mayjun1989

COMMUNICATION ARTS VOLUME 31, NUMBER 2, MAY/JUNE 1989

Editor and designer Patrick Coyne

32

AMMIRATI & PURlS

Executive editor Jean A. Coyne

44

COMPUTERS IN THE STUDIO

Associate designer Stephanie Steyer

54

SCOTT MORGAN

Production Manager Scott Perry

64

RICHARDSON OR RICHARDSON

Production Ron Niewald Scott Teaford

74 EXHIBIT: Reproductions of new and best

Advertising William Rayburn

80

Administrative assistant Deborah Collins Editorial assistant Jennifer Williams

by Mill Roseman

by Wendy Richmond

by Julie Prendiville

YESTERDAY IN CA

by Mark Fulton

by Dick Coyne

CoLUMNS

12

EDITOR'S COLUMN

15

CA-89 CALL FoR ENTRIES

22

LEGAL AFFAIRS

Traffic Ron Holmes

116

FREE-LANCE

Consulting editor Richard Coyne

120

BooK REviEws

Contributors Maxwell Arnold Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

132

MATERIALS, AVAILABLE LITERATURE

139

CLUBS, CONFERENCES, SEMINARS

Subscription manager Vickie Baptista Subscription Nina Bland Ronnie Brown

COVER:

Tad Crawford

Barbara Gordon

Polaroid transfer by Scott Morgan

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

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

Copyright 1989 by Coyne & Blanchard , Inc.

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

Second class postage paid at Palo Alto, Californ ia and add itional offices.

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

Send change of address notification at least 45 days prior to effective date, include both old and new addresses.

Subscription rates : U.S. : one year-$47 ; two years-$90 Canada : one year-$52 (U.S.); two years-$95 (U.S.) Foreign : one year-$85 (U.S.); two years-$165 (U.S.) .

Single issues : $6 except Illustrat ion Annual (July) $12, Photography Annual (August) $12, Design Annual (November) $18 and Advertising Annual (December) $18.

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

ROB CHIN, San Francisco

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MICHAEL MABRY, San Francisco

LES CHIBANA, Mountain View, CA

LOUIS FISHAUF, Toronto

Lo()k what they're doing Posters. Packaging. Publications.

And what you do becomes very In other words, everything we've impressive. included here.

CONVERI'ITwnH As a matter of fact, with the design ADOBE STREAMLINE:" tools from the Adobe illustrator 881M family of illustration software, they're Lefs start with a black & white line doing just about anything they want drawing. With the amazing Adobe And so can you.

Thafs because theseare the very same tools that have been earning accolades not only from desktop publishers, but from professional designers and illustrators, as well.

All of which means you don't have to be a computer expert to use them.

So, once you combine the power of a Macintosh®with the precision ofAdobe illustrator 88, Jwwyou do it becomes virtually second nature.

Once :,vu combine the power ofa Macintosh®with the precision ofthe AdiJbe Illustrator 88 family oftools, ifs easy to see what they

can do[vr:,vu.

MAX SEABAUGH, San Francisco

" Look for this symbol on computers, printers and other products that support PostScript .........- software from Adobe Systems. It's your guarantee of quality and compatibility.

Streamline-and a desktop scanneryou can convert that drawing into professional-quality art in a matter of seconds.

In fact, whether ifs a corporate identity or an illustration, Adobe Streamline can quickly convert all your existing black & white line art into Adobe illustrator 88 files.

And that means you may never go back to the drawing board

ENHANCEITwnH TilE ADOBE® COilECfOR'S EDIDONS. Now, lefs say you want to add some images without having to create them.

We've made that easy with the Adobe Collector's Editions, our hbraries of prebuiltAdobe illustrator 88 art files to use as-is or change as you see fit The Adobe Collector's Edition: Symbols, Borders

The Adobe logo, Adobe and PostScript are registered trademarks and Adobe Illustrator 88, Adobe Streamline 'Pantone, Inc.'s check-standard trademark for color reproduction and color reproduction materials.

=...-----

NAT CONNACHER, New York

CHRIS HILL, Houston

RUSSELL BROWN, Mountain View, CA

with Adobe illustrator 8 and l.etteiforms includes hundreds of

right, you can work on getting the color Ijght font outlines.

Adobe IDustrator 88 can simulate And, theAdobe Collector's Edition: colorsrightoutofyour PANfONE®* Patterns and Textures offers exciting MATCHING SYSIEM design solutions for all your geological, Book architecturnl, cartographic, technical, and graphics applications. great graphic elements, borders and

PUfiT AILTOGElliERWITH ADOBE IlllJSfRATOR 88.

Once you're ready, you can use Adobe mustrator 88 to make changes or refine images in a hundred different ways-without once sacrificing your original ideas.

Or, you can start from scratch.

There's even a freehand tool that CHRIS KRUEGER, San Francisco makes drawing on the screen as easy WtthAdobe Streamline and a desktop scanner, ifs easy to convert as moving a mouse.

And ifyou're already drawing with black & white line art into high quality Adobe Illustrator 88fiks. a Macintosh, you can use Adobe IDustrator 88 to automatically convert From black to white and more your MacDraw®files. Or you can use than 700 colors in between the program's auto trace tool to save You can blend colors for great airMacPaint®files just as easily. brushing effects.

Then, once you've got the image Cut intricate masks. Build petfect

overlays. And shade for realistic depth and shadow.

And, with a little help from a PostScript®typesetter, you can now produce professional-quality color separations and mechanical art easier than you can say, "Black, yellow, cyan and magenta."

Il\1AGINE WHAT

YOU CAN DO WITH IT. When you look atwhafs been done, ifs easy to see how much more the Adobe IDustrator 88 family of design tools can do for you.

Uke more productivity.

And more creativity.

And more reason to call us at (800) 3448335 to find all of the Adobe mustrator 88 tools you need at your nearest Adobe Authorized Dealer (outside the U.SA and Canada, call your local distributor).

Then you can start doing it, too.

and the PostScript logo are trademarks of Adobe Systems Incorporated in the U.S.A. Macintosh is a registered trademark of Apple Computer, Inc. MacDraw and MacPaint are registered trademarks of Claris Corporation. © 1989 Adobe Systems Corporation. All rights reserved.

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write for our free 32-page color catalog.

And the next time you need a great photograph, remember Index!. tock.

The picture you 've got in mind is probably in our files right now.

INDEX

SIOCK INTERNATIONAL ~

126 Fifth Avenue, New York, NY 10011 Tel: 212-929-4644 Fax: 212-633-1914 6500 Wilshire Boulevard, Suite 500 Los Angeles, CA 90048 Tel: 213-658-7707

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Lou Dorfsman (left) and Sandy Fowler.

Mohawk is ready today for the Superstars of tomorrow...

...because at Mohawk, it's already the 21st century.

We're ready for the next generation of superstars. From state-of-the-art facilities to our new corporate logo, the future has arrived at Mohawk.

Multimillion-dollar modernization programs at both our plants have put Mohawk at the forefront of papermaking technology. We've already increased capacity, shortened turnaround time, and improved distribution. That's just the beginning.

We're expanding our product line to give you an even wider selection, including our new Cover and Text grade with a specially treated surface for greater ink holdout, and several imported papers. Of course, they'll embody the same excellence in engineering and craftsmanship that have made Mohawk premium papers the standards of their marketplace.

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In fact, underlying all our sophisticated equipment is a timeless commitment to quality. You can see it in our products and in the ageless character and dignity of Mohawk's new Indian head symbol.

At Mohawk, we're ready for the superstars of tomorrow.

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EDITOR'S

COLUMN

PATRICK COYNE

OMMUNICATION ARTS IS 30 YEARS OLD, A fact not lost on our staff, who saw stacks of issues filled with Post-It Notes everywhere the~ turned during these last two months. Researchmg the early years became quite a project.

C

computer products and the possible problems.

Deciding what form a commemorative article should take was difficult. Finding the film for the early pieces was more difficult. Our archive system has evolved over the years, as we moved into each new office, but all of our film didn't always make the move, or became useless. A sudden rainstorm, while remodeling our current office, didn't help either. Also the life-span of litho tape, used to strip all the film together, is considerably less than CA's history. Some of our early issues film have become piles of loose pieces.

Wendy Richmond, Dick and I have discussed this for some time. We realized that there was too much information to be contained in her regular column, and the decision was made to proceed with an article on a real-life situation.

Burns, Connacher & Waldron, a New York-based design firm, agreed to tell their experiences with computers, warts and all. I think the end result is worth the effort and their contribution is greatly appreciated. I would like to thank them for their honesty and candor.

We occasionally pick up a piece of film from an Annual for use in a feature article and vice versa. Consequently, when Scott looked for the film for a specific piece, he would frequently find a hole where the·film had been. It became a real test of memory to figure out which issue contained what we were looking for.

Several pieces of film were completely lost. Our only answer was to recreate them· by shooting the pages of CA and reconstructing them mechanically. For the most part, the pieces look better than when they were originally in CA. The advancements in printing and paper attest to that.

I would like to thank Dick for the immense amount of work he put in to make this article a reality. One of the benefits for me was getting to hear some great stories about the early years. Don't expect another anniversary issue for at least ten years.

I know Wendy and I were concerned that the article might be interpreted as a statement against computers, but the benefits in time and materials, spelled out in detail, should make everyone realize the possibilities.

I certainly feel that computer-aided design is where our industry is headed, but there is a lack of information on what to expect when introducing computers into the creative office.

0

Michael Bierut, vice president of graphic design at Vignelli Associates, sent me this booklet on the New York City Graphic Designers Bowling League's 1988 season. It arrived too late for our exhibit section, but I couldn't resist running it here. Opening the die-cut cover to the first spread, the text begins: "New York City designers, as we all know, are as competitive as they are talented. And nowhere is the competition more intense-or the talent more misdirectedthan on the well-worn lanes ofBowlmor on Greenwich Village's University Place . . .What drives them? Is it the tantalizing incompleteness of an unmarked scoresheet?

The exhilarating taste ofCheez Doodles washed down with a cold gulp of Rolling Rock? Or is it the shoes?"

0

Hundreds of press releases come into our office each month praising the virtues of a piece of hardware or a software program designed for creative professionals. It always sounds like you just plug in their " user-friendly" product and instantly become more productive. What's never discussed is the learning curve, incompatibility with other

It certainly wasn't high scores. The best team average was 129.69. Evette J. Stark, league organizer; Michael Bierut, designer; Douglas Frueh, writer; Richard Frank, photographer; Kevin Downey, production.

Lane . .a lns ········· ~fk~i~ h ~;~~ ···

10

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MAY/ J UNE 1989

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HAMMERMILL. And it's available in both HamTheycapturehumanex- MORE Of THE EXPRESSIONmermillOffsetOpaque pression in mid-emotion. and Hammermill Cover in Nowanew,delicatelyemLIFE HAS ~o OFFER. anarrayoftentemptingcolors bossed finish from Hammermill I and two whites.

Masks are like freeze frames.

~

gives any mood your art expresses an added richness If you alike a closer look at just what Hammermill and individuality. Its name is Emissary. And its subtly can do for you, send for a free 17"x 22 "poster of this persuasive texture is, as this insert convincingly deminsert. Write on your company stationery to: Hammeronstrates, impressive to both eye and touch. mill Papers, 6400 Poplar Ave., Memphis, TN 38197-7000.

Emissary, like our seven other stock finishes, Express your next idea with all the eloquence of Emissary.AddlifewithHammermill Papers. allows you to add text-like prestige and appeal to any piece from annual report to HAMMERMILL Thisinsertisprintedb~weboffsetonHammermiliOffset direct mail without paying a text-like price. OFFSET OPAQUE" ~a~~e~~~~e~~g:~~~~·e~:~V1f;aU~.ish. Paperscuiptureby

CA89 30th ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Work that has been published or aired between July 1, 1988 and June 30, 1989, is eligible for CA-89. Deadline for submitting entries is July 1, 1989.

All of the winning entries chosen by the juries will be reproduced in two issues of CA-89. The November Design Annual will show selections by a distinguished jury of nine designers. The December Advertising Annual will show selections by an equally distinguished advertising jury of writers, art directors and creative directors.

The largest (26,549 last year) of all the juried competitions, this is also the toughest to make. Having your work selected is of corresponding significance.

Work may originate from any country (twenty nations have been represented in past Annuals). English translations are important for the jurors.

Both of these 250-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 worlf}~ most seen Annuals will be distributed, assuring important exposure to the agenqi~s 1 design firms and individuals involved in the creation of this award-winning work, Award of Excellence certificates for firm~ individuals and clients will be mailed in January, 1990.

Only accepted entries will be notified on or before September 15. Complete credit~ and any necessary material for the best possible reproduction in the Annuals '¥ill be requested at that time. No hanging fee~ are required.

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No entries will be returned. Submission entries to CA-89 acknowledges the right qf Communication Arts to use them for publication and exhibition.

• Please note: Illustration and Photography categories are not included in CA-89. Work in these categories should be submitted tq the Illustration Annual or the Photograpt)r Annual, separate competitions, published in the July and August issues of CA, wjtl) an entry deadline of March 21st.

DEADLINE FOR ENTRIES IS JULY 1

CATEGORIES CONSUMER MAGAZINE ADVERTISING lA Single ad, any size, including spreads ($20) lB Campaign-limit of five ($35) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size, including spreads ($20) 2B Campaign- limit of five ($35) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising which appears in consumer magazines and newspapers) 3A Single ad, any size, including spreads ($20) 3B Campaign-limit of five ($35) POSTER 4A Outdoor, 24-sheet or larger, includes painted ($20) 4B Series of 4A-limit of five ($35) .

4C Transit (bus, subway, shelter) ($20) 4D Series of 4C-limit of five ($35) 4E Point of purchase ($20) 4F Series of 4E- limit of five ($35) 4G All other posters (exhibition, event, institutional, etc.) ($20) 4H Series of 4G-limit of five ($35) AUDIO/VISUAL PACKAGING SA Single record jacket, cassette, compact disc, video, etc. ($20) 5B Series of SA- limit of five ($35) PACKAGING/LABELING 6A Single package or label or shopping bag ($20) 6B Series of6A-limit of five ($35) TRADEMARK 7A Company name and nature of the business must be placed next to the mark for judges information or the mark will be disqualified ($20) 7B Corporate identity- at least five, limit often ($35) LETTERHEAD 8A Letterhead, envelope ($20) 8B Business paper series-at least five, limit often ($35)

COMPANY LITERATURE 9A Annual report ($20) 9B Institutional/ service booklet or brochure ($~0) 9C Product booklet or brochure ($20) 9D Announcement/invitation/ greeting card ($20) 9E Series of9D-limit of five ($35) 9F Catalog: product ($20) 9G Catalog: school ($20) 9H Catalog: exhibition ($20) 91 Miscellaneous company literature (data sheets, internal communications, conference literature, etc.) ($20) 91 Series of91-limit offive ($35) EDITORIAL lOA Consumer magazine (cover or spread) ($20) lOB Multi-page section oflOA ($35) lOC Newspaper (page) ($20) lOD Multi-page section oflOC ($35) lOE Trade magazine (page or spread) ($20) lOF Multi-page section oflOE ($35) lOG House organ/newsletter/association (cover or spread) ($20) lOH Multi-page section oflOG ($35) BOOKS & JACKETS liA Trade book, entire unit ($20) liB Trade book, cover or jacket ($20) liC Text book, entire unit ($20) liD Text book, cover or jacket ($20) liE Children's book ($20) llF Children's book, cover or jacket ($20) llG Jacket series-limit of five ($35) SALES PROMOTION 12A Sales presentation, direct mail ($20) 12B Series of12A-limit of five ($35) SELF-PROMOTION 13A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($20) 13B Series of13A-limit of five ($35) 13C Printed promotion for ad agencies, art directors, copywriters, suppliers ($20) 13D Series of13C-limit of five ($35) BE Art/design clubs, communications/ promotions ($20) 13F Series of13E-limit of five ($35) 13G Advertising clubs, communications/ promotions ($20) 13H Series ofl3G-limit of five ($35) TELEVISION ADVERTISING 14A TV commercial, 16mm film or 3f4'' video tape NTSC ($35) 14B Series of14A-limit of three spliced together without leaders ($50)

DEADLINE FOR ENTRIES IS JULY 1

RADIO ADVERTISING 15A Radio commercial, lf4'' magnetic tape, 7lf2 ips ($35) 15B Series of15A-limit of three spliced together without leaders ($50) TELEVISION/ RADIO STATION PROMOTI ON 16A Program promo, W' video tape NTSC ($35) 16B Series of16A-limit of three ($50) 16C Radio, lf4'' magnetic tape, 7 1/2 ips ($35) 16D Series of16C-limit of three ($50) 16E Program title, logo, signature, W' video tape NTSC ($35) 16F Series ofl6E-limit of three ($50) 16G Printed piece ($20) 16H Series of16G -limit of five ($35) PUBLIC SERVICE (Work done for a non-profit organization or advertising of a public service nature by a profit making company) 17 A Magazine ad ($20) 17B Series of17A-limit of five ($35) 17C Newspaper ad ($20) 17D Series of17C-limit of five ($35) 17E Poster ($20) 17F Series of17E-limit of five ($35) 17G Booklets, direct mail ($20) 17H Series of17G-limit of five ($35) 171 TV commercial ($35) 171 Series of171-limit of three ($50) 17K Radio commercial ($35) 17L Series of17K-limit of three ($50) MISCELLANEOUS 18A Greeting card/birth announcement/ invitation/( company announcements and invitations belong in 9D) ($20) 18B Series of18A-limit of five ($35) 18C Display (point of purchase, trade show exhibit, etc.)-limit often slides ($35) 18D Signage, interiors, architectural graphics-limit often slides ($35) 18E Calendar ($20) 18F Menu ($20) 18G Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc.-limit of five ($35) 18H Anything not covered in previous categories ($20) 181 Series of18H-limit of five ($35)

• Call (415) 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) 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 1/.t" magnetic tape, ?V2 ips in reel-to-reel format. Audio/ visual series are limited to three commercials.

This form and entry fee must accompany entries submitted to CA-89.

P.O. Box 10300 · 410 Sherman Avenue • Palo Alto, CA 94303

Name

Phone

Company

Address

City

PREPARATION OF PRINT ENTRIES

Zip

State

_ _ _ Single entries

Submit ad tear sheets or printed samples, e.g. annual reports, brochures, folders, letterheads, book covers, menus, etc., UNMOUNTED. For posters over 18"x 24;' packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS. A piece may be entered as a single and part of a series.

.. $20 each $_ __

_ _ _ Campaigns or series .

... . ........ $35 each $_ __

_ _ _ Single TV Commercials

...... $35 each $_ __

_ _ _ TV Commercials Series

... $50 each $_ __ .. $35 each $_ __

_ _ _ Single Radio Commercial _ _ _ Radio Commercial Series .

. ... . . $50 each $_ __ TOTAL FEE $_ _ _ ·

PREPARATION OF PACKAGES Send entries, UNMOUNTED, in flat packages only, no mailing tubes (they frequently arrive damaged).

Self-addressed stamped envelope

If more than one package is sent, please indicate on the outside wrapping: " Package No. __ of __ packages:'

included for acknowledgement

If package contains audio/visual entries, indicate on the outside wrapping: " Contains Broadcast Entries:'

APPLY TAPE HERE

B

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, 1989.

Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

Category] [

mber

I Letter

For campaigns or series only This is No. _ _ of _ _

FORMS AND ENTRY FEES Form A (or a facsimile) and the entry fees must accompany your package of entries. Make checks payable to CA-89.

Submitted by

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.

Company

ACKNOWLEDGEMENT OF RECEIPT OF ENTRIES

'· .

APPLY TAPE HERE

B

Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

Category]

Fo~ c~mpaigns or series only

I Letter

This IS No. _ _ of _ _

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 30 cents for Canada or Mexico or 45 cents for other countries.

Submitted by

· As soon as we open your package we will send the acknowledgement to you.

Mail entries to: CA-89 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

Air Express entries to: CA-89 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

mber

Company

APPLY TAPE HERE

B

Tape this form or facsimile to the back of each piece submitted to CA-89 (no paper clips).

Category] [ Number

NO RETURN OF ENTRIES

~Fo,CAuse~

I Letter

Fo~ c~mpaigns or series only

~FmCAuse~

This IS No. - - of _ _

Submitted by

Company

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Ad Type Graphics Sacramento, California ~ 916-736-2222

Allied Adcrafters Division of Black Dot Typographers, Inc. Graphics New York, New York Chicago, lllinois ~ 212-246-6940 ~ 312-622-8940 ~t...

The Alphabet Shop Andrew's Graphics Atlanta, Georgia Akron, Ohio ~ 404-320-1090 ~ 216-864-4192

APT Photoset Limited London, England ~ 01-701-0477

~' Ill/ Central Characters Chiles & Chiles Typesetting Company Typographic Service Dallas, Texas Detroit, Michigan New York, New York ~ 214-690-4606 ~ 313-961-7171 ~ 212-947-0900

Continental Composition Systems Falls Church, Virginia Composition Company Chicago, lllinois ~ 703-237-1700 ~ 312-987-1800

CPC Type & Graphics Southborough, Massachusetts ~ 508-480-0205

How to run better ads.

John C. Meyer & Son .JT&A Typographic KC Composition Philadelphia, Communications Chicago, illinois Pennsylvania Los Angeles, California ~ 312-925-5800 ~ 215-627-4320 ~ 213-464-1720

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_____.

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Litho Composition Boston, Massachusetts ~ 617-482-3236

Master Arts, Inc. Chicago, illinois ~ 312-642-8939

Pacesetters Graphic Porter Graphics, Inc. O'Sullivan Santa Ana, California Typography, Inc. Typographers Dallas, Texas New York, New York ~ 714-558-1947 ~ 214-235-2222 ~ 212-92 5-5443

Printype Bristol, Connecticut ~ 203-246-8013

,

Olson Typographic Omnicomp Brewster, New York San Francisco, California ~ 914-279-7586 ~ 415-398-3377 Palo Alto, California ~ 415-326-5960

Spectrum Multilanguage Communications New York, New York ~ 212-391-3940

L.A. Fonts Typography Los Angeles, California ~ 213-204-2777

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

Stamford Typesetting Stamford, Connecticut ~ 203-838-1000 ~ 203-327-1441

Supertype Los Angeles, CA ~ 213-388-9573

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~-../ .....

Terrific Graphics The Composing Room The firm of San Francisco, California St. Louis, Missouri Christopher Wren ~ 415-982-2896 ~ 314-773-2400 Costa Mesa, California ~ 714-540-0801

---..:....r Typesetting Service, Typesetting Service Typeworks of Dallas TypeHouse + Incorporated Duragraph Providence, Rhode Island Dallas, Texas Cleveland, Ohio ~ 401-421-2264 Minneapolis, Minnesota ~ 214-871-70o6 ~ 216-241-2647 ~ 612-588-7511

TYPOGRAPHERS

Typex Graphics Vancouver, British Columbia ~ 604-688-6285

Total Typography, Incorporated Chicago, lllinois ~ 312-489-4313

INTERN

Today, work thatfails to win the audiences attention

poweiful ads. Andperhaps why you ought to call on one

isn't even in the running anymore. Which is why art

ofthe TIA member typographers near you. At TIA, our sole

directors are calling for more elegant and inventive

purpose is to share the experience and knowledge we've

typographic solutions to create more distinctive and

gainedfrom our more than 500 member shops worldwide.

Arrow Typographers Newark, New Jersey ~ 201-622-0ill

Artintype Metro New York, New York ~ 212-532-4000

Brooks Typography Lafayette, California ~ 415-284-2910

Caractera Inc. Montreal, Quebec ~ 514-875-7650 Quebec, Quebec ~ 418-687-4434

Centennial Graphics Lancaster, Pennsylvania ~ 717-397-8863

Design & Type DG&F Typography, Inc. Eastern Typesetting Co. Elizabeth Typesetting San Frandsco, California Columbia, South Carolina Hartford, Connecticut Kenilworth, New Jersey ~ 415-495-6280 ~ 803-799-9140 ~ 203-528-9631 ~ 201-851-0100

Graphic Composition Menasha, Wisconsin ~ 414-739-3152

Barlowe Typography, Inc. GraphPro Great Faces, Inc. Brentwood, Maryland Portsmouth, N.H. Minneapolis, Minnesota ~ 301-277-8311 ~ 6o3-436-3868 ~ 612-339-2933

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Master Typographers Mono Typesetting Co. Monotrade Companies Chicago, lllinois Bloomfield, Connecticut Minneapolis, Minnesota ~ 312-661-1733 ~ 203-242-3006 ~ 612-332-3394

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Central Graphics San Diego, California ~ 619-234-6633

Granite Graphics Gorman's New York, New York Typesetting Peoria, Illinois ~ 212-772-0364 ~ 309-691-9087 Rutherford, New Jersey ~ 201-438-7398

Huntington Graphic Infmity Type Studio Service, Inc. Okemos, Michigan Oak Park, Michigan ~ 517-349-4635 ~ 313-548-9285

Newark Trade Typographers Orange, New Jersey ~ 4-3727

P. A. Altenhofen Typographers Milwaukee, Wisconsin ~ 414-352-3590

Precision Graphics, Inc. ROC/SOC Marketing, Inc. RyderTypes, Inc. Pennsauken, New Jersey New York, New York Chicago, illinois ~ 6o9-663-7528 ~ 212-243-4982 ~ 312-467-7117

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LEGAL AFFAIRS

TAD CRAWFORD

WHAT ART Is COPYRIGHTABLE?

T

HE REQUIREMENTS FOR COPYRIGHTability are that the art be both original and artistic. Original art means original to the creator and not copied from another source. So the most uninspired art is original as long as it has not been plagiarized. The requirement that the art be artistic is also a minimal standard. A child's finger painting is artistic in terms of this standard.

In addition, to qualify for federal copyright protection, the art must be fixed in a tangible medium of expression.

A drawing, a painting or a photograph is obviously fixed in this sense. However, a live performance which is not in any way recorded could not benefit from federal protection. Such a performance would be protected under the older system known as common law copyright. Where, then, do displays on computer screens and video game screens fall? Are they fixed and protected by federal copyright or not fixed and protected only by common law copyright?

Since original and artistic appear to be easy standards to meet, shouldn't all art be copyrightable? This is certainly the case. Almost all art is copyrightable, but some of the exceptions are nonetheless surprising.

Not Copyrightable A copyright maxim is that an idea is not copyrightable, but the expression of an idea is copyrightable. So the idea to photograph a certain person is not copyrightable, but the actual photograph of the person is copyrightable.

Copyright merely protects that particular expression embodied in the photograph, which means that anyone else taking a photograph of that person will also have a copyrightable work.

Ideas, titles, names and short phrases are usually not copyrightable because they lack a sufficient amount of creative expression. Style is not copyrightable, but specific pieces of art created in a style are copyrightable. Utilitarian objects are not copyrightable, but art incorporated into a useful object-such as a statue used as a lamp baseis copyrightable.

Basic geometric shapes, such as squares and circles, are not copyrightable, but artistic combinations of these shapes can be copyrighted. Calligraphy appears not to be copyrightable if expressed as an alphabet, but it is copyrightable in the form of embellished individual letters.

This is reaching toward the distinction between an idea © Tad Crawford 1989

22

MA Y I J U N E I9 89

or system (the alphabet) and an expression of the idea (the embellished letter).

Typeface designs are not copyrightable. This may be surprising because of the artistry needed to create a typeface design. However, the copyright law views a typeface design as an idea or a system and not as creative expression. The purpose of typeface design is, in this view, utilitarian. It is intended to provide a mode for communication and its aesthetic qualities are incidental to this purpose.

Fixation As to the question of fixation, computer programs and the pictorial images created from the use of such programs are both copyrightable. Likewise, the pictorial images which appear on the screens of video games are copyrightable.

For video games, for example, the copyrighted material recorded in ROMs is considered to be in a tangible medium because it could be reproduced with the help of a microprocessor. This is true even though the images on the screen change constantly. Thus, these screen displays are protected by federal copyright, not common law copyright.

But if pictorial images on computer and video screens are copyrightable, what about an image composed solely of text? Is this copyrightable?

This question raises the larger issue of whether the design of text in general is copyrightable. Or, for that matter, is the design of a book or magazine cover copyrightable if no picture is used? Typefaces are not copyrightable, but can an arrangement of uncopyrightable type elements create a copyrightable cover?

A Tale of Two Covers In August of1985, a new publisher acquired Conservative Digest and subsequently changed the look of its cover to bear a close resemblance to the cover of Reader's Digest.

This new look for Conservative Digest was publicized at a press conference held at the National Press Club, where a copy of the October 1985 issue was displayed. The editorin-chief stated that if Conservative Digest "looks like Reader's Digest, I'm sure that Wally and Lila are somewhere up there saying, 'That's great, kids. Keep it up~" Wally and Lila were DeWitt Wallace, the founder of Reader's Digest, and his wife.

Whatever Wally and Lila might have thought, Reader's (Continued on page 26)

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Digest warned Conservative Digest not to use such a similar design. Despite the agreement by Conservative Digest not to use the design after the October and November issues, Reader's Digest brought suit for copyright infringement.

Before the court could conclude that an infringement had taken place, it had to decide whether the cover of Reader's Digest was copyrightable. The court's opinion is quite interesting on this point: "None of the individual elements of the Reader's Digest cover-ordinary lines, typefaces, and colors-qualifies for copyright protection.

But the distinctive arrangement and layout of these elements is entitled to protection as a graphic work~' Finding the two designs substantialiy similar and noting that Conservative Digest had access to the Reader's Digest cover and, thus, could have copied it, the court upheld the determination that there had been a copyright infringement. However, since Conservative Digest had already stopped the infringement, the award of damages for copyright infringement was only $500. The court refused to award attorneys' fees. Under the trade dress provisions of the Lanham Act, the court ordered that Conservative Digest make no further use of the two offending covers from October and November.

Screen Displays Returning to the issue of screen displays, the Copyright

Office had been uncertain whether to register screen displays separately from the computer program creating the display, and whether to make a distinction between the registration of textual and pictorial displays. After a request for public comment, the Copyright Office decided in June of1988 "to require that all copyrightable expression embodied in a computer program, including computer screen displays, and owned by the same claimant, be registered on a single application form~' The Copyright Office also specified the mode for the registration, stating, "Ordinarily, where computer program authorship is part of the work, literary authorship will predominate, and one registration should be made on application Form TX. Where, however, audiovisual authorship predominates, the registration should be made on Form PA~' Form TX is for text while Form PA is for the performing arts. In any case, an error in selecting the correct application form will not invalidate the copyright registration.

However, the Copyright Office will not register works which it does not consider copyrightable. With respect to textual screen displays, the Copyright Office observed, "The Office has a well-established practice of refusing to register claims to copyright in mere format of text or images; this practice is based on the statutory prohibition

October 1985

CAll SICIII.

SECIIDY IE SAVEl? PAGE49

PAGE89

TIEIIII

no

AliVE

DRAMA IN REAL LIFE

26

49 55 59

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Peter Michelmore 114 English, English Everywhere . . . Newsweek 121 A Trucker Who Always Stopped for Trouble . .

Yankee 125 The End of Sex . . . . . . From the book 131 "I Want to Live" Sid Caesar with B ill Davidson 135

TIE

PAGE 72

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The Right History . . . . . . . . . . . James B. Graves 73 Black American Visits South Africa . . . William A Keyes 75 Mysteries of Flight 007 . ... ... ... ...

Robert W. Lee and Captain Joe Ferguson 79 A Real Woman . . . . . . . . . . . . .. Tim LaHaye 87 A Real Man . . . . . . ..... Beverl.y LaHaye 89 Interview: Judge Robert Bork .. . . Patrick B. McGuigan 91 Sporting Life . . . . . . . . . . . . . . . . . . . 103 The Debt Bomb . . . . ... Patrick J. Buchanan 105 Humor In Politics . . .. ... .. .. . . . . . . . 117 The Right Answers . . . William P. Hoar 119 Never Say Goodbye . . . . . . . . . . . . Richant Vigueri.e 123 Our New Publisher . . WiUiam R. Kennedy, Jr. 127

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against copyright in ideas, systems, concepts, or discoveries~' According to this rationale, the Copyright Office warned that applications should not indicate under Nature of Authorship such elements as the menu screens; structure, sequence and organization; layout or format; and the like. Of course, pictorial screen displays would be entitled to copyright protection. The Copyright Office left to the courts to determine the exact boundary between mere format and pictorial displays.

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The Copyright Office also decided to follow wellestablished practice by refusing to register digitized typeface designs, since typeface designs are not copyrightable.

Nonetheless, the programs which create such typefaces are copyrightable and can be registered.

The Copyright Office made the following distinction: "We conclude that computer programs, used to control the general digitization process, and that otherwise meet the standards for protection, are registerable notwithstanding their use in generating unprotectable typefonts; but the claim to copyright must exclude any data that merely depicts the typefaces or letterforms~'

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MA YI J U N E I989

On March 1,1989, the United States adherence to the Berne Copyright Union became effective and gave our creative community greater international protection.

On March 29, 1989, the United States Supreme Court heard arguments on work for hire. The Court's decision should be handed down by July 1st. If creators win, it will be an important victory. If they lose, it will be a devastating defeat.

The Copyright Office has given a report on the copyright liability of states in view of the Eleventh Amendment, which provides immunity to the states from being sued by citizens. This immunity has, in some cases, allowed state agencies and institutions, such as state universities, to escape having to pay for art. When the artist or photographer sues for copyright infringement, the institution defends itself on the grounds that it is protected from suit by the state's immunity. Reform, and clarification, may soon be forthcoming in this area.

These issues and others will be reported in future columns .

• Tad Crawford, attorney and author of Legal Guide for the Visual Artist, is president of Allworth Press, which publishes books for creative professionals.

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HEY STARTED IN A HOTEL ROOM WITH no accounts, and went for the best part of a year actually turning down business they didn't want.

"Some drug products, some personal care products, even some automotive~' On the face of it, an unlikely plan for success.

T

Today, they say they're billing about $210 to $215 million, with just thirteen accounts. As Ralph Ammirati and Martin Puris tell the story, it was all according to plan.

They had been a creative team at Carl Ally for about five years. Art director Ammirati and copywriter Puris had arrived there at about the same time, found themselves paired up and enjoyed working together. In 1974 they decided to go into business for themselves.

"Alex Kroll at Y&R heard we were thinking of starting an agency," Ammirati recalls. "He offered us a job and we told him we weren't interested, and he said, 'Well, maybe we could open an agency,' and so that's how it started. We put up some money and they did. It was a 50150 partnership. ·· "That's not exactly the way we wanted to do it, but you do it the way you can do it. We had no business, but we launched out with a certain feeling of security that we had this giant behind us~' And they had something more.

"We really had a plan:' Ammirati continues. "I don't think a lot of people starting out have one. They just go and try to make it happen however it happens, and that's wrong because there are so many obstacles, so many things that could change your direction if you don't have an idea of exactly where you want to go.

"We didn't want to become an agency with 200 accounts billing-in those days-anywhere from $500,000 to a million. That's where most agencies got started. And you spend the rest of your life trying to dig out from under, in search of the blue-chip thing that gives you the opportunity to do the kind of work that's respected by major companies:' Ammirati maintains that their plan was nothing new.

"Y&R did it in the old days, and so did Ted Bates. They didn't have a long list of accounts. They had 20 accounts but they were fantastic accounts; the growth came from within these. And so, we stuck to the plan, and thank God our first account came. BMW It was quite small at the time-$900,000-but with incredible potential ~' They won the BMW account just in time; there was about eleven days' worth of money left in the kitty. And the campaign that won them the account has been the engine of their growth.

'The Ultimate Driving Machine," says Ammirati, "was the campaign that we presented way back in the beginning.

And it has survived all the crises that have gone on in the 32

M A Y I J U N E 19 8 9

ROSEMAN

automobile business in the last fifteen years-legislation, all sorts of restrictions placed on automobile manufacturers, the Japanese imports, gas crisis-everything, even pollution. The right campaign will survive the most chaotic changes that can happen in the marketplace~ ' The BMW campaign matched-perhaps in fact anticipated-the mood of the upscale auto market, and in fairly rapid order BMW billings grew to multimillion-dollar levels. It also put Ammirati & Puris in contention for other business, some of which was of interest toY &R itself. "I guess it turned out that we all wanted the same accounts;' Ammirati says, "so after a couple of years we bought ourselves back, and the rest is history."

The first ten years of that history were not without considerable volatility. With the exception of BMW, there are no Ammirati & Puris accounts that date back any earlier than 1984. Clients like Snowy Bleach, Media Networks, Warner/Lauren, Data General, Sony and other substantial advertisers came, lasted a few years, and left, generally by the resignation route. Even Club Med, for whom the Antidote to Civilization campaign garnered awards and boosted business, left after four years. But it returned three years later.

Stability, it would appear, was gained with the 1983 addition of a third member of the management team. Edward Vick came over from Ogilvy and Mather to head up the account management side. Today he is president and chief operating officer, while Puris is CEO and co-chairman, and Ammirati, likewise co-chairman, is creative director.

Schweppes, United Parcel Service and Waterford Crystal, all added in 1984, remain on the client list, together with Four Seasons since 1985, Grolsch Beer since 1986, United Fruit's Chiquita and the returned Club Med since 1987.

In 1988 four new clients came aboard: Aetna Insurance, Melitta coffee products, RCA and NeXT, Steve Jobs' new entry in the computer wars. This year opened with the arrival of the New York Post, and Stanley tools. However, for most of the 1988 and 1989 arrivals, Ammirati says, " We're still in the process of working on the advertising, so nothing of ours is out there yee' Ammirati points out that he and Puris get very involved in the beginning of a campaign, of a new piece of business.

"We are totally into that, to make sure that strategically the thing is absolutely as right as we're going to get it.

We really do try to go after long-term propositions and campaigns that will survive-and they usually will survive if you're right in the beginning, in terms of direction, and if the image of whatever you're creating is on target.

We really struggle-slave over it. It becomes a tedious process, but it's worth it in the end~ ' Even in new business presentations, he adds, all the people that are going to be involved in the business are

Left to right: Edward Vick, Ralph Ammirati and Martin Puris.

Ralph Ammirati was the creative director on all pieces shown in this article.

Twenty years ago, RCA was the undisputed leader in television technology. Today, while still the largest selling brand, RCA's image has become undefined and slightly "yesterday" as Japanese brands have seized the attention of younger, affluent male consumers. RCA needed to appeal to the younger video enthusiast without alienating the older, loyal customer. The solution lay in the very nature of American TV viewers, who are some of the most experienced, knowledgeable and demanding of all the world's consumers. Mark Moffett, art director; Rodney Underwood, writer; Dennis Waugh, photographer.

Billboard tor Club Med. The campaign objective was to show that the Club Med vacation is the one complete, rejuvenating escape from the pressures of everyday life. To catch people's attention, common phrases, which are normally frustrating restrictions in the civilized world, are paired with enticing images. Ted Shaine/Aiain Briere, art directors; Helayne Spivak, writer; Gilles Bensimon, photographer.

RCANUMBERONEWITHTiiE rnl'~~~nview;;­ lOUCHESrCRmcs INTiiEWORID ~~~~R:i~orrt>k No one on earth has had as long and as loving a relationship with television as Americans.

And while we're its most adoring fans, we're also its most knowledgeable critics. After all, over time we've developed quite a keen and discriminating eye.

So it:S not surprising that in a nation ofexperts, the televisions, VCRS and camcorders of choice come &om the people responsible for nothing less than the most technological innovations in the industry. RCA

In fact, every major manufacturer of televisions, camcorders and VCRS in the world uses RCA patented technology.

And it:S technological superiority like this that has led more Americans to choose RCA video equipment than any other.

A fact we're truly quite proud o£ After all, you carit receive higher critical acclaim than that. RCII

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

33

AMMIRATI & PURlS

present. "It's kind oflike a troika-art, copy and accountand making sure that triangle is functioning throughout all the processes. From when we first get the piece of business and are deciding what the strategies are, filtered through the marketing problems and product situations, these three work together, very closely.

"When we started, people thought of us as a creative boutique. We didn't want that, it's what we determined not to be. We wanted to hire absolutely the best people in every department-account people, research people, media people, creative people. We operate here with senior teams-senior people. They have responsibility for individual pieces of business and it works out very well. We don't have a tremendous amount of juniors:' According to Puris, the agency carries a staff of235 to 240 people, about 30 in the creative area, about 40 account people, 50 in media, and 12 in research and strategic planning. In addition, there is a special markets group doing promotion, packaging and similar assignments, and a direct response group. Both are carried as independent profit centers, selling their services to agency clients and non-clients alike.

"But:' says Ammirati, "on a regular basis there isn't a piece of television, radio or prmt that I don't see before it goes out of here. I get involved with all the accounts, all the groups, and because I'm involved with so much of it it's just impossible to devote big chunks of time to a particular job. Martin and I used to do a lot more creative work together, as a team, than we do right now, only because it's become quite big. So, in a sense, my biggest job was to get over the frustration of not being able to do it myself.

But I've got a lot of senior people who have the responsibilty to make sure the stuff is terrific:' Nonetheless, Ammirati finds himself still involved in hands-on work like mixes and tape transfers. "It's not unusual for me to be in a tape studio screaming about the fact that a scene is the wrong color."

This contradictory picture is also at variance with the cool, soft-spoken elegance Ralph Ammirati projects. But one gets the feeling that the urbane exterior covers a restless reservoir of intensity; that the drive which carried through eleven months of waiting for that first "right" account has not been dampened. The intensity and drive are all the more exceptional considering that any specter of failure has long since been put to rest as a result of the agency's growth and its acquisition about a year and a half ago by Britain's Boase Massimi Pollitt, reportedly to the tune of better than $30 million.

Like his partners, Martin Puris is also cool and softspoken, in a manner almost patrician, but in a different way: analytic, skeptical, precise. Heading up new business activities with Ed Vick, Puris feels the agency could have quite a few more accounts. He says, however, "we want to keep a small enough list so that we can be involved with all the clients when they need us. There aren't many clients that we really want:' he states flatly, adding that 34

M A Y I 1U N E I9 8 9

much depends on "the kind of company they are, the kind of business they're in, the kind of people within:' Puris also has some precise views about advertising.

"I think we're in a time of transition, between the traditional concept of what an agency is, what services are offered by an agency and what will be. I don't think in ten years the agency will be the same as it is now.

"There are different ways oflooking at this fee-cutting, commission-cutting binge that clients have been on for the last five years or so. One is that agencies have turned themselves into commodities among which clients see few differences and therefore don't understand why they have to pay more, since the commodity down the street is willing to take their business for less. One of the problems in this business is that agencies seem to have precious little integrity about how they run the business. Discounting and fee-cutting are just rampant, and it cuts into the agency product for sure. Clients have a difficult time understanding that ad agencies should be profitable, that when they cut commissions on a ten million dollar budget from one and a half million to a million, they get a half million less service. It's probably a statement about how they value the services of an agency, and it seems to me that the market trend clearly shows they don't.

"They feel a lot of dollars are wasted, probably not as many as they waste themselves, but that's neither here nor there. It may also be a comment on the fact that they don't necessarily want all the services that agencies offer today. Yet agencies are adding services, and that's the paradox. They talk about a Ia carte services as the wave of the future, but the problem is agencies can't support a Ia carte departments without using them constantly.

"So there's got to be a change. It's getting very, very difficult to make a profit in this business:' As to the trends in advertising itself, both partners are less than enthusiastic.

Ammirati: ''A lot of the stuff is like wallpaper. It's beautiful, but it doesn't say anything. The ideas are few and far between. Maybe they always were, but it's become more difficult now to tell, because people have gotten so good with execution. The ideas aren't there ... " And Puris: "We're seeing no new ideas. It's all bland.

Filtered. Cream ofWheat:' But is that kind of advertising less effective?

"I hope so!"

Some time ago Ammirati was asked if his agency's kind of advertising makes a difference, and his answer was emphatic. "You're asking if exciting advertising is more effective than dull advertising. Of course it is! There are people out there who notice, who appreciate the difference, who respond. They're the achievers-they have money and they have a lot upstairs, and they're the ones we especially want to reach:' Excitement: That too is evidently still according to plan.

Club Med television commercial :30.

(Open on woman pouring suntan oil on her leg) Music: Under throughout.

Anncr. (VO) : The world news Club Med style . Oi l sp ills along the coast.

(Cut to couple embracing) Anncr. (VO): Fore ign relations improving.

(Cut to woman in gold bathing suit diving off boat) Ann cr. (VO): Gold plunges overseas.

(Cut to two people toasting to their tennis match) Ann cr. (VO): Border dispute settled .

(Cut to couple floating in water) Anncr. (VO) : Tensions ease in gulf.

(Dissolve to tag) Anncr. (VO) : And that's the way it is at Club Med .

Ted Shaine , art d irector ; Helayne Spivak, writer; Ozzie Spenn ingsby, producer ; David Cornell , director; Spots Films, production company.

At the core of the Schweppes advertising is a consistent, unified brand character brought to life by an on-going spokesman , the Duke. He was created to express the qualities of the product: warmth , good humor, subtle dry wit, qual ity and British class.

Schweppes television commercial :30.

(Open on Duke leaning against palace fence) Duke : Be ing a duke is not what it used to be.

(Cut to various scenes inside palace. Tourists stroll by camera, as Duke gives his own private tour) Duke : Opened the house to tourists. Good morning .

(Acknowledging couple) Sold the family silver. Auctioned the seventeenth duke. Fact is, nearly everything is gone.

Except the old family favorite .

(Cut to Duke opening cabinet and displaying a large quantity of product. Cut to close-up of product. Cut to Duke sniffing product and pouring) Duke : Schweppes tonic. Essence of fresh fruit. Cheeky little bubbles.

(Cut to close -up of glass. Cut to Duke holding glass and product while entering room of tourists) Duke: Schweppe of essence .

Tourist: Oh , thank you, your Lordship.

(Tourist takes glass and drinks. Cut to close-up of Duke 's face) Duke : My pleasure.

(Cut to product and tag) Anncr. (VO) : Schweppes. The great British bubbly.

Ted Shaine, art director; Helayne Spivak, writer; Ozzie Spenningsby, producer; Bob Brooks, director; BFCS, production company.

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

A R T S

35

IfOurHotels Make BusinessITavelFeeliJkeAVacation, ~-.·. . . What Our Resorts MakeAVacationFeelLike.

At Four Seasons we'reacutely aware that when you're away on business your days can be even more pressure-picked than those spent at the office.

Which is why we want to make your SlaY so pleasurable,

you 11 aaually look forward to your next business nip.

Superb reSiaurants, overnight pressing, oomplirnenrary shoe shine, twice daily maid service, and 24-hour room service can bring calm to the m<N turbulent day.

Lm~~=-~f!~~~ :;xtone. detail and unsu~serviceare the oomerstones of Four Seasons' Hotels, but they're also the foundation of our resons.

And that$ just the beginning.

Each and every one of our resort locations have been carefully selected for their environmental beauty and peaceful serenity Yet all our resorts offer a wide variety of recreational activities for you to enjoy at your leisure.

eedless to say, at our resorts then they obviously share someyou 11 be pampered by all the atten- thing else. Unparalleled service. don you've become accustomed to ~ receiving at our hotels.

But that shouldn't be surprising.After all, ifbothourhotelsand resorts share the name Four Seasons, THEOWIDoorE15ANDI!EiO!rS<l'<UTIME

four5easons

UNTTEDITAT£S:AIISii• , S.U• . ChK.p (ThtRm...c.rii4M ), Cint•p (ttptcl989), H~~~JU~~ ( Ctllltl'), H•u. fl•••thtPd). LMA.t~t*. Ntw Ylri (TbtP""' ), Oltd¥1, Vt~MIIIIn« UNITED KINGDOM : I..MtJI.(I•••~J. }APAN:T-,. ( fi/Jt1U 1991). RESORTS: Oii/J.s (LaiColt...s), Mut f W•tlar , lfltMJ 1989), S.•~M

MostpeopledotitknowthatonlyUPS delivers ~ht to every single address coast to coast. But a few do.

Towns like Harmony, Maine, and Fishing Because they take two, even three days to get Bridge,~oming, may sound like out-of-the-way deliveries to quite a number of remote towns like places. And apparently they are, in the minds these around the oountry. of other overnight package delivery oompanies.

UPS Next Day Air, on the other hand, is the

36

M AYI 1U N E I989

only air express service that ddivers CM!l"night to for up to half what other OO!Tf'anies would charge. every single address, ooast to ooast.

That is if they bothered to serve them 8!::3 And because of our efliciency, we can ddiver overnight in the first place.

CM!Cnight to places like Lone Pine, Montana, ~ runthetiglnst siUpin the shipping business.~

rupsi

AMMIRATI & PURlS

Magazine spread for Four Seasons. The agency looked beyond the ordinary interior shot of a waiter attending customers in a dining hall and created a more whimsical situation to demonstrate how far the staff will go to accommodate their guests. Mark Moffett, art director; Rodney Underwood, writer; Dennis Waugh , photographer.

The premise of the print and broadcast campaign for United Parcel Service is the company's commitment to efficiency.

Magazine spread. Mark Moffett, art director; Rodney Underwood, writer ; Leon Kuzmanoff, photographer.

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UPS television commercial :30.

(Open on tour bus. Cut to close-up of Japanese businessmen looking out bus window) Anncr. (VO): At UPS, it was never our intention to become a tourist attraction .

(Cut to various shots as men leave bus, greet a UPS man and go on a tour of UPS facilities, including a warehouse and a truck) Anncr. (VO) : But every year scores of efficiencyminded Japanese businessmen show up and ask to tour our facilities . You see, UPS is so efficient, we can deliver next-day air usually for half what other companies charge . Which is why so many Japanese find UPS the most rewarding "package tour" anywhere.

(Cut to front view close-up of plane taking off) SFX : Plane engine.

(Fade to tag) Anncr. (VO) : UPS. We run the tightest ship in the shipping business.

Mark Johnson, art director; Marty Kauffman, writer ; Steve Labovsky, producer; Mark Coppos, director; Coppos Films, production company.

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

37

38

MA YI J U N E I9 89

AMMIRATI & P URlS

A GLOSSARY OF NuTRITION: AVOCAOOTOZINFANOEL. Left : Rose's Lime Juice was used almost exclusively in the gimlet, a drink that had lost its popularity in recent years. This campaign was designed to totally reposition the product. With word -of-mouth as the key to getting new drink trends started, Rose's targeted the young, urban bar goer with a personality campaign featuring artists known only to a small but influential group of trend-setters. The ads appeared in such magazines as Interview, Details and LA. Style.

Matt Haligman, art director; Joe O'Neill, writer; Perry Ogden , photographer.

The return to traditionalism signaled a tremendous opportunity for Waterford . The agency developed a campaign that would focus on Waterford's unique attributes: its painstaking process of hand manufacture, its centuries old heritage and its reputation as the ultimate crystal.

"The Rose"; Jerry Whitley, art director; Bill McCullam, writer; Barney Edwards, photographer.

"World's Most Advanced Technology" ; Jerry Whitley, art director; Bill McCullam, writer; Barney Edwards, photographer.

This page : The poster reinforces Chiquita's nutrition positioning and lends authority and credibility by featuring 26 items of which only five are grown by the company. More than 50,000 requests have been made for the poster, including education systems, nutritionists, doctors and school teachers who wanted multiple copies to use as an educational tool.

Chiquita loved the poster so much that they reprinted an additional 70,000 for inclusion with their annual report. Aki Seki, art director; August Consentino, writer; John Alcorn, illustrator.

The agency decided to position bottles of Bolla wine next to classic Italian objects that have had an influence on American culture . In order to make the campaign compelling , each object was chosen to convey sophistication and style and to have a subtle interplay with the product. Mark Moffett, art director; Rodney Underwood, writer; Christopher Broadbent, photographer. ·

BOLLA.TiiE ITALIAN CLAS- SIC. Tlrtft.aniiAianClaa"th.J btmb.tVunK!f~ lnl.n,Bolb•theoolyf.m~y owntdandOJJrQ~td kilth•hr-ntaaetlv,t~u•lopro<"-:l!a\alpol.;dL., M~o)'hrtlwiOfr~tonthrroot~ IJOpUI.uprttmum ""'· da)lor~IUBoR.\\ '•.-.:~bttnl.oduan& "'111ft)m•llofN:.thernko~l}.thrt.dwst~prock ... So.M-Jirbb..noandBardol.nothatc:ont •~tota.sttuktl\• wmefromk.Jv .. Bollt-And"'lw)'OU~N)'iqlnlttlfll

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u theylhouldyr..-•hrryn.

Bolb•n•""htiyd,lfrfftlll.sht

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

39

psychologists · BMWs 635C5i sports coupe keeps its hold on the hean significantly better than many human parmers manage to do . ••

acknowledged classic offers far more than seductive looks that make it "about the most handsome coupe on the road today" (Automobile Magazine).

an interior square yards of sensuous Nappa leather. Plus a gratifyingly responsive 208-horsepower, race-bred engine and "perfect ergonomics" that make it feel, in the impassioned words of one automo-

extension Does an introduction to such a car · you? Your authorized BMW dealer will arrange a test drive at your discretion.

THI ULJIMAII DIIIQIG ..a..;

G

01988 I WW ofNouh " IMrlu. IIIC Thor IMW tudtm••k 1M! lot;o arr rrctwnfll

AT THE

BUT THEIR FEET ON THE GROUND. 40

M A Y I J U N E 19 8 9

If your enthusiasm for driving At thesame time,while your heart knows no bounds, but the realities of is at the racecourse, your body is pleasyour lifestyle do, BMIN offers some antly ensconced in torso-hugging eightcompensation: the BMIN 535is. As close way leather s!X)rts seats. to a radng machine as you can get Your ears are pampered by while still in the congenial confines of a no less than an eight-speaker anti-theft luxury sedan. stereo sound system.

The 535is, according to AutoAnd your nervous system basks Week, "could carry the family and still in the knowledge that a computerized go wheel-to-wheel against a hot sports anti-lock braking system will help precar without giving an inch~ vent wheel lockup-even in panic stops.

Its ferocity results from a raceFor driving zealots who've bred !X)wer plant that demolishes 0 to acquired obligations along the way but 60 in 7.4 seconds. have maintained their enthusiasm, an Part of a radng heritage that ex- authorized BMIN dealer will be happy to tends,first of all,to the aerodynamic show you a 535is. spoiler and air dam, and then to a taut Consider it a race car the suspension enhanced by progressive- whole family can enjoy. rate gas pressure shocks.

TIIEUIJIMATE DRIWIG MACliN£ ... ....., c- rl fJiMtll' tvt>.tMtooo~,,.....,~ ,., ...._

AMMIRATI & PURlS

In 1974, when the BMW 2002 Tii was compared to a Lincoln and Cadillac, and people were told that all three were the same price, the response was always one of incredulity that this small, boxy automobile should presume to compete with large luxury sedans. It became evident that BMWs had to be sold in a way that was different from all other cars.

The agency identified a small segment of the driving population that was dissatisfied with the traditional choices in the automotive market. They were extremely independent, of entrepreneurial spirit, youthful at heart, if not of age; they loved to drive and were blessed with big egos. The BMW was positioned to these people as "The Ultimate Driving Machine:· an automobile that offered the only thing that made an expensive car worth the money: performance. The target group has responded and grown over the years.

"Relationships"; Clem McCarthy, art director; Bill McCullam, writer; Peter Zander, photographer.

"A Car For Those With Their Heart At The Racecourse"; Joe Steele, art director; Paul Wolfe/ Lesley Stern, writers; Jeff Zwart, photographer.

BMW television commercial :30.

(Open on desert sunrise) Music: Under throughout.

(Cut to close-ups of BMW 325-1 convertible and woman, as she lowers automatic car hood, rolls down automatic window, closes hood cover, gets into car, spreads on tanning lotion and picks up car keys. Cut to pan shot of car driving across desert) Anncr. (VO): The BMW 325-1 convertible.

(Cut to front view of car as woman drives towards camera. Cut to back view of car as she drives towards sun. Tag fades in) Ann cr. (VO): The Ultimate Tanning Machine.

Marcus Kemp, art director; Paul Wolfe/Ciem McCarthy, writers; Colleen O'Conner, producer; Tom Higgins, director; BFCS, production company.

C 0 M MU N I C A T I 0 N

A RT S

41

AMESSAGE TO MALCONTEITS EVERYWHERE:YOUR CAR IS REAft

To those of you who always fucate on tiny details others never seem to notx:e Who are routonely VIeWed as hypercntcal Olffc ult /mpciSSible to please To all of you sa<:alled malcontents everywhere. a word of reassurance- there os Q(le car ca<npany that understands you perfectly. BMW. And our sentoments have taken the

fQ(m, not JUst of kond words. but of a luxurysportscoupecalled the BMN635CSI. Produced on monuscule quanbt~es . freefra<n the usual constraontsofbmeQ( cost. the 635CSI pra<niSes to arouse a long-awa•ted. ffiusrve sensatoo '" you known as contentment.

•• Thoscontentrnent begonsasyouvleW the whole. "As auta<notove sculpture. ot's

a Radon " (Road &Track) And only grows as you reahzeotiS the sum ofover4.<XXl exQUISitely sculpted parts.

Body panels, fQ( onstance. are roubnely measured by ca<nputer Engone components are controlled to to6erances one-fifth the thcknessof a human halt Ttle car's leather seat coverongs are stotched by hand Even the spnngs be-

neath the seat are calibrated to ensure perfQ(mance accQ(dong to vanables as FQ( a nands-on examonatlon. we .,_ tlle~rnaturaiVIbratiOOwillcounter, and thus subtle as changes on the humldoty voteyoutonotpock your way through a BwrN negate. that of the car A revolutooary electroniC transmiS- deale< Where such vc es are considered Obsesslve?Jndeed, and you may be s100 can be programmed fQ( hogh to be VIrtues and where, at partiCipa ng dehghted to know thiS obsesSiveness con- perfQ(mance. hogh effiCienCY Q( manual dealers. you can delve onto the t•nues '" the car's v•tal functoos. sh1fbng. accord•ng to yo.Jr whtms comprehensrve leas.ng pro· A 3 5-hter engone that "produces proAnd the most "expenSIVe and grams that are offered through dogiOUs speeds" os watched over by an provenanto-Jockbrakongsystemavaolable" the BwrN Credot CQ(pa<atiOO engone management system that alters (Auto~k) , IS standard equopment.

THE ULJ1MITE DIIVIIIG---.

et9M BMW flfb111Nreg. lrc" ti.e BMW tr..._.. ....., . . . ~ E~o.-yc.n tll ...,._,lt"oOui!'I)Ooll'alti'O'Wd US BMW!IMIII'

IF UFE IS AJOURNEYJHEN UFE'S GRUTEST TRAGEuY IS NOT HAVING ENJOYED THE TRIP. 'lbu are lciOkongat35001biS. of "/ofe goal fulfillment " A car wothout whch "you won 't know where to go when the tome COOleS that you can affQ(d the very best " O..ners of the BwrN coupe woll have

~:::~~~~Zt~s~t;~~~ ~~::" ~k magazone.

CI198'1WW IIIPb71Amerulrll:f re8MW II~...O

42

As fQ( thciSewhocan "aff"'d the very best" but drove SO<nethong else. that suggests a fondness fQ( self-denoal And that IS Q(le area where the new BwrN 635CSI wo/1 be of no use at all ~

lf~TJ~~~~ ~~~=~~P.

that so far exceeds the requorementsof ba·

SIC transportatiOO as to bec001eotsown destonat100. onstead of somply a means to Q(le.

Under ots hood os a new 3 5-loter fuelonJOCted engone governed by a further refonement of BMW's Olgotal Mot"' Electroncs- a system of senSO<s and mcro-

~~~:!,~~': :~~:,~ ~f~~.ts

the engone hundreds of tomes a second,

ft ~ [UIOPN" ~ C¥1 Dt~ hOI.C'I.,o..t'~US 8MWCINier

MA YI J U N E I98 9

constantly adJUStong fuel defovery and ogn~ bon tomong for peak perfQ(mance.

Thts '" combtnahon w1th a new rear axle ratiO further boosts tQ(Que and acceleratiOn. Result the 635CSI woll now do 0 to 60 mph on 78 seconds, a figure that would be •mpressNe for cars sold on quiCkness alone.

But the 635CSI also excels at deceleratiOO. A new ant~k brakong system apphes brake pressure tnterm•ttently, tn rap!d , pulsating m011en1ents Thos prevents Jockong and permots the car to be manewered even dunng emergency stops And contrailS very much the essence ofthtscar.

Its fully~ ndependent suspenSIOO system effortlessly subdues roads that many cars merely wrestle to a standoff Its graduated. power-asSist steerong system IS uncanntly prec•se and responsiVe.

ne"" blunting the drover's feel of the road In sompler terms, the car does everythong ot's onstructed to do, and nothong that •t•sn't.

A CAR INTOLERANT Of DISCOMFORT A car of such techncal and mechanocal VIrtUOSity moght be fQ(goven an occaSional/apse on luxury The 635CSI asks and needs no such fQ(goverJeSS Its leather seats are orthopedcally desogned, electrc ally operated and onfonotely adJuStable It hterally takes a consciOUs eflort to be unca<niQ(Iab/e Push the d~rectooal sognal and an onboard ca<nputer IS acwated. presenong you woth such onfQ(matJOO as the outside temperature and the avaolable drMng range on rema1mng fuel Other controls report your actual mpg fogures as you drove, and alert you when

routine seMCe IS recommended And the AM / FM stereo(woth cassette)would satISfy the perfQ(mance requorenJents of many IIVIngroa<nsoundsystems All thos os erclciSed on a badly whose desogn os pure funcbiOOal elegance. (Not surpriSingly, museums on two contonents have chosen BwrN coupes fQ( dosplay.)

At SO<nethong between three and four bmes the cost of the a"""Se car. the prce IS predctably steep But no deciSIOO to buy Q(le wo/1 be made on that baSis alone The635CSIISfQ(thciSewho~

that no quanbty of aV~erage cars acid up to Q(le " ultimate drovo ng

expenence"

(Auto~)

AtestdrovewonVIndcate that beloef And your BwrN dealer woll be happy to arrange Q(le

TIIEULIIMTIIIIMIGua..

AMMIRATI & PURlS

Left : Two ads for the BMW 6 series. "A Message To Malcontents"; Jerry Whitley/Bob Ph ill ips, art directors; Joe O'Neill/Mark Silveira, writers ; Jeff Zwart, photographer. " If Life Is A Journey"; Jeff Vogt, art director; Tom Thomas, writer ; Jere Cockrell, photographer.

IN 1968

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Andthen,thereiShtsfavontepursu~tof

an motOfCyc:lendtng Forbest()()krtupSIXteen yearsagoattheageof48 He now owns two BMW's WHY MAl CD! M FllflBFS I IKFS BMW'S A8MW.wntesCyclemagaztne,"ISperfect~tal!oredfO<yourbasccMhzeddiSCnm­

OLM FORBES ~=~~:;~~~: FOUNDAN :f#.i~~JE.~~~g INVEK.ENT

'natrngblue-b'oodedndefwhoundefstandsthe d•fferencebetweenaone-dtrnenSIOI'lalmotorcycleandoneWlthcharactec'' Malcolmunderstandsthed•fference He has toured the UMed States, Europe.

Russaa.ASiaandAfrcaEncountennge-~-

eryk•ndofterrarn.fromce-encrusteds.benan

~!;.''roo"'··~~~~\!o~~~~"'dll'lgtoCyclemagaztne. ~ISbnsk"

and trouble-tree lrfe" (bunng Bike) E~

toForbes,"responSIYe,kghtandthoroughty comfortablelorcru•sr'lg;·where they canbe

W RTH srmNG ONe ----

MalcolmForbeshasneverbeengwento I TodaytheForbesmagaz•ne'scollectiOniS

l~kedasopposedtowrest!edthroughlurn

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~~tt:~~:,~r.:~:

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This page : Motorcycles faced a different problem. BMW had been building motorcycles longer than cars and , while they had an almost legendary reputation for performance and durability, they were regarded largely as esoterica. The bikes were positioned to the seasoned motorcyclist, one who could appreciate how BMW's balanced performance maximized the motorcycling experience and who had the resources to view a motorcycle as both a sound investment and a source of pleasure. In the face of a declining interest in motorcycles, BMW sales have continued to grow.

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COMMUNICAT . ION

ARTS

43

COMPUTERS IN THE STUDIO: BURNS , CONNACHER & WALDRON BY

WENDY

RICHMOND I interrupted him, "Your logo?"

"Yes, my company is MicroColor.

I sublet space from BCW And we work on some projects together."

He continued with his explanation.

"At the time Nat designed the logo, you couldn't get U nivers 85 or Caslon swash caps, so we had the type set traditionally. Then I scanned the letters and traced them in (the program) Illustrator. One day, I decided to put my logo on my start-up screen.

I copied the logo into (another program) Studio/8, and filled it with a 'granite-fill' pattern. I created highlights and dark areas to give it dimension. Then I copied that into PixelPaint, so that I could save it as a start-up screen~'

BCW AND MICROCOLOR HARDWARE AND SOFTWARE LIST Apple MacP!us (2) Jasmine Hard Disk (2) Apple LaserWriter Plus Microtek Scanner Apple Mac SE/30 Apple Mac II Apple Color Monitor Apple 40MB Drive+ 5MB RAM Farra/on Ma c Recorder Apple Personal Modem US Robotics 9600 Baud Modem Apple Maciix Apple Color Monitor Apple Hard Disk Adobe Fonts Adobe Illustrator '88 Agfa Compugraphic Fonts Aldus Freehand Aldus PageMaker Apple HyperCard Tools Apple/ink Software Avalon Development Group PhotoMac BPI Accounting Caere OmniPage Electronic Arts Studio/8 Enabling Technologies Pro3D LaserWare LaserPaint Letraset Image Studio Macromind Videoworks II Microsoft Excel Microsoft Word Microtek GreyScan II Microtek VersaScan Neoscribe International Fonts Quark XPress Satori Project Billing Silicon Beach Digital Darkroom SuperMac Pixe/Paint Symantec Utilities

44

M A Y I J U N E 19 8 9

W

HEN I FIRST walked into the office of Burns, Connacher & Waldron, I thought, "This is a classic design studio. White walls, big windows, good music~' There was design paraphernalia stuck on the walls, large tables with pieces ofPantone spread around and cans of spray mount. The Macintosh computers on every desk weren't out of place; they looked normal. But after being in the office for an hour, I found out. BCW is not a typical design studio.

I got my first hint when something on one of the Mac screens caught my eye. It was an image that looked distinctly like it had been etched in granite. But this was a computer screen! I said to the person sitting in front of the monitor, "How did you do that?" That immediately drew a crowd; the rest of the people in the office gathered around to see what I was looking at (figure 1).

Martin Haggland, the owner of this screen, said, "Well, Nat (Connacher) designed my logo~'

Nat said, "Hey, we should design start-up screens for our clients~' Then the group disbanded and went back to their own work. A thirty second break and they learned a new technique and got a bright idea.

This is a typical scene at BCW I was constantly aware of combinations: combinations of people, of materials, of expertise and of software. Lots of software. After a year and a half in business, Burns, Connacher & Waldron is a design studio with a unique character emerging. Sometimes by design, sometimes by coincidence, sometimes even by mistake, they have created an atmosphere that's primed for the nineties.

But this is not a success story about how wonderful computers are and how they saved money and lives. The studio developed in this way through nightmares and disasters, and having to come up with creative solutions.

Bob Burns, Nat Connacher and Jim Waldron were graduate students at Yale, class of '87. By that time, computers were a given. Each student had a Macintosh, and used it routinely for class assignments. Some used it more, some less.

So when the three of them laid the plans, on one snowy night at the Gypsy Bar in New Haven, to open a studio in the heart of the Big Apple, (West 19th and Sixth) computers were barely mentioned. While the $20K worth of computers-including hardware and software and peripherals -that they budgeted was no small potatoes, there was never a doubt that computers would be part of the working environment. Nor was there a question about what kind to buy. They had been raised on the Macintosh, and Jim had worked at Apple for a summer. Each of them had experience working in the world of traditional tools, and at Yale they had learned about the advantages of using computers: the cost savings for themselves and for their clients.

One of the first jobs BCW landed was a corporate identity program for a large financial firm in Toronto: Gordon Capital.

A major part of their proposal was an estimate of cost and time savings gained from bringing desktop publishing technology in-house. Typesetting for tombstones (the ads for stock in financial papers) for example, has gone from as high as $800 to as low as $20 per ad. Laser prints have replaced bluelines for signing off on typographic corrections.

BCW pushed hard to get Gordon Capital to use the same software and hardware configuration as BCW, so they can send, say, a form design via modem to Toronto, and Gordon can make modifications when necessary.

But having the same technology doesn't insure smooth going.

Using computers is a natural in the design and implementation of a corporate ID program, because the designer must give the client guidelines to follow (figure 2). By giving these guidelines in electronic form, the client can carry out much of the production themselves. If they have in-house equipment, they can cut their typesetting and production expenses dramatically for in-house work, especially where a laser printer will suffice.

Nat was ready for the big marketing meeting in Toronto. He planned to have a copy of the standards manual for each member of the meeting, and flew to Toronto the day before with fifteen floppy disks. There were some last minute changes the staff in Toronto wanted to make, and since Gordon Capital had the same hardware and software set-up as the office of BCW, Nat figured the staff could make the changes at Gordon and print them out there.

An integral part ofBCW's work was to advise Gordon Capital about computers for in-house production.

The changes were made in Toronto, as planned. Then·they tried to print.

They clicked the simple command

Bob Burns

Nat Connacher

(figure 1)

"print" and waited. And waited. Then they asked the most frightening question a designer can hear when he's using computers on a tight deadline: "What's wrong?" Nat prayed that it was some minor oversight. After several frantic phone calls and investigation, he discovered the worst. In major portions of the standards manual, he had used an early printer version of Helvetica. Way back in the old days of1987, a font was "initialized" (essentially linked) to one laser printer.

Most of the manual would only print out on his laser printer in his studioyes, in New York. There was no way to print out on any other printer.

They typed the corrections on hard copy in Toronto and faxed them that night to the studio in New York. Jim and Bob were in the office until 1 a.m. making corrections and printing

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

A R T S

45

COMPUTERS Corporate Finance Presentations Text

them out on the one and only laserwriter that could handle that particular job. At 8 a.m. the next morning Serena Koh, the office manager, took twenty copies of the standards to Toronto and arrived just in time for the 10:30 meeting.

It's not enough to have the same system configuration. You must also have the same versions of the system configuration. Even then there will be surprises. But surprises happen less and less as you gain more experience.

Experience. This is the big issue.

BCW has learned that they must ask prospective employees, in the words of Jimi Hendrix, "But first, are you experienced?" It's easy for a novice who has learned by the seat of the pants to do things wrong. BCW warns of dangerous situations that can arise when a design firm hires temporary help. Mac Temps are the mechanical paste-up people of the future. But they are required to know much more than paste-up. How can you make sure they really know their stuff?

"Give them a test drive!" says Jim. And what about the roles? What skills should designers acquire, and what skills should they hire? You can't match the people to traditional roles. Typically when you hire people full-time to do paste-up, there's a clear hierarchy, and they expect to get more and more design work. But when you hire someone for his or her software abilities, you're not hiring an apprentice. You're creating a team of complimentary expertise. Like a pilot and a navigator.

After BCW had been in business for about two months, they got a job that called for isometric drawings. Coincidentally, Michael Crumpton, an illustrator particularly adept at using sophisticated drawing software, had come by to show his book the day before. Jim called him and Michael started working on the project right away.

46

MA YI J U N E I989

All formatting is to be done using Microsoft Word. This is to ensure total compatibility with your work and the work to be done by the Publishing Department. When entering the information into Word, the formatting of the document should follow the guidelines developed for word processing so that these presentations will be consistent to the corporate style.

Text

Text is Palatino 11 / 14 pt. and is typed flush on the left and ragged right . Please do not center or justify the text. No word(s) should be in typed in all capital letters, with the exception of acronyms such as IBM or GIC. Paragraphs

Denote a paragraph break by skipping a line between the two segments. Do not indent paragraphs.

Sin.

1in.

Major Headings (MA " headsl

314in.

Major hea dings are set in Helvetica Black 16/ Auto pt.These are main titles of sections in a publication o r presentation.

These can also be thought of as main headings in a table of contents. Major headings appear at the top of a page, even if it means creating a new page.

Purpose Of This Manual 1 112in.

The standards in thi5 manual apply to all publicaHons, mapr reports, chart packages and presentaUons. These standards are designed not only to crea te 1 cohesive extemallmage for Gordon Capital, but also to help ln(nase the quality and streamline their production (•freeing up people's time for other· mabling you to pur5ue, expand scope of responsibilities. ...).

Leave 5 key returns between the major heading and minor heading or text, (i.e., hit the return key 5 times).

....... t ....... _

.. _

ln an effort to give the clie:nt a professional looking publication, we havecentralizedthepubtishingfunctioninanindependentinte:rNI publishing unit. The purpose of this umt is not as a typmg. proofing. or editing service, but as a formatting and production center. (Turnaround time is on the order of two houn.) All typing and editing will have been completed by the author and / ordrpartment assistants who will act asron!KtlwiththePubUshingUnit.

Minor Headings (MB" headsl aumrt'Wry of the information in the text

and appear in Helvetica Black 11 / 14 pt.

They appear 3 key returns below the last text line and 2 key returns over the following text or sub heading. Minor headings are not to be more than three to five words long.

PublilhingOepartment All ordering of printed supplies (letterhe.d, envdopes, pnnted labels, memo aheets, forms, fax sheets, etc.) are to be order from the Publishing Unit. Ideally two weeks notice shouLd be given of )ow supply levels.

Capabilitiu ofthePublls hingDepa.rtment ·Research Publications <:hartPadages <:UmtPresentations, foralldepartmmts

Sub Headings ("C" h-dsl Sub heading s appear in Palatino Bold 11 I 14 pt. Sub headings are spaced 3 key returns below the previous text line and 1 key return above the following text.

Booklet5 OverheadAcmtes ·AnnO\I.l\Ct"fMntsorlnvitations ·Tombstone ·Forms(inte:rNlandexternal) ·Ads

If the point directly following a sub heading is part of a list, type 2 key returns before typing the list.

Lists of words or brief notes Use bullets to call each one out, but do not leave a space between the lines. After typing the bullet, tab in to the start of the list.

48

Gordon Capital Communication Standards

(figure 2)

Michael graduated from RISD, where he studied photography, illustration and sculpture. He became interested in computers two years ago and "looked over a friend 's shoulder" for three months. He devoted all of his time to learning how to use drawing software programs.

When BCW's project was finished , Michael kept coming in to the office.

Jim said, "Look, we don't always have work for you, but if you want to come in and use the computers, go ahead~' Michael says, "Now I live here~ ' Jim's generosity was also shrewd.

It was clear that Michael was good, and was constantly learning more.

BCW wanted to keep the relationship, but of course didn't want to have to pay for the learning time. They

wanted the benefits of learning what the programs could do, and they wanted to have an accessible freelance illustrator. So they offered to let Michael use equipment (Michael had none, and needed a lot) and they offered him a low rent. It was great for Michael: He needed equipment, but even more than that, he needed real problems to solve.

He got problems. Each job is a lesson in the discrepancies between the computer's screen, the laser printer and high resolution typeset output.

Because of the vastly different resolution (from 72 dpi to 2400 dpi) the type, line art, tint screens and rules look quite different from one medium to the next. Michael learned the golden rule: test, test, test. They

N otes to Financial Statements

electronic equivalent of losing a piece of repro and finding it later on your sock. (,.. I ) U ...,· AIU..

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The Dataflex annual report was BCW's third job. They were intent on producing a good job at a low cost. It was only a 20-page book.

It looked so do-able.

At the time, a colleague with a lot of experience in annual report design was working at BCW. But she didn't have a lot of experience with the Macintosh. She learned as she designed.

Jim said, "We told her to just go ahead and to ask us if she had any questions:· She learned on her own, with others around to help her out when she got stuck. Because she was learning a new technology, this design took her about four times as long as she'd normally take. Jim, Bob and Nat, because they're conversant with page layout programs, generally use the Mac in their design stage because they can work much faster than they do with traditional tools.

The design comps for the annual report were created using a combination of Aldus PageMaker and LaserWriter output, INT's and stock photography. The comps were accepted with minor revisions.

Serena Koh, the office manager at BCW, input (typed , as they said in the old days) the text from faxed copy. Serena and Jim both proofed the input copy. Jim said, "We realized later that we should have hired a typist and proofreader."

When his colleague's contract with BCW ended, Jim took on the production. The twenty pages of the annual report were stored in the computer, essentially ready to be typeset as fully laid out pages, with everything cameraready except the photos. All that was left to do was plug in the real numbers (as usual with an annual report, the financials were not ready) and the corrections to the text. Jim opened the file and brought the first spread to the screen. He got a sinking feeling-the first of many-as he waited for all the elements of the pages to appear on the screen . "Why is this taking so long?" And then, "Why is

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=~--~--

18'

it taking eons to print this out?" He began investigating , and finally found his colleague's mistake.

Learning on her own , she had not fully understood the way "cut" and "paste" works on the computer. She had inadvertently made some of the type white, and had " pasted" a block of type on top of itself, often as many as three times, on many different blocks of text. Somehow she had made the top layer black, so it showed up. Her mistakes weren't evident on the printouts.

It wasn't until Jim took over her work that he realized that there was a problem. Once he figured it out, he erased the superfluous text blocks. As in any project, a document acquires a history of all who have worked on it. But the problem is compounded with a computer because much of the work is intangible.

Placing an element on a page is an act of faith ; you can't touch it.

Jim made the corrections and plugged in the real numbers. All that was left to do was send the disk to the service bureau for repro.

Whoa, not so fast. The first set of changes from the client came in, marked with author's alterations and printer's errors. Lots of them. " From that point on :· Jim said , "I was completely a typesetter."

Add a line of type here, take away a line there.

The beauty of electronic page layout made the changes a breeze; he typed in characters, and the text automatically reflowed, maintaining all of its specifications. The additions created extra lines of text; the last lines moved beyond the allowed text grid. Jim removed the extra lines, but in his rush, he forgot to add them on the next page. He didn't catch the plus sign, PageMaker's indicator that extra text needs to be placed .

When the client received the proof, he said, "Where's the last line? It was here last time!"

Jim knew the problem immediately. It's the

Then came the next revision. There were misspellings. All the numbers were new, and caused the pages to change dramatically.

Nothing lined up. "We manually hyphenated or broke lines to make it look good:' This is a definite no-no. If you manually insert a line break, and any changes are made later, you'll still have a line break at that word. Jim's lack of experience in the finer points of typesetting was compounded by the clients' lack of experience with annual reports; this was only their second.

After six revisions the proofs were all approved .

Jim sent the job out for Linotronic output.

Rush, of course. The nice thing about a rush job with electronic layout is that rush-double charge-is only $20 a page. When Jim got the repro back, he looked at the first page and was horrified.

He had never run the pages off in repro. The comps and all the proofs were output on the laser printer, and he had been judging the typeface weights according to the proofs. The actual repro made it painfully obvious that the type for the heads was too light, and didn't stand out enough against the bold. So Jim boosted the heads up one point size. That was easy to do; he had saved all the specs for the heads in a "style sheet:' By changing the style sheet, the heads changed automatically.

He had the job typeset again, (rush, again) and developed the umpteenth ulcer while waiting . He got the repro back and pasted up the entire job in an hour.

"You know," Jim said, "those are full pages with crop marks, and that was the fastest twenty page paste-up ever."

The boards were ready to go. The client decided that he wanted to hang the brackets.

Jim swore, after two sets of typeset output, he wouldn't take the job off the boards again .

It's cumbersome to create hanging brackets in a page layout program , and Jim thought the revisions were over, so he cut and pasted by hand, I mean really by hand, 35 brackets.

Then there were more AA's. By now Jim had to set and patch by hand, because he had made manual changes and the electronic version was no longer up-to-date. At that point, electronic production came to a halt.

The final piece looked good, but BCW had to eat the mistakes.

After Jim told me this story, we discussed the vast amount of knowledge he'd gained since learning new features of the programs and hiring the right kind of help. I asked Jim if he would ever take on another annual report.

He thought for a moment, and then said, "Yes. Because I know more now."

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

47

CoMPUTERS

printed out and typeset variations on screen tints, type, etc. Jim said, "We had good intentions about creating internal manuals showing these variations, but we never had the time.

Besides, we're all in constant touch with each other, so it's not necessary."

Also, since they were creating separate overlays on film for the printer, they had to worry about trapping.

"When we did the separate overlays, we were very lucky. We found out later that if you run film out at different times, you can get different densities.

With a different temperature, the film might expand, and all your traps will be off."

As the programs become more sophisticated, there is much more to learn.

Graphic design is a complex set of tasks. It's no surprise that the new tools that help you to do all those tasks are also complex. And as more products come out, you must understand how these products affect each other.

The more you push a program, the more you bump up against its limitations. Fortunately, the software vendor usually comes out with upgrades that address those limitations.

As you learn more, you want to do more. So you're eager to keep up with the latest features. As Jim says, "If you went to sleep for six months, then woke up and kept using the old programs, you'd be so out ofie'

That requires a balancing act. BCW has a natural rhythm for keeping the learning consistent with the doing, so the learning time pays off. Once they know a program's capabilities, they know which jobs will go smoothly.

Bob had a job to design a project for a Yale University fellowship program, which included stationery, an invitation, etc. There was an existing logo, but it needed to be refined. And the client didn't have any artwork, so it had to be redrawn.

Michael used Aldus Freehand to redraw the Hebrew characters and to place the type-Palatino-in a circle.

He finished the seal in about two hours, and they now have artwork that can be electronically resized to any dimensions (figure 3). The logo for the Zoological Society was also created in Aldus Freehand (figure 4). Michael used Adobe Illustrator for a set of complex building drawings (figure 6).

BCW wants to capitalize on their knowledge of the computer. They don't want to just use the technology, they want to sell their expertise.

As a result of their "networking"going to trade shows, frequenting

It's a seductive loop. The more you invest, the more you can save. But it's impossible to maintain a consistent, stable level. As you become aware of the new technology available, you realize that you could reap even greater benefits by taking advantage of it. But in order to do so, you must once again invest in the time and mistakes it takes to learn. It's the ominous J curve: You become less productive before you become more productive. (figure 5)

48

M A YI J U N E I9 8 9

(figure 3)

service bureaus and visiting colleagues who work in the computer industryBCW has sought and landed jobs that could be labeled "design research~' BCW, MicroColor and Michael are all working together on a huge project.

Unfortunately, they can't tell me what the project is, or who it's for, because it's confidential. They could tell me this much: Because BCW has experience both in design and in exploring the capabilities of computers, they have been contracted to "experiment" with a vendor's new line of hardware and software in the area of color for desktop publishing. They subcontracted to MicroColor because of Martin's expertise in traditional and computer related color separation. In this job, they have crossed a line-now they are selling a service to the computer industry-and, because of the exploratory nature of their work, they are becoming a part of the industry.

(figure 6)

When we left the studio for dinner, Bob turned the music up loud, Jim turned the alarm system on, and I lost count of how many locks Nat locked.

I said, "I know we're in New York, but isn't this a bit elaborate?" On the way to the restaurant, they told me about the break-ins. "First they stole a MacPlus and a hard disk. Then they came back a week later and took an SE and two hard disks and a carrying case~' I thought it was all pretty scary, and mumbled something about erasing such an awful thing from your memory. Thinking I was referring to losing what had been stored on their hard disks, Jim said, "No, it's OK. We were insured for data loss~' Out of the eighties, into the nineties .

• © W. Richmond 1989

49

COMPUTERS

COMPREHENSIVE PRODUCTION: 4 COMPS Traditional Materials

Electronic Materials

24 sheets Pan tone@ $7 each Typesetting Rush INT's Deliveries Vincent Gleason, head of publications at the National Park Service in Washington, D.C., urgently needed posters for public awareness of drug abuse in the parks. He requested that Bob Burns come to a Thursday meeting.

Gleason wanted color comps of four posters by the following Tuesday.

There was no copy, only the general concept.

Bob had four days to develop the concept, copy, design, and to produce the comps. And it happened to be over a weekend, difficult for services. On top of that, both of Bob's partners were out of town .

On the shuttle home, Bob developed his ideas. He decided to use flat color shapes.

Because of the short deadline, photography was out of the question .

Bob was familiar with drawing programs and knew he could create his sketches and comps using a mixture of software and traditional tools. He asked illustrator Michael Crumpton to create some pills, leaves, a boot, a hand .

Michael printed out the elements,.and Bob developed the formal arrangements on tissue.

Then they worked together at the computer.

Using a combination of an Adobe Illustrator (a drawing program) and Quark XPress (a page layout program), they worked out the text, typography, shapes and formal composition for each poster by Sunday afternoon .

Bob often used the Mac for black and white comps, but when it came to color, there wasn't any color output that satisfied him. For the poster series, Bob assumed he would be cutting Pantone paper and having INT's made for the final comps. He budgeted Monday for production .

Jim got back Sunday night and stopped at the office. As soon as he saw what Bob was doing, he said, " You should use the OMS (ColorScript) printer. It would be perfect for making the comps:· Bob was skeptical about the quality, but after convincing by Jim and looking at samples he said OK. He also went out and bought all the Pantone paper he needed-just in case . "I gave myself a deadline of 3 p.m. Monday. If the technology failed , I still had all afternoon and night to do the production:· Bob called the service bureau first thing Monday and reserved time on the Mac II. You need a Mac to send files to the color printer.

Bob and Michael spent the entire day and evening at the service bureau . First they had to deal with color deviations. The color on the monitor is different from the color on the printout which is different from Pantone color. They had to make a number of printouts to get the colors they wanted.

50

M A YI 1U N E I989

$168 $250 $350 $ 40

Mac II rental 12 hours @ $40/hour 36 color printouts @ $10 each

$480 $360

Total

$808

Total

$840

Traditional Time

12 hrs

Electronic Time

34 hrs

FIRST REVISION: 4 COMPS Electronic Materials

Traditional Materials

12 sheets Pan tone@ $7 each Typesetting Rush INT's Deliveries

$ 84 $250 $350 $ 40

Mac II rentall hour 4 color printouts@ $14 each

$ 40 $ 56

Total

$724

Total

$ 96

Traditional Time

12 hrs

Electronic Time

1 hr

SECOND REVISION: 4 COMPS Electronic Materials

Traditional Materials

12 sheets Pan tone@ $7 each Typesetting Rush INT's Deliveries

$ 84 $250 $350 $ 40

Mac II rental] hour 4 color printouts@ $14 each

$ 40 $ 56

Total

$724

Total

$ 96

Traditional Time

12 hrs

Electronic Time

.5 hrs

MECHANICALS Electronic Time

Traditional Time

All drawings would have to be inked Type was already set

21 hrs

Drawings already complete Tjlpe was already set

Paste-up

4 hrs

Paste-up

4 hrs

Traditional Materials

$2256

Electronic Materials

$1032

Traditional Time

61 hrs

Electronic Time

GRAND TOTALS

Suddenly the printer didn't show up on the network. No one knew what to do. Michael suggested turning the machine on and off, twice, a piece of magic he often had success with . It worked.

Then the printer started substituting Courier for Helvetica. After a while they figured out that some other customer must have replaced Bob's fonts. Another network problem.

Bob was on edge all morning, ready to go for the Pantone paper. By early afternoon, things were going smoothly. They were getting good colors, excellent comps. They printed out variations on 8Y2 x 11 sheets, making choices based on the best color combinations. They planned to print the final comps on 11 x 17.

It was past Bob's deadline when they discovered the service bureau had run out of tabloid size paper. Small comps would have to do.

On Tuesday, August 16, Bob flew to D.C . and presented the comps. They were approved.

On Wednesday, August 17, Gleason called .

"We need to change the word 'disease' to

39.5 hrs

'cancer,' and we need to see a mountain range in one of the backgrounds. And we need the comps by Friday."

Bob made the changes and brought the d isks to the service bureau. He made four new comps in less than an hour.

On Tuesday, August 23rd, Gleason requested an extra set of comps with a few minor text changes by Thursday and mechanicals

by Friday.

Instead of feeling sick every time his client asked for changes, Bob felt fine. He felt even better when he did the mechanicals. Instead of spending three days inking all those drawings, he simply sent his disks to a service bureau to be set on a Linotronic at high resolution .

This was the first time Bob used computers for the entire process, from concept to production . "The savings:· he said, "made me a true believer."

Below: Sketches, laser print-out and color thermal print-out.

Top: Computer screens showing close-ups of color selections.

Bottom : Four printed posters.

Don't Let Drugs Spoil The Scenery

There's a Cancer threatening our Parks and Public Lands Report Suspected Drug ActJvtty or Use to: u...............................

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

51

BCW has completed several design projects where the final viewing medium is not print, but the computer itself. One of the products they have used is a program called HyperCard .

HyperCard is, among other things, a system for storing and retrieving sound, text and graphics on a computer.

You can customize this information to create a visual database. Jim Wald ron is one of the HyperCard cognoscenti.

"About two years ago:· Jim said , "I saw the introduction for HyperCard. My reaction was : Big Deal. People were using it for making electronic indexing .

Then, about a year later, I saw a HyperCard project that a medical illustrator did . He illustrated and animated heart ailments, and he had easy-to-understand diagrams. I got very excited because it was well designed and I learned something. I thought

Mouse Top Ten Cllckonanyoftbetoplcl below for more information.

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I'd like to design in that medium, but I d idn't have a client for it. So, for the next few weeks, I learned on the weekends, trying to put together a demo so I could sell the idea to a client.

"We were making a history of the Brooklyn Bridge, when suddenly a real problem was given to us. We were doing print work for a client, Agfa Compugraphic, and they were about to announce some products for the Macintosh environment. I realized that a HyperCard stack would be perfect for them to show at MacWorld. So I did a demo, and when they saw it, they bought the idea (figure 5) . Soon after, we had another opportunity to create a stack for Kensington, and we already had a demo to show. Now we have a portfolio of 'hypermedia: Because of that initial spec work, we 're doing a number of very profitable jobs:'

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52

MA YI J U N E I9 89

Turbo Mouse zooms acroSJ eventhet.rgestscreeru . lr you'd like even moce control overyourTurboMousewe offercustomcontrolsoftware. thisutilityallowsyou to eustomizeyourTurboMouse seninp. ltletsyouselectcursor and double-click speeds in betweenthestandardMac mousesenings.

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Computers. You will curse them and you will bless them. The better informed you are, the more successful you will be with your new tools. Here's a list of resources that we have built over the years. In keeping with our story of Burns Connacher & Waldron, we have focused on the Macintosh environment. The phone numbers shown were accurate as of press date.

TRAINING AND EDUCATION

You can find education and training sources at universities, service bureaus, consulting firms, user groups and training centers. For help finding training in your area, call the Apple Training Alliance at 1-800-538-9696.

Many of the software companies have authorized trainers. Call the software company of your choice for their local training recommendations.

SERVICE BUREAUS

Chances are there's a service bureau near you, ready to take your Macintosh disk. If you want to get an idea of where they are throughout the United States, you can get the Type World Directory of PostScript Printout Services for $15.00. Call (603) 898-2822.

CONFERENCES

Most of these conferences are yearly, so if you've missed the one you want, start making your plans for next year.

Art X and Type X: (603) 898-2822 Carnegie-Mellon University: Department of Design, MM110, Pittsburgh, PA 15213 Corporate Electronic Publishing Systems: (203) 352-8255 Graph Expo: (703) 264-7200 MacWorld: (617) 329-7466 Magazine Design & Production: (913) 642-6611 Magazine Publishing Congress (The Folio: Show): (203) 358-9900 NCGA: (800) 225-NCGA Pratt Computer Design: (914) 741-2850 Seybold Seminars: (213) 457-5850 SIGGRAPH: (212) 752-0911

BooKs There are lots of books on desktop publishing in your local bookstore.

You might start with these: Desktop Publishing with Style, by Daniel Will-Harris; And Books: (219) 232-3134 Desktop Publishing Bible, by The Waite Group and James Stockford, Howard W Sams & Co., Inc.: (800) 428-7267 The Art of Desktop Publishing, by Tony Bove, Cheryl Rhodes, and Frederick Davis, Bantam Books: (800) 223-5780 PUBLICATIONS SPECIFICALLY ABOUT COMPUTERS

There are tons of periodicals. (Our sagging bookshelves attest to that!)

Here's a sampling with phone numbers for subscription information: Computer Graphics World: (918) 831-9400 Graphic Arts Monthly: (303) 388-4511 lTC Desktop, International Typeface Corporation: (212) 371-0699 MacUser: (303) 447-9330 Mac Week: (609) 428-5000 MacWorld: (800) 525-0643 Personal Publishing: (312) 690-5600 Publish!: (800) 525-0643 Seybold Report on Desktop Publishing: (215) 565-2480 Step by Step: Electronic Design Newsletter: (309) 688-8800 In addition, many vendors offer informative newsletters free to their registered users.

USER GROUPS NEWSLETTERS

Apple 1-800-538-9696 BUYING GUIDES

One of the most useful publications we've found is AnswerSource: The Business Sourcebook/or the Macintosh.

With one page per product, it shows a product shot and a screen shot, gives a product overview, features, ordering and support information, system requirements. It also lists, by state,

Regional User Groups. While it is by no means a complete listing of Macintosh software products (there are thousands!), it gives you a good handle on the categories.

Two issues per year: $14.95.

Call AnswerSource, Joint Solutions (408) 973-9096.

You can get publications that list thousands of products; some have a listing of over 3,500.

Macintosh Buyers Guide: 1-800-826-9553 MicroAge: (602) 968-3168 Software buyers guides that are also mail houses: MacConnection: 1-800-622-5472 Businessland: 1-800-551-2468 Egghead Discount Software: 1-800-EGG HEAD Worksource is a graphic arts sourcebook for the New England area that has included a section on computerrelated resources. Call (617) 864-1110.

TYPE

Mactography has published a PostScript zype Sampler. We spoke with Earl Douglas, who told us that because there are so many fonts coming out (there should be 6,000 fonts available for the Mac by year end!), his book will have monthly updates. The subscription price for this year is $80.

Call (301) 424-3942.

EVENTS

Be sure to check for local events sponsored by your local chapter of AlGA, your local art directors' club or design organization, special events offered by hardware and/or software companies, local service bureaus, or computer stores.

And finally, it's hard to beat the Yellow Pages.

© W. Richmond & Company

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

A R T S

53

SCOTT MORGAN BY

JULIE

PRENDIVILLE

FTER SEEING THE ANDY WARHOL retrospective in New York recently, I was struck by how similar my reaction was to Scott Morgan's work. Warhol may be showing us Car Accident in Blue, Seventeen Times, while Morgan shows us a corporate portrait of a Warner Records executive, but both ask us to look at their subjects with a new eye.

A

Scott Morgan found annual reports one of the most interesting outlets for his work. "The highest form of the annual report reminded me of an art catalog~' he recalls, "and that set off bells in my head~' Those bells have been going off since 1980, when Morgan attended Vince Streano's seminar on the free-lance market. " This was my introduction to graphic designers and annual reports, the perfect blending of great printing and abstracted imagery."

This blending is reflected in Morgan's work, which is a kind of illustrative photography. It makes for shots that are skewed toward a different angle, sometimes literally, All photographs © 1989, Scott Morgan.

Above : Multiple exposure self-portrait, shot for AlGA/Minnesota Design Camp lecture.

Right: One from a series of photograms used in an annual report for Cadmus, Inc., a commercial printer. This one depicts the corporate market. Jeff Gold, designer; Jeff Gold Design, design firm.

54

MA YI J U N E I9 89

SCOTT MORGAN

as seen in some of his portraits. Whatever he's shooting, editorial, advertising or collateral, Morgan combines images, alters film, hand-tints, paints and basically does whatever he has to in order to create the desired effect.

"I look at everything with the possibility of manipulating it:' Morgan says, "not just for the sake of technique but for the sake of getting a specific message across~' "In the next five to ten years, all the major clients will be information- or service-oriented, as opposed to product.

Already clients are having to consider more conceptual work. The market is much more open to creative solutions.

I'm very interested in and influenced by Japanese advertising and design. The Japanese public is aesthetically sophisticated. It's used to image-oriented design and advertising~' He smiles. " Obviously, this is not a trend that has captured everybody's heare' But Morgan has captured the confidence of the designers who use him. In fact, those he works best with are the ones who give him as much freedom as possible. Designer Harold Burch, of Pentagram in New York, laughs. "I've never even seen Scott shoot. It's all done by phone, fax and Fed Ex~' Morgan explains, "The direction I get is much more like the direction an illustrator gets. The designer will say, 'Here's the concept. Go shoot it."'

"We needed a shot of Prince:' Burch remembers, "so I told Scott, 'Prince is a big star. He's big jn music. He's big in video. He's big in movies. Show that in one shoe He did~'

Scott looks at a shot and says, 'How will this work with the page? How will this work with typography?'"

But the most important question for Morgan is, what's the concept? The technical side of photography is only half the story. He regularly throws out all pre-conceived ideas of what a photograph should look like and where it should come from. "I use anything and everything to get a fresh way of looking at my work. I see a lot of art, listen to a lot of music. I try to be as innocent as possible and not think, 'Oh, no, this isn't photography.' I take from everything I see. Later, it will show up in the most obscure ways~' His clients appreciate his approach. Designer Jim Berte, of Robert Miles Runyan in Playa Del Rey, says, "The key is Scott's thinking. To me, the designer orchestrates the music. The artist is a soloist, an extension of the thinking process~' Morgan's portraits tend to look more like pieces of film caught in live action, rather than static shots. You can picture what the people must look like in real life, and that has much to do with the disarming manner and infectious enthusiasm he has in working with his subjects.

"When I shoot people:' he says, "I try to let them know they're in for a new kind of ride~' It's not how the impassive Warhol worked, but the results can bring similar reactions.

•

Part of the trust Scott Morgan generates comes from his training. He began his study of art and photography at the age of17, taking classes at a small photography school in Newport Beach, California. From there he went to nearby Orange Coast College, then finished his academic training at UC Santa Barbara, where he studied painting and sculpture.

After graduation, Morgan traveled. "I was in Europe twice. Right out of college for six months only for fun and art. The second trip, three years later, was to assist fashion photographers in Switzerland and Italy. That lasted only one year."

Experiences that combine art, photography and design have helped establish Scott Morgan as an integral part of the design process. Tom Devine, a designer at the Jefferies Association in Los Angeles, says, "If you're lucky enough to get some of Scott's visuals before you design, he can influence the overall look of the book.

56

M A Y I J U N E I9 8 9

Portrait of furniture designer Akbar Alijamshid used for Ralphs Printing capabilities brochure. Petrula Vrontikis, designer; Antista Design , design firm.

Photog ram for Electro Rents annual report. "My assignment was to make beautiful paintings with electronic components:' Jim Marin, designer; John Cleveland, Inc., design firm .

Multiple exposure image created for a Dreyfus Commodities recruitment brochure to illustrate working in many world markets simultaneously. Peg Patterson, designer; Patterson/Wood, design firm.

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

57

SCOTT MORGAN

This page: Photograph for the Warner Communications 1987 annual report. "The concept was to make an image that showed all the facets of the rock star Prince:· Peter Harrison, art director; Harold Burch, designer; Pentagram, New York, design firm.

Multiple exposure image for Perpetual Bank 1987 annual report.

Perpetual arranges financing for Steinway. Gretchen Fredericks, art director; Elizabeth Placke, designer; lnvisions Limited, design firm.

Right: Polaroid images, commissioned but never used, for a Mead Signature paper promotion. "The assignment was to do something on 'the human form: My intention was to make the body appear to be a field of moving, pulsating energy. I framed the Polaroids so the diptych felt like a religious altar piece. The entire project died a slow, painful death:' Jim Berte, designer; Robert Miles Runyan & Associates, design firm.

Photog ram depicting cable vision systems for the Warner Communications 1986 annual report. Peter Harrison, art director; Susan Hochbaum, designer; Pentagram, New York, design firm.

58

M A YI JU N E I9 8 9

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

A R T S

59

60

M A Y I J U N E 19 8 9

ScoTT MoRGAN

Left: Personal photograph from a series of images on childhood memories.

Portrait of Stan Cornyn for Warner Communications magazine. "Stan Cornyn is in charge of the new media department for Warner. They are developing new uses for compact disc technology. I wanted to make a multiple image portrait that had elements appearing to float from frame to frame, implying motion with a structured grid:' Harold Burch , designer; Pentagram, New York, design firm .

Right: One from a series of photograms used in an annual report for Cadmus, Inc. This one depicts the fashion market. Jeff Gold, designer; Jeff Gold Design , design firm.

This page: Image for Simpson paper promotion. "Eight artists were asked to interpret the Museum of Contemporary Art in Los Angeles. My thought was that MOCA was in essence 'art for the city of angels; so I did a portrait of angels in motion. Each angel is holding a three-dimensional piece of the MOCA logo. This was shot on Polaroid 4 x 5 color and separated directly from my piece:· Jim Cross, art director; Ye Ping Cho, designer; Cross Associates, design firm.

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

A R T S

61

ScoTT MoRGAN

Left : One from a series of portraits for the Blue Cross of Missouri 1987 annual report. "The portraits were structured to give a very intimate view of the subject:' Paul Bussman, designer; Fleishman Hillard Inc., design firm.

This page : A still life from a series used in trade ads for a San Francisco fabric manufacturer. Lisa Levin, designer; L Squared Design, design firm; Deepa Textiles, client.

Photog ram for the Warner Communications 1986 annual report depicting recording artists. Peter Harrison, art director; Susan Hochbaum, designer; Pentagram, New York, design firm.

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

63

RICHARDSON OR RICHARDSON BY

MARK

HEY BOTH CAME TO ARIZONA AS children. They work in a brightly refurbished old house in a residential neighborhood in the middle of Phoenix. They have a very successful business called Richardson or Richardson. But if Forrest or Valerie Richardson had asked for expert advice on just how to run their business before they started, it's doubtful that anyone would have suggested that they run it the way they do.

T

For example, they probably would have been advised to define clearly the nature of the business. As Valerie says now,

"Well, we're not an ad agency, even though we do advertising for a lot of our clients, and we're not just a design studio, even though we design things. I guess I'd have to say that we're 'problem solvers~" And Forrest adds, "It may be subtle, but everything we do is done to sell something; a product or a service, a company, or maybe an idea.

We call it 'marketing and image management' because we determine what needs to be done to solve the client's problem. If it's a brochure, we do it. We do outdoor advertising. We have a i'ot of retail clients so we do print advertising. We do direct mail, we do posters. We do whatever solves the problem~' Valerie sums it up, "And we do something different every day!"

And they would have been advised to determine just how they were going to market their services. But, as Forrest says,

"We never go out and look for clients-they just roll in~' Valerie adds, "It's not uncommon for two or three new clients to grow out of an original client project-sometimes by referral, or just sometimes because what we've done was seen in the marketplace or in design competitions~' "We don't work on a fee basis-and we don't do isolated projects:' says Valerie. But as Forrest interjects, "Well, we'll take an isolated project, but almost always the client will come back with something else, and it becomes a series of projects~' Valerie continues, "We spend a lot of our time finding out what each client is all about before we do anything-and then, because we do a good job, they keep coming back~' The Richardson or Richardson client list numbers 46, of which only 11 are no longer serviced by the company.

Certainly Forrest and Valerie would have been advised that starting a business where the husband and wife work together all day long is asking for trouble. "This may sound gushy;'

Valerie says, "but I think that to work with your spouse, first you have to like, really like, and love each other-and you really have to like being together. Second, you really have to like what you're doing. Actually, Forrest and I probably have far fewer arguments than most other married couples do. For instance, I never wonder why he spends so much time at the office-I'm there, too~' 64

MA YI J U N E I989

FULTON

Given proper advice, they would have understood that designers design, writers write and account people "interface" with clients. At Richardson or Richardson the

designers write copy and do the client contact. "We're thinkers:' Valerie says. "We call ourselves 'designer/ writers: but what we really are, and what we look for in our employees, are people who think, people who know instinctively what's best for a particular project, without concerning themselves about whether the concept is copy-driven or design-driven~' Forrest says, "A big advantage, for me anyway, in doing both the designing and writing, is that the process can start with either the design or the copy-or both at the same time. We're so busy that we just can't afford to wait until the copy is completely ironed out before starting the design. Another advantage of handling both parts of the creative process is that copy and design are more supportive of each other. There's no 'buying-in' to be done.

The copywriter already likes the design, and the designer already likes the copy." Or as Valerie says, "Working both sides of the creative fence, eliminates the fence~' "There are a couple of advantages in having the designer/ writer do the client contact:' Forrest states. "The first is immediacy-there's no second-hand information or interpretation from the account person. The second is that the person making the presentation of the creative effort is solidly behind the concept. I think that makes it easier to get the client behind the concept, too~' They surely would have been advised to back up formal art school training with some formal business education. "The

fact is:' Forrest says, "we both wanted to stay in school, to study art at a university or maybe someplace like Art Center, but we got too busy." "If we were to go back to school now;' Valerie says, "we probably would take more business classes~' It seems unlikely that either Richardson or Richardson, who met for the first time at a community college, will find the time to return to school in the near future.

About his design education, Forrest says, "By the time I found out what a graphic designer did, I realized that I'd been one for a long time~' Forrest, who was writing, producing and circulating an international golfing journal by the time he was 13, learned about design on the job-

The Public Awareness League of the Phoenix Fire Department, FirePAL, is a non -profit organization devoted to making the public aware of life-saving information, thereby assisting the efforts of the department's firefighters and staff. The decision to produce an annual report was made to increase corporate support and for fund-raising. Forrest Richardson, art director/writer; Rosemary Connelly, designer ; Bill Timmerman, photographer.

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

A R T S

65

RICHARDSON OR RICHARDSON

several jobs. Golf course design was his first love and, through his Golf Course Designer, he began to learn about typesetting and print production. " I'm sure that people who got my journal thought I was 40 or 50 ~' When she was 13, Valerie says, " I was a more normal kid. I was mostly interested in learning about boys~ ' After high school, while he was attending a community college, his golfing journal " . . .just went away;' and Forrest went to work for a small print shop, where he began to design for other people. " It was the kind of place that would sell you 500 business cards for $18 or somethingincluding the design. I'd work really hard to get my regular work done, and then spend four or five hours in the evening designing a card for a paving contractor or someone. The people who ran the shop didn't know what I was doing-and really didn't care, as long as it sold printing.

I was their key employee for three or four years~ ' From the print shop Forrest moved to the art department of a local television station as an assistant art director. " I got to work on everYthing-signage, animation, set design, ads for T V Guide, uniforms, billboards-just everything ~' It was during this time that Forrest and Valerie were married.

Valerie, doing the practical thing, trained to become a court reporter but found the actual work to be " ... incredibly boring~' So with little more than some community college visual communications classes to her credit, she went to work for a local school district. " I became their art department;' she says. "I learned to do everything myself. I had to~ ' Richardson or Richardson would have been advised that starting a business takes caref ul and thorough preliminary planning. Successful businesses don 'tjust happen. " Both of us began to get free-lance assignments:' says Valerie. "We began working together evenings and weekends ~'

Eventually Valerie quit her day job to devote full time to her free-lance projects. After some four years at the television station, Forrest, who was now the art director, began to be affected by the politics of the job. "Actually I had a great time at the station, but I began to realize I was having more fun with the free-lance stuff-so I quie' It was 1983 and Richardson or Richardson had just happened.

As Valerie says, " It was really scary for a while~' But before long Richardson or Richardson began to outgrow their working space in their townhouse. They needed to hire employees to handle their expanding workload. There were a multitude of trials and tribulations involved with locating and renovating their new office, which they call the Old Hess Farmhouse in memory of its original owner, but it should suffice here to say simply that the results are 66

M A YI J U N E I9 89

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up to Forrest and Valerie's usual high standards- and now with six people working there, the Farmhouse will probably have to be expanded soon.

Not content with one thriving business, Richardson or Richardson recently began another. Since both are avid golfers-and Forrest has been designing golf courses since he was a child-they decided to apply their talents to the booming golf industry. "We're very committed to havi ng fun with our business;' Forrest says. " If we're not working, we're usually on the golf course anyway- and the golf industry is a wide open market right now." The new company, Golf Group Limited, currently occupies about one third of Forrest's time. Three courses of his design were recently completed, two in the Phoenix area and one in San Diego. In addition to golf course architecture and related design and marketing proj ects, the company is exploring golf-oriented product ideas.

Valerie and Forrest are having fun . Their business is thriving. Their work is receiving national acclaim. Of course no one knows how they'd be doing if someone had given them some good advice when they started out.

This page : Valerie and Forrest Richardson .

Ri ght: Booklet celebrating the remode ling completion of Richardson or Richardson's offices. Reading one way, the book shows the house before remodeling. Turn ing the book over, shows the after. Forrest and Valerie found the small house while walking in the neighborhood from their nearby home. Within a few days they found the owner of the abandoned house, made an offer and bought it.

Re-zoni ng the prope rty for use as an office created qu ite an uproar.

Neighbors gathered petitions against the re-zon ing based on rumors and speculation that the Richardsons wouLd tear down the house and put up a large bui lding on the three-quarter acre parcel.

After six public hearings, the nine-member Phoen ix City Counci l and the mayor vote d unanimously to approve the project at a public meeting attended by over 200 pro and con advocates. Forrest and Valerie Richardson, designers/write rs; Craig Wells, photographer.

Photographs of the old Hess farmhouse , circa 1920, du ring and after renovation.

View looki ng back on the 356-yard , par 4, ninth hole of the Po inte on South Mountain Golf Club in Phoenix. Forrest Richardson/Arthur Jack Snyder, designers; Pointe Resorts, client.

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

67

"Craig is very thorough. He spent many hours scouting this location in our front yard to get just the shot I wante<l."

Julie Wells Craig's Sister, 1963

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RICHARDSON OR RICHARDSON

Left: Covers from a series of promotional mailers showing the work of photographer Craig Wells. During a brainstorming session, Craig brought out his childhood album and admitted that he really did take pictures when he was in the second grade. Forrest and Valerie Richardson, art directors/writers; Debi Wells, writer; Craig Wells, photographer.

One from a series of posters and trade ads for Headquarters Typographies, a type and reproduction house. Forrest Richardson, art director/writer; Rosemary Connelly, designer.

Poster for The Phoenix Marathon, completed while Forrest was art director for KPHO-TV Forrest Richardson, art director/designer.

This page: Annual holiday mailer for Rowland Constructors, development and construction managers and general contractors. Forrest and Valerie Richardson, art directors; Rosemary Connelly, designer/writer.

Identity and stationery system for Square One Preschool. The client wanted to name the school The Roosevelt Square Child Development Center. Valerie suggested Square One instead, as Roosevelt is a road located in a less than desirable part of Phoenix. According to Valerie, "If we had kept the original name, I'm convinced they might not have attained the great reputation they now enjoy. It's disappointing that, as designers, we often overlook the big problem to just solve little ones:' The stationery is printed in one color and the children fill in the square with crayons. Forrest and Valerie Richardson, art directors/designers.

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One example of signage using the corporate identity. As new schools went up, signage projects were coordinated with contractors to fit the particular sites. Forrest and Valerie Richardson, designers.

Poster for Mother's Day Picnic. Locating wooden kite sticks was difficult, as most modern-day kites are plastic. Valerie Richardson, designer/writer.

Extra Neat Stuff van used for after-school programs. The problem of deciding which program to feature was solved by featuring both ballet and gymnastics. "The client realized we weren't kidding because they were used to our work;' Valerie said. "The body shop, on the other hand, made several phone calls to verify what we wanted :' Forrest and Valerie Richardson, art directors; Jim Bolek, designer.

This page : One page from a promotional note pad for DigiType, a commercial typographer. Each pad contains an introduction followed by 26 different sheets explaining the origins (and trivia) of each letter of the alphabet. Since the note pad was designed to contain the letters in order, the press layout was meticulously formatted for efficient collating. Unfortunately, the printer didn't realize this and ended up hand collating all 26 sheets. Forrest Richardson, art director/writer; Jim Bolek, designer/writer.

Another series of note pads for DigiType presenting the history of symbols used with type. The project involved research from a variety of sources, some of which provided conflicting information. It wasn't until after the copy was presented that everyone discovered that the "per" symbol was not available in commercial typography fonts. Instead of substituting another symbol, the copy was re-worked to make it appear as if everyone knew what they were doing. Forrest Richardson, art director/writer; Rosemary Connelly, designer.

Two trade show exhibits for DigiType. Guests to the exhibit can pose with their favorite typographic element for Polaroid photographs. DigiType's response: "Maybe they'll appreciate typography more after having the experience:· Forrest and Valerie Richardson, art directors; Rosemary Connelly/Jim Bolek, designers.

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W at makes a p1ece of eqUipment great 1s almost always deCided by who's at the controls.

As one of the greatest commumcators of our time, Saul Bass, once observed, "The computer ts a marvelous new tool, but like the typewnter, It doesn't necessanly make for better poetry."

DeSign tools are no exception. People create 1deas 1bols help bnng 1deas to ~fe The tools of our trade have become urn versa!.

Although they are the lmk between concept and firushed work, they are taken for granted The bnef moments mwh1ch they were mvented have gone vll1\lally unnoticed

D E S I GN T 0

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Left : Preserve packaging and menu design for T.C . Eggington's, a breakfast and lunch restaurant special izing in egg dishes.

Or

all the tools found on a designer's desk, level or not, the X-Acto is probably the most versatile. It cuts. It pokes. It can even repel a nasty account exec. There's SliTiply no substttute for a sharp X-Acto.

Sunde! Doruger, an importer of surg1cal supply eqUipment, was a marketing genius. Always thmking. In 1935, during a routine sales vtsit to the Army Medical Corps, he noticed a large bucket of surg1cal blades. for one reason or another the Army was rejecting the blades for having slight imperfectiOns. Although they were not suitable for appendectomy operations, Doruger knew there had to be a use for them. He bought them as scrap, paymg orily a few dollars for the enure bucket.

After l!Tiaglnlng several uses, he finally settled for a Sl!Tiple holder and set off to sell the first "X-Acto Krufe',' a name he borrowe<i from a synnge he once offered. The graphic arts industry QUICkly reacted to the 1dea and strrught edge razor blades were soon outdated .

Today's No.ll blade is still patterned after the ong1nal surgtcal blade, so if you've always wanted to be a doctor, keep practicing.

In

1921, a young banJO player who studied eng1neenng through mail order courses, answered an ad for a JOb with the Mmnesota M1rung & Manufactunng Company, now known as 3M. Richard Drew was eventually hrred as a lab techruc1an. Today, there ts no doubt that 3M would adm1t thiS was a good deciston.

In 1925, whtle de~venng samples of a new sandpaper to an auto body shop, Drew noticed a pamter strugg~ng Wlth a gl1Tnmed paper to mask a two-toned car for pamnng. Drew knew little about adhes1ves, but promtsed he could come up wtth a better maskmg matenal. He returned Wlth a "tape" that had adhes1ve along both edges. Even though II worked better than the gummed paper, the pamter complamed to Drew "Take this back to your stmgy 'Scotch' bosses and have them put more adhes1ve on 1t'.' The name "Scotch"stuck.

On September 8, 1930 a cellophane tape was mtroduced and has evolved to what we now call "Scotch Tape:· In case you care to know, a 3M employee, john Borden, mvented the tape dtspenser so people wouldn't have to look for the end of the tape. What the world needs now IS an mvent1on so we wouldn't have to look for the dtspenser

The packaging project requ ired that all three labels be produced at the same time and on a very small budget. Richardson or Richardson took some liberty with the copy on the reverse side by referr ing to the packing house as " Stone Cellar Kitchens, they're in Fontana, California, but that shouldn't be held against them:· More than half of the order had been packed before someone from Stone Cellar called to say, "Very funny." Forrest and Valerie Richardson , art directors; Ken Jacobsen, illustrator.

The printed menu is inserted with ord inary chicken wire into a stock vinyl cover. Forrest and Valerie Richardson , art directors/writers; Rosemary Connelly, designer; Ken Jacobsen, illustrator.

This page: A promotional booklet for Woods Lithograph ics of Phoenix announcing the installation of a laser-driven film system . The copy traces the history of famil iar design tools in an effort to make the new equipment seem less intimidating. During the course of the project, Forrest and Valerie served as part-time detectives tracking down people who knew how certain tools came into being . The only company with organ ized information about historical data was the 3M Company, who not only had prepared information on the history of Scotch Tape, but also could have easily supplied similar information on any of their other products. In one call to the Union Rubber Company, Forrest spoke with LV. Shear, son of the inventor of Best-Test rubber cement. In another interview, bureaucracy prevented the Koh -1-Noor people from saying much of anything . They were afraid that Richardson or Richardson was really a competitor trying to get information. At the Crescent Cardboard Company, one of the Ozmun brothers gladly answered questions and related the story that during World War II, the government put the company to work making die-cut cardboard decoys and targets to confuse enemy air attacks. Forrest and Valerie Richardson, art directors/writers ; David Siegel, photographer.

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

73

EXHIBIT

WE'RE LOOKING FOR NEW, outstanding work for Exhibit.

Send us samples of your latest and best, and describe the purpose and any interesting background; also include creative credits. Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, CA 94306.

MACWEEK, A PUBLICATION FOR volume buyers of Macintosh products, wanted to increase advertising pages by pointing out to 2,500 potential advertisers the differences between itself and monthly Macintosh magazines. Altman & Manley, San Francisco, was called upon to create a directmail campaign. " One of the objectives was to create some element of mystique:' said art director Paul Huber. " I think a lot ofthe work being done in high-tech now is just too literal, it's just 'chips in space' and bullet-riddled with cliches ~' David Jew, account manager on the project, continued, " The approach we wanted to take was to pull the client out of the rat race of hard sell, that kind of knock-youover-the-head approach, and elevate the advertising towards a more sophisticated level ~' Their solution is a series of three 11 x l6 1f2 brochures having minimal text and maximum white space. Illustrations and photographs are mostly pick-ups with a few commissioned for the project, and each brochure has an actual object attached to its cover. Mailed at two-week intervals, the first brochure discusses the volume purchases of the Mac Week subscriber, with the cover featuring the plastic rings from a soft drink six-pack. The next deals with the timeliness of weekly news and has a digital clock on the cover. The final piece, with 3-D glasses, shows how readers are able to form a perspective from current news rather than a summary of last month's. The client specifically requested no response card or phone number. " There was no call to action:' Jew said. " It was interesting in that people started calling their local reps and asking for more information . We enticed them and it generated a lot of response ~' Right : Two spreads from Perspective. Paul Hube r/Brent Croxton, designers; Kevin Threadgold, writer; Steve Brady/Ch uck Fishman/Gary Braasch, Phillip Kaake, photographers.

74

M A Y I 1U

E I9 8 9

PERSPECTIVE.

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

75

EXHIBIT

THE SPRING 1989 CATALOG for Patagonia outdoor clothing is very much a group effort. Lost Arrow Corporation, parent company of Patagonia, Inc., has an in-house art department with a staff of20 people including designers, editors, photographers, typesetters and an illustrator. Their function is to produce catalogs, information sheets and advertising for all of Lost Arrow's companies. Patagonia creates adult and children's clothing and runs a mailorder business. Chouinard Equipment creates mountain climbing gear. Great Pacific Iron Works operates retail stores. Great Pacific Child Development Center operates a child care center for Lost Arrow employees. All this is privately owned by Yvon and Malinda Chouinard, who share a passion for the outdoors.

Yvon Chouinard began creating his own mountain climbing equipment in 1957. His creations soon became popular because they were strong, lightweight and functional. In 1972, he applied his same design philosophy to clothing, which marked the beginning of Patagonia.

This catalog represents a refinement of the approach used in the first catalogs, photographs of people using the product in real life situations and extensive notes on technical innovations and product use.

"Our primary focus in building the catalog is to work from the photographic images first:' said Hal Arneson, the catalog's art director. "We solicit images from the general public in hopes of getting unique shots. Once we get those shots, they are used to determine the look of the spread. We are influenced by mail-order concerns, but the shots pretty much dictate the look~' Many mail-order catalogs use a formula of potential sales per square inch to determine the page layout. Products with greater sales potential receive more space, and the maximum number of items on a spread increases the potential for sales. "We're in a really lucky position as designers in that we're given a lot of freedom:' Arneson said. "We're allowed to build a book that we feel is visually pleasing. And it really does sell a lot of clothes~' Photography submission guidelines are published in the catalog, but for the most part, photographers send in whatever they choose. A few photographers receive product samples and suggestions, but shoots are not art directed.

Thousands of photos are received every year and the selection is based on excitement as often as applicability to the product. Photos run the gamut from Polaroid portraits of smiling kids to a Galapagos tortoise devouring a piece of clothing under a tent-side laundry line. This catalog includes an American filmmaker in a Patagonia jacket sitting with Afghan rebels on a captured Russian tank.

Kris McDivitt, image/creative director; Su Clayson, catalog director; Jennifer Ridgeway, photo editor.

76

M A Y I J U N E I 9 8 9

M t•, !;

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MEN'S AND WOMEN'S FLASH SYNCHILLA 111 SNAPT-NECK

The Cool Weather Tights are an alternative to skinn y, shiny Saran Wrap tig hts. They' re made of a stre tch jersey (a combination of nylon, rayon and spandex) with a terrylooped back for real comfort and warmth next to the skin .

They possess much of the stretch of the L-word, witho11t lh<> clammy side effects, and they fit snugly enough to compete with its amazing performance in the area of thigh restraint . The Cool Weather Tights are great for climbing, cycling, mountain biking, track s kiing, and ballet. Seams are nat-seamed .

The Tights h ave a rear zippered pocke t a nd side zips at each a nkle. Made in USA. Cool Tights #24801 Sizes: X5- XL Colors: (left to rig ht ) Black/Black zi ps (155). itrus/Purple zi ps (55 1), Coba lt/ Neon Gree n zips (291)

The Synchilla Snap T-Neck is a durable and adaptable outdoor garment as well as lu xurious loafing attire. It is ideal by itself for active sports wh e re brea th a bilit y is desirable to avoid overhea ting; layered with Capilene• Underwea r and a s h e ll, it is e ff ec tiv e insulation against cold and wind . The four-snap neck opening provides protection or open-collar ventilation as needed . Lycra" tape at the cuffs and hem dries quickly.

Modified Y-]oint ,. sleeves keep the waist down when your arms go up. Made in USA. Men 's Flash Synchilb Snap-T #25521 Sizes: S-XL Colors: (le ft to right) Neon O ra nge/Coba lt (686), Neon Gree n/ Peacock (042) Women's Flash Synchilla Snap-T #25529 Sizes: 8-14/Even Colors: (le ft to rig ht ) eon O ra nge/Purple (686).

Neon Green/Coral (042)

COMMUNICATION ARTS

77

EXHIBIT

THE SIGNAGE PROGRAM on this page is part of the Solana project for Maguire Thomas Partners and IBM in Westlake, Texas. Solana, a 900-acre, mixeduse development, was a collaborative project by four designers: Richard Legoretta and Romaldo Giurgola (architecture), Peter Walker (landscape design), and Debra Nichols, Skidmore Owings & Merrill (graphic design and signage). The signage program had to meet two basic requirements: Identify major intersections and tenant areas and provide directional information. "We like to think of environmental signage as a very integral part of an architectural project rather than something that's added on in the end~' Debra Nichols said. "Our idea was the concept of landmarks. People negotiate their way or orient themselves around landmarks~' One thing that caught Nichols' eye was the native art of the Southwest, especially that of the Huichol, in which animals are the predominant theme. "When I first explained the idea to Legoretta, he immediately said, 'It's like the Jerez Bull~ a huge metal bull in Spain that is used to advertise a brand of sherry." For Nichols, the test of the concept came during a visit to the project.

Walking with someone who works there, she heard him direct a truck driver to "turn left at the steer;' and saw the driver nod in recognition.

Debra Nichols/Ric Blackburn/Erin O'Reilly/ Ann Sheahan , graphic design team .

SINCE FIRST OPENING ITS DOORS eighteen years ago, the Palm-Aire Spa in Pompano Beach, Florida, has been a retreat for the elite of the entertainment industry. But while spa attendance nationwide has been on the rise, Palm-Aire's attendance was steadily declining. The new owners contacted Howard, Merrell & Partners in Raleigh, North Carolina, to reverse the trend. "It was a classic case of a product becoming so entrenched in its early success that it precluded itself from taking advantage of new growth opportunities~' said agency president Mac Merrell. After extensive research was conducted using the spa's target audience, the agency found that spa selection was more emotional than rational.

"The reward is not just losing a few pounds but escaping the pressures of everyday life~' Merrell said. The ads are the result of a week's stay at the spa by the agency's art director/writer team. "The impact was immediate~' Merrell said. "Not only have reader inquiries increased threefold, but we've seen a steady flow ofletters and calls coming into the client complimenting them on the advertising's personal appeae' Joe lvey, art director; Scott Crawford , writer ; Gary Knutson , creative director ; Barbara Bordnick, photographer.

78

M A Y I J U N E I 9 8 9

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

A R T S

79

ONLY YESTERDAY. BY

DICK

AS IT REALLY BEEN THIRTY YEARS? Time goes fast, it's said, when you're having a good time. Strangely enough, after all these years, I'm still being asked about my background and how I came to start the magazine. Aware of this, Patrick asked me to write this article and show some of the work from the early issues of CA.

H

If my background could be interpreted to mean credentials in publishing, they were zip. Like many of my colleagues in this field , I felt there was a need for a design magazine.

But it had never occurred to me that I would be the one who did it.

Some things just happen. Henley's Invictus, " I am the master of my fate~ ' might sound noble and inspiring, but that isn't the way things really are. What has happened to me is mostly the result of accidental occurrences, or some chain of events that put me in a certain place at a given time. Some of these were big ones, like Pearl Harbor, which happened when I was a junior in high school. Fifteen months later, I was sworn into the Navy. When I was discharged, there was a GI Bill for veterans' education. This opened possibilities for me, and a few million others, that were inconceivable in the thoughts of a depression-era kid trying to figure how to get an education.

An accidental occurrence example: Until two days before I enrolled in art school, that idea had never entered my mind. I had come down from Alaska, where I was working in construction, to study architecture at the University of Washington. Their architecture classes were booked solid, mostly with other G Is. They took my name and records and told me to come back in six months.

What would I do for six months? What do architects do?

For one thing, they draw pictures of buildings. So I went to Cornish School in Seattle and enrolled in art. This was commercial art, which sounded closer to my interests than oil painting.

This was a great accident. When I found out what commercial art was, it seemed like more fun than spending months or years creating a building. And I met a young lady from Eau Claire, Wisconsin, who had also enrolled on an interim basis. Her real interests were radio and writing. We were married in 1949. She is now the executive editor of CA.

COYNE

ize they hadn't taught me much about advertising in school.

I enrolled for night classes in marketing at the University of Washington.

As beautiful as the Seattle area was, Jean finally had about all she could stand of eight-month rainy seasons. Since I also had concerns whether Seattle was the right place to be in advertising at that time, we quit our jobs and headed south for San Francisco.

After working there for a while, I took a job that brought me to Palo Alto and changed the direction of my career.

It was corporate art director for a small, very successful company with a product called Shopsmith, an ingeniously designed multi-purpose power tool for the home handyman. This could be set in various positions to function as a table saw, planer, lathe, drill press, band saw and other things. They had an engineering staff designing more attachments and accessories, creating a market to existing as well as potential owners. I participated in their effective marketing program to dealers, and through dealers and direct channels to the consumer. This included ads, promotion brochures, displays and also books on woodworking and plans for building furniture and other items.

These, plus packaging, posters, manuals and data sheets were my entry into design. Also my introduction to the printing process of offset litho.

Advertising was strictly letterpress because all magazines and newspapers were letterpress. This did have the advantage of heavier ink coverage and more contrast in the halftones, but offset had a finer screen and the preparation was much faster and less expensive, generally offering the designer more freedom and greater use of color, with a potential I could visualize for a great deal more in the future. Use of duotones could compensate for the letterpress advantages in halftone printing.

One problem I inherited, the purchasing department was buying the printing. It took a lot of time to get three bids on even the simplest things. And, not counting the packaging, we had over a hundred printing jobs scattered all over the San Francisco Bay area. Press checks were almost out of the question for all but the major pieces.

My school portfolio got me a job offer as a junior art director. We considered waiting until fall. I'd been running a small construction firm in the four summer months and making pretty good money. Based on the offer, junior art directors did not. We decided to take it anyway.

A couple of jobs were with a young printing firm just up the road in Redwood City. One day I collected samples of everything and took them to the head of that firm. I asked him to give me a quote on each of them, based on a premise that he would get all the work. I also asked for a "laundry" list that would cover the options on basic pieces, second color, shooting and stripping a halftone, etc.

Although I had good training in type and could make snappy chalk and pencil layouts, it didn't take long to real-

Not coincidentally, we print CA to a laundry list. We know what a decision costs. In effect, we design our bill.

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M A Y I J U N E 19 8 9

TheCA logo was designed by Freeman Craw and is closely related to his Craw Clarendon Condensed in the Craw Clarendon fam ily.

Cover and introduction spread of the 16-page preview brochure for the launch of CAin 1959. On the following three spreads are some of the other pages from the brochure explaining the philosophy of CA and the thirteen regular departments that would appear in each issue : Creativity, Finish , Humor, Markets, Exhibit (samples of current and best}, Color, Management, Production, Typography, Photography, Morgue, Material and On the Board. The latter was an editor's column with commentary and reports on significant happenings in the field of design and advertising .

The largest use of the brochure was for counter displays in art material stores who were selling subscriptions and future single copies of CA. Brochures were also mailed to key people in the field to sol icit subscriptions and attract submissions of outstand ing work that might be shown in the magazine.

Writing about what "CA" is going to be each month is much like saying, "Fm now going to make the world's greatest layout."

The obvious answer is-o.k., do it.

On these pages are some of the things "CA" is going to do every month. They're the thirteen regular departments and what you can expect to see in them. Naturally, a 16-page brochure done internally about a 72-page magazine that will showcase some of the nation's top talent leaves some gaps. But it will give you an idea of our approach-how we will use our own type shop and litho camera in preparing the magazine~nd what kind of reproduction you can expect. The gaps will be filled with some interesting and useful advertising and by material from experts in the following fields:

===::--..L.----====11:;:::;::::;:::::;::::;::===~====::;;:;~

'

Pramotional Literature • Typography • Paper Fashion • Lithography • Cartooning • Movies Lettering • Displays • Point-<>f-Sale • Gravure Business Management and Procedures Advertising • Color Separation • Catalogs Labeling • Animation • Greeting Cards • Inks Outdoor Advertising • Illustration • Design Direct Mail • Photography • Logotypes Retouching • Engraving • Screen Process

[

Industrial Design • Technical Literature Letterpress • Television • Posters • Publishing Airbrushing • Packaging • Art Direction

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

A R T S

81

YESTERDAY INCA

When the figures came, my guess was right. This would save a lot of money as well as time. I showed this to the president and told him what I'd promised. Fortunately, he backed me up. Otherwise, I'd be out looking for a job.

Print purchasing shifted to my department. Purchasing was not happy. Not only had I invaded their domain, they probably lost a few lunches and 49er football tickets.

The printer, Art Inman, turned out to be a very bright guy and we became close friends. He gave me almost free access to his plant. I was on friendly terms with the cameramen, strippers and pressman, and learned everything I wanted to know about offset litho.

I started getting a lot of moonlight work, some design, some free-lance art direction for local agencies. This forced a decision, and I left the company earlier than I had planned, to open my own design firm in 1953. There was no problem keeping busy, and I started adding people.

One free-lancer, Bob Blanchard, was a terrific retoucher who also did scratchboard and other illustration, as well as production. About 80% of his work was for me and I rented space to him in my.office before I decided to take him on as a partner. He proved to be a great studio manager and also became heavily involved in planning printing production.

One day, Bob was going over the bills from our typographer, McKenzie-Harris, San Francisco's finest. He offered a comment: "We should be in the type business~' Why not? There was no source in Palo Alto at that time.

It was time-consuming going back and forth to San Francisco, mostly via MacKenzie employees that lived down our way.

We knew a young typographer, Jay McKendry, who understood a designer's idea of letterspacing. He agreed to join us and we set up a beautiful shop, all foundry type in new cases, with a state-of-the-art ATF proof press.

This turned out to be a great investment, quick service, heads and text handset, quality that could command top price. Changes could be made in minutes. We didn't need a thousand fonts, only the ones we specified for our clients.

Each client had a different and appropriate group of faces, a consistent image for each company. If a need came up for a unique typographic solution, we either bought the type or had it set in monotype at MacKenzie-Harris.

We experimented with film. If this required a camera or contacting, Inman would help us. If there were a number of contacts, we'd make them and set up developing chemicals in our photo darkroom. Film was much softer in those days, not the current positive dot of today. Blanchard found he could airbrush the film and minimize the light coming through to the plate. We had the greatest vignettes in America, edges so soft they just faded into nothing.

82

M A Y I J U N E 19 8 9

Above: Cover design by Lloyd Pierce for the first issue of CA. Right : Spreads describing the Creativity, Finish, Humor and Markets departments that would be in CA.

One day, the business agent of the lithographers union stormed into my office and read the riot act to me. "You've got no business messing with film. Any printer that uses film you've worked on will be in big trouble .. ~' I heard him out and then asked, "What if we were in the union?" His eyebrows shot up, and I continued, "Graphic artists working for printers are in the union so you've already got the classification. Your medical plan is great.

This could be an attraction for good employees. We could be talking about the future. Other design firms might be interested. We wouldn't have any problems with the dues or the employer's contribution. The only reason I hesitate now is your initiation fees~' He called back a few days later to say they'd take us in the union and waive the initiation fees. We became Art Trade Shop No.1 of the San Francisco local of the Amalgamated Lithographers of America.

Business was booming. We handled all of our clients' visual needs except their ads, in effect, operating a corporate identity program without a manual. The volume was increasing fast enough that we hesitated to take on new clients. Our overloads were more frequent than our low periods.

The type shop was very profitable. Since we were already in the union, the next logical step seemed to be a litho prep facility with color separation capability. Unlike the type shop, however, we could not keep this occupied with just our own needs. It would require taking on some outside work to generate enough volume.

creativity finish This is a BIG department. It has to be, because creativity is the essence of what we're all doing. And, where

In reality, the Finish Department is just the beginning for the illustrators, photographers, retouch artists,

does it start and stop? It's more than "getting an idea." It's how to recognize it-how to translate it-how

paste-up artists, cameramen, etc. Here's where craftsmanship and true technical skill blend with creativity

to sell it to non-creative people (tK»nehow th~y always seem to have the last word). We'll cover the creative

to make the concept work. Here's where you'll find the "how to ... ". How to do it yourself-how to prepare

process from the logical approach-to how to get an idea from somebody else's idea-to jmt plain looking

work to make it easier for the people that'll be doing it-how to take advantage of the alchemy of the

out the window. We'll talk ta a lot of people. We'll show you tK»ne typical problems, how they were solved-

illustrator's brush, the retoucher's airbrush, the drop-qu.ts, the ghosting, etc. Authorities from every field

and why. We're not interested in "the creative process, i t's obligation to humanity" as much as we're

will be on hand to stimulate and help you. They'll bring you the MWest developments and trends and a few

concerned about helping you do better work.

fundamentals. The fundamentals may be "old hat" to some, but what's more comfortable than an old hat?

television display stlouis c atalog greeting card adver tising direct mail los angel es point of sale outdoor ad vertising te·chnical literatur e movies poster industrial literature promotional litera lure photography packagin g publishing It lauderdale television display stlouis c atalog greeting card adver tising direct mail los angel es point of sale outdoor ad ·· ·10 OAOOV WON"T LIKE IT auT WE' LL HAI'tO aiELL.. IT AND OIVII: IT Tl-lol. OLO I"'RilNCH 715 Tl'tKATMIINT,"

humor

markets

Here's where we get an "exclusive" every month. This will not be belly-whopper funny stuff for the 10thrgrade

What's happening on the West Ccast? How many studios and ageneies in Phoeni:c, Arizona? What's the

mentality. This will be sophisticated, delicate humor for artists and desigmrs (freshmen in college, maybe?).

pay scale in Chicago? What are the trends in industrial or packaging art? What do you do as an assistant

This will be the kind of humor that is very funny to you, but if you took it home and showed to your

art director in a SO-man department? The world of commercial art is an ever-changing, volatile world.

insurance-selling brother-in-law, he wouldn't get it. Presiding over the department with practically a free

What's good today, is passe tomorrow. Completely MW industries, with a need for graphic art specialists,

hand will be Irwin Caplan of S.E.P. fa~. And, Irwin's not going to hog the whole thing, ei~. He'll bring

are springing up around launching pads every day. "CA"s Market Department will give you the answers.

you cut-em-out-and-send-~-anonymcusly- to-the-account-executive-type cartoons by leading cartoonists

You'll not only read about life in TV commercial. studios, display houses and o~ art worlds, you'll "talk"

everywhere. He's probably the main reason you'll be glad "CA" has perforated pages.

to the people in them and see what's being done today.

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

A R T S

83

YESTERDAY INCA

Blanchard, Inman and I were discussing this at lunch.

We came up with the names of a few potential customers, mostly local printers, but they seemed to have one thing in common, credit problems. We already had a line of credit from the Bank of America to cover us in the design business. At least we knew our clients were good for it, even though they were young, growing companies, the high tech of that day, and they had occasional cash flow problems.

I believed in paying our bills promptly. We got better service and sometimes better prices from our suppliers, and the ten day discounts more than paid for the bank interest.

The subject of the discussion turned to possible internal projects, maybe something that could involve our design staff in their occasional periods of open time. Or perhaps we could add a couple more people who would help in the overload situations free up more time. Nothing too exciting turned up. Then, someone mentioned a magazine. It was an intriguing possibility, and there was a need. But the thought of launching a magazine was scary. For every Playboy, there were a dozen magazines that never published a second issue. Portfolio, directed to our field in 1948, was a visual delight, but only last~d for three issues.

Once on the table, the magazine idea proved difficult to forget. We talked about it occasionally, trying to keep it on a "What if?" basis, or informal bull session level. How could we reproduce a piece done with special colors on colored paper? What would it look like if we just put it in front of the camera for color separation?

Anything in black and white would not be a problem. Pieces originally printed in process color, full color illustrations and transparencies would have to be color separations.

Colored paper or pieces in multiple special colors would need a new technique to facsimilate those colors. Most of this work was done in flat colors. There wasn't much available in screens. I think there were six densities, descriptively labeled A, B, C, D, E and F. Actually three. F, E and D were the positives of A, B and C. The logical medium for facsimilating colors was the four process colors. It would be better with two blues and two reds, but six colors would be prohibitive on two-color presses. What we needed was a minimum screen and screens at levels often percent. By printing the right combinations of percentage screens of two or three colors, we could come very close to matching any special ink or paper color.

Second issue cover, designed by Mits Katayama, Seattle, who decided on a phonetic parody of CA. Righ t: Spread describing the Exh ibit department. Because of the reduct ion to 42% of original size and the process scree ns, it does not show here that the brochure reproduct ion dupl icated N-M's method for better newspaper reproduction . The background was ve rtical red lines over solid yel low, the lion's body was horizontal blue li nes crossed by red lines at a 45 degree angle , and so on . Nick Sidjakov's work for Bank of America was shown black and wh ite because we did not want to create a false expectancy that everyth ing in CA, at that ti me, was going to be in color. That wasn 't financially feas ible.

The segments of the color charts shown in the brochure were also affected here by the rescreen ing to process color separation .

We on ly showed segments, at that time , because we didn 't want to explain exactly how the charts worked , saving that for publication in the magazine. But we did want to create an awareness th at re aders wou ld be seeing something they had not seen before.

facility, it certainly wasn't a business necessity. But our curiosity and interest in improving reproduction techniques would be squelched.

Something like this would be useful in our client work.

We could even use these screens to make a variety of colors out of special colors and black.

We decided to do some more exploration. Over the next few months, Blanchard and I felt out people in the field , locally and on some trips. The indications were that a magazine would get a favorable reception. No one was impressed with what was currently available. There was some doubt, however, about getting the numbers it would take to make a magazine viable.

One thing was certain. We couldn't do the kind of magazine we wanted without the litho prep facility. And since no other ideas had emerged, it looked like we couldn't have the prep facility without the magazine. We could forget the

We discussed both content and concept. A quarterly would be the most practical for our editorial development and production, but that would lack continuity and the appeal to advertisers. It would be necessary to be heavily circu-

84

M A Y I J U N E 19 8 9

f'tULL PAG~ R .O .P . COLOR NE:WSPAPE:R AD O~SIGNE:R/ARTIST

l)a.vtd IUA,.U.,

ART OIR~CTOR

Art ShipwtG,.

NftmoKMarnu DallM

OI!:SIGNER/ ARTIST ART OIRE:CTOR

Nicolo. Sidjakov Ed HamiJ.tn

JoltJUOttciLfwit BaM: of A~ SaKFf'oJtCUc:o OOUSLI!: SPR~AD P"'ROM 19!58 ANNUAL RI!:PORT TO STAP"'P"'

exhibit This department was a /w.rd me to name. We tJwught of everything from "Stimuli" to "Other People's Stuff." Whatever its name, ymL'll still firul in it ooer 16 pages every month devou.d to good tUsign arul art --'PWt only in the um-ld of graphics, but in the um-ld arourul !PU· You're just as likely to see a Buddhist temple as !PU are a Neiman Marcus newspaper ad ... a page oul of a children's book as an award-winning label. This section will not be a rehash of the same material ymL've seen again arul again. But if perchance two we.U ot color, •~c1te:.ent 1 d.rua and. the very boat ot DrJtaio .. . 4od1cated

!PU de nm across smnething ymL've seen before, in "CA" ymL'll see more tlw.n credit lines. You'll see the

't.C the Aatr1ca~~ llt.l.t a.nd a rev1\'a1 ot tbt t'il1e art. or :.aculine livin&:.

problem, the restrictions arul lww they arrived at the solution arul why. Like any reproduction section, E:xhibit will be a source of Ulau in print. But it will be a new, fresh source.

color The heart of each color section will be

a !-page c/w.rt planned for positive reference, slwwing two colors arul black in percentages of 10, duotones arul triple tones. In each issue a designer will tn"esent a demonstration of creative

planning using this reference c/w.rt as a tool.

Each color section will provide both functional value arul serve as an inspirational source when ymL're looking for a new arul different color combination.

management The Management Department has two important objectives: 1) to help !PU be a better manager (whether it be ymLr own studio or a 1Upartment)-1t) to help ymL better urulerstarul the problems of management !PU deal with every day. You'll receive expert advice on taxes, budgets, schedules, forms, etc.

You'll get an insight into "the other side" from policiss to politics to help !PU solve the ever-present communications problem.

production Knowing a little about production will get !PU by, but a true technical familiarity with graphic arts helps !PU S ways: 1) de a better job 2) gives !PU more control arul assurance ymL'll get w/w.t !PU wanu.d S) opens new creative c/w.nnels. In "CA"s Production Section ymL'll learn about terminokJgy, techniques, processes, color, birulery, engraving, color separation, stripping, etc., with graphic demonstrations from experts in every field.

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

A R T S

85

YESTERDAY INCA

lation supported, but we would need more revenue as well as the bulk and legitimacy that advertising could offer.

A bi-monthly with advertising made the most sense.

in the business who owned stores in some of the major cities including New York and Los Angeles. I was very grateful for his help.

I worked up some financial projections at several performance levels, including a worst case scenario. The cost of the initial circulation development was little more than a guess. We didn't know how we would do that. One thing was clear, however. We would undoubtedly need some outside financing help, probably some investors.

On the assumption that this would work out, we proceeded with the implementation of our plans. The publishing company was incorporated in December 1958.

How would we let people in the business know a magazine was available? Organizations? The National Society of Art Directors (since defunct) had around 3,000 members, also a contract that two dollars of their dues bought a subscription to Art Direction, a New York publication. The AlGA proved to be a small, basically local New York organization, which their executive director pointed out to me had no interest in what was happening west of the Hudson. The · Chicago groups and some other city clubs were interested.

List firms had 3500 commercial artists and studios, and 1200 agencies. These numbers didn't seem real.

Our answer was so obvious that we felt foolish when we finally came up with it. Arfmaterial stores. We talked to Jerry Flax, owner of the San Francisco store where we bought most of our materials. He told us that they had a nationai organization, NAMTA (National Art Material Trade Association). They had an annual convention where the manufacturers rent booths and show their products to the dealers. The next one was scheduled to be in New York in May ofl959.

We needed to get them to sell subscriptions, over the counter and through invoice stutTers. We could offer a good deal. No inventory. 40% commission on each subscription.

Single copies would be an inventory situation, but with return privileges on what they couldn't sell. The negative factor we would have to overcome was fear they might sell subscriptions to their customers and the magazine would fold after one or two issues. It was up to us to convince them that this was a solid organization. One way was with first class promotional materials. Another was the backing of investors. The product itself would be impressive compared to the black and white, cheaply produced competition.

We wouldn't be able to have actual issues at the convention, but we would have very tight comps of a typical issue.

The name, too, was finally decided with NAMTA in mind.

CA, The Journal of Commercial Art, was more popularly received by the art store owners than by many of the practitioners in our field who believed "commercial art" invoked images of somebody in a closet-size room with a bare light bulb and a green eyeshade.

We suspected, and it turned out to be true, that Jerry Flax's support would be a key factor in our succeeding. He was well respected in the industry and had a number of relatives

86

MA YI J U N E I98 9

In the following months, our schedule was heavy. We added another associate designer, but were still busy. Magazine planning, discussions with potential investors and setting up the litho facility had to be worked around the client projects. The building we were in had offices in the front and light-industrial bays behind. The type shop was in one.

Another had our storage, photo area and darkroom.

Fortunately, a bay became available for the litho facility.

We hired a cameraman and a stripper, both with some etching experience, and built the camera-back darkroom for a Brown horizontal camera with glass screens for separations and halftones. Unfortunately, film processors were not yet available and the film had to be developed by hand.

With that marvelous new toy back there, it was more difficult to concentrate on the design work. But our litho personnel were busily creating the master screens and film for the color charts. Proofing systems like Color Key, Cromalin and Matchprint were still years down the road, so we had them printed. Inman and his staff at Peninsula Lithograph were duly impressed. We asked that they please keep this confidential until the magazine was out.

Our first and obviously most important staff need was an editor. We were able to hire Jack Herrick, a bright, humorous writer with an advertising background. He wrote all of the promotion material as well as handling the correspondence, PR needs and development of articles for the magazine.

My plans, at that time, were to make some editorial contributions and supervise the financial and business aspects of the company, but to have no specific role on the magazine except the title of president.

We had ten shareholders: Blanchard, McKendry, myself and seven outside investors. The initial capital was less than I had projected. A magazine start-up, I soon discovered, was commonly known to be very high on the risk scale, and no one was willing to risk very much. Also, presenting the proposition and business plan to potential investors proved to be very time consuming, and we had run out of time. It seemed as though we'd be OK at any of my projected levels above my worst case scenario.

One of the investors had a friend who was an officer of a major publishing company. He offered some advice. Both advertisers and readers like continuity. We'd be better off with a monthly, and definitely we needed a space salesman operating out of a New York office. Ads in a new publication have to be sold, and the New York office would mini-

You've just had a sneak preview of "CA".

But we've hardly touched the surface. Because this will be your magazine, you will have a hand in dictating what we show and cover every month.

The back cover with the wrap-up and the sales pitch. One unusual note: After all these years, and four moves, we still have the same telephone number. Ma Bell was very accommodating .

You'll probably "originate" departments that don't exist now. The work you're doing will help shape the course of "CA". But .. .from the preceding 15 pages you've at least obtained some idea

Below: One side of the invoice stutter. Two folds brought this to 3 ~ x 8. The back side had a description of the departments and a few sample pages shot from our comp dummy of the magazine. The reproduction here is a four-color separation of the piece. The original was produced in three colors, light green, red -orange and black. Jack Herrick was the writer for both the brochure and the stutter.

of how we're going to make a magazine and what we're going to put in it. To continue with the 6 W's of journalism: wh o , is the publishers, staff and advisory board (see brochure)-when, the first issue will be out the latter part of July-where, published in Palo Alto, California (30 miles south of San Francisco, 2 hours from Los Angeles)-

The postal department had rigid rules for return cards and envelopes with precise width and placement of the permit box, row of bars and the line "Business Reply Mail:' We did what we could to have a little fun within their rules.

why, altruistically, to help make the world of

commercial art a better place to workunaltruistically, to make money. And this is the olrvious time to ask for the order-$12.00 per yearly subscription, $1 .50 per single copy at better art material stores. So as ''the man" says ...

. . . that' s the whole ball of wax

The J ournal of Commercial Art o 809 San Antonio Road

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Palo Alto, California

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DAvenport 6-6040

BUSINESS REPLY MAIL NO n• • • N•cnun ,. . AOC<O '" rrO ,_,, ~OTAG<

WE SAY " CA" IS A MAGAZINE FO R PROFESSIONAL ARTISTS.

The Juurllal ofCummrrcial Art IJU9 San Antomo Rood

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Palo Alto, Califomia

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The Journal of Commercial Art SOIS.. M '-" .... ,......,._, C.IItonle

T H E world of commercial art is filled with many hats and titles .. . ~signer, Illustrator, Finish Art ist, Pu te·up Artist, Art Director (with vari· atK.ns; assistant, senior, junior, almost, etc.) ... and sometimes all these rolled into one and called "our art department ."

T he Journal of Commercial Art w1ll be all things, too - not to all people but certainly to all the people who have an interest in good an and design , whether t~y just enjoy 11 or are paid to create it.

"CA" will be a sou rce of inspiration when you need creative stim uli - a "bull ses5ion in offset" when you want to talk shop - a working handbook and daily reference 10u rce - a continumg forum of oPinions, trends and new Kleas from your counterparts all over the country as well as the people you work with and for.

"CA" w1ll bring you the "big picture" and the big names. It will also be a showcase for some little pictures and names you might otherwise miss.

"CA" will not teach - but will expose you to answers to problems that are similiar to yours (and how and why they were reached). "CA" will not preach - but will assume a rrspon&ibil ity in upgrading the standards of commercial art and the professional artist.

The Journal of Commercial A1·t 09 San Antonio Road

Palo Allo, California

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

87

YESTERDAY INCA

mize the fact that CA was coming out of Palo Alto. It made sense and our board of directors decided to go with it.

The NAMTA convention was a success. Many dealers took on the subscription program. Some others ordered only single copies, holding off committing to subscriptions until they had seen the reaction to the first issue. After that came out, we had 104 stores in 34 states and Washington, D.C. At the convention, a space salesman for one of the other magazines in the field saw our magazine and approached us for a job with CA. We liked him, and made him promise not to take any files with him. We didn't need a lawsuit.

Knowing that some of the dealers and advertisers would be slow pay, I thought it was a wise precaution to establish a line of credit in case we got in a temporary cash bind.

When our banker heard me say magazine, his answer was a fast " No!" Since we owned the majority of the stock in the magazine company, he also cancelled the line of credit for the design firm .

That hurt. Our personal capital was invested in the magazine and litho facility. It would take time to build up cash flow protection for the design fi rin and there was a sizeable payroll and bills to be met. Our biggest account was growing fast but their payments had been running 60 to 90 days for the past six months. And we could already see that a monthly magazine would take more of our time than we had planned. After talking it over, we decided to go for broke with the magazine. There wasn't much to fear. If it didn't work, I could be back in the design business very quickly.

We sold the studio to our employees for a percentage of the volume of our current accounts for two years. The litho facility became part of the publishing company and the type shop was set up as a separate company, CBM Type. So, we were out of design and in the publishing business.

The first issue was August 1959, and it was well received.

Among the number of innovations, it was the first U.S. magazine printed by offset litho. Most of our ads had come in as letterpress plates. McKendry made prints of these on his repro press and we made line shots for our film . It was also perfect bound because we needed that. We had a number of color forms , some process and some special colors, that were cut into four- and eight-page signatures and spread in certain locations throughout the issue. Since there were no commercial perfect binders available, arrangements were made to do this at Stanford University Press.

This was an experimental situation, the binding tape and cover were applied by hand. Most of the issues were fine , but I wouldn't have recommended that anyone pull too hard on the pages.

Our first showing of the color charts caused quite a stir.

Many readers took the magazine to their printers, who had never seen anything like this system. It wasn't too long 88

M A Y I J U N E I 9 8 9

1. Robert Mi les Runyan and Jim Fitzgerald designed the cover for CA-60, the first CA Annual. Off to a booming start with over 5,000 entries, the entrants included many of the top names and agencies in desig n and advertising. The Annual was selected by a jury of seven .

As an added feature, we had four parallel juries select the ir first, second and third cho ices in each of the categories of work selected by the jury. One parallel jury had three consumers, another had two corpo rate presidents and an executive vice president represent ing management, the third had three advertising account executives and the last had an artist, a designer and an art director. The result was that management was closest to the consumers, the account executives were next in closeness and the artist jury was the most different.

Strangely enough , the first two choices of all for editorial design was identical, both McCall 's spreads art directed by Otto Storch.

2. 1959 cover for Interiors magazine. Arnold Saks, art director and desig ner.

3. Page newspape r ad for Cox's, women 's clothing store in McKeesport, Pennsylvania. Arnold Varga, art director and artist.

4. Litton Industries 1959 annual report designed by Robert Miles Runyan . Alternating sp reads of four-color and black and brown duotones were reproduced from a single photograph for each spread.

Litton was less than six years old , with sales of $125 million, but the management had ambitious plans for build ing a conglomerate, which were later realized . The report communicated a feel ing of succe ss and solidity. The theme of "technology old and new" was created with props Runyan borrowed from museums, antique stores and private collections, and the new Litton technology shown by mou nted prin ts in the set arrangements. Ovid Neale, photographer.

2

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A R T S

89

YESTERDAY INCA

afterward, however, that screens in increments often percent became commercially available. This allowed us to sell color chart sheets and, later, a series of books called CA Color Guides.

Our art material dealers came through with almost 5,000 subscriptions and sold a lot of single copies. We picked up another thousand from direct efforts. Circulation was meeting projections. Six months later we were up to 10,000 paid, comparable to the two established magazines in this field.

Advertising was a terrible disappointment. The first issue is traditionally the easiest to sell for a new magazine, probably because these often turn out to be one of a kind, an instant collector's item. We had just under ten pages.

And it was downhill from there. The December issue had less than two pages.

This was discouraging. A number of advertisers had offered us encouragement with statements like "This is a magazine we would like to be in~' One ad manager for a paper company was quite enthusiastic. When we came back to say, "Here we are~' the answer was that they would wait six months and see how we were doing.

I would have given anything right then if we could just back up the calendar nine months and stick to our original plan.

The advice we got was sound and appropriate for a large publishing company with a solid reputation, but it was killing us. The advertising sales cost in 1959 was more than the ad sales. Putting out a monthly was exhausting both our stamina and our funds.

We discussed switching to a bi-monthly schedule then, but it would have been a sign of weakness to potential advertisers and difficult to explain to our subscribers.

I eventually did do this in 1962 after we'd hung in there for three years.

We couldn't afford any more promotion. The magazine had to sell itself. We said to our readers, "Thank you for your support. Would you do us a favor and show a copy ofCA to a colleague who might not have seen it?" We also started running "Be my guest" cards. Readers could send this in and ask that we send a copy to whomever they named.

Herrick left in November ofl959 and I assumed the title of both editor and art director. Fortunately, I was able to hire an associate editor/writer on a three days a week basis.

We cut back on staff, cut Bob's and my salaries and nursed our way through. Fortunately, the advertising improved a little, especially when I discovered the value of a "special issue~' In April, we featured the winners of the New York ADC show with the medal winners in color. We sold 26 pages of advertising. We also made plans for and announced our own special issue, CA-60. We needed a strong source of information on work being done around the country, also something to give the magazine more impact.

90

MA YI J U N E I989

Our initial subscribers proved extremely loyal. Over threefourths of them renewed. CA-60 was a big hit with 5 000 entries. Also, 33 pages of advertising. Our cir~ulatio~ was growing and we started getting some advertising contracts.

Just when everything seemed to be going our way, the economy nose dived into a recession. One after another the contract cancellations came in. In a few months the' ' and new subscription rate began to drop. Things got rough, I had a new duty added to my role. Dealing with creditors.

It was an exciting period, full of suspense. We never knew on Friday if we'd still be in business the next Monday.

Two factors helped keep CA alive. Inman, at Peninsula Lithograph, had faith in the magazine. The other was the nature of magazine cash flow, something that had influenced my decision to get into publishing. Magazines with a positive subscription revenue, of which there were too few in those days, were the only companies that could collect on their sales before they made the product. The working capital was much better than the profit and loss figures in our books. Somehow, we squeaked through.

In 1962, we closed the advertising sales office and converted to a bi-monthly schedule. Then we sold the litho facility to Peninsula Lithograph as their color department. This included our people, so all the knowledge we had developed about reproduction from printed pieces was still available to us. I went back into the design business, with myself and my two designers editing and art directing CA on the side for a very nominal fee. Blanchard, with a staff of two, handled the circulation and advertising.

The hours were long, but my financial situation was much improved. Bob was still in tough shape, and I started buying his stock in small amounts. Eventually, he went back into business for himself, and handled the advertising sales on the side for a year. The other investors wanted out, too.

It had been a long time. I bought McKendry's stock in exchange for my interest in the type shop. CBM Type is now a large, very successful firm. With the help of a few loans, I eventually bought the rest of the stock.

About 1970, we finally had dug ourselves out from under that mountain of debt and were able to plow our revenues back into the magazine. Better paper, more color, bigger issues. Our circulation shot up and we rapidly outdistanced the other publications in the field.

It's been an interesting experience, and I feel good about the role CA has played in this field , which I still find fascinating and challenging. In many ways I think I've been lucky enough to have one of the best jobs anyone could have. How else would I have been able to meet and know so many interesting people? Or to see and be able to share with you examples of the best work being done?

Thanks again for your support that has made CA possible.

1. International Paper Company trademark. Lester Beall, designer.

2. Hillside Press trademark. Keith Bright, designer.

3. Movie poster for United Artists/Otto Preminger was also adapted for ads and outdoor boards. Saul Bass, art director/designer; Art Goodman, illustrator; Dave Nagata/Don Jim, photographers.

4. Poster announcing a Monet exhibition at the L.A. County Museum was also adapted for a transit card and 24-sheet outdoor board .

Norm Gollin, designer.

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"To produce a new product, improve an existing one, to market the product and buy the advertising time and space is expensive. It takes imagination, inventiveness, knowledge, facilities and money, and lots of it. But the cost ofmaking the advertisement itself is not great. And the cost of making an ad attractive, interesting and persuasive is not great. It's just hard to do."

Bill Tara, 1960

4

3

CLAUDE MONET SEASONS & MOMENTS LOS ANGELES COUNTY MUSEUM JUNE 14 THROUGH AUGUST 7• ADMISSION S()c - 25c

OITO ~MINGI:II: PR£5£HTS 1"1\Ul NCWMAH. [VA MAR IE SAI NT, RAl~ RICHARDSON , P£TDt t.AWfOftO, lU J. C081, SAl MI NtO, JOHN

0C.RtK.,HUGHGIUFflnt, GREOOin'ltATOFf, ftliXAYLMtlt, DAYI00PAT0SHU, JILL HAWOftntiH " (X00US " ICft[[Nf't.AYI'f'DN..TOH TltUMII08AS£00HTH.tNOYtliYUONUit/I. MUStCIYEJINUTGOlOPHOTOGitAf'HtOINSUPUI"AHA\'IIIOH70, TtCHNIOOl~

IY SAM LU.vtn TOOO Ill:) ST£1ttOPHOHIC, SOUND A UNITED AltTISTl RELtASl. l"'ttOUC(O AHO OIRtCTtD I!IY Ono PRUUHG[Jt .

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

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YESTERDAY INCA

1. Ben Shahn illustration for a CBS Television booklet.

William Golden, art director.

2. Cover design by Ivan Chermayeff for the February 1960 issue.

The back cover is the counters from theCA trademark.

3. Westinghouse trademark. Paul Rand , designer.

4. Pages from 1960 Firstamerica Corporation annual report.

Saul Bass, art director/designer; Dave Nagata, illustrator.

5. Poster for Lane Galleries. Use of a mixed-fountain gained a colorful effect from two-color printing. Vance Jonson, designer.

6. Two-page, front and back ad for Eagle Shirtmakers. Howard Gossage, writer; Robert Freeman/George Dippel, art directors; Marget Larsen, designer; Weiner & Gossage, agency.

7. Logotype for Michael Train/Len Gittleman, Motion Pictures.

Brownjohn, Chermayeff & Geismar, design firm.

2

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M A YI J U N E I98 9

5

"The designer must work directly with the president or at the top level, not through the ad agency or an advertising department or a committee. Committee decisions? They meet and whittle away and eventually destroy the designer's solution."

Eliot Noyes, 1960

"Informing Raychemfour and one-halfyears ago, I decided to write into our basic management philosophy the belief that conscious design (hopefully, good design) pays. I speak of design as not only a control of the corporate visual image but also apsychologicalfactor in a wide range of corporate relations-customer, stockholder, vendor, personnel, recruitment. Our design program is a totally integrated one. I am delighted to state that this program has paid off in sales, company acceptance and prestige, successful recruitment and personnel relations, and a generally healthy feeling of enlightened progressiveness.

Paul Cook, President, Raychem Corporation, 1961

6

SEND FOR YOUR FREE EAGLE SHIRTKERCHIEF (SHIRTKIN?) (NAPCHIEF?) J\S far as we know this is a brand new invention. Per-

l"\.. haps you will be able to figure out how to realize its full potential.

It all started when we tried to devise something to send you-short of an actual shirt-to illustrate a few of the fine points of fine shirt making. A sample So first to take with you when you go shirt shopping. we hemmed a piece of fine shirting; 20 stitches to the inch, just like in our shirts. At this point you could still call it a handkerchief.

But it did seem a shame not to show one of our threadchecked buttonholes, so we did. It makes a pretty good shirt protector: just whip it out of your breast pocket and button it on the second from the top to avoid gravy spots. Good. And tuck your tie in behind it. • But then somebody in Pockets said, "Look, if you let us sew a pocket on it, it will show how we make So the pattern match right across, no matter what." if anyone knows what you can use a pocket in a handkerchief/napkin for we will be glad to hear. We will give a half-dozen shirts for the best answer. Make it a dozen .

fte:ueiCOdmowbatcYcr it is. (Sipcd)_ _ _ _ _ _ _ __

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

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93

YESTERDAY INCA

1. Neiman-Marcus art director Art Shipman designed this cover with a statement on the fleeting life of newspaper advertising . This was also our first issue of our conversion to bi-monthly circulation.

2. Holiday magazine cover. Frank Zachary, art director; George Giusti, designer/illustrator.

SEPT/OCT 1962 • '2

3. Aqueduct ad for the New York Racing Association. Ralph Ammirati, art director; Tomi Ungerer, illustrator.

4. The first true perspective drawing by computer graphics. Created at Boeing's Wichita facility in a program headed by designer Bill Fetter and Walter Bernhardt, assistant professor of applied mechanics at the University of Wichita, the drawing was constructed by a digital computer and delineated by a plotter in 1960.

5. Ad for CBS Television ran the day before John Glenn orbited the earth. Lou Dorfsman, art director; Dorfsman and AI Amato, designers.

6. Trademark for Martin -Senour Company. Morton Goldsholl, designer.

7. Trademark for Mel Whitson Stationers. Robert Overby, designer.

8. Trademark for Eden Records~·Leo Monahan, designer.

3

2

HOLIDAY

Fun at Aqueduct July2-July28 The fun's at the Big A- New York 's most fabulou s showplace I See great thoroughbred horses and

(~~~~~e~~k~~di nh;r~~~ ~~~e~n~:c~a ~afheNf~~h t~o~~ ~;~ki~~ j~~ut~~~f;~ rf~~~ 7t~o~~ ~a;tC:~te ~o;h~

i;tg i elegant Man O'War Room or the. best hot dog in town at a handy snack bar. There's even a colorful ice·cream parlor. Plenty of spac1ous seating comfort, escalators, elevators, closed·circuit TV, extra luxuries and conveniences. Aqueduct is easy to reach : by car, take Long Island parkways toward Idlewild and watch for Aqueduct exits; by subway, special INO trains leave 8th Ave.·42nd Street be· ginning at 11 :10 A. M. Or come by bus. First race 1:30. For the fun of it-come out to the Big AI

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M A YI J U N E I 9 8 9

4

"I am unalterably opposed to all those who manage to survive in illustration without having an idea of their own. I mean the brain-pickers, the cottonpickers, the rag-pickers and the nose-pickers. In short, the imitators.

"Almost every month we have a comment from someone on the 'trend.' A trend is almost always a stream ofimitation."

Austin Briggs, 1961

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6

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

95

YESTERDAY INCA

1. Cover design by Milton Glaser for a special1962 issue on the work of the Push Pin Studios.

2. Commemorative postage stamp for the centennial of the Emancipation Proclamation, Georg Olden, designer.

3. Sketch of a matador by Seymour Chwast.

4. Cover of the first issue of Show magazine, Henry Wolf, art director and designer.

5. Trademark for Holiday Tours, Jerry Berman, designer.

6. Ad for Western Union, one of a campaign with other headlines of "Skip it;• "Don't bother:· "Pass it up:' Dan Cromer, art director and designer; Benton & Bowles, agency.

7. Illustration by Gene Holtan for a Dorman's newspaper ad about a low price on mohair suits imported from Israel. Phil Lansdale and Gene Holtan, art directors; Phil Lansdale, writer; McKenzie, King and Lansdale, agency.

2

96

M A Y I J U N E 19 8 9

4

"I can't remember when I first noticed that a very good approach to problem solving was: lfyou're stuck with a lemon, make lemonade out of it. Indeed, I was so successful at this method of turning disaster into triumph that, when there wasn't a lemon handy, /'djind myself rummaging around in the fruit bow/just so I'd have something to work with. Life-and clients-being what they are, I generally didn't havefar to look.

"The way it worked was this: If I listened to a client long enough, sooner or later he would come up with his real quandry, the problem he was stuck with. Whereupon, I would run an ad for him that said, in effect, 'Now here is my quandry,' and let the reader help him figure it out. I often included a coupon for their convenience in answering. This frequently succeeded, since there is nothing that people adore so much as giving advice. In their desire to be helpful, many of them, went so far as to actually buy the product."

Howard Gossage, 1963

5

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

97

YESTERDAY INCA

You don't have to be Jewish 1. Subway poster for Levy's Bread. Judy Protas, writer; Bill Tau bin, art director; Doyle Dane Bern bach, agency.

2. Cover photograph by Eliot Elisofon, part of a series he took on the Santa Monica beach . Since a 200-foot fence there was private property, the kids used to paint on the fence on Friday nights, painting on or over previous paintings. Also intrigued with the beautiful young people, he linked them with the fence by shooting a roll of the fence, turning it back and making random double exposures of the fence and people.

3. One day in 1966, I called Peter James Samerjan with an idea I had for a parody of the ubiquitous "white knight" Ajax TV commercials. Peter really came through. The suit of armor is the same one used in the commercials. The model was Calvin Brown, also a stand-in for Cosby on the "I Spy" series.

4. Russian language magazine for the United States Information Agency. Herb Lubalin, art director/designer; Carl Fischer, ATF, Fernand Fonssagrives, Jay Maisel, Irving Penn, William Golden, Art Kane, Hiro, illustrators and photographers.

5. Trademark for Camp Rafa-El/The Marin Jewish Center.

Robert'Pease, art director/designer.

6.1n the spring of 1965, traveling·without visas so he wouldn't be locked in, Bill Tara ventured behind the "iron curtain" to visit Bulgaria, Czechoslovakia, Yugoslavia and Rumania. This resulted in three articles: a graphic wrap-up of their design, Czech film posters and animation being done in these countries.

Vlado Kristi directed and animated this version of "Don Quixote:·

2

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M A Y I 1 U N E

I9 89

to love Levy's real Jewish R31e

4

7. Direct mail piece for West Virginia Pulp and Paper. James Robertson, art d irector ; S. Ne il Fujita, designer/il lustrator ; Albert Gommi, photographer ; Phil Berglund , writer; Fuller & Sm ith & Ross, agency.

8. Trademark for Oroweat Baking Company.

Richard Runyon , designer ; Bob Maile, artist.

IICKY4UCTBO

"The publication designer has come a long way from the time when he was a mere cog in the wheel of editorial production. As design achieved recognition as an editorial force, his role became more significant and more complex. To succeed, he must be an editor as well as a designer, and a clinical psychologist to the ongoing encounter group ofphotographers, artists and writers that surround him.

The relationship of art direction and photography has always been something of a lovehate encounter. Photographers plan all of their pictures to occupy a full page or spread and live in constant fear of the eventual necessity ofpicture cropping and picture layout.

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•

m .........

"I am reminded of a particular confrontation that made it clear that photographers had a pretty low opinion of the contributions of the publication designer. Finally one of them, with what I thought was unbecoming charity, said that he had always looked at the art director as a collaborator. At this point, Henri Cartier-Bresson, who had been quietly nursing a Scotch, put down his glass and said, 'In France, we used to shoot collaborators.'"

5

Allen Hurlburt, 1972

7

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

99

YESTERDAY INCA CA a.IAGAZIN[ • YOl.Ut.t[ 9. ~UMBER l. 1967 • U.SO

1. Cover designed by Jean Coyne for an issue featuring the San Francisco rock posters. Rather than adapting one of the posters, she chose another popular visual element of the hippie community, buttons with messages.

They were also sold as blanks for "do it yourself" messages. The CBS eye related to an article on Lou Dorfsman in the issue as did the Charles E. White Ill button relate to billboards he bought for himself in Los Angeles.

William Arbogast photographed the cover.

2. Poster for Life magazine, Time, Inc. Mutsuo Yasumura, art director/ designer; Richard Tarlow, writer; Young & Rubicam , agency.

3. Cruise ship design by Robert Miles Runyan & Associates included all of the interior design as well as the external mural. Peter Harrison was overall production coordinator; Bill Tobias, graphic coordinator; Bill Chefalas, construction coordinator; Maurice Yanez, graphic design.

4. Pages from a special issue of Look magazine on the art and lifestyle of the '60s. Allen Hurlburt edited and art directed the entire issue.

Irving Penn photographed the Hell's Angels feature ; Richard Avedon photographed the feature on the Beatles.

5. Charles Schorre's drawing of Marian Anderson for the commemorative program at the opening of the new Houston auditorium and music center.

6. Poster for the National Academy of Record ing Arts and Sciences.

Bob Cato, art director; Milton Glaser, designer and illustrator.

2

"I've always had serious questions about the economic relationship of advertising and the media. Virtually all of the media in this country is totally dependent on advertising revenue. This places a responsibility on the advertising industry that it didn't seek, doesn't want and doesn't acknowledge. Not only does advertising have the power to say which medium stays or goes, and many have gone, but it could indirectly affect the content of the media.

This is very close to tampering with a right that is guaranteed in our Constitution.

Dick Coyne, 1969

3

100

MA YI J U N E I9 89

4

THE INCREDIBLES

This Hell's Angels motorcyclist writes no songs of protest. His actions, his very a~

pearance, say all he wants to say to us. Thus, a life style becomes a statement about

BY

the world and, in a sense, a "NOrk of art. lrving Penn went to San Francisco last fall to

photograph some of the people who both outrage and lure us by being what they are. Looking past current rages and entertainment, Penn placedthesepeople inaneutral , age lessenvlronment. His

pictures, accompanied only by fragments of conversation ,

pEN N

are addressed not just to the now but to the days to come.

6

,.

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

A R T S

101

YESTERDAY INCA

1. Vance Jonson's cover design for the issue covering Expo '67 in Montrea l. Many of the pavilions featured multi-screen projection, and most of them seemed to have sync problems. Vance adapted his photograph of Bucky Fuller's dome to a multi-screen image.

2. Cover design by Hess and/or Antupit was originally a limited poster edition inspired by the unfortunate incident when Andy Warhol was shot. It somehow seemed to make a bigger statement, symboli zing a decade of artistic, social and political unrest, the crazy decade of the '60s. Photograph by Stettner-Endress.

3. Symbol for Snowmass-at-Aspen , Ken Parkhurst designer. This Janss Corporation development also featured a unique personal signage program for the Snowmass shops executed by Parkhurst and Ken Rang .

4. Trademark for L'eggs, Hanes Hosiery. Roger Ferriter, art director/designer ; Tom Carnase, lettering.

5. Illustration by Fred Otnes for a Look magazine article on Black America's African Heritage. Will Hopkins, art director.

6. Logotype for Avant Garde magazine. Herb Lubalin, art director and designer; Tom Carnase , lettering .

7. Ad for brokerage firm Edwards & Hanley. George Lois, art director ; Ron Holland, writer; Timothy Galfas, photographer; Lois Holland Callaway, agency.

8. AlGA call for entries, Communication Graphics: Design and Printing for Commerce. Peter Bradford, art director/illustrator; Gary Fugiwara, designer ; Peter Bradford and Associates, design firm .

2 COMMUNICATIONS ARTS VOL 11, NO. 4 , 1969 • $2.50

102

M A YI JU

E I989

5

Well, daddy, I'm just putting you on.

Didn·t you ever hear of the hereafter? Thafs where us Blacks are the angels and hankies is the nunky.'

8

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

A R T S

103

YESTERDAY INCA

1. Sign for the Museum of Fine Arts, Boston. Ken Amaral and Ralph Moxcey, art directors/designers; Peter Caroline, writer; Phil Porcella, photographer; Humphrey Browning MacDougall, agency.

2. Newspaper ad for John Wanamaker. Jean DiGiovanni, creative director; Albin Smagala, art director; Margot Manley, writer; Carol Taback, designer; Arnold Varga/Carol Taback, illustrators.

3. Trademark for Boudin Bakery. Primo Ange\i/Roger Shelly, art directors; Primo Angeli , designer; Tandy Belew/Primo Angeli, illustrators; Steedman, Cooper & Busse, agency.

4. Outdoor poster for Sun kist. Ralph Price, art director; Jean Craig/Jack Foster, writers; Peter Sagara, photographer; Foote, Cone & Belding, agency.

5. Newspaper ad for the Los Angeles County Human Relations Commission. Hy Yablonka/Kathleen Migliore, art directors/ photographers; Bill Tara/Tom Groemer, writers; Chiat/Day, agency.

6. This poster for the Herman Miller summer picnic was the first of a series that still continues. Many of the early silkscreened posters have been reprinted to meet an unexpected demand for sales of the posters. Stephen Frykholm and Philip Mitchell, designers and illustrators.

104

M A Y I J U N E 19 8 9

2

4

You 5

rdonit.

6

Negro family just moved in next door and its not Sidney PoitierS. What do you do now?

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

105

YESTERDAY INCA

Vol . 15, No. 1 • $2.50

1. Cover for an issue featuring several Canadian firms. Gottschalk+ Ash created these variations on the Canadian national symbol.

2. Ad for the Jamaica Tourist Board. Mel Sant, art director; Camille Larghi , writer ; Bob Levenson, creative director; Robert Freson , photographer ; Doyle Dane Bernbach , agency.

3. Trade ad for Perdue Farms. Recognizing that the outstanding advertising for Perdue , utilizing Frank Perdue as his company's spokesman, had made such an impact and brand awareness, this ad never mentioned the name and showed just the back of Perdue's head. Sam Scali , art director; Ed McCabe, writer; Ph il Mazzurco, photographer; Scal i, McCabe, Sloves, agency.

4. Bel ieving "The Waltons" deserved much more than the early low rat ings, Lou Dorfsman created th is ad to stimulate viewer curiosity and interest.

Lou Dorfsman , art director; Peter Nord, writer; CBS, photographer.

5. Henry Wolf's photograph for the jacket of Photographis '70.

Walter Herdeg, art director.

2

People become Jamaica fans because of the beautiful sun, sea, beaches, flowers, hotels.

And other reasons.

Women , especially women of Montego Bay, have always helped make our land desirable.

A woma n, M ay belle Ewen, opened the first Mo' bay hotel (Casabla nca) in 1924.

Today there are 52 (including MirandaHill a ndGoodHope) with prized rooms fo r 6087 pleasurelov ing people.

Many are managed by women.

Stephanie Chin, Austrian-born doyenne of picturesque Richmond Hill Inn, will wh ip you up weiner

schnitzel. Personally.

Irene Holloway pampers scuba-

divers at Chalet Caribe.

American Mrs.Go/d mistresses a very Jamaican Inn (Sign).

Jamaican Miss dePass (Ve rney House) specializes in English teas.

Meet our famous ghost, Annie Fblmer, at sumptuous Rose Hall.

Raft down a river called Martha Brae.

Drink a liqueur named Rumona.

It's wo men who higgle (sell goods) and haggle (haggle) at huge Coronation Market.

Wome n a re police, preachers, barkeeps.

Women are the limberest limbo dancers.

The woman at right?

Sintra Derrington, a bomebody who cooks c urries a nd suns a t Doctors Cave Beac h.

And takes shonhand, too.

For mo re of syba rit ic Mo' bay (and pastoral Ocho Rios, cultural Kingston, peaceful Pon Antonio), see a travel agent or Jamaica Tourist Board in New York, Chicago, San Francisco, Los Angeles, Washington, D.C., Miami, Detroit, Toronto,

Montreal.

106

MA YI 1U N E I989

•"nJN~Nt:AfOUIIIIST~C~U~D.

3

"Very often, we'll go to a client with one commercial. If we had been at Ted Bates, that would have meant four groups working 24 hours a day for a week, and they would have presented to the client with 75 commercials. I'm exaggerating. But the client would have been inundated and would be given the choice of which one to pick. 'Would you like to see something in an open toe?' We don't work that way. We look at the problem and solve it, and show the client the solution. If he doesn't like it for really good reasons, we go back and do it again. If he doesn't like it, and doesn't have good reasons, we.fight him on it. But there's no sense in doing 75 boards for one commercial. That's ridiculous. It wastes time and money:'

You've probably come up with a list of chicken brands you can count on one finger.

This isn't unusual. Most people name the same brand. Research says that it's the only brand of chicken with significant brand awareness among consumers. In fact, it has a higher brand awareness in the New York market than all other brands of chicken combined.

Consumers say that they're not only aware of the brand, but they'll go out of their way to find it. In one month, 10,000 New York consumers called a special number to ask for the name of a store near them that sold this particular brand of chicken.

Stores selling the brand also have something to say.

Their chicken business--and profits--are better since they've begun to carry it. (Consumers will gladly pay more for a chicken they know and love.)

Shouldn't your store be taking advantage of this unique situation?

Call you-know-who at 301 -742-7161.

He 'II be happy to arrange for you to start selling you-know-what.

Ron Travisano, 1972

5

4

That was. as you will see, Lhe atrange verdict pronounced by many television c.rit· icsaboutanew~eriea."'TheWaltona."

Theaudiencereacttonhubeenunulual, too. Little children get all smiley and

lik:llJ;?ri!~ ~c.'k:y~~e~!:e~~i:d

LheCookieMonateratubbingl'liatoe.

Butfromthereonupinageandaophi&tication,overtemotionsdisappear. Tbbe replaced by littLe amiles or recognidon. An oceuional gu.Jp. Red eyes.

Andingrownmen.funnylittleaoundl and fumblinp in the dark, d igned to hkl

~~~~~~ bei:; r!:,~~ ~y':';!~!~.~se~· 0

timentalstory.

We at CBS would like to tell you what '"The Waltona"iaallabout,butitwon'tbe

euy. BecauseeverythingwetellfOUCan

"'When theM kick

""'._tt.tllr1rood

I" their boN feet,

,...,con'-'th.tllr1

tumyouoft',if)::OUrelaleittoaimllarprograms with sim1lar themes.

. itlsn't'"withit"anditisn'tcutety.

Which itisn'LNotbecau&eitiln'texciting. Whieh

"""""" ~..:.::..-=-

"'TheWaltons"iaditrerenLNotbecause

itis.ButbecaLJSeit'sanhoneatattemptto

fi;~~Jn~~~:;.;~r:i~:~;~ ramThe Waltona are a large family. Seven

~~~~~~t:~~:.e:-~~\e:~ t:a~a~':r~ r:ne~y~!~~:0:.':~ dog.

And it's about Lhe 1930'&. Depreuion daya. In the Blue Ridge Mountaina or Virginia. The family ia poor. One or the kida plays Lhe harmonica. And it's all about how theyallfacelire.

Save"lhe walton$" See them tonight at 8:00 on Channel2.

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

107

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FREE-LANCE

BARBARA GORDON

DEALING WITH PAST DUE ACCOUNTS T DOESN'T TAKE TOO LONG IN ANY FREElance group (artists, photographers, designers, reps) for the subject of slow payers to come up.

I'd like to discuss some of the methods and practices that many free-lancers use to alleviate the problem.

I

First of all, I am talking only about slow payers and not no payers. The best way to avoid the no-pay situation is to do your homework beforehand when dealing with a new client and that may include getting a commercial credit check or asking for an advance on the first job until the client establishes credit with you. And speaking of advances, it is always a good idea to get an advance on expenses when they are substantial. In lieu of an advance, you may want to make arrangements to have any and all expenses billed directly to the client.

One of the first ways to expedite slow payers is to have the invoice in order, and by order I mean attaching receipts for all expenses. It is amazing how often a whole invoice can be held up for weeks in the accounting department because one exp·ense was not documented. And the expense receipts should be attached to the invoice in the order in which they appear on the invoice. It also helps to have your adding machine tape attached to the expenses and a copy of the purchase order (where a duplicate is not provided by the client) also attached to the invoice. The invoice should be submitted as soon as possible.

One other note, when a purchase order states: "Any invoice received after the 25th of the month shall be held to the 25th of the following month:' it may pay to airfreight or messenger or fax the bill directly to the accounting department to make that deadline and save an additional 25-day wait.

Obviously, follow-up invoices should be sent out on a regular basis, and some free-lancers tell me that they always follow-up the first invoice with a phone call, just to make sure that the first invoice arrived.

When the invoice becomes late, a little note, with a copy of the overdue invoice attached, is sometimes all that is needed to get immediate payment. If one or two notes fail, then a phone call is in order to the accounting department. Notes and phone calls should always be friendly and persuasive in nature. You'll find that your payment is scheduled for such and such a date; the check is in the mail; or, worst case scenario, your invoice is buried so far in the computer that no one can even find it, much less schedule it for payment.

All right, what do you do in the worst case scenario?

My own experience is that it is best not to get angry at someone in the accounting department who probably is 116

M A Y I J U N E I9 8 9

not personally responsible for the dilemma. A personal, polite approach with a human touch is almost always effective: "I need the money to pay my taxes (put a down payment on a house, pay for my vacation), and I'd really appreciate it if you would direct me to the person who could help speed up this paymene' Just about everyone has been in a similar situation of needing money for any of the above, and in a majority of cases you'll probably be referred to the person who will expedite the payment.

Even offer to pick up the check personally or have it sent to you by airfreight (at your expense) to emphasize your need for the payment.

To illustrate how the personal touch works, I was at an ad agency, where an art director showed me a copy of an invoice from a cartoonist, who had drawn a picture of himself with empty pockets with the caption "Please Pay Soon~ ' The art director told me that he was so amused by the drawing on the invoice that he hand-carried the bill through accounting just to speed up payment.

There are also occasions where early payment can be made a part of the negotiating process. I have had the experience of telling a client that if he will cut a check upon delivery of the art or photography, we will give them a certain discount, a much earlier deadline, or we will include a certain number of corrections at our expense. I put these conditions in writing, and if the check is not received upon delivery ofthejob, then no consideration is given.

Does discounting an invoice or charging interest on late payments help? I've found a split in responses on this one. Many free-lancers tell me that when they put on a discount fee for early payment, many clients still pay late and take the discount anyway. There are also many clients who pay late and refuse to pay a late penalty fee.

As to the question of partial payments, ifthat is the only way you are going to get paid, then accept them. Just make sure that when you accept a partial payment, you also set up a definite payment schedule for the balance.

In today's economy some of the largest and best clients can also be some of the slowest payers because of the internal policies at those organizations. And sometimes it is not uncommon, after a 60-day wait, to receive a check written on an off-shore branch of a local bank, or a check from a bank in a distant state that will take another ten days to clear your bank.

Obviously, the ultimate solution for slow payers is simply to develop enough accounts and have enough jobs in progress so that money is coming in from a variety of sources, then those late payments won't even be noticed .

•

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By Richard Saul Wurman Published by Doubleday 666 Fifth Avenue, New York, New York 10103

$19.95

Information architect Richard Saul Wurman doesn't waste any space on attractive but meaningless decoration. On the cover, in 30-point type, he begins, "Information anxiety is produced by the ever-widening gap between what we understand and what we think we should understand. Information anxiety is the black hole between data and knowledge. It happens when information doesn't tell us what we want or need to know~' He suggests the following as some of the tell-tale symptoms of information anxiety: chronically talking about not keeping up with what's going on around you; feeling guilty about the ever-higher stack of periodicals waiting to be read; looking down at your digital watch to jot down the time in an office log book, even though you know that no one really cares; thinking that the person next to you knows everything you don't; being afraid or too embarrassed to say, "I don't know~'

A weekday edition of The New York Times contains more information than the average person was likely to come across in a lifetime in seventeenth-century England. This is the first of thousands of facts Wurman presents in this book, and as I began to read, I found my level of anxiety increasing. The structure of the book doesn't help either.

Wurman has chosen a random-access method allowing the reader to start at any chapter. Each page has one wide column for the main text and a narrow column containing related facts and quotes. I found the format entertaining, but the constant distraction from the main text made it laborious.

There are some good ideas that relate directly to designers, agency creatives and anyone who tries to communicate information. One point he has made many times prior to this book is the disease of looking good: confusing aesthetics with performance. A piece of information performs when it successfully communicates an idea, not when it is delivered in a pleasing manner. Information without communication is no information at all.

Accuracy is not necessarily informative, neither are facts.

The cure is learning to go beyond the facts and recognize the nature of the receiver and their method of understanding. People only learn something relative to something they already understand, and people only remember what they are interested in. The key is to find a connection from an existing idea to new ideas and present it in an inviting manner.

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M A Y I J U N E 19 8 9

Wurman also warns communicators of the disease of familiarity. Communication will improve if the communicators remember when they didn't understand what they are now trying to communicate.

While information may be infinite, the ways of structuring it are not. In one section, he says that it can only be organized by category, time, location, alphabet or con- · tinuum. And once you have a place in which the information can be plugged, it becomes that much more useful.

Knowing that these are the only ways to organize facts alleviates some anxiety.

Wurman suggests ways to control information intake by answering the following questions: What do you need for your job? How much is essential? How much is desirable?

What subjects pique your interest? What do you like to talk about? What do you spend time with that isn't really necessary? How would the elimination of it change your life?

He also suggests determining your preferred method of learning, and then, when you need to get information on a subject, try to find a way that involves that preferred form. Some people learn best by reading a book, taking a course, experimenting or asking someone else.

I have just touched on a few of the ideas presented in the book. While the format may be a bit intimidating, there are many good ideas to consider. Maybe Richard Saul Wurman needs to produce one of his excellent Access guides to help readers find them.

BRIEFLY NOTED: AMERICAN TYPOGRAPHY ToDAY by Rob Carter (Van Nostrand Reinhold, 115 Fifth Avenue, New York, New York 10003, $32.95). During the past two decades, the art of typography has changed dramatically with the introduction of new technology. Carter presents the portfolios of24 American designers he feels show a cross-section of current typography. Most are familiar names, a few are not. Each designer is given four pages with a brief biography and philosophy. While the dust jacket mentions that Mr. Carter critically evaluates the portfolios, I found nothing critical in his presentation. The second part of the book contains a comprehensive list of major typographic resources. Included are individuals, movements, organizations and periodicals that reflect the interdisciplinary nature of typographic design. A bibliography is also included.

THE DESKTOP PuBLISHER's LEGAL HANDBOOK by Daniel Sitarz (Nova Publishing Company, 1103 West College

In the beginning there was a visual.

You are the torchbearers of a creative legacy that dates from the dawn of man.

Even before language itself, there were those few who had the drive and the talent to create a purely visual voice of awesome eloquence.

VISuals so powerful that words weren't required to strengthen or clarify their message.

The tradition that began on cave walls by the light of a roaring fire, continues on Art Director's drawing boards and light tables from Manhattan toMaui.

It is a linkage that few understand and fewer appreciate.

At Comstock, we understand the evolution of a visual- your visual. Your creative sparks that begin as ideas and then grow into rough sketches, comps, and finished layouts.

And it is the uncommon belief that a stock photograph can and should help your visual to

evolve, while measuring up to the highest creative standards you demand, that has driven us for fifteen years.

In other words, we're here to help. Our photographs are more than just pretty pictures. They're conceived and shot with your creative needs and concepts in mind. They make a strong creative contribution to your overall effort.

Whether your most creative visions adorn the walls of your mind, the walls of your agency, or the walls of a museum, never underestimate the power and eloquence of your innermost visual voice.

Because in the beginning there was, and is, a visual.

If you have a project that is currently evolving, give Comstock a call. In return we'll send you photographs that you ~,;, ~ r:,~. ~ were probably thinking l~~ '.J~~ .-J l.~ '~~ ~, of, but didn't think you would find.

STOCK PHOTOGRAPHY

r•

Call or write for a free full-color catalog. And ifyou'd like} a full-color poster version of this ad Comstock} 30 Irving Place} New York} NY 10003. Call1-800-225-2727. In New York State} 1-212-353-8600. In Canada, call Miller Comstock} 1-416-925-4323.

BOOKS

Street, Carbondale, Illinois 62901, $19.95). With the rapid expansion of the industry, many people have entered the business without a clear understanding of publishing legalities. This is the first book I've seen on legal topics relating to desktop publishing. Explanations are given on copyright infringement, publishing contracts, subsidiary rights, libel, invasion of privacy, taxation and many other legal issues. Besides a bibliography, a glossary oflegal and publishing terms is also included.

PocKET GuiDE TO CoLoR REPRODUCTION by Miles Southworth (Graphic Arts Publishing, 3100 Bronson Hill Road, Livonia, New York 14487, $7.95). A designer is limiting himself by not possessing a good understanding of the color reproduction process and its technology. Mr. Southworth has written a basic explanation of the many aspects that can influence the reproduction of color, without getting bogged down in overly detailed, technical jargon. He discusses how to: evaluate and separate different original materials; understand the limitations and requirements of the printing process; identify and correct

A lot of people sit around dreaming of getting paid to do ads. Guess what our graduates sit around doing?

[91 PORJFOI.IO CEHTER

125 Bennett St. NW, Atlanta, GA 30309.1-800-255-3169

Call toll free for free brochure.

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M A Y I J U N E I 9 8 9

printing problems related to color changes, including dot gain, plugging, trapping, register, moires and paper problems. It doesn't get much clearer than this.

SAATCHI & SAATCHI THE INSIDE STORY by Philip Kleinman (NTC Business Books, 4255 West Touhy Avenue, Lincolnwood, Illinois 60646, $21.95). Saatchi & Saatchi, now the largest international advertising conglomerate in the world, skyrocketed over two continents through the 1970s and 1980s, affecting not only the advertising world, but also international finance and politics. This unauthorized biography traces Maurice and Charles Saatchi's method of growth by agency acquisition rather than new clients.

A fascinating glimpse into the reasons behind agency megamergers.

INFORMATION GRAPHICS: A SURVEY OF DIAGRAMMATIC, TYPOGRAPHIC AND PICTOGRAPHIC COMMUNICATION by Peter Wilber (Van Nostrand Reinhold, 115 Fifth Avenue, New York, New York 10003, $32.95). Information graphics, still considered a green area of graphic design because of its relative freedom from visual rhetoric, is undergoing rapid changes while adjusting to the new technologies and current needs of an increasingly visually aware audience.

First published in Great Britain, Mr. Wilber's book illustrates, with international case studies, some of the graphic methods available to communicate information.

Examples include computer-generated illustrations for a book on artificial intelligence, the signage for the Hong Kong and Shanghai Bank, the use of space-age maps to illustrate a new atlas of the Bible and user-selectable graphics for a Danish hi-fi music system.

RADIO ADVERTISING: THE AUTHORITATIVE HANDBOOK by Bob Schulberg (NTC Business Books, 4255 West Touhy Avenue, Lincolnwood, Illinois 60646, $24.95). Radio advertising is big business. America's advertisers spend over $7.5 billion each year to promote their products and services on radio. It never ceases to amaze me how little attention is given by creatives to the possibilities of the ultimate personal medium. This book covers the basics including how radio works, ratings and numbers, the role of networks and syndication, playing the game of buying and selling, effective direct-response techniques and using co-op advertising dollars. Schulberg also talks a bit about the possibilities of radio as a selling tool. In 1983, when CBS televised the last episode ofM*A*S*H, the money needed to buy one local 30-second announcement during the program would have bought a heavy schedule for a full month on a leading radio station. I hope upon reading this book, more creatives will stop thinking of radio spots as the audio portion of television commercials.

-Patrick Coyne

CEZANNE WAS

PROVENCE AND

PROVENCE WAS

CEZANNE

The Inspiration Behind The Creative Mind

The celebrated genius of the artist Paul Cezanne can still be seen in the gentle faces and fertile land of Provence. "Were it not that I am deeply in love with the configuration of my country," Cezanne wrote, "I should not be here:' For it was here in this Eden in the south of France that Cezanne found his inspiration and let it fill those canvases we cherish today.

The Inspiration Behind The Creative Mind

In the warmth of summer cezanne would carry his easel and paints into the fields and herb gardens of Provence. And there, amid the fragrance of this rich land his inspiration would come to him. Inspiration that would capture for all time the unique play of light and shadow. Inspiration that would forever change the way we see the world around us.

The Inspiration Behind The Creative Mind

Surrounding himself with the rich bounty of the land that nurtured him, Cezanne gave birth to an artistic expression that would seduce the civilized world. With brushstrokes of inspiration he created a remarkable body of work. His still lifes and landscapes and portraits present us with an eternal theme: Provence was Cezanne, and Cezanne was Provence.

~

Inspiratioq byWestvaco

A new paper called Inspiration invites the creative minds of today's designers to express their very best ideas with elegance, grace and ultimate detail. Here is a fine paper like no other before.

Here is a paper to be reserved for images of distinction and moments of greatness.

ADDENDA: This tribute to the creativity

of Paul Cezanne is printed on Inspiration 110 lb. text. For overnight delivery of

customized dummies, white or printed samples, call Westvaco Direct Response5M 800-235-3782. Inspiration and Westvaco

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

© 1988 Westvaco Corporation

SEPARATE • • • •

OIB FROM THE TOYS! • •M • • •

GRAFIX

The National Conference For Graphic Design Professionals September ~10, 1989 Jacob K.Javits Convention Center of New York

A

we enter the next decade, graphic design professionals are confronted with a wonderful - and bewildering - array of new tools. Scanners, color copiers, computer-aided design systems, laser printers, digital darkrooms, desktop publishing, VGA monitors and setvice bureaus. They're seductive, expensive, often a godsend, and sometimes inappropriate for the task at hand. You need to get a handle on what really can help your business and what's going to end up in the storeroom.

A

d in the middle of it all, you can't skip a business beat. That's because the current decade brought us sutvival of the fittest. Competition, self-promotion, business acumen, accountants, lawyers and bankers. In the seventies it was client relations, creative juices and corporate responsibility. But one doesn't replace the other. There's a cumulative effect.

Today's designer needs to be part rocket scientist, part corporate strategist and part psychotherapist.

E

nter GRAFIX '89. It's the first national conference and exhibition for graphic design professionals.

Start with a visit to the 50,000 square foot exhibit hall which will showcase every system, product or setvice imaginable; from standard-issue tools of the trade to high-tech state of the art. Get your questions answered right from the manufacturers themselves. See, test, compare it all in one place at one time.

ove on to a conference program which really gets down to business. Choose from dozens of sessions like "Selecting a high-end design and imaging system" or "Self-promotion that really works. " Learn how to produce client-catching comps in a fraction of the time you spend now. Or how to attract and keep the best employees. Hear prominent experts like Roger Black speak about the fmer points of magazine design or Colin Forbes, Chairman of Pentagram, share his strategies for a successful design business.

Interact with other design professionals from around the country and discover how they've solved the same problems you face every day. End the day by joining suppliers, speakers and your colleagues at any of the half-dozen very special events planned throughout the show.

E

epare for the next decade and the rest of your reer. Investment-spend three days this September in Manhattan at GRAFIX '89. We'll help you separate the tools from the toys and get a jump on whatever the next decade may throw your way.

The GRAFIX '89 Advisory Board: Gerry Giudice, Exec. Vice President Marketing and Sales Pantone, Inc.

Uz Bond, Director Marketing Communications Adobe Systems, Inc. Chris Stocker, Marketing Manager Advertising and Graphic Markets Apple Computer Company, Inc.

Richard Wilde, Art Chairman The Advertising & Graphic Design Departments School of the Visual Arts

Roger. Black, President Roger Black, Inc.

lTC

Nancy Aldrich Ruenzel, Editorial Director Step-by-Step Graphics

Curt Dwyer, Manager Marketing Communications Letraset, USA

Murray Grant, Communications Specialist Strathmore Paper Company

Alan Haley, Vice President

- - --------------,

I~ Please send my free GRAFIX '89 Program I ~H Brochure as soon as irs offtbe press.

I I I Company I I I I MAll. TO: GRAFIX '89- CMC, 200 Conneaicut Avenue, GRXlO L Norwalk, cr o68S6-4990, (203) 852-0SOO Name

Title

Address

City

State

Phone

INTERESTED IN EXIDBITING? CALL CATIIY DOlAN AT EXT. 195 © 1989CMC

Zip

A·~ EVENT

MATERIALS OAK WORK STATION

F.or the high-tech worker with an eye towards quality and style, Plan Hold Corporation offers a new line of oak furniture called, uniquely enough, the "Oak Collection~' This new line includes a four-post drafting table, flat file drawers, taborets and an assortment of storage units to maximize the work space. The drafting tables and flat files are equipped with steel drawers and both are available in three sizes for added flexibility. For additional information or literature, write Plan Hold Corporation, 17421 Von Karman Avenue, Irvine, California 92714.

MECHANICAL/LAYOUT AID

This new product, offered by Steve Greco Enterprises, is an 8lf2'' x 11" grid printed on laminated transparent plastic, and is used by placing it on top of a mechanical, lining up the rules of the grid to the dimensions of the mechanical and checking the copy through the grid to see if it's square.

I'd prefer to use aT-square, but if you're not getting along with yours, this item at $9.25, plus postage and handling, is available from Steve Greco Enterprises, 166 Plymouth Street, West Babylon, New York 11704.

Though these strike me as less than innovative, you may be interested in more information. If so, write to Alvin & Company, P.O. Box 188, Windsor, Connecticut 06095, or call (203) 243-8991.

MAGNETIC WIPING MITT

Just when you thought it was safe to go back into the dusting business, New Pig Corporation introduces a magnetic wiping mitt called the Dust Bunny. It's designed for safe commercial and industrial dusting and wiping of all surfaces. Made of polymer cloth, it has a permanent electrostatic charge that attracts and holds dust without the use of chemicals, and is machine washable and dryable up to 200 times. I guess a clean Dust Bunny is a happy Dust Bunny. Even sensitive objects, such as camera lenses and the emulsion side of film can be cleaned with a simple swipe of the Dust Bunny. A 100 percent guarantee accompanies your Dust Bunny, so hop to it and get the jump on dust by contacting New Pig Corporation, Pig Place, One Pork Avenue (no kidding), Tipton, Pennsylvania 16684 or call1-800-822-DUST. DISPOSABLE TECHNICAL PEN

CLIPCOMPASS

Alvin & Company has come out with a ClipCompass that has an adjustable clip to accommodate markers, felt pens, brushes, pencils, cutting knives and even crayons for you cartoonists. The ClipCompass allows for drawing "perfect" circles up to 9" in diameter. I'd have to see a perfect circle done with a crayon before I'd believe it, but if you want to give it a shot, contact Jeff Shoham at Alvin & Company, P.O. Box 188, Windsor, Connecticut 06095, or call (203) 243-8991.

OAK MODULAR UNITS

Oak is in. Foster Manufacturing Co. is introducing a solidoak work station that features a combination of computer oriented and design work surfaces. The "Executive Department" includes a computer desk with hutch, two corner connectors, a layout table and a duo printer stand. Other components include a mobile file with roll top, single and double pedestal desks, as well as monitor and printer shelf units. These units can be purchased separately or in a complete work station. For information and a free catalog, contact Foster Manufacturing Company, 414 N.13th Street, Philadelphia, Pennsylvania 19108, or call1-800-523-4855.

MoBILE FILE RAcKs

Alvin & Company is offering a new line of file racks that are equipped with four swivel casters for mobility. These racks are constructed of heavy gauge wire with white plastic coating. The racks pictured in the photo all seem to serve the same function, i.e. storing maps or posters.

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M A Y I 1 U N E 19 8 9

Staedtler has come out with a disposable technical pen called Marsmagno that requires no maintenance, no refilling and no extra costs for supplies or replacement parts.

It consists of a tubular point, stainless steel construction and an air-pulse ink feed to maintain constant ink flow.

Seven point sizes are available from 4x0 to 2lf2, and you can get Marsmagno individually or in 4-pen or 7-pen sets.

With a 2ml ink tank that Staedtler claims is twice as large as most conventional technical pens, Marsmagno should eliminate cleaning and refilling. At a list price of$8.95 each, this is not exactly a bargain. For a free brochure, write to Department MGO, P.O. Box 7102, Canoga Park, California 91304 or call Kitty Belendez at (818) 882-6000.

PORTABLE OVERHEAD PROJECTOR

Dukane Corporation presents the Model 28A653 Portable Overhead Projector. This unit has a 13.3" (338 mm) triple element projection lens , energy efficient 360 watt, 82V Quartz Halogen ENX lamp and a precision "Rack & Pinion" focus mechanism. A one-touch lamp changing system simplifies bulb replacement. This projector is equipped with a fresnel lens which can be removed for cleaning (how about the Dust Bunny?). Model28A653 looks to be truly portable as the projector head can be folded away and the non-skid feet retract into the bottom of the unit. At seventeen pounds, and with a built-in handle and shoulder bag carrying case, Dukane's new portable projector should take some of the fear out of presentations. For additional information, call Betsy Fiden at (312) 584-2300 ext. 354.

Simpson Printed Paper Competition 1988 Special Judges Awards

Print on Paper. Impressions of images that evoke and provoke, inspire and inform; attract the eye and stimulate the mind. Each year the Simpson Printed Paper Competition celebrates Print on Paper by honoring selected works designed and produced on Simpson papers. The competition recognizes the skill and artistry of those who create images which compel us to stop, look, and see. The judges, Peter Good, Joseph Michael Essex, and Thomas Ryan, selected 31 winners.

The three Special Judges' Award winners are featured on this page. A show catalog honoring all the winners is available from your local Simpson Paper distributor.

Title Nichols Institute Annual Report Category Annual Report Designer Jim BerteRobert Miles Runyan & Associates Photographer Scott Morgan Printer Ralphs Printing Cl ient Nichols Institute Paper Coronado Opaque SST Merchant Unisource Corporation, City of Commerce, CA

Title Graphis Poster and Photo Show Category Poster Designer D. C. Stipp Richards Brock Miller Mitchell &Associates Illustrator D. C. Stipp/John Norman Printer Heritage Press Client Dallas Society of Visual Communications Paper Starwhite Vicksburg Merchant Monarch Paper Company, Dallas, TX

Simpson making paper perform ...

MATERIALS

R EPOSITIONABLE ARTWORK SPRAY

Now available from Martin Instrument Company, Graphicspray is, according to them, "the best repositionable mounting adhesive~' Very subtle. Nonetheless, they say Graphicspray flows easily, doesn't smell, doesn't wrinkle or yellow with age (I wonder if it works on people?) and, if used properly, is non-toxic. It will not clog, and they provide you with a second spray nozzle that has a fan pattern for larger, quicker coverage. For more information, write The Martin Instrument Company, 13450 Farmington Road, Livonia, Michigan 48150.

LITERATURE FoR YouR FILES A request on your letterhead to th e follo wing companies will bring you the literature described .. .free unless otherwise noted.

Make Your Mark on Signature from Mead . . . is the second printing demonstrator from Mead Paper Products. Elegantly designed by John Van Dyke, this unique brochure chronicles the history of writing instruments, and is photographed by Terry 1-!~ffernan, while at the same time

PANT9NE~

Trademark Notice PANTONE, PMS, the PANTONE MATCHING SYSTEM and its Color Numbers, Color Names and Color Formulas are protected by registered trademarks and copyrights. They are not generic nor in the public domain and their uses are strictly regulated.

Using our color books to communicate a color selection is their prime purpose.

If you wish to reproduce a PANTONE Color and its color identification or use any of ou r trademarks or parts of our copyrighted materials in print, i.e., corporate identity manuals or graphic color standards, printed on paper, displayed on a color monitor or any other visual manner, you must first contact us for the rules and regulations governing their use.

Trademark Control Department Pantone, Inc. 55 Knickerbocker Road , Moonachie, NJ 07074 (201 ) 935-5500 Telefax: 201-896-0242

*

Pantone, Inc.'s check-standard trademark for color reproduction and color reproduction materials. Reproduction rights of PANTONE Color Standards are reserved. © Pantone, Inc., 1989

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M A Y I J U N E 19 8 9

demonstrating Signature's printability, permanency and high tactile qualities. The extensive production notes explain the printing processes thoroughly. For a copy of Make Your Mark, contact your local Mead Paper distributor.

1989 Canadian Marketing Goldbook ... This directory has the potential to be a powerful marketing tool with over 20,000 listings of Canadian company names, addresses and telephone numbers. Subdivided by 12 tabbed dividers and covering areas such as Media, Service and Supplies, Event Facilities, Design, Advertising and Photography, this third annual directory is a valuable reference guide when you're in search of suppliers or potential clients.

There is even space for notes and name and address changes to keep everything up-to-date. With the Free Trade Agreement bringing down some of the barriers, the Goldbook could prove valuable to U.S. readers searching for Canadian connections, services and supplies. For more information, call (416) 675-3455.

Paper Label sampler. . . Kimberly-Clark is distributing a sample folder of labels to illustrate and compare the printability of various label stocks. Included are primary labels printed on Kimdura Synthetic stock and Duraform Prime Latex stock, both top quality stock in the KimberlyClark line. The folder is designed so you can judge which label stock is right for you. For a copy of the sample folder, contact Bob Lambie, Product Manager, Kimberly-Clark Corporation, 1400 Holcomb Bridge Road, Roswell, Georgia 30076, or call (404) 587-8480.

SEGD Resource Directory. . .The Society of Environmental Graphic Designers (SEGD) has published a comprehensive source book for those involved in the field of environmental graphic design. Included in the four sections is a 1989 Membership Directory, listing members by category with addresses and phone numbers. Also included is a chapter chronicling, for the first time, the SEGD Bylaws. Now you'll know exactly what rules you're bending. Part III is a bibliography listing books, periodicals, associations, grants, awards and scholarships pertaining to SEG D. Last but not least, a Corporate Directory profiles SEGD sign fabricators and lists manufacturers and suppliers. SEGD members receive the directory free while non-members may order copies by sending a check ($75 or $25 per section) to: SEGD/Resource Directory, 47 Third Street, Cambridge, Massachusetts 02141.

Concerto portfolios ... Domtar has published two portfolios to showcase the Concerto line of cover, text and writing stock. The Text and Cover portfolio includes samples of each weight and color offered. Printed samples of invitations, announcements and envelopes are used to

SOME SURPRISING WAYS TO USE A 65 LB. PEACH.

DO SOMETHING EXTRAORDINARY. WITH NEW SCOTT 65 LB. VELLUM OPAQUE COVER. You're looking at a 65 lb. cover with a difference. In fact, several differences. To begin with, our new Vellum Opaque Cover comes in a very wide color range-16 SPectrascanColors:M each one computer-controlled for accuracy.

Then there's the way it performs: excellent ink hold out and opacity; outstanding runnability; and the ability to take precise folds and die cuts. All of which make it ideal for mailers,folders, covers, and reply cards.

Finally, there's a difference you can't see at all. Because even though Scott Vellum Opaque Cover compares with premium-priced 65lb. covers in looks, when it comes to cost it's quite a different matter. So one of the most extraordinary things you're likely to do with this remarkable new paper is .. . save money. To find out how much, talk to your Scott merchant.

From the S.D. Warren family of fine

pap;erls,,,~\\:11, .l!!lln'llml

S'l';

..... ,..---

{,

,\Nil1,,\ll\' sU'''''m.HU'"· For e)(amples ot otner appealing new colors call 1-B00-882- 4332

scon

ONE PAPER COtv\PANY TI-V\T DELIVERS A LOT MORE

T~ JUST PAPER © 1989 S. D. Warren Company, A Subsidiary of Scott Paper Company, 225 Franklin Street, Boston, MA 02110 189-58 Printed in the U.S.A.

MATERIALS

demonstrate embossing, die-cutting, scoring and folding capabilities. The Writing portfolio, consisting ofletterhead, envelopes and business cards, provides examples of the paper's ability to create coordinated business stationery. Concerto Writing offers six colors, including two whites, and four pastel shades, and is available on a choice of laid or wove finishes. Both of the Concerto portfolios, plus swatch books and samples may be obtained from your local Domtar distributor.

AS! Sign Systems Catalog ... is an 85-page, four-color booklet featuring over 90 products, ranging from interior and exterior signs, letters and directories, and featuring sign systems for health care, hospitality, corporate, financial and parking facilities. According to Don Healy, ASI's president, this catalog "incorporates the elements of a good sign system-it's functional, user-friendly and aesthetically appealing~' User-friendly? Come on, Don. New offerings include Sign Etch 1 and 2, a line of etched metal signs and SignStone, simulated marble or granite signs. This catalog is available from your local ASI affiliate or by calling Ken Ethridge at (212) 868-6767.

finance, communications and workplace scenes. A new volume, focusing on health care, includes over 250 illustrations on patient education, hospital scenes and more.

All of these volumes can be purchased from Creative Media Services, 2936 Domingo Avenue, Berkeley, California 94705, or by calling Linda Harris at (415) 843-3408.

Baseline ... a typographies journal published bi-annually

by Letraset USA, is currently available in a newlyexpanded tenth edition. An informational publication that contains no advertising, Baseline features the latest news and trends in typography, and is highlighted with color graphics. The tenth edition includes guest commentaries and articles on the development and usage of typography. Baseline is available from Letraset art material dealers for $6.95. For the dealer nearest you, call1-800-526-9073.

The Scott Color-On-Color Guide ... is an easy-to-use reference chart to help printers and graphic art designers select and match colors. Of course, you must use one of the nine Scott Vellum Offset Colors. If you do, you'll be able to match colors suitable for two-color printing with

"Self Expressions"... is a compilation of four American artists who have created self-portraits in an effort to reflect the quality of Strathmore's Writing Text. Each artist has sketched his version of himself, and provided us with a brief explanation. Strathmore has an interesting promotional concept here, but I'd like to see it highlighted on more than just their writing text. Included in the portfolio is a fold-out listing of every Strathmore merchant in the world, and a card describing the entire Strathmore line of stock for your convenience. I received no information as to the availability of this folder, but they might be able to track one down for you at Strathmore Paper Company, Westfield, Massachusetts 01085.

CDF Direct-Film Technical Data Book ... is now available from Ulano Corporation. This 37-page, illustrated book can be used as a guide to the processing of direct-system (capillary) films. Features include advice on film application methods and the determination of exposure, production tips, screen preparation and a troubleshooting checklist. The book also discusses reinforcement methods for increased production runs and solvent resistance.

Available free of charge, for yours write Ulano Corporation, 255 Butler Street, Brooklyn, New York 11217, or call Alex D. Lobozar at 1-800-221-0616.

CMS 1989 Clip Art Catalog ... Creative Media Services announces the unveiling of their newest collection of clip art by Phil Frank. Available in single theme packages or in their all-encompassing Custom Clip Art Book, this camera-ready art covers subjects such as holidays, fitness, C 0 M M U N I C A T I 0 N A R T S

137

MATERIALS

this handy, pocket-sized folder. Also available as a poster, yo u can obtain this pamphlet from your nearest Scott merchant or by contacting S.D. Warren, a subsidiary of Scott Paper Company, 225 Franklin Street, Boston, Massachusetts 02110.

TIB newsletter... is a booklet distributed by The Image Bank that takes a look at the world of photography through their own wide-angle lens. With personality features and a "How To" section, and even a column on Imaging Technology, TIB is an information-packed newsletter that gives an overview of how The Image Bank impacts the industry. The cover letter accompanying my copy ofTIB gives no information regarding availability, so I'll assume one can be obtained by writing Jerry Karpf at The Image Bank, Ill Fifth Avenue, New York, New York 10003, or call (212) 529-6793.

"Collectibles"... is a new portfolio demonstrating the printability of two matching finishes in Hammermill's line; Vellum finish Hammermill Offset Opaque and Antique finish Hammermill Cover. Each insert uses ill ustrations to tell the story of a collector and to show selected pieces from the collection. These drawings

From Victorian to Post-Modern

By STEVEN HELLER and SEYMOUR CHWAST A colorful panorama of 48 graphic design styles with hundreds of illustrations, ranging from prints, posters, and book jackets to wine labels and shopping bags. Over 700 illustrations, 225 in full color and a time line. $ 49.50 Also of interest:

By Seymour Chw ast

170 illustrations, 125 in full color. $39.95

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MA YI J U N E I98 9

Colophon ... is a news publication of Adobe Systems, featuring news and information about Adobe typefaces and application software products, the PostScript page description language and PostScript printers. Produced entirely in-house on Macintosh and IBM computers, Colophon is an informative, colorful, inside look at Adobe Systems and includes a full-page chart, listing printers that support the PostScript language, which can be useful as a buyers guide. For a free subscription, write Adobe Systems Incorporated, P.O. Box 7900, Mountain View, California 94039.

Meeting Material catalog ... a new, 48-page, one-stop source of meeting products from Visual Horizons, this 1989 version has over 90 new products in addition to travel slides, presentation graphics, computer graphics and overhead projection equipment. Everything you always wanted to know about holding a meeting, but were afraid to ask, is available in these pages. For your free copy, write Stanley Feingold at Visual Horizons, 180 Metro Park, Rochester, New York 14623, or call (716) 424-5300.

Audiovisual supply catalog . . .you name it, this book has it. Shelving units, file cabinets, instructional video tapes, disc players, headphones are all available in Highsmith's newest library and audiovisual equipment catalog. You can even order a bean bag chair, which would definitely make your audiovisual presentation a casual affair. If you have a free day (and I mean a full day) for catalog browsing, write for your free copy to The Highsmith Company, Incorporated, W5527 Highway 106, P.O. Box 800, Fort Atkinson, Wisconsin 53538, or calll-800-558-2110.

GRAPHIC STYLE

THE LEFT-HANDED DESIGNER

include halftones, duotones, straight line shots and posterizations, and a swatch sampling of all twenty-three Hammermill Offset Opaque and Cover colors is also provided. For your copy of " Collectibles:' contact your local Hammermill merchant or write Rose Marie Kenny, Hammermill Papers, 6400 Poplar Avenue, Memphis, Tennessee 38197.

ABRAMS~

lllf'W

100 Fifth Avenue New York, N.Y. 10011 1- 800- 345- 1359 [ _ _ ]

Th e Fidelity Graphic Arts Ca talog . . . is a helpful guide, if you don't have the time or inclination to visit your local art supply store, where most of these products are readily available. Next day shipment is offered, as well as phone ordering. Most brand names are represented and they advertise most items as " in stock" and ready to be shipped. For your free copy, write Fidelity Products Company, 5601 International Parkway, P.O. Box 155, Minneapolis, Minnesota 55440.

- William Ray burn

CLUBS, CONFERENCES, SEMINARS

AlGA/CINCINNATI The new Cincinnati Chapter of AlGA appointed board members for 1989 are: president Dan Bittman, Design Team One, Inc.; vice president of programs Janet Blank, Mead Paper; vice president of fund raising Steve Dulle, Graphitti; treasurer Janet Luebbert, Western-Southern Insurance; secretary Lisa Brinkdopke, Design Team One, Inc. For membership information, call Gordon Salchow at (513) 961-1456 or write to AlGA/Cincinnati Chapter, P.O. Box 2596, Cincinnati, Ohio 45201-2596.

IDSA The Industrial Designers Society of America recently announced the results of its national election of officers: president Peter Bressler, Bresslergroup; executive vice president Charles Pelly, president, Designworks/USA; secretary/treasurer Budd Steinhilber; Northeast district vice president Peggy Howe; Mideast district vice president Tim Cunningham, Daedalus Design; Southern district vice president Pascal Malassigne, Georgia Institute of Technology; Midwest district vice president Nancy Perkins, Perkins Design Ltd.; Western district vice president Don Lahey, Hewlett-Packard Corp.

The national conference and exhibition of the IDSA will be held August 9-12 at the Minneapolis Marriott City Center. This year's theme is "Designing The 90s;' and Thomas Sandberg, manager of industrial design for the 3M Company, will be the national conference chair. The program will cover the interrelated futures of design, business and the environment, as it explores entrepreneurship, marketing, demographic trends, social responsibility and education. Early registration fees are $345 for IDSA members and $445 for non-members, which include three evening events and access to The Design Gallery. Contact Celia Weinstein, Director of Internal Affairs, IDSA, 1142 East Walker Road, Great Falls, Virginia 22066 or call 703-759-0100.

SACRAMENTO The Sacramento Regional Illustrator's Guild has elected its 1989 officers and board members: president Buz Walker Teach, Buz Walker Teach Illustration/Design Studios; vice president Debra Hardesty, illustrator; secretary Tish Tenud, illustrator; treasurer Rob Wilson, ASAP Trade

Graphics; general director Chris Ceccarelli, Ceccarelli Studios; and advisers Karen Fulk, Matthew Holmes, Judy Sava, Craig Schindler and John Tessler. For further information, contact SRIG, 1814 27th Street, Sacramento, California 95816 or call (916) 454-3556.

SEGD The Society of Environmental Graphic Designers has established a communications network of fourteen newly-appointed regional representatives to help the organization maintain its personal touch among the national office, the board of directors and members-atlarge. Aside from serving as an information source on SEGD and the field of environmental graphic design, the representatives will plan regional events, raise funds, recruit new members and strengthen ties with allied organizations. They include: Boyd Morrison, New England; Lance Wyman, Mid-Atlantic; Deborah Bruker, Southeast; Peter Seitz, Midwest; Ferdinand Meyer, Southwest; Grant Follis, West; Paul Arthur, Foreign.

The SEGD 1989 national conference will be held August 3-6 at Cranbrook Academy of Art in Bloomfield Hills, Michigan. "Hand In Hand In Hand, Exploring the Collaboration Effort" will be this year's theme. The conference offers lectures such as: collaboration with large offices and on large projects, husband-wife partnerships, and the multi-disciplinary design office team approach. Contact SEGD, 47 Third Street, Cambridge, Massachusetts 02141 or call (617) 577-8225.

ICOGRADA The International Council of Graphic Design Associations will hold this year's congress and thirteenth general assembly in Tel Aviv, Israel, from August 27 through September 1. The main topic will be graphic design through high technology. Discussions and presentations will be interspersed with social events, tours and cultural entertainment. The official languages of Tel Aviv 1989 are English and French. Registration fees are $300 for participants, $200 for students and $150 for accompanying guests. Address all correspondence to: The Secretariat, lcograda-Tel Aviv 1989, P.O. Box 50006, Tel Aviv 61500, Israel. Or call (03) 654571.

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

A R T S

139

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 ofthe 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.

Issues not listed are no longer available.

JAN/FEB 1986

$18

CA-77 Advertising & Design Annual

JUL/AUG 1978

$12

$18

CA-79 Advertising & Design Annual

NOV1984

NOV/DEC 1980

CA-84 Design Annual

$18

CA-80 Advertising & Design Annual

JUL/AUG 1981

$12

The Art Annuall981 Illustration & Photography

SEP/ OCT 1986 $6

DEC1984

$18

$18

$6

CA-81 Advertising & Design Annual

JUL/AUG 1982

MAR/APR 1985

$18

$12

The Art Annual1982 Illustration & Photography

NOV/DEC 1982

$18

CA-82 Advertising & Design Annual

JUL/AUG 1983

$12

The Art Annual1983 Illustration & Photography

NOV 1983

$18

JUL1985

DEC1983

Illustration Annual

$18

JAN/ FEB 1984

AUG1985 $6

Designing the L.A. Olympics; Gary Kelley; Johnson & Simpson; Annals of Design (2); Lance Hidy; Index to Volume 25

MAR/APR 1984

$6

25th Anniversary Issue; The CA Annual Judges; Judging Process

MAY/ JUNE 1984

SEP/OCT 1985

Anspach Grossman Portugal; Braldt Braids; Daniel Bittman; Chuck Kuhn; Hixo, Inc.; Vincent Daddiego: Roll Over Vivaldi; Herb Rosenthal's Fountains; Robert Parker: Copy & Graphics

$18

DEC1986

$18

JAN/ FEB 1987

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; " Hold the Red Ink, Merger on the Right"; Index to Volume 28

MAR/APR 1987

$6

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

MAY/JUN 1987

$6

JUL1987

$12

Illustration Annual $6

$18

$18

AUG 1987

$12

Photography Annual

SEP/ OCT 1987

$6

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising

NOV1987 CA-87 Design Annual

MAR/APR 1988

$18

$6

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen $6

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

JUL1988

$12

Illustration Annual

AUG 1988

$12

Photography Annual

SEP/ OCT 1988

$6

Tony Swartz; Julie Lieberman; Franr;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

NOV1988 $6

$12

CA-85 Design Annual

CA-85 Advertising Annual

NOV1986

$12

Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

DEC1985

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

Photography Annual

NOV1985 $6

$6

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel 's Ballet

CA-83 Design Annual

CA-83 Advertising Annual

$6

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

$6

CA-86 Advertising Annual

Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26

NOV/DEC 1981

$12

CA-86 Design Annual

CA-84 Advertising Annual

JAN/FEB 1985

$12

$6

Smart Yellow Pages; William Neill; Art Chantry; " Design Jobs: Fact and Fiction"; Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29

MAY/ JUN 1988

Illustration Annual

AUG 1984

Anita Kunz; R/Greenberg Associates; Gregory Heisler; Bill Robles; Larry Bender; Computer Graphics for Design and Production

$6

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

Photography Annual

$12

$6

MAY/JUNE 1986

AUG1986

$18

JAN/FEB 1988

Steinhilber & Deutsch; Per Arnoldi 's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

Illustration Annual

SEP/OCT 1984 $18

CA-78 Advertising & Design Annual

NOV/DEC 1979

$12

Photography Annual

The Art Annual1978 Illustration & Photography

NOV/DEC 1978

JUL1984

DEC1987 CA-87 Advertising Annual

MAR/APR 1986

JUL1986 NOV/DEC 1977

$6

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

$18

CA-88 Design Annual

DEC1988

$18

CA-88 Advertising Annual

JAN/FEB 1989

$6

Edelstein Associates; Myron; Joy Radio; Muller+ Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhibit

MAR/ APR 1989

$6

Tom Hughes; Jim Arndt; Melissa Grimes; Good by, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure