mayjun1987

COMMUNICATION ARTS VOLUME 29, NUMBER 2, MAY/JUNE 1987

Richard Coyne Editor and designer Jean A. Coyne Executive editor Patrick Coyne Stephanie Steyer Associate editors/ designers Kurt Klein Advertising and production manager

32

JOHN VAN DYKE

42

GSD&M

54

KATHRYN KLEINMAN

62

ALAN CoBER SENDS His BEsT

by Byron Ferris

byMikeHicks

by Stephanie Steyer

66 ESPRIT BED & BATH by Patrick Coyne

Scott Perry Production

72

Sue Ann Rousseau Administrative assistant

74 MICHAEL MABRY by Mark Fulton

Nancy Hagemann Circulation manager Vickie Baptista Marie Garcia Betty Willis Circulation

84

SAN FRANCISCO DESIGN DISCUSSION

JOO

ARDESHIR MORASSES

William Rayburn Traffic Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Jim Johnston Larry Klein Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer Contributors

COLOR PREDICTIONS

COLUMNS

6

EDITOR's CoLUMN

16

ADVERTISING

20

LEGAL AFFAIRS

28

COMPUTER DESIGN

102

FREE LANCE COVER:

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

Jim Johnston Tad Crawford Wendy Richmond

Barbara Gordon

105

CALL FOR ENTRIES CA-87

111

PRODUCTION

116

BooK REviEws

118

MATERIALS, AVAILABLE LITERATURE

123

CLuBs, CoNFERENCES, SEMINARS

Kurt Klein

Design and collage by Primo Angeli, Photograph by Lars Speyer

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

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

Copyright 1987 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, Californ ia and additional offices.

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EXHIBITS is abook Ihat was truly created to fill aneed. Anyone who will be involved in designing, commissioning or fabricating exhibits, on any scale, should have it. Larry Klein has done an impressive, intelligent job of organizing avast amount of information and quality examples into a book that is both practical and stimulating. In essence, this book was begun in 1980 when I commissioned Larry to write an article for CA on exhibit design.

Since he had an established reputation as one of the finest commercial and museum exhibit designers in the country, much of this was drawn from his own experience and supplemented by his contacting other outstanding exhibit designers for information and examples of their best work.

The article ran in three parts in 1981 and drew a response that demanded expansion into a book. We investigated for other books on the subject and found avoid, so we set plans and vague timetables. But a book for the design field is something you do for reasons other than money and it has to be done in free time. Larry had precious little of that in the next four years. First it was major exhibit and environmental design projects for Bright &Associates where he was a senior vice president. Then he took on one of the most demanding but satisfying jobs of this decade, Design Director of the Los Angeles Olympic Organizing Committee. This continued well after the Games were over as he supervised the design and production of two beautiful, thick volumes of the Official Report of the Games and was project director of the "Olympic Experience" exhibit that was shown for five months at the Los Angeles County Museum of Natural History.

EIHIBITS-PlANNIN& AND DESI&N br Larrr Klein Wltlllntrolluctlonsllr Albert H. Woods 1111 H1rolll J. Skr111111111, Jr.

Our 47-page article has been developed and expanded into a 252-page book, the first quality publication on this important field of design.

Dick Coyne, Editor, Communication Arts

DeslgneiiiiJ W1her Bern1rll. hllllslleiiiiJ M1lllson S1111re Pren Ower 100 exllllllts bJ 451nternltloniiiJ known llesltnerslnclllllnt B1rrr How1rll, Jolin Follis, Herll Rosentllll, 011111 Stront, Brace Burlllck 11111 Cller••reff I Bel11111r.

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Fill out tile lnfor1111tlonllelow 1111senll te: COIIIIIIIIIICitlon Arts, P.O. Box 10300, Plio Abo, CA 14303 0 Plr111e1t of $45.00 11 enclosell. CA will IIIJ 110111ge.

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EDITOR'S COLUMN In the last issue, I closed out this column with a promise to continue exploring the subject I was discussing. In case you missed that, it was the change that has occurred in this field in the 28 years since this magazine was started.

To be more specific, since that was as far as I got before my allotted space ran out, it was mostly about signals that I saw in 1958-59 (when we were researching the feasibility of launching CA) that gave us some indications of what we might expect in the years to follow.

Having mentioned that I could sense a number of parallels with 1959 and today, I guess I also committed myself to taking a shot at what the future may hold. Not being a psychic, I can't make any predictions, only some associations and connections with what has happened and translate that into what is likely to happen.

One of those parallels was impending technological change.

Back in 1959, there were a number of new or recent developments that would effect a significant change in our business. The transistor (Nobel Prize for its developers in 1956) would bring the computer into our working and daily lives. The videotape recorder (1956) would be a major factor in television and commercials. Scheduled commercial jet service (1959) would bring everything closer. (At the time, viewing this as a step forward in current practices of counter-to-counter service, I did not anticipate Federal Express and overnight door-to-door delivery service.)

There was another development that would have the most immediate effect on the design field. Offset lithography was not new, the theory had been known for half a century, but it was not until the early '50s that it became even a small factor in commercial printing.

Having come from advertising, a world of engraving and letterpress, this struck me as a wondrous thing with possibilities and freedom that could change the look of design and, to a great extent, the thinking.

Offset litho was loaded with promise at the time, but was in dire need of further development. Anyone coming into the field more recently might find it hard to believe what it was like just that short time ago. Film, plates and presses were primitive compared to today's standards.

There were no processors and no proofing systems like Color-Key, Cromalin or Matchprint II. Only press proofs, if the budget could afford that.

This description is based solely on my own experience at the time, what I saw and what we (my design firm) did to solve some of the problems. Very likely there were others with similar thoughts and experiences in other parts of the country, but there was no information available in the existing publications that I saw.

I may be repeating some things I said in an article on the 6 Communication Arts May/June 1987

production of CA twelve years ago, or in our 25th anniversary issue, but they help make the point.

Since many techniques we'd have liked to explore were not available, we felt that it was necessary to experiment with process film. We did, and ran into a problem. The union was powerful, and had a rule: No film in their printing plants that has been touched with non-union hands.

So, we decided to join the union. It wasn't a bad deal.

Sensing a potential expansion for them, the union let our people in without an initiation fee, only dues. And they had a great medical insurance plan.

This decision led to another. We established a subsidiary prep facility with camera, color correction and stripping.

One of our first moves was to cope with a major problem.

The commercially available screen film only came in six variations, similar to letterpress bendays, so we created our own masters: a minimum, a 5% and others in increments of ten percent, from 10% to 90%. We then made up and printed color charts as a guide to what would happen with combinations of screen colors.

We never could have produced CA without these tools, and that pushed us into the decision to be the first magazine printed by offset litho. Even the Lithographers Journal was printed by letterpress. Agencies supplied ads as letterpress plates.

When we showed the color charts in our first issue, and later put out a book, The CA Color Guide, it caused some consternation around the country. Designers were calling their printer and saying, "I want to do this~' Fortunately, commercial screens in increments of ten percent came on the market very quickly. They are in steps of five percent now.

The speed of change has been remarkable. Today, CA is printed on a computer-controlled web press. Our lines and pressform masks for stripping are created on a computer-driven Cadograph. We still have to rely on a camera for rescreening printed pieces, but many of our separations are made on computer-controlled scanners. Digital retouching and color correction are available.

Another facet of printing technology, perfect binding, has had an effect on how we design. Because we needed the flexibility, and perfect binding was not readily available when we began CA, our early issues were bound in a semiexperimental situation, part machine and part handwork.

To see the current influence of perfect binding, just look at today's annual reports with their imaginative combinations of papers and press forms.

One other note: the change that benefitted us so much could not have happened so rapidly without the tremendous acceptance of offset litho that attracted the invest(continued on page 10)

Other draw and paint programs also let you add captions. But none of them can put those captions next to the sharpest, cleanest lines and curves on the map.

Just rough out your basic design and the puwerful curve drawing capabilities of the Adobe Illustrator can take itfrom there. To there, then back over there, then around. ..

Share your drawing with other users. And ifanyone wants to change it-no problem-the Adobe Illustrator can give you another perfea original. Fast.

Start with a blueprint orjust a dream and the Adobe Illustrator can help you build out the rest.

Straight and true.

For producing the finest details, all kinds of line weights, even typeset captions with precise cuntro~ no other program can touch it.

WITH THE NEW ADOBEILLU K This is the work of the most powerful and practical art production tool ever to grace a computer screen.

The Adobe illustrator. A software program that, for the very first time, combines the control and fine detail of drawing by hand with the speed and mathematical precision of the computer.

The result is, well, you can see the results for yourself What you can't see, and can't possibly imagine, is how fast it is. How versatile. And how productive it can make you.

Instead of building an image with dots like other programs, the Adobe Illustrator uses precise curves and lines.

So nothing looks like it was drawn by a computer. And you have infinite control.

The Adobe Illustrator won't limit your artistic license, either. On the contrary, you'll be able to do things with it you've never done before.

You don't have to build a drawing from scratch, you and your Macintosh can start with the scanned image ofa photo, logotype, blueprint, a rough sketch, even something from your scrap file. Or use a document from MacPaintlM or compatible software. You can even combine two or more images into a single image and work with that.

Once it's in the computer, you can manipulate it in ways possible only with a computer. Even share your work with other users.

But no matter where you start, or what you do to it, you'll be pleased to know the Adobe Illustrator will drive any PosTSCRIP~equipped printer from an Apple~ LaserWrite~ to a typesetter like the LinotypelM LinotroniclM 300. So you can get final art with resolution so high you'll get dizzy just looking at it.

So go see it. Call us at(800) 29-ADOBE,(800) 85-ADOBE in California, and (415) 852-0271 from Canada for the location of the Adobe dealer nearest you.

But do it soon. The first thing the Adobe Illustrator is going to draw is a crowd.

1M

1M

Unlike other draw and paint programs) theAdobe Illustrator uses lines and curves to form an image) instead ofdots. So there's really no limit to the ideas you can hatch. Or cross-hatch.

Change is the name of thegame in logo design.

And the Adobe Illustrator can make changes in a fraction ofthe time it would take by hand.

And not a big fraction) either.

Adobe lllustmtor is a trademark and PosrSo>.IPT is a rtgistered trademark ofAdobe Systems lnanpuratd Other brand or produa names an trademarks or rtgistered trademarks of their nspective ho/Mn. 0 1987 Adobe Systems lncorpimJted, 1870 EmbarcadmJ Rd., Palo Alto, CA 94303.

EorroR's CoLUMN

ment necessary to develop the equipment and materials we have today. One man who deserves a lot of credit is Edward Swayduck who was president of the New York local of the lithographers union. He was the first to revoke that rule I mentioned earlier, figuring it was better to let designers do what they wanted as long as they converted to litho. Among other things to promote the cause, he instigated a quarterly publication called Lithopinion (which was circulated to influential people in government, education and this field) with thoughtful articles on politics, living and the development oflithoggraphy. It also offered outstanding design and graphics, art directed by Robert Halleck.

Aware of the rapidity of change, but not having the technical background to an.swer why or how questions, I can only speculate on what I think will happen in the future.

For certain is electronic publishing. And I don't mean a PC with a laser printer. The entire production and printing process will be digital (not really that different in theory from a halftone). It will be faster, better and cheaper. Image reproduction will look like continuous tone to the human eye. Combination screen tones will be consistent, so the number of colors will be almost unlimited. It could be beneficial to have a color system based on more colors to provide tints and hues not possible in four-color reproduction. I have no idea what will replace today's inks and coatings; I hope it will be something more permanent.

The change will occur faster than in the past when small, pioneering cQmpanies .dealt with a smaller market. Today there are larger companies involved. I would be surprised if the big three suppliers to the printing industry, Kodak, DuPont and 3M, were not heavily into this replacement for a market they will be losing. The enormous capital investment required to establish plants with the new equipment would probably dictate two systems running parallel for a time, and upheaval in the printing business.

The digital information for the press run (odds better than fifty-fifty, it will be a new term) could be transmitted to a distant press for identical reproduction or to screens for viewing. In the short term, pictures, diagrams, whatever, already digitized for reproduction, could be recovered for second or third use, subject to future copyright law. All of the digitally printed information could be turned over to digitized research libraries.

How will the art directors and designers be linked to electronic publishing? Someday we'll have workstations, on-site, that will be front-end stations for the electronic publishing equipment. The cost involved in that puts it into the more distant future. It might be expedited with a time-sharing system that allows an on-site workstation to utilize the power ofEPE (getting with the electronic jargon). This would also be expensive, but could be justified on the basis of speed.

10

Communication Arts May/June 1987

In the interim period, there will be computer-aided design systems for graphic designers and art directors. They will be able to do useful things in the areas of arrangement, exploration of size and color, and fine-tuning the layout and typography. On ads, for example, the copy will be fed in from a word processor and the art director will select a typeface, type size, leading, kerning, column width or depth. Hyphenation will be automatic. The face and size can be changed instantly. It can be directed to run around an illustration and rehyphenate. Headlines and bodytype can be discretely letterspaced. The highresolution digital type will look just like the final ad.

Pictures can be enlarged, reduced or cropped. The screen image can be saved at any stage while options are explored, and then brought back for refinement, proofing or transmitting.

All of these functions are possible right now. The problem is integrating these complex-software programs into a unified system that is quick, user-friendly and compatible with the design thought process, on a computer that can provide the necessary speed, memory and resolution, at a price that is affordable.

There are workstations currently available that are useful in packaging, trademark design, signing, illustration and rough presentation camps. The cost of the better ones is about $100,000. There is a learning-time factor, but it's no more difficult than learning to operate a PC. I'm running out of space again, but I will continue this with some factors that I think will influence the future of design and advertising.

0

To parallel some of the exploration in this series of columns, we arranged a panel session with four prominent San Francisco designers to discuss where design is today and touch on their expectations and hopes of what it might be like in the future. The conversation begins on page 84 with Michael Vanderbyl, Michael Mabry, Primo Angeli and Kit Hinrichs. Kit provided a bicoastal perspective, having had a successful practice in New York before moving to San Francisco. We will plan some other panel discussions in the future.

0

The cover on this issue might seem familiar. Always one of my favorites, it was also the cover illustration for the JulyI August, 1970 issue of CA, a special issue featuring eight San Francisco designers and a photo essay by Lars Speyer. The collage was created by Primo Angeli, one of the featured designers in that issue, and one of the panelists in this issue. Speyer photographed the collage with a zoom lens.

-R.S.C.

SMOOTHER. IT'S IRONIC ISN'T IT. BY MAKING THE SURFACE SMOOTHER, BY BEING ABLE TO DISTRIBUTE THE INK EVENLY ACROSS IT,

YOU CAN BRING GREAT DEPTH AND DIMENSION TO A PIECE. A LEVEL OF DEPTH AND DIMENSION THAT MAY NOT ACTUALLY EXIST TO THE HUMAN EYE AND SENSES. YES, THAT'S WHAT YOU GET WITH WARREN PATINA. PATINA, AN UNCOMMON WORD. NOAH WEBSTER DEFINED IT AS A SURFACE AGED, MELLOWED, AND MADE BEAUTIFUL BY TIME AND WEATHER. AND WARREN PATINA CAN BRING THIS SAME BEAUTY TO WHATEVER YOU PRINT. A SPINY CACTUS, A CAPRICIOUS SMILE, A DAY THAT COULD ONLY BELONG TO SEPTEMBER. WARREN PATINA IS A GREAT VALUE FOR THE MONEY. A GREAT VALUE FOR IT PROVIDES THE QUALITIES YOU WOULD EXPECT FROM OTHER HIGHER PRICED PAPERS. PATINA IS SO SMOOTH YOU GET AN UNBROKEN INK LAY ACROSS THE PAGE. YOU CAN INCREASE

THE COVER-

AGE WITHOUT FEAR. AND WARREN PATINA WILL ALSO PRODUCE BRIGHT COLORS, AND MAKE HIGHLIGHTS GLEAM AND DETAILS BURST WITH A RESONANCE NO ONE WOULD EXPECT FROM THE SUBJECT MATTER. FOR EXAMPLE, THIS CACTUS. NO LONGER A DUST COLLECTOR, OR JUST SOME PLANT INDIGENOUS TO THE WEST, IT'S NOW A TRUCULENT BEAST, AN IMPREGNABLE SCULPTURE, OR

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THE MOST INCREDIBLE CACTUS YOU HAVE NEVER SEEN BEFORE. WARREN CAN CHANGE THE WAY YOU SEE THINGS.

8

THERE IS AN UNARGUABLE FACT. THE SMOOTHER THE PAPER, THE BETIER THE IMAGE WILL REPRODUCE. WARREN PATINA IS A

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86-106

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The Science of Strathmore.

The designer must each day face the challenge of the blank piece of paper. The ~harge: to express new ideas In new ways.

At Strathmore, each of our printing papers reflects an understanding of that challenge.

They must, of course, readily accept the designer's creations and the techniques required to carry them out flawlessly.

But we further believe that truly expressive papers should also ~park. ~e mind, inspiring new Imaginings.

And that when these papers are touched by new ideas, new realities are, indeed, created.

~Strathmore Paper Company ~ Westfield,Ma

achu etts0 1085

Strathmore.

Because paper is part of the picture.

ADVERTISING

JIM JOHNSTON

A

FEWTHINGSINLIFEAREPREDICTABLE. You can bet there will be a dozen major agencies involved in mergers, acquisitions and other shuffling of stock certificates.

And it's a certainty that Jerry Della Femina will say something more, in 1987, that's thoroughly outrageous and irresistably quotable.

Predictable, too, are the awards that will be garnered by the new Chevy tv campaign. In fact, the gold, silver and bronze tributes have already begun.

One trade paper writer praised Chevrolet's "Heartbeat~' calling it a deft adaptation of Miami Vice's stylish video techniques.

Accurate as far as it goes. But let's trace the heritage back a bit further.

Vice was created-by the producer's own admissionas an "MTV cop show."

MTV, in turn, is a direct descendent of the music shorts and videos pioneered in the UK, beginning with the Beatles twenty years ago.

In any event, imports keep selling at record levels.

Of course, "Heartbeat" is only one of a genre.

If, for example, you haven't gotten the message that The Night Belongs to Michelob, you probably don't own a television set. Again, it's a lovely, entertaining campaign, and if you like Phil Collins, a joy to behold.

Of course, there's not much of an idea bouncing around in The Night. But then it's reasonable to believe the absence of an idea may not be as damaging in beer advertising as it is automobile advertising. Or perhaps Michelob is simply a better product than a Chevrolet.

In any event, advertisers should find the ongoing American trend to disguise the absence of an idea with music and film more than a bit disturbing.

Now, there isn't any inherent conflict between terrific music, stunning cinematography and a strong idea.

All three have a few things in common. Music without meaningful words. Flash without substance. Visual pyrotechnics without any real idea.

You don't have to choose between audio/visual excitement and a strong center idea. All three can, and have, existed in the same :30 or :60.

Please note, I'm not protesting the lack of words. In fact, I find both Chevy and Michelob refreshing with their lack of verbiage.

Entertaining? Betcha booties, baby.

The problem is the absence of an idea.

To be sure, the Beatles are history, MTV is boring and predictable since the heavy breathers got into the act with multi-million dollar videos, and Miami Vice is beginning to wear a bit thin.

As history shows, a strong idea is fundamental to advertising success. And ideas can and have been communicated; with and without music; with and without filmic fireworks; with and without verbiage.

Example: Coke's classic "I'd like to teach the world to sing" TV commercial. Music so strong it became a popular hit.

Simple cinematography. But a strong idea that made the whole thing work.

Now I have no intention of criticizing the musical genius of the Beatles, the commercial success of MTV, or the rewarding exploitation of Miami Vice.

But, as Sonny and Cher used to say, the beat goes on.

And on. And on. The problem I have is a simple one.

After watching commercials in this series several times, I remain dubious as to whether a strong music track, stunning cinematography and superb cutting add up to persuasive communications.

Strong imagery?

To be sure. But it's difficult to find any rational reason for buying a Chevrolet tucked away in any of the spectacular footage. The message comes through: "The Heartbeat of America is Chevrolee' But I'm hard-pressed to figure out just what that has to do with buying a car.

16

A cynical friend of mine (and I do seem to have a lot of cynics for friends) commented, "Chevy is the heartbeat of America. It's just that we have a few disturbing heart murmurs these days~'

Communication Arts May/June 1987

In Britain, music from Figaro was coupled with footage shot in Fiat's automated factory to create one of the more memorable commercials of our time. What made it work?

A strong idea expressed in nothing more than a supered line at the tag end: "Fiat. Handbuilt by robots ~' Doyle Dane Bernbach's "Snowplow" was, in my judgment, the best in a long series of superb Volkswagen commercials.

No music. Rather ordinary film. Only a single line of copy. And an astonishingly strong idea.

TOYOINKS AND COLOR MATCHING SYSTEM. NOT JUST BETTER COLORS. ABETTER SYSTEM. We have come to accept it as characteristic of the Japanese that when they do something, they do it well.

Toyo ink and the Toyo color system are no exception .

From the culture that produced Hiroshige and Hokusai, you would expect nothing less than the most subtle and brilliant colors. And that's precisely what Toyo gives you . A broader palette of colors to choose from . A more sophisticated range of colors to work with .

Over700 colors in all.

And Toyo inks don't just look beautiful, they also print beautifully.

With excellent trap.

A sharp dot. Extreme stability on press. And a great balance between fast setting and a high gloss.

What's more, the Toyo ink system is every bit as intelligently conceived as it is beautiful. It lets you create over 90% of the available colors with just 14 base inks, including the 4 process colors. (But then, what else would you expect from a country that has made a virtual revolution of efficiency?) .

For all these reasons and more, Toyo inks have consistently been used in the world 's finest art books and folios.

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JIM JOHNSTON

Hal Riney's Bartles & Jaymes commercials have no music, no filmic fun, and a fair amount of copy. But there is an idea.

The best Fallon McElligott commercial I ever saw was a cheap little production done for a Minneapolis department store announcing a Christmas sale. No music, no directors' tricks, no amazing cuts, but a compelling idea.

I submit that these and dozens of other examples that could be cited were highly entertaining commercials.

The idea didn't get in the way of the entertainment values.

But entertainment without persuasion isn't advertising, it's show business. And as any Hollywood mogul can tell you, that's commercially feasible only if the show is so good someone pays to see it.

The same national and regional derivation seems to distinguish the better work coming out of the U.S., whether it's from Minneapolis or San Francisco, Raleigh or Los Angeles, Dallas or Portland.

Exception: New York. Of course, it could just be difficult to find creative inspiration in a city where a studio apartment costs $1,000 per month or more.

So later this year, when they're raving about Michelob and Chevy, you might check to see if real people-not the client or the agency-are rushing out to buy videotape collections of the two campaigns.

Down Under, a major population explosion is underway in Western Australia. Logical, since the air is clean, the sun is bright, the beer is good and it's possible to buy a four bedroom home for US $30,000 or less.

Yep, they are entertaining.

On the other side of the coin, an American correspondent complained to me that the Australians are naive, lacking in self-esteem, aren't interested in being world leaders; quite content to enjoy their life and work.

But they're not that entertaining.

0

Last December, Pat (friend, companion, wife, partner) and I spent a couple of weeks Down Under.

Oddly, that seems to me to be the way Americans used to look at the world.

As usual, my pet project was attempting to get a feel of the creative climate, understand what was happening in design and advertising, and figure out what's apt to happen.

Our idealism of the 1960s gave way to the cynicism of the 1970s and the sophistication of the 1980s-personified by yuppies who have ambition without idealism, drive with no motive but venality. Goodbye, Norman Rockwell; hello, Colonel North, Ivan Boesky and Donald Trump.

We flew beyond the Outback to Western Australia, a state which has just 1.5 million people in an area big enough, I'd guess, to hold California, New York, Illinois and Texas.

Perth, a city of a million and the capital ofWA., is the most remote major city in the world. In that part of the world, people are comfortable with distances that boggle the mind of anyone who thinks the New York to Los Angeles run is appallingly long. McCann's creative head in Perth told me holidays are no problem. You just pop up to Hong Kong (a mere eight hour flight) and then connect through to Italy (twenty hours but not a difficult flight, he allowed.)

He arranged-more to the topic of this column-for us to see a reel of Aussie television.

The quality of the work wasn't as good as some Australian work I've seen in the past. Nor could I say the nation's print is world-class.

But, the work being done in Australia and New Zealand provoked some thoughts relevant to U.S. advertising.

18

There's a strong and growing trend in the land of Oz. The creative work may not be stunning to the American eye, but it is increasingly reflective of the national heritage.

Not in the blatant style of jingoism evident in many American campaigns, but subtly based on Australian and New Zealander values, history and attitudes.

Communication Arts May/June 1987

Who'd settle for a Doyle Dane Bern bach when you can have a Omnicom? Good riddance to Carl Ally, and thank goodness Ed McCabe decided to motor right out of advertising, bound for Dakar. This is a sophisticated America, with no room for the outrageous, no patience for the outspoken, no time for sentimentalists.

In comparison, the Australians are naive. They are, by and large, optimistic blokes who enjoy their beer, their life, their work.

I wish America was more naive. A strong dose of naivete would do wonders for our creative spirit and our sense of craftsmanship. And that, in turn, might do more for the balance of payments than the financial fiddling of our fiscal geniuses.

Obviously, some might ask, as George Steinbrenner did of a critic, "If you're so smart, how come you're not rich?"

To which my rejoinder would be, "If you're rich, how come you're not smart?''

LEGAL AFFAIRS

TAD CRAWFORD

RECENT COPYRIGHT CASES

T

HE MOST RECENT OVERHAUL OF THE copyright law took effect on Janaury 1, 1978.

As we approach a decade of experience with this law, many of our understandings about its provisions have been changed by the decisions of the courts.

Sometimes this is clarifying; at other times it overturns our expectations and may appear to contradict the clear meaning of the law. Nor are the cases necessarily consistent. Federal courts often differ from one circuit to another.

While a decision of the United States Supreme Court will of course be followed as precedent by all the lower federal courts, the Supreme Court can be very slow to resolve conflicts. Some of the cases did not involve imagery, but the legal principles discussed are nonetheless valid.

What Is Copyrightable?

Almost all art is copyrightable, including the finger paintings of a child. However, the law says "In no case does copyright protection ... extend to any idea, procedure, process, system, method of operation, concept, principle, or discovery... ~' Thus, the statutory history makes clear that typeface designs are not to be protected by copyright.

Nor are useful objects, although ornamentation on a useful object can be protected.

Brief phrases on a mass mail advertisement were uncopyrightable because they lacked sufficient creative expression.

These phrases included "gift check:' "priority message:' and "contents require immediate attention~' In addition, the design of the words did not qualify for copyright because it was deemed an uncopyrightable typeface. But when does type become so artistically altered and crafted that it is copyrightable? Despite a strong presentation made by the Graphic Artists Guild, the Copyright Office has generally refused to register type-only designs, such as book jackets, unless the type verges on having the pictorial quality of an illustration (such as the word "spread" with the type for the word spreading apart).

In a case involving an artistic bicycle rack, the court concluded that the rack was not copyrightable because the artistic features could not be conceptually separated from its function as a rack. On the other hand, a sculpture would be copyrightable even if it were made into a lamp.

Publication Without Notice Copyright comes into being the moment a work is created. © Tad Crawford 1987

20

Communication Arts May/June 1987

It is not necessary to affix copyright notice to the work or register it with the Copyright Office in Washington in order to gain copyright protection. But when a work is published, which means distributed to the public, it must have copyright notice or there is a risk that the copyright may eventually be lost.

Three saving provisions ameliorate the damaging effect of omission of copyright notice when work is published.

If the notice is omitted from a relatively small number of copies, it is as if those copies in fact had notice. If the notice is omitted from a relatively large number of copies, the copyright can be saved by registering the work within five years of publication and making a reasonable effort to have notice added to all copies. Also, if copyright notice is omitted in violation of an express written requirement that notice appear on any published copies, it will be as if the notice appeared on the work. It should be added, by the way, that infringers relying on the absence of notice may not be treated as harshly as infringers who ignored a copyright notice.

Whenever the word "reasonable" is used in a law, disputes will certainly follow. In one case, architects published drawings without copyright notice in promotional brochures and the advertising supplement of a newspaper.

Because the architects did not act promptly after discovery of the omission to add the notice to all undistributed copies, the court decided their attempt to cure the omission was not reasonable. Their copyright went into the public domain, so the drawings can be freely copied by anyone.

On the other hand, a video game manufacturer was not required to add the omitted notice to video games in its own warehouses or at its dealers. Simply adding proper notice to all games produced after discovering the defective notice was found by the court to be reasonable. So the copyright was preserved.

Even the deliberate omission of copyright notice can be cured. A toy manufacturer purposely omitted notice from robot toys distributed in Japan, since in Japan toys are not protectable by copyright. Yet the court ruled that the manufacturer could nonetheless register the work and save the copyright by making a reasonable effort to add notice to all copies which, to quote the law itself, are "distributed to the public in the United States after the omission has been discovered .. ~' (Continued on page 26)

A TRAIN TO REMEMBER. A TRAIN TO RIDE AGAIN ON PRODUCTOLITH GLOSS.

S 0

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~

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Who Is Liable?

Everyone knows that an important reason to incorporate, often the paramount reason, is limited liability. The corporation is liable for debts or damages from lawsuits, but the individual shareholders are not. Yet the copyright law does not always allow such fine distinctions to govern liability when infringements are determined to have taken place.

Several music cases illustrate the way in which courts will penetrate the corporate structure to punish infringement. For example, a corporation operated a lounge where music was performed without the permission of the copyright owners. The president of the corporation said he did not oversee the hiring ofbands, disc jockeys, or employees for the lounge. He also claimed that he did not manage the lounge on a daily or even a monthly basis.

Despite this, the court concluded that he could be found personally liable because he had the authority to manage the operation and stood to gain by the infringements. In a similar case, a court stated that the president and shareholder of a radio station could be held personally liable either because he set the policies leading to the infringement or gained financially by it.

A more troubling case for the communications professional involved a state-owned university sued by a photographer for infringement. In fact, the photographer had worked on assignment for the university to take photographs for limited usage in the 1982 student prospectus. When the photographs were used in other publications, the photographer sued. The university defended on the grounds that it was an arm of the state and therefore protected from suit by the state's immunity under the Eleventh Amendment. The court agreed with the university, leaving the photographer unable to pursue his claim. A state agency can waive such immunity, so in dealing with such entities it would be wise to keep the immunity issue in mind.

Costs and attorney's fees The copyright law provides that the court, in its discretion, may award costs to either the winning or losing party in a copyright lawsuit. The court may also, again in its discretion, award attorney's fees to the winning party in a copyright lawsuit. For the party suing for infringement to be eligible for attorney's fees, the work must have been registered prior to the infringement commencing (or 26

Communication Arts May/June 1987

within three months of publication, which will be treated as if the registration occurred on the day of publication).

The effect of these provisions can be most intimidating to an individual or small company contemplating pursuing a legal suit against a large corporation.

In a noteworthy case, an individual sued CBS for copyright infringement. When he lost, CBS demanded $28,000 to recoup the costs it had incurred. Noting the broad discretion given by the copyright law to the courts, the court ruled that costs should not be awarded. Such costs would "impose a great hardship " on the individual bringing the lawsuit, yet " the amount of the costs is immaterial to CBS , a multi-billion dollar corporation~ ' An important consideration was that the case had some merit, particularly in view of the fact that the jury deliberated 26 hours (after a trial that had only lasted 6 days).

The courts differ as to whether the prevailing party must show bad faith in order to recover attorney's fees. Some cases require it while others do not. The burden of proof on a prevailing party seeking to recover attorney's fees or costs has been found to be the same regardless of whether the prevailing party is the plaintiff or defendant.

In a striking case, a defendant recovered attorney's fees not only from the losing plaintiff, but from the plaintiffs attorney as well. Although the lawsuit was not brought in bad faith , the court in its discretion decided to award attorney's fees to the defendant who had won. It assessed half of the award against the plaintiff and half against his attorney. The reason for this was that the attorney did not thoroughly research and evaluate the merits of the case and the plaintiffs capacity to do this was limited.

Attorneys paying the fees of other attorneys! I have to believe that it actually happened, although it sounds more like a travelogue from our friend Gulliver than a sober review of the legal annals.

• Tad Crawford, author of Legal Guide for the Vis ual Artist, is also the publisher for Madison Square Press whose books include the annuals of the Art Directors Club of Los Angeles, the Society of Publication Designers, and the Society of Illustrators.

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COMPUTER DESIGN

WENDY RICHMOND

T

HE PRESIDENT OF A COMPUTER graphics company recently asked me, "How much would a design department spend for a computer graphics system that does everything?"

I said, "Design managers look at the price tag before they look at the features. Anything that costs more than a copier is an uphill battle~' A few years ago, a computer that could be used as a design tool was too expensive for most in-house design departments. Design managers had a hard enough time justifying a stat camera. How could they request a computer that cost ten times as much?

Now computers are so inexpensive and popular that design managers barely have to ask and the purchase order is signed. Computers are popping up in design departments all over the country. Design managers can't ignore it.

It's not enough to attract new design talent and clients by winning awards. Design students expect state-of-the-art design offices. Clients expect state-of-the-art turnaround.

But, in their haste to get a computer into the department, design managers are neglecting the most important question: What are the real costs of successfully using a computer in the design department?

I know a design director who purchased a computer for his department, and every time he looks at it he feels guilty. The computer's been sitting there for months, untouched. I asked him why he got it.

He said, '~ll the other departments were buying computers for word processing, accounting, direct mail ... there's a computer on practically every desk. I didn't want the design department to be left out, so I stuck three thousand dollars in the budget. After we bought it, no one had time to figure out what to do with it. I finally spent some of my own time and I found out that we needed another $7,000 worth of stuff to make it useful~ ' Then he said something that sounded too familiar: " They'd never let us spend that. It's way above our budgeC Where does that budget come from?

Design managers seem to have a fear of asking for more money than the design managers before them. Designers do themselves, their clients, and other designers a disservice when they continually underestimate their needs.

I remember the first time I had to submit an annual budget. After I totaled the figures, my first reaction was to reduce them. I spent hours going back over each item, figuring out how to do things cheaply. When I finally presented the budget to my boss, he said, "You're approaching this the wrong way. We have to figure out how much we need to be successful. If we underestimate, and don't start out with the appropriate funds, we're sure to fail~ ' 28

Communication Arts May/June 1987

That was an eye-opener. I rewrote the budget, including what I felt would allow us not only to do the work, but also to grow and take on more work, and be more profitable.

Before you decide to ask for a computer for your design department, you should have a clear idea of why you need it, and how the department will benefit.

Do you want to save money on typesetting? Do you want faster turnaround time on corrections? Do you want to be able to set type for comps in-house? Do you want to automate copyfitting? Do you want to make a mechanical without doing any paste-up? Do you have clients that need formats that they can use with their computers?

Do you want to make color comps without using outside services? Do you want to create line art without rapidiographs, french curves and stats?

Do you want to automate your invoices? Are you looking for a better way to handle your accounting?

There are definitely areas in which a computer can help your department save a lot of time and money. But before you reap those benefits, you have to spend a lot of time and money.

When you submit your budget, you should know what you need to accomplish those tasks. Does the budget cover the ingredients? The computer itself-whether it's a lap-top or a mainframe-is cheap compared to the laundry list that goes with it.

What software packages should you buy? Word processing?

Composition? Page layout? Paint? Line art? Photographic manipulation? Database? Accounting? Communications?

What typefaces?

What peripheral hardware will you need? Scanners? Video cameras? Color plotters? Modems? Laser printers? Film processors? Hard disks?

Do you need more space? More electricity? Extra phone lines? Service contracts?

And then there's the most important and costly ingredient of all: time.

The learning curve is very steep when you start to learn about and use a computer system. How much time does it take to do that research? Whose time? Where do you get the information? How many hours will each designer need to learn how to use it? There's a new heading that's starting to appear in the budgets of design departments.

It's called Research and Development. Who absorbs that cost? Do you charge the client? Is it overhead?

If you 're a design manager who's decided that a computer will be a useful tool in the design department, make sure that you have budgeted the time and the ingredients. You won't grow if you limit yourself to last year's goals.

Don't look back.

Nekoosa Papers Inc. a company of Great Northern Nekoosa Corporation MILLS AT NEKOOSA AND PORT EDWARDS, WISCONSIN AND ASHDOWN , ARKANSAS

GENERAL SALES OFFICE Port Edwards, Wiscons in 54469 Phone (715) 887-5111

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JOHN VAN DYKE

BY

BYRON

FERRIS

Though this would seem to be the description of a corporate organizational chart, it is simply the way everyone fits into the three floors of the condominium unit that houses the company. It's bright, well-designed and conveniently surrounded by all of the services of metropolitan Seattle.

John's top-flight design office centers around a comfortable conversation core where he does most of his thinking and planning.

Good design, for John, stays simple and direct. He explains, "I started out as a production artist when I was in school, doing mechanicals for printers.

"I was asked to become production manager and learned very early how to produce jobs in their entirety. Good design isn't worth much if it can't be well produced.

"I feel that if a piece doesn't communicate something very quickly, it isn't working. A good, direct design can usually be easily produced. The two go hand-in-hand~'

A

FEW BLOCKS FROM Seattle's busy waterfront lies historic Post Avenue, half mews, half alley, still heavy with the flavor of Gold Rush days. Between the lusty kitchen of a neighborhood Italian restaurant and a smoky welding shop, there is a small courtyard, brick-paved, gated and hung with vines. It is the entrance to the John Van Dyke Company.

John Van Dyke is at the top, below him two assistants, Alice Hung and Brenda lwai, and below them are Rose Schaedel and Lisa Walker, administrative and office support.

32

Communication Arts May/June 1987

With John's competence at planning and production control his five-person shop has attracted corporate clients who respect directness and adherence to clear budgeting as well as good design. John is noted for the design of corporate annual reports and his busy office produces an amazing volume of work at the corporate communications level. The turn of the year finds him personally juggling six important annual reports, among them the annuals for some of the Pacific Northwest's largest companies.

Fortunately, in these years of changing markets, there is usually some special message to find for the year and

John starts each annual with carefully researched planning of the content of the piece.

"At the corporate level~' he notes, "the work tends not to be very light or frivolous. I like to build in some visual flavor, because even the serious corporate message should look interesting.

That's the real challenge. Take a serious corporate assignment, perhaps a complex one, and simplify it to create engaging and interesting communication~'

John says, "I pay a lot of attention to the business world. Whatever we do as designers, we're still in service to business. Things are changing rapidly and we'll have to respond to the new climates~' We talked about the changes in the business world and the message of the 1960s. The '60s were a time of great economic growth and business prosperity. Advertising and design boomed with new creative growth and excitement. All things seemed possible.

Late in the decade, new social ideas and protest movements challenged the sensibilities of the establishment.

In the '70s, the U.S. market which had dominated the world, was overwhelmed by excellent products from other developed nations, nations whose economies had recovered from the devastations of the World Wars.

Photo of John Van Dyke © 1987 Doug Evans John Van Dyke was the designer of all projects shown in this article.

The 1985 annual report for Weyerhaeuser Paper Company was designed to promote their sh ift in emphasis from a commodities producer to a market driven company. Elaine Kraft, writer ; Terry Heffernan, photographer.

Our contaanerboard offers unsurpassed pnntabdity, runnabthty and strength

each t1me it is used ro make a corrugated concamer.

That's what our customers

worldwide tell us, ancludang our own shippmg container divis1on,

whose Milk Moover protects our own milk cartons

Checkang the weather, followang sports, clipping rectpes and food coupons, watchang your stocks or reading Dear Abby- each morning we pour a cup of coffee or tea and catch up on the news. The real story behind that news? It's

printed on our newsprint.

33

JOHN VAN DYKE

Now, in the 1980s, the body of U.S. business finds itself not so much attending to production as to solidifying through corporate combining and turning to international marketing.

With Seattle growing as a transportation hub to the Pacific Rim, many of John Van Dyke's major clients in the Pacific Northwest and Canadajoin in this world view of the '80s.

The residual "message of the '60s;' upbeat and challenging, still remains part of John's design attitude. He challenges visual indolence with an upbeat contrasting of strong forms against a delicate handling of typography-all building around the well-thought idea of a message.

I didn't ask John how old he is, but he seems to be the same age as everybody.

There is always some ingredient of timelessness built into the makeup of a designer.

He does, however, seem to know a lot about Seattle's design history. In his student years he went to Cornish and then to the Burnley School, which for a brief time offered a kind of workshop curriculum with many working professionals visiting to teach. Burnley existed at the time that "commercial art" was fading and "graphic design" was being invented. He reminisces about Seattle's early design instructors and design heroes; Marlowe Hartung, Jim Peck, Fred Walsh, from the days when there were recognizably regional bodies of design work.

"The overnight courier and the fax machine have changed things;' John points out. "I've found it efficient to call in photographers from across the nation as well as work easily with clients outside Seattle.

34

Communication Arts May/June 1987

larly exhausting, he'll take a one-day flight to remote Cabo San Lucas at the tip of Mexico's Baja California.

"Of course, the real change is coming from the new technologies in printing and the use of computers. The new 'easy' tools are going to at least take the place of the workers who do what I think of as the mediocre in the design world. We're still going to need levels of design at the higher end.

The computer still can't think for you and the important time in design is that spent in the selection and the creation of the message.

"Perhaps that's why I get the most pleasure from the tough projects, the ones that ask, 'How in the world are we going to solve that?' I don't want to take the expected back to the client.

I want to take a solution that is good design and has some added element of visual interest.

"The quality of our design will be what endures. I want to be known for the design work, not for how well I made a pitch or how well I sold the project.

When I'm dead and gone, the only thing that's going to be left is whatever it is that I've designed~' And he says this with great personal passion. Of course, no one can be so intense without some times of relaxation. John's other great passion is travel. I suspect that he puts as much intensity into travel as he does design, since, when the annual report season is over, he may be off on another extensive visit to East Africa or to a vacation sailing between South Seas islands. If the work has been particu-

On occasion, he'll head for out-ofthe-way places such as the New Hebrides or the Seychelles in the Indian Ocean, where people who don't know about graphic design expect him to talk about other things.

"That's my release;' John says, "far travel or a weekend sail in the San Juan Islands north of Seattle. Here at the office I work long hours, best in the morning. I get a high from designing, finding the idea that was always obvious but not yet revealed. It sometimes takes a great deal of work and thinking to find the obvious.

"Out of school I wanted to be an illustrator. Now I get out of design everything I need. Nowadays there are so many good people doing good design that the standards are being ever pushed up. I find that exciting.

"The people who do good design love good design~'

• One from a series of seventeen products for Geneve Cosmeceuticals. Developed in Europe, and marketed in the United States, the company makes "serious skincare" containing no fragrancE or coloration .

Top right page: Cover and spread of the 1984 Expediters International annual report. Tom McCarthy, writer; Alice Hung, illustrator; David Watanabe , photographer. Bottom: Cover and two spreads from the 1985 annual report.

Tom McCarthy, writer; Cliff Fiess, photographer.

John: "In most annual reports we're trying to change the visual perception of an existing company's image. Since 1984 was Expediters first annual report, we were able to position them exactly where they wanted to be:·

Expedirors Inrernarional

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donr right, nor to comet things chlu BOWI'Of18 ·

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steady growth i.s the ability rocommunicacewd..l, 6nt .cn:aourmM business system, and second widl our dienc:s and supplim in countries l.tOUnd the: t'oOrld. 1lw ability grows from a

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Aung offices. More important, our ptOplc have .ukcd rogtthcr fOr many yean and can tad

Otincsc in Hong J<on&. Canadians in Toronto. 1lw: isn't chauvinistic. It's

btt..unthe l ines,underm.ndingthcsubdetiesof~choict.roncando;pres.sionoftheir

pn&maric. If~ shi~t runs into trouble half a world away, we'rt

associarn. 1hey communicate the way a successful tcun communiaces. This internal ability

aJrtady thttt, on tht ground, in penon. In a busintss characterizrd by

translatnrobrnefitSforourclientSinnr.oways. Pim,ira\OidsproblmlS. S«ond,itptrmio

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Exptditm lntmzational Annual Report

more not mal ltvels~lari~rorhe~ri 1984, ~antKipatethebusinessenvironmenr in 1986

to ~ mongtt and txp«t ro participate in the resulting growth .

1ne pnxenionist

x:numenu that ~re bn.dcast so widely last year S«m to ha~ cooJf!d . In lddition , U.S. o:poru•ppeartobeontheincrostand~~hopefuJthatthecurrmtclimateforintttnationaJ

trxfe will contin~ to strmgthen as the )UC progrn.scs.

lnere has bttn considt:r-.ble

sp«ubuon that the U.S. dollarw1ll connn~ to decline: in value relati~to molt Otherworld CUtrenCICS. 0n the sumce, II 'MlUJd appear that l decline in the U.S. dollar WOUld have a nrgari~ impact on Exprduon· business due to the fact that~ art heavily dependent upon

n&ct, justtheoppooi«•Struoin th,..ofou,majo<nwkeu: Hong Kon8. Ko<n

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and Taiwan cur~nc:ies art ptgg«< tO the U.S. dollar, so any dtclinr in the U.S. dollat is likely to haw minimal imp.ct . Also, when the U.S. dollar9oo'taktns againsrtheJapa~ytn.Japannegoodsbecomef1lOfttxptnsi~to.ellintheU . S.

To stay compttit i~. some Japanese manufacturt:n ha~ shiftf!d their operations to countries with I~'Na8t:scales suchu Hon.s Kong, Singapore: and Taiwan. This, c:icourst,isgoodnewsforExpediron .

&~hawdiscusscdpttViousJy,oncc:i

our sc:raregies is co continue 10 develop our aport rnackn (rom tht United Scatc:s

dunn& 1!)86.

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U.S. dollar w11l bmefit our n:port progr.un, u our pment companltS, an 1nternauonaJ fre1ghc IOrwankr with Exprditon' suilttgy iiiO(>OOi">no•,....,lvatotakeadvantagerichangingconditK>Nin trade. During 11)8), ~ moves wm: madt

emphasis oo exports from the Unued Scates.

1986, ~ fttl ~ ha~ tht financ1al strt-ngth to fund utd growth. Tht Compe.ny has approxmwrtly S7.3 m•IIK>n !~J;;;;iiiiiiii-lllll.il;ce

I w11l ha~ a long-term positl~ 1mpect on the

. We purchased an octan f~ighc consohdator Bridge Shipping , Ud . inMay,andinOctober

illlOthtr S4 millioo 'MlUid bt brought .ntotheCompe.ny.

Weappr«1att the support t~t

)OU have givm us in the put and w.c will scri~ ro ~mama rap1dly growing 1nttrnauonaJ

transportationorganiution.

JOHNNKAISf.a. l'tDIOf:NT

35

O.vidf. Bol<nder, p«Sidenrri

U.S. Bank introduced a new loan

f\oci6c f'ow<T & light Compony;

qua.Jiry rating systrm in 1986 to

<he worlds bigges< banks for the

ROOm L Ridgley. p«Sident and

help lower poc:enliaJ future lasso

business d thls counuyi largtst

dU<f <x<eutiv< officer ri NorthW<Sl

and maintain the quality of its loan

componics in the rnarkttplac< ri

Narunl Gas Compony; and Ben-

portfolio. lr provides lending

comp&a commercW loans, commit-

jam in R. Whitrley, ~ickm and

officers with a sySfem eX rv.aluating

mems, syndkatcdcrediu, ~

chi<f <x<eutiv< officer riSandard

the quality ri the loans they make

buyouts and agency fees. The divi-

lnsunnce Compony.

and manage. The key fearur< ri the

sioo g<n<rat<d suhsantial cttdit-

Cotporue BaniUng comperes with

The <v<nrs ri •986leave us

program is the CommerciaJ Loan

~lattd and deposit account activiry

with fttlings o( optimism, OO.:h for

Quality Racing System that assigns

fees . l.non volume at year~ was up )C ptrcem over ynr-end 19fJ5 .

U.S. Bancorp and for d-.e Norchwcst .

each loan ro a category indicating

lnere is a rene-wed emphasis on

the l<v<lririskproject<d forth<

business growth and «onomic

loan . Anoc:her important feature o(

ness is with companin locamf ease

developme-nc , panicularly in

the program is a change in the loan

ri the Rocky Mounrains. At the

~gon, and a promise o( grnrer

approval process that strengd-.ens

same ti~. this division has

prosp:rity. Growth for Oregon will

teamwork among Joan officen. Tile

strengthened U.S. Banks r<la-

About half ri the divisions busi- ·

aid the cominutd growth of the

new system reA«ts dlC company$

tionships with the top 2 0 Oregon

only major banking inscitudon

emphasis on quality loans as the

companin and Ot:hc:-r major North-

headquartered in this State, and a

highest priority.

west businesses.

portion of our success is always

OiJtCron F. Gilb<rt W1lb, Frank

murn«< co the communitin

Businrss chat involves geographic and

M . Warren and ROOm B. Wilson

indUS(rial diYenicy is important ro

retired from actiYe service in April

U.S. Bancorp and to the f\oci6c

a/itt many y<ats ri dcdicarioo and

NorrhW<Sl. u.s. Banks Corpora«

lcadmhip dw comributtd to U.S.

BaniUng Divisioo is I<SjlOilSibl< for

Bancorps success. Elcmd tO the

helping the company maintain that

bcxud in July~ new direcrors

diYmiry.

MosrofOregon prospered in 1986, and for several regions of rhe srare ir was rhe besr year in a

excellenr growing conditions, a large yield and strong demand . • Ar rhe same rime,

decade . • Medford and Klamath Falls fared well. • One key facror was an excellenr year for

Medford became a more imporranr commercial hub in 1986 wirh rhe completion of rhe

wood products. Lower inreresr rares srimulared home building and rhar, in rurn, increased

Rogue Valley Mall , a regional shopping cenrer wirh 750,000 square feer of rerail space.

rhe demand for wood bui lding mare rials. • Supported by timber relieflegislarion- some

Opened in Ocrober, rhe Mall arrracred shoppers from as far away as Redding , Califor-

say Jtllfd by ir -

and equipped" wirh new,

nia. • Roseburg , Medford and Klamath Falls

efficienr manufacturing processes and mach-

all benefirred from a strong year in rourism .

inery, rhe industry rebounded from a period

The three communities are gateways to Crater

of serious depression. • Although producrion and profits were up, employmenr in rhe forest industry was down from record high in rhe tare 7os. T he reason: rhe new equipmenr rhar allows industry to compete requires fewer people. • Fruit growers around Medford also had an exceptional year, with

36 Communication Arts May/Jun e 1987

rsons annually.

JoHN VAN DYKE

Left page : 1986 annual report for US Bancorp, one of the few remaining large regional banks in the Pacific Northwest. As they are expanding heavily into Washington state, it was an appropriate year to pay tribute to their home base, Oregon, where they serve over 50% of the households.

Don Bowler and Tom McCarthy, writers; David Watanabe, Cliff Fiess, Bernard Freemesser, David Davidson and Bryan Peterson , photographers ; Sarah Waldron, illustrator.

This page: One from a series of publications designed to market and promote Waterfront Place , a six square block commercial , retail and residential combination of rehab and new buildings on Seattle's waterfront for Cornerstone Development. This piece opens to a spread, then a four-panel gate-fold and then an eight-panel site plan . Tom McCarthy, writer; Steve Firebaugh, principal photographer.

E

arly-on, enterprising traders called this a gateway ciry, and one of the most im portant gates of al l swung open in 1897.

On July 17 that year, the good ship Portland put in at Schwabocher's dock with two mns of gold in her hold . The boom was on .

Some say Seattle merchants made more profit outfitting prospectors than prospectors earned digging gold . Perhaps. In any event, the Klondike find touched off glory times in Seattle, sparking a building boom of astonishing vigor. lOose early citizens built m last, with a hint of grandeur in their architecture. And they chose the heart of the waterfront, knowing that people are drawn irresiStibly to the place where land and water meet . Thei r handiwork lives on, at Waterfront Place. There's a lively mix of old and new bui!Jings here, an urban neighborhood of homes, offices and Stores.

attrKtion rAtht wucrfront is me dw:comcsfromthtcontim•).asf\owcL cornmrrce and culrure. In a few bb:::b , nom a c.ualobtervttcantrcinfluenasfromaroundrhe workl-inthrmen::handdrondisplay,inpublic ut, intht&cesrltholewhopassby.

•roliectmc>.,.;ghborlooodo,"""ru..u.a ..oo§lh

typicallylimind toa&irfynarrowransefiua. But Studt's wattrfront is a dilrnmt son ci nrighborhood, onr that ws vitality from its pusibtlities. rather dw\ its limits. 'sfotcityd~llmwhoprrkrrohavenwlychotcts , and

whotaktdr:light infftquentsurprises. Ovttthtyean, thenrighbcxtooodhas ............. bem cherished by thtpeop~c/Seartle,sornetimarql«ud . Todayitisc:wnmol'ebecomina tht~cithtcity,andthtptctrirtf1leWa.lisulmstasswffi:asit..-.durifl8

tht&anticcb.yscithrKJondikegoklrush . AtWarerfiontPbce,thework includesconsttuetionrifourmajor,nrwbuikiingsand thercstorarionris.ix older sttuetun:S that: kwm an important pan rl tht city's uchitC'CtU1'1.1 heri • . The entire six square blocbcAWaterfront Jl'lacr ~considertd in•singirdesignprogram,harmonizingdiffcmubuiklin.g scyiesandUKS. Each buik!ing, old and new, hu its own archit«Nraa intq:ricy. But all fitcomfornablyrogtthcr.

J

I 37

JOHN VAN DYKE

The Mead Web direct mail brochure was designed to show the capabilities of Mead's web paper for use in the catalog industry. Peter Maloney, photographer; Terry Heffernan, photographer.

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38

Communication Arts May/June 1987

The Weyerhaeuser in China brochure, created for the formal opening of their office in Bejing , is a general information brochure for use in China.

Elaine Kraft, writer ; David Watanabe, photographer; Alice Hung , calligrapher.

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e : utt:U it-f- .11.1\1'!1 ~ il' ~lf • •

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U . li!C.'!'Ltll!.lli"' l!lllil'fll. ~~ iiiliJi!.IUl ll! . flJ III Hlllt. lli ll lllllt ltJ\~1Illt•

11. • ~*~• • a rJ aX'E ~~ .

l!llDli!Jl lt • • It

lf. ~ ll] 1: ~tli 7J lt1iJil

of forc>t products by thc l'eoplt''> Republic of<ltin:t from the United company with St.1tt'S was made manufaccuring anll in 1972, a kraft lincrboard sale" di~trihuti<m

technical ochange programs.'lbe Weyerhaeuser Olina Ltd., ollke in lk:ijing officially opened in 1984.

opt·rdtion~ in more order from than 20 coumril.'s. Weyerhaeuser lltc lir>t purcha.'C 'lltat order w.1.' followt.xl by other pnxluct Unes and

!Allttl ~-~~~. IHl.lltlli-fP l'<!f"'· * i;lll-'! JfX'E

~ ., ~. ~ ~·* · lilt. 121l'li . •

Wt:p:rhJcu,.,·r. founded in 1900. is an integrated fort'M pnxlucts

~'eyerhaeusc.r

operates more than 100 manufacturing facilities in North Ameri<:a. From trt.>es,our abundam natur•l resource, we make

logs, lumber, plywood, particleboard, pulp, linerboard. newsprint, printing papers, shipping

containers, 5,000 homt'S. packaging for Weyerhaeuser liquids, a.nd other "nrks closely with prcxlucts, such as our customers in disposable diapers. more than 60 Each yt::u; countries to make Wevcrhacuser sure their special produces 7 million ne~ds are met. cubic meter> of lumber, 4 million metric tons

of primary pulp and paper products, and builds more tha.n

39

JOHN VAN DYKE

This page: Poster used by Weyerhaeuser sales force to show the capabilities of newsprint.

John Van Dyke, artist; Elaine Kraft, writer.

Oregon Saw Chain package represents one of twenty different packages for their professional line. The company invented the modern day cutting chain and wanted to announce product refinement with a new package.

Right top: 1985 annual report cover and spread for Woodward's, a Vancouver, British Columbia merchandiser making an upgraded transition yet wanting to retain its 100-year history of value and tradition in modern times. Gary Cleave , writer ; Howard Fry, Derik Murry and John Sherlock, photog rap hers.

Right middle : 1985 annual report cover and spread for British Columbia Forest Products. The concept was to present them as a very sophisticated company with emphasis on markets and the end use of their products.

Stu Clugston , writer; Ed Giffard, Gordon Fisher and Steve Welsh , photographers.

Right bottom : 1984 annual report for Rockcor Inc., an applied technology company with a diverse group of products. The concept was to show actual applications in order to change the investment community's perception of the company as a firm with solid expertise but without a lot of technology in the marketplace.

Tom McCarthy, writer ; Steve Welsh and Steve Firebaugh, photographers.

40

Communication Arts May/June 1987

.dvertlselll know the.V productwillbept'ftented wr:llooWeyerhaeuser newsprint. Publishen

and printers sped(y

U becomm111 the stancb.rdinthelndustry

~1eehnt~~: the needs o(

ourcustomenthrough

Weyerh.euseris

responJIYetervice,

positioned to be the premier suppt5er. Sid! led

competitive prices . . .

con islentquality and

Weyerhaeusernewsprlnt

llftdenthusluUc

thal'showthenewsprint

~thatwerespedally

employees, &ahanddean

lM..Jineu h 'olo'OI"bngto

deveklped to print Full

wood chiJM, .dvat~C'ed

color.dvt":rtuln&intocby's

tedu~papeT

newspape:n

machinesandquality

bet:tp~~percompanyin

contrelauurecustomen ol thesamehiY,quality, orderafl:eronfer.

the ¥10rid

Colo..printing. bynews:pa~and

commercial printerJ,

•nake the WeyerMeuse:r PaperCompan y the

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41

G

s D & M BY

MIKE

HICKS

Doiit mess With

rrexas.

N 1971, WHEN SIX graduates of the University of Texas decided to form their own advertising agency, none of them even thought about New York or Los Angeles. They were Texans, after all, and the weather was nice in Austin.

So they opened their doors in the Capital city and began to build what would become one of the hottest creative agencies in the country. With a variety of unpronounceable last names, the shop quickly became known as GSD&M, and began to acquire influential accounts throughout Texas.

I 42

Communication Arts May/June 1987

In the process, they all grew up together and fifteen years later, the family bond still remains strong. In 1977, Jim Darilek, one of the original founders, left to pursue editorial interests. However, the rest of the original group is still together.

"The foundation we had in friendships, allowed us to work through individual changes and differences," says Judy Trabulsi, Executive Vice President, Media Director.

Several years went by before anyone had official titles, much less a com-

plete job description. Eventually strengths emerged and for the most part, those strengths have been both compatible and complementary. " A couple of times we took a hard look at whether we were going to stay together," said Steve Gurasich, Chairman and CEO, " but there was never an instance when we sat down and said ' Let's not do this any more:" Today, with offices throughout Texas, and ambitions that reach considerably farther, the principals still believe in the fundamental strength of their

One of the most effective advertising campaigns in the country today is solving a problem for the state of Texas. Litter. Signs and fines won't stop it, and it is a serious problem. Apart from the quality of life factor, it cost the state $24 million in 1984 to clean up the roadside litter and the cost was increasing at a rate of 15% a year. Compounded, that meant over $50 million by 1990.

GSD&M retained the Institute of Applied Research , Sacramento, who literally dug up and picked up information to supply statistics.

Almost half of the highway litter in Texas blows out of, or falls off of, trucks that are either uncovered or unsecured. Over 70% of al l littering is done by males. The obvious target was 18- to 34-year-old males.

App lied Research also stated that a reduction of 10o/o would be above average, 15% remarkable.

Tim McClure, executive creative director, recalls spend ing a long day with Jim Anderson , associate creative director, working on the problem. They had lots of ideas on how to reach the target, but what was the message that would motivate a Texan to stop littering? The next morning, still frustrated, McClure walked along a road, pondering on what he saw. The term "litter" was the hang-up.

"A Texan wouldn't th ink of the stuff on the road as litter, but he might think of it as a mess:· Boom ! The creative idea. A bold, arrogant phrase with emotional appeal to a Texan .

Key to the campaign's enormous success was the decision not to rely on public service exposure.

The state committed a budget of $2 million for prime and carefully selected time. Then GSD&M rounded up some famous Texans who donated their services. Guitar superstar Stevie Ray Vaughan kicked things off during the football season with a soulful rendition of "The Eyes of Texas" (ideal partner for the four words he spoke) . Johnny Rodriguez hit the airwaves with his own special brand of country music. (No maltraten a Tejas.)

Johnny Dee and the Rocket 88's, The Fabulous Thunderbirds and, during the pro season, Ed "Too Tall" Jones and Randy White contributed their efforts. During this year's baseball season, Mike Scott of the Houston Astros will pitch the message.

After only eight months, unaided recall of the slogan topped 60%. Public service time became available as stations often called and asked for the commercials. And listeners called in and requested that radio or TV stations play them, the ultimate tribute to advertising.

According to Applied Research, litter in Texas decreased 29% between 1985 and 1986.

Close up of Vaughan with super: Stevie Ray Vaughan for the State Department of Highways.

Stevie Ray plays "The Eyes of Texas:· (VO) : Each year we spend over twenty million dollars picking up trash along our Texas highways ... Messin' with Texas isn't just an insult to our Lone Star state, it's a crime.

Vaughan: Don't mess with Texas.

Commercial opens with sound of fingers snapping and the Rocket 88's fast-paced movements on the beach .

Johnny Dee : This is Johnny Dee & The Rocket 88's reminding you that messin' with our Texas beaches is just like messin' with our Texas highways ... (motions toward a sign that reads "Don't mess with Texas/Fine up to $1000") It's not just an insult, it's a crime.

(88's line up, passing by bikini-clad girl holding a trash bag) All: Throwing our trash in a litter bag, 'Cause messin' with Texas is a big drag.

Dee: It's mighty reckless to mess with Texas.

(Sax trails out with "Eyes of Texas:')

Randy White and Ed "Too Tall" Jones are picking up trash alongside the road.

(VO) : Randy White and "Too Tall" Jones ... what's a couple of football stars doin ' out here along the road?

White: Pickin ' up after some folks who really don't care much about Texas.

(VO): Oh ... you mean the litter.

Jones: You see the guy who threw this out the window, you tell him I got a message for him.

(VO): Don't mess with Texas?

Jones: That's the message.

White: I got a message for him too ...

(VO): What's that?

White : I kinda need to see him to deliver it.

Jones: Don't mess with Texas.

Tim McClure was creative director on all of the commercials; Michael Blair was writer, art director and producer. Texas Pacific Film & Video was the production company for the Vaughan commercial , Richard Kooris, director.

The James Gang was the production company for the others ; Jim Beresford, director.

43

GSD&M

original generalism. "All opinions are valid, all views are considered:' As the agency grew, the principals decided to establish a separate company, Cornerstone Development, headed by Bill Gurasich, to manage and expand their financial interests.

"In many agencies~ ' says Bill, "you'll find the principals so worried about their investments and personal financial planning, that they have little time left to devote to the business.

This way, we're each free to give 100% to what we do best:' What they do best, obviously, is great creative. "Quantity has nothing to do with what we aspire to as an agency," says agency President, Roy Spence.

"If you haven't got great creative, you haven't got anything~' If this sounds a little naive to hardened agency professionals, there's been nothing amateurish about GSD&M's drive to achieve that goal. "We're all very intense people~' says Spence. This has to be believed coming from a man who once raced (and almost beat) an airplane to San Antonio from Austin in an aging 1971 Buick just to acquire a new account.

The intensity has done much to assure GSD&M 's future . The agency's Austin headquarters occupies two floors of a 280,000 square foot office building (which their investment company owns) overlooking downtown. In the last year they have picked up $20 million in new billings while still expanding the depth of their creative staff. This type of growth puts tremendous time demands on the principals. " The bane of my life, the bane ofthe industry, and probably the bane of the world is the meeting~' laments Tim McClure, Executive Vice President and creative head of the agency. " Because it's not the meeting, it's those 44

Communication Arts May/June 1987

meetings and there are lots of them.

You meet to decide what we're going to meet about, then you meet, and then you meet again to determine what you found out at the last meeting. That's not communication, that's just a way to take up time. I do more account work than I want, to avoid having all those meetings. It's a matter of survival. As a result I've finally figured out the answer to the age old question 'Is there life after advertising?'

The answer is yes, ... there's just no life during advertising:' Still, each of the principals seems happy doing what they are doing, and though McClure insists on not working on planes, some of his best work has been done on them. The first Southwest Airlines jingle, for instance, was written on the plane on the way to meet the client. "It just happened ~ ' says McClure, "I was in that frame of mind and it just fell out. I wrote it on a cocktail napkin. My best ideas usually come that way and I'm constantly thanking the little muse up there who drops them~' Recently, what's set the agency apart has been work that seems primarily directed from the consumer's point of view. "We' re at long last trying to look at advertising through the consumer's eyes instead of the advertiser's eyes ~ ' says McClure. "It's a different pair of eyes, I guarantee you. The advertiser wakes up each morning thinking 'Gosh, I bet someone would like to buy one of our cars~ That's ridiculous.

We have the notion that advertising is an uninvited guest in people's homes and in their cars and in their lives.

No one gets up each day saying: ' Bring on the Advertising ~ If you accept and really believe that your message is uninvited, it changes the way you write and produce ads. It has to.

"All the advertising books say you 've got to persuade the consumer to buy.

I'm not certain advertising can do that. It should intrigue and entertain ... and it should persuade them that the product is genuinely unique and undeniably valuable. That doesn't mean they're going to buy, but it can mean the next time your message comes it will be as an invited guest:' The best of GSD&M's advertising achieves an invited guest status. It's personal and approaches the consumer as an intelligent friend. A television ad for Texas Response, a group formed to funnel money to Mexico City after the disastrous earthquake, is a good example of how a problem can be graphically depicted in an arresting, intelligent and entertaining way.

The most stereotypical example of their consumer approach to advertising has been the " Don't Mess With Texas" theme created by the agency for the state's anti-litter campaign.

More popular than the state song and able to fit on a bumper sticker, the phrase and the astonishingly successful campaign has done much to garner awareness of GSD&M's ability to bring imagination and spirit to even the most mundane assignments.

" It was an attempt to move away from the 'Crying Indian' and look at the problem from the consumer's view," says McClure. "We gave them a line much broader than just ' don't litter.'

It would show a fundamental pride in Texas ~' Today, the agency seems poised and ready to become a national force.

Clients like Southwest Airlines are already growing into national operations and GSD&M seems destined to grow with them . " We' re looking forward to playing in a bigger arena~' says Roy Spence.

It seems only a matter of time unt il they will be.

•

GSD&M principals. Seated: Steve Gurasich, chairman/CEO; Roy Spence, president. Standing: Tim McClure, exec. v.p./exec. creative director; Judy Trabulsi, exec. v.p./media director; Bill Gurasich, exec. v.p./investments.

Ad for Rodeway Inn from a print and TV campaign on the "Road Warrior" theme of how to avoid roadshock. John Davis and Kim Schweidel are the creative directors; Kim Schweidel , writer ; Tim Varner, art director; Don Dudley, illustrator.

OCK

ROA

Knowing he was saving a small fortune, Bemis was prepared to put up with some minor inconveniences.

Sometimes, a bargain can include things you never bargained for. But not if you stop at a Rodeway Inn, where clean, comfortable, always affordable rooms are the Rodeway standard from coast to coast. So next time Roadshock

Radio commercial titled " Happy Birthday" for the Texas Safety Association .

An ncr: Meet a Texan who's actually survived a head-on collision. Jennifer Wells.

Baby girl : (Baby talk sounds) An ncr : Jennifer was just eleven months old when she and her mother were on their way to the grocery store, less than two miles from home.

(SFX of steps, car door slam, engine starts) An ncr: It was a sunny day. Jennifer was riding in the back seat. Suddenly, a pick-up truck swerved directly into their path .

(Brakes squealing) Anncr : But because Jennifer's mother had taken the extra few seconds to fasten her securely in her car safety seat. .. Jennifer had only a few little cuts from flying glass.

(SFX of "Happy Birthday" by out-of-tune adults) An ncr: Thanks to her mother's thoughtfulness, Jennifer is celebrating her first birthday.

(SFX of baby laugh, people are coaxing her to blow out the candle) An ncr: It's a shame that Jennifer's mother isn't here to share it with her. You see, she didn't take the tim~ to fasten her own safety belt.

She died ... of neglect.

Baby: Mama?

An ncr: Make sure everyone in your car is alive for their next birthday. Including yourself.

Pull over and fasten your safety belt.

(SFX of click) An ncr : This safety belt alert is from the Governor's Task Force on Traffic Safety and the Texas Safety Association .

strikes, just follow the road to a Rodeway Inn. And you're well on the road to rec011ery.

1· 800.228.2000

Frank Nichols, creative director; Paula Wells, writer and producer ; Studio B, production company; Tim Stanton Audio, music.

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Communication Arts May/June 1987

GSD&M

Southwest Airlines began as a Texas operation, low fares and frequent flights to eight cities.

Steadily expanding, it now flies as far east as Birmingham and Nashville, north to Chicago, west to San Francisco, Los Angeles and San Diego.

Left: Two newspaper ads make a positive point for their landing rights at Midway instead of O'Hare in Chicago. Tim McClure, creative director; Paula Wells, writer; Lee Wheat, art director; photographs by the Chicago Tribune.

"One more meeting" ad emphasizes their schedule frequency. Gary Brahl, creative director and writer ; Jim Anderson, art director; Chuck Untersee, photographer.

"Weekend Fun Packs" ad. Tim McClure, creative director; Paula Wells, writer; Lee Wheat, art director ; Ed Lindlof, illustrator.

This page, below : Two-part, special position promotes the time-saving of landing at Love Field in Dallas instead of DFW International.

The part at left is 2-col. x 12 inches, and positioned next to the left page gutter. The other is positioned to the outside of the right page leaving two columns of ads or text between the two parts. This creates an alignment as well as putting emphasis on the driving or taxi distance. Tim McClure, creative director; Paula Wells, writer ; Lee Wheat, art director.

DFW

"Fun Fare" commercial, left, opens on a man holding a Super Saver ticket. Giant gorilla hand pushes him out of the picture.

Woman anncr. (VO) : Move over Super Savers, here come the Fun Fares!

(Cut to mummy emerging from casket with sunglasses and camera) Singers: Well, you've waited so long for a fare to get so nice and low, you really should fly now...

(Cut to singing luggage) You really should fly.

Man (VO): Southwest Airlines Fun Fares are so low...

Voice: How low are they?

Man (VO): Now you can fly just for the fun of it.

(Cut to prices : From $19. L.A. only $69.)

Singers: Why dontcha come along with us .. .

(Cuts to man in 9 different vacation outfits) Singers: 'Cause we got a lot of things to do now, you really should fly now, you really should fly.

Characters aboard plane: And you'll have fun , fun, fun, flying Southwest on a Fun Fare today. Ooowheee, wheee ....

Gary Brahl, creative director; Paula Wells, writer; Lee Wheat, art director; Michael Blair and Jim Anderson, producers; Ackerman Benson, production company; Jerry Col lamer, director; Tuesday Productions, music.

Ry Southwest to Dallas.

Or you'll have to go the distance.

Aying ro Dallas isn't such a far-our idea when you fly Southwest.

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47

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San Antonio

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48

Communication Arts May/June 1987

GSD&M WATIR BY .IACUDI. In tl litem/ sense, the p/U{/1/cl of om· consltml refinements and frmomllons are pool and spa pumps. jacuzzi R-PumfJs and L-Pumps to be specific.

Left : Two small space ads for Southwest Airlines Air Cargo.

Gary Brahl , creative director; John Crosby, writer ; Martin Erhart, art d irector.

Folder for Southwest Airlines' RUSH and RUSH PLUS air express service. Gary Brahl , creative director; Michael Kerley, writer ; Martin Erhart, art director and illustrator.

But the simple tmtb is, irs 1/0iajJIIIII/JYOUr cus tom eris looking fm: u :~water. \Vatertlx /1 becl.:ons with a n inviting clarity. 'Tixll's what makes tbe fa mi(y pool or -~/XI so inY!sisti/Jie. And tlx ll's what makes Jacuzzi tbe m ost tY!cognized, m ost asked for na m e in 1/'aterhandling equipm ent.

Ex citing new lines of R-Pumps and L-Pumps are /be latest

This page : GSD&M handles the trade advertising for Jacuzzi .

It includes the Series ZZ Submersibles deep water pumps as well as the pool and spa pumps. Rather than the typical trade ads, with cutaway drawings and technical copy, they took a consumer look and copy approach to gain impact.

Kim Schwe idel, creative director and writer ; Tim Varner, art director ; Dennis Murphy, photographer.

exa mples of our constant compulsion to make a goOillbing et'f!n be/let: lfm 'fl see it in a dumble new bigbfJetfomwnce black thermopla51ic flnisb. MotY! tlxm a cosm etic improtJem enl, it actually tY!sists cbipping, peeling, and staining. And another j am zzi e:>.·clusit -e, /be pa tented jlOl~ting·f!)'f! seal, further enlx m ces IXJ /b efj k iency fi ll(/ petformance. It all adds up to a line of tmter-lxmdling equipment tlx tl you cantY!commend

Two ads for Beverly Sassoon Cosmetics, nationally distributed.

Actually, Beverly is the model in the photographs. And , yes, she was Vidal's wife. John Davis, creative director; Kim Schweidel, writer; Terence Reynolds, art director; Geoff Kern , photographer.

witb confidence. }bur custom ers already k now our name. And /bey know it delit'f!t'S Ibe one clear ad/Jantage tbey're looking fo r in Ibe swimming pool or sJxt: \fi-tter by.Jacuzzi.

--------------•JACUZZI.

49

GSD&M

Unlike its competition, the Houston Chronicle, which promotes itself as a city booster, The Houston Post, in a series of tongue-in-cheek commercials, features staffers being their offbeat selves. Does it work?

Viewer surveys, circulation and advertising say yes.

Joe Leyden : I'm Joe Leyden, Houston 's only full-time movie critic. If you think my job is all Milk Duds and movie stars, forget it.

Why, last year The Post made me go to France to cover the Cannes Film Festival.

Woman: It was fun!

Leyden: Now they've got me out here .. .

Woman : In Hollywood!

Leyden : ... for the Oscars. It's a dirty job.

Celebrity approaches his table and peers at him.

Celebrity: Excuse me, aren't you Joe Leyden from The Post?

Leyden: (Laughs) Well, 1.. .

Celebrity : Nah, you 're not.

Leyden : Wait a minute ... I'm Joe Leyden .

Celebrity: No way.

(VO): Joe Leyden, a critical difference between the other paper and The Houston Post.

Dick Smith , creative director; Diana Hickerson and Dick Smith, writers and producers; Vern Gillum & Friends, production company; Vern Gillum, director.

Quik Wok began in San Antonio as a Chinese fast food outlet before being acquired by Pillsbury, and is now based in Dallas. GSD&M's first work for Owik Wok shows a Chinese chef do ing a boogie routine to a rewritten version of the Fats Domino song, "I 'm Walkin'."

Chef (sings) : I'm wokkin : .. yes, indeed.

I'm wokkin: .. got friends to feed.

I'm tal kin: . .'bout coo kin ' it great for you-ooh -hoo.

What you gonna do when the hungries hit?

You're lookin ' for a different kind of mealtime tip.

A fast and easy Qwik Wok trip Is really gonna make those taste buds flip .

I'm wokkin : .. and it's sure to please.

I'm tal kin: . .' bout great Chinese.

And I'm hopin: .. you 'll bring yourself to me-ee-hee .

(VO): Owik Wok Chinese Restaurants. Yes, indeed .

John Davis, creative director; Kim Schweidel , writer; Tim Varner, art director; Spindletop Productions, production company ; Tom Moore, director.

Yes, indeed.

50

Communication Arts May/June 1987

GSD&M does the national Hispanic advertising for Coors Beer and Coors Light. Though most of the work is run in Spanish, it is usually prepared in English also. The client liked the "Veteran's Day" commercial so well that both versions ran.

Commercial begins with music up and under, synthesizer punctuated by occasional bugle echoing and drum roll.

Voice: Villegas, Reyes, Sanchez, Morales, Garcia ...

(Fade down and out) An ncr. (VO): These are but a few of the names that will be forever engraved in the annals of history.

(Roll call continues) Ann cr. (VO): Men who fought .. . many giving their lives .. . to defend the ideals of this country.

(Roll call continues) An ncr. (VO): Men of Hispanic ancestry who have received countless decorations. Among their number, thirty-seven have been decorated with the highest decoration awarded by the Congress of the United States for singular acts of valor and courage on the battlefield. The Congressional Medal of Honor.

(Roll call continues) Anncr. (VO) : This Veteran's Day, Coors Beer joins the nation in paying tribute to these men ... and to all war veterans.

Jim Anderson, creative director, art director and producer; Hank Olguin, Raoul Rodriguez and David Hepp, writers; The James Gang, production company; Leslie Smith, director.

After the earthquake devastated so many hospitals and schools, a Mexico City Earthquake Relief Fund was formed . Calling it "The Texas Response:· GSD&M produced a stunning commercial to raise money. The sound begins with a low rumble that intensifies. The image is a mass of debris with dust swirling. A series of three supers appears: September 19, 1985 ... 7:19 AM ... Mexico City.

In slow motion, the rubble begins flying upward out of the frame .

(VO): On September 19, 1985 ... the earth moved in Mexico City... and 7,000 people were killed .

Forty-five percent of the city's hospital beds and fifty of its schools were destroyed. (Rubble is clearing and reveals a hospital bed and a school chair reassembling and uncrushing) (VO): On this 150th Texas birthday... let's build a new hospital and school ... and help the people of Mexico City recover. Send what you can to The Texas Response ... lnterfirst Bank .. . Box 2961 ...

Austin, Texas 78769.

Michael Blair was creative director, writer, art director and producer ; Texas Pacific Film & Video, production company; Richard Kooris, director.

The'Iexas Response lnterfirst Bimk Box2961 Austin,r~f8769

·~ga I

_:_

r-.~~~~, ~ 51

GSD&M jcan-Michtl jarr<:'s "~ Hoost.cn" l..as<r Light Show & Ccncert. Houston-April 5, 1986.

Houston Lighting & Power Company ad to attract new business to the Houston/Gulf Coast area utilized a photograph of Jean-Michel Jarre's Laser Light Show and Concert, "Rendezvous Houston:' Tim Anderson, creative director and writer; Dick Smith, art director; Sharon Babbitt, photographer.

Poster for the lcarian Fitness Center, a tenant in the agency's building. Gary Brahl, creative director; Paula Wells, writer; Tracy Bacilek, art director.

Right: Richard Erlich, furniture designer who had been creating custom furniture for architects, interior designers and manufacturers, decided to go into selling his furniture to the public.

Because his name was unknown, GSD&M recommended fewer but larger ads to achieve impact.

After a few insertions of the 5-col. x 13 inch insertions had run, Erlich got so many orders that it greatly exceeded his production capacity and he had to stop advertising . "I wish we could have warned him that he should have doubled or tripled his capacity," said Tim McClure, creative director on the ads.

John Crosby, writer; David Weberlein and Lori Kopp, art directors; Rick Patrick, photographer.

Poster for the Lyric Opera of Dallas. John Davis, creative director; Terence Reynolds, art director; Ellen Schindler, writer ; Matthew Savins, photographer.

Noting that there were several public service projects in the work being shown , we asked McClure if they did quite a bit of that.

"No:· he replied, "I think we do a very little bit very well: ' His rationale was that, when they do take something on a pro bono publico basis, they take it very seriously. Their reward comes from the satisfaction of doing a job very well for a cause they believe is worthwhile. The potential return for the agency is that it may attract new business, but only if the public service work is really outstanding.

52

Communication Arts May/June 1987

Our future has never looked brighter.

On a warm spring night, more than a million people from all over the Houston/Gulf Coast area gathered to celebrate their past and future. The spirit was one of joy and immense pride. If your business would thrive on this kind of community spirit, call our Economic Development team. They'll provide information on site recommenda'ftleiJghl tions, fmancing assistance, energy and utility services, transportation facilities, tax structures and incentives, labor analyses, and detailed proflles on over 30 communities. Contact Dudley c:oaapany Van Ness, Houston Lighting & Power, P.O. Box 1700, Houston TX 77001 (713) 623-3380. lloiiiton Ughting & "-<•

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KATHRYN KLEINMAN

IGHT IS A VERY SPIRITUAL THING FOR me;' Kathryn Kleinman begins. " I've always been fascinated by pools of white light and sunlight falling against open planes. I try to show things in their natural state. I like the light in my photographs to look realistic.

L

Since her portfolio consisted mostly of fashion , she heard the standard lines when she started showing her work in San Francisco. " The fashion business is very competitive.

A photographer should be in New York to make a longstanding career in fashion photography. You should go into still life. You'd really find work if you did thae'

"I didn't start out as a real technical photographer. I was never instructed in any studio photography or even how to operate a still life camera. I did things that other photographers, who were trained technically, might not even think of doing. I think that was to my benefit because I would have an idea and then solve any problems in unorthodox ways. The emphasis for me has always been the outcome of the image:'

She worked for a brief time with photographer Dennis Gray. " I learned the nature of doing stilllifes from him.

I bought an old, used 4x5 still life camera and started taking pictures. I really liked it. It brought back all the elements of painting that I enjoyed. It was controlled, paced and predictable in a way that shooting people wasn't.

Kathryn took only a few basic photography classes to supplement her fine art major at the University of Minnesota, but she never had the intent of making it a life plan. "The instruction I received in drawing and painting was in the abstract. I was very interested in the use of space on a canvas, and when I got hold of a camera, the inside frame was like a little canvas. I liked the way photography was instantly gratifying:' After graduating in 1973, Kathryn supported herself as a fine art photographer/painter/waitress, and discovered she didn't care for the struggling artist lifestyle. She met Robert Whitman, a fashion photographer in Minneapolis, who needed an assistant. She did his darkroom work, styling and bookkeeping. "We traveled to New York several times shooting the fashion sections for a Minneapolis paper and I began to think, 'This is a world I could be interested in: Before, I thought nothing compared to fine art. The people who trained me felt that fine art was the end all. Commercial art sounded like a bad word. They never mentioned graphic art at all. But then I saw this man using his creative ability. Having a business, dealing with people, painting sets and styling models were all things that appealed to me, and fashion photography brought them all together."

A friend introduced Kathryn to designer/illustrator Michael Schwab. For several years, she spent the winter months in San Francisco to be with him and to get away from the Minneapolis weather. In 1979 she moved and married Michael. "I realized there was a very creative community in San Francisco and decided if I was going to have a career and be with Michael, I should just do it here:' 54

Communication Arts May/June 1987

"Whenever I shot people, I would compose them. I was very concerned with the background. The background became an abstract for them to sit within:' Kathryn opened her studio in 1980, and one of her first still life projects was no small undertaking. " Sara Slavin, a prop stylist based in San Francisco, was helping pull together a creative team for a book project and she approached me to do the photography. I met with the author, Mia Detrick, and showed her my portfolio which was still mostly fashion. I had only one still life in my book. She owned a clothing boutique and was attracted to the way I shot people and fashion . Mia said, ' If you have this kind of taste, I think you 'd be perfect for shooting this book: Sushi established my reputation as a still life photographer and showed my versatility."

The Salad book established another style. In 1985, after it was published, she was hired for many assignments reflecting that look and was doing more work with advertising agencies. " Art directors want to see specific styles. They like to get that focused. Advertising work has always paid the bills.

It allows me to do the books. Without it, I wouldn't have survived:' For promotion, Kathryn has found her books work the best. " I have had several reps, but I've never found them to be as helpful. In the beginning I thought, ' Everyone

1986 photograph of Ch inese plum blossoms for a new book, On Flowers, by Kathryn Kle inman and Sara Slavin, to be published in the spring of 1988 by Chronicle Books.

Persona l photograph used in a 1983 promotiona l calendar designed

by Michael Mabry Design, San Franci sco, and published by Ove rseas Printing Corporation .

55

KATHRYN KLEINMAN

has a rep, so should r But when I didn't have one, I was still getting a lot of work. I found I could sell myself much better when I went to see people. My work is not hardcore advertising, it's more in between advertising and fine art. If an art director or designer can give me an idea of what they want, we can talk about it and I can suggest different lighting or whatever."

Sending out books for promotion enables Kathryn to broaden her client base. She does editorial work for American Health magazine with The Will Hopkins Group, in New York, and for the New York Times Magazine. She also works with BBDO West and Silverman Advertising & Design, both in Los Angeles. Closer to home, her photographs appear in San Francisco Focus magazine and Image magazine, Sunday supplement of the San Francisco Examiner.

Kathryn is quick to give credit to the stylists she works with. "The collaboration of working with Amy Nathan (food) and Sara Slavin (props) is so special. We spend one to two years pre-planning a book project and then start shooting. The conceptual process is really exciting. The shoot becomes predictable because by that time, we have chosen or eliminated many ideas and narrowed our scope~' Sara and Kathryn are working on a new book of flowers which will be published in spring of 1988. Sara explains their working relationship further, "Except on a technical end, there is very little separation between what Kathryn does and what I do. She is not just a photographer that waits for something to be placed in front of the camera.

There is so much on my side that she contributes to.

When we plan something, she knows completely how to execute it. She can visualize it and work on it conceptually.

Kathryn is a perfectionist. She has such a great visual style and all of that comes through in her photographs.

Amy Nathan collaborated with Kathryn on Salad. They are currently working on two more food books. She describes Kathryn as having a very open style of working.

"It is almost like things unfold visually for her while she is working and she reacts to them as they present themselves. A few photographers might shy away from an approach that breaks some rules, even though it looks fabulous. Kathryn will just go with it on intuition~' The new books are being published by Chronicle Books, who also published Salad and Sushi. Chronicle works in an unusual manner from other publishers. They give the creative people involved in a project the control. Kathryn, 56

Communication Arts May/June 1987

Amy and Sara choose the designers and writers for their books. "It is very back and forth~' Sara said. "These books are very much a team effort, which is exciting. They are constantly growing and changing~' "We are the art directors on these books~' Kathryn said.

"We have the veto power and the production power. We don't have to compromise our creative instincts~' Kathryn's life is not comprised only of work. Her time is balanced between her studio and "real life~' She and Michael have a two-year-old son, Eric.

For the future, Kathryn expresses a desire to continue experimenting with her stilllifes. " Some things are happening, but I need to get these books done first. We shall see where they lead me~' -Stephanie Steyer

Grilled fish and corn for an article about grilling for Image magazine, a Sunday supplement to the San Francisco Examiner. Amy Nathan , art director/food stylist.

1985 photograph for the chapter opener, Oils and Vinegars, from the book Salad. Amy Nathan/Kathryn Kleinman, art directors ; Jacqueli ne Jones, designer; Amy Nathan/Kelly McCune, writers; Amy Nathan, food stylist; Chronicle Books, publisher.

1987 photograph of Tulip tree blossoms for the up-com ing book, On Flowers, by Kathryn Kleinman and Sara Slavin, to be publ ished in the spring of 1988 by Chronicle Books, San Francisco.

57

58

Communication Arts May/June 1987

KATHRYN KLEINMAN

Left: Katsuo and kohada sushi photographed in 1981 for the book, Sushi. Mia Detrick, writer; Michael Patrick Cronan , designer; Chronicle Books, publisher.

Agapanthus arrangement from Arranging Cut Flowers, a 1985 Ortho Book. Sara Slavin, stylist; Ortho Books, publisher.

1987 photograph for an article on mushrooms for American Health magazine. Ira Friedlander/Will Hopkins, art directors; Amy Nathan , food stylist.

Cauliflower vichyssoise was shot in 1986 for Image magazine, a Sunday supplement to the San Francisco Examiner. Amy Nathan , art director/ food stylist.

This page : front cover and interior photographs from the book, Salad. The salads shown are Babcock peaches with black pepper and tomato sampler.

Amy Nathan/Kathryn Kleinman, art directors; Jacqueline Jones, designer; Amy Nathan/Kelly McCune, writers ; Amy Nathan, food stylist; Chronicle Books, publisher.

59

/

60

Communication Arts May/June 1987

KATHRYN KLEINMAN

Left: Sorbet in calla lily is a 1987 photograph for the book, On Flowers, by Kathryn Kleinman and Sara Slavin to be published in the spring of 1988

by Chronicle Books. Amy Nathan, food stylist.

1981 photograph used to illustrate rice for the book, Sushi. Mia Detrick, writer ; Michael Patrick Cronan, designer; Sara Slavin, stylist ; Chronicle Books, publisher.

1979 photograph for a Minneapolis hair salon used in advertisements.

This page: Hand-tied bouquet photographed for Arranging Cut Flowers. Sara Slavin, stylist; Ortho Books, publisher.

Fish was shot for Sushi.

Tulip still life is a recent photograph for On Flowers.

61

ALAN COBER

SENDS HIS BEST

A

LWAYS AN ACCOMPLISHED draftsman, Alan E. Cober keeps his skills sharp by filling 4" x 6" sketchbooks and painting postcards on his travels. "They're an important exercise. I think most illustrators never look at a sketchbook after school and start repeating themselves with a predictable

vocabulary~'

In addition to their role as a creative exercise, Cober likes to collect his work and uses some as promotional pieces. He documents his journeys by drawing, and, when possible, adds the application of the postage and cancellation to the message side of the card describing the watercolor painting of the event he pictured.

Alan's drawings have been shown in museums throughout the United States and he has done a mural for the Smithsonian Museum celebrating George Washington's 250th birthday. President of the Illustrators Workshop (CA March/ Aprill977), CA featured his work in January/February 1975.

62

Communication Arts May/June 1987

Left page: The crab and table cloth were drawn in Cape Cod .

One from a series at a Mexican bullfight.

This page: The Empire State Building was painted from Alan's son's hospital room while waiting for him to wake up. " Sketching is like smoking but it's much better for you:· The Pyramid of the Moon was also from the Mexican trip.

The alligator with a ball was a studio piece based on experiences in "Alligator Alley" in Florida.

63

Dubrovnick, Yugoslavia.

One from a continu ing series of cloud paintings called "Air-Brush:'

•

" Ge rry Gersten and I were sitting and talking in the Colosseum and wh ile I was working in a sketchbook, 10,000 Japanese with the ir cam eras bang ing against each other came over to us. Gersten got up and said , 'You want to buy a drawing? 100 lire : which is about sixteen cents, and the ir leader grunted , ' 100 lire?', as if it was a lot of money, then they all raced off'

64

Communication Arts May/June 1987

ALAN COBER SENDS HIS BEST

The islands with a cruise ship postage stamp and the sea shell were painted while sailing in the Virgin Islands.

"Sometimes the postal people really get into my game of stamping and cancelling my sketchbook. The postmaster at the Leonardi DiVinci airport in Rome told me his cheapest stamp was red and he only had red cancellation ink, and 'reda ink anda reda stamp isa boring: After I made him cancel it he said, 'You know, thisa nota bad: Everybody in Italy is an art director:·

65

ESPRIT BED & BATH

NLIKE MOST LICENSING AGREEMENTS, where a fashion designer creates the fabric pattern and a textile mill handles the manufacture, promotion and distribution, Esprit wanted to have more creative control over its bed and bath project. "What's different in our relationship with West Point Pepperell is that, in addition to handing over designs, we've been very involved in manufacturing details of the product, the packaging, store fixtures, all the collateral pieces and the control of our image in advertising:' begins Chris Berg, Esprit's project director. "West Point will manufacture it and their sales force will sell it, but it will be presented as an Esprit produce'

U

Rather than going with a traditional textile designer, Esprit asked San Francisco graphic designer Michael Vanderbyl to create a line of bedding, towels, promotional materials and advertising for their new venture. " Doug Tompkins (Image director and CEO) is a big believer in graphic designers:' Michael said. "Esprit is not a high style company, it's a graphic company. Doug likes to use non-traditional people because someone who has done it a million times before might limit their ideas:' Michael saw the project as a great challenge. "For most of my clients, whom I love dearly, I'm leading them along, pep-talking them into believing that an idea is going to work. At Esprit, I felt like I was being pushed. There's a legacy with all these renowned people like Joe D'Urso and Ettore Sottsass working for Esprit and I wanted to live up to that. I didn't have sleepless nights, but I went to bed thinking about it and woke up thinking about it:' Most people think of Esprit as bright colors and bold patterns, mixed and matched in unusual ways. The logical assumption would be that their sheets and towels would continue this approach. "Everyone familiar with the project said, 'For God's sake don't do Esprit clothing graphics on sheets:" Michael said." 'I won't be able to sleep with those fluorescent orange polka dots staring me in the face:" 'Tm sure West Point expected them to be primary, geometric patterns, but we started out with a pretty open mind as to what they could be:' Chris offered. "Two days after I started at Esprit I went to Europe to do research. I went to STAR, the textile show in Milan, PARITEX in Paris and six other countries, to shop the market and see what the trends were. I came back here for a week and 66

Communication Arts May/June 1987

then went to Japan to do the same thing. West Point was very good about showing us the best work being done in the domestic market but we really wanted to see what was going on in the world.

"We also wanted to understand the Esprit customer and created a 10,000 piece mail survey. We were interested in their purchasing habits, color preferences and even what color their bedroom walls were. We had the hypothesis that our customer probably has white or light colored walls, are young and probably apartment dwellers who have their environment pretty well set for them, since most contractors use Navaho White:' Esprit was also interested in learning what made customers think of their bedroom as romantic, traditional or modern.

"Our 40% response helped us to understand that people wanted a peaceful environment and didn't want something they would tire of easily;' Chris said. "What did surprise us was a lot of our customers had Laura Ashley, Ralph Lauren and Marimekko. They may wear Esprit, but go to bed in a Laura Ashley room. I saw this as an indication that what we design should be adaptable to a range of tastes:' "The survey proved that we were right about the design conditions we had already established:' Michael stated.

"One was that everything should be 100% cotton. Totally against the trend in the business if you talk to marketing people. They'll say people want easy care, but Esprit customers said they wanted cotton:' The solution became a series of patterns printed in a range of colors on white. The consumer will have the flexibility to outfit a bed in all the same pattern and color, or any combination. "The patterns are nothing earthshaking:' Michael said, "but a collection of classical ideas that are a part of the everyday graphic design vocabulary."

Michael explained some of the problems during the creative process. "Our first presentation was just too complicated. We tried to mix too many things at once and, though we knew the concept was right, we had to

Right: Photograph © 1987 Roberto Carra.

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simplify the range of elements into a similar visual weight to make it work. I was sitting in LaGuardia airport with a note pad and sketched about three or four pages of patterns in thumbnails, dictated them to my staff over the phone and when I got back, we looked them over and said, 'This is ie Our second presentation was a clear thoughe' Besides having the ability to make a personal statement, the concept of mixing patterns and colors also makes sense to the consumer from a financial point of view. "It takes $300 to $400 to outfit a bed these days~' Chris said.

"It's very expensive and you get tired of the look after a while. It would be nice to be able to change the look simply by going out and buying a pair of pillow cases or a top sheet or a duvet cover. We're not designing for obsolescence, which is diametric to the industry. We're targeting the consumers that are buying products of high quality, that are well designed and last longer. They're aware of what's going on in the world and they're not into buying shoddy merchandise~' Chris feels the flexibility Esprit has built into its line makes the project more complicated for the manufacturer.

"Until now a customer walked into the store and said I like that floral pattern. This meant one pattern on the pillow case, the top sheet, etc. Sometimes things got a little complicated when West Point offered a solid color sheet that would coordinate with the floral pattern.

Michael Vanderbyl was the designer on all pieces shown in this article. Assisting on the project were Lucille Tenazas, Linda Anderson and Kathy Saito.

Above : Photo © 1987 Phillip Hunt.

Silk-screened rigid transparent PVC packaging was designed to reinforce the modular concept of the sheets and pillow cases. Silk-screened translucent PVC shopping bag used for wholesale and retail sales.

Right page : Tinted varnish cover and two spreads from the wholesale brochure.

Chris Berg, copywriter ; Roberto Carra, photographer.

"What we're saying is we've got three different prints of pillow case, two different top sheets, one fitted sheet that has to be solid all the time, a comforter that has two sides and two duvet covers, in each color.

"For West Point, producing these options in one color is equivalent to producing two and a half to three of their regular patterns. From the retailer's standpoint it means their investment in inventory is greater. When a retailer buys, say peach, they will be required to buy each of the patterns of pillow cases. Some pillow cases may sell out faster than others and they'll have to reorder. What this means from West Point's standpoint is that they'll have to inventory them. It's a lot of produce' To see if all this additional effort will be worthwhile, West Point Pepperell and Esprit will have to wait until fall, when the Esprit line becomes available to the public.

-Patrick Coyne 68

Communication Arts May/June 1987

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Communication Arts May/June 1987

Left Page: One of five small teaser ads placed in home textile trade journals.

Cover and spread from five-page trade ad.

Chris Berg, copywriter; Roberto Carra, photographer.

This page: Detail photo of aluminum bed fixture . Phillip Hunt, photographer.

Axonometric drawing of 2700 square-foot Martex/Esprit wholesale showroom including offices. The reception and sales area walls are eighth-inch anodized aluminum panels. The ceiling is a dark grey Zolatone finish with recessed lighting and the flooring is a dark grey carpet. The Esprit sign is five inch dimensional aluminum letters with rivets. Columns are aluminum torcheres. The furniture is by Philippe Starck and Mario Botta. A glass wall marks the entrance to the model retail showroom concept (lower right of drawing), suggested by Esprit for sale to retailers. Materials are bleached oak floors and white walls with aluminum wall fixtures designed by Shigeru Uchida.

71

COLOR PREDICTIONS

This page : Examples from The Color Marketing Group's 1987 consumer color directions for the communication and information industries, including gift wrap, packaging , stationery, party goods and greeting cards.

Paradise Green

Nucamel

Bare Essence Beige

Purple Re ign

Green Light

High Society Brown

Coral ine

Plum Crazy

Colors not shown include: Sizzl ing Pink, Tahitian Sunset, African Violet, Wallstreet Green and School Bus Yellow.

AVE YOU EVER WONDERED HOW colors are chosen for the clothes you wear, the car you drive or the furniture you sit on?

Many manufacturers and designers subscribe to or are members of color organizations.

H

The Color Marketing Group is a nonprofit international organization of professionals involved in the use of color as it applies to the profitable marketing of goods and services. They provide a forum for the exchange of information on all phases of color marketing: color trends and coordination, styling and design, merchandising and sales, education and research.

CMG publishes two palette predictions per year: consumer color directions (a two year look ahead at color in the automobile, paint, communication, home furnishing, building product, and fashion industries), and contract color directions, (which looks at colors likely to impact the commercial interior design market). Both palettes are developed by CMG members in a series of industryrelated and mixed-industry workshops at spring and fall national meetings.

Two months prior to the meetings, core groups of individuals who make color decisions in their own companies, fill out personal color forecasts. At the meetings a preliminary color board is prepared that becomes the basis for comment and discussion by other CMG members.

In addition to core groups, design tracking groups examine 72

Communication Arts May/June 1987

how color translates into products and designs, and reports which colors or color combinations work and which don't work from a practical or technical point of view.

Marketing tracking groups conduct studies to determine which colors sold well in various industries. Their studies not only track CMG 's forecasting success, but provide marketers, managers, colorists, stylists and designers with concrete data on which to base future decisions.

The CMG 1987 forecast states that foils , lusters and reflections are the trendsetters. Taking the cue from fashion , where metallic threads and sequins abound, the communication/information industries will introduce papers with metallic finishes and foils applied to plastics and laminates, as the packaging and food industry renews its love affair with the ever-popular foil look.

The overall palette is described as clear and sunny with a chance of brights and new lusters on the horizon. The emergence of a rich brown as a grounding or base color, after so many years of absence, is an important statement as a natural progression from the yellows, peaches and flesh tones.

Those wishing to join CMG are screened by the Board of Directors before acceptance to insure members are all color professionals. For more information contact Color Marketing Group, 4001 North Ninth Street, Suite 102, Arlington, VA 22203. (703) 528-7666.

Th is page : A few of the 46 colors that represent The Color Association of the Un ited States 1987/ 88 interior forecast , designed for home, commercial interiors and product use.

Driftwood Grey

Rothko Orange

Mink Pink

Celadon Colors not shown include : Renoir Red, Monet Blue , Morn ing Melon, Mountain Mauve, Balkan Bronze, Cheeps Blue, Doric Khaki and Barbarossa Brown .

Cinn am on

Egyptian Tile

Grotto Blue

Founded in 1915, The Color Association of the United States is primarily concerned with color for the fashion , interior and environmental industries. They provide American manufacturers, retailers, designers, architects and stylists with competent guidance and answers to color selection and problems.

Membership of$420 per year includes one category of swatched color forecasts for women's, men's, interior/home or children's wear; invitations to color seminars; a newsletter published eight times a year; a color matching service, providing duplicate color fabric samples on request and access to the CAUS color reference library, containing color predictions dating back to 1916.

Forecasts are the consensus of three panels comprised of seven to ten professionals in the fields of color styling, color use, color research, marketing and merchandising.

With a consensus reached, the panels distinguish between colors about to come over the horizon and those which are already reaching volume acceptance. The volume choices can be safely used, but a measure of caution is necessary for the horizon colors.

The selections made by manufacturers and designers depend on their markets, class of trade by income, status of sales outlets, whether of high or medium fashion , etc.

CAUS forecasts are dispatched to members each March and September, twenty months in advance of selling seasons.

Jade Green

CAUS members number roughly 1,000 and are mainly from the textile and allied industries but also include architects and designers of wrapping paper and artificial flower manufacturers.

Committee members anticipate a shift from the previous year's interlude of brightness, to more muted tones that represent a return to a softer pastel palette which characterized American color taste in 1983 and 1984.

Reds, pinks and corals continue to be a major direction into 1988. The traditional neutral, ivory, bisque, white, tan and oyster all retain their importance.

While blues are of declining interest, different greens, dark khakis, deep spruces, ocean greens, jades, celadons, and even malachites are forecasted as rising stars.

Recommended accents in hot yellows, oranges, reds, pinks, turquoises and yellowed greens are tropical in feeling, and satisfy the American appetite for color in smaller living and working spaces which call for non-light absorbing colors.

For more information contact The Color Association of the United States, Inc. , 343 Lexington Avenue, New York, NY 10016. (212) 683-9531.

Production note: It is impossible to obtain an absolute match when reproduc ing paint chips in four-color process inks. Some variation is unavoidable.

73

MICHAEL MABRY

BY MARK FULTON

HAD ABSOLUTELY NO AMBITIONS IN ART," IS how Michael Mabry begins his story. "I had a completely normal childhood~' He says this as if being normal might preclude ambitions in art, "My dad was an accountant and my mother was a housewife. We shopped at K-Mart a loC'

I

But on weekends during his senior year in high school, Michael began to take the 30-mile train ride north from his home in Park Forest, Illinois into Chicago,'~ .. just to walk around and look at the buildings. Of course, at the time, I had no idea that many of the buildings that interested me were designed by some of the world's greatest architects~' After graduating from high school, Michael went off to college at Iowa State, " ... mostly because all of my friends were going to school in Illinois, the University of Illinois in Champaign-Urbana or Northwestern in Evanston, I wanted to do something different:' After about a year and a half at Iowa, a friend talked Michael into going to the University ofUtah in Salt Lake City. "Utah had an architecture department, and by this time I'd decided I wanted to be an architect. That lasted about a year, until they threw me into physics. Fortunately I was studying graphic design, mostly as positive reinforcement for my architecture, and had found out that I really enjoyed it:' At the beginning of his second year at Utah, Michael was offered a part-time job with the graphic design group in the University's Department of Continuing Education.

He moved from his first assignment, painting the office, through doing mechanicals and working in the stat room, to his first design project. "Luckily that piece won a lot of awards for them and they got a lot of recognition out of it.

That really helped~' The next year, his junior year, Michael was made a full-time staff designer. This meant that for the next two years he worked until4 o'clock in the afternoon and then went to class until 10 at night. It was at this point that Michael discovered that he actually "thrived" on long hours, an attribute that still serves him well.

"The workload was pretty intense. Working all day, going to class, and then starting class projects at 10 o'clock at night. Obviously I had a lot of sleepless hours~' But, as he says, this regimen gave him '~ .. a great balance between the practicalities of the real world and the idealism of the classroom:' After graduation, while Michael was still working for the university, Nicolas Sidjakov and Jerry Berman of Sidjakov & Berman Associates (now Sidjakov Berman Gomez & Partners) were judges for the Salt Lake City Art Directors Club Show. They both were impressed with Michael's work, and sometime later when Jerry went back to Salt 74

Communication Arts May/June 1987

Lake to speak at a club function, Michael got the opportunity to get to know him. "I arrived late for the function, and saw this guy sitting at the bar alone. I asked someone, 'Isn't that Jerry Berman?' They said yes it is, and I said, 'You mean no one's talking to him?' So I went over and started a conversation~' Jerry asked Michael if he'd like to have a drink after the program. "I guess he figured I was the only one in Salt Lake City who drank:' Michael laughs. "So I gathered up a few friends and we all went up to the lodge at Snowbird and had a couple of drinks and talked:' A few days later Jerry phoned Michael. "I was out of the office, and when I got back and saw the message I figured maybe Jerry'd lost his wallet or something. But I called him back and he asked me if I'd like to come to San Francisco and show them my portfolio because they were interested in hiring me. So I went. They offered me a job, and I took iC' Even though Michael's two and a half years at SBG were, "a little bit chaotic-sometimes wonderful, sometimes terrible:' he gained what he calls, priceless experience.

"It was terrific working with Nicolas and Jerry, getting to understand how they worked, how they made their business and design decisions. I got to manage people. I was sort of the link between the designers and production artists and Nicolas and Jerry. I got to see both sides of the employer/employee relationship. I got to understand 'the business of design' and how it relates to the end product.

It really helped me:' Michael left with his idealism still intact, and with the experience he needed to start his own design business.

"Not that I had any great passion to start my own business.

I knew San Francisco was already loaded with small design studios. I also knew I wouldn't get the kinds of work I wanted if I went to work for a large studio or agency."

Michael pauses, and then, "On the other hand I did have

Commemorative poster and telephone directory cover for utilities company in Northern California. Michael Mabry, design/illustrator; Citizens Utilities Company, client.

Poster for Limn, a unique furniture store specializing in progressive and modern classics. The illustration is part of a series produced originally as floor tiles, hand -woven rugs and finally posters. The influence in illustrative style comes from the Italian futurist artist, Furtuanto Depero. Mic hael Mabry, designer/illustrator.

Image/leasing brochure for Block House Creek, a housing development in Austin, Texas. Project began with designing the logo, followed by signage and support materials. Michael Mabry, art director/ designer; Peter Soe, Jr., designer; John Collier, illustrator; Sherry Matthews Advertising , agency; Parklane Development Company, client.

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BLOCK HOUSE CRFI'K 75

MICHAEL MABRY

a passion to pay the rent on our apartment, so I started my own business~' One thing that Michael lacked when he left SBG was exposure. He had practically been smuggled through the back door into San Francisco. "I didn't really know anybody in the design community. So the first thing I decided was that I wanted to meet all the designers in the city that I really respected, the ones whose work I'd seen, but that I'd never had the chance to meet. So I just phoned and set up interviews with them. I wasn't looking for work or anything, I just wanted to say 'Hi' and talk to them.

It turned out to be great, I got to meet people, and became friends with some of them. And they've been very supportive all the way along~' Michael actually got his first big break as a result of one of these encounters. "Michael Manwaring was too busy to do a particular job so he referred the client to me, 'Here's a new guy. He's probably got a lot of time on his hands.

Why don't you check him out?' I met with them and it worked out really well~' The job was a brochure on a real estate development in Austin, Texas for a developer in Dallas. "From that point on, everything seemed to move upward. It got me out of doing bank rack brochures~' Now in its sixth year, Michael Mabry Design has a staff of seven people including Michael and his wife Sarah, who is his office/business manager-and Michael intends to keep it that size. "I think the main advantages of staying small are that you can afford to take only the choice jobs and you can be more selective with your clients~' Another advantage, for someone like Michael who has to be involved with every project, is that you only have to work six or seven days a week, ten to fifteen hours a day.

My goal this year is to take Sundays off. I checked and last year I only took ten days off. Total. Including holidays.

Now that's ridiculous!" In spite of this "goal~' it's easy to see that Michael loves the time he invests in his work.

"Evenings and weekends are when I do my 'investigations~ Saturdays are my favorite days, actually. I get to play, even though I'm working on a job. I come in saying, 'Today I'm going to try something I've never tried before!' And the moment when something starts to happen, the time doesn't even matter. The only thing is I gotta get home by 7 o'clock, or before dinner guests arrive or before Sarah is ready to kill me~' Of Sarah, Michael says, "Bringing her into the office, three and a half, maybe almost four years ago, was one of the greatest things I ever did. She's terrific. And I'm not saying this because we're married, that'd be too patronizing~' Michael smiles. "Of course, it could help keep me 76 Communication Arts May/June 1987

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Promotional brochure for Farman/Leibrock printers emphasizing their letterpress capabilities. The folder contains four short stories with relating illustrations depicting "First Impressions:· The concept was to use the metaphor of impressions, those that a printing press produces as well as the impression the end product makes on the viewer. Michael Mabry, designer/ illustrator; Peter Soe, Jr., designer; Peterson & Dodge, writer.

Home Federal Savings annual report. Michael Mabry, art director/ designer; Margie Chu, designer; Nikolay Zurek, photographer; S. Curtis Smith, agency.

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MICHAEL MABRY

in good shape at home. Anyway, I realized that I was going to have to hire someone to be our office/business manager. I just couldn't continue to do it myself and still do all the other things I do, too~' Sarah had been coming in on weekends to do the books and was familiar with the operation, but Michael began to realize that he needed someone in the office every day. "I said to Sarah, 'What about you? You're already doing a lot of it~ She said, 'Mmmm, why not? As long as you give me a raise, and I don't have to work the stupid hours that you work~" In spite of their initial fears of husband/wife conflicts, Michael and Sarah find that they compliment each other in the office. "I now have the time I need to talk to people and still work on the board;' says Michael. "We do have the occasional fight, usually about budgets. She wants to charge more. I want to charge less. But she has made me realize that we do offer a valuable product, that we're worth something, and that we have responsibilities to our employees and so on. 'Don't always give it away, Michael!

I know you really want to do this job, Michael, but have you figured out you're going to lose your shirt on it?'"

The day-to-day operation of Michael Mabry Design is much like that of other similarly-sized design firms.

Michael does all of the initial contact and new-business calls. Once a project is in house, Michael works out the concept or direction. "I think it's important in an operation like ours that one person has 'the vision~" Then Michael works with one or more of his designers to refine the theme and prepare the comprehensives. After the

78

Communication Arts May/June 1987

project is approved the designer stays with, and manages, the project. "I keep a pretty tight rein, but our designers do have considerable freedom to express themselves within the constraints of each project, and they establish their own relationships with our clients. It's a matter of balance~' Even though Michael enjoys evening and weekend work, he realizes that most other people often don't. "I try to keep overtime to a minimum for our designers. Of course there will always be occasions when everybody has to 'pitch in' to complete a project on time. But on those times when I promise more than we can deliver on schedule, I'll bring in a free-lancer to help out rather than expect our people to be there. After all it's my mess, not theirs~' In tracing the path of Michael Mabry's career, I became aware of his affinity to Interstate 80. I-80 runs close by Michael's childhood home in the Chicago suburb of Park Forest, Illinois. Ames, Iowa, home of Iowa State, where Michael began his college career, is only some twenty miles north ofi-80. Michael received his degree in graphic design from The University ofUtah, in Salt Lake City.

I -80 runs through Salt Lake City. His current home in Piedmont, California is less than eight miles from I-80.

San Francisco, where Michael's office is located, is the western terminus ofl-80. How did Michael get to the top of the design community in San Francisco? He just stayed on Interstate 80.

•

The staff, from left, Renee Holsen, Michael Mabry, Sarah Keith-Mabry, Andy Brubaker, Peter Soe, Jr., Noreen Fukumori, Margie Chu.

BLUEBACK SALMON

Salmon package design for Bumble Bee Seafoods.

The original objective was to redesign the entire Bumble Bee line taking an "evolutionary" approach .

Michael : "Beginning with the salmon products, we found there was very little equity in the existing labels. We used the Bumble Bee logotype and retained the color scheme, but played up the product name versus the photograph of the raw salmon:· Michael Mabry, art director/designer; Noreen Fukumori, designer; Michael Bull, illustrator.

Redesign of packaging for Simpatico Beer. The one requirement was to retain the black bottle. Michael Mabry, art director/designer; Noreen Fukumori, designer; Michael Bull, illustrator; Brandevor USA, Inc., client.

New label design for Zele, a beer refresher from France. To help convey the product's heritage, the label design is reminiscent of poster work done for the cafe society of the 1920s and '30s. The influ ence is A.M . Cassandre. Michael Mabry, art director/ designer/illustrator; Noreen Fukumori , designer; SEH Importers, client.

Pacific Rice logo used for promotional materials and packaging . The illustration of an egret (known as the rice bird) appears on all packaging for the company. Michael Mabry, art director/designer, Michael Bull/Noreen Fukumori , illustrators.

PACIFIC RICE

PRODUCTS

79

MICHAEL MABRY

Fabric designs for Esprit Sport. The concept was to create themes, logos and patterns to be used on clothing for Spring '87 . A prerequisite to these design ideas was humor. The collection is divided into deliveries which appear in stores at specific times through the season . The first delivery, logos and first row, appeared in early spring and was a parody on sport clubs. Susie Tompkins/Jim Nevins, creative d irectors ; Michael Mabry/Esprit Sport Design , designers; John Hersey/Michael Mabry, illustrators. The second delivery, bottom row, used beach life as the theme .

Susie Tompkins/Jim Nevins, creative d irectors; Michae l Mabry/Esprit Sport Design, designers; Michael Mabry, illustrator.

Right page: Corporate magazine for Pacific Telesis. Cover from issue number three , Michael Mabry, art director/designer; Renee Holsen, designer; John Hersey, illustrator; Teresa Ruano, editor; Stefanie Kalmin , associate editor. Spread from issue number one , Michael Mabry, art director/designer; Peter Soe , Jr., designer; Gerry Kana, photographer ; Marjorie Wilkens, ed itor.

Fund raising brochure for Mills College, Oakland, Californ ia. Michael Mabry, art director/designer; Andrew Brubaker, designer; Dana Gluckstein, photographer ; Susan Shea, writer.

Poster to promote the Memphis Furniture exhibition at Limn . The letterforms mimic the forms and patterns used in the furniture . Michael Mabry, designer/ illustrator ; Peter Soe, Jr., designer.

80

Communication Arts May/June 1987

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Communication Arts May/June 1987

MICHAEL MABRY

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Left page: Logo for Western Insurance Company in Austin , Texas using the Texas state bird, state flower and the hill country in the background . Michael Mabry, art director/ designer; Michael Bull, illustrator; GSD&M, agency.

Image designed for a fund raising event to help artists who lost their studios and homes in the Bayview warehouse fire in 1986. Michael Mabry, designer/illustrator; ArtSpace, client.

Logo for a sweepstakes promotion sponsored by the Blitz Weinhard brewery at Deschutes River. Profits from the sweepstakes went to preserve the Deschutes River. Tom Teiche , art director; Michael Mabry, designer/illustrator; Ogilvy & Mather, San Francisco, agency.

A series of promotional calendars which are a joint project with Overseas Printing Corporation . Each year local photographers are featured . Michael Mabry, art director/designer; Peter Soe, Jr./Noreen Fukumori, designers ; Monica Lee and various photographers.

Alta Breast Center· ABreast Screeni11g Service

This page : Poster announcing the opening of a breast screening service . Michael Mabry, designer/illustrator; Jill Barnett, agency; Alta Bates Hospital, client.

Image ad, part of a series for Santa Cruz, a clothing manufacturer for the junior market. Mary Rose, art director ; Michael Mabry, art director/designer; Michael Utterback, photographer.

83

SAN FRANCISCO DESIGN DISCUSSION

I

N PREVIOUS YEARS WE HAVE PUBLISHED A number of panel discussions. Five of these were groups of designers, one in Chicago, two in New York and two in Los Angeles. Three were general discussions on the state of design, one on magazines and one on corporate identity.

It seemed like an appropriate time to offer another of these conversations. This time we chose San Francisco. Though it has a high profile, San Francisco is small in comparison to most major cities of the world. With a population of about 650,000, it ranks fourth in California and second in the San Francisco Bay Area to San Jose. Despite the size, its design and advertising community has made a strong showing in national award shows.

We invited four of San Francisco's leading designers to join us in a conference parlor at the Sheraton Palace Hotel, a location reasonably convenient to each of their design firms. Their bios are shown below. Michael is a uniquely popular name for San Francisco designers, and Mabry and Vanderbyl were two of the four Michaels invited to make a presentation to the New York chapter of the AlGA, an evening entitled "The Michaels Invade New York~ ' Prior to the session, I sent each of the panelists a list of suggested topics that might be covered. They were, of course, free to introduce any other subjects that they felt would be relevant to the discussion.

Dick Coyne

CA: Do you think San Francisco is a good "design" city?

Mabry: Yes, as long as industry continues to give us the kind of support they have.

Hinrichs: I think that anywhere good design is happening, it happens in conjunction with a progressive business community. I don't think it can happen independently of that.

California seems to offer, and certainly San Francisco does, an opportunity for entrepreneurial people to experiment and try new things. And I think they are willing to try more experimental design. They work with a lot of younger, untried designers in some cases, and a lot of fresh things happen because of that. As a consequence, that in turn opens up an entirely new direction for design and the rest of the country begins to follow that, and be influenced.

I hear many people coming out here now and saying: "Gee, San Francisco is a design center of the United States at this poine' I don't know if I would agree with that, but I do hear people from outside California saying that.

Vanderbyl: A lot of my clients are from outside San Francisco. It's a place where clients like to come. If you've got to go someplace on business, and it's the middle of winter in New York, it's a nice, refreshing change for a client to come here.

CA: Do your clients have to come here?

Vanderbyl: We do photo shoots out here. I have clients who built a furniture industry in the Carolinas and they have

Photographs by K. Gypsy Zaboroskie

PRIMO ANGELl heads the firm of Primo Angeli Inc. He received his BA in graphic design from Southern Illinois University in 1957. On a fellowship, working with Buckminster Fuller, Primo got his MAin 1959.

He moved to San Francisco and, finding he lacked the practical skills to get a job, he went to work at a litho trade shop to learn production.

He free-lanced for a while and then became a partner with Dick Cole in the Palo Alto firm of Cole & Angeli . In 1967, he opened his own firm in San Francisco. Primo was profiled in the September/October 1983 issue of Communication Arts.

84

Communication Arts May/June 1987

KIT HINRICHS is one of the eleven partners in Pentagram Design, a London, New York and San Francisco design firm. Graduating from the Art Center College of Design, Los Angeles, in 1963, he moved to New York where he worked for Reba Sochis before joining Tony Russell to form the design firm of Russell & Hinrichs. In 1973, Kit went into partnership with his designer-wife, Linda, in the firm of Hinrichs Des ign.

They moved to San Francisco in 1977 as partners in Jonson Pedersen Hinrichs. Neil Shakery became a partner later. The two Hinrichs and Shakery merged with Pentagram in 1986. Kit and Linda were profiled in the May/June 1978 issue of Communication Arts.

the option of going anywhere. I'm not about to say they come out here just for the weather, but I'm sure it doesn't hurt the frequency of meetings they want to have. They also like the community, the designers out here. I've actually introduced other designers to people who I couldn't take on as clients. They see it as being a good design environment, too. So the work comes out here.

Angeli: There have been so many changes in the time I've been here, all favorable and progressive. As a result, all of California, not just San Francisco, is on the cusp of a golden era of design which, I think, will surpass anything going on in the east because of the convoluted thinking that happens in those old temples of great wisdom.

Vanderbyl: Boy, are you going to get us in trouble.

(Laughter) Angeli: Well, it's a fact. Almost everything avant-garde is happening along this big strip called California. We have the contrast, the tolerance for people and for change. We're not hung up on tradition, and we're more likely to listen.

Clients are more likely to respond. You know, I always knew three years ahead of the midwest what was going to happen. It always happened here first, in crazy California.

They laid that title on us; but three years later it would happen in the midwest. So, here was the pulse of the next thing, and I knew the symbolism we could play on, what would be tolerated. And we're at the crossroads of where east meets west, on the Pacific Rim where all the action is

MICHAEL MABRY is the principal in the firm of Michael Mabry Design in San Francisco. The Illinois native graduated from the University of Utah and then joined Sidjakov & Berman (now Sidjakov Berman Gomez & Partners) shortly after graduation. His own design firm has been functioning for six years and is profiled in this issue on page 74.

going to explode, in commerce and in art. The blend will be something never seen before. I think the future designers should be out here.

Hinrichs: Everyone has a tendency to think like that. When you're in New York, anything beyond the Hudson River doesn't really happen. The really important things are happening inside New York City. We all tend to focus our view on our particular area. We think we are doing the most influential things in the country, and some of that is happening. But some wonderful things are happening in Atlanta, and some great things are happening in Chicago and New York. I don't think we can say that all the wonderful things are coming out of California.

Angeli: Maybe not all of them, but I think the whole world will soon be aware of what's going on here. A few months ago, I was a speaker at Japan's International Design Conference. In one of the panel sessions, they pointed out that, in Japan, Tokyo's the only place to be if you're a designer or student. And then they referred to New York as the only place to be in the United States, and looked over at me.

Well, I can tell you fellas, I straightened those guys out.

(Laughter and simultaneous comments)

Mabry: Primo and Deukmajian, together. (Laughter) Angeli: I let them know that in the United States we have two coasts, the east coast and the west coast. The east coast is known as the citadel, because ofNew York. Through

MICHAEL VANDERBYL established Vanderbyl Design in 1973. An alumni of the California College of Arts and Crafts, he is now the dean of the school of design. After graduation, Vanderbyl was hired by the eminent San Francisco designer, G. Dean Smith , and worked for him for three years. "He's the one who exposed me to the idea that a designer should , if he wants to succeed, be a businessman . It results in far fewer problems with the client if you speak his language:· Michael was profiled in the September/October 1979 issue of Communication Arts.

85

SAN FRANCISCO DESIGN DISCUSSION

"... a lot of clients finally understood that there's a difference between design and advertising and marketing:' habit, people still go along with that, but the ideas and much of the new work starts outside of that city, a lot of it out here. The ideal thing would be to work in New York and live in San Francisco, if that's possible.

Hinrichs: Beam me up, Scotty. (Laughter) Vanderbyl: You'd have to get up three hours earlier to be at work.

CA: What do you think of the work that's being produced in design today, the overall, national scene?

Mabry: I think that, if you look at the very best work being done in almost any area, it rates at a high level. In the larger metropolitan areas, such as New York, it's very high level work. It may be lagging in some areas, a couple of years behind what certain other areas are doing. It seems that every one is influencing one another through the media.

People are able to view each other's work, bringing the world a lot closer together.

CA: Is regional design dead?

Mabry: It's not as noticeable.

Van derby I: I think people's perception of regional design will always exist because they have a tendency to generalize, to focus on a specific thing about a specific area. Michael and I were on a panel in New York for the AlGA where they had all the Michaels. " The Michaels Invade New York" was the title of the evening. I believe it was Michael Beirut ofVignelli Associates who commented that everyone came to the meeting thinking they were going to see a certain thing, but walked away realizing the work was totally different. Even though we were all named Michael, and we were all from San Francisco, each one's work stood on its own. There were influences, mainly in attitude, but not as far as what the work looked like. In the Print regional issue, I see work that looks like Mabry did it and it's from Broken Pelvis, Montana, or somewhere. And I think the problem-this will get me in trouble along with Primawith most designers is that they don't understand the reasoning behind what they see in the magazines. They see a thing in Print at about 2 x 3 inches and then pick up the motifs off the front of it and rejuggle them and stick them into their design. That's their perception of what west coast design is. I think that the one thing that Print's regional issue shows is that good work can be done everywhere. The regionalism tends to separate us, whereas we' re a lot more connected than most people think.

Hinrichs: Some of the so-called regionalism has really been based on individual people who have been outstanding in their area, who happen to live wherever they are. I think of the influence of Push Pin in the '60s in New York. They

86

Communication Arts May/Jun e 1987

happened to be in New York, and they influenced a tremendous number of people. I wouldn't lump all of the Michaels together. But, I do sense the influence of CCAC (California College of Arts and Crafts, Oakland) where you're in a position to influence a lot of young designersand I think appropriately so-in terms of a point of view, and thinking, and a way of solving problems that is very solid, even though there are certain stylistic things that go along with it. That does have a tendency to create a center of design that may have a certain "school" or look to it.

I think that's true everywhere. Art Center in L.A. Mabry: Yale.

Vanderbyl: Cranbrook.

CA: When we view the large volume of work submitted to our Annual, most of it pretty good, we're conscious of a similarity, sometimes sameness of look, and it's coming from all over the country.

Hinrichs: Your publication is part of it. Here we are in a world of instant communications. We're producing all of this material that is so quickly reproduced in an annual and the rest of the world sees it. As a consequence, you can't help but influence other people. With a shorter and shorter lag time between the time things are designed and the time they ' re published and recognized, there is more and more influence across the country.

CA: Will this concern with the latest " look" go on indefinitely, or will we be more concerned with substance?

Vanderbyl: I think there will always be substance in the best work. The good thing about design now, the reason it's a good time to be a designer, is that a lot of clients finally understood that there's a difference between design and advertising and marketing. There's places where they all intertwine, but design is no longer sort of a service of advertising, which it was when I was starting out in the field , working for Dean Smith. Clients went to as many ad agencies to try to get work as they did to the few design offices that were there. Substance will always be a factor.

There's always going to be good people solving good problems, with good solutions.

Two spreads from the lmmunex Corporation 1986 annual report designed

by Kit Hinrichs, Pentagram. lmmunex is a biotechnology company focused on the development and commercialization of therapeutic and diagnostic products for treatment of diseases related to malfunction of the immune system. The illustrations in the report are by Vincent Perez, a fine artist who teaches drawing and anatomy at California College of Arts and Crafts in Oakland. The drawings are large, four-feet by six-feet, and were purchased by the client to hang in their building. The photographs are by Steve Firebaugh.

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miracle of eYOiution - more than a trillion white blood cells programmed to protect the body from foreign organisms and abnormal ce ll s. such as infections, disease-causing agents and cancer. 4 Often. however. an individual's normal immune response to disease is tnadequate. Both overwhelming infections and many cane<r therapies damage the immune system, leaving the body incapable of warding off diS<aS<. Furthermore, the immune system may occasionally misfunction and attack the individual it was designed to protectresulting in autoimmune diseases. 4 1mmunex is involved in strengthening the body's immune defenses with naturally-occurring hormones, called lymphokines, chat play a p1votal role in directing the defensive tactiCS ofspec1alized wh1te blood cells. Usmg the tools of biotechnology. Immunex is focused on the development of therapeutic and diagnostic prcxiucts to be used in the treatment of conditions as diverse as cancer. m~ec tions and autoimmune diseases. 'i'i' Several lmmunex products have potential as cancer treatments. The best known of chese.lnterleukin-2 ( lL-2 ), is being developed in COnJunction with Hoffmann-La Roche. ! L-2 causes the proliferation of a class of white blood cells called T-cells, that, in turn, destroy malignant tissue . Current Phase ll/ll l trials are examining the use of IL-2 alone, as well as in combination with activated T-ee lis (sometimes called LAK cells ), other 1mrnune modulators and chemoth<rapeutic agents. 4 0ther lymphokines with possible anti-cancer applications are the Colony Stimulating Factors (CSFs ). CSFs stimulate the bone marrow to produce all types of white blood cells.

GM-CSF. now in human clinical trials, causes the growth of two types of white blood cells. granulocytes and macrophages. It may be particularly useful in the treatment of those patients whose white blood cell leve ls have been lowered by ch emotherapy. T hus, GM-CSF may enable more intensive and more: successful chemotherapy - benefitting the patient, the hospital and third -party payment organizations.

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87

SAN FRANCISCO DESIGN DISCUSSION

Mabry: I think when you see different things happening in design it is because of substance.

Vanderbyl: Right. I agree with that.

Mabry: When too many start to mimic things, following trends, that's where it gets all convoluted and misdirected.

You're always going to have some individuals, studios, whatever, that are dealing with projects in a substantive manner. A lot of others are following. I'm not saying that's always going to be the case, but it seems to be happening right now in design. Actually, it's happened throughout the history of art. One society is doing something and it's picked up by another. Somehow, through the ignorance, it may be a new way of defining the problem.

Vanderbyl: I think it always starts out that way. When these squiggles, or bars, or grids, or something, were first used, they were an attempt to express an idea that was very strong and clear at the time. Unfortunately, some other people see that in a magazine or a poster up on the wall and say, " Oh, I can use that on what I'm doing:' and pick them up. Now they're motifs.

Mabry: Stripe and type, right?

Vanderbyl: I remember during the '60s when supergraphics were real hot. Then one day Dean said, "Well, I think supergraphics are out because I just saw them on sale at Sears:' You could get big vinyl ones for your bedroom.

(Laughter) Barbara Stauffacher's work at Sea Ranch was for an architectural space that didn't work and needed something to tie it together. It was a brilliant solution, appropriate and right. But then it became a style of design.

Hinrichs: Became a cliche.

Vanderbyl: Yes. A cliche, and totally pooh-poohed. But her work at Sea Ranch is still strong and beautiful. I was up there a few months ago and I still like it.

Hinrichs: All cliches are great communication pieces. They wouldn't have been used again and again if they hadn't been effective when they were first done.

Angeli: My big tirade on what's happening in California, being the next great movement in design, could encourage people who would like to hang a tag on it. As soon as you can pigeonhole anything, lay a name on it, of course you will kill it. But this is a combination of the decorative and functional approach to design, with marketing involved, and I think it defies a real label that could be laid on it right now.

Vanderbyl: I think one thing that helps San Francisco is that it is a small client base. I don't mean that all of the clients are small but that it's very hard-except for Kit-to 88

Communication Arts May/June 1987

specialize in annual reports here. We don't have the degree of specialization that you find in larger cities than San Francisco. Here, most design firms are forced to move around a bit more, work in various areas. I think this happens in other smaller cities too.

Hinrichs: I believe this is segueing into something else on Dick's list. Where is the future of the design business going? There is more and more specialization going on.

What you may be indicating as an economic reason for doing this variety of things here is actually what I hope for the future: Corporations understanding that design is not a single specialty item but is a total design involvement.

It isn't just an identification program, a brochure, an ad campaign. It's all of these things, a long-term mixture within their culture.

Vanderbyl: I'm seeing that with clients I design for. I refrain from using the term "graphic design:' design period. When I work with developer clients, we actually help them hire architects; which the architects don't appreciate too much.

I think we're going back to a fairly old idea, which is what Paul Rand did. The clients, I think, understand that they do need someone with a clear vision of what the company's image is saying; not just the trademark, but the vehicles, the receptionist at the front desk, the buildings their business takes place in.

CA: You can be a generalist here, now?

Vanderbyl: I think "generalist" is very specific. It's design.

And design is more than two-dimensional.

Hinrichs: I don't mean to make this a Pentagram statement as I shift this into your question about European design, how European clients offer a higher status to designers.

They seem to appreciate design as part of the culture they're in. That seems to be more true in Europe than it is here. I wish it were truer here. The generalist aspect of Pentagram, and many offices in London, is that they do have an architect, an industrial designer and graphic designers all together under one roof. I think that they're at an understanding that design is total. It isn't specialized. I think that we in the United States have very much segmented what we are doing. Unfortunately, I think we are broadcasting out, there is more chance of Europe going the way America is going than us being influenced by Europe.

That disappoints me. I would love to change that, which is one of the reasons that we joined Pentagram.

Vanderbyl: I can only talk from this part of America that we're looking out of but, with my colleagues, it's actually moving more toward that.

Hinrichs: I would like that. I hope it's that way.

':All cliches are great communication pieces.

They wouldn't have been used again and again if they hadn't been effective ..."

Vanderbyl: It is, to the dismay of some of the other design

disciplines. Because, I think, through default by their specialization. Architecture is no longer architecture, it's architecture and engineering and interior design. A project that started out to create one image for a company now has three different disciplines trying to build that one thing.

In essence, and this will drive architects wild, a building is just like a brochure. It creates a certain image for the company. It just stays around a little longer.

Hinrichs: There may be hit men out for you.

Vanderbyl: That happens all the time. What I'm saying is

I think the situation is changing. They're specializing.

The only person left is like a Pentagram designer, someone who takes all disciplines into consideration.

Mabry: I find my clients are pushing me into more of that.

I'm not even trying to get into that situation. They ask me, "What about this? What are we supposed to do?"

They need a rug and ask, "Why don't you design it?" I tell them that I've never done a rug. They say, "We don't care. We love what you do in other areas and we trust you.

So try ie' Hinrichs: Esprit is a perfect example of someone who appreciates design, in its purest sense, and uses it everywhere, and in everything they do. They really don't sell clothes, they sell design. They sell style.

Vanderbyl: Image. They sell graphics. That's what they sell,

it just happens to be something you wear.

Angeli: The designer is called in now with the marketing

people before the whole brief is made up, before you get your marching orders. When we are discussing a package design and we're presented with a marketing plan, I'll notice that they have two or three targets instead of one.

I question that because it behooves me to consider what we're selling. I'm not selling design, we're selling a product and we're involved, in a sense, in a partnership with the client in the development of that product and firming up the objectives.

Hinrichs: I find, and maybe the rest of you do also, we're getting calls from corporations asking us to be on a consultancy basis. They want us to help develop their long range planning, or where they're going with their products. They have a certain personality that they want to project, and they understand that design is a very important way to help project that personality. Impossible to do without it. It's not tied to any specific project. "We want your opinions and thoughts on how we can help guide this company. We understand that we need someone who has the visual thought to follow this through~' And that is something, for me, that

did not happen ten years ago. It happens now without me selling it, something that is instigated by our clients.

CA: Kit asked, "Is this happening to all of you?"

All: Yes. Mabry: More and more often. I find that people call us in

and we start with their business plan first. We'll discuss what their objectives are, what their goals are. And then we can start talking about where we come in. It's not consulting, it's more like a casual discussion, but they seem to trust us with more responsibility. I find that I learn a lot more about the company. I also feel more, I don't know if it's indebted, the desire to do even better.

Angeli: Responsibility. Because if it fails, you're a big part of

that failure.

Mabry: Exactly. And it makes it much more fun.

Hinrichs: You'll get blamed for it anyway, you might as well be part of it.

Vanderbyl: Probably none of us have General Motors coming

to us for help. (Laughter) There may be a message back at my office though. What's happening, at least in my instance, has happened with small clients, and those clients keep getting bigger. We start with them when they're not very large and help them. What's really nice about it is that we usually catapult them from zero to a lot of money.

I hate to be so blunt, but ...

Angeli: That's the message to get across. That's why they

hired you.

Vanderbyl: Well, they're disciples after that. It's embarassing

sometimes, because all of us know in some cases, when something is so small, there's nowhere to go but up. These clients that I've worked with hadn't had the luxury, or the detriment, of having MBAs or marketing people. They've done it themselves, as entrepreneurs, and we've been able to make great strides, quickly, without having to go through lots of media and marketing strategies and plans. We need to get from A to B. What's the best way to do that on the best budget? We tell them and they usually do quite well.

Hinrichs: I think this is happening all across the country, not just in California.

CA: If you're now asked to do this type of consultation, was your design education adequate preparation for this?

Angeli: Yes. Mabry: I'd say no.

Vanderbyl: Hands. Let's see what we've got here. We have

one yes and three no's.

Angeli: I came out of school short on the skills and tech-

89

SAN FRANCISCO D ESIGN DISCUSSION

"... many of those business people are open to new ideas and can explore just as much as you can:' niques to get a job, but we were trained on how to break a problem apart. It was the " Bauhaus School" approach to design. Heavy on concept. We were trained to have a target and that was a good background for understanding what marketing is all about.

Vanderbyl: At the time, we didn't know what we were supposed to have.

Hinrichs: That's true. When I graduated from school, I expected to be an art director in an agency. As a consequence, we were trained well in design and that was effective for me in business. What I hadn't learned was how to specifically articulate how effective design can be to the business community, in their terms. And that is what our role really is in many cases. We deal with photographers, illustrators, other people who are wonderfully creative, but who generally do not interface with the business community. I find myself constantly having to be an interpreter, a liason between the design community and the business community, an interpreter of information for both sides. And that's where I found my education was deficient, in dealing with business. I think that could be very valuable to include in a design program, to understand more about business so that we could be more effective designers.

Vanderbyl: I agree with everything you said. My education taught me to solve the problem first and then worry about what it looked like; but the people we' re talking to don't have the same education, so the language is different. Being able to talk about your work is something you should be taught in school. I think I would shy away from teaching marketing because it gets into the formula thing-the problem you run up against with someone who is an MBA. I don't mean to say that all MBAs are like that, but you do run into this formula-oriented problem solving. The irony about MBAs in general is that here's uncreative people who, because they have a degree and have jumped over all the hurdles, are suddenly in charge of a mess of creative people, architects, designers and that sort, and they tend to take something that is intuitive and regiment it into some order. Focus groups are not always the answer for good design . I have a feeling that, in the past, marketing has taken a lot of the spunk, the energy, out of design by trying to be safe. Great strides in this country weren't made by being safe and worrying about next quarter's bottom line.

It would be just too easy for design schools to say " we'll plug in a marketing course:' I think they would make all the mistakes everyone else has made. Maybe students should be exposed, somehow, to the way things work.

Cause and effect. You do this and here's what happens.

The fact is, students need to know more about more things 90

Communication Arts May/Jun e 1987

than design. They need to know more about architecture, about literature, about science. They need to be better educated designers.

Mabry: They need to be taught to see.

Van derbyI: Yes, to see, and to learn. Some of my best students are people who have a degree in marine biology, or something, and come back to school because they want to be a designer. They're already educated and know how to learn. I also was taught the Bauhausian philosophy, that form follows function. Unfortunately, it meant form follows modernism, which they didn't tell us. But I still believe form follows function and part of that form is being able to talk to the client, to understand what their problems are and then solve that. You might call that marketing, I just call it "design research:' In order to solve a problem completely, you should know everything about it. Maybe even some thiqgs that don't relate directly but influence it.

Hinrichs: Teaching people to see. I think that's all it is.

Angeli: Your design research makes you the best marketing person for your own work. It's up to the designer whether he's going to really work with the marketing people or not.

You position yourself. If you take the posture that they only talk to you when they're considering esthetics, you've really screwed yourself out of being a participant in the project. These marketing people can be as creative, sometimes more creative, than the designers. That's why I don't like to refer to the group that draws and paints and expresses themselves with configurations as creative, and the group that sets the problems up as not. That creativity and problem solving could exist entirely on their end and be cut short by the designer who, because he wears the clothes, is supposed to be creative. It ain't necessarily so. We have to realize that many of those business people, including MBAs, are smart and open to new ideas, and can explore just as much as you can. I think it's up to us to ascertain who we're working with. Ideally, they have teams of people there who can work with you, and let you do what they can't. We are the best translators.

Selections of work done by Primo Angel i, Inc. Packaging design system for Cambridge Nutrition Canada Ltd ., a d iet formula deve loped by Dr. Alan Howard , England .

Symbol for the 1987 Baseball All Star Game to be held in Oakland .

Angeli also redesigned the Oakland A's baseball un iforms .

Cover and page of a brochure for an exh ibition of anc ient Egyptian sculpture at Van Doren Galleries.

Packag ing design system for TreeSweet Products Co.

BfonzeHeodolaCol 22nd-301h[},onosly 9~342BCHelgnl5

onches(127cmJ

91

SAN FRANCISCO DESIGN DISCUSSION

Vanderbyl: I always have the feeling that, if I can rationalize 90% of what I've done for the client, they should give me the other 10% for craziness.

Angeli: That's not bad.

Mabry: The whole point is, when something good happens, it doesn't matter if you're an MBA or you're a designer, or what your title is. What matters is good things happen.

You have a group of people that can get to and solve that problem effectively. That's when you have a good relationship, regardless of who made what contribution.

Vanderbyl: The big analogy here is licensing architects hasn't made better architecture. It's made maybe safer architecture, but since engineers are handling most of that anyway, it hasn't elevated the field. The licensing should happen when there is peril to the public. No one has designed something so ugly that it killed somebody.

Mabry: Maybe a heart attack when they get your bill.

Vanderbyl: As a qualitative thing, I think it's difficult because of what we do. We don't like to call ourselves artists, but it's like licensing painters. It doesn't make you a better painter because you ' re certified.

Hinrichs: You know how to mix red and blue.

"... whether someone can spec type or can do technical, quantifiable skills has nothing to do with design in my book."

Angeli: We've been trained to be the translators of these words and objectives that have been set up; to translate that into the finest form possible, not to be so " far out" but be more " far in" than anybody, closer to the edge of the problem.

Vanderbyl: Maybe you 've coined something here. (Laughter) Angeli: Far out scares the hell out of people. " Boy, that's far out. Wonderful. We can hang it on the wall now." Being far in sounds closer to the problem and a higher form of communication. We' re trained for that, not the marketing people. They should understand that and not try to direct us too strongly. That's an amateur trying to tell us how to interpret this.

CA: Was there anything further anybody wants to add on the subject of education?

Angeli: I think we ought to explore having a bigger playground in school. Students become professional too fast.

Instead of trying, and testing, and making all their mistakes there, they begin to copy everybody. I think schools need to create an environment where you can experiment and make a thousand mistakes a day.

Vanderbyl: I agree with Kit. I think we could eliminate a lot of really good people, and we'd probably license a large number of people that shouldn't be. That's sort of drastic, I'll probably be killed for that one, too.

Hinrichs: I don't know what questions you would put together as a test to pass to be a designer. And if that could be decided, I think we would have completely lost the intuitive aspect of what our business is about.

CA: This subject keeps coming up, as long as I can remember.

Vanderbyl: Kit's on the AlGA board now. I was on it before him, and I spent a lot of snowy afternoons in New York talking about this. It just boils down to somebody wanting some initials behind their name. Is it going to make the profession better? I can't see the benefits.

Mabry: The profession would like to have greater respect in the eyes of the business community.

Hinrichs: I think we earn respect from what we do , not by putting initials after our name. Raising the perception of how valid design is within the business community, and in our culture in general, would be more beneficial for the culture and for ourselves.

CA: Certification doesn't seem to generate much interest or enthusiasm. Another factor in our field that hasn't generated much discussion in schools or meetings is the subject of ethics. Are there some clients you wouldn't work for ?

CA: If we have problems defining what a designer does in order to structure a course in school, how would we handle it for certifying a designer? Do you think certification would serve any purpose?

Hinrichs: I'm very leary of this, partially because some of the best people in the business never went to school, and it has nothing to do with the skills you may have. Whether someone can spec type, or someone can do technical , quantifiable skills has nothing to do with design in my book.

92

Communication Arts May/Jun e 1987

Annual report for the L.J . Skaggs and Mary C. Skaggs Foundat ion .

Michael Vanderbyl has been designing the reports for a number of years.

Eac h year has a theme and this one was linked to the women 's movement and the International Women 's Decade Conference in Na irob i. The cover photograph of a veiled Yemen woman was courtesy of the Un ited Nations.

Photograph of participants exchang ing addresses by Mark Peters, Black Star. Painting of Empress Dowager Zi Xi, courtesy of the Granger Collection . Maggie Berkvist was the photo researcher.

PRESIDENT'S

I

L

E

T

T

E

R

am proud to present this report of our Foundation's granu during 198S. From almost 1,)00 applications, we awarded 292 granu for a total of $1, 9)6,6SO. This fulfills our policy that granu should be at least 10% of fair market value- of Foundation assetS. Grants ranged in siz.e from $300 to S1SO,OOO. While 198S represented the largest total of grants we have made in a single year, we look forward tO an evm larger distribution of funds this year. 1986 will be the 20th year of grantmaking by our Foundation.

Our first year (1967) grants tOtalled SlS,OOO; at our November, 198S, Board meeting, the Dirccton authoriz.cd the distribution of $2,-462,000, including the Program Director's Discretionary Grant Fund, for 1986. This progress in grantmaking represents the growth of our Foundation through gifu from my husband and myself 2nd responsible management of our investment portfolio. We are happy we can give increased support tO men the goals of our Foundation-awareness and appreciation of our cultural and historical heritage and alleviation of social problems and concerns throughout the world.

Our 198S crant priority was our panicipation in the International ~men's Decade Conference. The Foundation established a special fund of $200,000 to be used for cranu in support of prognms related to the Nairobi Conference held in the summer of 198S. Our Director for Social Concerns Programs, Laura Lederer, administered this fund and attended the conference. The exciting and Stimulating activities in Nairobi arc the basis £or her tSsay in this year's report which is dedicated to the women's movement.

Laura's enthusiasm and achievements sparked the support of our Board for an ongoing program . As a result, Our International Gnnt category is being restructured for 1986 and beyond and the funds allocated to it doubled in si:u. In addition to our traditional granu in the field of health and hunger programs at the village level, one-half of the international grant category will be devoted to support of the women's movements and programs throughout the world and will be under the supervision of Ms. Lederer. We feel that a wonderful beginning has been made to create awareness of the univenality of the women's movement and wish to encourage the excellent prognms developed under the stimulus of the International ~men's Decade Conference. We will continue to have one-third of our Social Concerns granu dedicated to prognms, primarily in the San Francisco Bay Area, co ncerning women's and children's rights.

Respcctfully submiued,

Mary C. Skaggs

While the delegates tO the official conference pored over each pan.graph of the Forward Looking Sl.rategies document, pa.nicipanu in the NGO Forum participated in a different kind of exchange.

13,000 women from 2SO countries had a choice of over 2,000 workshops (that's literally 115 worluhops offered per day!), on such diverse topics as reproductive health, women, energy and environment. older women, infant mortality rates, literxy, childcare obstacles and opportunities, gender equity in education, religion, and the law, and indig~us women's righu, to name a few.

In addition to the ongoing workshops, there wu a large •Tech and Tools• tent city where appropriate technologies (such u wood burning stoves, new tcc.hnologies: for accessing water, food growing and processing improve:menu) were demonstrated. There was also a gigantic •Puce Tent• in which women gathered at every hour of the day for informal discussions on nuclur war and nuclear power, the Middle East conflict, the Iran-Iraqi war, the Pacific Islands, South Africa, Ce:ntral America, and other •hot spou• around the world where women's lives are being affected by political problems.

FinaUy, the Grut Court of the Univt:nity of Nairobi campus served as a mening place and informacion exchange for hundreds of organizations. Douns of displays were set up all over the lawn, including a Kenyan uuplanting project, a folk quilt sewn by women from -46 nations, a series: of book.n2nds, and an Indian b~ yoga group demonstration. There were thousands of informal encountns-many one on one, but some naning u smaU groups and crowinc to hundreds u women gathered to spnk, sing, dance, 2nd play. Masai women in. their native dress taucht U.S. and European women a celebratory fertility dance. japanese women in full traditional regalia demonstrated geisha d2nces.

A Cuban jazz. ensemble attracted a court full of women who danced to the Latin salsa, Ukrainian women performed Eastern Europe2n folk dances. This cultural exchange wu, in some ways, the informal vcnion

o~what took pl>ee in the me<tings, panel discussions, and worluhop" While

women of greatly diverse backgrounds, cultures, classes, religions, races, and ages explaincci and explored their differences, they also discovered that they had commonalities which run deep.

The '\(.bmen's!Children's Rights Prognm at the Foundation reflects the belief that women have problems and interesu in common and that organiz.atioos can be built around these problems to help solve them. Our first granu to local and national feminist groups working o n health, employmen, and education issues helped to build that community. For cnmple, granu to the San Francisco 'M>men's Cmtns in the early 70's supported their umbrella services tO the Bay Area women's .community. Another grant to A Safe Place in Oakland, California, helped tO esublish the first battered wives: shelter in the East Bay when there was nill controversy about whether each community would need iu own shelter. Today, with shelters full and turning women away daily, it is clear that

93

SAN FRANCISCO D ESIGN DISCUSSION

"We have to start taking responsibility for preserving our history ..."

Angeli: Yes. I've turned a couple of real big ones down.

And it hurt. It wasn't the atomic bomb ....

Vanderbyl: I've got that account.

Angeli: It was smoking. Cigarettes. It would be fun to design a package. And I'm not a crusader, I'll borrow a cigarette occasionally. But you have to make a decision. It's a matter of each individual's own conscience and circumstances. If I needed it to keep the door open and feed the family, I just might design cigarette packs. And where does it stop, where do you draw the line? Saccharin? Nutrasweet? There are so many things today that they tell us are potentially dangerous to our health. What about visual pollution?

But your conscience has to prevail or you'll get rashes and stomach aches.

CA: Other than products we think are unhealthy, are there other reasons you might turn a client down?

Hinrichs: A politician might come along and you wouldn't agree with his particular point of view.

CA: But what if you did?

Hinrichs: If I believed in him and thought it would be helpful if I supported him, then I would do it.

Vanderbyl: It's something I would do myself, but I would not require my employees to work on it unless they wanted to. I would never put the people that work for me in a position where it would compromise their morals or beliefs.

That's a nice thing about having your own office, your morality as an individual determines your morality as a businessman. One thing I would not do is nuclear energy,. but there's not a lot of that work coming my way.

Mabry: Obviously there are things like tobacco or other products that, according to our conscience or point of view, we don't want to support. But there's something else, inside our own industry, that we should be concerned about.

When companies come to us and want us to redesign one of the great, established logotypes or trademarks, Coca Cola, let's say, or 7-UP, or IBM, we have an obligation to tell them, " Don't do if' Of course you know there's going to be some guy behind you who's going to take the job and make a lot of money. But that's wrong. We do have to start taking the responsibility for preserving our history, protecting our classic icons. It's the same as saying, "That's a great building. Don't tear it down~ ' If we don't start doing that, what's going to be left? We need to preserve some of our best design.

Hinrichs: Hear, hear.

Van derbyI: If it's not broken don't fix it. There are some clients who come to you because they're kind of caught up 94

Communication Arts May/Jun e 1987

in a movement, either through their associates or the competition, where everybody's changing their look. Maybe that's a job you should take on. After your design research, your recommendation is to not change it. They have a problem, so maybe it should be analyzed and redefined.

What he really needs is something else.

Angeli: Right from the inception, you know that certain jobs are going to lead down a certain path. Don't take that job.

Mabry: Morally though, if they've come to you and you don't want the job, you should give them a good reason.

Vanderbyl: A free consultation telling them why they shouldn't be changing it. Probably in some depth. Hopefully, you can stop that client before he gets to someone else that will take on the job.

Mabry: Exactly. You know that there is always somebody who will, but if there's been enough signals saying "Don't touch it:' maybe they'll listen.

Vanderbyl: Moralitywise, I'd rather do work for people who can't afford work. Foundations, public organizations, ballets, .things like that. Why should the wealthy corporations be the only ones to have good design?

Hinrichs: I think you'll find that throughout the industry.

A lot of design firms, especially if they're a certain size, always devote a portion of their time to personal causes that they think are important to society.

Angeli: You've got to return something to the community.

Actually, some of our best design happens then. Some of the great fun comes from these little freebies. I call them our Latin jobs, pro bono publico.

Vanderbyl: That's one of the reasons I'm very proud of the design profession. I call it the Robin Hood theory of design.

Taking on a large, paying client allows you the latitude to release one or two people to work on something that's important but economically unaffordable to a foundation or whatever.

Work done by Primo Angeli, Inc. Poster for Boudin Bakery incorporating the packaging elements and the Boud in build ing identity.

Far right: designs for gift wrap paper commemorating the 50th anniversary of the Golden Gate Bridge. Angeli also designed the poster for the Bridge anniversary.

Package design for National Oats.

Package design for Henry Weinhard Light, Blitz Weinhard Brewing Co., an extension of the line of Henry Weinhard packaging also designed

by Angeli . Hal Riney and Jerry Andelin, art directors.

THE ONLY

BREAD

BAKED

FRESH

95

SAN FRANCISCO D ESIGN DISC USSION

Angeli: You' re robbing from your clients? Just kidd ing.

CA: Do you frame them before you give them to your clients?

Van derby I: I've jokingly said that to my clients because I have tried to hit those clients up to pay for some of the production. In a sense they' re already unofficially donating some production time to a cause that I'm working on.

Something else I do is encourage young designers to donate their services to a highly visible non-profit organization. " That's the best promotion piece you could possibly do for yourself, and it helps the community at the sam e time it's helping you ~'

Mabry: Well, we don't have that many that we ... (Chorus of ahs and ohs and come ons). No, actually we just send them in the brown paper they're delivered in.

CA: Public service work often does very well in the shows.

On that subject, do you think the shows serve a useful purpose?

Angeli: Sure do. It's an inspiration and there's a competitive spirit that it generates. I like to see what others are doing. It can stimulate you , so I think th e shows have a positive effect on the quality of work being done in this field.

Hinrichs: It's a validation of how you 're doing with in your field , how your peers view you at that point. I don't think we're overly concerned about our peers, but I th ink it is important for us to be judged by an educated audience and that's who our peers are. I have found , because we occasionally had clients who said, " I don't want this to get into a design show. I want you to ... (interruption with everyone talking and laughing) We never, no I don't want to say never. We try to design things that are appropriate for our clients, not to get into a show. But there's no contradictio n in getting things in a show and being effective for your client. Now we have found , more and more, that clients are coming because of things that they have seen in shows. It is amazing to me how many people read CA and can quote you chapter and verse as to how many shows you were in, and which particular clients you' re working with, and they would like to talk to you about a particular project. People from outside the Bay Area, people from all over the country, respond to it. This is something that is, to me, a relatively recent phenomenon, that our clients read it as well as the design community. That's a wonderful thing, starti ng to reach through to this community.

CA: As a teacher, Michael, do you find that the shows serve any educational purposes?

Vanderbyl: In a kind of broad brush way, they do to students. unfortunately, there's not enough depth in the explanation of what the problem was, or why it won an award . So as an instructional tool for students, they are not as good . As professionals, we understand more of the problem solvi ng aspects. And they're a record. One note on clients, I fin d mine just love getting awards. It's all on their walls, next to their Harvard MBAs. 96

Communication A rts May/June 1987

Angeli: I thin k you ought to frame them. The darned things become more precious. We do, and send them to the client.

And even though they've often said , " We're not looking to get in a design show;' they love it.

Vanderbyl: On the subject of education, again, I think the annuals are good because graphic design education is lacking, more so than the other design disciplines, in documentation of work. W hat is lacking the most, unfortunately, is any sort of criticism. Part of becoming a professional is being able to criticize.

Hinrichs: W hich we don't do very well.

Vanderbyl: There are very few people who write design criticism, or want to.

Hinrichs: Are we going to see more inCA?

CA: Do you think there should be?

Vanderbyl: One of the best articles that CA published was Larry Klein's article on the Olympics.

Hinrichs: Yes, it was.

Vanderbyl: To me, that was not like architectural criticism, or even movie criticism where they just go after people. That was j ust " Here are the facts. Draw your own conclusion~ ' I thought that was excellent.

Hinrichs: Well, that's what this is, to a certain extent.

Vanderbyl: One person who probably does the most in criticism is Steve Heller.

Hinrichs: Yes, the AlGA Journal is probably the best example of it.

CA: Criticism in the AlGA Journal or inCA is going just to ourselves, although Kit said his clients read it. Don't you think there should be public criticism of design?

Vanderbyl: There is, but it's so rare. Time magazine does the annual thing, plus every once in a while they'll bring something up. I think that criticism there, or publishing that Olympic article, helps the profession, outside of it. That's what's going to give design more credibility. We are the new kids on the block as far as the arts are concerned. The problem is there aren't that many scholars. Students don't have a lot of books to read.

Mabry: One book. History of Design, Philip Meggs.

Vanderbyl: That's the only book that really exists on the total perspective of what design is. And it's not enough.

"One note on clients; I find mine just love getting awards:'

I'd like design text books of any kind that weren't "How to~' That's one thing I'm glad you're not doing, Dick, the how-to publications. In a way, they're dangerous for students to read. They make it seem that design is easy. "If! follow steps one, two and three, I'm a designer." Dealing only with technique as opposed to the thinking behind what design is.

Mabry: I was amazed that How magazine would be concerned about what pencils you use. Does that matter? Is using a certain pencil going to make me a better designer?

Vanderbyl: They don't talk about ideas, only the process you go through to execute ideas. In my mind, that perpetuates a real superficial way of working in design, teaching technique without substance. Instead of solving the problem and then figuring out a technique that works for the solution, it's "Here's a technique, now let's find a problem I can use it on~' Mabry: I think there should be a discussion about failures, things that were designed beautifully but didn't work for some reason or other, weren't effective. Let students, and also professionals, realize there can be failure when the definition of the problem or the solution isn't right. Something that you felt bad about and took personally, but the next time down the road you would be a little wiser. Once I was asked to do a lecture on visual indentities, successful and unsuccessful. I asked for some examples and everyone sent me successful, so I had to put my work in there for the process. (Laughter) It's just as well. I knew where things went wrong in the process. The clients made certain decisions that were wrong and we made decisions that were wrong. At least I put a little perspective in the discussion. Otherwise it's just, "This is a really nice logo, and everyone loved it, and the company sales went up twenty percenC' Vanderbyl: We don't have any failures, right?

Hinrichs: I have a drawer full. Any time you ask that question again, I can send you some great examples.

Mabry: O.K., Kit. Would you please send me your dregs?

Hinrichs: Not dregs. Something that was an award winner, but did not work.

CA: That might make a good textbook. One topic I would like to get in here before our dinner reservation comes up is the advent of the computer in design. Will you welcome it?

Angeli: You've got to. That's the new medium. There'll be studios entirely computerized. You see the harbinger of that in a lot of work now, designers using computer techniques to talk to our audiences out there. What's going to happen, I think, we are all going to be equipped with

computers, totally, in about three to four years, and those of us who've decided that this is an alien thing are going to be covered with chalk dust. (Laughter) The way we put packages and brochures together today, I think that's out the window. We have a computer workstation and there's no question about the excitement and possibilities. There's a whole new sense, and whole new way of creating, that we're going to be discovering. Somehow, you've got to be objective and say, "Here is this brand new thing. What can I do with it?" It's going to be very exciting.

Hinrichs: I'm coming from not a different point of view because I agree. I don't know if it's going to happen quite as quickly as you may think. Anything that comes in, it'll come, for our office at least, through the back door and enable us to be more productive. Things we used to do by hand, now we do with a computer, even though most of those computer operations are currently done out of house with typographers and with ...

Angeli: But creative, too, Kit. The time it allows you to really do stuff instead of dabbling around in these ancient ways.

Hinrichs: I think it will all depend on each one of us as individual people and the way in which we create. When it gets to the point where I can actually move things around on the screen-it's going to sound like I'm an old dog here-but there is a process of moving things, the tactile experience of going through it, that actually is a functional process for me in creating. If I'm able to translate that and I can have the computer do for me the same thing that I do now, by moving pieces, it could work for me. Maybe I can talk to it, because I think that will be coming. I want to be "Bladerunner~' I want to say, "Upper left hand quadrant zoom in~' I just want to do that and have it do things for me to the point where I don't have to think about it anymore, where I don't have to become a technician to be a designer. I want to have that be part of my thought process, as my hands are now. When I can do that, the computers will be wonderful, and I will embrace them totally. I'm sure that will happen. I use computers now for word processing, but I don't use them to create with yet because they still cannot, for me, do things that I can do better and faster. That will come, but right now they can't.

Vanderbyl: I hardly have enough time to design anyway, and I do it anywhere I can. A lot on planes. So it better be able to go with me wherever I am. We use computers in our office for bookkeeping and it's unbelievable how it's simplified that operation, in tracking jobs and financial breakdowns on projects. I love that, so I can't not believe it's going to do the same thing on the graphics. The zooming copier has revolutionized our office (everyone verbally 97

SAN FRANCISCO DESIGN DISCUSSION

agrees). That's how low-tech we are. But I don't think it's going to happen in three years. For the last fifteen years I've been going to design conferences where they say, "You're going to have terminals on your desks~'

trying new things, that you were doing in the beginning.

The same thing is happening again.

Vanderbyl: I want to be a believer. But it's hard to justify

Angeli: Three and a half max.

spending more than all my employees make in half a year on one workstation for one person to use.

Vanderbyl: That means I'm going to have to put terminals

Mabry: And you can't expect to drop it on your table and all

on more than one desk and that's a lot of money.

Angeli: But it's getting cheaper.

of a sudden it's going to do everything for you. You've got to invest a lot of training time with this.

Mabry: That's the natural process.

Angeli: Yes, it's a new discipline and it is difficult.

Vanderbyl: I think I'll also miss the tactile quality Kit was

Vanderbyl: Getting back to education, a real problem is that

talking about. The ability to draw or sketch on a napkin.

Maybe they'll come up with a little Frog-designed napkin, Lexan or something. It's a computer, but it looks like a napkin and you can draw on it and it's sensitized ...

Hinrichs: And it's being printed at the printer. (Laughter) Vanderbyl: People in my office are pushing to get a

PageMaker on a Macintosh. I said, "Bring me the information and let's look at ie' I don't want to be lulled into a false sense by the technology, as opposed to what you can produce with it. I think that's the biggest flaw in any technology, the illusion of it being one thing and turning out to be something else.

CA: Do you have computers in your office Michael?

Mabry: No, we don't have a single one. We are in the

process of looking at Macintoshes. But as they're going to the new system everyone says, "Stop. Go. Stop. Get a better price. Whatever." But we're actually looking, for the design department as well as for the accounting. We're very anxious to get started. As for the creative capability, it's just playing with the technology. It is very naive compared to what we can do with the Xerox machine, cutting type and drawing with our hands. But we've got to give ourselves that R&D time so we won't be playing catch-up when it does hit. We have young designers coming up who will be computer literate and it'll be nothing to them to sit in front of a terminal. They're used to it.

We're not.

Angeli: That's the danger. To resist that is going to put

the schools which can afford to train people in computer graphic technology are, unfortunately, engineering-based schools. They're not art schools, because private art schools don't have the funds for the more expensive, higher resolution equipment. Like CCAC, it can teach basic computer literacy but it can't take you much further than that, as far as updating you on what's going on, such as MIT or Ohio State or other schools where they have those incredible labs. The creative people who should be using it, and heightening the tool, are probably disenfranchised from it.

Hinrichs: We have responsibilities as designers to become

involved in computers because it is directed by engineers and they aren't visually literate. We need to be much more involved. Macintosh put out Old English typeface and a few other typefaces ...

Angeli: You mean you don't use that?

Hinrichs: Not on every job.

Angeli: You know, Kit, you can put anything you want

on there.

Hinrichs: I know that. But what you are offered here are six faces, one uglier than the next. It disappoints me when I think they could have picked ...

Angeli: Some body's going to pick up the responsibility and

we have a choice. Us or someone else.

CA: You're right. If we don't take the responsibility, it's all going to happen without us, and we're not going to like it.

Thank you, gentlemen.

you behind real fast.

Vanderbyl: I don't know ifl'm resisting. I just haven't been

convinced. I want it to work, but so far it's never been what they say it's going to be.

Mabry: Is anything ever what they say it's going to be?

Angeli: You can get trapped in your own success. It's so

easy to hang in there with something that's working so well and forget that what got you there was that craziness, and 98

Communication Arts May/June 1987

• Mailer/catalog for The Nature Company featuring the 36 most popular items sold by The Nature Company. Eight pages, 13Y2 x21Y2, folded in half for mailing. Designed by Penatagram; Kit Hinrichs, art director and designer; Francesca Bater and D.J. Hyde, associate designers; Bill Acheson, Michele Clement, Richard Hixson, photographers.

99

ARDESHIR MOHASSESS

I

N 1973, WE PUBLISHED A sampling of drawings by Ardeshir Mohassess, Iran's best known and most controversial graphic artist and cartoonist. At that time a recurring theme in his drawings was domination and subjection.

Mohassess was born in Rasht, Iran, in 1938. He received a degree in political science from Tehran University Law School and began to publish his drawings in 1963.

In the course of a decade and a half that he worked as a professional artist in Tehran, Mohassess produced many politically inspired drawings and cartoons that won him acclaim among the Iranian intelligentsia, but provoked and angered the authorities.

His dismembered, deformed and mutilated figures were seen to be suggestive of the torture suffered by political prisoners and he was warned that his work would be banned if he were to persist in his fantasies of horror. In spite of this pressure, he managed to work at a feverish pace until the outbreak of the Islamic revolution when it became clear that his form of truth would not be tolerated under the new regime.

© 1987 Adam

Domination and subjection are still themes in Mohassess' drawings, although he now lives and works in New York, and he says, "My information about Iran comes through travelers coming from Iran and articles and pictures in periodicals~' His work has appeared in western newspapers and magazines such as The New York Times, Iranian Studies magazine and Harvard International.

The Shah is Gone!

100

Communication Arts May/June 1987

Woman's Day

The True Victor of the Iran/Iraq War

Celebration of the Revolution

Arc de Triomphe

101

FREE

LANCE

BARBARA GORDON

SOME SELLING STRATEGIES

I

N A TIME WHEN A LOT OF FREE-LANCERS and reps are complaining about bad business economy, many free-lancers and reps are having banner years. In many of these cases, the successful ones are using better selling strategies than their competitors.

As a working representative, I'm always interested in learning about successful selling strategies. To start you thinking, I'd like to share some of the successful selling strategies that we've observed, and a few we've used ourselves.

Because so many art directors are too busy to make personal appointments, except for those people they already know very well, the drop-offpolicy has become very popular. A successful photographer that we know has used the drop-offto his advantage. He has about twenty miniportfolios that are available for distribution. He calls all of the art directors in an ad agency and asks them if they would be willing to view his work if a portfolio was dropped off, at their convenience, no obligation on their part. He then has these mini-portfolios dropped off at an ad agency for the AD's viewing. Each portfolio has a check-list in it with such headings as "I would like to see more of your work~' "I am not interested in your work~' "Put me on your mailing list~' "Call me to price a job~' etc. The photographer has been doing this for several years and tells me he has had extraordinary success with this approach because it is painless, inoffensive and, because almost everyone fills out the checklist, it is the perfect way to find prospects for his work.

A representative, whose billings I've watched increase steadily over the years, told me he owes it all to the yellow pages of the telephone book. When he started in the business, both he and his photographer were completely unknown and, by the rep's own admission, his photographer's portfolio had large gaps in it. So instead of going to the top agencies and blue chip clients, he went to the yellow pages in his area and started to call companies that he thought might have a need for the services of his photographer. If the photographer had watch shots in the portfolio, he'd call all of the watch manufacturers in the yellow pages. He simply got on the telephone every day and started to cold call all of these manufacturers. He'd ask if they had an Ad Manager or Art Director. If they didn't, he'd pass on to the next name. If they did, he'd qualify them over the telephone and try to set up an appointment.

A successful quality printer that I know sets up shows in his offices that are of interest to art directors. He then invites those art directors and pays for their transportation to his offices where they view the shows and have refresh102

Communication Arts May/June 1987

ments. After viewing the shows, he gives everyone a tour of the printing plant where, of course, he has an ideal opportunity to show everyone the quality printing he produces. He calls this soft-sell selling.

A woman designer, whose business has doubled in the past eighteen months, told me that a big part of her success was due to a brochure that she put out on how to design and produce an annual report that she offered free to anyone who wrote. She not only got press coverage on her brochure, but also advertised the brochure in the trade journals. Of course she got inquiries from students and competitors, but she also got numerous inquiries from prospective clients. By vigorously following up on these she was able to substantially increase her billings.

For over ten years, our firm has published and distributed a free newsletter to art directors and clients. The newsletter deals only with subject matter that is of interest to art directors, it does not try to sell our firm or the people we represent. This newsletter has not only generated a great deal of good will for our firm, but has proven to be an invaluable door opener in gaining us access to virtually everyone. It has also gotten our firm, and some of the people we represent, positive publicity, because the trade press is on our free mailing list. And since a lot of people keep files on the newsletter, it has kept the name of the firm handy for those times when an art director or art buyer wants to call in portfolios for a project.

We have also used sales letters with a return postcard, where people can indicate what portfolios or what kinds of work they may be interested in, and gotten very good responses.

Whenever we do a press release on one of the artists we represent, in addition to sending it out to the press, we also send it to our mailing list of art directors. We often find that there is an art director or client who is interested in the type of work or calibre of artist we've described in our press release and we get calls and assignments from this approach.

Perhaps you've noticed, from just these few examples, all of these successful selling strategies offered help or information that was not offensive or intrusive on the time of the prospective client. A free-lancer who can approach a client, not looking for something, but genuinely offering something to make that client's job better for having commissioned you, can't help but get more assignments than their competitors.

A successful selling strategy today starts by thinking in terms of what you have to offer and how to get that information across to the prospective client in a positive way.

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(~

\/~.!

A SUBSIDIARY OF PENTAIR, INC.

CA87 28th ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

The largest of the juried competitions for advertising and design, CA-87 will be selectively chosen on the basis of creative excellence and quality of execution to exemplify the highest standards of work produced between July 1, 1986 and June 30, 1987.

Any work that has been published or aired in that time period is eligible for CA-87.

Work may originate from any country (twenty nations have been represented in past annuals). English translations of work in any other language are important for the jurors.

All of the winning entries chosen by the juries will be reproduced in the two volumes of CA-87. The Design Annual, selected by a distinguished jury of nine designers, will be published in November, 1987.

The Advertising Annual, selected by a distinguished jury of writers, art directors and creative directors, will be published in December.

Both of these 240-page Annuals will incorporate special reproduction techniques developed by CA, quality color separation,

the finest web offset printing available on premium 80 lb. coated paper, with everything that was originally in color reproduced in color at a size that allows the copy to be read.

Over 60,000 copies of each of these world's most seen Annuals will be distributed, assuring important exposure to the agencies, design firms and individuals involved in the creation of this award-winning work.

Award of Excellence certificates for firms, individuals and clients will be mailed in January, 1988.

Only accepted entries will be notified on or before September 15. Complete credits and any necessary material for the best possible reproduction in the Annuals will be requested at that time. No additional fees are required.

No entries will be returned. Submission of entries to CA-87 acknowledges the right of Communication Arts to use them for publication and exhibition.

ADVERTISING ANNUAL CATEGORIES These categories are judged by the advertisingjury and will appear in the Advertising

DESIGN ANNUAL CATEGORIES These categories are judged by the design jury and will appear in the Design Annual.

Annual.

CONSUMER MAGAZINE ADVERTISING 1A Single ad, any size ($1S) IB Campaign-limit of five pieces ($30) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size ($IS) 2B Campaign-limit of five pieces ($30) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising appearing in consumer magazines and newspapers) 3A Single ad, any size ($IS) 3B Campaign-limit of five pieces ($30) ADVERTISING POSTER 4A Billboards, including painted ($IS) 4B Series of 4A-limit of five pieces ($30) 4C Point of purchase ($1S) 4D Series of 4C-limit of five pieces ($30) 4E Transit advertising, car cards ($IS) 4F Series of 4E-limit of five pieces ($30) SALES PROMOTION SA Sales presentation kit, direct mail, etc. ($1S) SB Series of SA-limit of five pieces ($30) TV ADVERTISING 6A TV commercial, 16mm film or 3/4" video tape NTSC ($30) 6B TV commercial series, maximum of three commercials, spliced together without leaders ($4S) RADIO ADVERTISING 7A Radio commercial, V4'' magnetic tape, ?lf2 ips ($30) 7B Radio commercial series, maximum of three commercials, spliced together without leaders ($4S) TELEVISION/RADIO STATION 8A TV promotion, 16mm film or 3!4'' video tape NTSC ($30) 8B Radio promotion, V4'' magnetic tape, 71h ips ($30) 8C Station ID slide ($IS) 8D Program title, logo, signature ($30) 8E Series of8D-limit of five pieces ($4S) ADVERTISING SELF-PROMOTION 9A Printed promotion for advertising agencies ($IS) 9B Series of9A-limit of five pieces ($30) 9C Advertising clubs, communications/ promotions ($IS) 9D Series of9C-limit of five pieces ($30)

COMPANY LITERATURE lOA Annual report ($IS) lOB Real estate booklet or brochure ($IS) IOC Capabilities/product booklet or brochure ($IS) IOD Announcement/invitation ($IS) IOE Series oflOD-limit of five pieces ($30) IOF Catalog/product ($IS) lOG Catalog/school ($IS) IOH Catalog/exhibition ($1S) 101 Miscellaneous company literature (data sheets, internal company communications, conference literature, house organs, etc.) ($IS) IOJ Series oflOI -limit of five pieces ($30) TRADEMARK llA Company name and nature of the business must be placed next to the mark for judges' information or the mark will be disqualified ($IS) liB Corporate identity (total identity program)-at least five pieces, limit often ($30) LETTERHEAD 12A Letterhead, envelope, card ($IS) 12B Business paper series (letterhead, forms, etc.)-at least five pieces, limit often ($30) DESIGN POSTER (Including institutional, exhibition, event, etc. Does not include self-promotion.)

13A Single poster, any size ($IS) 13B Series of13A-limit of five pieces ($30) PACKAGING/LABELING 14A Single package or label ($IS) 14B Series of14A-limit of five pieces ($30) 14C Audio/visual package (record jacket, cassette, compact disc, video, etc.) ($IS) 14D Series of14C-limit of five pieces ($30) EDITORIAL ISA Consumer magazine (cover, spread or section) ($1S) ISB Trade magazine (cover, spread or section) ($IS) ISC Newspaper (page, spread or section) ($IS) BOOK 16A Trade book, complete unit ($1S) 16B Trade book cover or jacket ($IS) 16C Text book, complete unit ($1S) 160 Text book cover or jacket ($1S) 16E Children's book, complete unit ($IS) 16F Children's book cover or jacket ($1S)

DEAD.LINE FOR ENTRIES IS JULY 1

DESIGN SELF-PROMOTION 17A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers, and all others involved in graphic communication ($1S) 17B Series of17A-limit of five pieces ($30) 17C Art/design clubs, communications/ promotions ($1S) 17D Series of17C-limit of five pieces ($30) MISCELLANEOUS 18A Greeting card, including Christmas card, birth announcement and invitation (company announcements and invitations belong in company literature) ($IS) 18B Display (point of purchase, trade show exhibit, etc.)- limit often slides ($30) 18C Signage, interiors, architectural graphics-limit often slides ($30) 18D Calendar ($1S) 18E Menu ($1S) 18F Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc. ($30) 18G Anything not covered in previous categories ($IS) 18H Series of18G-limit of five pieces ($30)

• Call (41S) 326-6040 if you have any additional questions.

A

PREPARATION OF AUDIO/VISUAL ENTRIES All television commercials must be 16mm film or 3!4'' video tape cassettes NTSC. Single tape commercials must be on individual cassettes. If your tape commercial is accepted, you must furnish us with film (16mm or 35mm APO) or 6 color frames for reproduction in the Annual or the commercial cannot be included.

TV film series should be spliced together without leaders. TV cassette series should be edited together on one cassette with four seconds of black between each spot. Radio commercials must be on lf4'' magnetic tape, 7V2 ips in reel-to-reel format.

All series are limited to three commercials.

P.O. Box 10300 • 410 Sherman Avenue • Palo Alto, CA 94303

If more than one package is sent, please indicate on the outside wrapping: "Package No. __ of __ packages:'

Company

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FORMS AND HANDLING FEES Form A and the handling fees must accompany your package of entries. Make checks payable to CA-87.

Form B (or a facsimile) must be TAPED to the back of each entry. If the entry is a campaign, a Form B must be taped to each piece. If a piece is to be entered as both a single entry and part of a campaign, a duplicate piece with its own Form Band entry fee must be submitted.

_ _ _ Campaigns or series ... _ _ _ Single TV Commercials ..

As soon as we open your package we will send the acknowledgement to you.

.... . .... .. .. $30 each $_ __ . ........ $30 each $_ __ . $45 each $ _ __

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TOTAL FEE $_ __

I

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CForCAuse~ D Date Processed

Self-addressed stamped envelope included for acknowledgement

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B

!!

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l l

I I

[

Tape this form or facsimile to the back of each piece submitted to CA-87 (no paper clips).

Category]

Fo~ c~mpaigns or series only

I Letter

Th1s IS No. _ _ of _ _

mber

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Submitted by Company

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11

ACKNOWLEDGEMENT OF RECEIPT OF ENTRIES If you want to know if we received your entry, please enclose a stamped, self-addressed card or envelope in your package.

For foreign acknowledgements, please send a self-addressed envelope and include in the total cost of your entries either 22 cents for Canada or Mexico or 58 cents for other countries.

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If package contains audio/visual entries, indicate on the outside wrapping: "Contains Broadcast Entries:' Non-United States contestants should mark each package " Materials for Contest Entry. No Commercial Value:' No provision will be made by CA for U.S. Customs or airport pickup.

Therefore, international entries should be sent by mail, not air freight. All entries must be received by July 1, 1987.

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PREPARATION OF PRINT ENTRIES Submit ad tear sheets and printed samples, e.g. annual reports, brochures, folders, letterheads, book covers, menus, etc., UNMOUNTED. For posters over 18"x 24;' packaging, displays, signage, submit photographs or transparencies, plastic or paper mounted 35mm slides only, NO GLASS MOUNTS .

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PREPARATION OF PACKAGES Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged).

This form and handling fee must accompany entries submitted to CA-87.

[

I

Tape this form or facsimile to the back of each piece submitted to CA-87 (no paper clips).

Category]

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Mail entries to: CA-87 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

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Category]

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GILBERT paper with presence

Ensembles Soar On Gilbert's Bonds.

Winning letterhead ensembles don't just happen. Success is hinged on a number of variables-like a fresh idea, a great design and the right execution.

A sure way to elevate the prestige of any letterhead is to design it on one of Gilbert's bonds. They feature the

THE

H 0

BOND

U S E

perceptible quality that comes only from fine cotton grades, and an enticing lineup of colors, finishes and matching cover weights to expand the promotional possibilities.

Design with a Gilbert bond and the sky's the limit. For our new Bond House portfolio, contact your local authorized Gilbert Paper distributor, or write to us directly.

<5ilb:rt.~ ~

Post Office Box 260 Menasha, W1sconsin 54952-0260

a 1987 Gilbert Paper

r--------------------------------------, If you would like to receive promotional literature on Gilbert's bonds, please fill out this form (or a facsimile) and send it to Gilbert Paper today.

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0 Yes UNo Please list the names and titles of others within your company who specify premium correspondence paper (please print):

Advertising Department, Dept. CA P.O. Box 260

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L--------------------------------------~

PRODUCTION

KURT KLEIN

AST ISSUE I COVERED SOME THINGS about paste-up that seem to be recurring mistakes, or bad practices. Unfortunately there are more than I had space for so I thought we would continue it in this issue.

L

One of the areas, I have noticed, that seems to suffer a great deal in paste-up is ink line art.

Because most designers prefer hairline rules (Be honest, when was the last time you asked for a two or three point rule?), the tech pens you must use to draw them have very small points. In order to get ink to flow through these pens the ink must be fairly thin in viscosity. Additionally, many of the new pens make use of anti-clogging agents in the inks that keep the inks from drying too quickl y. In my experience tech pens cause two problems.

First, if you are doing a piece of line art at 100% those thin inks will not give you a good dense black line. Some are better than others, but if you look at any of them under a glass you will see that they are somewhat gray.

Many times this gives us problems with art that we must reproduce here in this magazine. Scotty has our camera set with an exposure time for litho film that provides the best results from good line copy. (A hard three on a gray scale.) However, a lot of line art that has been produced with tech pens will begin to break up at that exposure.

This means having to shoot the art separately at a different exposure and doing a combination negative to get a good piece of film. This may also happen with your art at your printer which would increase your film and stripping costs.

Or, worse yet, they may not make the adjustment for the line art and you will find it breaking up or printing poorly.

This is one reason I have always suggested that line art be drawn at a larger size and reduced down. This gives you two advantages. The reduction will condense the line you have drawn and give you better art for reproduction, and it is easier to correct mistakes or clean up ragged edges at a larger size. Also, when the art is reduced all the imperfections are minimized .

Just be sure that you do all the art at the same enlargement so that at the final size the lines are all the same thickness.

The problem with the inks that take a long time to dry is self evident. It is maddening to get almost finished with a piece of art and have it smear.

Speaking of smearing, it is a good idea, after finishing any art, paste-up or comp, to protect it with a spray fixative.

Again, be careful. Test the spray on a piece of scrap. (Type, ink, transfer decals, presstype, etc.) Not all materials are

compatible with all sprays. I had once completed a very complicated packaging compand sprayed it with a fix only to find that the presstype was melting and running down the side of the package. The same is true with various markers and tissues. Always test the marker on your tissue to see that it does not bleed through . If you are marking an overlay for color it can really wreck a nice piece of art.

Another consideration is the material that you use for your ink line art. Preferably, you want something that has a hard, smooth surface with good ink holdout (the ink sits on top of the surface and dries instead of soaking into it). A lightweight Kromekote is an excellent surface and at Communication Arts we use a 100 lb. coated text paper (Quintessence). The advantage of the coated sheet is that a lot of clean-up and correcting can be done by using a sharp (new) X-ACTO blade and gently scraping the coating off the sheet, removing the unwanted ink cleanly.

When having to do any inking that consists mainly of straight lines you can't beat the old ruling pens for the best reproduction. Right, the old pincer type that you put a drop of ink in the point. The "Lindholm" was my choice.

They are difficult to use and take a lot of practice to master, but for quality there is nothing better.

In preparing things for the camera there is another practice that is asking for trouble. This has also happened to me, and several other people who I've mentioned it to.

When marking photographs or art for position stats, prints to size or for reproduction, do not simply indicate a percentage. Always include a final dimension in inches or centimeters. I had sent several photos out for position stats with various percentages marked on them (40%, 60%, 85%, etc.) . It was clear in my mind that I wanted the photos shot at 40%, 60%, and so on. But, the camera operator understood it to be something else because a lot of work from one of their main accounts came in marked differently. So, instead of my stat being shot at 40% it was reduced by 40%, and so on! Bad communication where a dimension would have made it perfectly clear what I wanted. Also, that dimension can sometimes save you money in having to reshoot things where you may not have calculated the percentage properly.

Speaking about preparing things for camera, here is another area to save a lot of money. Ganging separations. I know, the quality is going to suffer. First let's look at some dollars and then see how we can minimize the loss of quality.

Let's take an actual case history. You may even remember it.

Several years ago, when Jim Miho was still in Chicago, I was doing the finished art for one of the Champion Papers Imagination books that featured San Francisco

111

KURT KLEIN

(Imagination XII). The cover had 64little photos of windows that Miho had shot around the city. They were each about one inch square. At a minimum price of approximately $150.00 for a four-color separation (at today's prices) those 64 photos would cost $9,600.00. Add to that the price of each four color strip ($36) for 64 photos and we have about $11,904.00 ($9,600.00 + $2,304.00). That is just film and stripping. Include any changes, corrections, final film and proofs and you have a grand total of about $12,250.00 to $12,500.00 for just the front cover! What we did was order the best, repro quality type "C" color prints. These would be about $50.00 each.

A total of$3 ,200.00. I pasted these prints in position, with a bit of bleed aro und each and then cut a rubylith overlay for the exact window croppings. The separation cost is approximately $350.00 and we have just one four color strip. With proofs, etc. the total is about $4,000.00. A savings of almost 70%.

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And, the loss of quality between individual separations and repro type "C" prints was minimal because with repro "C" prints you are given a range of exposures (2 to 5 depending on the lab) to choose from. This way with the lighter photos you can pick slightly darker prints, and lighter prints for the darker photos, helping to minimize the problems inherent in gang separations.

... and join over 150,000 satisfied Daige customers who cut paste-up time and cost by 50°/o Don't let paste-ups cost you more or take longer than they should.

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The same basic procedure is used here at CA for all of our transparencies. We spend a lot of money purchasing the best dupe transparencies we can get, to the size that they will be in the magazine, and strip them into position.

By putting as many as we can on a 20"x24" acetate sheet for gang separation on the scanner, we save a considerable amount of money in both separations and stripping, which allows for some extra in case of corrections. Additionally, we have found that in many cases the quality of the dupe is superior to that of the original. This of course depends a great deal on the condition and size of the original.

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Communication Arts May/June 1987

1

I I I I I

1

In one of the past columns I mentioned that it was impossible to match a special color with screen tints. There is also a common mistake made when specifying special colors. That is, the practice of just putting a number on the art or overlay tissue. (I was going to use an example of an ink number here but some companies get rather testy if you don't use them properly so I'll just make one up.

Like XYZ-999. You still get the idea, right?) What you have told the printer is to order that particular ink formula, from whatever system you have specified, and put it in the press and run your job.

You would not believe what can happen to the same ink on different types of paper! Look at the color swatches for the same ink on coated and uncoated paper. Now imagine what happens with the dozens of different papers in the same basic grades that are manufactured by different mills using various pulps, dyes, bleaches and coatings. Not a

KURT KLEIN

one will print the same ink in the same shade as the sample in your swatch book.

When specifying special inks always attach to your artwork a sample swatch of the color you want. Then make a note next to the swatch that says " Visually match this sample~' Now you have made it clear that the printer can not simply mix a recipe and run your job. They will have to mix a sample and test it on the paper that you are using for your job. Then they will have to adjust it until it "visually matches" the sample you have given them. But if you only asked for them to "print this area with XYZ-999" that is the formula that will go into the ink fountain on the press and they have met your specifications. But your color won't match worth a damn.

This is, of course, something that should be spelled out on the specs you give to the printers that are going to bid on the job. Make it very clear that you expect to see a roll-out or draw-down of the inks that you want matched.

If any of the printers tell you it is going to cost a lot of money I would be very wary of them. Visually matching colors is not a big deal and in most cases is part of the cost of running the extra color along with make-ready, plates and inks.

The last thing I want to mention is something I had hoped would not be available until sometime after I had retired. All these new whiz-bang hi-tech laser light computer gadgets. Actually, they are terrific and a great help in a lot of areas. The one I would like to mention regarding paste-up is the Cadograph.

Prior to having a cad machine available to us, we would have to wait until all of our color separations were finished and proofed before starting our finished art. We would then put our paste-up into eight-up, imposition flats , shoot negatives for all the line copy and windows, strip in the halftone photos and then send it out for the four color stripping.

Additionally, stripping to those negatives is a very difficult process which creates opportunity for misregister and takes a good deal more time.

With the cad machine the minute our layouts (pencil tissues) are fmished we send them out to be programmed into the memory of the machine. While this is being done we can continue to process copy for typesetting and color material for separations and proofs. (We are also recreating the color of some pieces with screen tints and shooting our B/W halftones.)

As I had mentioned, we do our paste-up on 100 lb . coated text paper, which we provide to the cad operator. The machine has in its memory our "grid" which it draws out in two page spreads on our coated paper and adds the 114

Communication Arts May/June 1987

windows and rules from the new layouts. At that point our paste-up is virtually done except to lay down the type. If, during this process we find that some of the material being separated needs to be adjusted in size a note is made on the final paste-up and the change is fed into the cad machine before it cuts the master film for stripping. Since our "paste-up" was generated by the cad machine we are now sure the film that the machine produces for stripping is an exact match. Also, the film from the cad machine is actually like a piece of rubylith which is much easier for the strippers to work with than the opaque negatives. The stripping, therefore, goes faster and is more accurate.

Another great advantage of the cad machine is when we have to place a rule around a piece of four color (brochure page, ad, etc.). Prior to the cad machine we would draw all of our rules with a tech pen and be faced with the problems mentioned earlier in this column. In addition to the lines sometimes breaking up we also had to be sure each one was the same weight. Then after all the rules were drawn we would go back and clean up all the corners by scraping the surface, as mentioned. This step alone added hours to our paste-up time. Then, the strippers would have to hand cut the window, that would act as the master for the four-color, trying to split the width of the rules. Not an easy task and not always exact.

With the Cadograph the rules are not drawn, but cut out of the rubylith. The machine will first cut the inside of the rule and then come back and cut the outside of the rule. The inside material is then stripped away. Very accurate! Now, the real beauty of it. In order to fit the fourcolor exactly to the rule the machine now will make a cut for the 4/c window exactly in the center of the cuts it had made for the inside and outside of the rules !

Splitting, perfectly, the width of a hairline rule.

Now, we not only save a lot of time with our paste-up but we also do not worry about the four-color being inside or outside the rules because of a slip of the hand, and we know that the rules will all be the same width with nice clean corners.

So, if you have a source that has a Cadograph, learn something about it, and try to make use of it. The cost of using the machine could be far outweighed by the savings in paste-up, quicker and more accurate stripping, down press time for corrections and a much better end product.

In the meantime, keep track of Wendy's column. This new Buck Rogers stuff can be a real kick and if anything else comes along that does not totally confuse me I'll cover that also.

-K.S.K.

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This second edition of the Digital Typeface Library is the indispensable tool of the graphic design profession. Throw away all your other type books: Here's the most comprehensive updated catalog of over 1500 digital typefaces.

The Digital Typeface Library features a complete 18pt. alphabet for every face ; a counting-to-measure chart on every page; and a character count for every size shown: 6 thru 36pt. for text faces, 16 thru 48pt. for display faces.

This state-of-the-art specimen book contains simple explanations of digitization, tracking, kerning and a typeface identification and proofreading mark chart.

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The Digital Typeface Library. The last word.

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9" x 12" I 850 pages I Trade Softcover I ISBN 0-9614171-0-1

BOOK REVIEWS HERMANN ZAPF And His Design Philosophy Society of Typographic Arts, Publishers 233 East Ontario, Suite 301, Chicago, IL 60611

$49.95

For anyone interested in gaining insight from one of the most influential typographic designers of the 20th century, this is required reading. Since 1948, Hermann Zapf has designed 175 alphabets for handcomposition, linotype, photocomposition and digital laser systems.

Palatino, Melior, Michelangelo and Optima are just a few of many significant faces from his hand.

This well thought-out book became a reality because of Zapfs association with the late type designer Robert Middleton and the Society of Typographic Arts (STA).

Designed by Zapf and printed in Germany under his supervision, this book is the most comprehensive collection of his alphabets, lectures and articles on the evolution of typographic design, calligraphy and the effects of new technology on the future of typographic communication. Included in the 255 pages are a complete bibliography and 95 pages of plates (a few in color), displaying his calligraphic, type and graphic design.

The success of his work, as explained in the text, is the combination of Zapfs artistic and engineering interests. A typographic designer must be knowledgable of historical trends, artistic perception and have a thorough understanding of typefounding technique. Today it takes an engineer to figure out how digital typesetting is being produced. Zapf is quick to point out the future of good typography is dependent upon our aesthetically-minded contemporaries keeping up with the new technology.

Some of the lecture titles include: the whole duty of typography, changes in letterforms due to new developments, type designing for tomorrow and whether today's typography reflects a true image of the technical progress, taste and spirit of our age.

In discussions about type design and usage, Zapf reminds us that interesting individual letter designs do not always make a flowing, legible body of text. A typeface should be viewed as the tone of voice required in a piece, and the decision on which face to use can greatly effect how the viewer absorbs the message.

One of Zapfs most important lectures is on the United States' decision that type has no other characteristics except utility and is therefore not subject to protection under copyright laws. Protection wasn't necessary when pirating a face meant cutting each letter in metal. Now photo/electronic equipment has propagated thousands of new faces, but I wonder why anyone should invest the effort and expense to create a new face with the real possibility of not receiving any reward for its usage?

Communicators have asked for years why is it necessary to design new faces when so many excellent ones already exist? Certainly the vast majority of new type introductions are dreadful. Maybe right now someone has created the next Helvetica or Times Roman, but since the process of duplicating faces has become so easy and pirates can operate under no real threat, we may never have the chance to see it.

The STA might benefit the creative community as a whole by sending copies of Zaprs book to members of Congress.

BRIEFLY NOTED:

PROBLEMS:SOLUTIONS VISUAL THINKING FOR GRAPHIC COMMUNICATORS by Richard Wilde (Van Nostrand Reinhold Company Inc., 115 Fifth Avenue, New York, NY 10003, $44.95.)

116

Communication Arts May/June 1987

As chairman of graphic design and advertising at the School of Visual Arts, Richard Wilde teaches a mandatory general graphic design course in the sophomore year as a means to evaluating and guiding students into courses best suited to their needs, and this book is a collection of problems presented to these students and their resulting solutions. Also shown are projects by juniors and seniors executed for actual clients and school exhibitions.

What comes across while scanning the pages is Mr. Wilde's approach to teaching: The only way to learn is by doing.

Basic graphic problem solving takes precedent over graphic design theory with some interesting and surprising results.

There is value in this book not just for design educators but for graduates of theoretical design curriculums discovering the need to communicate ideas to people outside of their own profession.

DESIGNER'S GUIDE TO COLOR 3 by Jean Allen (Published

by Chronicle Books, One Hallidie Plaza, San Francisco, CA 94102,$9.95, paperbound.) As you can guess from the title this is third in a series showing 900 color combinations, only now they're presented in various patterns. Not recommended for those with a queasy stomach.

PETE TURNER PHOTOGRAPHS Introduction by Owen Edwards (Published by Harry N. Abrams, Inc., 100 Fifth Avenue, New York, NY 10011, $29.95.) When you consider the 144 eleven and a half inch square pages filled with 100 six by nine inch full color photographs, this book is a bargain. When you consider the impact Pete Turner's work has had on commercial photography, it's an even better one. Included with the work are notes on technique and technical captions.

BEFORE ROLL YWOOD: TURN-OF-THE-CENTURY AMERICAN FILM (Published by Hudson Hills Press, Inc., in association with the American Federation of Arts, distributed by Rizzoli International Publications, 712 Fifth Avenue, New York, NY 10019, $35.00.) Published in conjunction with a film exhibition organized by the American Federation of Arts, this book provides an interesting visual documentation of the first two decades of the American film industry (1895 to 1915). Sixty-nine surviving silent films are the focus of accompanying commentaries from one of ten authors. Besides a bibliography and index, the book is illustrated with period photographs depicting film production, nickelodeons, theatres, advertising, fan magazines and "intermission" lantern slides.

MAKE IT TO THE TOP Mead wants your best work for our 37th annual Top 60 Competition for Excellence in the Graphic Arts.

RECOGNITION: Entries are judged every month for excellence in concept, design, and printing. And every month an independent panel of experts picks 15 winners: five Awards of Excellence, and ten Awards of Merit. The five best from each month make up the Top 60 Show at the end of the year. Four Top of the Top Awards will be selected from the 60 winners. The entire show will be exhibited

by Mead Distributors throughout the country.

ELIGIBILITY: Theres no entry fee and just one simple rule. Any printed piece is eligible as long as its printed on one of these Mead coated papers: Mead Mark I, Mead Mark V, Black &White, Mead Offset Enamel, Moistrite Matte, Black &White Web, Mead Web, Moistrite Matte Web, Northcote Enamel, Escanaba Enamel.

HOW TO ENTER: Enter through your Mead Distributor, or by calling 1-800-345-MEAD.

-Patrick Coyne 117

MATERIALS

PoRTABL E SPRAY BooTHS

DRAFTING TABLES

Concern for occupational safety, ecology and not having stuff stick to your shoes, has produced two more portable spray booths. Martin Instrument's spray booth is constructed of plastic coated particle board and a replaceable particle filter powered by a heavy duty electric motor.

Contact Martin Instrument Company, 13450 Farmington Road, Livonia, MI 48150, (313) 525-1990.

When only the best will do, Hamilton Industries has unveiled its top of the line series of drafting tables called VRXR. This rather techno-sounding line is available with power tilt or manual tilt options based on Hamilton's " Dial-A-Torque" design to angle the table top from 0 to 90°. Every model comes with the "Stratasteel" board and replaceable vinyl surface, and a revolutionary " New dual pedestal design for completely unobstructed leg room ~' Drafting tables come in an "Attractive neutral color to blend with any decor," which usually means beige. For more information contact Hamilton Industries, Two Rivers, WI 54241, (414) 793-1121.

Group Four Design's spray booth, called the Spray Place, folds flat and contains 50 disposable liners. Spray Place is available through Charrette in the northeast for approximately $11. Contact Francis MacGregor, Quad Research, Inc. , P.O. Box 717, Avon, CT 06001, (203) 678-1570.

ST ENCIL FILM

Badger has introduced a non-adhesive stencil film called No-Tack. This smooth, non-porous film has a translucent/ matte finish designed for use with nearly all media. The press release states you can work on both sides, it won't tear, discolor or become brittle with age. It's weatherproof, waterproof and resistant to most solvents. For more information contact Badger Air-Brush Company, 9128 West Belmont, Franklin Park, IL 60131, (312) 678-3104.

Oh CLASSIC CREST® Writing how smooth you are In Avon Brilliant White Oh CLASSIC CREST®Cover, that velvet finish Or Hearthstone, Sand, Takes my breath away Potomac Blue Upon the page we write. In Ivory, Tan, or Natural White And even Dorian Gray.

/ Verse like that drives Oscar wild.

Wallace Products, " Manufacturer ofpromotionallypriced lifestyle and home office furniture;' has introduced the DT4 student drafting table as part of their " DesignA-Table" collection. The table features a white melamine work surface supported by a black enamel tubular steel frame adjustable in all directions. Contact Wallace Products, Inc., 31st & Jefferson Streets, Philadelphia, PA 19121, (215) 232-9900.

Mayline has come up with a stowaway drafting table appropriately called the Stoway. The press release states the table can be set up or closed in seconds because the side legs and top are hinged for folding. Color options on the frame are black, white, Cranberri (sic) red or Copenhagen blue. If this interests you, contact Dave Peterman, Mayline Company, Inc. , P.O. Box 728, Sheboygan, WI 53082, (414) 457-5537.

C ENTERING GAUGE

Trying to describe this product is much more difficult than using it. Picture a piece of clear plastic with an inverted triangle filled with a series of horizontal lines and a slot die-cut vertically down the center. When trying to find the center of a line of type, slide the template up or down until the right and left edges touch the upward angles of the triangle and mark the center through the die-cut hole. Simple? My only complaint is the width of the die-cut hole is about six points and unless you're marking the center of something with a broadnib marker, it seems a bit wide. The Centering Gauge is available at art stores or by contacting Steve Greco Enterprises, 166 Plymouth Street, West Babylon, NY 11704, (516) 422-5690.

MINI-SAND BLASTER

Neenah CLASSIC CREST® Writing and Cover - sheer poetry in 8 colors.

Contact your Neenah Paper Merchant for complete details.

118

Neenah Popzr

Neenah WI 54956

I

1987 KCC

• RegiStered Trademark of Kimberly-Cla rk Corporation

Communication Arts May/Jun e 1987

Badger calls their new model 260 abrasive gun a minisand blaster for the do-it-yourselfer. Besides the usual stripping uses, Badger suggests you can etch designs into glass or cut monograms into wood. Interested? Contact Badger Air-Brush Company, 9128 West Belmont, Franklin Park, IL 60131, (312) 678-3104.

SLID E ID ENTIFICATION SYSTEM

For photographers who want to join the computer age, Data Recording Technology Corporation has produced a lap computer-based system for labeling and organizing 35mm slides. LabelScribe allows the user to enter up to four lines of descriptive information (40 characters on each line), which are then printed out on an adhesive label to be affixed to the slide, plastic slide file pages or index cards for cross referencing. SlideScribe works the same as above but produces a magnetic strip that can be attached to the slide and later read via the computer which displays the encoded information. The equipment may interface with computer systems to create a master data base for computer search and inventory control for slides.

For more information contact Data Recording Technology Corporation, 690 Mendelssohn Avenue, Minneapolis, MN 55427.

PEN AND PENCIL HOLDER

Alvin & Company has introduced an improved version of their " Spin-0-Tray" lazy susan art materials holder.

Alvin has added a mini-tray on the top and increased storage space by 80%, so it now looks like something out of Close Encounters ofthe Third Kind. " Spin-0-Tray" is available in black, white, red, yellow, orange and brown to match your color scheme. For more information on this or more than 12,000 other products available through Alvin, write to Alvin & Company, P.O. Box 188, Windsor, CT 06095 , 1-(203) 243-8991.

PORTFOLIO/SHIPPING CASE

If your artwork absolutely, positively has to get there in one piece, Art Networks has produced a portfolio case suitable for shipping. Cases are made of lightweight, water resistant ABS plastic and are lined with shock and vibration absorbing cushioning. Sizes are available with internal dimensions ranging from 14lf2'' x 18 W' x 2" to 26" x 34" x 3 1/2:' If this fits your needs contact Art Networks, 4543 Post Oak Place, Suite 150, Houston, TX 77027, (713) 622-1705.

AFFORDABLE CUSTOM HOLOGRAMS

If you 've wanted to use a hologram but don't have the budget of National Geographic, Light Impressions, Inc. now offers space sharing on its holograp hic masters.

The cost of creating a master ($5,000 to $6,000), from which copies can be mass produced, can now be shared because Light Impressions will gang different ho lograms on the same sheet. A variety of sizes are available on Mylar with a pressure sensitive adhesive or as hot stamping foil.

Contact Kirk Meade, Light Impressions, Inc., 149-B Josephine Street, Santa Cruz, CA 95060, (408) 458-1991.

Work less.

•

Bill more.

To be profitable, you need to be efficient.

Not only in producing the job, but getting paid for it . .. from tracking time, to watching budgets , to collecting money. That's work.

But now, there's relief. DesignSoft is a powerful, easy-to-use software system that makes your billing easy and efficient. It's been developed by designers for anyone who bills by the job-designers, photographers, agencies, etc.

DesignSoft . . .

• • Organizes and automates record keeping • Records each time and expense entry for individual jobs by 270 user-defined categories , rates, and markups • Posts all entries to the correct jobs from one entry screen • Allows you to quickly review, edit, print, sort, and total data for up-to-date summaries, reports, statements, and custom invoices • Tracks open invoices, accounts payable, and income • Helps analyze job, client, and employee profitability • Is easy to learn and enthusiastically supported Bill your time. Don't spend it doing what

DesignSoft already does. For a detailed brochure and demo, contact: Highgate Cross & Cathey 130 W. Liberty, Wheaton IL 60187 , 312-653-2700 Complete program-$495.00, interactive demo-$1 2.95 , shipping- $3. 00.

Check, Visa/MC , AmEx

119

MAT ERIALS

DUMMY LAYOUT SH EETS

PORTABLE OVERHEAD/SLID E PROJ ECTOR

For those busy art directors who don't have the time or energy to make their own dummys, Miggs Burroughs has produced the " Little Dummy" layout pad. 192 removable white opaque layout pages are proportioned to half-size 8W' x 11" (meaning each sheet is 4 1/<1" x 5V2''), and are lightly imprinted with guideines for various folding formats .

If your work goes beyond 8V2'' x 11~' there is also the " Little Bigger Dummy," a 1/2-size 11" x 17'' layout book.

Information on these and other "Uniquely practical graphic aids" is available by contacting Miggs B Design, P.O. Box 6, Westport, CT 06881, (203) 227-9667.

Spectra II is the name Audiscan products came up with for their multi-function projector, designed to show transparencies and slides from one unit without changing machines. The press release claims it's about the size of a small briefcase and sets up very quickly. To find out for yourself, write to Audiscan Products Company, 1412 BOth Avenue N.E., P.O. Box 1456, Bellevue, WA 98009, (206) 454-0694 or toll free at 1-800-426-0852.

CONTINUOUS TONE GRADATION SH EETS

If you want to join the ranks of designers using gradated backgrounds, this product is for you. Coastline productions has produced a set of three, 8V2'' x 11~' continuous tone gradation sheets, fast, slow and arc. Sets sell for $30.00, including shipping, and are available by writing to Coastline Productions, 9804 Lake Georgia Drive, Orlando, FL 32817.

LITERATURE FoR YouR FILES A request on your letterhead to the fo llowing companies will bring you the literature described .. .free, unless otherwise noted.

Highsmith Audiovisual Catalog .. . contains over 3,600 media products to wish for including: compact disc players, cable testers, video production consoles, custom-designed AV equipment cases, computer software, supplies and much, much more. Your free copy will come by writing Catalog 29L, The Highsmith Co., Inc. , W5527 Highway 106, P.O. Box 800, Fort Atkinson, WI 53538.

W BEROI: PRISMACOLO

Berol® brings you twice the marker.

Introducing the all new PRISMACOLOR Art Marker: the revolutionary product that no single-nibbed marker can beat. One marker with both a broad nib and a fine nib sharing the same ink reservoir for perlect color match.

For Wisdom, Piety, Delight or Use ... is a 24-page booklet from Hammermill to show off their offset opaque paper.

Quoting their press release, "Hammermill shows the power of the printed word by using photographs and thought-provoking, meaningful quotations to depict the many ways print enriches our lives .. ~' The title of the booklet was lifted from: "Books should to one of these four ends conduce, for wisdom, piety, delight or use~' -John Denham. I found quotes like')\ book on cheap paper does not convince. It is not prized, it is like a wheezy doctor with pigtail tobacco breath who needs a manicure~' -Elbert Hubbard. To find more, get your copy at your local Hammermill merchant or write: Hammermill Papers Group, Erie, PA 16533.

The Moods ofStrathmore Grandee .. . promotion highlights graphic statements from eight designers using colored ink on Grandee color paper. To see the result, contact your local paper merchant or write to Strathmore Paper Company, Printing Papers Division, South Broad Street, Westfield, MA 01085.

Holography ... A non-technical booklet produced by Light Impressions, describes the types of holograms available on the market, costs, scheduling and lists some of the commercial and consumer applications. Samples and a free copy are available by contacting Light Impressions, Inc. , 149-B Josephine Street, Santa Cruz, CA 95060, (408) 458-1991.

Eight from the 50's ... from Letraset, is a catalog of dry transfer sheets in, you guessed it, eight typefaces from the 50's. Their press release states" ... Is offered in response to a current trend toward the use of display typography with the 50's feer' If you wish to be a part of this trend, contact your nearest Letraset dealer or call 800-526-9073.

Beckett Ridge ... Beckett Paper Company's line of text and cover papers, has new color additions featured in a sample book which the Hamilton(!), Ohio mill just released. New colors include Biltmore Blue, Cabernet, Coral, Frost and Mauve. Your copy is available from your Beckett merchant.

RIERS BEAT DESIGI® ZTO I. Available in 116 vivid colors.

Saves time, saves money, saves board space. A brilliant idea in 116 vivid colors. Use our coupon and send for a free marker. One try and you'll agree: two nibs are better in one.

BerolUSA Division of Berol Corporation Danbury, Connectirut 06810 Berni and PRISMACOLOR are regislt>red trademarks ol Berol U.S.A.

Single ink reservoir for perfect color match.

Mail to: Berol USA, Eagle Road, Danbury, Cf 06810 Yes, send me a new PRISMACOLOR Art Marker.

_ _ _ _ Zip

MATERIALS

SIJIIwai'IJ fop liB BusintJSs DIIIIJSign:· Design Manager Master Menu

Nowyou can put the power of the computer to work making your business run more smoothly, more efficiently and more profitably!

DesignManager '"' Software has been developed specifically for Enter Selection : [ design studios and ad agencies.

Already in use by firms from Hawaii to New York. it is a proven system that is powerful and easy to use!

Here are just a few of DesignManager's advanced features: • Receivables • Payables • Checkbook • Job Costing • Invoices • Statements • Job Tickets • Time Cards • Vendor Database • Client Database • Full Reports • Much more...

Inexpensive and it runs on the IBM PC and compatibles!

DesignManager runs on the IBM PC, XT, AT and compatible computers.

And with prices starting at only $395 it is also surprisingly affordable! To find out moreabout automating your business write or call tor our FREE into pack: (805) 962-2061 .

1. Receivables 2. Payables 3. Job Tickets 4. Time Cards 5. Checkbook

DesignM8/IagtJP'M Software for the Business of Design Sigler&Assoc. I 621Chapala, Santa Barbara, CA 93101 I (805) 962-2061

Take Design Seriously.

Study with a hard,nosed faculty of designers, creative directors, art directors, copywriters, illustrators, and photographers.

Go to school with students who are as serious about their careers as you are. Go to one of the most successful art schools in the country.

r91 Portfolio Center 125 Bennett St. N.W. Atlanta, Ga. 30309 (404) 351 .. 5055

Mead Mark V ... is both name of the new cast-coated paper and the portfolio promotional piece. The portfolio contains 2411" x 14" reproductions of posters designed by Julius Friedman, including his famous " Fresh Paint" and "Mixmaster" pieces. All are beautifully reproduced and a bargain when all you have to do is contact your local Mead coated paper distributor or call 1-800-345-MEAD, extension 3221.

Buckskin ... the tear resistant, washable stock used for jean labels, is now available for commercial printing applications from Kimberly-Clark. Perfect for that TexMex restaurant menu project you 've been thinking about. Samples and more information are available by contacting your local paper merchant or calling David Hudson, KimberlyClark product manager, at (404) 587-8873.

Computer Graphics Catalog ... is a catalog of stock computer generated graphics shot on 70mm film through a special computer-to-film process. 34 pages are filled with the usual computer generated graphic cliches. If this is what you 're looking for, contact FPG International, 251 Park Avenue South, New York, NY 10010, (212) 777-4210.

Mars Professional Templates .. . a 20-page catalog from Staedtler, shows the recently expanded line of Mars templates and lettering guides. An illustration with size notations for each ofl24 templates, including circles, ellipses, traffic accidents, nuts and bolts, are arranged by categories. For more information contact J.S. Staedtler, Inc., P.O. Box 7102, Canoga Park, CA 91304, (818) 882-6000.

Business opportunity ... From Neenah Paper for Classic Crest paper, is another folder of preprinted stationery systems covering the range of weights, colors and techniques. The folder cover has a blind embossed note " fastened " to the cover with a die cut paper clip printed in metallic silver. If technique for the sake of technique interests you, contact your local Neenah Paper merchant.

Design & Style . .. produced by Mohawk Paper Mills, Inc. , is a new semi-annual journal designed as a visual and verbal survey of the history of stylistic movements from the turn of the century through today, according to its creators Seymour Chwast of the Pushpin Group and Steven Heller, senior art director of the N ew York Tim es Book Review. The inaugural issue focuses on the turn of the century Jugendstil period. A 21 112" x 18" silkscreened poster of the Jugendstil issue cover design is also available. To obtain either, write to Donald Povie, vicepresident communications, Mohawk Paper Mills, Inc., Cohoes, NY 12047.

-P.C. 122

Communication Arts May/Jun e 1987

CLUBS, CONFERENCES

~I

~:

--il s.c.A.0

IILL.J.. ii ..LLJ II I...L.._ I

I.___...J...J.. ii ..LLJI ii...LL II LLI I

IDSA The Industrial Designers Society of America announces August 5-8 as the dates for its national conference " Monterey '87: Influences on Design~ ' The conference, to be held at the Monterey Conference Center and Doubletree Inn in Monterey, California, will explore the creative process, theory and methodology of designrelated disciplines. These sessions will feature leaders in fields ranging from architecture to engineering, advertising to the fine arts. In selecting the theme for the conference, the committee chose to seek speakers acclaimed for their work in fields outside the realm of industrial design, based on opinions expressed in past conference registration evaluations. For more information contact Celia Weinstein, IDSA, 1142-E Walker Road, Great Falls, VA 22066, (703) 759-0100. The Society also announced the results of its national election: president Peter Wooding, Peter Wooding Design Associates, Providence; vice president Peter Bressler, Peter Bressler Design Associates, Philadelphia; secretary/treasurer Darrell Staley, manager of corporate industrial design, Ampex Corporation, California. The elected district vice presidents are: Sandor Weisz, Ken Schory, Thomas Tolleson, Vivian Faulkner-King and Herbert Tyrnauer.

ILLUSTRATION Located in the heart of the nation's largest urban historic landmark district, The Savannah College of Art and Design is an independent, nonprofit, accredited college offering degrees in Architecture, Historic Preservation, Interior Design, Graphic Design, Illustration, Painting, Photography, Fiber Arts, and Video. Trips abroad, student apartments, financial aid, and job placement are available.

THE SAVANNAH COLLEGE OF ART AND DESIGN 342 Bull Street • Savannah, GA 31401 • 912/238-2484

B.F.A.

B.ARCH.

M.F.A.

For more information, clip and mail to: Admissions Dept./SCAD/342 Bull St./Savannah, GA 31401 Name ______________________________________ Address -----------------------------------City

State _ _ _ Zip _ _ _ Phone (

Graduation Date

) _ __

School/College _ _ __ _

Accredited by Commission on Colleges, Southern Association of Colleges and Schools.

ILLUSTRATORS WORKSHOP

The Illustrators Workshop has announced plans for a summer program in the Caribbean. The location will be the island of St. Maarten in the Netherland Antilles, and the dates are June 24-July 1, 1987. Special guests John Alcorn, Brad Holland, Wilson McLean and Elaine Sorel will join original faculty members Alan E. Cober, Fred Otnes, Bernie Fuchs and John deCesare to form this summer's faculty. Neenah Paper has again agreed to participate and members of their marketing team will issue a live assignment that will become the centerpiece for a national promotion later in the year. For additional information, please write to The Illustrators Workshop, P.O. Box 3447, Noroton, CT 06820 or call (203) 655-6057.

AAF American Advertising Federation 1987 National Advertising Conference will be held June 6-9 in Orlando, Florida, at the Buena Vista Palace on the Disney World grounds.

Personal, professional and corporate winning management strategies will be presented by national experts in one of twelve professional development workshops including: solutions to "taxing" problems, finding creative solutions, time management and career movements. For information on fees and registration contact Christie Dalgarno, AAF, 1400 K Street, N.W Suite 1000, Washington, D.C. 20005 or call (202) 898-0089.

Is now a reality.

It's one of a kind. 1500 great stock photos for you to use.

Next day color separations too. It is the ultimate stock catalog-and it's free.

UN I PHOTO 10n WISCONSIN AVEMJE. N.W WAH'<GTCX O.C 20001 (20Z} lJ3.0600

cauorwrtte

1-800-345-0546

123

CLUBS, CONFERENCES, SEMINARS

NEW YORK

SEATTLE

Computer Graphics for Design '87, sponsored by the Pratt Center for Computer Graphics in Design, will be held June 1-3 at the Grand Hyatt in New York. This conference will include a forum between creative professionals and manufacturers of computer graphics equipment. For details write the Pratt Center, 9 Skyline Drive, Hawthorne, NY 10532, or call (914) 592-1155.

The Seattle Design Association elected new officers for 1986-1987: president Charmaine Hartshorn, vice president Ann Santee and secretary/treasurer Diana Loback. The association was founded in 1977 to promote and support careers in the art and business of design. Its more than 500 members represent creative fields such as graphic, industrial, textile and interior design; photography and illustration; architecture; interior planning and other related fields. SDA, P.O. Box 1097, Main Office Station, Seattle, WA 98111, (206) 285-6725.

Advertising Age announces their Creative Workshop will be held August 23-26 at the New York Hilton. The three and one half day advertising and marketing conference is expected to attract more than 800 persons from 40 countries. Leading executives from the financial service, package-goods, automobile, communications and businessto-business industries will be joined by creative leaders from the United States and abroad. In addition to the more than 40 educational sessions offered, a number of social events, cocktail parties, luncheons and exercise programs have been planned. For more information, contact Advertising Age Education, 220 E. 42nd St., New York, NY 10017, or calll-800-233-3435. In New York state, call (212) 210-0296.

BDA The lOth Annual Broadcast Designers' Association Seminar will be held in Atlanta, June 10-14 at the Westin Peachtree Plaza Hotel and adjacent Atlanta Market Center.

Information regarding registration and membership may be obtained from Russell Smith, Executive Director, Broadcast Designers' Association, (415) 788-2324.

SIGGRAPH '87

The fourteenth annual conference on computer graphics and interactive techniques is scheduled for July 27-31 at the Anaheim Convention Center, Anaheim, California.

This conference is sponsored by the Association for Computing Machinery's Special Interest Group on Computer Graphics. To obtain a copy ofSIGGRAPH '87 advance program, including details about the program, speakers, hotels and conference events, write to SIGGRAPH '87 Conference Management Office, 111 East Wacker Drive, #600, Chicago, IL 60601 or call (312) 644-6610.

Project Billing Macintosh Version - $695.

Project Billing IBM PC Version - $795.

Sa tori Software 2815 Second Ave. Suite 590 Seattle. WA 98121 206/443-0765

PROJECT BILLING SOFTWARE ProJect Bllllltf Is a time billlng package speclllcaltr lieslgnell tor all iiJMCies and Jfilllhlc lleslgners. It tracks all aspects of ''"" proJect billing lnclulllltf IHIIIJets tor time anti expense, actual costs anti blllell out amounts tor both emptoree anti expenses, anti proJect profitabllltr. 1> It automatlcallr marts up erpenses, anti prints customized prolluctlr1tr reports anti ciiMt bills.

And It Is lncrelllblr easr to use, featuring wlnllows anti IIUII-IIown mMUS. I> A Sillclal multi-user rerslon Is also arallable. Call or wrfte tor allllltlonal Information.

;

Ill fi Ill

124

Communication Arts May/June 1987

BOSTON

Design Management Institute will sponsor the twelfth annual design management conference, September 20-24, on Martha's Vineyard. More than 100 senior design managers are expected to attend lectures, discussions and workshops. For more information, contact Betsy Speer, Associate Director, Design Management Institute, 777 Boylston Street, Boston, MA 02116, (617) 236-1315.

UCDA The University & College Designers Association will hold their 1987 Annual Conference in San Antonio, Texas September 27-30 at the Gunter Hotel, one-half block from the romantic Paseo del Rio, the picturesque river-walk.

Some of the speakers confirmed include Alan Fletcher, founding principal of Pentagram, London; Mike Hicks, founder ofHixo, Inc., Austin design firm; and Dallas illustrator Jack Unruh. For information, contact Margie Adkins, Conference Chairperson, Texas Christian University, Fort Worth, TX 76129 or call (817) 921-7643.

Communication Arts is making available an excellent opportunity to expand your library by packaging combinations of past Annuals at special prices.

Featuring the best work in design, advertising, photography and illustration, the Communication Arts Annuals are an important reference tool for anyone involved with visual communication.

Every issue has high quality reproduction and utilizes special production techniques developed to reproduce work done with special colors, colored papers, etc.

Everything that was originally in color is reproduced in color.

DESIGN ANNUALS ~ovember 1983, 1984

and 1985

$36

ADVERTISING ANNUALS December 1983, 1984 and1985

$36

DESIGN AND ADVERTISING ~ovember /December 1980,

1981 and 1982

$38

ILLUSTRATION ANNUALS

Because some combinations have only several hundred copies remaining, we must reserve the right to refund your money on any that have sold out on a firstcome, first-served basis.

July 1984 and 1985

PHOTOGRAPHY ANNUALS August 1984 and 1985

$20

ART ANNUALS July/ August 1981, 1982 and 1983

Postage is included. Please allow up to three weeks to receive the magazines. Foreign orders will take longer.

To order circle the combinations you wish to receive, fill out the information below and send this page or a facsimile with a check or money order to:

Communication Arts P.O. Box 10300, Palo Alto, CA 94303

Name

Address

City

$20

State

No Annuals will be sent until payment is received.

Zip

$26

CA BACK ISSUES Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period (1977 on), a hundred or less of others, and none of a few. That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

We pay the postage, second-class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

NOV/ DEC 1977

$18

JUL/AUG 1978

$12

The Art An nual l978 Illustration & Photograp hy

NOV/DEC 1978

$18

CA-78 Adve rtisi ng & Design An nual

NOV/DEC 1979

$18

CA-79 Advertising & Design Annual

NOV/DEC 1980

$18

CA-80 Advertising & Design Annual

JUL/AUG 1981

$12

$5

Lou Dorfsman; Kinuko Y. Craft; Dick Durrance II ; Levi's Billboard Trucks; Corporate Annual Reports; " Revealing Illustrations" by James McMullan; Atari Design; Letterheads

NOV/DEC 1981

$18

CA-81 Advertisi ng & Design Annual

JAN/FEB 1982

NOV/DEC 1982

$5

MAY/ JUN 1982

SEP/OCT 1983

$5

William Rivelli; Sheila Levrant de Bretteville; Bill James; Vickers & Benson; Photomontages by Scott Mutter; Ford, Byrne & Associates; Portfolio of Trademarks

JUL/AUG 1982 Th e Art Annuall982 Illustration & Photography

$12

$5

25th Anniversary Issue; The CA Annual Judges; Judging Process

AUG1984

$18

$5

SEP/OCT 1984

$5

$12

$12

$5

$5

$5

$12

The Art Annuall983 Illustration & Photography $5

Short- Run Printing; Jack Summerford; Teresa Fasolino; Primo Angeli; Light Language; Consensus on Type; Corning G lass Works; Annals of Design (!); Forecast of Ad Billings

SEP/OCT 1986

DEC1986 $5

$5

$5

$12

$12

Photography Annual

SEP/ OCT 1985

$U

Photography Annual

NOV 1986

Illustration Annual

AUG 1985

$U

Illustration Annual

$5

CA-86 Design Annual

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel's Ballet

JUL1985

$5

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

$16

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler

MAY/ JUN 1985

MAY/JUNE 1986

$16

Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26

MAR/ APR 1985

$5

Steinhilber & Deutsch; Per Arnoldi's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise F ili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

CA-84 Advertisi ng Annual

JAN/ FEB 1985

$5

Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche +Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference; Index to Volume 27

AUG 1986

CA-84 Design Annual

DEC1984

$16

JAN/FEB 1986

JUL1986

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production/Bruce Hurn

NOV1984

DEC1985

MAR/APR 1986

Photography Annual

Ken White; Leo & Diane Dillon; orth Charles Street Design Organization; Lanny Sommese; Phillips Pho tograp hers; Abercrombie & Bas tiansen; Alvin Lustig Remembered; Computer-Aided Graphic Design

JUL/AUG 1983

$5

Illustration Annual

The Gap Between Designers and Top Management; Borders, Perrin & Norrander; Bill Nelson; The Coys; Robert Llewellyn; Posters; Why a Computer

Gernsheimers/ Partners; Carol Wald; Jerry Herring; Sahlan Cherpitel; Michael Schwab; Bank of Kuwait Identity; Corporate Photography Panel

MAR/APR 1984

$16

CA-85 Advertising Annual

Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume 25

JUL1984

Japanese Design; Richard Saul Wu rman: Access Press; Sharleen Pederson; Graphic Designer's Production Handbook; Cli nt Clemens; Index to Volume 24

MAY/JUN 1983

$16

CA-83 Advertisi ng Annual

JAN/FEB 1984

NOV1985 CA-85 Design Annual

$5

CA-82 Advertising & Design Ann ual

JAN/ FEB 1983

$16

Anspach Grossman Portugal; Braldt Braids; Daniel Bittman; Ch uck Kuhn; Hixo, Inc.; Vincent Daddiego: Roll Over Vivaldi; Herb Rosenthal's Fountains; Robert Parker: Copy & Graphics

Michael Manwaring; Bruce Stromberg; Tyler Smith; Richard Nodine; Marshall Arisman; Phillip Snyder's Christmas Cards; The Designer and the Technology Explosion; Aspen '82

MAR/APR 1983

The Art Annual Illustration & Photography

SEP/OCT 1981

SEP/OCT 1982

DEC1983

MAY/JUNE 1984

Issues not listed are no longer available.

CA-77 Advertisi ng & Design Annual

NOV1983 CA-83 Design An nual

$5

Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

$16

$16

CA-86 Advertising Annual

JAN/ FEB 1987

$5

Heinz Centennial Annual Report; Richard Ham ilton Smith; Dye r/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Ch icago Designers; Magazine on Wheels; " Hold the Red Ink, Merger on the Right" by Rick Meyerowitz; Index to Volume28

MAR/ APR 1987

$5

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems