prone day) SFX: Original kazoo music throughout.

(We see our hero jamming on the guitar with a friend. We see him drive his cool car. He parks, opens the door, only to have a passing car crash into the door and send it flying. He nonchalantly picks up his mobile phone and calls for assistance.

We see him in the supermarket playing with fruit.

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He drops an orange. He bends down to pick it up, knocking over one of the displays and setting off an avalanche of fruit on his head. We see him cooking. He sets the contents of the pan on fire, tries to put it out and sets his oven glove on fire in the process. He stares at the fire . This kind of thing happens to him every day. We see him in a restaurant with a girlfriend. He has a tussle with

ered, local campaigns also have to anticipate an audience of independent, criticallyminded consumers who think nothing of going to Ikea and negotiating price.

"People here think we already have too much advertising, so if you just put more out there, they'll dislike it, " asserts Ralph Wisbrun, managing director, Ubachs Wisbrun. "The U.S. is more about selling; the U.K., more about entertainment. We are much more like the British way of creating advertising. " But not like the U.K. school of courtly client handling.

"The English are better at account service.

We're too blunt, too direct, too Dutch, too open-minded in our opinions, " says TEWA/Campaign Company managing director Valkenburg.

For StrawberryFrog's Goodson, who had an agency in Stockholm for ten years before becoming executive creative director of JWT Canada, that's one of the main reasons he picked Amsterdam as a base for his new creative consultancy.

"We looked at Paris, London, Dublin, Amsterdam. We liked the business climate, creative environment, level of support here.

People are open to new ideas; they're willing to listen," he says. "Ir's a very international culture with few nationalistic pressures. We see it as a key center in the future of Europe. " •

the waiter and spills red wine all over his friend.

We see him jogging in the park. A passing rabid rottweiler causes him to smack headfirst into a tree. Concussion. Finally, we see him on his bike.

He's trying to talk on his mobile phone, but he has a flat tire making him wobble all over the place) Title: Jan & Ben° Erik Kessels, art director; Johan Kramer, writer; Klas Ahlund, director; Jacqueline Kouwenberg, producer; Petterson&Akerlund, production company; Marcel Walvisch, Wim Vonk, sound; KesselsKramer, ad agency; Werner Schrijver, Ben~ client.

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This page: Land Rover magazine ad. "Modder" in Dutch means " Mud" in English. Wim Ubachs, art director; Kees Sterrenburg, writer; Max Forsyth, photographer; Ubachs Wisbrun, ad agency; Rover Group Nederland, client. " One from a series of five posters and magazine print ads showing the devastating effects the Hans Brinker Budget Hotel can cause," said agency copywriter David Bell. Erik Kessels, art director; Johan Kramer/Tyler Whisnand, writers; Anuschka Blommers/Niels Schumm, photographers; Matthijs de Jongh, strategy; KesselsKramer, ad agency; Robert Penris, Hans Brinker Budget Hotel Amsterdam, client .

Right: Nissan magazine ad. The new Primera is available with a unique hypertronic CVT transmission system which, unlike conventional automatics, delivers power smoothly.

So you have better control. So you perform better. Bela Stamenkovits/laboratorivm, art directors; Laboratorivm, writer; Bela Stamenkovits, creative director; Aernout Overbeeke, photographer; TBWA/Campaign Company, ad agency; Nissan Europe, client .

HypoVereinsbank magazine ad. Headline: You live. We' ll take care of the details. Copy: I bought a house and the next thing you know, we had three kids. Or I had three kids and the next thing you know I bought a new house. It's all such a blur.

Irene Kugelmann, art director; Kathy Heppinstall, writer; Jon Matthews/John Boiler, creative directors; Mark Borthwick, photographer; Karin Jansen, studio artist; Wieden & Kennedy Amsterdam , ad agency.

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Right : Tektronix "Blueberry" magazine ad. " This

This page: Telfort TV commercial.

"Video Conference" :40 (Open on several businessmen sitting around a conference table, in Amsterdam, and looking at a television screen, on which they can see their Norwegian colleagues around a table in Oslo. They are just starting a video conference to discuss the marketing results of Norway) Chairman: Welcome to our first video conference .

Also welcome to our colleagues in Oslo. Hi Lars, how are you?

(Cut back to Oslo where they are trying to get the right connection with Amsterdam . They push buttons, twist the camera, but they don't seem to succeed very well. The whole TV screen only shows snow) Lars: All we have is snow here.

Chairman: Nevermind the weather Lars, just show us the results.

(Cut to Lars as he hesitantly pulls out the charts that don't look too good, and holds them in front of the camera. The chairman looks at the distorted charts) Chairman: Oh, that's great Lars.

(Lars then hesitantly pulls out the market shares which don't look too good either, and holds them in front of the camera. The screen pops to a test image, instead of the actual market shares chart) Chairman: Oh, the market shares look even better.

Now show us the new winter collection.

(Lars puts a very dull gray pullover in front of the camera. The colors of the pullover on the screen in Amsterdam are very distorted and look very bright and colorful. The chairman and one of his colleagues look satisfied. They are very happy with the excellent work of Oslo. Lars puts a second dull and light gray pullover in front of the camera. The screen in Amsterdam does not actually show the pullover, but it is completely black) Chairman: Ah, also nice in black.

Anncr. (VO) : Wouldn't it be easier to have a conference about the same things?

Logo and super: Telfort. That talks a lot easier.

Matthijs van Wensveen, art director; Zwier Veldhoen, writer; Rogier van der Ploeg, director; Miriam Buise (agency)/Esther Hielckert, producers; Czar Film Company, production company; Wim Vonk Sound, music/sound; TBWA/Campaign Company, ad agency; Telfort, client.

first major international brand advertising account we won after we launched StrawberryFrog. For those who don't know it, this was the brand image campaign launched in the summer of 1999 in international life-style and culture magazines like Esquire, GO, Max, Wa/IPaper, etc.," said art director Scott Goodson . "Tektronix was in a unique posi-

tion . It was the only major manufacturer of highperformance printers in the world with a solid base of creative customers, based on years of advertising in trade publications aimed at the graphics industry.

It had a heritage with creative types, except historically the company defined these types in terms of job sector (like advertising types) rather than seeing creativity as a state of mind. Brian, the head planning frog at StrawberryFrog, said 'Well, creativity is something everyone values, whether they are accountants, bankers, doctors or politicians'. And thus our strategy was nailed. 'This is a life-style brand for creative-minded people, seeking the best possible means of expressing this creativity.' The double-page ads tell a story in one amazing image, featuring the new Tektronix color printer as a fishbowl. Inside the printer, your imagination fuses with the mechanics, resulting in a fantasy world of your wildest imagination . The prints coming out of the top of the machine are the punchline to the story. Compared with most printer ads in magazines and on TV which are ordinary, product-focused or simply boring, the world of Tektronix is surprising , stylish, humorous and inspiring . Mission accomplished. The second strategy was to avoid the traditional media for this kind of product, and instead create a buzz by communicating in the world's coolest maga zines, via a well-placed outdoor campaign in London, and an online campaign. It is working incredibly well , especially in Europe where the trend over the past year was ironic advertising and quirky i mages. The Tek ads were clean and we went back to the kind of digital image manipulation which was popular in the mid-'80s, and inspired by the ' 70s art on the sides of vans ." Jon Rosen/ Karin Drakenberg, art directors; Jenna Hall, writer; Scott Goodson, creative director; Willemine Pernette, photographer; Nick Strong, computer imaging/digital artist; Peter Neijenhoff, visualizer; StrawberryFrog, ad agency.

Kolbert magazine ad . Jacket in Indian Yellow 249.

Bela Stamenkovits, art director/concept/creative director; Hans Kroeskamp, photographer; TBWA/ Campaign Company, ad agency; Golden Town B.V., client .

Samsonite magazine ad. Arjan van Woensel/Ferry van Tongeren, art directors/writers / concept/ illustrators; Carlfried Verwaayen, photographer; TBWA/Campaign Company, ad agency; Samsonite Europe N .V., client.

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This page: Heinrich Blumchen magazine ad. "A series of posters for Nike appeared at the Berlin Marathon celebrating the dedication of the 79-year-old Heinrich Blumchen, the oldest runner in the marathon, " said writer David Bell. "Nike shows: age is nothing, love for sport is everything. Heinrich's philosophies on running and life appeared in a booklet and was handed out to inspire both runners and spectators alike.

Blumchen =Flower. Blumchen Power= Flower Power! Go Heinrich!"

Karen Heuter, art director; Frans Jansen, photographer; Matthijs de Jongh, strategy; KesselsKramer, ad agency; Nike Europe, client.

MTV "Mighty Mac Store" magazine ad. A print campaign designed to show U.S. Media Planners that MTV is the best medium to reach affluent young consumers. John Shachter, art director; Lorenzo De Rita/Larry Frey, writers; Larry Frey, creative director; Wendelein Daan, photographer; 180, ad agency.

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Kio ken A Finger on the Trigger of Web Design

BY SAM McMILLAN

0

nee upon a time in New York City before Mayor Rudy Guiliani closed it, the Broadway Arcade was

For nine months, the two worked on finemagazine.com , where they featured the work of painters who Peter met

infamous for attracting the best video game players in the world. Quarters in hand, Peter Kang met his future business partner, Gene Na, standing in front of Street

while at Hunter, their friends and anyone they had an

Fighter. At the time, the two were in their early twenties.

he'd go away and program all night, then reappear during the day." Those were heady days for the duo , bur, "In all

Kang, older by two years, thought his partner Na was a "young punk, but I liked his fighting style." When they

interest in. As Peter tells it, "Gene was like the mad scientist in the early days. We'd talk about what we wanted to do and

that time we never made a dime, never picked up a paying

found they both lived only a few blocks from each other in

client, never got any advertising. We did learn some good

the East Village, their game playing turned into friendship , then a hobby, and later a business venture that would even-

cheese. Meanwhile, finemagazine.com garnered prestigious

tually grow into Kioken. Today, Kioken employs 34 people: Web designers, producers and hard-core programmers, who live to push the Web to its breaking point. And yes, they

lesso ns , however," Peter says. And are a lot of macaroni and design awards, was showcased in several books and ultimately provided the credibility Peter and Gene needed when their first client came to call.

still find time to play video games.

Ironically, it was the dead medium of television that introduced them to the Internet. "I woke up one morning,''

All the young dudes carry the news The name Kang & Lee may be unknown to most Americans.

Peter says, "and there was this TV show on PBS about the

However it is a giant of Asian/ American advertising. If a

Internet and I saw the Razorfish guys-Jeffrey Dachis and

western company wants to reach an audience in Asia, it will

Craig Kannarick-talking about the Web. I thought they didn't get it. I wanted to create a more visual medium. So

likely be working in an arena dominated by Kang & Lee. In

I called Gene, and said, ' Hey, do yo u know anything about computers?"'

pro bono for a nonprofit Eliot Kang , the owner of Kang

And Gene said, "No, but there are computers where I work."

a canny strategic move, Peter and Gene created a Web site & Lee, helped found. Kang (no relation to Peter) took a

liking to Peter and Gene, and asked Kioken to design the Kang & Lee Web sire at www.kanglee.com.

Nine months of macaroni and cheese

With the credibility and clout of Kang & Lee behind them ,

Together the two decided to join forces. The work they created, www.finemagazine.com, was a labor of love. "We

some nifty uses of Flash®. While most designers think of

Kioken was on a roll. The Kang & Lee Web site includes

worked on it at night, on a borrowed computer, from mid-

Flash as an animation tool, Kioken used Flash I to build a

night to nine a.m.,'' Gene recounts. "We taught ourselves

Web sire that spoke in multiple languages to meet the needs

programming and HTML and design. We did everything

of its visitors. "Because we had no background in Web

wrong. We even bought the wrong books on how to write code for servers." At the time, Kang, who was in the process

design," Peter Kang says, "we made no assumptions about the Web and what it could do. We just did what we wanted

of earning a master's degree in painting from Hunter College,

to see happen. " Clicking on the appropriate button will

was clerking at Barnes & Noble. Na, a graduate of the

swap out text images and-for example-change Japanese

Fashion Institute of Technology, worked for Jordache doing

to Korean. This is a huge feature, iflike Kang & Lee (and

flats and mechanicals.

The two were so poor they couldn't even afford a modem. So they took their files to a local Internet cafe and pizza parlor

Right: Jennifer Lopez's official Web site that kicked off with a joint music video effort for "If You Had My Love." In the video, the Web site

to upload their files to their ISP. Their friend, John Emerson,

is featured along with other screen graphics Kioken created; the development was an important beginning to a philosophy of motion

a freelancer hired for a project at Atlantic Records, signed on as Kioken's unofficial Web guru. "He taught us the way of

132

design in the current limited format of the Web. If you look closely, the Kioken logo is the screen saver on the computer in the first scene.

Gene Na, creative director; Khai Pham, art director; Benny Medina/

the Jedi," says Peter, reverentially. "He told us what books to

Tony Lee, producers; Yuko Magoshi/Tamara Katepoo, motion graphics

buy, and by example, he taught us basic HTML."

directors; HandPrint Entertainment/Sony Music, clients.

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JENNIFER'S ROOMS

BEHINO THE SCENES

JENNIFER"S ROOMS

BEHINO THE SCENES

JENNIFER'S ROOMS

BEHINO THE SCENES

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www.motown .com

by extension, its clients), you want to work in the mixed

information architecture, along with pop culture influences

ethnicity, multinational Asian marketplace.

from movies and the videos of director Hype Williams,

To this day, Eliot Kang is affectionately known as "the

Kioken's work continues to drive the user experience away

godfather." Thanks to him, Kio ken not only had a paying

from print and toward film. "The experience of the site

client, they were given free office space. Even better, says

sho uld move like a video on MTV," Gene says. "Most of

Peter, "They paid us a ton of money to do their Web site.

our designers think like film directors. Designers have to

I think Eliot really wanted to see a couple of young Asian

understand motion now. Our big design philosophy is

dudes succeed."

getting away from the page."

Gene, who claims he has little formal design training, dis-

Asian role models meet urban hip-hop

dains what he calls pure design. "You have to be aware of

The two Asian dudes have succeeded beyond all expectation.

the culture around you; you have to be aware of what's

With access to Kang & Lee's clients, Kioken developed a rep-

available-from movies to architecture. We interviewed one

utation for "low-volume, high-quality work," according to

designer who didn't know what The Phantom Menace was!"

Peter Kang. Their work improved so quickly that it wasn't

he says, thunderstruck at the pop culture blind spot.

long before their guru Emerson, and Nikke Slight, head of new media at Atlantic Records, began recommending them to build Web sites for Atlantic recording artists, among others.

"We're not making art that lasts forever, " Peter says. "We filter the culture and take a snapshot of it. And if it lasts a year, that's great," Gene adds.

Pointing to a site done for teen pop sensation Brandy at www.foreverbrandy.com , Kang mentions an animation

134

Kill the enemy, create cool sites

of flower petals blowing across the screen. Each petal was

The game-playing culture that incubated Kioken is still taken

painstakingly created in Illustrator®. "We spend way too

seriously by Gene and Peter, who named Kioken after

much time on details like that," Peter says. "But that's what

"kikoken," a move that the Street Fighter character Chun

makes the work good." Khai Pham, the interface designer

Li does where she draws a ball of high energy in her hands to

on the site, said of the user experience, "The site should be

attack the opponent. Upon hiring, each new employee is given

like falling in love with Brandy. "

a Sega®Dreamcast, a joystick and a copy of Soul Caliber and

"We understand the level of thinking required to create the

told to return to the office "ready to compete. " If they can't,

look hip-hop people will associate with [a site]. But it still

or won't, they don't last long.

has to function, " says Gene. Combining urban design and

"It's our secret test, " Gene Na says, smiling shyly.

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Along with a Dreamcast, employees get some serious iron to work on. An SGI 320 or 340 adorns almost every desk.

"If a designer is unwilling to give up their Mac, " Peter says, "we figure they also may be unwilling to learn new things. " "We don't care what time they come in, " Peter continues.

"We don't care how long they work, we don't care what they wear. But they can't suck. They've got to be great at what they do. " Game playing in Lower Manhattan is no laughing matter at Kioken. Occupying a back corner of their nondescript office is an enormous Sony monitor. Snaking out from the back are wires that connect the Dreamcast and several game-playing consoles. As employees troop in between ten and eleven in the morning, a line begins to form at the game station.

"We play anywhere from an hour to three hours a day," says

was the Web site. "The one they had sucked, " Peter recalls.

Within days, the Kioken team was flown to Los Angeles, given production video and told to make a Web site that featured Lopez and looked as good as anything on TV "Her producer told us to make Jennifer the biggest babe on the Web. "

In nine days , Peter says, "We worked 'round the clock and we launched in time to make the video release on MTV " But not before producer Shirley Liao looked at the site midway through production, and said, "You know what? This isn't very good. " Kio ken trashed three days of effort, started from scratch and made the work better. The result: a million hits a week for a month at www.jenniferlopez.com.

The site features downloadable movies that offer snippets of the video shoot, an inside look at Jennifer's world and a behind-the-scenes glimpse of Lopez preparing for her fashion shoot and MTV video.

Josh Davis, leader of the Design Techno logy division at Kioken. The game playing makes for a solid team that shares the same values of Street Fighter and Soul Caliber: Kill or be killed , thrash the competition, fight to the death. It also builds a certain camaraderie when the team pulls all-nighters several days in a row, as it did on the recent Jennifer Lopez

The irony of young Korean and Vietnamese immigrants creating the standard for the urban hip-hop experience on the Web is not lost on Kioken, who have also completed sites for Puff Daddy, Bad Boy Entertainment and Motown.

"Yeah, we've got soul, " Peter says, laughing. •

Web site.

"The producer called us in a panic, " Gene recounts. "They were about to shoot a Jennifer Lopez video to support the song, '" If You Had My Love. "' The video was a take off on a Jennifer Lopez 'jennicam'-the idea being that you could voyeuristically watch Jennifer Lopez shake her highlyinsured booty via a portal into her world. The portal of course

This spread : Phase one of a three-part project that archives and celebrates the illustrious history of Motown as well as the present Motown .

An emphasis on functionality and clarity is present while maintaining a strong brand identity. In the near future, the site w ill hold an incred ible array of content as well as be the portal to all Motown-related ecommerce. Mike Sheppard, creative director; Gene Na, interface and functionality design; Erik Wysocan / Woo Jin Kang , designers; Peter Kang / David Ellner, executive producers; Tony Lee/Tyler Daines/ Erin Yasgar, producers; Universal Music Group, client .

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Left: Internet site for Atlantic Records artist Brandy. Taking a radical departure from the record and promotional artwork, the art direction headed for a much more personal and intimate space. Art director Khai Pham clearly wanted to turn the digital medium into a much warmer space, thus the falling petals and a peek at the desktop of any Brandy fan . The project was also done in Japanese for the overseas Asian market. Gene Na/Khai Pham , art directors; Susie Sohn, designer; Yutaro, motion graphics; Peter Kang/Tony Lee/ Kelvin Turnbull/Nikke Slight, producers; Atlantic Recording Company, client.

This page: A joint effort prototype (in conjunction with IXL) for information architecture on a fund site for Scudder.

The beginnings of Kioken's applicationstyle design can be seen here. Gene Na , designer; Khai Pham, creative director; Peter Kang/Lisa Cavender, producers; IXL/Scudder, clients.

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This page: Official Web site for Puff Daddy/BMG venture Bad Boy Records. The site is a prime example of Kioken's approach to information design where the Web destination is given a virtual operating system; current technologies now allow for advanced interface design where the Web page is basically a computer running its own programs.

Mike Sheppard, art director; Erik Wysocan, designer; Gene Na, creative director/Flash architect; Joshua Davis, design technologist; Jason Chesshir, database integration; Tony Lee/Shirley Liao/Sylvia Coto, producers; Puff Daddy/Bad Boy Entertainment, clients.

Right: Puff Daddy's phase-one entertainment portal. The site contains rich media as well as content on Puffy's other ventures. Creative director Gene Na desired a cinematic and powerful experience and like other Kioken projects enlisted the help of film directors to help with the transitional elements within the site. Robert German/Nicola Stumpo, designers; Gene Na/Khai Pham, creative directors; Tamara Katepoo, motion pictures; Yuko Magoshi, motion graphics; Peter Kang, producer; Puff Daddy, client.

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www.badboyonline.com

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From the Mind Into Matter

BY GEORGE FIFIELD

T

he computer revolution in the arts continues as

Sculptors like Michael Rees and Dan Collins no longer have

new ways to digitize, manipulate and output infor-

studios in the traditional sense of the word. They sculpt

mation are invented. Already photographers, print-

solely in CAD software on the computer. Rees, presently on

makers and video artists have journeyed from the analog

the faculty of Washington University in St. Louis, Missouri,

realm into a digital universe. Today, this same revolution is

modems his finished data files away to be printed. Though

just beginning in sculpture. New digital sculpture gives us a recapitulation of the process that began with the invention of

explains the appeal, "For me, this technology is close to my

he has no physical interaction with the final object, he

into the virtual atelier is yet another look at the path that

sculptural thought process. The objects come directly from the imagination." Dan Collins, on the faculty of the School

began with the first electronic music generated almost 50

of Art at Arizona State University, has access to an interdis-

years ago. Software for working in three dimensions has been around for many years. Only recently have 3-D scanning

ciplinary 3-D modeling and rapid prototyping facility at ASU. Artists Rona Pondick and the Starn Twins are also

(input) and 3-D printers (output) become accessible enough

investigating 3-D printing to discover how to translate

to be used by artists. With these new devices, artists can

scanned body parts into collaged sculptures.

now scan objects and bodies into the computer or create

The 3-D printers have evolved out of an industry called "rapid prototyping. " Companies like 3D Systems, Inc. of Valencia, California, and the Z Corporation of Somerville, Massachusetts, have designed desk-size machines capable of creating complex bowling ball-size sculptures from a computer file in a matter of hours. Z-Corp's printer, the Z-402, builds its

computers. Watching 3-D artists make these first baby steps

them directly with 3-D CAD/CAM software then "print" them out as objects . The digital sculptor will find that many of the same concepts, even the same tools, that other digital artists discovered in the digital realm are usable in three dimensions as well.

objects by laying down inert powdery material over a square surface and then prints the shape of that layer into the powder with a binder to the layer below. The negative space remains loose while the positive builds up, becoming solid within a cube of supporting recyclable powder. This allows complex multi-part objects to build up without support structures. The machine has low material costs, 75 cents a cubic inch, and when removed, the cellulose material can be hardened with a glue binder or invested with a wax and used to make a cast.

Three-dimensional scanners use lasers to map the exterior surface of an object or a person and generate a file. Some scanners are big enough to map an entire human in one twenty-second pass. One scanner by Cyrax will create an accurate 3-D file of an entire building. When printed, these files generate a photographic sculptural likeness. Scanned objects and body parts can be effortlessly collaged within the computer. As photography changed the meaning of painting, three-dimensional photography will change the role of the artist's hand in traditional sculpture. Realistic sculpted representation entails a sense of great effort. With 3-D printing, the issue is only one of resolution.

There are other input devices for computers that will allow the artist to directly touch the virtual object. (These inventions will probably change the literal feel-as in 'look and feel'-of the computer desktop as well, opening up new possibilities for user interface design.) A company called SensAble products in Cambridge, Massachusetts , has devel142

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oped a device they call a "haptic interface." This means true digital touch. The computer user holding this 3-D mouselike device can actually feel the shape of a virtual object that only exists in the computer. SensAble is writing software for these devices so that virtual objects can now be built up by touch. With the flip of a switch, material can be added or removed. Artists like Rees have even used two devices, one on the forefinger and one on the thumb-to reach out and pinch and sculpt virtual material, just as you would clay or wax. SensAble loaned Rees a machine to see what artists could do with their software and devices.

To the artist, the important part of all this is the digital working environment: the software. It is here, that today, the sculptors find themselves in a virtual space devoid of gravity, friction or even concepts like inside and out. Sculptors will find the computer enhancements that other digital artists take for granted. Universal changes 'undo' and 'save as' commands and filters and plug-ins will make the act of creation that takes place within the computer a radical change from creation in the real world.

New computer technologies allow us to take the tools of one digital medium and effortlessly apply them to another.

Today, sculpture, printmaking, photography and computers are all crashing together, becoming digitally intertwined.

Filters made for two-dimensional artwork can be modified for three dimensions. Michael Rees responded to people complaining that he had removed the "handedness" from his all-digital sculpture by taking a black-and-white photograph of the palm of his hand. He scanned the 2-D image into the computer and used it as a surface image, wrapping it like a skin around one of his works. Then he used a simple "displacement map" filter to give the surface the feel of his palm print. Learning that very few of the 3-D CAD software programs contain this filter, he has embarked on a successful campaign to make the software manufacturers aware of the needs of sculptors using their tools.

In a piece titled Forgetting Ourselves, Dan Collins presents three bronze heads. One is his own head which he has scanned, printed and cast in metal. Another is a similar portrait of his mother. The third represents both files morphed together. It is an imaginary portrait that blends characteristics of himself and his mother. Morphing is something computers have been able to do in two dimensions for some time. But seeing the bust of this hybrid person is especially unsettling, yet fundamental. The three busts together represent the Oedipal urge made palpable.

More and more artists are examining rapid prototyping as an artform. Last spring for the Boston Cyberarts Festival, Francine Miller and I curated the first international survey exhibition of new digital sculpture, "Mind Into Matter."

Eight sculptors participated. Each summer at the national computer graphics conference SIGGRAPH, there is a 144

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working laboratory of high-end workstations available for trying graphics software called the Studio. Last August, almost one-quarter of the workstations were set up for 3-D and were connected to 3-D scanners and rapid prototyping output. The hippest thing one could do at SIGGRAPH 99 was to walk away with a baseball-size bust of your own head.

In September in Paris, the Intersculpt '99 conference was held in the French Senate in the Palais du Luxemborg. This international conference was also held concurrently at FasTUK in the Museum of Science and Industry in Manchester, United Kingdom, the University of Cincinnati and the Contemporary Art Center of Cincinnati, Ohio, and the PRISM Lab at Arizona State University. It culminated in the rst International Digital Sculpture Competition which was won by Stewart Dickson of the United States, whose three-dimensional Zoetrope is a marvel of design.

Today, access to 3-D printers is still limited. Most digital service bureaus are set up to manufacture corporate design prototypes and charge upwards of $200 an hour. Some art schools have started buying 3-D printers and scanners. The next step that's needed is 3-D digital ateliers similar to the Iris (also known as Giclee) ateliers that have sprung up throughout the country. A small company with a Z-Corp printer, a scanner and software would provide access to the growing number of sculptors interested in crossing the digital threshold. • George Fifield can be reached at george@visionspace.org Boston Cyberarrs: www.bostoncyberarts.org Michael Rees: www.michaelrees.com Dan Collins: www.asu.edu/ cfa/ art/ people/faculty/ collins SensAble Technologies: www.sensable.com Z Corporation: www.zcorp.com Intersculpt '99: www.toile-metisse.org/intersculpt rst International Digital Sculpture Competition: www.toile-metisse.org/intersculpt/ dsc-comp/ dsccomp.htm Editor's Note: George's article is a great introduction to a mind-boggling new arena. What I find especially inspiring is the innovative spirit of the sculptors. Artists have always been known for pushing the envelope, making tools do things they were never meant to do. By working with manufacturers' new products, artists create a real win-win situation. And the benefits also extend to students, consumers and audiences who appreciate thought-provoking art.

George's suggestion ofateliers is intriguing. Wouldn't it be great to have access to a 3-D ''printer" for a project in exhibit or industrial design? Or to have a haptic interface device to experiment with new ideas for interactive design? There's an opportunity out there.

-WENDY RICHMOND

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800.922.6620 oR www.wacom.com/imagination1 ©1999 Wacom Technology Corporation. Wacom is a registered trademark and Graphire and lntuos are trademarks of Wacom Company Ltd. All rights reserved. Artwork created by Phil Howe of Seattle, WA with a lntuos 9x12 graphics tablet.

Wacom products are available at www.wacom.com, CompUSA. Microcenter and other fine retail and mail order resellers nationwide. Includes 4lllGO'eillns Painter Classic. Unbridled beast not included.

The Olympus C-2020 Z

BY KATHLEEN MAHER

I

t's undeniable. The screaming and shouting might go on a little longer, but digital cameras have come into their own and they can compete with traditional cameras for many applications. A case in point is Olympus's line of Camedia cameras, a major step forward for digital cameras in terms of design, interface and print quality. The Camedia line includes the C-2020 Zand its predecessor the C-2000 Z. These cameras are designed with an easy-to-handle point-and-shoot body, and advanced features. The highresolution capability of two-million pixels (1,600 x l,200) grants a feeling of freedom to those with a pure heart and a knowledge of Photoshop~ In other words, two-million

Figure 1

pixels give you plenty of room to screw up. This camera, at its most basic, with only the high resolution and Olympus superior optics would be a good buy.

Out of the box, the camera's feature list is as follows: • 2.1 million pixel CCD • Olympus lens 6.5-19 .5mm /2.0-/11, 8 elements in 6 groups (equivalent to a 35-105mm lens on a 35mm camera) including 2 aspherical elements • Aperture : Wide, /2 .0-f 11, Tele, /2 .8-/ 11 (Auto select) • 3x optical zoom, plus 2.5 digital zoom • 8MB SmartMedia removable memory with built-in Panorama function

Figure 2

• Video Out (with included video out cable, pictures can be viewed on TV)

• Slow Shutter Syncron ization (for example, the flash can be set to go off half through the shot for nighttime effects)

• 1.8 inch (4.5cm) LCD screen remote control

• Macro Mode

Oddly, Olympus doesn't ship these cameras with a power cord or PC card adapter. When you're dealing with resolutions of two-million pixels you're talking about a considerable investment in time when it comes to transferring pictures.

Without a power cord, you'll use up batteries just sending

• Manual Focus (infinity or 8 ft.)

pictures over the serial interface. You'll need the power cord. If your computer has a PC card slot, spring for the adapter, or for Olympus's FlashPath®floppy disk adapter.

Olympus also makes an optional USB Reader/Writer. Also, you'll find you can use up 8MB of memory pretty fast shooting at full l,200 x l,600 resolution. Many photographers will find they want larger memory. Olympus SmartMedia®includes the Panorama firmware on the memory card, so if you buy other memory, you won't have access to the Panorama feature.

The camera can be set for automatic function as well as aperture priority and shutter priority. In addition, there are a number of other functions normally associated with more expensive traditional cameras: • Spot Meterin g • Exposure Compensation • Flash Mode (auto, redeye, fill, or off) 146

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• Sequence Mode (can take 45 pictures at 2 frames per second at 640 x 480) • Ouic kTime movie mode (C-2020 Z only) • Panorama Mode (guides appear on LCD screen to help lin e up multiple shots in sequence; can be set for horizontal or vertical) • White balance (in addition to auto, the camera can be set for daylight, overcast, tungsten or flourescent light.)

• Adjustable ISO (100, 200 or 400) • 24-bit color, black-and-white mode, sepia tone (only the C-2020 Z features B&W and sepia) • Adjustable file size (640 x 480, 1,024 x 768, 1,200 x 600) and compression (JPEG or TIFF, no compression)

It's an impressive list, but getting [CONTINUED ON PAGE 150] These two pictures of a plastic flamingo in the wild were shot at the same time with the Olympus C-2000Z (fig.1) and a Canon EOS Elan II (fig . 2) . Obviously there are too many variables involved, including printing processes, for a point-to-point comparison . The purpose of these shots is twofold: to illustrate the color differences that occur between traditional silver halide films and digital sensors, and also to highlight the significant amount of detail and sharpness of shots taken by the Olympus camera. Color differences are a reality between digital cameras and silver halide, but we found the Olympus's output to be consistent, true and very acceptable.

Words can have it.

Images can have it.

Dots on paper can have it.

Paper can have it.

Take it where you find it.

Because that's where the magic is in this thing we all do for a living.

Beckett. Spec It. This is Beckett Expression Super Smooth, Iceberg, 65 pound cover (176 g/m 2

).

Tektronix /

COLOR PRINTERS BY

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Introducing a color printer so fast, it's probably illegal.

The new Phaser"' 850 solid ink color printer

Hang on. You're moving fast, from the very first page you print. In fact, with full-page color print speeds up to 14 ppm, the Tektronix" Phaser 850 solid ink color printer gives you quick, complete control of all your proofs and comps. And with 1200 dpi resolution, TekColor'' dynamic correction, ColorSync, and other built-in color management tools, you can easily match the output of a specific press, paper, or ink. Go. Call 1-877-362-6567 ext. 1672 or cruise over to www.tektronix.com/fast1672, and get ready to outrun everyone.

there is half the fun. All cameras have the same problem to varying degrees, and that is the difficulty of getting off fast shots and, at the same time, being able to access different settings. It's hard enough to learn how to use a traditional camera, but at least many of the dials and switches are obvious and labeled. Thanks to the miracle of computer technology, digital cameras have the advantage of being able to offer even more features digitally, but they're stored digitally in submenus. It takes a real puzzlemaster to find some features. For example, the C-2000 Z and C-2020 Z cameras have a menu function and a setup function. Some adjustments, such as capture resolution (640 x 480, 1,024 x 1,280, soft or normal focus, compression, etc.), are made using the setup menu. Others, such as spot metering, flash mode, panorama mode and sequence mode are available in program mode using the LCD screen and the menu button. You will find yourself wondering who thought up this system. A nice feature is the ability to make some changes using the display panel on the top of the camera in order to save battery

sepia modes, an auto exposure bracketing (AEB) feature and a wider LCD screen. The AEB feature gives the photographer an array of exposures so the best choice for the shot can be chosen.

A common problem with digital still cameras is color accuracy. The Olympus produces pictures that are well balanced in color. We were very pleased with our shots right off the bat. There was no orange tint like we've seen in other cameras, and the colors were basically true. However, we did take comparison shots with a Canon 35mm traditional camera and the C-2000 Z. We saw a marked difference. The Canon camera produced a picture that was much richer in color.

We used an Epson Photo 700, 4-color printer with glossy paper to make prints from the camera. It yielded prints with good color quality and detail comparable to prints made from silver halide-based film. No pixels are visible to the unaided eye. Even 8 x II prints are more than passable.

life. Unfortunately, much battery life will be used learning where to find the features and for most mortals, familiarity with all these features won't come quickly.

Olympus makes its own P-300 printer as a companion to this camera, allowing prints to be made directly from the camera.

The best features of these cameras are the ones you have to

Still, the best features of a digital camera are those you just can't get with a traditional camera. The ability to create

work a little bit for like the Panorama feature, the aperture setting adjustment, multiple shot feature and the adjustable white balance. Now you're dealing with a camera that can make you leave the trusty 35mm at home-at least sometimes.

Also, it's impossible to underestimate the advantages conferred by the LCD screen. It dramatically accelerates the learning process. In most cases, you can see the effects of settings on the screen and of course you can always get immediate feedback by looking at the captured shot on the screen. As a result, the Camedia could well make you a better photographer. It's very gratifying to adjust the aperture setting and shutter speed and immediately see whether it was a good idea or not. Also, it's just a lot more fun to experiment when it's easy to erase a mistake in judgment

digital pictures and get them directly into the computer can't be beat for Web applications, and projects requiring very fast work. We love the Panorama feature that lets users create very wide landscape shots or tall skyscraper shots.

QuickStitch™by Enroute Imaging is included with the Camedia camera and it can easily stitch several photos taken with the panorama feature. Other programs that can be used for this include Live Picture®by MGI which can create 360° panoramas with perspective distortion to produce a 3-D effect, and Photoshop's layer capability.

The Camedia is an important step in the digital camera revolution. It's going to find its way into the bags of professionals, photography enthusiasts and consumers alike. •

(would that life were so simple).

Olympus America Inc.

In short, these Olympus cameras combine the best features of point-and-shoot cameras. They're small, handy and very easy to use taking snapshots in average conditions. Olympus's claim to fame is that they make their own lenses and they're designed especially for digital still cameras. (Olympus makes lenses for other digital still camera manufacturers as well, but they wouldn't tell us who these companies are.) Some companies adapt lenses designed for video cameras and they're simply not as good for still shots; they were never intended to capture detail. Now, with the C-2020 Z, Olympus has added the ability to rake QuickTime™movies suitable for upload-

Two Corporate Center Drive Melville, New York 11747 (631) 844-5000 w ww.olympu s. co m

ing to the Internet. The camera can take 15 frames per second (fps) at 320 x 240 pixels and 60 fps at 160 x 120 pixels.

Basically, the major differences between the two cameras are 150

that the C-2020 Z has added improvements to the user interface, the QuickTime movie feature, black-and-white and

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System requirements: Macintosh 601 PowerPC or later, MacOS 7.x or later with OuickTime 3.0 , CD-ROM drive , 32MB RAM or greater, 75MB minimum ava ilable hard drive space , Macint osh serial port (modem or printer port), monitor w ith thousands of colors (millions of colors recommended); Windows 95, Windows 98 or Windows NT 4.0, CD-ROM drive, 32MB RAM or greater, 75MB minimum available hard drive space, standard RS-232 interface (D-SUB 9-pin connector) , monitor with thousands of colors (millions of colors recommended). Suggested reta il: Camedia C-2000 Z, $799; Camedia C-2020 Z, $899 . There are a number of accessories ava ilable including : M -BPE BM B SmartMedia , $39 .95; M-16PU SmartMed ia, $123 .95 ; M-32PU SmartMedia, $139.95; and MA-2E PC card adapter (32MB and lower), $149 .95 .

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Deep Paint

BY K ATHL EEN MAHER

D

eep Paint' is an apt name for this paint program that is long on features.

Developed in New Zealand by Right

Hemisphere, Deep Paint works as a Photoshop®

plug-in or as a standalone product and it emulates the look, and even feel, of paint. That's because it has 3-D roots. Mark Thomas, president of Right Hemisphere, calls his program 2-D or "3-D with one D tied around its back." The program works with a digitizing tablet to give users the ability to pile on paint, mush colors,

One of Deep Paint's most valuable features is its ability to work with a pressure

gouge into the paint or achieve palette knife

sensitive tablet to "clone up" images from a layer using a variety of effects .

effects. The program's custom renderer actually renders three channels at once: color, bump and shine.

Simple lighting controls can change the way the paint picks up light. It's almost impossible to overstate the creative dimension Deep Paint adds to computer graphics.

The product is related to an earlier product developed by Right Hemisphere called 4D Paint, one of the first 3-D

paint programs designed for digital content creators such as animators, special effects artists and 3-D modelers. Developed originally as a 3D Studio plug-in, 4D Paint gives users the ability to paint a 3-D object as if they were holding it in their hand and turning it. Deep Paint was developed as a Photoshop® plug-in at the encouragement, and with the

Download Call for Entry Forms at: www.commarts.com Lommuni~ation Art~

Lommuni~ation Art~

-~- - ~

152

Illustration Annual41 Deadline: March 15, 2000

Photography Annual41 Deadline: March 15, 2000

Design Annual41 Deadline: June 15, 2000

Advertising Annual 41 Deadline: June 15, 2000

Drawing, painting, collage, electronic, three dimensional and any fo rm of media art is eligible for this annual.

Winning entries appear in the July 2000 Illustration Annual.

Photography for advertising, design, editorial or any other area of visua l communication will be chosen on the basis of creative excellence. Winning entries appear in the August 2000 Photography Annual.

Posters. brochures, packaging, trademarks, corporate identity, annual reports, catalogs, letterheads and environmental graphics. Winning entries will appear in the November 2000 Design Annual .

Consumer and institutional print ads, posters, television and radio commercials .

Winning entries will appear in the December 2000 Advertising Annual.

M A R

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~ammuni~atian Art~

You

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UP AND SEND IT TO ADMINE.COM. WE'RE THE INTERNET MARKETPLACE FOR ALL YOUR DEFUNCT DARLINGS. THE AWARD-CALIBER SPEC NIXED BY YOUR EX-CLIENT'S EX. THE PROVEN

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aid, of Adobe, when company representatives saw 4D Paint at work at SIGGRAPH a couple of years ago . In the mean-

simply duplicating the old by adding a filter. Also, by adjusting the size of the brush and the strength of the effect, it's

time, the newest version of 4D Paint for 3-D artists has

possible to add more detail on one area, less in another, etc.

been renamed as Deep Paint 3D. The company is also

The program takes full advantage of a digitizing tablet and

hard at work on a Macintosh version, which is imminent.

the brushes and tools have several unique controls in addi-

Representatives at the company's U.S. headquarters in

tion to size. Most have pressure sensitivity built in. The

Bellingham, Washington, cold us, "We are committed to

result is a huge palette of available tools and effects. Also,

the Macintosh platform. "

after adjusting and changing the parameters of a tool, the

Although the 3-D paint effects are Deep Paint's claim to fame, there is real value in its incredible depth of tools and effects, especially its cloning tools and the image processing tools.

Unlike many programs, Deep Paint allows users to work interactively with parts of the piece rather than always with the whole. If you want to lighten, or sharpen, one particular part of a photograph for instance, you can just "paint" over that section for the effect you want. This is just an absolutely thrilling feature and, for many, it's enough to

settings can be saved as a new tool and added to the com-

justify buying the program.

mand panel. As of this writing, Right Hemisphere has recently extended Deep Paint's Phocoshop compatibility.

With the addition of a downloadable patch, the program has more back-and-forth compatibility with Photoshop-as a result files can be transferred back to Phocoshop with layers intact for further processing.

The first test of a software application is always how well does it work for the stubborn user who refuses to read the manual. The tool palette is a simplified model of the Photoshop

Deep Paint's "artistic cloning" tools are among its most

tool palette with similar icons. It's easy to recognize some

valuable and unique features. The name might be a little

elements that come to the program as a result of its 3D Studio

misleading for those who are accustomed to using cloning tools in other image processing programs. Using those tools,

roots. Because there are so many cools and options available,

it's possible to "paint" out elements of a photo by picking

bar. Instead, layers and brushes, for example, are accessed

up pixels from the surrounding area and copying over areas

from the <lockable side menus and it takes some poking

to be changed. Instead, Deep Paint uses layers and lets

around to find them. There's no real problem in this , all

users pull up image information from the underlying layer to create new art. Furthermore, as the image is "cloned up"

graphics software requires and deserves some time invested

through layers, various filters and effects can be applied

simple, informative (and better yet, short) manual. Deep

and different levels of detail can be achieved.

not all menu selections are accessible from the top menu

in learning the system, and Deep Paint comes with a very Paint is easy to learn, and anyone who doesn't go through

For a better understanding of how this tool works, here's a

the entire program to find all its capabilities and wonderful

step-by-step description of the process performed using a

surprises will be cheating themselves. •

Wacom®digitizing tablet.

Deep Paint I. Open a photograph.

2. Add a layer.

3. Make the base layer, the photograph, semitransparent for an onionskin effect.

4. Choose the top layer and select a brush, or a special cloning tool. (It was really fun to play with the airbrush cool for this.)

5. Now, by sweeping the airbrush across the canvas it's possible to paint the photograph onto the top layer.

Using the airbrush gave a soft, dreamy look for the image.

However, any effect can be used, such as an oil paint, pastel or pencil. The ability to select specific areas gives the artist considerably more freedom to create a new piece without 154

M A R c H

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Right Hemisphere USA 215 West Holly, Suite H-22 Bellingham, Washington 98225 (360) 738-7940 (360) 738-2091 fax www.righthemisphere.com System requirements : Microsoft Windows 95, Windows 98 or Windows NT 4.0 or later; a minimum resolution of 800 x 600 pixels; a graphics card capable of displaying 16-bit color; 64MB of RAM or better; Pentium 200MMX processor or better; a CD-ROM drive for installation. Strongly recommended: A Wacom lntuos or similar pressure-sensitive tablet; a graphics card capable of displaying 24-bit color; Pentium II 266 processor or better; 128MB of RAM or better; Windows 98 or NT 4.0 Service Pack 3 or later.

Suggested retail : $239.

email: beth@adschool.edu

programs: art direction copywriting graphic design

tel: 612-339-4089

Books

and talking-head video interviews with designers from

The Srock Markee Photo

Great Web Architecture

Web for a firsthand experience.

Entropy 8, razorfish, Zoecom

Agency now has a complete e-

By Clay Andres 256 pages; paperback; $40 Published by IDG Books Worldwide 919 E. Hillsdale Boulevard, Suite 400 Foster City, California 94404 (650) 653-7000

A companion Web site is avail-

and others.

commerce solution for graphics

able at http://www.idgbooks. com/ extras/webarch.html -SAM McMILLAN

What is sorely missing from both the book and the CD-ROM is a listing of the URLs of each profiled site. That lack makes it

Author Clay Andres takes a close look at Web sites in Great Web

Web Art

harder to find them on the Web.

Architecture, examining dozens

A good bar owner would never

who points out windows, floors,

By Spencer Orate, Tom Olejar, Sean Mosher-Smith and Jutka Salavetz 144 pages; paperback ; $39.99 includes CD-ROM Published by Madison Square Press 10 E. 23rd Street New York, New York 10010 (212) 505-0950

doors, roofs, fa<;:ades and entry

In the brief introduction to

ways of every passing building

Web Art, a profile of the work

in an attempt to explain con-

from more than two dozen indi-

struction techniques. Eventually,

vid uals and interactive agencies,

of si tes in an attempt to see what makes them tick. It is a process somewhat like driving through a city with an architect

156

Stock photography

the book, find the sites that are of interest and jump onto the

you'd like to see a blue print,

the authors deliver some great

maybe look over a fence to

advice, if you want to be a Web

watch a foundation being

designer: Go watch TV. This is

poured, or stick around long

rapidly followed by the exhor-

enough to watch the steelwork-

tation to think about interac-

ers bolt together girders.

tion the same way an architect

That kind of attention to pro-

would (to create a sense of

cess is missing from Great Web

place); think like a TV pro-

Architecture. And it is madden-

ducer (to keep them interested

be so thoughtless. Even the publisher of a phone book would have gotten this one right.

pros who need to search, purchase and download stock photography in a hurry. Photographs can be priced "in real time" based on usage options that are selected via a series of pull-down menus . The seamless transaction can be completed online at www.stockmarket photo.com

Resources

Cleared for usage. The new

Web site

Web site from FPG enables art

Quit your job, become a guru.

Guru.com, a new Web site has just launched. The site offers a free "gig matching" service for freelance designers, information architects, production managers

directors to search for tens of thousands of rights-protected images from the FPG stock photo archive. Customers can search, license and download rights-protected and royalty-free images within a single shopping

and account executives. In addi-

cart. Usage rights can be con-

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firmed online in real time and

which filters a database of free-

cleared at the time of purchase

lancers and job skills to match

at www.fpg.com

them with prospective employ-

ing. While the book is filled

before they change the channel);

with full-co lor illustrations of

think like the publisher of a

ers, the site includes career

phone book (to organize infor-

advice on marketing, presenting

Objects of desire. Corbis

Web sites, there is not a single

mation so people can find what

to and collecting from clients.

Images has just released Objects

flow chart or navigation map to

they need quickly); and finally,

For more information, check

Collection r, a stock photogra-

be found . Most of the copy is given over to detailed descrip-

think like the owner of a bar

out www.guru.com

tions of the screengrabs. For

(to host a place where people

example, Andres points out that

are encouraged to converse).

the background of Kenneth

Not bad advice at all.

Cole's Reaction Web site is

This collection of award-win-

orange. Well, yes, we can see that . This goes on and on,

ning Web site designers rounds

page after page, site after site

than two dozen firms. The work

up cutting-edge work from more

phy resource book and comping disc of royalty-free Objects

Online portfolio Get your portfolio ready. A cross-platform, interactive multimedia portfolio is only a few clicks away, thanks to a new product called "The Virtual

Collection CD cides-1,600 images from 16 CD rides in the Objects Collection are featured.

Each CD tide, ranging from themes such as Holiday Objects, In The Office, In Your Face, Media, Symbols and Medical

until, to paraphrase James

should speak for itself and for

Image, Your Creative Edge."

Thurber, Andres gets the Web

the most part it does . A para-

Now individuals can create

site down on the ground and

graph of generic brochure-speak

their portfolios online, then

breaks its hips.

introduces the design firm, then

distribute them via CD-ROM.

If there is value to be found

gets out of the way. Each of the

Job seekers can enter informa-

here, it is in the almost encyclo-

28 firms showcases three or four

tion into standard Web-forms,

pedic scope of the illustrations .

separate projects. The enclosed

upload their work samples and

As Yogi Berra said, "You can

CD-ROM includes a case study of

select a ready-made user inter-

Virtual print management

Objects comes with 100 drumscanned, royalty-free images, as well as handmade clipping paths . For more information, visit www.corbisimages.com

observe a lot just by looking."

Kioken's Jennifer Lopez Web

face. For more information,

Collabria's new PrintCommerce

And there is a lot to look at

site, a screengrab gallery of a

visit the Web site at www.

webDockec is a new project

here. My advice is to browse

number of featured Web sites,

yourdigitaledge.com

(CONTINUED ON PAGE 160]

M A R C H

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A single virtual job docker enables a production team to

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Graphic design forum

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and back again. PrintPlanet now hosts nine e-comm uniries for professionals in the graphic design industry. PrinrPlanet bills itself as the premier discussion Web sire for the graphics com-

its brief 72 pages. T he concise tips and list format makes it easy to find ideas and information fast. For more information, visit www.winwinweb.com/ book.html

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M A R

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Burning the God of Gloom

BY MATTHEW PORTER

I

llustrators are by nature a solitary species. Most live

occasional company of a cat or dog. So why did 550 of them (with nearly every big name in the business) leave

managing editor Anne Telford) cannot be overestimatedthey each had $II,ooo of their own money on the line to guarantee the hotel reservation. Personal money. Their kid's college tuition. Mortgage payments. Now that's blessed faith.

their splendid isolation-to travel to Santa Fe, New

Meanwhile, two organizations most associated with illustra-

Mexico, last October? Long a haven for New Age gurus,

tors' interests were notably absent: the Society of Illustrators and the Graphic Artists Guild. The reason behind this was never made clear, although the fact that there had been some behind-closed-doors bloodletting became apparent when Paul Basista, executive director of the Graphic Artists Guild, publicly apologized to the grass roots organizers in the closing minutes of the conference. But with technology and market forces squeezing illustrators so badly, how come the SI and GAG could never get everyone together before? Club rivalry?

Politics? Regional jealousies?

and work in isolation-toiling in their studios in the

artists and therapists, illustrators knew that even if the conference turned into a dud, they'd at least enjoy the town's great food, competitively-priced massages and seductive natural light.

But something more than location drove them there. Maybe it was Darwin's survival instinct. Under rich blue autumn skies, among the deep shadows of the adobe, illustrators came, uncertain what to expect or how many they'd be.

They came to be heard. To assert their rights as artists. To organize against the assault on their profession by stock houses, digital pirates and other "art thugs." They came

Never mind. "This [was] not a conference," as Jo Ann Miller, conference committee co-chair and president of the

alone. They came in pairs. And they came.

board of The Illustration Conference, Inc., stated

And they came. And they came.

in the opening moments. "This [was] a call to

Welcoming the gathering jammed inside the Eldorado Hotel ballroom, Santa Fe resident

action. " In fact, it was the End of Isolation for

(and occasional tourist prop) Joel Nakamura shared local lore from his adopted town. He first reminded everyone that Santa Fe means bles-

North American Illustrators (and a handful from Europe). It was their first opportunity to

THE ILLUSTRATION CONFERENCE IN SANTA FE 1999

sed faith in Spanish-something early 17th century residents needed to survive the isolation and harsh conditions of that high desert region. He then spoke of the town's surviving Spanish and Native American traditions, like the Zozobra, the God of Gloom, whose 65foot tall effigy residents burn each autumn to ward off winter's grimness.

162

collectively voice concerns and strategize ways to protect their rights and work value. It was the first time they had gathered in such numbers to bond and

kvetch. And they loved every minute.

For two days, speaker after speaker sounded the clarion of action. Sometimes the militancy assumed an almost surreal quality, as if one might expect to look up and see Norma Rae standing on top of a southwestern skin chair, fist raised, lips locked in resolve. Brad Holland, the blue suited, goateed

Nakamura's words proved prophetic. If restoring faith and

Trotsky of illustration, took every opportunity to thunder on

exorcising gloom were goals of this congress, the 1999 Illustration Conference in Santa Fe was a tremendous

about the perils of bad agents, the vulgarity of stock contracts, the exploitative terms and conditions imposed on the young

success. Those who came left with a renewed sense of faith

and the hard-up. "When you have been disorganized for mo

in their craft. They left having confronted the demons that

years, you become victims of art thugs," said Holland. "Ir's

threaten their trade.

time to organize and stand up to such monsters. "

The fact that this conference occurred at all was a miracle

Jim McMullan's after-hours session was the highlight of the

to many-a conference of illustrators seemed as likely as a

conference for many. With wit and wisdom he reminded col-

"nation of gypsies." But it sold out. They ran out of goody bags. People had to share programs. The relief this gave the

leagues just how valuable and joyous the profession of illustration could be. He objected to the very notion of stock,

eight founding organizers (illustrators Brad Holland, C.F.

which he felt diminished the artist and the trade. "How can

Payne, David Lesh, Joel Nakamura; artists' reps Kolea Baker,

we call ourselves insightful when we provide solutions

Kristen Dawson, American Showcase West Coast and Mid-

before we even know the problem?" he asked. "We need to

west representative Jo Ann Miller; and Communication Arts's

be the ones defining the challenge and the solution!"

M A R c H

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Pentagram partner Kit Hinrichs, who journeyed to Santa

there to discuss technology, stock and the relevance of

Fe, and Milton Glaser-who appeared Wizard o/Oz-like on a big screen video-were the only nationally-recognized

agents to our future. There were few stars, mostly peers with

graphic designers to attend the conference. The avuncular

egos in check. In fact, except for a little ribbon, you couldn't tell who was an invited speaker and who wasn't. I found

Glaser was accompanied by his illustrated Bob Dylan, who

that delightful. "

looked on approvingly while Glaser delivered insightful

Not every discussion was about stock and fair contracts. Jon

commentary: "You need to rethink the way you present

Conrad, Gary Baseman, Joel Nakamura and Luba Lukova

yourself. You need to remember that you are in the business of ideas, not rendering pictures; that you are a person with

all raised the inspire-a-meter with a great session titled

a valuable editorial sense, not just some service provider. "

Scott Hull.

Right on, Milton.

"Creating New Markets for Yourself," moderated by rep

Hinrichs told illustrators to take control of their work by

Using a camera and paint brush, Conrad proved how someone other than Brad Holland could make a decent living

taking ownership of it. "You have no power if you cannot dictate the value of your work," he advised. "And to do

selling illustration in Hollywood. Baseman romped around

that, you must not sell it beneath the value that it has to

the stage like a kid off Ritalin™, telling bad jokes and selfdenigrating anecdotes like a five-minute comic at the Improv.

you. This means you must be willing to walk away when the client refuses to pay what you think it's worth."

His ten-minute pilot for Nickelodeon, "Lo uie & Louie," an

One of the conference's most interesting presentations was Bruce Lehman and his discussion on copyrights and col-

cannot seem to win the affection of their owners, had every-

lective bargaining. A copyright specialist, Lehman served

into his unique and dreamy world of dragonflies , pueblo

irreverent saga about a hamster and a chameleon who one rolling in the aisles. Then Nakamura took the audience

the Clinton Administration for six years as the primary U.S.

gods, barking dogs and businessmen with anvil-shaped heads,

representative for intellectual property rights protection.

He is now president of the not-for-profit International Intellectual Property Institute in Washington, DC. Clear

work so spiritual and beautiful that it blurs the distinction

and succinct, he helped explain the rules and regulations that govern independent contractors (like illustrators) and why this status precludes unions or collective bargaining.

But Lehman also discussed precedents in the motion picture and music recording industries that might serve as models illustrators can use to build licensing agreements that protect rights and usage.

between illustration and fine art.

But Luba Lukova, who grew up in communist Bulgaria before coming to the U.S. eight years ago, stole the show.

With her crisp idealism and cutting disdain for excuses, she choked off the last breath of the gloomy Zozobra with words as clear and powerful as the images she creates: "We live in a culture dominated by technology and business. So it should come as no surprise that many look at the wars like those in Bosnia as though they were a Hollywood movie, with no

Interest in Lehman was keen, so audience questions cut

relationship to our lives. We have no Picasso to interpret

into an added lunch-hour session for artists' reps. As illustrators learned how the Internet makes licensing rights (and

our wars. I believe we have an obligation to use our talent

lawyers) more relevant to their lives, an abrasive rep stood up and blasted Lehman for taking time away from important rep talk illustrators needed to hear. Talk about mis-

myself an artist. Because artists have the power to communicate across the barriers of language and experience."

sing the irony! The increasingly irrelevant role of the traditional rep in a digital world was not what illustrators needed to hear. Rather, licensing, Internet and the law was.

Lehman retreated. The reps sawed on for their hour to a

to witness the world around us. So I am not ashamed to call

Her words were met with a standing ovation-as though the audience was not only applauding the clear words of this strong woman, but as though they were applauding each other. Applauding their own courage to climb a mountain to Santa Fe and end their isolation. To seize

half-filled house.

control of their profession, their work and their lives.

Dugald Stermer, a veteran of many long-winded meetings,

164

noted the difference between this conference and the many

Encore, encore. •

he had participated in in the past. "The fact that no single

Editor's Note:

guild or club sponsored this conference was important,"

To read a selection ofpersonal attendee reports from The Illustra-

he claimed. "Unlike other conferences that often convene

tion Conference, please check out www.theispot.com; click on Art

without purpose, we had a reason to be there. We were

Talk, select Conferences; then Illustration Conference Follow-Up.

M A R c H

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Selling Web Site Design

BY DoN SPARKMAN The fallowing column is excerpted from Selling Graphic Design,

tary trades that will send customers to your clients' page.

Second Edition by Don Sparkman, published by Allworth Press

What turns off pro-surfers (those surfing for commerce, not

(256 pages, paperbound, list price $I9.95). Order online at www. allworth.com

fun)? There are some taboos chat will never go away. Follow these don'ts .

T

o sell Web page design, you must be selling design,

r. Don't create a slow to load, but beautiful page. As with a

not technology, not programming, and especially

print ad, people don't want to spend too much time reading.

not pretty pictures. If you represent a company that

specializes in design, this chapter will help yo u understand

why "design" is the key word, not publication, annual report, corporate identity or not advertising design.

The Internet is changing even as I write this chapter. This means you have to be aware of what is new, what works, what doesn't work, and what has been discarded. The Internet is a simple concept chat appears to be a miracle cure for all communications. This couldn't be further from the truth. It is a jungle and it can be a bottomless money-pit .

the level of your client's sophistication.

3. Don't overuse animation. It may look like a neat gimmick, but in many cases chat's all it is.

4. Don't just create a colorful Yellow Pages ad. At the present time, the Web is not a big phone book. There already is a phone book and it's easier to use. This does not apply to including your client on a Web Yellow Page site provided by the phone company.

Your success will come from guiding your client through

5. Don't shotgun. If your clients have only one location in

chis jungle.

a rural area, there is no reason for them to have an expen-

First you or your company needs a Web page. It needs to be

sive global presence.

your show piece until you've added clients to your portfolio.

6 . Don't serve up a vanity page. Just because your client

You must understand basic marketing and this may take some

wants one doesn't mean it is the best exposure for the money.

night courses. We have already stressed that a Web page has to

Some other designer will come up with a way to send out

be more than pretty images advertising your client's wares.

an effective message, and your client will be theirs. And

This alone could put you ahead of your competition.

don't forget, you probably are doing other graphics for this

Let's set our priorities as to what a Web page needs to

account, which you could lose as well.

achieve. The goals are pretty simple. If one is to spend

7. Don't offer a proposal to design a page if you are not sure

money on marketing, one wants to know what return to

of all of the technical support you will need. Shooting from

expect. However, it is going to be tough to be precise

the hip can be very dangerous to all involved.

because the Internet is still in its infancy. Your client may

There are many more don'ts and I know they will multiply

have knowledge chat would be of public interest in which

as this industry grows. One important thing to remember is:

case a page chat functioned as a civic information service

your client's Web page will be easier for your competition to

might be in order. The company who has the page is a

access than, say, a corporate brochure. Don't be surprised

sponsor of good news and always a winner in good taste.

when some competitor redesigns part of your client's page

What if there is nothing tangible to sell? If your client has

(with just enough style to titillate) and you have to respond.

no product except a service such as law, accounting, or even

An Interview With a Leader On the Leading Edge

plumbing, you might design the home page as a historical perspective on the profession. This can prove educational; give them an image of a champion of their field.

170

2. Don't talk down to your reader. Each page should reflect

The following is an interview with John Waters, president of Waters Design Associates in New York. John is an award

What if there is a product line but budget won't allow for

winning designer, and he has always been on the cutting

all of the products to be shown or listed? You can design an

edge of computer-generated design. He started with a

elaborate opening page with teasers. Display the hottest

Lightspeed design system in the early So 's, and he has made

items or the best values, and make the page revolve around

his mark in producing award winning annual reports and

these items.

corporate graphics for Fortune 500 companies.

What can be done on a bare-bones budget? Something very

Several years ago John entered the infant design field of the

creative and well designed doesn't have to come with a big

Worldwide Web. His firm has since quadrupled in size, he

price tag. Establish links to and from sites in complimen-

has moved to new and larger office space, and he has become

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a leading force in Web site design. The following interview was conducted by phone and gives us some insight into John's perceptions of where all this is going.

Sparkman: What is different between selling Web site

design and graphic design?

Waters: The big difference is technology. As a graphic

designer, you need to know how to produce what you design. The more you know, the more valuable you are to your client and the more money you make. This holds true whether you are working in print or on the Internet.

Sparkman: In general, describe the Internet marketplace for designers .

Waters: There are two basic levels. First, there is the small

stand-alone site, which may be no more than 20 to 40 pages. This is basically an information site. This type of low-level site can be designed with some off-the-shelf tools.

Popular software like Adobe PageMill, NetObjects Fusion, or Microsoft FrontPage are available for this level of site design. This might be compared to doing some small print projects like newsletters.

The other level is the large Web site that may have hundreds and hundreds of pages. It may have its own search engine, connect to a database, or connect to other corporate sites. It may connect by intranets or Legacy Systems. It may have templates or dynamically generated pages. For that you need a different set of tools and a lot more knowledge about the Web. Our basic programming tool is BB Edit.

With the larger sites, you need to use a mix of different languages. CGI, Java, JavaScript, PearlScript, and C++ are just a few.

Sparkman: What kind of capital investment is needed for

gearing up for Web site design?

Waters: Here again there are two ways to look at this. On

the low end, the cost to access the Web is minimal. The basic software programs are in the $500 range so you could be up and running for less than $5,000. On the other hand, if you are going to design large sites, you can spend a lot of money. The biggest cost is programming talent. You need people who can do things in HTML. This type of person in New York charges around $50 per hour. With advanced languages like CGI, PearlScript, and Java, you may pay $100-150 per hour. For software development you can pay $200-300 per hour.

We work with other groups as alliances so we can offer complete packages of services, but we must know enough to communicate with these partners. This is much like a 172

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traditional design firm's production manager who coordi-

communicate for our clients. We bring strategic communi-

nates the complete production of a project.

cations thinking to the table , not just technology.

Another investment is the cost of additional equipment.

You have to beta test on different platforms with different

We are also using the Internet to show both Web sire development and print layouts. We set up a "workroom" where

browsers. You need to see your work on a PC, or a Unix

clients can come and see the layo uts. With a conference call

with Internet Explorer 3 and 4, or Netscape 3 .4 and 4.0.

we can talk and respond interactively as if we were in the

Bera testing is rime consuming and expensive, bur you need

same conference room in the same office. We can make

to thoroughly test a site before it goes public.

changes or revisions on the fly.

We set up what we call a "sandbox" which is a site that

Last year we developed a monthly newsletter for a major tele-

people can access with a password bur it is not open to the

communications company. After the initial concept layouts

public. We test it here and we have other people test it

were approved, we went on line and showed finished

outside. The site will be accessed on other platforms to see

pages in a workroom, and then sent the okayed files to

how it holds up. We may have to develop different files to

the printer, electronically.

be read off of a Mac or PC.

Sparkman : Are there any pricing guidelines for Web site

Sparkman: What do you handle within your studio and

design?

what do you send out?

Waters : It's all over the place. Several years ago we looked

Waters: We have designers, producers, programmers and

at a site of forty to fifty pages with the same pricing for-

technicians working in the studio. Bera site resting is often

mula as an annual report. At the rime, an annual report was

an outside function. Bur with the exception of heavy engi-

$1,000 a page. Bur there are sites that are five hundred to a

neering requirements, most of our work is performed in

thousand pages and we can't charge by that page rate.

the studio.

The way we estimate is like we always have-by the hour.

Sparkman: Can a design studio handle both print and

We have established rates for different functions , i.e., design-

Web design effectively under the same roof?

ers, producers, programmers, etc. Each rate is based on salary

Waters: Yes. Bur it does, for the most part, rake different

cost rimes a multiple which includes overhead and profit.

people for each. I do have some print designers who can

Sparkman : Do you see the Internet replacing print?

also design Web sires. For the most part, they tend to be

Waters: No, not entirely. There will be catalogs that may

stronger in one or the other.

go on line without a printed companion piece. With the

Last year we were sixty-five percent new media. Some was CD

expense of printing a catalog, it makes economical sense to

but the majority was Web work. We're trying to keep a bal-

put it on a Web sire and update it as necessary. Portability

ance-I don't want to lose print. And we are finding that with

will be the key to how far the Internet will go in replacing

the development of Web sires, there is often a need for printed

other media. If someone can access the Web from a remote

materials. Direct mail is used to drive the public to a site.

sire, with a portable hand-held independent unit, you may

Sparkman: Have you found that your print clients were

see a lot of print dissappear. Ir is hard to predict what technology will bring us tomorrow.

ready for you to take them onto the Web as a natural This concluded our interview. Ir is obvious that design is here to stay, whether it be print or Web site development.

evolution?

Waters: Actually no. Some clients have said "We know

you do Web work, but that's not the same as someone who

Selling design will remain a multifaceted job requiring skills from various disciplines.

does Web work exclusively." They want to know they are talking to an engineer who can talk technically. For the most part we've done quite well but every so often there will be a client who wants a pure technology firm.

This book remains print oriented, for the most part, because the Internet is not as dominant a medium as print at this rime. Also, there are parallels such as buying illustration and photography for either. A Web sire may require you to

Sparkman: Can't you use yo ur strength in design and

marketing communications as a major plus over technology companies?

Waters: Yes, we do and that has been a successful route to

take. And it's the truth. We like to say we use all media to 174

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proofread a client's script. Business terms have not changed and are a basic communication tool used every day. •

Beyond the Kenny G School of Advertising

BY BRUCE TURKEL

've been looking at portfolios lately and I've got to tell you, I sure am tired of whining designers-dewhiners we call them around here. You know the type, creatives with excuses for almost everything subpar in their books .

It's always "the client made us" this or "we didn't have enough time" that, when logos are horsey, letter spacing is hokey or copy is fraught with typos.

I

Create pabulum, mass market it and become a bloody multimillionaire. (My friend, Tony Gable from Gable Design in Seattle, was Kenny G's percussionist and says that Kenny is the best musician he's ever worked with-killer sight reader, monster technique, amazing chops-and that Kenny knows exactly what he's doing and is laughing all the way to the bank.) Or,

I see a lot of typos in designers' work. If and when I point the typos out, I just get a shrug and a mumble. Usually it sounds something like " ... should've used spell check, I guess." Or something like that.

Option B: Do work you're proud of

No, buddy, you should have read your copy.

Personally, I hate typos. I think they are an example of lack of pride and craftsmanship. Worse, I find that dumb little things such as typos are the quickest way to lose a client's confidence and ultimately lose the client.

Think about the last client you or your agency lost. Did they storm out of your office after a violent screaming match?

Of course not. Like granite cliffs being slowly eroded by the water streaming over them, client relationships crumble over time because of missed deadlines, misdirected strategies and little stupid problems. When it all hits the fan and the client walks, it's usually not because of the straw that finally broke the camel's back, but because of the accumulation of the little issues that destroyed the association.

When I look at portfolios, I also wonder about "the client made us do it and that's why there's not much breakthrough stuff in my book" rationale. After all, if you're going to dumb everything down just to please your clients, then you're destined to go around mumbling "would've, should've, could've" and being pissed off every time you see something new and cool that Carlos Segura or Margo Chase or someone else that you respect created.

One of my biggest fears in life is to wake up one morning and find I've turned into a local designer who I won't name, an incredibly talented guy who gave up and sold out years ago and now just grinds out hack crap-AND IS MAD ABOUT IT.

Kind of like the art-school version of Kafka's Metamorphosis except that instead of turning into a giant cockroach, I wake up an old, bitter, punch-drunk designer.

The way I see it, your choice is easy:

Option A : Pull a Kenny G. 176

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Yeah, yeah, I know, easier said than done. The real world gets in the way sometimes and you have to modify things to clients' tastes occasionally. Make the logo bigger, underline copy points, add a coupon. Bur let's face it, every now and then the client actually does know his business and happens to be right. These things do work sometimes. Nevertheless, if you resign yourself to deliver average work compromised at every turn, your clients won't respect you, you won't respect yourself and the rest of the world simply won't know or care who you are.

So how do you deal with that? Well, as a client of mine once said, "It's not like we're rocket surgeons or anything."

There's an easy fix and it's only got three rules: 1. Do work you're proud of.

2. Make money.

3. Have fun .

I used to think that two out of three was enough. The way I saw it, if we made a lot of money and did great work, we didn't have to have such a good time, the fun would come.

But I don't think that way anymore.

If the ad campaign that says "Life's too short to drink cheap beer" is right, then life certainly is too short to do lousy work for disrespectful clients. Especially those clients who aren't willing to pay for your talent.

Instead, try to reach for all three goals all the time. Each time you start a job, set your sites on good money, great work and fun. Better yet, don't limit those qualifiers just to the creative work you do. Stop whining, watch for typos and apply those three requirements to your entire life. After all, it's the sum total of your life experiences that let you design great work in the first place.

Oh yeah, and don't forget my fourth rule: "Life's too short to work for assholes." •

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Book Reviews Billboard: Art on the Road

includes work by John Baldessari, the Guerrilla Girls, Jenny

106 pages, paperback, $20 Organized by Laura Steward Heon , Peggy Diggs and Joseph Thompson Co-published by Mass MoCA Publications and The MIT Press 5 Cambridge Center Cambridge, Massachusetts 01242 (800) 356-0342 www.massmoca.org www.mitpress.mit.edu

Holzer, Joseph Kosuth, Barbara Kruger and many more.

This book accompanied the exhibition, "A Retrospective Exhibition of Artists' Billboards of the Last 30

With 169 images (150 are in color), Billboard is a worthwhile book for those interested in the art of the billboard and the social issues that affect us all. Senie concludes her essay with the words of Les Levine, "I think what makes a good billboard work is that you feel the information was meant for you-when a lover blows you a kiss you don't look over your shoulder ... By nature, all public media has to generate some form of visual heat. Either it dissipates and cools off in the environment or is heated further by contact:'

Years," that opened the -

Massachusetts Museum of Contemporary Arts (Mass MoCA) inaugural season. We are inundated with outdoor board advertising daily, on our way to work, home

REBECCA BEDROSSIAN

Briefly Noted:

and beyond-the majority of which are trying to sell us some-

Extreme Fonts: Digital Faces for the Future, by

thing. The artists' use of the outdoor advertising media-

Spencer Drate and Jutka Salavetz (Published by Madison

roadside, bus and bench billboards and bus shelter and

Square Press, IO E. 23rd Street, New York, New York rooro,

large subway station posters-for public art projects has not been well-documented in the recent history of art. They

144 pages, hard-cover, $34.99). Authors Drate and Salavetz

sprout up as reactions to today's social issues and then disappear. And that's where Mass MoCA stepped in with this grandiose undertaking of an exhibition, book and the commission of five new works (installed near the museum).

Associate curator Laura Steward Heon, in her essay "Putting the Show on the Road," wrote, "The works in this exhibition engage the unsuspecting passerby with ideas that are

Order CA h..----

often complex and mysterious, but which are expressed with great visual clarity. " In Harriet Senie's essay, "Disturbances in the Fields of Mammon: Towards a History of Artists' Billboards," the history of this ephemeral art form is examined through a narrative that begins with European posters and American Modernism and finishes with our current state of creating awareness with art in the place of advertising-pros and pitfalls. Senie touches upon racism, feminism , the environment, war and peace, consumerism and AIDS. Public artist Peggy Digg's brief essay, "Causing Conversations: Taking Posi tions, " discusses these artists' billboards that "find cracks in the monolith of advertising and corporate culture in which to dissent," the process in which they

Order available back issues now, directly from the CA Web site:

are made and the problems encountered along the way. The remaining part of the book is divided into three sections: five works commissioned for Billboard; 30 years of billboards-the retrospective; and a survey of artists' billboards (the first broad survey of the medium). The retrospective C 0 M M U N I C A T I 0 N

A R T S

179

Book Reviews

have collected profiles and recent samples from over 40

contributors, making Extreme Fonts a good choice for those

cutting-edge type designers. Each is featured in two to six

looking to add something edgy to their work.

pages, their work displayed both in specimens and at work

-ANGELYNN GRANT

in brochures, posters and other applications. A few of the typefaces are quite conventional, for example, Greg

Typography: An Encyclopedic Survey of Type

Thompson's Agenda™Medium, an elegant riff on Edward

Design and Techniques Throughout History, by

Johnston's London Underground sans serif. But most are

Friedrich Friedl, Nicolaus Ott and Bernard Stein (Published

by Black Dog & Leventhal Publishers, Inc. , 151 W. 19th Street, New York, New York rnon, 400 pages, 2,000 color and black-and-white illustrations, hard-cover, $39.98).

Believing that there are just not enough reference materials available on the history of type design and typographic styles, the authors have amassed a wealth of information and illustrations into this enormous (approximately eight

variations on nouveau themes: digitized, destroyed or sampled. Jeff Johnson's face Spunk resembles letterforms blow-torched out of sheet metal. SchmelveticaT: by Chester (like Cher, he goes by one name), is the sort of cut-out naive font that would be at home in the opening credits to a cartoon. There are representatives from Emigre, [T-26] and FontShop International as well as designs that are published here for the first time, like Javier Michalski's Michalski Glacial Roman, an expanded font that's both retro and fresh at the same time. Each profile has a brief biography and, in some, remarks on influences and inspirations (graffiti, Chinese fast food, Eastern philosophy). Appropriate contact information, e-mail addresses and URLs are provided for all

pound) book. Typography is a truly international endeavor, covering European as well as the usual English and American histories, and part of its heft comes from the English, French and German text. The bulk of the book, titled "Who ," comprises over 1,000 concise entries on type designers , manufacturers, graphic designers and artists as well as inventors, entrepreneurs, publishers and theorists-anyone whose work influenced the field of typography. The "When" section offers a brief overview of the main typographic movements, starting, for a change, with the present ("Multistylistic typography," reflecting the facility of change within desktop publishing) and going back in time to Mesopotamia.

The final "How" section goes in the opposite chronological order, from the hand-ax to the computer. But it is the profiles of the "Who" that make this book valuable; they include most of the major players, many of whom are not widely known, for example, Wladyslaw Strzeminski (1893-1952),

81 % of CA subscribers surveyed, indicated "look and feel" as the most important factor when choosing a paper.

To get your paper at more potential clients' fingertips, advertise in Communication Arts.

Contact: Michael Krigel, General Manager

whose lively typographic compositions from the 1920s and '30s are shown here. As might be expected, there are some omissions, for example, D.B. Updike. Also , it is a bit confusing that graphic designers who neither directly created typefaces nor broke new ground in typographic compositions are included. However, examples of their work are shown and it is left to the reader to judge their significance.

Certainly, in a visual profession, it is important to be able to put a "face" to a name and, considering the extremely modest price of this grand book, it should find a place on the shelf of any lover of type.

- A .G.

650-81~226

advertisingOcommarts.com

Communica~on Arts 180

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See the USA: The Art of the American Travel Brochure, by John Margolies and Eric Baker (Published by

Chronicle Books, 85 Second Street, San Francisco, California 94rn5, www.chronbooks.com, 132 pages, paperback, $19.95).

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Company N ame

Address

actual perforated stamp, combining specialty printing techniques: a gold engraved crown (C is for Cinderella); a magnifying glass of clear foil (Q is for Quality); a Renaissance person sporting Groucho Marx glasses, thermographed in deep purple (0 is for Overprint).

The 26 full-page definitions provide historical and cultural snippets. This mini-compendium of stamp images showcases a treasury of printing craftsmanship and inspired design.

Dickson 's Ephemera Philatelica is presented as a book bound into a box, with a set of collecting supplies, in an original edition limited to 3,500 numbered copies.

City

State

Daytime Telephone

Z ip

E-mai l

Please allow 2/3 weeks for delivery.

D Check Enclosed - payable to Dickson's, Inc. D Visa

D MasterCard

D American Express

Card N umber

I Exp. Date

Signature

PLEASE D ETACH AND MAIL TO: DICKSON'S, INC.· 1484 ATLANTA INDUSTRIAL WAY· ATLANTA, GEORGIA 303 3 I OR FAX TO: (404 ) 696·9923 OR ORD ER ONLINE: www.dicksons.com

Book Reviews

When flipping through this colorful book, lyrics such as "Oh give me a home, where the buffalo roam" and "She's a grand ol' flag, she's a high-flying flag" come rolling through my head. Perhaps it's due to the nationalistic colors of red, white and blue that dominate the book's cover. Inside, more than 200 vintage full-color images travel well beyond the borders of our patriotic colors. Just like the tide suggests, See the USA takes us on a nostalgic journey through America via early modern travel and tourism brochures and pamphlets. The American roadtrip is practically a thing of the past as our world becomes smaller, global and airborne.

Perusing these pages is to rediscover America, the idealized, fanciful and simpler era of American life. What seem to be the most mundane of destinations, become paradise, places like Decatur, "The Playground of Central Illinois" or Reno , Nevada, "Fun center of the West. " Snippets of prose-often exaggerated, decidedly yankee or brutally honest-accompany many of these examples of commercial art. Who wouldn't want to visit Kentucky where the likeness of the Colonel bids you a warm welcome, a Kentucky tradition, or Rapid City, South Dakota, where "The climate is excellent and

hog cholera is as yet a stranger." Bet you didn't know that Liberal, Kansas, used to tout itself as the "Pancake Hub of the Universe." All sorts of surprises from America's 50 states can be found in See the USA. It's divided into four sections: Parade of the States; Seaside America; Natural Attractions; and On Vacation. And for those readers who are hungry for more, the Bibliography and Source List will prove to be most helpful. After gazing at these visual treasures from America's past, you might find yourself hitting the road for your next vacation.

-R.B. Typology: Type Design from the Victorian Era to the Digital Age, by Steven Heller and Louise Fili (Pub-

lished by Chronicle Books, 85 Second Street, San Francisco, California 94rn5, www.chro nbooks.co m, 196 pages, paperback, $24.95). Readers familiar with Heller and Fili's numerous books for Chronicle, particularly in the Art Deco Series, may be worried that this latest book covers the same material. In fact, it is much larger in scope (as well as in size), covering commercial type designs , especially display type, from the last IOO years. As the authors state, Typology is not so much a formal history as a visual survey, and yet it is more than just a type timeline; each section has a brief essay that places the typefaces of that period within the context of cultural, societal, economic and technological forces. Also, each period is subdivided by country; it is very useful in educating one's eye to be able to flip back-and-forth between, for example, Art Nouveau types in France and those in Germany (or The Netherlands or Austria). Typology certainly delivers its promise of visuals; there's an abundance of type specimens, broadsheets, catalogs and posters, most of which will be new to the reader, and all of which are beautifully reproduced and identified by year and designer. One would have to doggedly scour the used bookstalls of the world to accumulate this amount of material. Aren't we all lucky that we have Heller and Fili to do it for us?

-A.G.

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wlll examine n perspective.

Web and countless other what role will design play e consumer's experience?

To register or for more information call 212.807 .1990 or visit www.aiga.org

Materials Plastic toys for tots? Not.

Minnesota, with text-

images-which combine photog-

And the Graphires offer more than

In the 1967 classic film, The Graduate, Dustin Hoffman was

entertaining facts and historical information-by Stephen

raphy, design and illustrationtaken from Charles Anderson's

the average mouse, not just sweet hues, but a resolution of 1,015

told, "There's a great future in

Fenichell. The modey cover of this

lifetime collection of over 100,000

lines per inch. The mouse doesn't

plastics." Over 30 years later, this

limited-edition, 320-page hard-

quote has become the tide of the

cover book provides a glimpse of the bright, plastic visual treats it

plastic objects. Introduced within its pages is the "custom stock"

have a rolling ball on its bottom so it eliminates the need for clean-

concept-where designers or art

ing to assure smooth tracking. The

contains. The CSA Plastock Cat-

directors can create unique images

alog has over 2,500 photographic

by digitally building them using various stock components. Why

Graphire pen can sense 512 levels of pressure and features a built-in eraser that works just like the one

not express yo urself in plastic? I mean, while it used to be consid-

on the end of a pencil. The Graphire system will work on PCs

ered an inferior substitute for the

with a serial port on Windows 95

real thing, take a look at the world

or later or Windows 4.0 or later,

new CSA Plastock book, designed by the Charles S. Anderson Design Co. of Minneapolis,

around us. Polymerized substance

but USB connections require

abounds in the world and in this

Windows 98 . For Mac users , an

book. You'll find everything from

iMac with a USB works well, and

Lassie (well, at least a Collie that looks like everybody's favorite

is quite fashionable, as well as the

canine) to inflatable bunnies, pin-

Mac OS 8. 5 or Power Macintosh with USB port and Mac OS 8.o or

up girls to surfers, tanks to tele-

later. For more information, con-

phones. Categories include Air-

tact Wacom at (800) 922-6613 or visit www.wacom.com

planes, Animals, Beach, Beauty, Ed ucation , Money, Monsters , Robots, etc. CSA Srock Images is represented worldwide by Photonica, (212) 505-9000; for further information on CSA Images, check out www.csaimages.com

En charrette Derived from the French word charrette, which refers to a cart or

wagon used to collect art students' drawings at the Ecole des Beaux

Candy mice Egad, not the kind which scurry around in dark corners. No, imagine you're sitting, or maybe you really are, at your desk gazing fondly at your colorful iMac, as you're surfing on the Net, you glance down and-blah-to what do your wandering eyes appear?

But the average mouse. Well, Wacom's new flavorful candy-

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Arts in 19th century Paris, en charrette is a universal term adopted

by architects and designers to describe the experience of a rushed deadline-yikes! Using this as their point of departure, Charrette, the company touting "Solutions for Design Professionals," came to be in 1964 and is now one of the country's largest independent providers of imaging

colored Graphire™USB input

products and services targeting the

system could get rid of your blah

design community. They've

mouse blues. Blueberry, tangerine,

recently revamped their Web site

grape, strawberry and lime are the

(www.charrette.com) to include

transparent hues of the Graphires which feature a color-coordinated

one-click access for faster and easier navigation, so designers can

scrolling wheel on the cordless

shop for and choose from over

mouse and matching tones on the

7,000 items. Decisions, decisions.

pressure-sensitive pen's buttons

Under the category "Shop

and eraser-for both Macs and

Online, " visitors will find their

PCs. (An opaque Slate version is

Online Catalog, Weekly Specials,

available in both USB and Serial.)

Clearance Corner, Charrette

call for entries

Lommunication Art~

Design & Advertising 2000

Lommunication Art~

For subscription information or answers to frequently asked questions about these competitions. visit our Web site at www.commarts.com

Y

41stAnnual Juried Competition

ou ARE INVITED TO SUBMIT

Work first printed, published or

work to the largest and most

broadcast between June 16, I999 and

eminent of juried competi-

June 15, 2000 is eligible. Deadline for

tions in graphic design and advertis-

submitting entries is June 15, 2000.

ing: Communication Arts magazine's

The November Design Annual will

41st Annual Competition. The results

show entries chosen by a distinguish-

will be published in the November

ed jury of de.signers. The December

2000 Design and December 2000

Advertising Annual will show entries

Advertising Annuals. Last year, less

selected by an equally distinguished

than 2% of the 29,705 submitted entries were selected for inclusion in

jury of writers, art directors and creative directors. Both annuals incor-

these two exclusive indexed annuals.

porate special reproduction techniques

72,000 copies of the highly-respected

with everything reproduced at a size

annuals will be distributed worldwide,

that allows the copy to be read. Award

assuring important exposure for the

of Excellence certificates will also be

creators of these outstanding projects.

given to clients, individuals and firms.

No Hanging Fees • No Acceptance Fees

Deadline: June 15, 2000

Materials

Essentials, Request Literature and

can find anything, if we simply

and planets since we

Charrette Wholesale. What more

look for it. To request a copy, call

have started a new

could the price-conscious designer/

millennium and

shopper ask for? Other categories

Strathmore at (800) 423-7313 or visit www.strathmore.com. And

include ProGraphics, the repro-

while you've got chem on the

biggest and closest

recently saw the

graphics division that includes

phone, request a copy of Seeing:

moon that we'll ever

Digital Imaging Services and

Details, the other hard-bound pro-

see. Beginning with

Traditional Services, and Inside

motional book that features the Renewal line of paper and images

the Babylonian's

Charrette that features the Company Overview, Locations, etc.

from many of today's leading

study of astrology, Luna Anularis

photographers, such as Wolfgang Ludes, Bruce Peterson and Lillian

Literature for Your Files A request on your letterhead to the following companies will bring you

fax numbers, e-mail addresses and URLs have been included for convenience.

Chinese, Indian and

Bassman. Like Doubletakes, Details

European ancient

examines common objects that

studies. Vibrant

are too often overlooked in today's fast-paced world.

the literature described. ..free unless otherwise noted. Whenever possible,

journeys through

The List41 ,. .. a business leads

contact firm for advertising and public relations agencies, graphic designers, writers, photographers, illustrators, printers, paper mer-

colors on charts, Tullis Russell's .. .latest mailer

maps and vintage documents are

for the U.S. market showcases

brilliantly reproduced on Luna

their premium cast-coated board,

text's gloss and matte finishes. An

Lustrulux. The short and sweet,

engraving of Habit d'Astrologue

little, but mighty mailer's focal

(costume for an astrologer) c.1690,

point is the Scottish heritage of

a detail from the stained glass win-

chants, et al., has teamed up with

Tullis Russell. Haggis? No, thank

dow of Chartres Cathedral c.1118,

Seeing: Doubletakes. This hard-

MarketingCentral. The List will

goodness. Instead three pic-

an illustration from a book on the

bound book features a large

be available online at the Market-

turesque photographs grace

Ottoman campaigns in Europe

selection of images from Chicago,

ingCentral.com site (www.

Lustrulux with a number of

c.1605-66, a c.1620 clock with

Illinois-based photographer

marketingcentral.com) in April

finishes and techniques, including

astronomical and astrological dials

Frarn;:ois Robert, who, for the last

2000, and users will be able to log

metallic silver ink, spot varnishing

and more combine to make this

twenty years, has been snapping

onto the site and query The List

and embossing. Lustrulux offers

promotion a visual and historical

shoes of found objects that

for contact names and addresses

high-gloss level and is ideal for pro-

treat for the eyes. Mark Geer of

Strathmore .. . outdid itself with

resemble faces . Noc unlike finding

and identify prospective new

ducing brochures, calendars and

Houston, Texas-based Geer Design

the man in the moon or the face in

clients at corporations, ad agencies,

greeting cards as well as packaging

Inc. designed the brochure as a

the cloud, Robert's photographs

design firms, project management

applications for cosmetics, per-

collage, pasting snippets from

teach us to gaze at ordinary objects

firms, photo studios, film produc-

fumes and confectionery. Because

astrology's past together. For more

tion and post-production compa-

it is cast-coated bleached board

information on the Luna line of

with new eyes-from a slice of pound cake to the sole of a thong.

Quotes by Christopher Marlowe, Euripedes, Rene Descartes and more relating to the almighty visage are sprinkled throughout these pages on Strathmore's Elements. These unexpected physiognomies come to life on

nies and freelance creatives across

made with a twin wire base, it's

papers or to request a copy of

the country. In addition, Market-

smooch on both sides. Lustrulux

Luna Anularis, call (800) 663-6221

comes in three weights: 8, IO and

or fax (604) 526-0701.

ingCentral.com users can communicate with staff and clients through online collaboration software to review newsletters, price lists, brochures and faxes; shop to find the best pricing on print jobs; review media calen-

Elements's different textures and

dars and buy advertising space;

colors-Lines, Dots, Squares,

12 pt. All pulps used in its production come from sustainable managed forests and are chlorine-free and groundwood-free. For more information or for a Lustrulux swatch, call Tullis Russell at (800) 524-1341; e-mail tullisrus@cs .com;

Grid, Grain, Zigzag and Solids.

post artwork for client review; search font houses and stock photo

The subtle patterns enhance the

catalogs; and post press releases and

photographs without disruption.

media kits online. For more infor-

Domtar, Eddy Specialty

Production notes at the back of

mation, visit The List on the Web

Papers ... used the history of

or visit www.trg.co.uk

the book give tips on working

at www.marketingcentral.com;

astrology as the focal point of their

with Elements. Seeing: Doubletakes

e-mail The List at info@thelistinc.

latest promotion, Luna Anularis.

is a keeper and teaches us chat we

com; or call (404) 814-9969.

It's fitting that they used the moon

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-REBECCA BEDROSSIAN

collection

curious paper collection six very unusual fine papers in one curious group Unique pearlescents that "flip" in shifting light. Glittering metallics with superb printability. Translucent sheets in an unrivaled range of colors. Uncoated textures with incredible full-color reproduction. High-cotton letterhead in precisionengineered finishes. And the world's first white-flecked sheet, speckled with pale and metal fibers.

This is the Curious Paper Collection, a portfolio of standardsetting papers for designers trying to differentiate their clients through distinctive communications. Combining technical innovation, rigorous craftsmanship and pure inspiration, this unusual collection reflects the ongoing efforts of Arjo Wiggins Fine Papers, Europe's most original paper manufacturer, to push the creative boundaries.

Curious? For swatchbooks, samples and all the details, call:

Clubs, Conferences, Seminars The South By Southwest (SXSW) Multimedia/

Arts. Confirmed speakers are Craig Kanarick, Razorfish

Interactive Festival is planned for March ro-19 in Austin,

chief scientist, April IO , and Stefan Sagmeister, April 24.

Texas. SXSW offers an opportunity to check out three

Ticket prices are $20 for each lecture and series tickets will

different industries: Film Conference and Festival (March

also be available. For more information, contact AIGA/San

ro-18); Interactive Festival (March n - 14) ; and Music &

Francisco, 450 Irwin Street, San Francisco, California 94107;

Media Conference (March 15-19). Register online:

call (415) 626-6008; or visit the Web site at www.aigasf.org

www.sxsw.com; register by fax: (512) 451-0754; register by mail: SXSW Registration, P.O. Box 4999, Austin , Texas

The American Association of Advertising Agencies

78765. For information, e-mail sxsw@sxsw.com or call

scheduled their management conference and annual meeting in Bermuda, May II-14. For information , contact Karen Proctor at (212) 850-0730 or visit the Web site at www.aaaa.org. AAAA Headquarters , 405 Lexington Avenue, New York, New York 10174.

(512) 467-7979.

Women in Advertising , the 2nd Annual National

Forum sponsored by Fulcrum Information Services, Inc., is scheduled for March 13-14 at the New York Marriott Eastside in New York City. Linda Srere, vice chairman and

The International Design Conference in Aspen

chief client officer, Young & Rubicam , will share some of her secrets to success in building strong client relationships.

Her keynote address will include war stories, success stories

June 14-17. "The Spirit of Design" will explore the many potential meanings of the subject from the viewpoint of an

(IDCA), the 5oth Conference, convenes in Colorado from

and some tips on what not to do when working with clients.

international group of young and established designers

The conference will feature such topics as: managing the

from the worlds of graphic and product design, architecture

risk and fear involved in starting your own agency; tools for being an effective leader; developing and maintaining

and media design along with anthropologists, artists, writers,

up-to-the-minute creative; overseeing and cultivating essential client relationships; and strategies for attracting and retaining talent in a tight market. Registration per person $995, group registration $895 per person. The fee includes the course notebook, two continental breakfasts, refreshment breaks, luncheon and cocktail reception. For more information, write to Fulcrum Information Services, Inc., 150 Fifth Avenue, Suite 200, New York, New York roon; call (8 00) 869-4302; fax (212) 367-9444; or visit the Web site at www.fulcruminfo.com The Direct Marketing Association (DMA) will con-

vene for the 12th Annual Direct Marketing to Business National Conference in Miami, Florida at the Fontainebleau Hilton Resort & Towers March 29-3r. For information, contact DMA, n20 Avenue of the Americas , New York,

SEEKING CREATIVE DIRECTOR FOR WORLD'S BEST AGENCY. In last two years, this agency won every One Show medal for which it was eligible. Blue chip clients, unlimited budgets.

Frequent visits by industry leaders (Westbrook, Wieden, Dusenberry, etc.) State-of-the-art facilities.

Supervise 120 talented art directors, writers, account executives and planners who actually listen to you.

Idealism, enthusiasm, creativity abound. Virtually no politics, stressed-out traffic managers or angry clients.

No weekends, no late nights, no travel. Summers eff Applicant must have strong record of achievement in the industry as a creative supervisor (art director preferred), a bachelor's degree at a mininum, experience teaching at the college level preferred, and a desire to change the face of advertising as we know it.

For application information, contact Andrea Groat at 800-311-3341 or adgroat@vcu.edu.

New York 10036; call (212) 768-7277; fax (212) 302-6714; or visit the Web site at www.the-dma.org AIGA/San Francisco Lecture Series celebrates its

eleventh year of presenting internationally-recognized designers , artists and architects to the Bay Area. Sponsored by the San Francisco Chapter of the American Institute of Graphic Arts and the San Francisco Museum of Modern Art, the series will take place in April (ro and 24), May (8 and 15) and June (12) at the Yerba Buena Center for the

Virginia Commonwealth University is an equal opportunity I affirmative action institution providing access to education and employment without regard to age, race, color, national origin, gender, religion, sexual orientation, veteran's status, political affiliation or disability.

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

A R T S

189

Clubs, Conferences, Seminars

cognitive scientists, poets and filmmakers. The fee is $650

The typo [media] 2000 conference takes place in

by March l, $875 after March l, one additional member of

Rheingold-Halle, Mainz, Germany, June 21-23. The

firm or organization $600, one additional household member $350 and $200 for full-time students (photocopy of current student ID required). For registration information,

congress, which has received international acclaim over the past few years, is organized by the type company Linotype

write IDCA, Registrar, P.O. Box 664, Aspen, Colorado

with the important issue of type in the media. The object

81612; call (970) 926-2257; fax (970) 925-8495; e-mail info@idca.org; or visit the Web at www.idca.org

of the event is to identify the place of type design, typog-

Library during the Gutenberg anniversary year and deals

raphy and visual communication in the age of digital media and the Internet. The languages of the congress will be

The American Advertising Federation Conference

English and German with simultaneous interpretation

is set for June 20-22 at Caesars Palace Hotel in Las Vegas, Nevada. The conference brings together more than 800 attendees representing AAF corporate members, local federation members, college advertising students, advertis-

or e-mail typomedia@fonts.de.

ing professors, corporate recruiters, exhibitors and press to discover the latest marketplace trends and advertising strategies. Conference registration rates: $565 company, ad club or association members, recruiters; $410 Ad 2 Club educator or District 15 members; $265 student, spouse, exhibitor; and $740 non-member. For more information, call (800) 999AAF1, ext. 356; visit www.aaf.org; or write AAF, IIOl Vermont Avenue NW, Suite 500, Washington, DC 20005.

provided. For more information, visit www.typomedia.com

The Society for News Design , formerly the Society of

Newspaper Design, is an international professional organization with more than 2,500 members in the United States, Canada and 47 other countries. The membership is comprised of editors, designers , graphic artists, publishers, illustrators, art directors, photographers, advertising artists, Web site designers, students and faculty. If you have a question about the Society or are interested in membership or registering for upcoming SND events, contact SND headquarters, 129 Dyer Street, Providence, Rhode Island 02903; e-mail snd@snd.org; call (401) 276-2100; fax (401) 2762105; or visit the Web at www.snd.org AIGA/Portland, Oregon has named a new board of

directors for the 1999-2000 term. The board members, representing a range of area educational institutions, design firms and allied companies, are: president Susan AgreKippenhan, Portland State University; vice president Catherine Healy, Anstey Healy Design; vice president Joy Panos Stauber, Collective Incorporated; secretary Amie Champagne, Johnson & Wolverton; treasurer Frank Loose, Legacy Health System; membership Mark Evans, Key Lithograph; Web development Andrew Haddock, Lightspeed Studios; Julie Beeler, Second Story; John Bowers, Oregon State University; Ron Dumas, Nike, Inc.; Helene Jonson;

Change your subscriber address now, directly from the CA Web site:

Mike Kippenhan, Creative Media Development; Brad Kuhns; Stephanie Lewis; and Christine Prapas, Artist Representative. Details on upcoming activities can be found at www. portland.aiga.org or call president Susan Agre-Kippenhan at (503) 725-8506.

-]EAN A. COYN E

Copy must be received three months prior to the publication date.

Please include a contact name, phone number (or e-mail address) and an address.

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See the Best Creative Without a Mouse

~ommuni~~tion Art~ This collection of 78 outstanding 1999 TV commercials was selected by a distingu ished national panel of creative directors from over 2,500 spots submitted. The videotape, wh ich includes commercials and a complete listing of creative credits, is ava ilable in 3/4 " or VHS format for $199.

Complete your library of great spots with CA's 1998 award-winning TV commercials, priced at only $145.

Order online now at: www.commarts.com or call: 800-258-9111

1999 Advertising Annual Television Commercials An lndispensible Creative Resourcel Available in VHS and 3/4" format

Communication Arts , 11 0 Constitution Drive, M enlo Park , CA 940 25-11 07 Phone : 800-258-9111 , 650-326-6 040, Fa x: 650-326 -1648 , E-mail: video@comm arts.com, URL: www.commarts .com

Directory Featured in this issue Dinnick & Howells 37 Hanna Avenue, #210 Toronto, Ontario M6K 1W9 Canada (416) 531-1094 (416) 531-1021 fax

Buro Design 333 Bryant Street, #190 San Francisco, CA 94107 (415) 495-4197 (415) 495-4198 fax CPd 2nd Floor 333 Flinders Lane Melbourne, Victoria 3000 Australia +61 (3) 9620-5911 +61 (3) 9620-5922 fax melstudio@cpdtotal .com .au www.cpdtotal.com.au

Amy Guip Amy Guip Studio 91 E. 4th Street, Apt. 6 New York, NY 10003 (212) 674-8166 (212) 674-2775 fax guip@earthlink.net

Fallon McElligott NYC 79 Fifth Avenue New York, NY 10003 (212) 367-2300

Represented by Kathleen McCormack AKA Reps 580 Broadway, Suite 707 New York, NY 10012 (212) 620-4777

Gabriel Diericks Razidlo 1770 International Centre 900 Second Avenue South Minneapolis, MN 55402 (612) 547-5000 (612) 547-5090 fax

Aerobleu Brooks Branch 2311 Stanley Hills Drive Los Angeles, CA 90046 (323) 848-7012 (323) 848-2149 fax

Huey/Paprocki Ltd .

644 N. Highland Avenue Atlanta, GA 30306 (404) 872-2747 (404) 872-2751 fax

Mauk Design

[i]e design 13039 Ventura Boulevard Studio City, CA 91604 (818) 907-8000 (818) 907-8830 fax mail@iedesign .net

39 Stillman Street San Francisco, CA 94107 (415) 243-9277 (415) 243-9278 fax www.maukdesign.com

Katsin/Loeb Advertising , Inc .

1000 Sansome Street, Suite 300 San Francisco, CA 94111 (415) 399-9960 (415) 399-9264 fax

Gary Baseman 257 S. Lucerne Boulevard Los Angeles, CA 90004 (323) 934-5567 (323) 934-5516 fax basemanart@earthlink.net Western U.S. advertising rep Jan Collier Represents (415) 383-9026 (415) 383-9037 fax www.collierreps.com

Plazm Design P.0 . Box 2863 Portland, OR 97208 (503) 528-8000 (503) 528-8092 fax design@plazm .com Real Design 41 Union Square West, #302 New York, NY 10003 (212) 691-8178 (212) 691-3965 fax realdesi@escape .com

Exhibit Bartle Bogle Hegarty Ltd .

60 Kingly Street London W1 R 6DS United Kingdom +44 (171) 734-1677 +44 (171) 437-3666 fax Borders Perrin & Norrander, Inc. 222 SW Yamhill Portland, OR 97204 (503) 227-2506 (503) 227-4827 fa x

Research Studios Unit 2, Whitehorse Yard 78 Liverpool Road Islington, London N1 OOD United Kingdom +44 (171) 704-2445 +44 (171) 704-2447 fax info@research-studios.demon .co .uk Rodgers Townsend 1310 Papin Street St. Louis, MO 63103 (314) 436-9960 (314) 436-9961 fax

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Rugby North America 3981, Boulevard St-Laurent, Suite 444 Montreal, Quebec H2W 1Y5 Canada (514) 842-1221 (514) 842-5656 fax www.rugby-na.com

TBWNCampaign Company Stadhouderskade 79 1007 RG Amsterdam The Netherlands +31 (20) 571-5500 +31 (20) 571-5501 fax info@tbwa-campaign-company.nl

Thirst 117 S. Cook Barrington, IL 60010 (847) 842-0222 (847) 842-0220 fax thirstype@aol.com www.3st.com

Ubachs Wisbrun Watertorenplein 4 1051 PA Amsterdam The Netherlands +31 (20) 488-6888 +31 (20) 488-6899 fax uw@ubachswisbrun .nl

Young & Laramore 310 E. Vermont Street Indianapolis, IN 46204 (317) 264-8000 (317) 264-8001 fax

Wieden & Kennedy Amsterdam Keizersgracht 125-127 1015 CJ Amsterdam The Netherlands +31 (20) 621-3100 +31 (20) 621-3299 fax

Eco Eva Anderson Eva Anderson Design 207 Williams Street Providence, RI 02906 (401) 351-1211 (404) 951-57 44 fax evaeco@mindspring .com Daniel Imhoff www.simplelife.com Alison Wald (401) 831-0672 abwald@aol.com

Amsterdam: Europe's New Creative Center KesselsKramer Lauriegracht 39 1016 RG Amsterdam The Netherlands +31 (20) 530-1060 +31 (20) 530-1061 fax church@euronet.nl www.kesselskramer.com 180 Keizersgracht 253 1016 EB Amsterdam The Netherlands +31 (20) 422-2180 +31 (20) 625-0012 fax Schaffer Wunsch Has Hoogte Kadijk 143 F26 1018 BH Amsterdam The Netherlands +31 (20) 422-2999 +31 (20) 422-2960 fax StrawberryFrog Noordermarkt 37/39 1015 NA Amsterdam The Netherlands +31 (20) 530-0400 +31 (20) 530-0499 fax jiska@strawberryfrog.com www.strawberryfrog .com

Technology Technology Feature Kioken Inc. 59 John Street, Fifth Floor New York, NY 10038 (212) 346-7860 (212) 346-7858 fax info@kioken .com www.kioken .com

Design Technology George Fifield Boston Cyberarts 9 Myrtle Street Jamaica Plain, MA 02130 (617) 524-2109 (617) 524-9968 fax george@visionspace.org www.bostoncyberarts.org

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