mayjun1990

COMMUNICATION ARTS VOLUME 32, NUMBER 2, MAY/JUNE 1990

Editor and designer Patrick Coyne

44

TIM GIRVIN

Executive editor Jean A. Coyne

56

PAGANO , SCHENCK & KAY

Associate designer Stephanie Steyer

66

AARON JONES

Production manager Scott Perry

76

WINE LABELS GET BOLDER

Production Ron Niewald Scott Teaford

84

TERRELONGE DESIGN

94

DESIGN-SPEAK VS. COMMUNICATING FOR SUCCESS

Administrative assistants Deborah Collins Judy McBride Subscription manager Vickie Perry

by Byron Ferris

by Mill Roseman

byStephanieSteyer bySallyLehrman

by Larry Frascella

by RitaSueSiegel

98 RICHARD MANTEL by Robert A. Parker 108

TED

Subscription Nina Bland Ronnie Brown

110

DEGRAFIWAHRMAN

Traffic Vernon Carter

116 EXHIBIT Reproductions of new and best

2

by Dick and Jean Coyne

by Dick Coyne

Consulting editor Richard Coyne Con tri bu tors Maxwell Arnold Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Robert A. Parker Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

COLUMNS

10

EDITOR's CoLUMN

18

OPINION/COMMENTARY

32

FREE-LANCE

38

LEGAL AFFAIRS

125

DESIGN TECHNOLOGY

Robert A. Parker

Barbara Gordon Caryn R. Leland

130

BooK REVIEws

137

CA-90 CALL FoR ENTRIES

142

MATERIAL, AVAILABLE LITERATURE

154

CLUBS, CONFERENCES, SEMINARS

Wendy Richmond

COVER: Photograph by Aaron Jon es

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

Commun1cat1on Arts Magazine (ISSN 0010-3519) 1s published e1ght times a year, January/February, March/ April , May/June, July, August, September/ October, November, Decembe r,

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

Copyright 1990 by Coyne & Blanchard, Inc. Se cond class postage pa1d at Palo Alto, California and add1t1onal off1ces.

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

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

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As part of its pre-centennial celebration, Strathmore is pleased to present this series of interviews with the men and women whose achievements help shape the business of design. Through the diversity of their insight and experience, we hope to provide a better understanding of the complexities encountered in this most exciting field of endeavor.

Takenobu Igarashi is known around the world as graphic designer, product designer and sculptor. His work is on permanent exhibit at the Museum of Modern Art and Cooper-Hewitt Museum in New York, as well as museums and private collections in Japan and throughout Europe. He seems equally comfortable creating print media, product design, corporate identity and environmental forms. His unique and innovative designs are based on a very simple philosophy: To combine current technologies with an anticipation of the future to form an environment that is not only practical, but beautiful as well.

While continuing to head his well established studio in Tokyo, Mr. Igarashi is in the process of opening offices in Santa Monica, California. We spoke to him there.

TAKENOBU IGARASHI Strathmore: As an established designer

in Japan, why did you decide to open an office here in the United States?

Igarashi: I was too busy in Tokyo with

guests and meetings. I needed time to design.

Business is necessary, but it can drain you of the creativity within you.

You could be sitting down, engrossed in a project, but the phone rings and there is another problem that you have to solve.

You try to come back to where you were but the moment is lost in many ways. Here I can work for many hours with nothing else to worry about.

Working in the United States also helps me pursue my interest in Roman characters and alphabets. And I enjoy the good weather. Opening this office evolved from all that.

Strathmore: Working in both countries gives you .a unique perspective. How does design differ between the two?

"... the telephone company asked me to design

Strathmore: Is business in Japan also

a telephone because

Igarashi: In America, people bring a

I had no experience,

but I had their trust:'

done differently? portfolio to get a job, but not in Japan.

Japanese clients like to find not only talent, but also the person. It has to do with kansei (pronounced con-say).

Strathmore: What is kansei?

Igarashi: It is very hard to translate. As

a people, we have Japanese kansei, but I also have my own kansei. If I make something very, very nice, people will say it is because of my kansei. It is my character, my perceptions, my attitudes, my feelings and my outlook. It is my totality and it forms my sense for everything.

Strathmore: How do they get to know your kansei?

Igarashi: Japan is an island. There is

just one Japanese people. Here, you have a melting pot of nationalities.

There is a common understanding in Japan because everyone has a very similar education and background. It is one culture.

For example, in Japan, if someone does something in the color red, it

would have significance because everyone would understand what that meant. So a lot of Japanese advertising and design is vague to Americans but to the Japanese it is very clear.

Igarashi: It is very important to estab-

Strathmore

lish a deep relationship with a client. It takes time. Perhaps, many years. Once Japanese clients know and understand a designer's kansei, they can give him freedom, because there is 100°/o trust.

Continu ed on next page.

Trust is such an important part of design. Once clients trust you, once you develop a relationship with clients, they are much more open to your suggestions and ideas. They trust the designer to produce something good and not have to worry about it or scrutinize it. They trust you as a person, so they'll trust your design and your input and your word. You don't have to prove yourself each time.

Here clients know what they expect or what they want a designer to do.

Japanese clients are more vague. They expect us to be very, very creative.

Strathmore: How do you present your work to your Japanese clients?

Igarashi: For a corporate design program, we may present more than a hundred logo designs. Big corporations have many executive people who decide and who have different opinions and expectations. A designer has to make everything smooth. We show as many designs as possible, so they can see the many directions they can choose between.

Sometimes it is difficult for a designer to make a decision in one direction. A design should be successful for designers, for clients, for consumers and the general public. For that reason I like to hear from many different people.

I rarely say "This is a design I recommend." In the beginning, I usually put a mark on 20 or 30 designs I feel comfortable with or see the possibilities for future development. Then I ask them to pick any designs they like.

So sometimes altogether there become 50 designs. We listen to all opinions and selections carefully and develop the second stage.

Strathmore: So you narrow it down slowly?

Igarashi: Usually we spend more than a year to develop a corporate logo.

After a year or so, I can have several good designs.

Strathmore: Do you think that length of time makes sense?

© 1990 International Paper Company. All rights reserved.

Igarashi: Yes, we usually advise clients not to decide right away and keep several designs in the president's or chairman's office to look at every day for many weeks.

Strathmore: You've designed many things. You've gone from phones to flatware to logos to annual reports. Is there anything you haven't yet done that you would like to do?

Strathmore: Do you use computers to help create the designs?

Igarashi: Yes. Car design. The car is everything: furniture, instruments, shelter, transport. It is my dream project.

Igarashi: Yes. Designers are using computers more and more. In my studio everybody uses the computer for a part of the design process. I think computers have great possibilities to do unique things. They allow people to concentrate more on concepts, rather than spending a lot of time with ideas.

Strathmore: Do you think that's healthy?

Igarashi: Yes, because each person can develop many ideas, but we cannot develop many concepts. Concept is more difficult. I think concept is related to each person's lifestyle, it is more basic.

Strathmore: Can that happen?

Igarashi: Yes. In Japan. I have been asked by several different manufacturers for product design, because I didn't have any experience. That was their intention. They expect me, without any experience, to see the possibilities, to make something new and unusual. The telephone company asked me to design a telephone because I had no experience, but I had their trust.

Strathmore: Because of your kansei?

Igarashi: Yes, kansei. They trusted my kansei.

Strathmore: Could you explain?

Strathmore: Do you think that could happen here in the United States?

Igarashi: To be a vegetarian is concept.

But a vegetarian can eat many kinds of foods prepared in many different ways. These are ideas.

Igarashi: I don't know. With Japanese success taking place in different areas, maybe.

Strathmore: Has the use of computers caused much change?

Igarashi: The word processor has changed Japanese communications.

We have at least 8,000 characters in our written language. Before the word processor, we couldn't use typewriters. Now we have 30 or 40 keys that hold all the options for the 8,000 characters, so everybody now uses the word processor: designers, business people, even at home, everybody. That has created the need for the letterhead.

Before, we had papers for handwriting, but not for typing. Typing has less identity. It is very mechanical. So now the Japanese need nicely designed letterheads to add a human touch and character. That has only happened over the past five years.

Strathmore.

Because paper is part of the picture.

Strathmore Paper Company Westfield Massachusetts oro85 INTERNATIONAL@PAPER

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EDITOR'S

COLUMN

PATRICK COYNE

I

RECENTLY RECEIVED A CARD FROM A local designer suggesting that we celebrate the twentieth anniversary of Earth Day, the event that many feel started the environmental movement in the United States. The card was printed on a cast-coated stock with heavy ink coverage, not the easiest thing to recycle. This invitation reinforced my opinion that environmental concern should be an important issue for designers and art directors.

Between 1978 and 1988, demand for printing and writing paper grew by 70 percent. The paperless office is obviously not going to happen in the near future. Last year the United States threw away enough copier, computer and typing paper to build a 12-foot wall from New York to Los Angeles. 60 million tons , 40% of all commercial and residential trash , is paper and paperboard products and that includes packaging, brochures and posters, pieces close to every designer's heart.

All this places a tremendous environmental responsibility on our profession, because we are the specifiers of printing papers and packaging.

There seems to be a great deal of misinformation on the subject, and it's no wonder with terms such as biodegradable and recyclable being used by every manufacturer eager to claim their devotion to the environment. Christina Desser, executive director of Earth Day 1990, has expressed disappointment over corporations using Earth Day as a way to sell products. She was recently quoted as saying, "We need to be vigilant against green ad campaigns.

Wrapping a message in a green wrapper does not an environmentalist make. " Biodegradable is a relative term. Solid waste compacted into landfill will not disintegrate for centuries without water and air circulation. The so-called biodegradable plastic garbage bags will only begin to breakup after extended exposure to sunlight, which is not likely to happen in increasingly scarce dumpsites.

Recycle Pack '90, a conference held in London this last February, was created to educate the public, media, industry and government on the solid waste management crisis.

Speaking at the conference , Stewart Mosberg , senior director of client services at Walter Darwin Teague Associates, said, "If we are to design for both environment and the consumer, we must be fully cognizant of waste management techniques ."

Four techniques he described are recycling , reclamation, reduction and recovery. A package is recycled when it is returned to its point of origin, cleaned, refilled and returned to the market in its original form. A package is reclaimed when it is crushed, melted or ground and then reformed into its original shape or for some other use.

Reduction refers to the amount of material used.

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Recovery is salvaging the package ' s most usable components for reuse.

To recycle is not enough. Right now there are tons of newspapers sitting in warehouses because there i no market for them. Unless there is increased demand for recycled paper, or reclaimed paper, as Mr. Mosberg might call it, the efforts of good intentioned people will be dumped into landfills.

Our role as designers should be to specify recycled paper and to look at alternative materials.

Some positive steps have already been taken. Since June 1989, all agencies of the Federal government that purchase paper and paper products have been required to have a preference program for the purchase of items made from recovered materials. The general public ' s concern for preserving and enhancing the environment is at an all time high.

Rather than preach from the sidelines, I intend to have CA do its part by converting much of our business papers to recycled stock over the next few years. I also hope to bring you more information on the subject.

0

The end of spring sends a new crop of graduates from our schools looking for work in agencies and design firms. With that in mind, we ' ve printed an excerpt from a speech RitaSue Siegel made at Art Center College of Design in Pasadena. She discusses some of the misconceptions about the value of design by business leaders and the inability of designers to communicate effectively. We felt her comments were worthwhile reading for everyone.

Bob Parker's opinion/commentary column looks at the design school curriculum. Bob contacted a broad group of people and I'd like to thank them all for their candor. The debate over design theory versus professional training is predictably split between educators and practitioners. A few disappointing conclusions: a lack of interest on the part of practitioners toward an internship program , and graduates will be even less prepared as our profession becomes increasingly complex.

0

On page 53 of Rob Day 's article in the March/April iss ue , we were given incorrect creative credits. The credits on the Medical Economics magazine article , " Now it Pays to Blow the Whistle on Medical Fraud," should read : Roger Dowd , art director; Ann S. Weber, associate art director.

•

IN THE ROAR OF AN ANGRY SEA

'HERMAN MELVILLE FOUND HIS INSPIRATION

The Inspiration Behind The Creative Mind

It was a callow Herman Melville who shipped before the mast in 1839. But what began as an innocent search for excitement aboard whaling ships ended in a burst of literary genius. Somewhere in the dark nights and violent days at sea, Melville found his inspiration. The passion it ignited produced the American classic Moby Dick, a timeless tale of such power and obsession that its message will be with us always.

Melville admired this nineteenth-century French lithograph by B. Martens for its execution and accuracy.

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In the hands of an artist with the skill of Daniel Tennant, Pelikan Designers' Colors glow with the full dimension of their vivid intensity.

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IC> 1989 Typographers Internat iona l Association

OPINION/COMMENTARY

R OBERT A. PARKER

DESIGN SCHOOLS, STUDENTS AND THE REAL WORLD

T

HE QUALITY OF DESIGN EDUCATION IS itself a complex issue. Is it the role of design schools to provide a practical education? If so, to what degree? Should design educators also be practitioners? How is practical defined? How well prepared are today's design students for the real world?

Some answers:

Paul Rand: "I don ' t think most are prepared. What they're taught is utopian, not practical."

Leslie Smolan: "For four years, students are climbing to the top rung. After graduation, they're on the bottom rung of the next level. They need to adapt to that."

Kit Hinrichs: "Most design schools don't give a damn about what the designer's role really is."

David Brown: "Design is so complex a discipline that in eight semesters, a school ean 't do the complete job."

In an unscientific sampling, designers and educators seemed to agree that students need to be better prepared for an increasingly competitive world. In limited space, however, one can at most suggest the direction of their thinking in three areas: school programs, student needs and the transition to reality.

The Schools "The interests of design firms differ from those of design schools," said David Brown, president of Art Center College in Pasadena. "The firms want to hire someone who will help them make money. The schools want to create an environment in which young people can express themselves and grow."

But how much of the design experience can be taught in the schools? "Four years is not enough time for design theory, professional training and the humanities," said designer Philip Meggs, formerly director of the design program at Virginia Commonwealth University. He argued that professional training should be at the graduate level.

"Design schools are ill-equipped to provide business and marketing training," said W. Daniel Wefler, an Illinois consultant to design firms. Communicating that knowledge he said, "should really happen in the studios."

18

teachers practice their profession in the time other faculty reserve for research.

Should such faculty be teachers who design or designers who teach? "The most uccessful schools use both ," said Gordon Saleh ow, who has taught for twenty years at the University of Cincinnati. He added that it is full-time faculty which makes a total commitment to education. But other designers are skeptical. They see academic as less innovative, often repeating the same assignments from year to year. Cincinnati colleague Dan Bittman has noticed "similar projects from one school to another."

For David Brown, a teacher must be passionate about current design, "and experience has shown me that a designer who spends one day a week in the classroom has made a statement about the importance of education and made a commitment to the profession. That is a more trustworthy professor than one who has tenure."

"Teaching is one of the few ways you can put something back into your craft," Dallas designer Stan Richards said.

But not all is altruistic since, "once you're part of a school, the kids you want may come your way."

Design education is being practical, many think , when it trains students on the computer. "But the computer is a double-edged sword," argued New York designer Leslie Smolan. "A computer helps you find an answer, not create one. It gives you too many options. It doesn ' t help you think. You should visualize in your head before going on a computer. The more you use it first, the more it becomes a crutch."

"How can you learn about the form and proportion of type," asked Paul Rand, "if you letter on a machine?"

The major complaint designers have about art schools is that they are not realistic enough in the classroom. "In school, you may have weeks to do a big project," aid Jim Berte of Robert Miles Runyan, Los Angeles. "In business , you ' re juggling four projects at once." David Brown 's solution is "to put real clients in front of the students and let them go through a real project." At New York 's School of Visual Arts (SV A), classes are held in studios.

A key person is the teacher. "A theoretician cannot teach design ," Paul Rand said. "Besides having aesthetic value, design has to be practical, has to work. To understand practical work, you have to do it."

But Gordon Salchow believes it is impossible to emulate the workplace. "Education is distinct from the practice of design," he said. "Ad agencies , corporations, large and small studios- each offers a different situation. Design school can't prepare you for all of them."

More and more schools are offering a faculty of practicing designers. At Virginia Commonwealth, Meggs said, design

"Why not use the Harvard Business School casebook approach," asked Kit Hinrichs of Pentagram, San

M A Y I J U

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Fists are clenched. X-actos are gripped tightly, knuckles tum white. Faces tum Pantone Wann Red in anger. The client has changed his mind. Again.

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fast Visuals Hercules Art Dept. features Filled shapes. the Hercules Graphics Station Card and LUMENA/ Hercules, the superb graphics/ paint program from Time Arts. • You can start by scanning in a photograph or illustration. These can then be sized, scaled or rotated to any position, overlayed, increased or reduced in size. It's just like creating a comp-but so much faster and more flexible. If you prefer, create your own original visuals using "air brush;' "chalk brush" and ''texture brush:' Add backgrounds with high-impact color gradations and headlines and text in any number of sizes and at any angle. • With Hercules Art Dept., logos, ads and literature or Color masks and pens. packaging comps can be rendered in hundreds of different styles, colors and layouts.

And then, output to color printers, slides and transparencies or to color separations.

~eal Lolor Hercules Art Dept. allows you to have a palette of over 16 million colors (imagine having the same number of markers on your desk!) to create photo-realistic, Chalk brush, on a text:ure continuous tone images. • Never again Embossing, with tinted transparency. will it be a chore to change the color background. of the model's eyes, a background color, the position of a photograph or the size of your client's logo. • Just sit your clients in front of your screen and show them every option imaginable. Alternatively, you could print out your ideas or show them a complete slide show.

less LOSt Hercules Art Dept. can reduce production costs by as much as 50%. Because everything from changing the layout to changing the visual can be completed in seconds. And just think of the money you'll save on supplies-markers, paper, paints, airbrushes, etc., because they're all included. • Hercules Art Dept. is available from authorized Hercules Art Dept. Dealers. • Take a look at it today. Before your client has another brainwave. For more information contact Hercules at 1-800-532-0600 (U.S.) ext. 233 or 1-800-323-0601 (Canada) ext. 234.

~srcules

Its ~nl~ limitation is Your lma~ination! © 1990 Hercules Computer Technology, Inc., 921 Parker Street, Berkeley, CA 94710, 415 / 540-6000. Hercules, Hercules Art Dept. and Hercules Graphics Station Card are trademarks of Hercules Computer Technology, Inc. LUMEN A and Time Arts are trademarks of Time Arts Inc. All other product names are trademarks of their respective holders. LUMEN A Images created by John Derry at Time Arts Inc.

Composite images.

You know what it's like.

If you're in graphic arts, you know there's a lot of grunt-work.

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Trying to get true colors from a junkyard of dried-out markers.

Inking and re- inking rules and borders because of clogged pens.

T-squaring elements to be sure they're aligned and square.

Counting characters.

Spinning proportion wheels.

Tracing off the Lucy.

Wouldn't it be nice to spend more time exercising your brain instead of

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Refining layouts? Trying "What if" design options? Or experimenting with color combinations?

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CalComp large screen displays help you get the most from your Macintosh.

Fbr one thing, they never let you lose sight of the big picture. DrawingCard is the first 21" system to give you two full pages of color side-by-side at actual size. That's critical when you're

designing double-truck ads, brochure spreads or creating a large horizontal illustration.

DrawingCard's flat screen eliminates distortion and with its excellent resolution and contrast you can see the effect of small changes in the colors right on the screen. Or evaluate the visual effect of half-point variations in type size and leading. You can even see the precise amount of letter overlap when you set your headlines "tight and touching:' And with DrawingCard displays, what you see on the screen is what you get on your printer because screen resolution is true 72 dpi.

All screen images were scanned, imported, displayed and photographed on CalComp DrawingCard displays. © 1990 CalComp Inc. DrawingCard and WIZ are trademarks of CalComp Inc. Macintosh is a trademark of Apple Computer, Inc.

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Francisco. "We need to introduce grittiness into the classroom, like the irrational, subjective responses of a businessman that have nothing to do with design- yet need to be responded to." Manhattan designer John Waters drove his Pratt students crazy, he said, by giving them writing assignments to help them respond. "You have to make clients understand what you're doing," he said.

"Being able to verbalize- including good spelling and grammar- is essential in dealing with clients."

The Students "Students think all they will do in business is sit at a desk and design," said designer Valerie Richardson of Phoenix.

"They are not aware of the time that is spent on paper work, at meetings, even on the phone."

"Students today are less venturesome, especially in their approach to design solut!ons," said Dan Bittman. "Finding young people passionate about their craft, rather than about their career, is difficult."

"Students' ideas are fresh and honest," said Jim Berte, "but they are naive about what a designer does."

Student friends of New Jersey designer Wayne Roth went into fine arts fifteen years ago. Some also went into teaching. But the '80s brought a new awareness. Students became pragmatic. "They also realize," he said, "they can't pay back today's tuitions on fine arts or teaching salaries."

If the '80s were pragmatic, they also brought new financial potential to a successful design career. Plus, there was more competition for jobs, because now twenty, not five, good schools were turning out qualified students- and not just in New York, Chicago and Los Angeles.

The portfolio helped one to get a job anywhere.

"It is a necessary evil," David Brown said. "It's necessary because the buyer must be assured the applicant can do a good job. It's evil because the portfolio can become an obsession to the student and to the buyer it can become more important than the individual."

A common complaint among graphic designers is that they can recognize the applicant's school from the portfolio. The clue may be an emphasis on type, on slick comps, on the Bauhaus style. The look is a product of the school's curriculum and whether it changes- or whether the professor changes. ''When I look at a book," John Waters said, "I don't want to see the school. I want to learn how the applicant thinks. I want to see roughs. Often the thinking is just not there. Schools seem to emphasize the finished product."

24

M A Y I J U N E

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"Portfolios contain completed work," responded David Brown , "because the professional world wants to see results, not how the student got there."

"The profession doesn't take time to get to know a person," added Hammett Nurosi, assistant professor at the Rhode Island School of Design. "Designers say leave your portfolio for a few days. How can you learn if a person will grow if all you see is a product of mechanical skills?"

The portfolio can offer an imperfect weeding process when competition is fierce. Richards in Dallas interviews 400 people annually, and hires five. "We'll see anyone, and look for three or four outstanding pieces. Then we look at the person." But he also added that "comps have no more value for us than a rough. We're looking for a great idea.

We don't present our own ideas to clients in a slick comp, so why seek them from students?"

Designer Steve Frykholm, at Herman Miller in Michigan, doesn't like students spending what they can't afford.

"Portfolios serve to initiate a conversation," he said. "I let the student control the talking. He could talk from a comp or a rough, but I want him to lead. I want him to show he can think and talk on his feet, that he can deal with a stranger, me, who is a client to him."

Transition to the Real World Design schools en masse have taken a bashing, for not producing enough capable people who can contribute quickly to the bottom line. But is this the goal of design schools?

How much should their focus be on business skills?

"I see many employers not hiring full time, not offering benefits and not making a commitment to developing an employee," said Doug Wadden, a Bellevue, Washington, designer and educator, and chairman of AlGA's education committee. He terms employment on projects a "per pound basis of hiring." It doesn't teach office procedures, work habits, or a design philosophy. "The message is we have no long-term interest in you. But if design is a profession," he added, "it must treat people like professionals."

Both David Brown and designer Kit Hinrichs are involved in intern programs and use "apprenticeship" to describe the ideal approach to training students.

Herman Miller hires three designers annually on a one-year contract. "It was painful to lay off people in the early '80s," Steve Frykholm said. He wondered about bringing in designers for a limited term and found the Walker Art Center doing it. "It's worked for us because good applicants have been willing to come to Zeeland before going on to the big city. There is a

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temptation, at times, to keep someone on," he said, "but that would destroy the integrity of the program."

"I know some firms do it," Gordon Salchow said, "but will they really give up a first-cia s designer? I prefer the University of Cincinnati five-year co-op plan, where every other quarter the student works in a design firm after the sophomore year." Graduates end up with 11;2 years of experience and a bachelor 's degree. Usually, with each new quarter, the student's status at a firm is elevated. As many as 80% are offered positions, Salchow reported.

Would an apprenticeship contract work in graphic design today? Could a year's experience in a design firm be built into the education experience between the sophomore year and graduation? Would design firms accept such a commitment?

"I can't afford to spend my time training a student for someone else," Valerie Richardson said. "I' d do it only if I knew I could keep the person. " She can see taking in a student after the sophomore year, " ... since after a year's experience the student would have an idea of what to focus on in the final two years of school. But I would still want to be able to hire the student after graduation."

"It sounds terrific," Richard Wilde of SV A said, "but would students do real work, not bu ywork? I have doubts. " "We recommend some students take a year off anyway," RISD 's Nurosi said. "It 's common in architecture."

The basic question remains: What should design schools teach? "They should teach students to think," Jim Berte said. Stan Richards agrees.

"Why not?" New York designer George Tscherny said.

"This is what happens in Europe, especially in Switzerland."

His own firm now hires students informally. "We don't take them as interns, because that would require responsibility at our end. A contract would also require a firm to train such people. But maybe some firms would be willing to put something back into the profession by agreeing to do this. "

"School is the beginning of education," David Brown aid, "not the end of it."

"I'm 75 now," Paul Rand said, "and I'm sti ll learning."

•

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There's a reason the most prestigious stationery programs include a private watermark. Find out what it is.

For information on how you can receive the set, contact your authorized Gilbert Paper Distributor or call us at 1-800-828-4553 for the Gilbert Distributor nearest you.

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30

M A YI J U N E

19 9 0

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FREE-LANCE

B ARBARA GORDON

PREDICTIONS S A WORKING REPRESENTATIVE, I GET to meet with and talk to a wide range of people, not only in our field, but in advertising, industry, government and publishing. Based on my conversations and observations I'd like to make two predictions from my sometimes cloudy crystal ball.

A

The first is about the free-lancing field itself and the changes I think are just starting to take place. Everyone in our field knows that, because of a combination of economic factors and the demographics of the "baby boom" population, more and more people have been entering the field yearly. They have increased the ranks of the free-lance population to a point where it appeared almost impossible, mathematically, for many of them to make any kind of living. Nonetheless, this trend has gone unabated for almost a decade. Anyone in our field has also been aware that many of these newcomers were poorly trained or just plain untalented (which didn't help the image of the free-lance industry).

The large numbers of..free-lancers were a boon to the non-profit organizations in this profession, many of whom rely heavily on dues. But, to everyone else in the field, the large number of entrants just spelled further overcrowding in an already fiercely overcrowded and competitive field.

This past year, I actually started to run into free-lancers who were dropping out of the field because they felt they could no longer compete and were planning careers in other areas. I was also contacted by a few reps, who told me confidentially, that they were planning to leave the business and were trying, discreetly, to make other arrangements for their artists ahead of time. There weren ' t armies of people doing this but, for the first time in a long time, there have been people planning to leave the free-lance field because they feel they can ' t make a living at it.

Meanwhile, because of the smaller population behind the "baby boomers" (the "baby bust" generation) , the art schools tell us that it's harder and harder to get those big enrollments that they had all become used to, which translates into the fact that fewer art school graduates usually means fewer free-lancers entering the field in the next five to ten years.

Because of these population shifts, I predict that the good and talented free-lancers among us , who can persevere for the next five to ten years, will find that they have a more stable and creative market to work in. It ' s a slow , but a building, trend. My reasons for believing this way also relate to my second prediction. We are poised for a real revival of creativity, especially in the advertising field.

32

M A Y I J U N E

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For years, during this heavy merger and acquisition period in advertising and publishing, many of the creatives in agencies have been saying over and over that the money people who were buying and acquiring were concentrating too much on the "bottom line" and not enough on what these organizations are all about, namely producing creative that sells goods and services. And for years these complaints were falling on deaf ears.

Meanwhile, many of the most creative people in the business were being phased out or leaving voluntarily to set up their own shops. Computers were also getting big, and we reached a point where it appeared as though computers could do everything, even think and create. It seemed as though bookkeepers and computers had taken over advertising and publishing, and "creative" was a bad word.

Sometime during the past year, when agencies and publishers started to lose clients and profits , while some of the non-merged or newly formed creative shops doing it "the old-fashioned way" were prospering, the industry started to re-evaluate itself. A lot of those new little agencies were taking business away from the giants in those secondary areas like sales promotion and direct response. And these shops were taking the business away simply by being more creative with their clients.

Simultaneously , clients were starting to discover that, while computers could pick typefaces and change colors, sometimes it was nice to have one of those old-fashioned designers who could draw , really draw , and present a visual idea to a marketing group.

We are surrounded by these glimmerings of a yen for a return to creativity. My friends in the recruitment agencies tell me that, despite layoffs and cut backs, they are having no trouble placing the truly creative art directors and writers at top salaries.

The return to nostalgia is also further proof of a return to creativity. We ' re currently witnessing the revival of television commercials as well as jingles and ads from yesteryear. There are many reasons for a desire for times past, but it isn ' t an accident that advertising, in its nostalgia quest, is also returning to a time when the business was more creative and free. The signs indicate that we are poised on the brink of a new creative era.

So, to those free-lancers who have trained and perfected their talents , and feel passion for their careers, I say we ' re finally entering a period when , in my opinion , you '11 start reaping your financial and career reward s.

It ' s about time .

•

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In the beginning, there was the Macintosh.

Then bitmap paint programs, object-oriented drawing programs, laser printers.

The world of computer art was born.

And it was good. Pretty good. As long as your ideas didn't exceed the limitations of your software.

Introducing Adobe PhotoshopTM software.

Now, for the first time, you can create anything you can imagine. Start by scanning photographs and textures, then add painterly effects or put together a montage. Go on to combine your photos with Adobe Photoshop-generated or imported art Finally, retouch and refine your new images.

All in gorgeous 32-bit color.

Already, Adobe Photoshop software is changing the way artists work.

"Adobe Photoshop allows me to do everything creatively I've ever wanted to do;' Ray Honda, Primo Angeli Design. "I can see my ideas on the monitor as fast as I can think of them:' 'We've seen the future and it is Adobe Photoshop;'

Bob Clifford, Landor Associates. "It adds a dimension of realism we couldn't get any other way:' Bob Goodman, The WhaleSong Project: 'The learning curve is so gentle, it follows me as I explore:' What's more, when you're done creating, Adobe Photoshop software starts producing.

With a myriad of ways to output your finished product-slides, color proofs, even color separations.

At computer publications like Mac World, Mac User, Mac Week and big city newspapers like the San Francisco Examiner and the New York Times, Adobe Photoshop is the production tool of choice. We even hear Yale University is adding a graduate course based on the Adobe Photoshop program.

(Don't send in your application until you try our easy tutorial.)

"With Photoshop, we can scan, manipulate and separate a variety of images," Sanjay Sakhuja, Digital PrePress, a Macintosh service bureau for desktop publishing and electronic prepress. "Our customers no longer have to use highend, expensive equipment:' The question remains, how will you change the world with Adobe Photoshop? The answer appears to be, any way you want to.

For a free, full color brochure about Adobe Photoshop, check with your favorite software dealer or calll-800-344-8335.

Photography: NASA, Curtis Fukuda and Henrik Kam

Howtoch~e

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The Adobe logo and the PostScript logo are registered trademarks and Adobe Photoshop is a trademark of Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer, Inc. <rJ 1990 Adobe Systems Incorporated. All rights reserved .

LEGAL

AFFAIRS

C ARYN R . L ELAND

NEGOTIATING ROYALTIES IN LICENSING AGREEMENTS

A

RTISTS AND DESIGNERS CAN INCREASE their income through the development of a wellconceived licensing program. The commercial exploitation of fine and graphic visual art images for use on apparel , greeting cards, paper goods , ceramics, bathroom and kitchen accessories , to name but a few applications , generated in excess of $5 billion in retail sales in 1989 and earned nearly $100 million in royalties for artists and designers.

Before embarking on such an endeavor, however, design professionals need to know the basics of licensing. Among them is how to evaluate the royalty aspect of a licensing proposal.

A license is an agree~nt for the transfer or grant of rights in an image by the owner of those rights to another. The owner of the image is known as a licensor, the image is referred to as the licensed property and the recipient of the grant is called the licensee. The scope of the license, known as the grant, describes the purposes for which the license is sought and includes such other points as the geographic area covered and the length of time of the license.

Unlike an outright sale of an image or work, a license does not transfer title to the physical image.

The licensing agreement gives the right to the licensee, to use the licensed property for a specific purpose for a limited time in a particular territory. In exchange for these rights, the licensee customarily pays a royalty to the licensor.

A royalty is usually a percentage of the proceeds received from the sale of the licensed product. It may be based on the selling price (either wholesale or retail) less certain selling expenses such as sales discounts and returns. A royalty may also be based on a fixed dollar amount per licen sed product sold. In addition , a licensor may require the licensee to pay a non-refundable advance against royalties which is an amount of money paid in advance of actual sales of the licensed product in anticipation of future royalties.

The licen se may be exclusive to a licensee, meaning the licensee is given the sole right to market the licensed property, or non-exclusive, meaning, for example, that other licensees may have an overlapping grant of rights with regard to the licensed property. As an illustration, these terms could be expressed as the sole right given to a manu© 1990 Caryn R. Leland Esq .

38

M A Y I J U

E

19 9 0

facturer for a period of two years to use a design on dinnerware for sales in the United States and Canada in exchange for the payment of a $1,000 advance against a 6% royalty.

Since the royalty arrangement is one of the key term of the licensing arrangement, as it determines the income the designer will receive from the license, negotiation of the royalty provision demands particular attention. At the initial stages of the contract negotiation process, rarely will a designer be given more than a skeletal offer. Typically , it will be similar to the description in the preceding paragraph.

It is the designer's responsibility to seek out additional information to be able to make an informed decision about the royalty offered.

It is important to obtain as much information about the licensee as is known. How e tablished is the manufacturer in the area in which it proposes to produce and sell the licensed products? Is this license the first of its kind with the company or does the company have a well-established track record in the industry? An experienced licen see with a strong marketing and distribution arm usually is a better bet than a company with les developed trength s, but not always. A newcomer may be willing to commit ubstantial funds to advertise and promote the licen sed item aggressively in order to create a market niche for its products.

All of these factors should be considered.

Greater name recognition in the market, or a contractual promise to earmark funds for an advertising campaign, may even justify accepting a smaller percentage.

The promise to pay an advance against royalties or guarantee the payment of a minimum royalty periodically throughout the term of the licen se is sometimes more valuable than a higher royalty. This is particularly true for images or the type of products containing those im ages which are likely to be "knocked-off" quickly after introduction to the public , with a resulting loss of revenue for the authorized licen ee and licensor too. The general advice to negotiate as much money up front and have that money guaranteed assumes greater relevance in such a situation. Again , it may be necessary to give up a half to a whole percentage point in royalties to acquire thi s type of insurance.

All royalties , advances and minimum guaranteed royalties should be evaluated against the licen see 's proposed marketing plan. The designer should request marketing

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Appleton, WI 54912. *NCR Paper is a trademark of NCR Corporation licensed to Appleton Papers Inc. and Appleton Papers Canada Ltd. © 1990. Appleton Papers Inc.

CARYN R. LELAND

data, including the suggested selling price of the licensed item, marketing strategy and projected annual gross sales.

Getting a company to agree to a high royalty may prove to be worthless if the company lacks the marketing skills to distribute aggressively and promote and sell the licensed products. The licensee should provide this information freely. Ask for the names of other designers who license their work to the company. Attendance at licensing and trade shows held throughout the year in mo t major metropolitan areas can provide an easy means to collect information about manufacturers and licensees , as their names and those of the licensors they represent are listed in the booklets routinely published by the event's sponsor.

What rates does the company pay to other designers? Do not be misled or accept at face value a reply that "we only pay our designers x%." More often than not the initial percentage is the bottom figure tendered to test how sophisticated a design p.rofessional the licensor is , as well as to start the bargaining as low as possible. A claim that the rate is "standard" is equally specious. Contrary to the commonly held belief, with very rare exceptions, "standard" royalty rates do not exist. Each rate is the result of negotiations measured against a panoply of additional factors such as the quality of the licensor, the length of the license, the marketing plan, the number of images to be licensed, the number and types of products to be sold under the license , the designer's reputation and the uniqueness and commercialization of the images.

At the risk of having the following figures accepted as carved in stone, the general range of royalties for paper products and graphics is from 5 % to 10%; household accessories including linen and towels , 3% to 8%; apparel, 5% to 10%; and toys and games 6% to 8% of the wholesale selling price. There is no reason not to ask for higher royalties. Select an acceptable minimum dollar amount per item sold and then calculate working in reverse from the selling price (or other figure if the royalty is not calculated against selling price) of the item what percentage would yield that amount. Use that percentage as the starting point for negotiating the royalty. It is important to specify how the royalty is to be calculated and when it is payable.

As discussed above, royalties usually are defined as a percentage of the selling price of the products. A less favored alternative is to express the royalty in terms of a fixed dollar amount which can be independent or dependent on the number of items sold.

One disadvantage of a fixed rate based on the number of items sold is that the royalty payment will not increase if the manufacturer raises the selling price of the item. A 40

M A Y I J U

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royalty calculated at a percentage of the selling price would increase automatically if the price were to rise. If a fixed rate is selected, it is necessary to specify how the sum is to be paid. Typically it is paid in installments and the payment date for each should be set forth. It is a good idea to provide for acceleration of the entire unpaid balance of the fixed amount if the licensee fails to pay any one installment or otherwise does not perform its obligations under the license.

With a variable rate royalty, one of several formulas can be invoked. One choice is to use a set price or rate per item or unit sold multiplied by the number of items or units sold. This base price or base rate could be further refined to increase or decrease depending upon the number of items or units sold. A variable rate royalty can also be drafted to be a fixed percentage of the net selling price or net sales.

As with the variable price, the variable percentage can be structured as a percentage of net sale fluctuating with the numbers of items or units sold or the dollar amount generated by sales.

If the royalty is based on a percentage of net sales, it is very important to define "net sales" in a way that minimizes the money a licensee can deduct from the gross sales receipts to reduce the base against which the royalty is applied.

Licensees frequently seek to deduct expenses for freight charges, sales and excise taxes, returned or damaged items.

Most of these can be excluded from the definition of "net sales." If the manufacturer refuses to remove these items from its definition, suggest a cap on these deductions.

This limit can be expressed as an amount not to exceed a figure based on a percentage, for example between 5 % and 10%, of the total royalties which accrue on the item in a given royalty period.

With some licenses, it is possible to be paid a minimum royalty. It is an amount of money promised to be paid to the licensor throughout the term of the agreement. If the minimum is a guaranteed royalty, payment is due even in the event the royalties generated from actual sales of the licensed products fall short of the guaranteed amount.

Lastly, it is important to have all royalties and payments made non-refundable and to include a right to examine the licensee's books and records to be able to verify royalty payments as correct.

CARY R. LELANDis an attorney practicing in Soho in New York City. Her book, Licensing Art & Design , has just been published by Allworth Press, New York, and is available from North Light Books (800) 289-0963.

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BY

OME DESIGNERS DON ' T follow the usual path to profe ssional practice: art school , intern , employee. Tim Girvin majored in the zoological sciences, concentrating on marine biology in his college years.

S

Since he found that he enjoyed the beauty of many of the marine creatures but didn 't enjoy lab dissecting, he began spending his time illustrating his sea subjects rather than worrying about scientific content.

Hi s teachers soon suggested that he concentrate on illustration and this directed his enthusiasms toward book design and the study of art nistory. He began corresponding with book and letterform designers across the country.

Calligrapher Laureate Lloyd Reynolds, a professor at Reed College in Portland, Oregon, invited him to visit. Reynolds, a vital and inspiring teacher of historic letterforms, was the same sort of high energy and hi gh curiosity person as Tim and they joined in enthu siastic study of letters and typeform s. Tim developed , as the calligraphers say, "a good fi st" and an informed ability in all the class ic letterforms.

Girvin moved north to a faculty position at Washington' s Evergreen State College. Continuing study in his art and letterform field meant visiting designers in New York, research in England and travel through Europe. In 1977, he was in the Soviet Union to give a lecture to a society of designers from all over the U.S.S.R. "The Ru ssian translator asked me for a transcript of my talk but I had nothing but a list of my sequence of slides with a few notes written at the side. The translator worked in a booth connected to earphones in the audience and as I was lecturing I was surprised by the audience breaking into huge grins and 44

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BYRON

FERRIS

fits of laughter during some serious points. It turned out the translator was reading my side notes-'Be sure to thank the people who brought you here,' ' Pause here for drama,' ' Point to the pot in this one."'

After seeing what designers were doing in so many places in the world, Tim returned to the Pacific Northwest and opened a one-man design shop in Seattle' s waterfront area. "Type and letterforms are at the root of print communication and their careful consideration can be as creative as any other aspect. " He began an energetic series of promotion correspondence to almost every designer he ' d met. Robin Rickabaugh says of this effort, "Tim wanted to do something that hadn ' t been done before.

And he wanted to contribute to the graphic design field. We ' d get one striking hand-lettered piece after another, not printed, each an original. And he was very persistent. We weren't sure how we could use this kind of work at first , but it was so spirited that soon we were including Tim 's alive handscripting in a lot of our design work. " Heidi and Robin Rickabaugh were designing an exhibition catalog for the Seattle Art Museum, an exhibition of paintings and screens from Japan 's classic periods. The museum curator declared that the section headings would have to be done by an Asian lettering master. Girvin ' s perceptive headings for " Song of the Brush" delighted him.

By the mid ' 80s, Tim 's prolific output of a variety of responsive lettering was being seen everywhere, adding vitality to book covers and ad headings.

He now says, "I'm not doing that much anymore. I started out doing theme lettering and then found I wanted to be in control of the complete program of how things looked. "

He began to work with ad agencies as an ad campaign design consultant. That led to what Tim calls the " packaging of an event," creating full promotion program s for major retailers such as Nordstroms and Bloomingdales, theme promotions that included in- store displays , signage, ad formats and packaging- even theme shopping bags.

The Tim Girvin Design studios tripled in size, expanding in the harborfront building a few blocks from Seattle 's colorful Pike Street Market. Now twenty-two people work in the studio offices devoted to marketing , design and production. A library of design and letterform books takes a full room and spill s into hallways. Computers are not too much in evidence, though Terresa Axe has cu stomized software programs in the studio to track projects from design concept through scheduling and billing.

The open loft studio is compartmented

by Japanese shoji screens, the screens' translucent paper allowing light to flood through the space. A dominating collection of mu seum-quality Japanese baskets flow s through the offices .

Antique Japanese carpenter 's tool s line the walls of the conference room near a collection of class ic Japanese prints and scroll s.

Tim 's own work space is crowded with brushes and lettering tools. During his studio time now, he concentrates on concept. In execution, he says, he tends to be "gestural. "

Girvin had the opportunity to do some interesting resea rch on an important individu al in design history for the Simpson Paper Com pany Teto n brochure. Tim Girvi n, art di rector; Dav id van de Water , Simpson Paper, creative director; Stephen Panno ne, d esig ner; Dan Burrier/Rachel Norton , write rs.

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TIMGIRVI

Perhap he uses the word in reference to the spirit of the Japanese lettering rna ters who seem to use gesture in creating ideographic paintings , staring at a blank sheet with full brush in hand until the image forms in the mind, then in a burst of released "chi ," energy, the characters appear on the sheet with the in spired gesture captured.

Tim Girvin seems to have discovered a fellow ship of design spirit with the art of Japan. During the classic periods of the Japanese Shogunates , while the islands were closed to outside contact, the culture developed a trongly conventionali zed order. In calligraphy , paintings, prints, scrolls, screens and baskets, however, Japanese craftsmen ex pre sed an art elevated with an extra vi sual energy within the constraints of the order. " I try to do things that have this balance between the needs of communicating a me age and throwing in some gesture that adds life and deepens the presentation," Tim says. "You look for that extra edge to push something a bit farther. " Speaking of the art and craft history of Asia, Tim said, "There 's a lot of spirit to be learned there. I think it is now difficult to find a practitioner of graphic design who is aware of much more than the tyles of the last ten years of design. " I said , " And the styles keep changing.

What do you think of the trend toward the use of wedding anouncement type in advertising? I'm thinking, for example, of Rich Silverstein 's beautiful ads for Roy al Viking set in long measures of small hand-engravers' styles with a lot of space between lines."

Tim said, "I'm aware of a kind of renaissance of the type faces from the early 1800s and the type face s from Be rlin such as Lucien Bernhard des igned. As for the readability of unfamiliar type styles used in small sizes set in wide measure, some can make it work. Often it becomes an adventure in understanding what 's 46

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being expressed. When we ' re looking at blocks of copy in small and unu sual type , that can compromise the reader 's access to information. If such treatment is purely for the sense of style, that's going overboard. That defeats our job of communication. You lose the audience. " " If our designers play at such styling," I asked , " how does this affect the campaign to fight illiteracy? "

Tim said , " I think that anybody who 's trying to learn to read in thi s century in the United States is going to be dealing with a tough problem. There are probably more application s of diverse typography in this country than there are any other place in the world. " Thinking about non-readin g adults and the recent number of immigrants without Engli sh as a primary language , Tim observed, " It must be difficult for beginning readers to try to operate today.

Even the name of their banks may use deviations of the logo letters that have to be puzzled out.

"Just workin g with my children on learning the alphabet, I reali ze that th e subtle deviations in letterforms, that I'm completely comfortable with , really go right past the beginning reader.

There are so many designed deviation s

of the structure of letters that reading can be very difficult. " I aid , " You mean we have too man y alphabetic deviates in design?"

He laughed, " You put your own quotes around that one. " Thinking about form and freedom , the ordered form of readable typography and Tim 's spirited freedom of letterin g, I contributed my own "gesture. " I waved goodbye.

Left to right: Stephen Pannone, senior design manager; Theresa Axe, project manager; Chris Spivey, senior designer; Tim Girvi n, principal; Lynda Rickey, director of marketin g ; Rachel Norton, financial manager; Anton Kimball , senior design manager.

Right: "Seeing is Believing " was the theme of Microsoft's fourth annual CD-ROM conference, largely aimed at the entertainment industry . While Microsoft's press group origina lly felt the magical approach was not part icular ly appropriate, Girvin showed how the entire graphic program could be built around the use of magical elements. The response was the largest of any CD-ROM conference to date. Tim Girvin , art director ; Tom Corrdry/ Tom Ikeda/ Tim Girvin, creative directors; Stephen Pannone/Tim Girvin , designers ; Anton Kimball/Kevin Henderson , associate designers .

MICROSOFT

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Left: Tim Girvin has produced a number of projects for Nordstrom, a Seattle-based department store chain.

The Metropolis logotype was applied to packaging , signage and other related items for an in-store promotion . Kat Thompson , Nordstrom , art director; Cheryl Zahniser , creative director ; Tim Girvin , designer .

To coincide with the opening of a spa in the downtown San Francisco store , the packaging project involved 90 products in 11 containers and a ten-month schedule from concept to delivery . The favorable response has resulted in an expansion of the line. Cheryl Zahniser , art director; Dale Crichton , creative director ; Tim Girvin/Holly Powell , designers; Carly Marie , writer .

The Champagne Exchange is one of three restaurants in Nordstrom stores for which Girvin created architectural and signage treatments . The direction utilized existing materials in the store and elements in the design of champagne labels and seals. Cheryl Zahniser , art director; John Nordstrom , creative director; Tim Girvin , designer; Budd Erickson/Galen Oolstad , Nordstrom/ Michael Whelan , Callison Partnership , store designers.

This page : The signage treatment for Seattle 's Best Coffee shops is based on the eliptical shape of the coffee bean.

The neon logo was designed to give a wilder , caffinated urban jungle feeling , combined with industrial strength stainless steel . Tim Girvin , creative director ; Jim Olson , Olson Walker , architect; Chris Spivey , designer .

Cucina! Cucina! Logo and signage for a self-proclaimed "wild and crazy" Italian restaurant. Applications include T-shirts and rest room graphics . Tim Girvin , creative director; Anton Kimball/ Laurie Vette , designers .

Thanks to its new image and positioning , the New Richmond Industrial Laundry is the most highly recognized in the Seattle area and serves Seattle 's best hotels .

Tim Girvin , art director/designer; Anton Kimball/Mary Radosevich , associate designers .

COMMU

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T!M GI RVI

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EDGE Movie symbols have become an area of specialty because of Girvin's ability to express typographically the character of the fi lm. Frequently, the symbol acts as the only advertising after the initial media blitz.

Dangerous Liaisons, Warner Brothers . Greg Kachel , Spiros Advertising , art director ; Tim Girvin, designer/illustrator .

The Hunt for Red October, Paramount Pictures . Lucia Ludovico, Paramount, art director; Tim Girvin, designer; Anton Kimball , assoc iate designer.

Streets of Fire, Universal Pictures/RKO. David Reneric, Seiniger Advertising , art director; Tim Girvin , creative director/ designer/illustrator.

Jagged Edge, Columbia Pictures . Olga Kaljakin, Seiniger Advertising , art director; Tim Girvin , creative director/designer ; Tim Girvin/Anton Kimball , il lustrators .

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Snow White and the Seven Dwarfs, The Walt Disney Company. Roy Alexander , Disney , art director; Tim Girvin, designer/illustrator .

Midnight Run, Universal Pictures . Duane Meltzer, Universal , creative director; Tim Girvin , designer; Tim Girvin/Anton Kimball , illustrators .

Right : This brochure , simulating an Ori-Hon Japanese folding booklet, was used to give the Olson Walker architectural firm a more national presence . It folds out as a 'screen ' to about 151;2 feet in length and works as a conventional brochure in the 8112" x 11" format. The project was sheet fed and the sections were adhered with tabs. Chris Spivey , art director; Tim Girvin , creative director ; Tim Girvin/Chris Spivey/Rikki Conrad , designers ; Jim Olson, writer.

The Westin wine label was developed for use throughout the organization for catered engagements within the hotel group . The food and beverage director wanted a lively and festive spirit to the label treatment ,

combined with the more formal spirit of wine presentation . Although the label represented a break in corporate standards , it was approved and has since won awards in label design as well as wine tastings . Tim Girvin , art director ; Didier Calvez/Larry Magnan , Westin Hotels & Resorts , creative directors ; Tim Girvin , designer.

Users of 3270 terminals get quick access to mainframes by using Rumba software .

Girvin 's office developed the name based on the idea that the user can "dance with a new partner." Because of the software 's simplicity, an elaborate packaging program was developed. Tim Girvin , art director; John Wall , creative director ; Tim Girvin/ Stephen Pannone , designers ; Dan Burrier/ Rachel Norton/Lynda Rickey , writers ; Tim Girvin/Bevin Perrine , illustrators ; Stephen Pannone/Harald Kawaguchi , industrial designers .

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Tim Girvin has prod uced a number of projects for Bloom ingdale 's, a New York-based department store chain.

Left: Revolving around the South Ch ina Seas theme , this promotion involved packaging , signage , catalogs , interior and exterior banners , display , newsprint advertising and other treatments. John C. Jay, art director; Tim Girvin, designer/illustrator.

Th is page : Construction barr iers were designed to signify the transformation taking place . This application was used in both Texas and Florida. John C. Jay , art director ; Tim Girvin , designer/illustrator .

Every year , Bloomingdale 's comm iss ions an artist to design a shopping bag. This project was prepared in an afternoon and the mechan ical art was shipped out that night.

John C. Jay, creative director ; David Au , art director; Tim Girvin , designer/illustrator .

Another country-wide campaign for Bloomingdale 's was based on the concept of Japan being imbued with the sp irit of the old world as well as at the leading edge of technology. John C. Jay, art director; Tim Girvin , designer ; Tim Girvin/Anton Kimball , illustrators.

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Girvin's office modified the product palette and developed the reverse rainbow packaging treatment for Bright Blocks, plastic building blocks similar to Dupro or Lego . After the redesign, the product had a successful national introduction . Tim Girvin , art director/creative director/designer; Anton Kimball, illustrator.

The Secrets game was repositioned for an upscale market and the packaging designed to have substantial shelf presence . Tim Girvin , art director; Nan Finkenaur, Milton Bradley, creative director; Tim Girvin , designer; Anton Kimball/Richard Smith, associate designers .

Right: Un Bleu Choix is a new llne of Generra denim products with an international focus . Graphic treatments include the name in four different languages and stylistic elements applied to garments, labels, merchandising and retail signage .

The brochure , produced in one week, was shot in a highly industrial setting as the clothing arrived from Hong Kong . Steve Miska, creative director ; Tim Girvin/Stephen Pannone, art directors; Tim Girvin/Anton Kimball/ Stephen Pannone , designers; Jim Cummins/Phil Banko , photographers; Tim Girvin/Anton Kimball , writers .

54

M A Y I J U N E

I 9 9 0

mJ]UilJ~

1:1t111trt BAPI4AitT

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

A R T S

55

PAGANO, SCHENCK & KAY BY

MILL

T'S NO LONGER NEWS WHEN AN EAGER young ad agency, in a town away from the old established advertising centers, gets off to a fast start. But Pagano, Schenck and Kay was practically jump-started, capturing national attention almost immediately after their establishment in May of 1986.

I

are New England firms, including the first two to come aboard, Massachusetts-based Dexter Shoe and Rhode Island Blue Cross. Media budgets, Pagano reports, range from "two hundred thousand to four million," and total billings, capitalized, since they work primarily on a fee basis, are in the area of $15 million.

A few things helped.

These clients are served by a staff of 30, with the focus clearly on the six-person creative group: two writers, two art directors, an assistant art director and Woody Kay. (Ernie Schenck, one of the founders and co-creative director, left last September, for reasons having to do, Woody reports, with his discomfort in a management role ... "we three got married and the marriage dido 't work, to our surprise" ... but there are apparently no hard feelings, as evidenced by the fact that his name remains and, they say, will stay on the door.)

Providence, for one. The Rhode Island capitol, budding off the Boston ad renaissance, had built a creative reputation of its own, with some agencies recognized nationally; notably LMS (Leonard Monahan Saabye, now known as LML, with Lubars in for Saabye).

Provenance, for another. The principals of the new shop all came out of LMS, where they had attracted considerable notice.

And, of course, performance. In their first year, they picked up thirteen awards at the Rhode Island Supershow, six Hatch Awards in Bosto.o and three Clios in New York.

Woody Kay and Ernie Schenck, the art director and writer who joined with account man Bob Pagano to start PS&K, had the unique experience of meeting themselves in a tie for first place in the Supershow, with one ad they'd done at LMS, and one in the just-formed agency.

A wards, and coverage in design and advertising journals, are often denigrated by some advertising people. Not these; they take them very seriously.

Executive vice president and creative director Woody Kay, in the soft Georgia syllables that have survived sixteen years in Providence, stresses the recruitment aspect.

"You know, attracting good people to a small town in New England is tough. That's where awards play a big part, an important inducement. When they see that we give them a creative opportunity, it's easier to attract people.

Nobody wants to do good work and have it buried. I get calls constantly from around the country because our stuff is seen in the books."

President Bob Pagano touches on the business advantages of press coverage. "We got some great exposure a couple of years ago when AdWeek profiled us as one of the six hot agencies in the country, region by region. Another agency that was profiled in the same article sent it to a prospect and they called in all six. It ended in a run-off between us and two other agencies and we got the business, the Melvin Simon company in Indianapolis; they build and manage shopping centers around the country."

Melvin Simon is one of the ten clients the agency now works with, and the farthest from home. One other, ZiffDavis' PC Maga zine, is in New York, and the other eight 56

ROSEMAN

M A Y I J U N E

I 9 9 0

The creative focus is articulated forcefully by Bob Pagano, the partner responsible for the account service side. "I left my first agency, Horton, Church and Goff, to go with LMS, not because I was unhappy with the company; I was unhappy with the product. That's something I feel very strongly about. We have a commitment to the product, and it's not just Woody's commitment, it's mine, too.

The product is everything we have. You need strategic thinkers to give the creative people direction, and you need good media people to make sure you run your ads in the right place, but it all comes down to the product. If the people we hire in account services, or media, or whatever, aren't as excited about the product as the people in the creative department, then we haven ' t done our job.

"It's important that we never compromise our product, and in tight economic times like these that 's a big challenge."

That product is produced by writers Al Lowe and Steve Bautista (he's also associate creative director), working with art directors Anne Baylor and Rob Rich, and with Woody, in what he describes as a mix-and-match manner: "No fixed teams; no tight pairing. We ' ve always mixed it

This Avatar ad was designed to deliver a large amount of complex information in a simple way . Directed to managers of information services, the ad supports the position of the company as the authority on Macintosh-to-mainframe connectivity . Woody Kay, art director/creative director ; Steve Bautista, writer; Clare Hemstock, illustrator.

The Rhode Island Ad Club was having a Christmas party at a Providence '50s rock 'n 'ro ll nightclu b and asked the agency to create an invitation . Lots of people came , which only goes to show how popular Holly can be at Christmas . Woody Kay, art director ; Ernie Schenck/Woody Kay, creative directors ; Ernie Schenck, writer .

The Maamosh was made to

be d1fTcrcm. llut that doesn't mean you have to treat 1t :my d1fferently than the other dcviCl'S on your network.

to access rnamframe mfo r-

HOW OTHERS SEE THE MACINTOSH-TO-MAINFRAME

mau o n without sac nfi c111g

HOW AVATAR SEES IT.

CONNECTION.

the Mac user experience.

S1ncc MacMainFrame iscornpk1cly 111M J2?0com-

In fan. the way Avatar

patible, the Macintosh con-

sc.-cs u. you can Ultl'gratc the

nection has no un pact on no r-

Mac mto your network JUSt

mal operations. The result? An

lake any other personal

integrated workmg enviro n-

computer. rcgardless of the

ment that increases produc-

networkang env n onmcnts

uvnyand reduces headaches.

you'vcchoscn.

SOMETHI NG ELSE WE SEE.

S ERVICE.

Wuh a MacMamframc Manntosh-to-ma1nframe

After caght years of experi-

soluuon. you have a breadth

ence, Av atar offers some-

of conneCtiVItY optiOnS that

thing beyond products and

put an end to mtcgration con-

technology: respon siveness.

As thCJ270Connectivity spc-

n.ctsanduscrretnuung.

For the Vl'ry first tlllll',

cialisu. we've helped inte-

Maamosh U!>Crs m Ethernet,

grate the Ma cin to sh tnto

Token llmg, Local Talk or

many d1ffcrent environ-

tnd111onal coax networks can

ments. And we ca n do the

up centnhzcd tnformatlon -

same for you.

To find out how, write

suustJcal, finanaal. ..:ustomcr

usorcallustoll-frcc:

records. even mamframebased mad systems-to make

I-800-l89- l5l6 .

every Mac user's dt:·sktop all

You ' ll find that we under-

the more powerful.

MORE CHOICES. MORE SOLUTIONS.

tran sfer, printer emu lation and ma~nframe graphics across a range of networks.

orwhctherthcy'reremotc.

dividual and gateway solutions.

Apple Data Stream Protocols

tools. One of them. Ava tar's

like some Mac-to-mainfram e

Ma cMainFrame SDLC

And there arc high per-

(ADSP), Ma c users on any

Hypercard AP I, was used to

connections, MacMainFrame

stand Macintosh-t o- mainframe connectivity like no

workstation and gateway

forma nee coax connections

ApplcTalk network can

develop a front end system to

enhances the benefits of the

one else. So as your network options continue to grow.

Wuh MacMamframe, Ava-

You can provade num-

products allow muhisess10n

in CUT and OFT versions

access mainframe services

PROFS, the corporate clcc-

Mac rather than inhibits them.

tar presents the broadest

framescrvJccstocvery Mac

host access across w1dc area

for indiv1dual users. Cost-

regard less of the connection.

tronic mailsystcrn .

Us ers re tain all standard

Avatar can help you sec the

range of h1gh performance

user across SDLC, Token

netw o rks at speeds up t o

cfTect1ve coax gateways arc

When custonuzation is

conventions of Ma ci ntosh,

forest through the trees.

available, too.

needed, there 's Avatar's Pro-

THE MACMAI NFRAM£ DIFFERENCE.

grammcr's Toolkit with a full

Once you d1scovcr the Avatar

dcs1gned M ac MainFramC'

range of Applicatio ns Pro-

MacMainFramc soluuon,

to copying and past-

Gateway products using

gramming Interface (AP I)

yoo"llnoticethediffcrencc. Un-

in g. So they're able

Mactntosh-to-malnframc

Rmgor traditional coax net-

.s6 Kbps-and eliminate the

connccuvHy opuons :ava1l-

works, m d1rect workstatiOn

need for an IBM control umt.

And because Avatar has

able. Lcttmg you distribute

or g:ucway configurations.

Migrating up to Token

tcrm111al cmuh u o n. file

whether your users arc local

Rmg? You can choose both in-

from mouse control and pull-down men us

CHRISTMAS IS NOTHING WITHOUT HOLLY. C 0 M M U N I C A T I 0 N

A R T S

57

PAGANO, ScHE

cK & KAY

up. Even on those accounts where one particular team may have done most of the work, sooner or later everybody has worked on every account.

"Everybody," he continues, "has a different way of getting the best out of people. Some agencies set up competitions.

You know , let ' s all work on something and may the best man win, and everybody's trying to beat out somebody else.

That certainly is not the way for us.

"We ' ve all got to live with each other. We support each other, we show each other our work, and if we can add to it, we do. " Woody 's feeling about "the product" is most evident when he shows the agency ' s work, especially the print. He uses slides , and when each one is projected up on the screen , he firmly and distinctly reads the headline even if it 's up there in billboard-size type.

Thi s is deliberate policy. " It 's a way of directing attention to where I want it. When we present creative to a client, I want a total picture of that ad in the client 's mind. So when we ' re presenting an ad, we will tell them everything about that ad before we-turn it over. We ' ll tell them what the vi sual is. And then when we turn it over, the last thing to do is read the headline. I have described the entire ad beforehand, without the headline. The headline is the punchline. I want them to get the message of the ad , and generally the message is in the headline. " Thi s tender concern for copy may hark back to the fact that before embarking on a career in graphics, Woody was an English major at Vanderbilt Univer ity. "I'm from Augu sta, Georgia, and when I went up to Nashville I thought I was heading up to the North." During college, however, an interest in art developed; he spent a summer painting at the San Franci co Art Institute , made an animated film as his senior project, worked after graduation in TV and film production , and then headed up to Providence for more formal training at the Rhod e Island School of Design.

"That 's when I really discovered what North was. My vi sion of New England was Peyton Place, with all the nice white steeples and snow on the ground. I got here in July and expected to see snow!

"Before I went to RISD, I had wanted to go into advertising, and that 's what I thought I was going to do there. Actually , I started as an illu stration major, then transferred into graphic design. RISD 's attitude is very much fine arts, even for their commercial courses like graphic design. It 's actually excellent training in the principles and philosophy of design , but it sidetracked me; got me away from the commercial and actually the hardest thing I had to overcome to get into adverti sing was the RISD attitude, that advertising was, well , just not worthwhile.

58

M A Y I J U N E

I 9 9 0

" After school , I went to work for my teacher, Malcolm Grear. It was an exciting time; we got involved in some of the major graphic identity program s for government agencies . The studio al so did a lot of museum publications and tex tbook design; it was a broad mi x of graphic design.

But what interested me was the combination of the visual and verbal, and that was lacking .

"I switched to LMS just after they got the Shawmut Bank account, which really started them moving. Bob and Ernie were already there , and I learned advertising, from the ground up ."

"To arriv e at good adverti ing," Pagano said , " we' re really in the business of lookin g at an industry and identify ing what role a company can pl ay. Looking at capabilities, manufacturing, distribution, the competition and everything, we try to build a personality for th em th at expresses their capabiliti es and maybe helps overcome some of th eir weaknesses . That personality development is what th is business is all about. We in marketin g may help to defi ne it, but creative is what captures it. "

The creative department, left to right: Anne Baylor, Steve Bautista, AI Lowe , Rob Rich , Woody Kay .

Right: Air & Space Smithsonian magazine held a competition for a concept to commemorate man 's landing on the moon. This execution won the most votes in the creative department and the contest. Rob Rich , art director; Woody Kay, creative director; Wayne Winfield, writer ; Ira Garber, photographer .

During a special mammography screening program , Rhode Island Hospital reduced the price of its mammograms. It was essentially a sale on mammograms . The challenge was to educate the public on the need and value of screening , and to treat a sensitive issue strongly enough to generate an immediate and sizable response . Woody Kay/Judy Maddock, art directors ; Woody Kay/Ernie Schenck , creative directors ; Ernie Schenck , wri ter; Morgan Rockhi ll, photog rapher .

For One Day In 1969,The Earth Revolved Around The Moon.

Starting March 2,We're Lowe$g

The CostOfMarnmogramslb $50.

Just ThinkWhatYou Could Save. you can feel a lump.

To qualify, you must be over 40 years old with no symptoms of breast disease and must not have had a mammogram in at least two years.

All screenings will be done at the Ambulatory Patient Center at Rhode Island Hospital from 3:30p.m. to 8:00p.m. Special parking will be proyjded.

And if you can'tafford the $50, don't worry. Nobody is going to be denied an important opportunity like this.

Considering 250 women in Rhode Island will die of breast cancer this year, a mammogram could save your hl .

Which is why we urge you to take advantage of our special, low-cost

mammography scr enings availabl only during March and April.

Amammogram isasafe,lowdosage x-ray that can detect breast cancer three to five years before

To register, call 277-4881 Monday through Friday,9 a.m. to 4 p.m., starting February 17th.

And call soon. Because when it comes to detecting breast cancer, you can never be too early.

Rhode Island Hospital Providence,Rhode Island

COMMU

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59

P AGA o , S cHENCK & K AY

In the fall of 1987, Dexter's Golf Shoe division faced a dilemma. New ideas in product development wou ldn't be ready for the upcoming season and Dexter had to find other ways to generate sales volume from retailers . This spot represented Dexter 's first effort to use network televised golf tournaments to support a promotion . The objective was to sell 60,000 pairs of golf shoes in six months with an offer that gave consumers $10 off a new pair of Dexter Classics when they brought in any pair of used golf shoes to participating dealers . Dexter exceeded their sales goal by 50% . The agency attributes the earthshaking numbers to the earthquake that struck the same day the spot was filmed in Southern California.

Dexter Golf Shoes television commercial :30 .

(Open on golf green , flag waiving in the breeze) SFX : Birds chirping , under throughout.

Anncr . (VO) : Comfortable as they are ...

SFX: Grunt.

(Sand flies onto green) Anncr . (VO): ... even Dexter golf shoes can 't ease the pain of the less than perfect shot.

SFX : Crunching of golf shoes across sand trap , another grunt.

(Sand fl ies onto green) Anncr . (VO) : But at least we are making it easier to get into a pair of Dexters ...

SFX: Crunching of golf shoes across sand trap , another grunt.

(Sand flies onto green) Anncr . (VO) : ... by ta-king ten bucks off our leather classics when you trade in your old shoes .

SFX : Crunching of golf shoes across sand trap , sigh of relief .

(Sand flies up . Ball bounces onto green and out of camera's view) SFX : Water splashing .

Anncr . (VO) : Now, if we could only take something off your game .

(Fade to product . Super fades in) Super: The Great Dexter Shoe-ln . Get $10 off.

Anncr . (VO) : The great Dexter shoe-in . Now through June 30th at your pro shop .

Woody Kay , art director ; AI Lowe , writer ; Ernie Schenck/Woody Kay, creative directors ; Beverly Monchun , producer ; Jeff Gorman , director ; Johns+ Gorman Films , production company .

Right: Dexter has always enjoyed a reputation for making fine footwear at a fair price . In this new campaign , the look speaks of fashion , value and price . Woody Kay , art director/creative director; Steve Bautista, writer ; Aaron Jones , photographer.

For years , the Art Director's Club of Boston had a stuffy reputation as an organization that catered to designers only . As the Creative Club of Boston , they wanted to attract everyone from printers to media people .

To mark the name change , the club asked the agency to devise an ad and poster. The day this concept was presented , one club board member res igned . When the ad appeared , new members flocked to the creative c lub . Rob Rich , art director; Ernie Schenck/Woody Kay , creative directors ; Ernie Schenck , wr iter .

60

M A Y I J U N E

I 9 9 0

After buying some dress shoes, can you still afford to get dressed?

The exclusive waterproof fabric is Scottish .

So is the price.

IJttfotnt!NIItnUIIstnJM'Ot'lurttltuit,-ll.uJto..turif·Oif~JW.fw}'OIIdrM 'tNVIII. t\prTMUflflllffM NiJrrqrsttr.

l lttw'frifi/WstlloU.biOOffVN}tJ!n 11 Jrt~/Jw/Altni$10Mtd!l•tlv.Xlln.lwi~trif'ttr.Jfor,nt..nn "Jwtt,.,.:t

1/}'0II 'n 1"1'}1"1 tO much toJms tq~btiOMI IMfi NIIJn that itll/f«u •·lwt }'011 CVIf M'Nt"llbot~ u.e,.,

/llCTNIIMJthftrM<liCJ1'00/ihoft_IOtltJfltlfrJ.t, hi'OjtlltwrtJ~/If:x-ottlilftr..JmUfl

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HowA'H·~aCfl·ue Can A'(lub Be If All TheMembers ThIn I e I

1

Y~

l

kAII~

thinkil~~ ~~~~e~at any dub is going to be alot Notthotthere'sonythingwrongwithpeople

) i:k~n~~~:~~~frtencouragesdrfferentwaysof I

So from now 011, the Art Directors Club of Boston isThe Creative Club of Boston.

Which means that now there'son~ one dub tho! truly represents the entire New England creative community.

Aplace where designers and art directors can exchange ideas with copywriters and film directors. Photographers. Editors. Students.

Needless to soy, we wont to do everything we con to get you to join The Creative Club. So how does this sound?

Discounts on oil Creative Club sponsored programs. Monthly events and bulletins. Current job listings. Membership directories. Quarterly magazines. Complimentary subscriptions to professional publications. Even a gift for joining.

As for awards, The Creative Club Show is already destined to become one of the premiere creative contests in the country (kind of a New England CA, if you will).

To join, or for more information, call the Creative Club ot 536-8999ormoil the coupon.

After all, what's really going to make The Creative Club a success is the support of a lot of dedicated people.

And that isn't something that happens with just any Tom, Dick or Hare.

COMM

TCATIO

RT

61

duhwuh.. can ma• its be..'}<

Of course a.s you might swpect, dunbility alone do..

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not a trca&ur~ ~irloorn make.

Husbands are W~e flatware.

The ones that last have sterling qualities.

The-e U, for Uutantt, the urunistabble b...ty of Ol<rling silv.. fl.twue.

It l.s an aura.

A singular ndiance uncaptu,.d by anytl>ing .J...

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Go,ham tabkw....

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toc:~rc:forycar

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P.O. B ox 6,5o,

upon year upon

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can.stt,tk

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inve~ting in fin~

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im 't an id~

part of every

w~ merely .support.

' Go,ham st<rling

st<rling oJv.. fl.twa.., we make.

sJv.,. spoon, l.nJ.

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orfo,k.

Pu fo, the deg=

able to offer. you advice on

xdung out t.k former , we mo.st cutalnly can do so when Go,ham, aft.. .U, h..

$terling .tlver.

LJ..e, forex.ompk ,

wltat cxtraordlnarycraftsmanship that Ls unique to Gorham

of dunbility you can

&terling. Jk &am~ ~nting

exp«:t from ourster·

dedication to quality that per-me·

ling, you might wish

at<J our finw chin. and c.yotal.

to coruider that not

W ith all due modesty,

cvt!n the somewhat

nowh... will you find the 'luality,

enough , put& w in a unique

tkinh...ntabJityof

tortuow environmwt

worlunanship and attention

po-sition to lmpreu upon you

Go,ham st<rling sJv<r

oftka~torru~tic

to d~aa that is unique to

fMIIIIOI.III( .. UI IUT ,OnOIII

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Pu a .... ult, Go,ham .sterling .silver ha.ssom~ r.~ther

Thanl~s to her grandmothe11 her hair is red, her eyes are green and her flatware is silver.

deg.ee of quality. wo,lun.n-

to e~xLre being not tl.e least

ship and alt~ntion to d~ail that i.s inherent to every piece

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O~tl• ' " '"'"' , , ._.,.,., 01 liD-'~"•'"

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and "Y'tal.

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that 's b..n handed down

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endunng 'lualities. The ability oftl>em.

}

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of p~pk with a tast~ for

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.kgance fo, as long as we can ,..memb..

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passed from gcnfntion to gen-

m211y g~ner.~tioru .

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~tion i.sn 1 ln the gene.t:.

1

more about Gorh:~m .sterhng

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The evidence fo, whicl, can b. found in each and ev"'Y

St.. ling

.~ave.r, china and cry&t:~l. VUit your Gorham retal1et or writ~:

to what you

one l)r u4 hand operations that

Go,ham , P.O. B ox bo5o,

may have

go lnto every pie« or .sterllng

Dept. B-8, Providence,

heud about Go,ham

savc:r tltat we male.

Rhode LJ.nd o•91o.

f j

l j } radi..antly lu trous

beauty tl>at has gnc.d the tabl.,

62

M A Y I J U N E

I 9 9 0

can m3r iu beauty.

p AGA 0 , S CHENCK & K Ay

After fifteen decades of creating fine sterling, surely we've leamed a thing or two about stainless. .Aft.,. s58 yean .dining a ubt lo, ...lung some of .he

J.,ign. The ••me qualioy and J.,ign cxccUcncc th.t

world', finest 1terllng silver, one become• rather

goe~ into aU of our fine flatware, dinnerware and

particuk• about cnfunun.olup and aHcntion to Jcoaa.

Whid, u pa-h.P' the ..cason you'U find ou• •uinlc.. fl.twv. 10 be of •uch utno.din"'Y qualioy and timcb.

aysul. A. you will ,.,h.,. quidJy dUe..., when you visit your G orbm maikz: Or write G orham, PO. B ox 6.5o, P ...vidcncc, Rhode Lland o•9'(o.

When the agency was awarded the Gorham account, the silverware manufacturer was experiencing weak brand identity and a declining market share. Here was one of the country 's oldest and most prestigious manufacturers of silverware selling stuffed toys to spark sales . The agency's research indicated that Gorham should focus its efforts on sterling silver , its greatest perceived strength, and build from there. The new campaign featured a classic wedding card elegance befitting the 150-year-old company . The long copy was used in the initial ads to reeducate people about the care and handling of sterling silver and to deal with the numerous misconceptions people had about the product. More recent ads dealt with the company's heritage to build on its hollow ware and crystal business . In an industry where sales had been flat , Gorham 's silverware , hollow ware and accessories business grew by 8% , and their crystal business increased by 12%. Woody Kay , art director; Woody Kay/Ernie Schenck, creative directors ; Ernie Schenck , writer ; Carol Kaplan/Morgan Rockhill , photographers .

As you can see from our dinnerwar:~·­ mediocrity has never been our cup of tea. utraor.linary kH:J of cxqul.t-itc q~liry in our Jinnawa~ for anyt~ing bur r~c finfit J~eJign. worlmamhip :mel

I

.. in OU< (;.,..,.

n..wa~ and <<y.oal. n~ rviJc~ of

aHention to dct-..if i.s putting it miiJJ)t Which. as you

which aw.. iu you at your G orham rdaib. O r write

mighr imaslnc, U why you nn upect to find the .umc

Go,lum, P.O. Box 6,5o, P~. R.I . ~9'1<>·

COMMU

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Left : Traditionally , when publications advertise to media people , they define who reads the magazine . In PC Magazine 's case , the readers are a select group of business people, called brand specifiers, who purchase PC products . The tendency was to explain who and what brand specifiers are. This campaign shows who they aren 't. Since the audience is med ia planners , the approach made sense . All that was left to do was contact some of the most select groups in America . Anne Baylor, art director; Woody Kay, creative director ; Steve Bautista, writer ; Neal Slavin, photographer.

This page : One of the latest in a series of TV commercials for HealthMate , the fastest growing health plan in Rhode Island . This spot is also a good example of how the agency approaches television . Keep it simple and let the idea be the star .

HealthMate television commercial :30 .

(Open on a close-up of a doctor's diploma. Camera continuously pulls back to reveal a large wa ll full of diplomas) Music : Simple piano song played as though by a beginner who 's practicing .

Anncr. (VO): When you join HealthMate, you 're covered for office visits with over 2,500 doctors all across Rhode Island.

Music: Piano player explores the high notes , slowly and with some uncertainty .

Anncr . (VO): With any other plan , you can see less than half that many.

Music : Four loud , atonal crashes on the piano , as though in furious reaction to a mistake .

(Half of the diplomas fall off the wall) Anncr . (VO): ... and that's where other plans fall down.

Music : Piano resumes the same simple melody as in the beginning, as the player continues practicing .

Anncr . (VO): HealthMate . From the Blue Cross and Blue Shield family of health plans . No one protects you better.

Rob Rich , art director; AI Lowe , writer ; Woody Kay , creative director ; Beverly Monchun , producer ; Bill Trautvetter , director; Gryphon Productions, production company.

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AND OF ENCHANTMENT is on every New Mexico license plate. Georgia O ' Keeffe, one of the memorable artists associated with Santa Fe, said, "If you ever go to New Mexico, it will itch you the rest of your life."

D.H. Lawrence, a long time resident, wrote, "For a greatness of beauty I have never experienced anything like New Mexico. "

L

Santa Fe is an unusual place. The city has strict law regarding the size and style of buildings. All of the architecture is either Pueblo-style or Territorial-style. The only ignificant differences between the two is a single row of brick along the top of the Territorial-style buildings.

© 1990, Clay Ell is

All photographs© 1990 Aaron Jones .

This page : Portrait of Aaron Jones and Buck .

The puppy was adopted along with his sister , Molly , after they were used as talent for an American Express ad .

Right: Calendar commissioned for a leather company . The only requirement for the image was to incorporate an architectural element with the leather. The "Road Warrior" sofa was produced by Scene 2 in San Francisco . Dan Lennon, creative director ; Aaron Jones , art director; Lackawanna , client.

Self-promotion photograph used in an advertising insert.

Looking across the landscape, it seems mostly uninhabited , but a clo er look reveals many homes nestled among the sagebrush and pifion trees. The adobe architecture blends with the red clay earth.

The directions to Aaron Jones ' studio seem vague. But after spending just a short time there, I di cover not at all unu ual. "Head into the hills north of Santa Fe, take the exit for Highway 285, turn right. Follow that road for about a mile, on the left will be a windmill. The first road after the windmill, turn left. Follow the gravel road until you come to a 'y', veer left. Fir t road past barn, turn left. " I can see a large house on a hill up ahead. "Look for a big green door." This must be the place, there is a Federal Expres truck out in front.

Why Santa Fe? Why would a nationally known photographer move to such a seemingly rustic, out-of-the-way place?

"I'd always dreamed of having a photo ranch ," Aaron Jones says. " Actually , it 's more of a ranchette," Cathy,

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Aaron ' wife and bu iness partner, interjects. "It' only twelve acres." " We looked at a building in San Franci co that was on the market for a million dollar ," Aaron continue . "It was in an industrial area under a freeway. I thought if I'm going to spend that kind of money , I didn't want to hear the freeway." It doesn ' t sound like much of a ranch either.

Aaron and Cathy looked at property in several parts of the Bay Area. Sonoma County , north of San Franci co, was appealing but also expensive. And traveling to Petaluma from the San Franci co airport actually took longer than getting from Albuquerque to Santa Fe. "It doesn't seem to be any problem for art directors to find us ," Aaron said.

"Really, if you have a national presence, there isn ' t that much ri k involved in living where you like. " Aaron bring a unique background to his work. He has been interested in photography for more than the eleven or so years he ' been in the busine , he just wasn't interested in advertising.

"I was more intere ted in photojournalism. In fact, I was in the Look magazine office in San Francisco talking to the west coast editor, George Leonard, and he said ' Thi s i very nice work, young man , but I have to tell you that we've ju t put out the Ia tis ue of Look magazine. We ' re closing.' So that dashed all of my dreams for doing interesting editorial work."

After working for five year manufacturing hand weaving looms and furniture, Aaron sold his bu ine and the property he owned near Eugene, Oregon. He bought a camera and some lighting equipment and traveled around taking photographs of people who

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owned interesting businesses.

"I knew I wanted to be in business for myself, but I didn't know what I wanted to do. After a year, I was about to run out of money and I hadn't found anything I was interested in, but I had a lot of photographs. A friend of mine who sold advertising for a newspaper, suggested I take my photographs to an ad agency.

I figured I didn't have anything to lose."

While visiting Seattle, Aaron called on Cole & Weber. Several art directors looked at his tray, and one of them, Bob Tanaka, took him back to look at a layout for a Boeing 747. Aaron was hired to do the hot.

"All they had was a model of the plane.

There were plenty of 747's flying but not with Boeing paint schemes on them. It's also extremely expensive to take a Lear jet up for a still ad.

"I rented a little warehouse space for a week, a fog machine and a bunch of lights.

The photo never ran. Boeing didn ' t want a picture of the model used. So here I had this nice photograph. I went around to other ad agencies and all I heard was, ' No, you couldn't have done that. You don ' t have any experience, no training. ' I couldn ' t get another job."

At this point, Aaron was going back to work with a friend building furniture, when he got a call from Tanaka. "Bob called with another Boeing assignment.

They were beginning to develop the 757 and 767 planes and needed sales materials.

They wanted photographs of the airplanes in flight , and on these they only had models because they didn't even have prototypes built yet. They kept me busy for about two years, running back and forth between Eugene and Seattle."

"All the photographs were done in my little apartment in Eugene, and I kept thinking, ' Why are they hiring me to do this? They could hire the best in New York. ' I never asked them. " 68

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state! So, we finally decided to take the plunge."

"I had always wanted to manage a business," Cathy said. Her role is one of organizer. She produces upcoming project , works with the stylist, hair and make-up people and concentrates on promotion.

Aaron didn't have any formal training in photography. He read books. "TimeLife books did a series on photography.

I can't remember if I bought them or if I checked them out of a library."

Maybe because of this unusual training, Aaron approaches his work differently than most photographer . He seems to be a person who is never satisfied with the traditional methods of doing things.

Aaron tells of a time, shortly after moving to Portland, when he did a shot for Borders, Perrin & Norrander.

"I had a piece of white plexiglass clamped to a homemade stand. I rigged a crummy little light bulb behind the pia tic, which had airbrushed patterns on it, then I'd move the plex around to create this incredible shading to the subject. Two local photographer had heard of me and came over to my studio. They walked in and here I wa waving this plastic around. They nearly rolled on the floor laughing. They wondered why I hadn't heard of soft boxes. They had gone to school and knew all of the 'right' ways to do things."

"I wa very fru trated with the two basic choices of lighting. Hard or soft. I found it o limiting. I tarted to experiment. How could I apply light in different ways other than having a light ource, object and camera? I've

always enjoyed designing and making things. I tend to think, 'I want this effect, so how do I get it?'"

All of this gives us an insight to Aaron's approach. He makes the tools necessary to create the effects he wants. Since, at the time of this writing, he is attempting to patent his technique, he was reluctant to talk about it. "Light painting" will have to suffice.

After working in Portland for five years, Aaron moved to San Francisco.

"It's funny, now Portland is a real hot place. Portland photographers are establishing themselves nationally. But five or six years ago that was very difficult."

The last big northwest campaign Aaron did, before moving, introduced him to his wife Cathy. She was working at Cole & Weber as the account executive for Westin Hotels. They traveled for about eight weeks photographing people all over the U.S. and Canada.

Cathy received a job offer from Texas Monthly and moved to Austin. Their long-distance romance eventually involved marriage, but it was nine months after they married before Cathy moved to San Francisco. "I think we were worried about actually moving in together," Aaron said. "We'd been married almost a year and had never spent more than seven days together.

We'd never even lived in the same

"Over the years, we've developed a pretty good promotion program.

Aaron's always been committed to his advertising. We have a very refined mailing list. Effectivness is having a good list. We're always updating it."

Their promotional mailings prove to be very successful. Cathy continues, "I know the response every time we do a poster mailing. Usually within two weeks, I have seven or eight requests for books. And usually one or two jobs come out of it immediately."

Aaron and Cathy have made a major investment in moving to New Mexico, but they aren't committed to this business forever. "Maybe we'll move to the Seychelle Islands in fifteen years or so."

If the words of Georgia 0 'Keeffe and

D.H. Lawrence are correct, the Jones' may never be able to leave.

•

Left: One from a series of ads for Seabourn Cruise Lines. Headline : The treasures of the Caribbean . Cathy commented , "The perfect client. The campaign was designed specifically for Aaron 's 'light painting ' technique ." Kristine Pallas, art director ; Pallas Advertising , agency .

The Soloflex campaign created a national awareness of Aaron's work . Jerry Wilson , art director; Soloflex , client.

This page: Used for a self-promotion poster.

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Self-promotion photograph used as an advertising insert and a poster. First published use of Aaron 's technique .

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Left: Ad headline: In a business where things constantly change , one decision doesn 't need revising. Pam Conboy, art director/designer; Martin/Williams Advertising , Inc ., agency; 3M Document Systems Division , client.

Aaron processes all of his own color film .

Each piece of film is a one-of-a-ki nd exposure .

"Having your own lab is a blessing and a curse ," Cathy said . "This ad for GTE Spacenet was approved on a Friday afternoon , propped on Saturday and shot on Sunday." Headline : You 'd be surprised at what we sometimes wear to work . John Migliaccio , art director ; DDB Needham , agency.

Cover photograph from the 1989 HarleyDavidson catalog for prospective motorcycle buyers . The variety of textures and reflections made the bikes very complicated to shoot.

It took si x weeks , of ten-to-fourteen-hour days . David Page, art director/designer; Joe Nagy, writer ; Ron Sackett/Jack Supple , creative directors ; Scene 2, set design and construction ; Carmichael-Lynch , agency.

This page : Experimental photograph for Nike . Rick McQuiston , art director ; Wieden & Kennedy , agency.

One from a series of photographs to enhance the image of canned foods. John Donoghue , art director; Ketchum Advertising , agency; Canned Food Information Council , client.

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Left: Photograph used for the Microsoft package , C 6.0, a programming language . Aaron has shot about twelve new packages for Microsoft. John Fortune/ Lani Fortune , art directors .

This page: Th is photograph was shot in a 6' x 10' office at the Un iversity of Pennsylvan ia. "After the shot was set up ," Aaron said , "one of the professors was concerned about the way the light was hitting the tablet. 'You can 't read it,' he said . Of course , he was probably one of a few people in the world who would be able to read it. " Ad headline : This is the oldest written recipe in the world . And it's for beer . Woody Lowe , art director ; Dennis Foley/Mickey Lonchar , writers ; Peter Murphy, creative director ; Hal Riney & Partners , agency; Anheuser-Busch , client.

Ad for Suzuki motorcycles . Head li ne: The new Suzuki VX800 . When riding is the end , not the means . The surfboards are from a collection of famed surfer , Herbie Fletcher . Everything was trucked to New Mexico from Southern Californ ia. The campaign was bid to be shot in Los Angeles and New Mexico . It cost nearly 20% less in expenses to shoot in New Mexico . Chad Farmer, art director; HOM/LA, agency.

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WINE LABELS GET BOLDER BY

SALLY

ANDALL GRAHM used a flying saucer; Jan Shrem, a Dali landscape. Janet Trefethen stuck with her family insignia: a simple Welsh flower.

R

Employing images from plain type to Art Deco spaceships, wine makers are clamoring for attention on crowded wine shop shelves.

As the competition thickens, they're pouring over every gold border and descriptive title, tinkering for a look they hope will outshine all others.

Once a friendly neighborhood of about 25 wineries, the Napa Valley has ballooned during the past decade into a crowd of 200, all wrangling for a shrinking population of wine-drinkers. The wine sections in Northern California Safeway stores alone have doubled during the past three years, but U.S. wine consumption overall has flattened.

Wineries can't rely anymore on great flavor under glass.

And since a full-scale marketing program is generally out of reach, the label is the focal point.

"The label is all-encompassing. It's not only the label; it's the billboards, the advertising, the media," says Ralph Colonna, a designer in St. Helena. He says his firm creates about 50 labels a year for such wineries as Round Hill, Glen Ellen , Beringer and Zaca Mesa. A good number are re-designs.

Consultants like Colonna try to match the label to the wine inside, to convey an impression in seconds. Most of all, they aim for a quick read.

That 's getting harder, with new rules adding to the information borne by each bottle. As of November (1989) , all alcoholic beverages will have to carry sentences two millimeters deep-the size of two dimes stacked togetherwarning buyers of health risks connected with wine.

They already must list the liquid's alcohol content, the type of fruit, where it 's made and whether it contains sulfites, saccharin or yellow dye No. 5 or 6.

Wineries bridle at each word they have to add with the new regulations, but they clamor for others. An appellation, or the phrase that describes where the wine was grown, can command a higher price, particularly if it says "Napa Valley" or "Sonoma County. " Some wine makers have been seeking even more distinction with plans to divide the Napa appellation into smaller areas. Already, five sub-appellations have been approved 76

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in the Napa Valley, and five others have been proposed.

Nationwide, consumers choose from 105 appellations, and wine makers are asking for eighteen more.

In the push to find new ways to woo customers, some wineries are trying out pecial names for table wines. A group of wine maker who blend other grape families with Cabernet grapes recently agonized over how to push their wines out of obscurity and into consumer consciousness. They came up with the title, Meritage.

Others prefer their own inventions for such blends, with names such as Opus One and Trilogy. Don Sebastiani, the owner of Sebastiani Vineyards in Sonoma, incurred industry wrath and legal trouble by naming a low-priced mix of Chenin Blanc, Sauvignon Blanc and other grape varieties "Domaine Chardonnay ," even though the wine didn ' t contain a drop of the popular Chardonnay grape juice. Sebastiani abandoned the label, renaming the wines more traditionally.

Industry watchers predict that shippers will begin to ee bottles change form in the quest for attention. Already , some families are adding their crest or imprinting a seal on the glass container. Sarah 's Vineyard in Gilroy , California, spent $9 for each of the first run of gold-leafed bottles encasing its $45-a-bottle Central Coast estate Chardonnay. The fine look captures an audience.

"I never sell this to anybody who wants to drink it," says Boyd M. Swartz, owner of the Castro Village Wine Company "It's always a gift item."

A for labels , shopkeepers and wine makers still tend to revere the simple and elegant. But orne stretch further.

Every year, Monticello Cellars in Napa produces a red table wine called Marilyn Merlot, distinguished by a portrait of the lady. The bottles alway sell out, to the dismay of the more traditional shopkeepers.

"If you ask me, it's tacky," says one shop owner in St. Helena.

The Bureau of Alcohol , Tobacco and Firearms guards against more risque inventions with a rule that labels must be in "good taste. " That means no nudity, and no sexual innuendo.

In one celebrated story, Livon, an Italian cooperative

1987

SILVERADO HILL CELLARS

NAPA VALLEY SAUVIGNON BLANC PRODUCED & ESTATE 130TTLED BY SILVERADO HILL CELLARS NAPA. CALIFORNIA • ALCOHOL 13.0 '!( BY VOL. • CONTAit S SULFITES

Article reprinted with permission of the San Francisco Examiner. © 1989 the San Francisco Examiner.

Left : Because the name Salmon Creek was not the usual person , place or descriptive name , there was the opportunity for a more playful and contemporary styling. The gold foil stamping on the edge was used to give the impression of a die-cut while keep ing production costs under control. Introduced in 1989, the wine is completely sold-out until the next vintage . Susan Handly, designer/illustrator; Ralph Colonna, creative director ; Colonna, Farrell : Design Associates , design firm.

This page : Montage is a unique blend of premium Bordeau x and Napa Valley wine . To create an international feeling, the content is listed in French and English. To reflect the change of vintage year , a label illustration is produced in alternate years by French and California illustrators who use vineyard scenes to communicate the fine art of wine-making . David Broom/Kimiko Murakami Chan, designers ; David Broom , art director/creative director; Pham Van My, illustrator; Broom & Broom , Inc ., design firm.

Dr. John D. Nemeth , owner/winemaker of Silverado Hill Cellars , asked Charles House to design the label . His solution was : "To communicate a certain degree of intellectualism without getting pretentious about it, a quality I associate with Parisian cafes in the '30s and Greenwich Village coffeehouses in the '50s ."

Below : From the winery's inception , the producers of Zaca Mesa claimed their wines were premium-quality products masquerading as mid-priced , moderate quality wines . Since the recent label redesign , the producers feel the product is correctly positioned upscale and sales have increased 50%. Amy Racina , desig ner; Ralph Colonna , creative director; JoAnn Street , il lustrator; Colonna, Farrell : Design Associates , design firm .

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that makes white wines, was told to eliminate the breasts on a mythic figure Erte created for its labels. When a cache of bottles sporting discreetly endowed figures was found in San Francisco in 1986, the agency ordered the importer to draw on brassieres.

Most labels past inspection with little huilabaloo. In an industry that prides itself on a genteel image, designers strive for graphic impact rather than sex appeal.

Label designers divide their work into two categories: upscale wines with looks that reflect the maker's personality, and offerings under $15 that fight for attention like so many bottles of soda pop.

In the second group, "you design a wine label not much differently than you would a box of cookies or crackers," Colonna says.

Sutter Home, Round Hill and Glen EIIen wineries all have sought designs that consumers can recognize and read easily, still with the touch of sophistication connected with the wine world. Sutter Home has used simple approachable labels to pull non-·wine drinkers into the fold; Glen EIIen went after a folksy, homespun feel to convey the image of a small family winery. Round Hill's label features bold stripes, plain large type and a gold border to give it punch.

"When you're marketing something that's going to be on a supermarket shelf, you've got to be a little bolder with the graphics, because you're up against more consumeroriented packaging," said Resa Shore, a marketing consultant in Napa.

More elite wineries can stretch into the avant-garde.

Randaii Grahm, who owns Bonny Doone Vineyard near Santa Cruz with his parents, comes out with a wilder creation each year. Recent editions range from one featuring Grahm and his wine-making crew on a raft, navigating through a wine tank, to a more genteel view of a vineyard in the spotlight of a cigar-shaped spaceship.

Wild as they are, Grahm's labels tell the story of the wine in the bottle. The science fiction Le Cigare Volant label began in 1984 as a means to promote wine blends made in the style of the Rhone Vaiiey of France.

"We were trying to make a wine that was unique and different, that no one had heard of before," Grahm says.

"There was a lot of resistance to that kind of wine, basically it's a generic blend."

So Santa Rosa designer Charles House combined the look of an old French label with a flying cigar, seemingly incongruous , but as the label explains, quite sensible. The wine is made in the style of a village that in 1954 outlawed flying cigars from landing in its vineyards.

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Above : Jim Bundschu of Gundlach Bundschu winery discovered a wine from Chile that he wanted to import under a new labe l.

Charles House designed the label to , " ... preserve a sense of Andean cultural and decorative motifs with a contemporary feel.

Remember this is Santa Monica, Chile , not California."

Right: Las Vinas , a small winery located in Lod i, Californ ia, was faced with the image problem of producing award-winning wines that are made in a region not known for high quality . The intent was to create a modern , upscale label that no one would be embarrassed to bring to a dinner party . Tony Auston , art director and designer; Ralph Colonna, creative director ; Colonna , Farre ll: Design Associates , design firm .

Beringer originally asked Broom & Broom , Inc ., to produce one holiday gift box . The designers proposed a series of boxes because of their stronger billboard effect when displayed in the store . The boxes have proven to be a very desirable promot ional item and the firm has produced additional boxes in subsequent years . David Broom/Kimiko Murakami Chan , designers ; David Broom , art director; Cathy Barancek , illustrator.

Charles Shaw Gamay Beaujolais Nouveau, is released shortly before Thanksgiving and targeted toward holiday occas ions . The label design suggested a fresh , drinkable wine meant to be consumed immediately after harvest. Amy Rac ina, designer ; Ralph Colonna, creative director ; Beth Whybrow Leeds , illustrator ; Colonna, Farrell : Design Associates , design firm .

Elias Hanna, a San Francisco cardiologist , establ ished Hanna Winery in 1985. Linda Porter , winemaster and marketing director, retained Michael Manwaring to create the label . With no advertising budget for the first few years , the label would have to sell the wine . "What I observed , in 1985, was most labels being rectangular on white, cream or other lightly colored pape r, timid and limply elegant, quasi-historical and quasi-classical. It seemed obvious that we had to do something that would be significantly different. " The winery doubles production annual ly and every vintage sells out within a few months .

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ALCOHOL 12 .5% BY VOLUME

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House topped the bottle with a cigar band, and the label did its work.

"It's been a big, big monster success for us," Grahm saysthe wines sell out quickly. The Grahm Crew went over with less aplomb, however. Grahm says some restaurants wouldn't take the wine because they thought it was too ugly and silly.

Jan Shrem takes a more serious approach. The founder of Clos Pegase winery is also an art collector. He carefully reproduces selections from his paintings for wine labels, making color separations from the artwork.

The Calistoga winery's latest red table wine features a Salvador Dali composition complete with date and title of the work.

"We have to get out there and show American people that wine is not booze; wine is liquid food, wine is culture, wine is heritage," Shrem says.

The winery hopes its colorful pieces will attract sophisticated art-conscious buyers.

"We're hoping they wiU· acquire us," says Michael Wilson, the winery's hospitality manager.

The Trefethen family long has relied on a simple, homey look, but over time, their wines have faded next to snazzier newcomers. The winery recently spent $5,000 for a makeover by Resa Shore and Associates. Costs for such work can reach as high as $100,000 for extensive market research.

Shore kept recognizable design elements but went for a cleaner look. She added a gold border, a new typeface.

One scholarly edition denotes the "library selection" as something special- like an old book.

"They evolved as a company, but their label looked the same," said Resa Shore, who designed the new package.

"In the past, if you had a good wine, it would automatically be a sellout. Now, more wineries are finding out that's not the case."

In order to distinguish their Napa Valley premium wines from their lower price wines from San Joaquin , Inglenook winery wanted a new logotype and label. During the research , an old diamond logo used by Gustave Niebaum , the winery founder, was red iscovered. The redrawn and restyled logo acts as the central element and addresses the traditional heritage of the winery .

Ralph Colonna/John Farrell , designers/creative directors ; Ralph Colonna, illustrator.

Windsor Vineyards wanted a limited edition commemorative label series to be sold via direct mail. Once the series title of "Rare American Species " was established , David Broom decided to use paintings by John J. Audubon . This was the first time a full color fine art label was used for wine packaging in the United States.

To create the feeling of un iqueness , the label was designed to be individually numbered . The bottling sold-out and the design firm produced three other artist series in the next two years . David Broom , designer/art director .

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Nobile winery , New Zealand , produced a very distinctive red wine bottled only during exceptional vintages . The wine was introduced to both the New Zealand and United Kingdom markets under the Concept name . A large numeral is used to distinguish the particular vintage . The foil laminated stock, normally used for distilled beverages , allowed for the subtle colors and detailed embossing. Peggy Koch , designer; Ralph Colonna, creative director; Mark Gray, illustrator .

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The name Frog's Leap had a whimsical quality that needed a balance to be taken seriously. Besides muted colors and classic typography , the balletic silhouette emphasizes the leap rather than the frog . Charles House , art director/designer/illustrator.

The name Merlion is derived from the medieval spelling for the merlin falcon and King Arthur's magician . The package concept came from the winery 's owner , George Vierra, who wished to produce a label that reflected the spirit of his company and the wine . Craig Frazier/Grant Peterson , designers ; Craig Frazier, art director ; Suzanne Frazier/Craig Frazier, illustrators .

The Gundlach Bundschu winery recently began a limited release of its finest Cabernet Sauvignon and wanted the label art to change each year . The winery 's history goes back to the 1850's when it was called Bacchus Vineyards. The label was designed to represent the red-figure vases that were among the earliest wine vessels . The label wraps completely around the bottle and the human chain suggests the connection from wine maker to wine drinker and extending back through the unbroken chain of vintages into pre-h istory. Charles House was the designer , art director and illustrator .

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The three labels on this page are from the Glen Ellen Imagery Series . The series began with a chance meeting between cellarmaster Joe Benziger and Sonoma County artist Bob Nugent.

They decided to merge the sensory pleasures of wine with the visual satisfaction of fine art. In 1988, the winery commissioned twelve artists to produce label art inspired by Glen Ellen 's "Parthenon," a structure resembling a Greek temple that stands on a vine -covered hill above the winery . Built by a previous owner as a place to read poetry and reflect , the Benzigers, regard it with both humor and affection .

The twelve artists were selected by Nugent and Barbara Lorimar , a fine arts consultant employed by the winery. The artists were given no guidance except the specifications of the final format and its proportions . Ultimately, the Acropolis Collection featured twelve works as diverse as the artists themselves . The winery is readying several wines for future Imagery releases .

Bob Nugent said many of the artists were surprised by the Glen Ellen approach . "They 're a major winery , selling wine all across the United States, yet they've hired artists to do labels for lots as small as 200 cases . It's really quite a commitment to the Imagery Series vision . Wine and art have long been linked . Picasso and Warhol created label art for Chateau Mouton Rothschild wines in the 1970s. Art and wine are both subjective , the link is a natural one ."

Artists from top to bottom: Ford Crull, John Nava and Tim McDowell.

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TERRELONGE DESIGN INC. BY

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ORONTO HAS BECOME a much more international city in the last few years," says designer Del Terrelonge, boasting about the changes in his hometown. " Of course, that means there are a lot of new, smaller design firms around but," he ' s quick to add, "I welcome the healthy competition. " Without a doubt, Toronto is in the throes of a renaissance. All over town you can see signs of gentrification , Manhattanization, what some may call creeping yuppie-ism and others term a creative boom. Terrelonge Design Inc. is a big part of that new scene.

Together with the architectural design firm of Y abu Pushelberg, Terrelonge eems to be remaking the face of Toronto. Separately or together, Terrelonge and Yabu Pushelberg have influenced everything from corporate identity to nightclub interiors to the look of Chinese takeout food. "There' s no doubt about it. Things in Toronto are really beginning to open up," Terrelonge says with the enthusiasm of a first-term city planner.

His ultra-hip headquarters, in and of itself, is a sure sign of Toronto ' s accession. It was built in a former steel foundry on the outskirts of the town 's liveliest boulevard, Queen Street West.

The office looks like an unused set from the movie Batman, suggesting a hightech future and an industrial past at the same time. Designed by Y abu Pushelberg, the space boasts white-andgray distressed wall s, painted doors that simulate metal (right down to the use of faux-rivets) and a giant white air-duct that snakes along the ceiling of the entire main room. It's an impressive place , one that immediately inspires confidence, and that ' s something in which Del Terrelonge specializes.

Terrelonge himself is friendly , cool , crisply-dressed and fast-talking.

Although his designs definitely reveal a dominant style that is bold, clean and 84

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classical, he clearly feels more comfortable articulating his business concepts than his graphics philosophy. "I'll let critics tell me whether my work is out of the Swiss school or whatever," says Terrelonge. "I just want to provide something unique and something that works for the client. " He has been a working designer since 1975 when he graduated from Toronto 's Humber College of Applied Arts and Technology. After a short agency stint and a year in Jamaica, where his parents were born, he settled for six years in the design department of Continental Bank of Canada. There he developed the instincts he views as a cornerstone of his company ' s success.

"Working in the corporate atmosphere gave me a sense that many designers never get a chance to develop. I understand things from the client side. I've seen what they react to , how they like to be approached, and I know what they want, whether it 's printed material, product design , packaging or signage.

I'm not the type of designer who is on a mission to do something for myself and the client can step aside. We never forget that it' s the client ' s project. They are the ones who came to us. That's the way we work.

"In all our literature, we stress close client contact," Terrelonge says emphatically. "That 's something I consider really essential to what we do.

We let clients come to the shoots or whatever. We want them to be part of things. I've found that once they understand the process , they become more comfortable with what we are doing and how we are doing it. " Terrelonge opened his business in 1986, along with his old friend and right-handman Leslie Smith. Almost immediately, he and Les put their business concepts to work. One of the first things they wanted to do was incorporate marketing into their graphics plans.

"I always wanted to be what we are, a marketing-driven design firm. All that means is that there 's a reason behind a design and that reason is reaching your market. To me, it' a natural flow. " Terrelonge is not alone in thi kind of thinking. Graphics firms from Doublespace to Drenttel Doyle are using similar approaches , resulting in a quiet revolution in the design field .

"When I started marketing, I was scared to use the word ," Terrelonge says. "I thought they ' d think that I was acting more like an ad agency , that I was watering down my design aptitude , but then I realized that all through art history there was always a reason that someone put a brush to paper and that reason was, in a ense , marketing.

They were trying to convey a message to a particular group.

"Too often people get mixed-up about marketing. They get it all confused with time-con uming things like marketing studies and complicated media-buying.

But we try to keep our trategie very simple: here 's the product; there ' s the target group ; now how do we make them react. " Terrelonge is al so terrific at marketing himself. He has developed extremely persuasive literature for his business, and a system that lets the client in on his thought processes. For every job, he and hi s group develop an in-depth propo al that demon trates their sensitivity to the client 's background and objectives, and details their proposed design and marketing strategies.

(Again, he references his experience at Del Terr elonge was the creative director for all projects in this article.

Fas hion brochu re for th e Marc Laure nt spri ng/summer li nes . The brochure is divi ded into th ree se parate retail areas of the store: th e Byblos and boutique line, Marc Laurent women and Marc Laurent men. Del Terrelonge, designer ; Ron Baxter Smith , photograph er ; John MacKay , writer.

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the bank. "They always insisted that we have a reason for everything we did," he says. "That's where I learned the importance of thinking things through.")

In the case of the Japanese firm, Sunrise Department Stores, Terrelonge devised a graphics plan that is strong on symbolism. "For Sunrise," he explains, "we developed a series of variations on a circular logo which represented the sun. Each variation symbolized something entirely different about Japanese culture and philosophy. We worked it out in great detail.

"It helps when the client understands what our analogies are, where we are coming from and what our thinking is, that we're just not playing with pretty pictures. They can see that there's an articulated reason behind the whole thing and it helps me and the rest of the staff to focus on our objective, to make choices out of the tons of design solutions there may be out there for any particular assignment."

Terrelonge's graphics style and business-like approach mesh perfectly.

There is a handsome, corporate edge to much of his work, nothing fussy or funky. Whatever risks he takes, the results are always seamless and authoritative. "I don't like to criticize other schools of design," he says. "There's a lot of room for everything. But personally, we design so that the message is perfectly clear. I stress color and graphically-interesting photography. I don't want it to be confused by all kinds of different elements that just don't make sense."

Terrelonge' s elegant designs are deceptively simple, but they are often incredibly complex in conception and production. Proudly, he shows off a new brochure, one that's bound not by glue or string but by an audaciously immense metal clamp. "If this lands on the secretary's desk, it's sure to be passed on," he says as he moves the 86

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object up and down to demonstrate its heft. "We strive for a look that makes a statement. We like to be bold. I've had lots of people say, 'Gee, you guys aren't afraid to put ink on paper, are you?' And they're right about that.

I'm never afraid of what's going down on paper."

For a firm situated in a city that, despite its advances, is not yet a graphics capital, Terrelonge Design Inc. is growing in leaps and bounds. Each year has been busier than the one before.

Through it all, Terrelonge has continued to work with a very small staff-a young, multi-ethnic group which includes Grace Fox and Jennifer Louie on the boards, communications and studio coordinators Chantal Lemieux and Diana Bartolini and, of course, Les Smith. "We met in high school," he says, nudging his old pal. "Yeah," Les adds, "we were in art class together."

Terrelonge strives to create a professional but relaxed environment for his employees. He doesn't like being referred to as the boss. He has as easygoing, manner as you could expect in a high-pressure environment. He stresses the word "fun" as much as he uses the words "professionalism" and "communication." But, after spending a few hours in his office, it becomes clear that, sitting behind his chic, sandblasted, green glass table, Terrelonge is the man in charge.

Although he has designed for clients in such exotic places as Tokyo and Taiwan, most of his work continues to

come from Toronto. He understands the city well; that's one of the secrets of his success. He uses everything that is best in his hometown-and he knows where to find it.

"We use a lot of Toronto-based bindery houses, printers and photographers ," he says, "and we work as a team, going to the same suppliers over and over and helping them develop their capabilities as they help us develop. And I become friends with the people I work with.

It's great.

"I never want to get overly involved in a big company. As it is, I feel like only twenty percent of my work is design. Eighty percent is put into producing things. I don ' t want to add the burden of becoming a full-time administrator over a huge staff. When I left college, I wanted to be a designer and, despite the obvious demands of running a business , that' still what I want to be."

Above : Del Terrelonge and Leslie Smith .

Right: The brochure for interior designers Yabu Pushelberg , was originally produced as a sixteen-page insert in Interior Design Choice. Because of the size of the insert, the designers were able to negotiate a preferred position and purchase overruns at a greatly reduced price . Since many current projects were not complete , the brochure focused on architectural elements highlighting several projects . Del Terrelonge , designer; Sh in Sug ino, photographer; Alan Klusacek , writer .

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Left: Founded more than a decade ago in Taiwan , Sunrise Department Stores is a multi-faceted fashion retailer offering merchandise from Western nations as well as the Orient.

The corporation wanted a new image that would project the stores as leaders in the international market without disrupting its traditional Taiwanese customer base. The project became a joint contract with Yabu Pushelberg supplying the interior design and Terrelonge handling the identity, signage , product and packaging design .

Del Terrelonge , designer; Ron Baxter Smith , photographer; Doug Martin, illustrator.

The new symbol portrays the four parts of the world as Sunrise 's international influences. The three four-color spheres were designed to represent three different aspects of Sunrise and Chinese culture : Global , with Taiwan as the center ; International , with leaping fish , the symbol of life and vital ity ; Heritage , representing the rich tradition of Chinese culture .

All store fixtures incorporate the Sunrise logo and three materials: sandblasted stainless steel , sandstone and blue sandblasted glass. Shown are an ashtray, trash can and customer suggestion box.

An extensive ad campaign was designed to introduce the store's renewed international image. Designed for international and local print media, the format was created to be flexible and to accommodate new and changing images at _a low cost.

This page : The Executive Environments furniture catalog uses a removable metal handle so pages can be inserted and removed as new products are introduced . Perforated tear sheets are included for interior designers to use on sample boards. DeiTerrelonge, designer; David Whittaker, photographer.

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Poster for violinist Yehudi Menuhin 's Canadian tour .

Since the artist was not available for a photograph, Terrelonge converted an existing photo into a line shot and burned the image onto metal engraving plates, producing a Polaroid-like look. Del Terrelonge, designer; Shin Sugino, photographer.

Logo and sign for Karir, an eyewear store. The metal sign refracts light and changes color as one moves through the retail environment. Del Terrelonge and Leslie Smith , designers .

Right: Virtu is an annual juried exhibition of residential objects organized by Forum & Function Directions in Canadian Design . This catalog is from the third exhibition and highlights details of furniture applications. To obtain the soft, faded edges of the photographs , the printer developed a spring and cardboard mask that was manipulated during the developing process . Del Terrelonge, designer; Ron Baxter Smith, photographer; Alan Klusacek , writer .

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Left: Formica Canada Inc .'s booth for Canada 's lidex tradeshow. The corporation 's objective was to reposition their products as high-end design materials for Interior, furniture and industrial designers . The booth encompasses six-hundred square feet and acts as a gallery for new and existing products . Del Terrelonge , designer; Linda Zuber-Chislett , writer .

This page : Poster for Formica Canada Inc. 's new product, Surrell, a solid synthetic material simulating various natural surfaces. Del Terrelonge , designer .

The Oceans identity project was another joint contract with Yabu Pushelberg . The symbol acts as a complement to the interior design and picks up the exotic color scheme of the Toronto restaurant.

Del Terrelonge and Leslie Smith , designers .

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DESIGN-SPEAK VS. COMMUNICATING

FoR SuccEss BY

RITASUE

SIEGEL

W

HENEVER I HEAR SOMEBODY SAY "Nobody understands me," my response is "Perhaps you aren ' t making yourself clear," or, "Perhaps you aren't expressing yourself in a language other people understand. " Sure, there will always be individuals unable to understand even the clearest communication, but, if a broad range of smart people don ' t understand your viewpoint, perhaps your method of communication is faulty or your logic flawed.

RitaS./,le Siegel is chairman of RitaSue Siegel Associates, an international placement and executive search organization based in New York. Th e firm is retained by leading design consultants, corporations and institutions to evaluate people to fill employment needs in industrial, graphic, interior and architectural design, design management and sales and marketing. With other principals in the firm, Ms Siegel helps companies launch and build design departments and designers to understand their value to various business and educational environments. Holding graduate and undergraduate degrees from Pratt Institute, RitaSue is on the Board of Directors of the Design Mana gement Institute and the Design Council of the San Francisco Bay Area.

Th e following is an excerpt from a speech delivered at Art Center College in Pasadena , California.

After twenty years of designers telling me " the world doesn't understand what I do or value my contribution," I advance the theory that the problem is the designer 's ability to communicate. The pat response to this usually is, that "designers deal with intangibles , therefore those who deal with tangibles can ' t ever understand them or what they do. " This neatly hifts the responsibility for any understanding away from designers and back to the rest of the world. And we're right back where we started from, in the no-win, 'U Against Them ' paradigm.

Most designers refuse to understand that other specialized or professional disciplines also deal with intangibles.

Most of them, however, don ' t claim the same exemption from the responsibility , as designers do, for making them elve under tood. I'll give you some examples: Marketing professionals deal with many intangibles in their attempts to determine which products will appeal to the greatest number of people in a target audience.

If you put three marketing people in three different rooms to interpret the same marketing data, you will get three different evaluations, and po sibly three different recommendations. All three evaluation will be concisely articulated in a language other bu iness specialists-as well as designers-will be able to understand.

Many designers also claim that financial professionals are their enemy. That financial types can only deal with the so called "cut and dried," or " hard"numbers. "If financial professionals can't deal with intangibles, can someone explain to me why some brokers make a fortune and other loose their client' shirts?

The successful ones have learned to communicate to their primary audiences. They know most of their cu tamers won ' t buy what they don't understand. Most business people understand thee sential value of financial specialists as well as an appropriate amount of their esoteric terminology. That goes for the full range of

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D esigners with the broadest range of intellect financial product labels and transactions, from the simple to the complex, from junk bonds to mortgage rates to credit cards.

Financial professionals understand that effective communication is often the difference between winners and losers. I do not mean

and clearest communications ability, will be the most influential. · · · · · · · · ·

to imply that I undervalue ideas, skills, experience or luck, but the ability to communicate gives you an unbelievable advantage.

The failure of the design professions to communicate effectively then, in my opinion, is a major contributor to why design is misunderstood and badly undervalued and underutilized by the world of business.

I was recently dismayed by the incomplete understanding of design and design management demonstrated by Robert Hayes, the heralded co-author, (with Robert Abernathy) of the controversial Harvard Business Review article of the late '70s, "Managing Our Way to Economic Decline." He is a professor of Management of Technology at the Harvard Business School, and chairman of the school's Production and Operations Management area.

Mr. Haye ' interest in design was captured by the people developing concepts for the Design Management Institute's TRIAD exhibit (products from corporations in three parts of the world: United States, Europe and Japan), currently on world tour. He attended the most recent Institute board meeting, to ask us for help in developing field-based case history material for teaching design management in the graduate level business school.

He gave us copies of the December 1989 issue of the HBS Bulletin, a newsletter circulated to 60,000 alumni and former faculty of the business school. The ninepage lead article was entitled "Designed to Compete, Managing the Product Development Process."

It contained components of Mr. Hayes' understanding of the definition of design, and I quote one of them: "We know that excellent design alone is not sufficient for success. One could easily end up with designs that do not meet customer needs, or that may not be easy to use, repair or manufacture." What these words mean is that Mr. Hayes thinks design is just another word for aesthetics, or how things look.

· · · · · · · · ·

He went on to say, "We also know, that orne companies seem to be able to manage design and development better than others; not now and then, but consistently, year in and year out, but we don't really know why." I was incredulous

at these remarks. After all, Mr. Hayes was a participant and a member of the audience of the TRIAD Design Project's three day international symposium at Harvard in October 1989. The symposium marked the opening of the TRIAD exhibit and publication of the exhibit catalog.

It featured presentations by designers, business school educators and managers on the topic: Design Strategies for Product Success. Many of them, of course, were on the subject of how some companies manage design and development better than others.

John Pierson, the writer of the "Form+ Function" column in The Wall Street Journal, also occasionally underestimates the complexity of the true definition of design as well as design's value to the economy. Mr. Pierson covered the TRIAD exhibit opening and symposium for the Journal.

Do we deduce, from Mr. Hayes' and Mr. Pierson's level of understanding, that these otherwise very intelligent and successful men are stupid? No. But unfortunately, theirs is not an unusual example of misunderstanding about design and design management in the business world. What is disappointing, is that both the only big-time, business-press writer, dedicated to writing about your favorite subject and mine, and a highly visible business school professor and advocate of design as crucial to success in today's competitive business world, have seriously incomplete under tandings of what design and design management are all about.

Unfortunately, we are perpetuating the misunderstanding.

Why was Texas Instruments Voyager product accepted in the TRIAD exhibit? The exhibit' objective was to showcase products epitomizing excellent design and design management. Case studies are being developed around them for inclusion in business school curricula.

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T he ability to communicate should disqualify it from the exhibit. "Oh no," he said, and conveyed to me that the facts that the product didn't sell well or may not have been needed in the first place had nothing to do with the selection criteria!

gzves you an unbelievable advantage

Part of the message then, that this leading design advocate is sending to business around the world, with money business has donated, is that demand for a product, and whether or not the product sells, are not part of the criteria for measuring good design or good design management. He also said something under his breath about problems with the software.

Designers must also consider design and product development in a larger context than they do; the concept to market cycle. Arnold Wasserman, vice president of industrial design and human factors at Unisys, and a leading advocate of th! approach, believes we need to bring a holistic attitude to the subject. The TRIAD exhibit, in his opinion, focuses on only one segment of product development, the point at which the designer usually gets involved, and ignores the strategic impetus.

The lack of most designer's holistic attitude or perspective is one reason why business oriented people, like Hayes and Pierson, have a problem understanding the value and definition of design and design management.

Business has a holistic view of enterprise and de igners have an anecdotal one. If designers don't broaden their area of concern, they will never have a legitimate place in strategic business decision making. And the gap between designers who don ' t understand or get involved with the strategic elements of a business or product, and business people , who continue to harp on the unrealistic approach of designers, will continue to grow.

Part of the definition of good product design, I believe, must be that people buy the product in sufficient numbers to make it a profit-making undertaking. We are Capitalists, remember?

It 's imperative that designers learn to communicate in order that they may contribute to developing solutions to the enormous problems facing both business and society as a whole.

Hayes of Harvard says the next competitive arena in business will be "design," just as in the '80s , it was "quality."

He couples this with a call to redesign management, to require close coordination at low levels of the organization. He emphasizes the importance of strong communication and interaction among previously 96

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separate disciplines, from marketing to manufacturing.

Design 's challenge and opportunity , he says, is to integrate all three competitive dimensions: cost, quality and speed.

He is also well aware that if the dealer 's shelf has five different products on it, all of the same quality, manufactured from the latest components and delivered on time, the customer will make a choice based on aesthetic and usability considerations as well as how it fits into his lifestyle and living environment. Hayes has discovered that design , in the 1990s, will be the major competitive differentiator.

This is assuming that the U.S. can, in the 1990s, once again manufacture products of competitive quality, continue to develop cutting-edge technologies and deliver a product on time.

I'm not so sure.

Our work force isn't what it used to be. Ninety-six percent of Japanese students graduate with a high school diploma, which is considered by many to be the equivalent of a U.S. four year college degree. Meanwhile, in America, an average of 28.5 percent of our kids drop out of school between the ninth and the twelveth grades.

We also have a very large section of our population variously estimated by reliable sources as 30 million or one out of five, who cannot read, write, reason, count or figure on a 4th to 6th grade level. These people are called "functionally illiterate. " We are dangerously close to wasting our most valuable natural resource: People.

Let 's assume though, that we can overcome these problems: designers lack of ability to communicate with other business speciali ts or professionals, the diminishing basic skills of the work force, the dismantling of a once effective educational apparatus, and the mismanagement of the relationship of industrialization to the natural environment. Our leading corporations are switching from relay-race types of structures, where ideas are passed from one function in the organization to another, and everyone does their "thing" to it, to team-centered product development and production. Designers must be integral parts of such teams.

Designers capable of making things outstandingly unique, or beautiful , or both , will always be irreplaceable. But their influence, on the product development cycle as a

Design can be to the '90s what marketing was whole, will continue to be severely limited if they continue to wear blinders.

to the '50s if individuals who make up the design professions can

the advantages of bringing in designers at the earliest stages of product development, how to u e design to support strategic business goals, how to use design to differentiate themselves in their

As in the past, de igners with the come of age quickly broadest range of intellect and cleare t communications ability, · · · · · · · · marketplace or how design can will be the mo t influential. add value to the entire organization. I also believe many Those with the skills to explain what they do and why of them believe a concern with design reeks of the they do it, who understand the problems facing the effeminate. Can you imagine the panic that may cause? marketing, engineering, production, financial, human resources and other specialists with whom they work, will When you think about communicating with "civilians," rise in the decision-making ranks. Those that can't, will then, please factor in their handicaps, which have been join the business equivalent of the functionally illiterate; ignored until now, and act accordingly. the underclass of people who have no ideas because We need demonstration projects to show and explain: they can ' t read, write or count effectively.

What designers do, what design is all about, and most I don ' t believe that design students are spending fifteen to importantly, how organizations can use design to the twenty thousand dollars a year on their education, in order fullest extent possible. to be consigned to the ranks of the illiterate. The business In the Spring of 1989, I sent a letter to the heads of all chools and the design schools must ensure that this American communications, products and environmental doesn't happen. They ea~h must teach designers and future design organizations, proposing they join forces to put managers of design to listen, and to communicate well. together such demonstration projects.

The most articulate member of the design profession Colin Clipson of Design America at the University of must participate in communicating the true value of Michigan, was inspired by my challenge and organized design to fledgling accountants, operations managers the first meeting. The Steelcase Design Partnership, in and marketing people. Leaving this task to Hayes and NYC , donated the space and refreshments for the day.

Harvard and theca e study method, will not work.

Almost every organization sent a representative. We need If designers don't help them, the full story may never more such efforts and more financial support for them. be told. Remember those definitions?

In fact , the combined promotional and educational efforts Designer , who can perform in public, must participate of individual design organizations have not made the in the educational process in the business schools. Those impact on business that "LA Law" has made on our who can develop and draw alternative designs, based on nation's consciousness. Whether "LA Law" presents an a project put together by a team of business students accurate picture or not, little has increased enrollments in from operations, marketing and financial management, law schools or interest in the law profession like that can demonstrate the magic (and consequently some of program. The engineering professions have noticed and the intangibles) that are an essential part of what the a TV series with engineers as heroes is being written. design process is all about.

We have "Designing Women," not a pretty picture.

I've got a pet theory that may illustrate a hidden obstacle The bottom line is, then: We know design has a major for those of you interested in helping solve the problem: contribution to make, to both business and the world as a I equate the inability of a certain percentage of the whole. Design can be to the '90s what marketing was to population to understand and di criminate about what the '50s if the individuals who make up the design they see, with color blindness, a handicap. Every year, a professions can come of age quickly. We cannot stand certain percentage of babies are born color blind. Color back and tell the world it doesn't understand us. We blind-ne s is a genetic defect. It is also sex linked. must learn how to communicate our value in ways that People who are color blind are mostly male. Males still help what I call "civilians" to understand us. We must dominate the senior levels of our most successful busiseize the initiative. nesses and busine s schools. A large percentage of these men do not know or understand , in ways that satisfy or are helpful to designers, what designers can do to enhance communications, products and environments ,

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RICHARD MANTEL BY

ROBERT

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elements. I learned more there than in all my years at school. " The constant challenge was to present visually what the words said abstractly. " We had 24 hours to assign the art after a manuscript came in. Then we closed in three days. And this was every week."

Mantel 's persona is casual: a denim shirt, nondescript trou ers, grey streaks in hair and beard that are casually patted into place. Yet he is precise in the message he wants to convey with words. He continually asks: "Is the tape going?" "Does that make sense?" " Am I repeating myself? " "Do you want me to digress?" "Will you turn the machine off a second? "

Whereas newspaper design was fast and exciting, the great revelation in Mantel 's career came when he began to work with John Berg and Bob Cato at Columbia Records. "Record jackets opened up a new world to me of what graphic design could be," he says. "The best design work in the country was being done there. Everything was thought out. There was time to experiment, and taking risks was encouraged. To follow the beauty and sophistication of those graphic solution about music was thrilling. And we had the added advantage that the client who encouraged our risk-taking was our employer."

HERE IS A CERTAIN PRECISION TO Richard Mantel 's world, and a certain casualness.

In hi s art, there is realism and there is the unexpected. Even in the studio space he shares with two designers on Manhattan 's East Side, there is a melange of books, papers and paraphernalia typical of artists and designers, while outside, through two large windows, looms the orderly geometry of New York City.

It is not that Mantel is uncomfortable with words and ideas.

Rather, they are the tools he works with, whether as illustrator, designer or art director. Indeed, one senses he is taking the same care to project the right ideas for the verbal picture that is drawn of him; as he does to abstract the basic idea from a book, article or music album for which he has created an illustration.

"The key," he says, " is to find the emotional and intellectual core, whether it's a short book title or a full manuscript. The central point is in the words, finding that basic idea that connects metaphorically with your own graphic vocabulary. You want to express that central idea provocatively and, you hope, beautifully."

Mantel calls his approach problem solving. Almost since the time he left his native Cleveland for Pratt Institute in New York, he knew he liked "solving problems that came from the outside. I didn 't want to spend my life in a studio painting my own problems. " What makes Mantel ' illu stration work distinctive i that he solves each outside problem on its own terms. Hi s perception and style will change from one problem to the next. He attributes some of this diversity in images to Barbara Carr, an early teacher at Pratt. "Our first assignment was to draw in a week 65 pictures of anything.

She collected all those drawings from 25 kids, and threw them in the garbage. Everyone was angry, of cour e. What I learned from her was the importance of the process. We had to learn first about ourselves and our sensibilities, and let our work develop naturally . When you impose the result in advance, you choke off riskier avenues , avenues that may produce a more satisfying result."

Mantel 's early jobs were as a designer and art director, not an illu trator. Working two years with Peter Palazzo at N ew York magazine, when it was part of the Herald-Tribune, he learned " how to pace a story , how to integrate disparate 98

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The work was typified by that of Henrietta Condak, he says, "The best designer I ever saw. She had the extraordinary ability to create images that were entirely unexpected , and exquisitely formed within a perfect spatial relationship. She taught me a lot. " Mantel is saddened by the demise of the record jacket in recent years. "It was a consistently creative medium of expression for three decades," he says. " Now, with CDs taking over, the scale is different , half the size. You can't do the same things. " Except for collages and montages , Mantel wasn't doing the illustration work at Columbia Record he wished to do. Only free-lance book jacket assignments gave him that satisfaction.

Looking for a change in many ways, he bought a motorcycle and went off to Europe. "It was a scary thing to do," he ay .

"I didn ' t know it would turn out to be for a year. But it made me braver and more confident about taking smaller risks in life. " He came back renewed and " not afraid to fail" in his new career as an illu strator.

But there was a learning process. "I had to learn my own limits, and not try to solve as an illu strator what I would never assign myself as an art director." He cites a Boston Globe magazine cover on the " new fatherhood." "I wanted to do a contemporary man as a madonna figure," he explains, "a

Unless otherwise noted, Richard Mantel was the illustrator and designer of the projects shown in this article , and all of his paintin gs were done in acrylic .

For a Texas Monthly article , "Cowboy Songs ," five illustrators were each assigned the lyrics of a different song . Mantel illustrated "Little Joe , the Wrangler ," a 19th century ballad of a young man who was killed on his first cattle drive. "Fred Woodward sent a tape of wonderful western songs . I listened to the tape as I worked , and I th ink the mood of the music helped me capture a sense of the young cowboy . I also thought of my son. He 's nine now. I'm sure that my focusing on him helped pull some extra emotion from me as I painted ." Fred Woodward , art director. Size : 11 x 14.

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father holding a baby in a nurturing way. It was a classical view of motherhood , and something I was totally ill-suited to do. I hadn ' t discovered my own voice."

That voice, he says, tends to be very graphic. He will focus on a specific detail , a gesture, "something which has a visual juxtaposition or twist that catches people by surpri e." Realism itself does not interest him. "I'm not good technically," he says. "I'm not a renderer. " On the other hand, his painting technique does look very real , and this can cause a problem.

"All of us are grounded in the iconography of surrealism," he says. "In a way, Rene Magritte invented an entire graphic vocabulary for many of us. Every time you change scale or contrast unexpected elements, you're going back to the surrealists." The problem arises when he uses his own realistic-looking style for such images. "The result," he says, "tends to look more contrived or derivative than when a less realistic illustrator does it." Yet he still gets such assignmentsdo a Magritte- "and it's a fight to find my own way."

After working with Push Pin Studios for nearly five years, Mantel decided to go his own way, literally. Recently however, he has found that "doing illustrations can be very wearing. I don't have it in me to do it all the time. It's too draining, and the fees are not always commensurate with the effort. Nothing is more depressing than to work on a painting you don ' t relate to emotionally."

So in recent years, Mantel has returned to art direction, creating a series of advertising supplements for New York magazine in its new guise. "They 're upbeat, sophisticated and light in spirit," he says. He likes dealing with illustrators who can make a fresh connection, citing a Terry Widener piece for a personal investment section in which a plush hedge becomes a dollar sign. At other times, however, as in the work of David Calver "the idea doesn' t matter becau se there is such joy in the style that it carries the piece by itself."

Mantel himself would like to go beyond illustration and art direction. "Part of the price I pay ," he says, "for being flexible in the kind of work I do and for coming up with different graphic solutions to different problems is that I'm not identified as a specialist. So when a client needs a logo, a magazine design, or a marketing package, he doesn ' t think of me first." He would like to change that perception and take on corporate and institutional work.

But Mantel also has a more altruistic ambition. "I would like to do a book, something with my images that would address larger issues than beauty or design , something that would affect people for a long time. I don ' t know what the subject would be, but I want to pull together the threads I have yanked on over the years and in this book make them visually coherent."

These deeper ambitions are in part prompted by watching his son, Alexander slowly grow up. "Having a son has affected my work profoundly. There is more emotion in it. I want to harness my time, so that 30 years from now my son will look at it and be proud of what I accomplished." ] 00

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Left: Poster for The Racing Game, a three-part mystery filmed in England and shown on PBS . Author Dick Franc is had been a top steeplechase jockey who rode for the Queen Mother. His mysteries are usually set in the world of horse racing . The gesture of the rider was very important. In England , steeplechase jockeys lean backward over jumps . In America they , lean forward. "When I was at the printer, one of the pressman asked me if I knew there was a skull in the hedge. I chose to take the question as a compliment to my subtlety."

Sandra Ruch , art director; Mobil Corporation , cl ient. 18 x 24 .

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This page: The Robot Book was designed for Pushpin Press. "I wanted an open format so I cou ld freely change the scale and vary the number of images from one spread to another. This helps the pacing of the book by working against the rigidity and repetitiveness of the images themselves. " Seymour Chwast, creative director; Robert Malone , writer ; Harcourt Brace Jovanovich , publisher .

Trademark for Benjy Levy , a charming , funny and brilliant close-up magician and mentalist, who also wears large glasses .

"He wanted his stationery to be personal and fun , but still feel classy and appeal to corporate executives . He performs mostly at private corporate parties . The inspiration came from an A.M . Cassandre poster for an optician , in wh ich he made use of an abstracted head wearing large eyeglasses .

I was sorry to see the project end . Each time I went to see Benjy with a new idea or a revision , he would amaze me with a show of his sleight-of-hand ."

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RICHARD MANTEL

The agency had made a rough sketch that incorporated the market symbols of the bull and bear in an ad for FASCO, an investment counseling cor:opany . "I liked the idea. The combination created a surprising looking creature . What made the image so effective was that bulls and bears both have a prominent shoulder hump, giving them a hunched over look when they walk . This made the animal I painted look logical at first glance ." Sirhan Kaprielian/Walter Kaprielian , art directors ; Sirhan Kaprielian , designer; Walter Kaprielian , creative director; Kaprielian/O'Leary Advertising, agency. 18 x 12.

Four of the advertising supplements Mantel has designed and art directed for New York magazine . Susan Breslow is the creative director on all of these .

The New York Marathon , illustrated by Tom Sciacca . "Because the city is enormous and the runners so small , it's a difficult problem in scale for the illustrator. The runners on a narrowing spiral was totally Tom 's idea. Some of the people at the Roadrunner's club, the group that sponsors the event, were less than thrilled with the cover . I think it was a bit too metaphorical for them ."

Winter Sports and Fitness , illustrated by Cathleen Toelke . "To get some sense of winter sport in New York , a park seems the only appropriate setting . Each year , I've tried to think of a different pictorial approach , but I always come back to the park . In Cathleen's original sketch , there was no bench . I had her add it to more clearly place the scene in the city."

Right: Cover and title page for Florida, illustrated by Laura Smith . "I use Art Deco design devices to set the style inside the section , and had the word Florida hand lettered using 1920s typographic forms . I use this type on the Florida section from year to year . On most sections , I change typefaces from one year to the next. " Cover and content page for French New York , illustrated by Jeanne Fisher. "This special section , tied to France 's bicentennial , pays tribute to the French cultural influence in New York. Jeanne's first sketch was beautiful . The only change I asked her to make was to add the French poodle to the scene ."

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E TO VACATIONS AND RfAl fSTAH RfAtHfORAI[AtH

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he warm sun and clean sand that have always attracted New Yorkers to Florida still beckon. Only now, there are more ways to enjoy them. For swimming, surfing, snorkeling, or competitive sand-sculpting, one can find the ideal beach.

Beyond the beaches are the man-made attractions: Disney and the theme parks, the Kennedy Space Center, theater, music, and nightlife in Miami, sports, shopping. and more. For relaxation after recreation, Florida's luxury resorts, hotels, and fine restaurants stand ready. Add to these enticements the opportunities in Florida real estate, and one might consider making the Sunshine State one's new-or second-home.

Arrivals from New York and New Jersey make up more than 20 percent of all airline passengers to Florida. They join a stream of more than 36 million visitors to the state-about three times as many tourists as there are natives. Expanded airports from Tallahassee to Key West are welcoming these snowbirds in record numbers.

Most New Yorkers fly rather than drive to Florida, and fly-drive packages are available. Alamo Rent A Car, based

by Charles flowers

"L' Art de Vivre" exhibition at the Cooper-Dewitt Museum to the festivities along Madison Avenue and 57th Street , New York celebrates 200 yearb u of French culture and style.

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RICHARD M ANTEL

A

NOVEL

BY

HALL AUTHOR OF WARLOCK AND THE BAD LANDS

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Left: Illustration for Rolling Stone when Bob Dylan was inducted into the Rock & Roll Hall of Fame . "I've felt an emotional tie to Dylan since the '60s . I loved the toughness and brittleness of his music . I wanted to paint him looking confrontational , as the best of his music is. I fantasized that , after it was published , Dylan would call and tell me how much he loved the painting, offer to buy it and invite me over to dinner . None of this happened , but Fred Woodward , the art director and designer, liked it. " "The agency showed me an approved rough for this illustration in a Union Carbide ad and I happily agreed to do the painting . The headline was 'What 's good for the carport is good for the car. ' To this day , I don 't know exactly what the copy has to do with this image , but I liked the image very much . It still makes me sm ile when I look at it. " Carol Franklin , art director/designer; Needham Harper & Steers , agency .

Mantel was brows ing for reference in an old print shop and came upon the lithograph he used for his design of the Apaches book cover . "The shape of the mountains reminded me of an Indian headress in some sublim inal way . I felt the power and drama of the title itself created an interesting tension with the quietness of the lithograph. Remember the old westerns when the frontiersmen fearfully scanned the horizon for a glimpse of the Indians they knew were coming? The tension came from not seeing them but knowing they were there , somewhere ." Frank Metz, art director; Simon & Schuster, client.

Black Girl, White Girl is part of an ongoing crime/mystery series. Mantel estimates that he 's done at least fifteen covers over the years . The design allows for title changes without affecting the look of the typography . Each cover has a skull incorporated into the painting , sometimes whimsically , sometimes with a more serious feel . "This is one of the more successful ones because the shape of the skull so naturally fits the shape of the wicker chair ." Lee Wade , art director ; Henry Holt & Company , client.

This page : Western Swing is a gritty novel set in Wyoming about a semi-successful writer's obsessive love for Lana Sue , a not at all successful country-and-western singer. "I had myself photographed for reference . When they saw the finished painting, the client said they loved it, but the guy 's back looked too bulky to be a 25-year- old. (I 'm 48 .) The painting came back three or four times until I'd trimmed him down enough . A humbling experience ." Bob Reed, art director; Henry Holt & Company, client. " The Struggles for Poland chron icles the turbulent events that have shaped Poland 's history in the 20th century . To symbolize a country , you must use a symbol of that country .

With Poland , the choices were narrow. The Polish flag has changed , but their eagle has been used consistently , in some form , for centuries. Once I had the symbol , I ripped it up and put it back together , sl ightly skewed , showing that Poland has held together , despite the continuing crisis that is its history."

Bob Aulicino , art director; Random House, client.

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R ICHARD M ANTEL

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IF I had R ead as M uch as other Men, I would have been as Ignorant as they.

Left: A poster for a PBS mystery program . Brat Farrar, a story of greed , murder and betrayal set on a lavish English estate , involves twins .

One brother , long presumed dead, suddenly reappears to claim his share of a vast inheritance . "Whenever I see twins together , I'm visually jarred . I reacted this way when I saw a tape of the program . In the painting, I positioned the twins uncomfortably close together to convey a sense of trespass and violation central to the story. Sandra Ruch , art director; Mobil Corporation , client.

This page: Two bookmarks from a series for Champion Papers promoting their Carnival Paper . Each bookmark carries a quote from a famous writer , and each one is designed in a style appropriate to the writer's era . Joy Li, art director.

Portrait of Brahms for Elektra Records. "I only had a few photographs to work from . The one I used most directly for reference was slightly out of focus , which created some problems .

Brahms ' demeanor was so serious and imposing , I added the flower in his lapel to lighten him up a little ." Ron Coro , art director/designer.

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TED2 TECHNOLOGY ENTERTAINMENT DESIGN BY

DICK

AND

ONTEREY WAS THE SETTING FOR THE four-day conference, a sequel to the first TED conference in 1984 which was also co-chaired

by Harry Marks and Richard Saul Wurman.

Unfortunately , the auditorium seating was limited and many were too late applying for TED2. Wurman told us that they had to return a quarter of a million dollars worth of checks.

M

If you missed this one, Conference Director Bill Rosenzweig

has assured us that there will definitely be a TED3 in 1992.

In fact , because this was so well received, they are seriou sly considering a positive response to the requests for a TED conference in Europe later this year.

Wurman , Marks and Rosenzweig assembled a group of speakers, from a spectrum of di sciplines , to di scu ss their work and ideas. There was no problem getting involved with the content. T, E and D are hot subjects today , as well they should be. Second oniy to money, which is already trading over $100 trillion a year, information and entertainment will be major commodities of future world trade.

Their creation and distribution will be facilitated by the increasingly rapid development of technology . Obviously , communication design will play a very significant role.

JEAN

COYNE

In the virtual reality room set up by Jaron Lanier ' VPL Research Inc. , there was always a long waiting list to put on the stereo video goggles and control glove to experience being inside the three-dimensional computer graphics. If you weren ' t there when your name came up , you lost your turn.

So, it 's time to go. Your name i coming up. What do you do?

This, plus some time lost by projection problem , tretched the schedule. After-dinner ses ions tarting an hour late made a long day, but there were few complaints.

Richard Saul Wurman , founder/publi sher/designer of Access Press, is also the founder of The Understanding Business which created the "Smart Ye llow Pages" for Pacific Bell Directory. Wurman opened the conference with a few statistics on the caliber and makeup of the participants, as the conferees were termed. 28 states were represented, with 22 participant from other countries. Over 40 were from the press and television , a surprising figure considerin g there were no press passes.

After commenting that we were all there to learn and offering a poignant definition: "Learning is remembering what we are interested in ," Wurman turned the podium over to hi s co-chairman, designer Harry Marks.

Time, or the lack of it, was a problem. There was too much being offered. Apart from the speakers on the program , there were six information rooms: an HDTV Theater, Virtual Reality Room , Letraset Design Studio, Adobe Photoshop, a participant show-and-tell room and a bookstore and resource center. To make use of these facilities , and converse with other conferees or the speakers , fifteen- and thirty-minute breaks in the program had been provided.

It is difficult to remember what Marks said because there was extraordinary competition for our attention. On the screen behind him appeared a caricature of Harry , lip syncing with his word . A the crowd reacted, Marks turned

Great idea. But, with so much to see and try and talk about, getting everybody back into the auditorium in time for the next scheduled session was extremely difficult. For example:

Center: One of th e partici pants who put on the video goggles and power glove to ex perie nce Jaron Lanier's "Virtu al Rea lity ."

Photographs by Reven T. C. Wurman

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Left: Harry Marks at the pod ium with Harry 2 on the screen behind him . For more information on this live action performance character an imation, see the deGraf/Wahrman article, page 110.

Right : Alan Kay and Robert Ab el in an animated d iscussion .

and looked at the screen. "Harry II" smiled at him before performing some comical distortions. Marks then explained this was live performance character animation.

There was some discussion that the "E" in TED could also be for "Education." As the conference progressed, a third candidate arose. "Environment."

Theodor Nelson, a "Distinguished Fellow" with Autodesk, discussed his dream of a world library of information and closed with a plea for recycling and to stop polluting.

Douglas Adams , author of The Hitchhiker's Guide to the Galaxy, described some of his experiences researching his new book on endangered species, Last Chance to See. Nigel Holmes, graphics director of Time magazine, ended his presentation with the staggering figure of 15 ,000 trees or three million pounds of paper required for each issue.

And his own plea to recycle.

Payson Stevens, scientist, designer, author and president of InterNetwork, Inc., specializes in projects for the scientific community, bringing complex data into a meaningful form.

Stevens made a key pre entation, "Earth: Vital Signs," at Robert Redford ' s Greenhouse/Glasnost Sundance Symposium. The last project he showed at TED2 was a presentation on global warming he had made to Congress.

This showed how the water would rise in the Potomac, enter the city onto the mall leaving the Vietnam Memorial, African Museum, lower floors and passageway of the National Gallery, among many others, under water, and flood right up to the Capitol steps. He drew a standing ovation.

Eric Utne, editor of The Utne Reader magazine, a selection of the best journalism from the alternate press , offered to host a salon to discuss environmental issues. Some 45 people converged on the Beau Thai restaurant, and others couldn ' t get in. The initial outcome of the discussion on how the

intelligence and creativity of this group could be applied to saving the earth was a commitment to hold a conference, specifically for people involved in technology, to explore what could be done to help solve the problems.

Some of these are available in our own backyard, so to speak.

The area of Silicon Valley is uffering serious pollution problems created by some of the high tech industries. And what are we going to do with all those tapes, floppie , hard disks, compact discs and the obsolete plastic computers and terminals?

Other speakers included: Robert Abel, filmmaker/ designer; Bill Atkinson, Apple Fellow who wrote MacPaint and Hypercard; Peter Bradford, designer; Bran Ferren, designer/ technologist/ special effects creator; Frank Gehry, architect; Nancye Green, designer; Herbie Hancock, musician/ composer; Takenobu Igarashi, designer; Alan Kay, Apple Fellow and pioneer of personal computing; Jaron Lanier, founder of VPL Research; John Naisbitt and Patricia Aburdene, authors of Megatrends 2000; Nicholas Negroponte, director of the Media Lab at MIT; Kenny and Aime Rankin, songwriters/musicians; Jeffrey Rona, composer and author; John Sculley, CEO, Apple Computer; Bob Stein, president, The Voyager Company; Ted West, Pacific Bell; Marty Sklar, president, Walt Disney Imagineering.

It was a great conference. Exciting, fun, busy, and exhausting. Very few left there disappointed.

• "A Day in the Life of TED2 " tape was put together by Rick Smolan , creator of the best-selling book series , and Russell Brown , Senior Art Director , Adobe Systems , utilizing Adobe Photoshop software .

Shown are Richard Saul Wurman , Harry Marks and a combination Wurman/Marks in a playful manipulation sequence .

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DEGRAF/WAHRMAN BY

DICK

P

ERFORMANCE CHARACTER ANIMATION is the term they use to describe the process. It is real time interaction of the operators with their characters, a live sustained performance, akin to puppeteering. In fact, the operators that Brad deGraf and Michael Wahrman use for these performances were formerly puppeteers with years of experience developing the eye-hand coordination to bring a character to life.

It isn't necessary that the puppeteer knows much about computers, they explained. He just has to learn the system, which amounts to operating the "Waldo," a mechanism that is designed and built for each project and is used to control the various actions and expressions of the computer puppet. (The name comes from a Ray Bradbury story where an incapacitated man builds a mechanism to control the actions of others.)

If the characterization is complex, or more than one character is involved, two or more puppeteers will operate the controls.

They recalled a time two years ago when puppeteer Trey Stokes was first exposed to their operation. "It was the second take rehearsal that Trey did, only four hours after he'd learned the system," Wahrman said. "It was totally impromptu. The lip sync wasn't perfect, but it was far more expressive than anything I'd seen before."

"It was a revelation to me, in terms of the application of the technology," Brad added. "Puppeteers are basically actors and they enjoy inhabiting a character, becoming that character. I hadn't quite realized the strength of that when we first started doing it. They can do so many subtle things at once that you could never layer in a scripting fashion. You couldn't get the combination of subtle movements that you can from somebody who is really good with his hands. Also, of course, there's the obvious benefit of being able to do so much more work because you ' re doing it in real time."

"What we're doing," Michael said, "is building a new kind of piano for all those pianists out there."

Why did they decide to explore this direction?

"Doing character animation was very slow and tedious," Wahrman stated, "and computer animation was too expensive and too cold. It was our opinion that, until we learned to do character animation in computer graphics in a way that was more expressive and could give us more control, and also let us produce work a lot faster, we were never going to be a medium that would attract much interest.

"There were a number of different techniques being proposed to do something about this, but the one we were most interested in was drawn from the performing arts.

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We felt this technique would work, but others didn't particularly believe us or want to support it. But it had to work because there were so many instances in special effects where it had been used with success.

"Whatever you think of the films, both "E.T. " and "Alien" had very capable characterizations. And they were created with puppeteering. I guess puppeteering is to theater as science fiction is to literature. It doesn't get a lot of respect, but it has a lot of very talented artists who are brilliant at creating characters in real time. And they know a lot about timing, and what a scene is, and how to work with a director, all of these things that make them plausible people to work on large scale productions.

"Puppeteers are animators, too. They just come from a whole other world. Two different cultures, but they share a common goal, creation of characterizations."

They formed deGraf/Wahrman in 1987, working at first out of Michael's living room. After a few months, they moved to their present space in West Hollywood. Since then the staff has grown to twenty which is supplemented, when the need arises, with free-lance talent.

In 1988, Silicon Graphics was bringing out a new piece of equipment that would show a large number of geometric forms in real time and shaded form. This was the tool the partners felt they needed to show their performance technique. The wire frame form didn't show the mass or density they felt they needed to get a good performance.

Shaded graphics would also give the director and the puppeteer the kind of feedback they needed.

Silicon Graphics gave deGraf/Wahrman one of their earliest prototype versions and the partners agreed to do a presentation for them at Siggraph. The master of ceremonies for Michael Wahrman and Brad deGraf Company trademark by Brad deGraf and Doug Brotherton , admittedly influenced by earlier viewing of petroglyphs .

Stanley and Stella: Breaking the Ice is a film Michael Wahrman created for Symbolics to show at Siggraph in 1987 . Produced by three-dimensional computer animation , it was the first film with large numbers of interactive characters . The film opens with a lot of birds flying about in various patterns and then focuses on one bird, Stanley . He fl ies down near a sheet of ice covering the water and sees an attractive fish , Stella. They go through a number of different motions as their interest in each other develops . Stella then makes an invitational motion with her fin.

Stanley flies up and then dives down , breaking through the ice , where many fish are swimming around . He locates Stella and , after a few tentative movements by each , she gives him a tim id but affectionate kiss .

Richard "Doc " Baily and Larry Malone modeled the characters , Phillippe Bergeron was the animator .

YOUN<i, FAST &SCIENTIFIC Photograph by BBC , 1989

© 1987 Symbolics Graphics Division, in association with Whi tney/Demos Productions

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the film show was a very funny guy named Mike Gribble.

They laser scanned him in twenty-seven different facial expressions and created a computer- generated puppet, a talking head they named "Mike Normal."

"During the halftime of the show," Michael said, "we did a lot of gags involving Gribble. He told a little story about how he was turned into a computer-generated character, and he ripped his face apart. Then we had him sing opera. This was about a one-and-a-half person puppet. Trey Stokes did the main work and Brad and I traded off doing the lever work.

We did three live performances. The first night, the people applauded even though most of them didn't really understand that it was live. Some people, who did, won bets. When they all realized what had been done, we were very gratified with the response."

Another opportunity arose later when New York director Lee Breuer invited them to participate in a new play, The Warrior Ant, with a first performance at the Brooklyn Academy of Music. The play was an art piece involving the use of puppetry.

"We did ten minutes of live lip sync every night for two weeks," Wahrman said. "It was a lot of fun. Some of the performances were great, some were horrible, most were OK, and the audience liked it.

"Unfortunately, the required infrastructure to make it wonderful wasn't there. We had a donation of a computer from AT&T Pixel Machines, and were delighted to have it, but it wasn't optimal for this kind of work. There wasn't a budget to build a Waldo so the puppeteers had to work with a dialbox, which really isn't adequate. Because of these problems, combined with the fact that the budget also limited us to a minimum amount of technical direction, the performance really wasn't up to our standards. But I learned things during ©1990 The Universal City Studios/Hanna-Barbera

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that session that I needed to know. One was that even though it was not an appropriate puppeteering interface, the puppeteers got on it and learned to make a character with it. I saw it then, and have seen it since. Give puppeteers some time, even with the most primitive apparatus, and if they ' re directed well , and they are the right puppeteer , they can create a characterization. They will bring their own talents to it. Which is part of what we look for, the magic that come from very talented people working on these things."

To avoid any misconception that much of their work was freebies, let me note that recent deGraf/W ahrman projects include a theme park ride for Universal Studios, Florida, and a 70mm stereographic film for a Japanese theme park.

Unfortunately, examples from these couldn't be shown at thi time. Two current projects are for major films to be released later this year. We were able to get permission to show some images from these.

Brad deGraf attended both Princeton and Virginia Commonwealth University where he had studied industrial design and graduated with a degree in mathematics. For the next four years, he was in business for himself, designing and building one-of-a-kind sculptural furniture and was granted a patent for a chair design. Then he was a programmer on military applications of computer graphics. This was followed by four years with Digital Productions as head of A few of the many sets created for Jetsons! The Movie, produced by Hanna-Barbera and released by Universal. The characters in the ir dome-covered flying ships have occasion to make death defying flights through some of the rugged landscape scenes not shown here . The producer for deGraf/Wahrman was Anne Adams .

Michael Wahrman and Brad deGraf were the effects supervisors . Jim Hillin was the head technical director and Ph il Zucco , Ken Brain and Brad deGraf were the technical directors .

© 1990 deGraftWahrrnan, inc.

Photographs by Ladd McPartland

"Mike Normal ," the talking head in a live action performance to demonstrate a new piece of Silicon Graphics equipment at Siggraph 88 .

Twenty-seven laser scans were made of Mike Gribble and used by Ken Cope to model the computer puppet. Brad deGraf and Michael Wahrman were the technical directors , Trey Stokes was the head puppeteer. The head is really more like a mask since the back and top of the head were eliminated to cut down on the memory required. The distortions shown here are some of the unlimited number of possibilities.

© 1990 deGraftWahrman, inc.

Photographs by Karen Anderson

"Harry 2" was created for the TED2 Conference . The model for Mike was used again with Ken Cope making some adjustments and adding the mustache and glasses . Greg Ercolano was technical director and Trey Stokes was the puppeteer .

COMMUNICATION

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DEGRAF/W AHRMA

technical direction. He managed a number of large scale projects and also directed many of them, including co-direction of a five-minute stereoscopic film for the Hitachi Pavilion at the 1985 Expo in Japan. Serving as the liason between the production and research groups at Digital, Brad spearheaded many breakthrough techniques including witness-point tracking and digital compositing.

Michael Wahrman got an early start, learning to program when he was eleven, and doing graphics in one form or another since he was fifteen. At UCLA, he began doing computer graphics. Before entering the field of computer animation he was director of the Information Systems Laboratory at the Rand Corporation. At Robert Abel & Associates , he designed the first raster graphics color system fully integrated into the special effects studio. Wahrman also aided in the system design and the production of the fir t raster graphics films such as "High Fidelity."

His ideas introduced in·that system are in use at hundreds of production sites today. While free-lancing to Symbolics, he helped design their animation system as well as leading the production of "Stanley and Stella: Breaking the Ice," one of the landmark productions at Siggraph in 1987.

© 1990 deGraf/Wahrman, inc. Photographs by Karen Anderson

For the near future, the partners have several goals.

Since they both have histories of involvement with new developments, they ' re looking forward to doing more R&D that furthers the state of the art. In the short hi tory of the firm, what they've done has been developed in the process of doing production. Two of the goals they named were creating better puppet interfaces and live performance of computer- generated character interacting with other characters and even with actors.

Referring to the fact that most of their opportunities have been projects with human faces, Brad said, "It would be nice to design a character which puppeteers could get their hands on and really act, without having to be concerned whether it really looks like they ' re saying ' p ' there or ' b ' and really just concentrating on getting expressive characterizations."

They are looking forward to more powerful , faster equipment, ultimately to video real time of 30 frames per second. Presently, depending on the complexity of the character, it could be twelve or less .

Their timing is right. There is strong reinterest in animation, obviously bol stered by the uccess of The Little Mermaid and Roger Rabbit. And there is no sign of weakening in the market for children's video.

114

MAY / JU

E

1990

Actor Tom Noonan who plays Robocop was laser scanned for thirty different expressions used by Ken Cope to model Robocop 's head . The forms created by the laser scanning have some residue which can be seen at each side of the head and in the mouth.

Top : Greg Ercolano , techn ical director on Robocop II .

Middle : Ken Cope , modeller.

Below : Robocop 's head in a talking expression and some of the more dramatic expressions , colorings and distortions.

Photograph by Karen Anderson

Photograph by Karen Anderson

© 1990 Orion Pictures

Photographs by Karen Anderson

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EXHIBIT WE'RE LooKI G FoR NEw, outstanding work for Exhibit. Send samples of your latest and best. Describe the purpose, background and include creative credits.

Exhibit, Communication Arts , 410 Sherman Avenue, P.O. Box 10300, Palo Alto, California 94303. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return material.

Ne-w non-rub ink cover the ne-ws,

not you.

THE SAN FRANCISCO ExAMINER installed new flexographic presses to make the newspaper the only "non-rub" paper in the Bay Area. Much of the paper 's circulation is based on commuters, so Good by, Berlin & Silverstein concentrated the campaign in bus shelters, bus side posters and subway posters.

Getting the newsprint on the models was not an easy task. "No one had the slightest idea of how to do it," Jeffery Goodby said. "At first, it seemed like some kind of rever e rub-down might be in order, or an actual offset plate all inked up. Photographer Dan Escobar and art director Steve Stone did some experimenting.

Nothing worked. We got depressed.

&n.Jranrisro Jxaminu The Afte rnoon Pape r

"One day, Stone and Escobar were playing with a photocopy machine and discovered that the xerography process could be stopped mid-way and the image transferred onto the model's skin. It was extraordinarily time consuming and delicate work. But, in the end, it worked.

"The outdoor boards went up. And the next day, October 17, 1989, the big earthquake struck. Nobody came to work. Nobody cared about non-rub ink for a while. It seemed like a disaster for our campaign as well as the city. Fortunately, Gannett Outdoor was kind enough to rerun all of the stuff this spring. Research we've conducted has shown that everybody now knows about this feature of the Examiner. Circulation continues to rise."

Ne-w non-rub ink covers the ne-ws,

not you.

Jeffrey Goodby/Rich Silverstein , creative directors ; Steve Stone , designer; David Fowler, writer; Dan Escobar , photographer.

ARTCRAFT PRI TERS approached Evans/Spangler Design in Seattle to design a mailer announcing their new 4-color press. Evans/Spangler conducted a quick survey to get designers' opinions on promotions and their value and found most of the promotional material received from printers, paper companies and the like, ended up in the wastebasket. Based on the results, they recommended that the piece demonstrate the full capabilities of Artcraft, rather than only one press , be of lasting value to the recipient as a reference tool and idea resource and stand out from competitors' promotions.

Sandy Farrier/Jeff Boettcher, creative directors/designers; Sandy Farrier, writer; Robin Bartholick, Jim Cummins , Langley/Penoyer, Howard Petrella, Rex Rystedt , photographers ; Jeff Boettcher/ Jerry Nelson, illustrators; Georgia Deaver, calligrapher .

116

MAY/JUNE

1990

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GILB ERT P A PER CoMPA NY , with the help of their

adverti ing agency , Yelton/Kennerly , conceived the De igner Potpourri , a kit to promote their current uncoated paper and new stock color . All four pieces in the kit , from different designers, illu strate the theme of literacy. Shown here is the booklet from Andree Cordelia of Cordelia Design in Boston. " In order to keep the piece unified , I limited the vi s ual to book plate , fly heets and title page for content. I took the viewer through time, from well known literature written during the medieval period of King Arthur, through the victorian era of Emily Dickinson and the Art Nouveau of Oscar Wilde , to the 1930s and Art Deco of a children ' s book and finally to the colorful character of Noel Coward. -It wa my hope that thi vi ual pan of the decade would entice the viewer to become reaquainted with the cia sics. " Andree Cordelia , creative d irector/desig ner/write r; Geoff Stein , photographer ; Rob Howard/An drew Berry/ Siir i Howard , illustrators ; Roge r McKinnon , lettering .

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a Chicago-based design and advertising firm, and his own services as a Macintosh consultant to advertising agencies, Carlos Segura produced a multi-media resume using Apple's HyperCard. When the disk is inserted into a Macintosh computer and the file opened, Segura's name appears one letter at a time while a strong percussion rhythm and a woman ' s digitally altered voice singing "Take it, take it, take it from the top" comes over the computer ' s speaker. A brief statement about communications appears before the main menu is displayed. The user can then select additional information about Segura's resume, brands he's worked on, awards and personal information.

The devices used to create this stack were diverse. Farallon's hand held MacRecorder_pigitizer was used to convert the music and voices to digital sound. MacRecorder comes with several applications , which can be used to record, edit, enhance, play and store sounds directly from HyperCard. Some graphics were created using Adobe Illustrator 88, then imported into HyperCard through the scrapbook.

The photography was scanned with an Apple scanner.

"The response to this project has been very positive and full of intrigue," Segura said. "The most often asked question is 'How did you get sound in this thing?' It opens avenues and injects interest, but most of all, it expands the arena we call communications and how we use it."

CARLOS SEGURA

GtLBEYS GIN

Carlos Segura, art director/designer/writer/ illustrator; Armando Segura, photographer.

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

A R T S

119

EXHIBIT

THE RAINFOREST A en oN NETWORK,

a San Francisco-based non-profit organization, had two needs when it approached Hal Riney & Partners.

First, to inform the general public of the dire situation, and second, to create a public response to specific rainforest issues.

On the right page is the initial ad the agency developed to state the breadth and severity of the problem.

Various San Francisco artists contributed their efforts on a gratis basis. On thi page is the first in a series of follow-up ads that will address specific issues. This ad called attention to three situations and asked for public response.

Within a month, one major company withdrew its announced plans to convert millions of acres of rainforest into a paper pulp factory.

The look of the ads is inspired by legendary San Francisco art director Marget Larsen 's classic work for the Sierra Club and others in the '60s and '70s.

This page : Chris Chaffin, art director; Hal Riney/Chris Chaffin , designers ; Hal Riney , creative director; Hal Riney/Dan Mountain, writers ; Kevin Spaulding/ Michael Bull , illustrators .

IT WON'T BE YOU, BUT THESE EIGHT MEN, WHO WILL DECIDE THE FATE OF YOUR CHILDREN.

ll

VERY CI<IY. •• jy.,. ><>m<thong,.., about thtv•t.tl~gmf.canccofthc- rainfornr: to the fu"'"'"'U.IJ<ongofourpbnrt.

cwssc:or.odescribtthecruci.tlrok npbysin ~ymgthe •<>rid with Wolt<r~.!OX)l!""Mrdicalr"J'"'S ttUusaboutthtm:cndy-dLSCm'tft'd,caocrr·~prop­

"""ofitsindtgmouspl.mdok. Sctrn~ou<>q>btntheuniqu<

drf""'nf""·odrsag;t'""the "Grr<rhousrEffm."•ftich mayahadyl><"l5ingthe"nhSr=p=uor<todang<rous

120

M A Y I J U

E

I 9 9 0

Pmannil><sproplr.""""S the bsr hun=-gathe= soct«irs kli on the pian.... M< bodtiy blocbdrd logg~ ttueks.ButthtM;d;aysimp'tTTliTit:nt is~i~ the ~"""""'-and Jal"n contint<sto unpon 6o%ofthel0mr'sytrld.onthef.tc.of.,....,.

'A~ also hev th.11 thas rnpbccabk «<S)'Stt''l is being dcsa-o)Td <~~t tht alanmng rate of 75.000 acrn a~ And w~ r..... fO<the ru ..... ofourpbr<t.Andourchtldr<n.

And )'l"t. .U roo olirn. •• frd 1"'"-.rb 10 do myth~ .1bout1L

'"The samt, howt\'tt, caMOI lx said of tht eight mm pteturrd ;~ln.~. In tht nut few months. thest men will drtnmine fururt actions on dvtt scpar.ttr IToncstNt.rogrther,~lfKantly afTmnotonly thtr.unf"ornc..but.

ulttnUl<l)\ •ftat kind of .<>rid fu..... grnmuons will tnhmt.

It ts unporutv: th.lt wr undmund thr ISSUtS thty r..,..And"f"illyunporunrth.rtheykno-·.ft.t••thtnk abomthoseissucs.Whllethtreissc:..Uumc.

I. WORLD BANK LOAN TO BRAZIL

Thr \\brld Bank ~l""'ndy ""'"Songa omrsofloans 10 Br.tzil f<><uptoSJ<OOmilloon. Whmthe loan•"'ociginilly prop<>«<~.,-,.ochofthefundong •"'>iourdf<><thebuildong

I><~'Y"""'tirsUysrripprd.arthe""of

hundrrdsof a.na da)t Thr "w runl><r isthm rom...rudropi)""'"'i....tshtpprdtolum!J<. cornpmtts ln tht Umttd Sutn.

Rainf<x<sr. Thry m Shinroku Morolushi.

Pnsidrm ofMitsubashi Corponuon.ont ofthelarg<s)'J"""'<'"'!""""ofl'tnanrunbcr.

T.M.mNII Hahnjr.. <hinnan.,.,;! CEOofGrorgtaPactfoc Corponuon. the pnnt:oF '"'!"""' ofl'tnan plj""ood 10 the Uno«d Satn; and the Malaysian Ch,..f Mimsttr of5.vawak. YAB Puinggi Hap Abdul TubMahmud.

In a suniW satwtiOO mlluilmd.aftrr t:ht lass of much of t:ht1t ratnforest. a total No on k>gging was m1Cttd e::arlltT tht.s )'f:.ll'. \Vithout tht samr ktnd ofOOn in Bomto. thtPtnanR.ainfOI"f'Slwillalmoscctrt.1inlydl.Qpptarwuhlll fi,~,~ars.

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OIT PAPER COMPANY.

,.jnfomr U1lO a pulp and •ooclchtp pl.1nauon f<>< the

manufacturt of p;afXr products. Futurt plans ~tdly tnc:ludt a sunilv '~nrurt ln Papw N~· GUJnea.

Tht loss of dus r.unfort5t.likt all r.unforr:su. will bt trrt\'l"ISibk. lnthtscast.at kast ..ts.ooombt~­

proplr •fto for cmru"" M< r<l...d on the ,.,nfoma f<><

ourrountry'.s,'Ott.but stt tht toclt form.myOthmas~~n.

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OF BORNEO.

"The tSland of Borneo is di\'Kkd into ~" rountnts whiCh. tog<ther,shar<the"t"Pt""'Ramf"""-

mindi'WJ'olo!

'-"rrrogniuthartheyfindthemsrh..,und... roormous I'""""· fxong the"""' romplrx.,.,;! ddoattofsatuauons.Butasmmof rr~and auD~ .

they will I~

And.ar th~ unpomnr <un<.theydcs<n• norh~ lrss than fuU knowlrdg< of what youthtnlt.

For mort mform.auon about puncrp;ation tn and ronrnbuuons to dv b.m.lt to sn~ our r.unfornu.

""""ronuct: s...n,. Ramfomr/ Ratnfomt Acuon N..,.M_ JOI Bro;Kh~~. Suitt A. SanFr.mci5ro.CA94tJJ

o IIARJIERCONAJ!l.E.-_\\bidlln.

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andchild...n.

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..t NICHOLASF.BRAIJ't'. ~o{T~;as.n.

Bank Pmodrnr Barbcr Con>bk.,.,;! Br.tzti~n Pr..idmr )05< S.mry. " ••u" Pmodrnr Grorgr llwh ,nd 5<cr=ry ofT"""'>' Nicholas Brndy. wfto nor oo~y drrmninr wtthmthttYxtf~· nlOillhs.tfro:S()()tltf.

ofthermt.ttrung:.:l:onranh.....t.

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ofO'onsodams. lftht cbmsartbutlt,t6mdlion acrn of r.unf"orest will bt trlpptd under wattr fomv.

Earlier this) ar. pubhc opmoon (much of" fTom US. postpontmtm of thtS propostl At thiS umt. tt apptars tNt tht loon might wrU btconlt rrahl)L Wh;n h.tsrlt )'ft bttn rnoh<N is whcthtr or not the dams will bt butlt,

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lL 11-IE PENAN RA!Nf<JREST

Righ t: Chris Chaffin , art director/designer; Hal Riney, creative director; Dan Mountain, writer ; Michael Maydak/David Danz/Brenda Walton/Carolyn Vibbert , illustrators.

In Mabysu.that ,.;nfomr ~l><ong~lo.....Uy a~masr.,.nnighcbyaburgronongloggingind""'J'Thr

Onr of the g<ndnnrn P"'"«d abo.<. Scon 1>.t1xr th~pro,rcrisfmally==d Atpmno.Sconl'aprr~SI)>theftnaldcc..., LS ~" )~ars a-A'a)\ but n has alrtad)' rsubltshtd tht fU"St OUrstT)' for Sttdl~ thou would n:plact tht utsrsng fort'il.

Conc:umndy. it Ns htgun ntgoti<luons for an importrd •""'- f<><u .,.,;! mach'""J' An "'a of ,.mfomr "wr thanO..bw....lungsintheh>bra.

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J PRESIDENTE )OSCSAANE, , "-lmru da !Vpubloa.C.."""" C•·tPI.onodol'bnoho, ,o~ so Brwlu- DF.Bnzil

-4 GEORGE BUSH . Pm.dmt .ThtWlu~ Houx, 16oo~-h~~ . N.W,\Y.uhmgwnO.C.w~

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PAq•l

(Untouched fry Gkuiers)Destroyed fry Man)

IsN'T IT Too sooN FOR LIFE WITHOUT THE RAINFOREST? ._..-~' :~~~ Far from whm wt livt and work and play, romprising only six ptrrmt of tht tarth~ s11rjaa, thtrr txists a part of tht world most of t<S willtttvtr Stt. Shro,.dtd in thr mysttrits of othtr tras and rom, it sums too mnolt to affut mort than Ol~r

occasional imaginaliou. ~~ it touthtS ''-'in f~<ndammwl w.rys that htlp dtttrmillt tht wry tssmu of our livts.Today, ft<St likuwry day, it disapp<ars at tht raft of 75,000 ams.

Soon, it will bt gonr.

D

HE RAINFOREST is really many rainfOrests, scattered across the continents, hiding in the only places the Ice Age did not clestroy. Thus. it represents a pre historic ecology fou nd nowhere else. More importantly, it is the foundation upon which the earth rebuilt itselr. and serves as the vital link in the ecologic.1l system that keeps us alive.

It affec ts our air, our water, and our global climate. It houses species we've never even seen, and 70 percent of the plants known to cure cance[ Equally astounding is the fact that only one percent of that plant life has yet been examined.

,...,.,..ko.- ,~,........~ ~~~~~.~-"so wt:~~ :~~;::~~~·s:~r~:~~n;h:h~~~~:r~:~. '

, washing away the soil 's vita l nutrients,

and changing a fertile region into a

- ~C-~;;.. d<,sol:ae one.

lhe land that is left behind, now thrown into raging ecological imbal....,.., _ _____ _, is no longer able to support plant life. The so il is thin and ' useless. Slowly, another, equally fri ghteni ng change occurs. It is ca lled "desertifica tion:· And it the earth is slowly turning one endless Sahara.

Despite these catastrophic , we commit this violent act every day. And yet, this is not a story upon of' 'good guys" and "bad guys: · The rea l enemies here are lack of knowledge and lack of action. And,

'l• I

WHAT IS GOING O N THAT AFFEcrs ITS UFE. A N D O URS? Basica lly, the rainfOrest is being cut and burnt down to create space. Space for grazing. space for agriculture. space for development. The rare and sturdy woods crea te additional incentive for its destruction.

The process, euphemistically, is called clefores· tation. As it progresses. destroying plant and animal life in its wake, a number of other things happen.

Most significantly, the carbon dioxicle that was trapped by photosynthesis is released into the atmosphere, at a rate that is inevitably driving us to a "greenhouse effect:' where high carbon dioxicle levels wi ll semi-fi-y the planet.

1l1ere is also a dramatic increase in flood ing, as the water (V1 of the world's fresh water supp ly) sudclenly has nowhere to go but elsewhere. It does

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un't od

not surprisingly, the solution is the same ota thing.

Commitment and lots of cold hard cash.

ALL IS OT LOST YOUR MONEY CAN SAVE THE DAY. Your money can do three things in the battle to save the rainfi rest. First, it can help spread the word, which certainly must be spread effectively and quickly.

Secondly, it can support groups around the world who are learning how to manage the rainfOrest, so that 've can reap its benefits and, after that, resow the seeds. Funcled and managed properly, the rainforest can and will become a re-usable resource.

1l1irdly. your money can "buy" certain portions of the forest that ;t~ must be maintained just as they are.

You don't own the land. but you pay Pmty-gi.}>'i""""""'' Wabsonvmtt fOr its right to stand fOreve[ And stand it must. Because the l"rhftmllmml simple trutl1 is, it will always be too "~' soon for life without the rainforest. hkm.,/199% And all too soon, it will be too late ~~f . n -,58%. to save lt.

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C OMM U NI CA TION

ARTS

121

EXHIBIT

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DESIGN

TECHNOLOGY

WENDY RICHMOND

PARTICIPATORY COMMUNICATION

I

N THIS ISSUE IS DICK ' S ARTICLE ON TED2.

I attended the conference too, and most of what I saw supports the strongest notion I have about technology 's effect on the future of the design profession: New technology is encouraging visual communication to be more participatory. The viewer is no longer just a viewer, but a participant, therefore gaining greater understanding of the information being delivered.

Reality and Participation: Virtual Worlds I like it when I'm told about an idea that I have to work hard to understand. I'm convinced it's worth it if the speaker is so comfortable with the idea that he or she clearly lives it.

J aron Lanier literally creates his own world.

A popular comparison to virtual reality is Roger Rabbit 's Toon Town. Real people are inserted into a cartoon world, where laws of physics are defied. Virtual reality is a computer-generated world, making the viewer feel that he or she is actually in this simulated environment.

This is presented to the viewer through twin screens: a wide angle stereo color image in front of each eye. The two little monitors are part of a big goggle that you place on your head, and you're transported into, surrounded by, an unreal world. The other important piece of gear is a glove that, like your goggles, is connected by cables to a powerful computer. The glove is your method of moving around in this unreal world, or holding objects.

The world is three-dimensional. Let 's say you're in a virtual room. As you move your head, you look around the room. Point to that vase on the table, and you move towards it; close your hand around the base of the vase and pick it up. Whoops , it turns into a flower! Jaron describes the goggles and glove as "computerized organs outside of your physical surface."

The practical uses of virtual reality are varied: Architects can use this as a sales tool, to let clients walk though new buildings before they're built. Jaron 's dataglove is being used now by NASA as part of their "telepresence" experiments. In their case, rather than creating an artificial reality, astronauts can use virtual reality to go where they can't go physically.

In the future, when (not if) virtual reality becomes truly sophisticated, there may be such things as surgical simulators for pre-op planning. Grab a muscle and put it in another location, and have your virtual patient get up and walk around. Then study the patient 's movements and plan the physical therapy that will be required.

Right now virtual reality is far from convincing. You've ©1990 W. Richmond

seen computer-created objects in animation and 3-D rotation. They ' re clearly not photographic, but they're getting there. The important thing about these simulated objects is that their properties can be changed easily. You can, for example, make a model of a building grow, shrink or change the viewing perspective. That's because each element has attributes stored with it. As the technology becomes cheaper and smaller and faster (so that movement and physical attributes can change in real time) , virtual reality will be much more believable.

My main interest in technology is its contribution to better forms of visual communication. New technology offers the viewer a chance to be a participant in the communication , and that, for sure, means better understanding.

Jaron Lanier demands the viewer's participation to a higher ~egree than I've ever thought about before: The viewer _oot only views the content in any manner, but can also alter its real world attributes to accommodate his or her own needs. Let 's say you're learning to juggle. Jaron suggests that you "slow down time, (so you can throw and catch the balls easily) and gradually speed it up. Then go for the real world."

The TED2 audience listened attentively. "Virtual reality is a very active experience, not passive. You're in control. i\ttentive. You must be craftsman-like .... Content is completely open, as in dreams. There is a composability of elements, as with music .... Virtual reality forces you to be experiential, not removed, as with computers."

His challenge: "Creativity equals money in virtual reality.

Creativity will be the currency of virtual reality. "

In real reality, bigger is better, because it's easier to quantify what's good than it is to qualify what's good. Build a bigger house than your neighbor, get a bigger car, make a bigger salary . But in virtual reality, it's easy to create any size. Bigger is no longer important; creativity is.

I found this out for myself when I donned the goggles and glove. In order to have the best experience in virtual reality, I had to be inventive. I wanted to go into the comer of the virtual room, or under the table. I wanted to discover what the previous person in line had missed. I realized that in my visit to virtual reality I was more a performer than an observer. On one hand, I was disappointed with my trip in virtual reality; it didn't live up to my expectations of flying about in a fantasy world. On the other hand, I was so intent on making virtual reality work that my mind went into low-res mode to accommodate the imperfections of the objects.

Jaron thinks that virtual reality will be an important form C 0 M M U N I C A T I 0 N

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125

WENDY RICHMOND

of communication, and communication is key. Perhaps the most succinct way to sum up Jaron Lanier's view of technology is his simple statement: "The telephone is good, television is bad."

translation of the German lyrics. There's a question-andanswer game where you try to identify movements through multiple choices: you listen, select and are chastised or congratulated by the master himself.

If you think this is more futuristic than Star Trek, think again: Jaron is the inventor of Nintendo's Power Glove: Cost: under $100.

Bob's presentation was excellent because the piece spoke for itself. As a matter of fact, Bob's was perhaps the only presentation that was, itself, participatory. The entire audience took the quiz.

Entertainment and Participation: Beethoven's Ninth Bob Stein is president of The Voyager Company, a publishing firm that creates electronic media including videodiscs and laserstacks (HyperCard stacks that run on a Macintosh and control a videodisc), interactive videodiscs and multimedia toolkits. Voyager also produces a CD Companion Series: Bob showed a ready-to-buy product that presents a clear incentive for bringing CD-ROM into the home.

It's an educational tour, complete with CD quality sound, of Beethoven's Ninth Symphony.

Six years ago, Stein took a course in music appreciation with Robert Winter, a professor at UCLA. During the past six years, Bob and Professor Winter have worked together to create a HyperCard-driven guide to Beethoven 's Ninth. The program lt?.tS you explore the symphony through different avenues. For example, you can open a translation box which provides simultaneous English

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Beethoven's Ninth also shows why this technology works as both entertainment and education. It has great content: London's 1966 recording of Hans Schmidt-Issertedt conducting the Vienna Philharmonic. It exhibits great teaching skills: Robert Winter is a pianist, a teacher and a music historian. It shows great use of technology for education: It extends a teacher's ability to distribute his teaching widely.

The Beethoven CD Companion encourages wider use of new technology. After Bob's presentation, people in the audience were saying they might buy a CD-ROM player just for that product. (To use the product you need a MacPlus, or better, and a CD-ROM player. The cost for the CD-ROM disc and software: $99.95.)

Education and Participation: Push vs. Pull Participatory communication is the reason, I think, that many speakers were substituting the word education for entertainment. Bill Atkinson, Apple's author of MacPaint and HyperCard, is now primarily concerned with children's education. His points are as much about grownups and participatory communication as they are about kids and learning. In his study of students he has found such truths as "interest must precede learning." Sounds obvious, but we often forget when we're delivering a message that it's essential to first engage the viewers interest, or they simply won't listen.

According to Bill, there's a problem now with using technology in learning, and that's lack of motivation. The kids aren't called to action. Education shouldn't simply be transferring information from one person to another. (Unfortunately, that's the status quo for a lot of information delivery, isn't it?) Atkinson says it should be less of a push from the teacher and more of a pull from the student. He wants to make tools that empower the student to learn, to pull more. (I hate the word empower, but when in Rome, or California .... ) His example: you can't empower someone to vote democratic, but you can give them the ability to define their beliefs. The best tool is content-free, like a telephone. (Remember Jaron's comment?)

Bill's final remarks left me thinking about one of the most important aspects of new technology in participatory visual communication: the user interface. Bill aid, "A user interface shouldn't just be easy. Look at the user interface of musical instruments. If you want someone to learn how to play an instrument, you shouldn't start by teaching him to play a kazoo. Nor should you give him a violin."

Draw better figures from ~tter figure reference.

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Helps you overcome the p roblem of drawing ch ildren acc urately. Heads, hand s, feet, fu ll figure and action shots. Wide range of activities. $189.50 per set of 3 books.

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Indexed by age groups 18 to 80. Models shot from three ang les. The ugl iest and most beautifu l faces you 'll ever need are here. $189.50 per set of 3 books.

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BooK REVIEWS the CEO should get involved, and what steps must be taken to see that the report is produced on time.

ANNUAL REPORT DESIGN A Guide to the Annual Report Process for Graphic Designers and Corporate Communicators

By Jerry Herring Publi shed by Watson-Guptill Publications 1515 Broadway , New York, New York 10036

$35.00

"Any one who enjoys sausage or annual report , should never watch either being made." -Framed saying on the wall of an investor relations officer.

More than 11,000 corporate annual reports are produced each year in the United States. Annual report production worldwide is a $5.1 billion industry. Bennett Robinson likens the process to physical exercise. "At the start of the season I tell my people to take their vitamins."

Written for both the designer and the corporate executive who works with designers, Jerry Herring's book is one of the easiest to read on this complicated subject and it contains a wealth of useful information on how to make the process run smoothly. Herring discusses how a corporation should pick a de.signer, at what stage of production

A designer of many reports himself, Herring has included advice from some of the mo t re pected annual report designers. Robert Miles Runyan contributed an excellent production schedule chart and the eight-page text style guide from Corporate Annual Reports is one of the best I've seen. Other sample forms include the AlGA contract, cost estimation and proposal letters , a tandard model release and a copyright transfer form. (Herring recommends establishing beforehand who own the copyright. "It is very difficult to reach mutual understandings after the fact.")

Covers and spreads from 112 reports are organized into sections to show theme, photography, illustration, charts, graphs and typography.

My favorite chapter, appropriately titled "Good Advice," gives several useful tips including: getting a good set of signatures for reproduction , getting a type density test made and verifying delivery. One designer tells the story of the truck driver who, while delivering a load of annual reports, stopped off in Las Vegas. After losing his fuel money, he became depressed and was "lost" for three day , while everyone frantically burned up the phone lines looking for him.

BRIEFLy NOTED: DESIGNING WITH ILLUSTRATION by Steven Heller and Karen Pomeroy (Van Nostrand Reinhold , 115 Fifth Avenue, New York, New York 10003, $32.95, cloth). 44 designers and illustrators provide insights on how they use illu tration to communicate, not just decorate. Heller and Pomeroy have divided the artist into three categories; illustrators who design, designer who illu trate and art directors.

Along with several examples of their work, each arti t discusses several topics including the value of drawing skills for designers and illu trators, the merits and limitations of photography and current and future trend . The book also includes an introduction discussing the historical relationship of illustration and design.

R ETA IL DESIGN by Rodney Fitch and Lance Knoble

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So whether you're interested in advertising. illustration. design or photography spending eight quarters with us is the smartest investment you can make. Send for more information or call 1-800-255-3169.

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(Whitney Library of Design , an imprint of Watson-Guptill Publications, 1515 Broadway, New York, New York 10036, $55, cloth). Written for the design profe ional and student of design , this book describes the functions and creative processes of retail design. The first section covers planning, merchandising , store fronts, entrances, materials, furnishings and graphics. The second section looks at specific case studies in department stores, food shops and shopping malls. There i also an historical introduction and a glossary defining some of the materials

How do you catch a wild dog?

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used. In the postscript, Fitch predicts that specialty catalogs and teleshopping will not replace conventional retailing. He feels shopping from home cannot offer the immediacy and spontaneity that comes from actual contact with the merchandise.

B EST EDITORIAL CARTOONS OF THE YEAR: 1990 EDITION

edited by Charles Brooks (Pelican Publishing Company, 1101 Monroe Street, P.O. Box 189, Gretna, Louisiana 70053, $10.95, paper). I've always found a good editorial cartoon makes the same statement faster than any opinion piece. 1989 was a ripe year for commentary and this volume covers it with jabs at the Exxon oil spill, Jim Bakker, communism, China, gun control, Bush and Reagan. The book also includes an index of the cartoonists and a listing of past award winners from the National Society of Professional Journalists, theN ational Headliners Club, the Canadian National Newspaper Award and the Pulitzer Prize.

D ESIGNING PICTORIAL SYMBOLS by Nigel Holmes with Rose DeNeve (Watson-Guptill Publications, 1515 Broadway, New York, New York 10036, $19.95, paper). Readers of Time will be familiar .)Vith Holmes' charts, graphs and symbols. This book focuses on the symbols Holmes created

as a graphic device to link multiple stories on the same subject. Each of the 54 symbols is accompanied with concept sketches and background text, giving the reader an excellent insight to the creative process. Also included are an introduction to pictorial symbols, several projects outside of Time and a personal collection of symbols from around the world.

S uccESSFUL CATALOGS by Steve Warsaw (Retail Reporting Corporation, 101 Fifth Avenue, New York, New York 10003, $49.95, cloth). During the past few years, my house has become overrun with catalogs. While I was convinced that there is a catalog glut, the author says it is not true.

He claims that only 1.9% of the United States population qualifies as the right audience and there are too many merchants chasing too few customers. This book delineates the differences between goals, usages and presentation of catalogs in five categories: retail, business-to-business, incentive catalogs, dealer catalogs and niche marketing.

The examples, recent trade association winners, are reproduced large enough so you can read the text. In addition, there is good information about marketing strategies and catalog production.

-Patrick Coyne

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CA90 31st ANNUAL EXHIBITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Work that has been first printed, published or broadcast between July 1, 1989 and June 22, 1990 is eligible for CA-90. Deadline for submitting entries is June 22, 1990.

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

All of the entries selected by the juries will be reproduced in two indexed issues of CA-90. TheN ovember Design Annual will show all accepted entries chosen by a distinguished jury of designers. The December Advertising Annual will show all of the accepted entries selected by a distinguished advertising jury of writers, art directors and creative directors.

The largest (27,820 last year) of all the juried competitions, this is also the toughest to make. Having your work selected is of corresponding significance.

Over 60,000 copies of each of these world's most seen Annuals will be distributed, assuring important exposure to the design firms, advertising agencies and individuals involved in the creation of this outstanding work selected by the juries.

The Design Annual and Advertising Annual (combined total of 528 pages last year) will

incorporate special reproduction techniques developed by CA, quality 175-line color separation, printing on premium 80 lb. coated paper by one of the finest printers in the United States with everything that was originally in color reproduced in color at a size that allows the copy to be read.

Award of Excellence certificates for firms, individuals and clients will be mailed in January, 1991.

Only accepted entries will be notified on or before September 15. Complete credits and any necessary material for the best possible reproduction in the Annuals will be requested at that time. No additional fees are required for accepted entries.

No entries can be returned. Submission of entries to CA-90 acknowledges the right of Communication Arts to use them for publication and exhibition.

• Please note: Illustration and photography categories are not included in CA-90. Work in these categories should be submitted to the Illustration Annll;al or the Photography Annual, separate juried competitions published in July and August, with an entry deadline of March 21.

D EADLINE FOR ENTRIES IS JUNE 22

CATEGORIES CONSUMER MAGAZINE ADVERTISING lA Single ad, any size, including spreads ($25) lB Campaign, limit of five ($40) CONSUMER NEWSPAPER ADVERTISING 2A Single ad, any size, including spreads ($25) 2B Campaign, limit of five ($40) TRADE/INSTITUTIONAL ADVERTISING (Including trade/institutional advertising appearing in consumer magazines and newspapers, and corporate-sponsored public service advertising) 3A Single ad, any size, including spreads ($25) 3B Campaign, limit of five ($40) POSTER/ ADVERTISING 4A Outdoor, 24-sheet or larger, includes painted ($25) 4B Series of 4A, limit of five ($40) 4C Transit (bus, subway, shelter) ($25) 4D Series of 4C, limit of five ($40) 4E Point of purchase ($25) 4F Series of 4E, limit of five ($40) 4G All other advertising posters ($25) 4H Series of 4G, limit of five ($40) AUDIO/VISUAL PACKAGING SA Single record, cassette, compact disc, video, software ($25) 5B Series of5A, limit of five ($40) PACKAGING/LABELING 6A Single package, label, shopping bag ($25) 6B Series of6A, limit of five ($40) IDENTITY 7A Trademark (place the company name and nature of the business next to the mark for the jury's information) ($25) 7B Corporate identity program (mark, signage, identity manual, packaging, vehicles, etc.) at least five, limit of ten ($40) LETTERHEAD 8A Letterhead/ envelope/business card ($25) 8B Company business-paper series (invoice, purchase order, label, envelope, letterhead, etc., from the same company) at least five, limit often ($40)

COMPANY LITERATURE 9A Annual report ($25) 9B Institutional booklet or brochure ($25) 9C Service booklet or brochure ($25) 9D Product booklet or brochure ($25) 9E Real estate booklet or brochure ($25) 9F Catalog: product ($25) 9G Catalog: school ($25) 9H Catalog: exhibition ($25) 91 Miscellaneous company literature (announcement, invitation, greeting card, data sheet, conference literature, etc.) ($25) 91 Series of91, limit of five ($40) POSTERS/DESIGN lOA Posters (exhibition, institutional, theater, gallery, etc.) ($25) lOB Series oflOA, limit of five ($40) EDITORIAL llA Consumer magazine (cover or page or two-page spread) ($25) llB Multi-page section ofllA ($40) llC Newspaper (page or spread) ($25) llD Multi-page section ofllC ($40) HE Trade magazine (cover or page or two-page spread) ($25) llF Multi-page section ofllE ($40) llG House organ/newsletter/association (cover or page or two-page spread) ($25) llH Multi-page section ofllG ($40) BOOKS & JACKETS 12A Book, entire unit ($25) 12B Book, cover or jacket ($25) 12C Text book, entire unit ($25) 12D Text book, cover or jacket ($25) 12E Children's book ($25) 12F Children's book, cover or jacket ($25) 12G Cover/jacket series, limit of five ($40) SALES PROMOTION 13A Direct mail/sales presentation ($25) 13B Series ofl3A, limit of five ($40) SELF-PROMOTION 14A Printed promotion for design firms, printers, paper companies, art schools; illustrators, photographers ($25) 14B Series of14A, limit of five ($40) 14C Printed promotion for ad agencies, art directors, copywriters, suppliers ($25) 14D Series ofl4C, limit of five ($40) 14E Art/design clubs, communication/ promotion ($25) 14F Series ofl4E, limit of five ($40) 14G Advertising clubs, communication/ promotion ($25) 14H Series ofl4G, limit of five ($40)

DEADLINE FOR ENTRIES IS JUNE 22

TELEVISION ADVERTISING 15A TV commercial, 3!4'' video tape NTSC or 16mm film ($45) 15B Series ofl5A, limit of three ($60) RADIO ADVERTISING 16A Radio commercial, lf4'' magnetic tape, ?lf2 ips ($45) 16B Series ofl6A, limit of three ($60) TELEVISION/RADIO STATION PROMOTION 17A Poster/billboard ($25) 17B Series ofl7A, limit of five ($40) 17C Ad (magazine or newspaper) ($25) 17D Series ofl7C, limit of five ($40) 17E Printed pieces (brochures, etc.) ($25) 17F Series ofl7E, limit of five ($40) 17G Program promo, 3!4'' video tape NTSC ($45) 17H Series ofl7G, limit of three ($60) 171 Radio, lf4'' magnetic tape, ?lf2 ips ($45) 17J Series ofl71, limit"ofthree ($60) 17K Program title, logo, signature, 3!4" video tape NTSC ($45) 17L Series ofl7K, limit of three ($60) PUBLIC SERVICE (To be eligible for this category, the creative . element must have been done as a donation or at cost for a non-profit organization) 18A Magazine ad ($25) 18B Series ofl8A, limit of five ($40) 18C Newspaper ad ($25) 18D Series ofl8C, limit of five ($40) 18E Poster ($25) 18F Series ofl8E, limit of five ($40) 18G Booklet, direct mail ($25) 18H Series of18G, limit of five ($40) 181 TV commercial ($45) 18J Series of18I, limit of three ($60) 18K Radio commercial ($45) 18L Series of18K, limit of three ($60) ARCHITECTURAL GRAPHICS 19A Signage, interiors, architectural graphics, limit often slides ($40) 19B Display (trade show exhibit, point of purchase, etc.) limit often slides ($40) MISCELLANEOUS 20A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 91) ($25) 20B Series of20A, limit of five ($40) 20C Calendar ($25) 20D Menu ($25) 20E Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc., limit of five ($40) 20F Anything not covered in previous categories ($25) 20G Series of20F, limit of five ($40)

PREPARATION OF AUDIO/VISUAL ENTRIES All television commercials must be 16mm film or 3!4'' video tape cassettes NTSC. Include only a 10 second countdown, no slates or bars. Single tape commercials must be on individual cassettes. If your tape commercial is accepted, please furnish us with film (16mm or 35mm) or 6 color frames for reproduction in the Annual. 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 should be on 1/4 " magnetic tape, 71f2ips in reel-toreel format. Audio/visual series are limited to three commercials.

PREPARATION OF PRINT ENTRIES Submit ad tear sheets or proofs, UNMOUNTED and trimmed as published. Send annual reports, brochures, folders, books, catalogs, etc., in bound form. For posters over 18"x 24;' packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS.

A

This form and entry fee must accompany entries submitted to CA-90.

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

Phone

Fax Company Address City

Zip

State

_ _ _ Single entries . . . . . . . . . . . . . . . .

. .. $25 each $_ __

_ _ _ Campaigns or series . . . . .. . . .. . . . .. . . .. ... $40 each $_ __ _ _ _ Single TV Commercials ....... . ........... $45 each $_ __ _ _ _ TV Commercials series . . . . . . . . . . . . . . . . .. . $60 each $_ __

PREPARATION OF PACKAGES Send entries in flat packages only, no mailing tubes (they frequently arrive damaged). If more than one package is sent, please indicate on the outside wrapping: "Package no. __ of __ packages:' If the package contains TV or radio entries, indicate on the outside wrapping: "Broadcast Entries:' NonUnited 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. International entries should be sent by mail, not air freight.

Mail entries to: CA-90 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

Air Express entries to: CA-90 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

_ _ _ Single Radio Commercial

... . . $45 each $_ __

_ _ _ Radio Commercial series ...

. . . .. $60 each $_ __ TOTAL FEE $_ __ Self-addressed, stamped envelope included for acknowledgement

B [

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

Category]

For campaigns or series only

mber I Letter

This is No. _ _ of~-

~For CAuse~

Submitted by

FORMS AND ENTRY FEES Form A (or a facsimile) and the entry fee must accompany your package of entries. Please make checks or money orders payable to CA-90. Foreign contestants must send an International Money Order or a check in U.S. funds drafted on a U.S. bank.

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.

ACKNOWLEDGEMENT OF RECEIPT OF ENTRIES If you want to know if we received your entry, please enclose a stamped, self-addressed card or envelope in your package.

For foreign acknowledgements, enclose a self-addressed envelope and include 30 cents for Canada or Mexico or 45 cents for other countries in your entry fee. As soon as we open your package we will send the acknowledgement to you.

Company

B

Category] [ N mber

I Letter

Fo~ c~mpaigns or series only

~ForCAuse~

This IS No.-- of _ _

Submitted by Company

r ----------------------------

B

Call (415) 326-6040 if you have any further questions. [

NO RETURN OF ENTRIES

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

Tape this form or facsimile to the back of each piece submitted to CA-90 (no paper clips).

Category]

.

For campaigns or series only

mber I Letter

This is No. _ _ of _ _

Submitted by Company

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MATERIALS MINI TRANS PARE CY

v !EWER

Just Normlicht introduces its MINI 5000 # 1, a transparency viewer that will fit in your briefcase. The portable viewer produces a standardized, 5000-Kelvin temperature, a constant 98-color rendering index and meets ANSI standards for color correct intensity. A swivel bracket for wall mounting, or an adjustable clamp for securing to any table is al o available. For more information, write Bodo E.W. Langkowski, Just Normlicht, Incorporated, 105 Terry Drive, Newtown, Pennsylvania 18940, or call1-800-248-5878.

steel, are stackable and lockable. Available in two or three drawer versions, they can accommodate up to 720 tapes per 3-foot section. The only difference from ordinary flat files seems to be the depth of the drawer themselve , allowing videos to be stored spine up for accurate cataloging and easy retrieval. A range of colors are available to match "any decor," according to the manufacturer Can-Am Merchandising Systems. How about hot pink? To find out, write them at 900 Hertel Avenue, Buffalo, New York 14216, or call 1-800-387-9790.

R uLERS

Chartpak introduces a new line of rulers made of laminated plastic featuring graduated scales and beveled edges to prevent smudging. Available in 6", 12" and 18" with such options as "0" centering scales and metric conversions, these rulers are shipped in hangable packages. For more information write to Chartpak, One River Road, Leeds, Massachusetts 01053.

"HoT PrNK" FoAM BoARD

Bienfang has expanded its foam board line, adding four fluorescent colors. Hot pink, hot yellow , hot orange and hot magenta bring the number of color choices in the line to fourteen. Also available in a new, smaller size, 20" x 30", Bienfang's line of boards is moisture-resistant, lightweight yet sturdy and can be shaped, glued, mounted or framed. The ultra-smooth surface allows for ripplefree mounting and all techniques can be used, including dry mounting , vacuum mounting and spray adhesives.

Thicknesses range from 1;g", 3/16" to 1;2". For more information, contact your Bienfang distributor or write to Hunt Manufacturing, 230 South Broad Street, Philadelphia, Pennsylvania 19102.

ILLUMINATED MICROSCOPES

Distortion-free viewing at high magnification is what Gaebel Enterprises promises you in introducing this new line of hop microscopes. Featuring achromatic objective lenses for color correction and rack and pinion focusing with a full 2 1;2" of vertical movement, these 'scopes have 60x and 100x magnifying power potential to view even the smallest items. The built-in light source requires two AA batteries and the compact size of only 7 1;2" tall allows for use virtually anywhere. For further information and literature, write Gaebel Enterprises, 100 Ball Street, P.O. Box 6849, Syracuse, New York 13217 , or call (315) 463-9261.

STORAGE CABI ETS

Designed specifically for storing video tapes, compact disks and floppy disks, these cabinets, constructed of 142

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LIQUID wASTE DISPOS AL CANS

For disposing of those flammable, combustible and corrosive liquids, look no further than Protecto eal's new line of disposal cans. Designed for maximum safety, they hold liquids and minimize evaporation into the atmosphere while providing pressure relief to prevent buildup. The line consists of six models and all six are fitted with a perforated metal flash arrestor to prevent things from going up in smoke. All cans, available in two or five-gallon sizes, use a spring-loaded , self-closing, leakproof cap to prevent spillage and evaporartion. For more information , or if your seal is in danger, write The Protectoseal Company , 225 Foster Avenue, Bensenville, Illinois 60106, or call (708) 595-0800. Fax (708) 595-8059.

WooDBURNER S TORAGE Box/KIT

Specifically designed to hold their woodburner, fourteen different tips , temp controller and stand, Hot Tools presents the wooden box both separately and fully tocked as a kit.

The box has a built-in tray for storing tips and the kit consists of a WB-1 Woodburner, with the heating element under the tip , and varnished wooden handle that stays cool; a Dial-Temp controller, stand and fourteen different tips. The box alone sells for $15.95 and the kit, with the box , will burn you for $94.95. Contents can also be purchased separately. For information and a price list, write Charles F. Loutrel at Hot Tools, 24 Tioga Way , P.O. Box 615, Marblehead, Massachusetts 01945, or call (617) 639-1000.

NEW TECHNOLOGY DEVELOPMENTS Information on hardware, software and electronic services for graphic designers, art directors , photographers and illustrators.

DATA PROJECTOR

Eliminating the need for an overhead projector when making LCD presentations, the MagniView 800 VGA Multisync Data Projector (phew!) incorporates an LCD panel with a built-in projection source and optical system.

When connected to your PC, the 13"x 171;2" x32" data projector translates the computer signal into colorized text and graphics for presenting computer-generated information. The 800 project images up to eight shades of simulated color and features 720 x 400 resolution in the text mode and 640 x 480 in VGA graphics. The unit's triple element lens and 250 watt EVW lamp gives crisp image projection and the "ultra-quiet" fan allows your audience to hear you curse when you punch up the wrong image on the creen. The fold up design and lightweight nature of the unit makes portability easy as this projector is fully self contained. The 800 is compatible with IBM PS/2, AT, XT, PC, and can also be used with Mac II. For more information, write or call Norma Daniel at Dukane Corporation, 2900 Dukane Drive, St. Charles, Illinois 60174, or call (708) 584-2300, ext. 513.

IMAGE-ENHANCING SoFTWARE

The latest from Adobe Systems, Adobe Photoshop software is designed specifically for artists and desktop publishers using Macintosh computer . With Photoshop, you can manipulate and separate a variety of scanned images, create images from scratch as well as alter existing images, and convert data between different format and file type . Adobe claim Photoshop' memory capability allows for editing extremely large images, but they don't define "extremely large." It works with images ranging from bitmap and gray cale to indexed color and true 24-bit color. Retailing for $895, Adobe requests you call 1-800-344-8335 for more information.

fI

PosTER PRooucnoN SoFTWARE

PosterWorks, new from S.H. Pierce & Company, is a color poster production software for the Apple Macintosh Plus, SE and II series computer . With PosterWorks you can print color images up to 100 feet square on any PostScript device and is capable of creating enlarged halftones, color print or color separations. The software also calibrates printers and imagesetters to ensure accurate reproduction.

Here' how it works. Producing a PostScript file of the poster-sized image, you then download to the printer, and output as a single page or as multiple pages for assembly.

(Does anyone have a big enough printer to output a 100 square foot image?) Priced at $167, PosterWorks is available from S.H. Pierce & Company, Building 600, Suite 323, One Kendall Square, Cambridge, Massachusetts 02139, or call Steven Hollinger at (617) 395-8350.

HIGH-PERFORMANCE MACINTOSH

Apple Computer unveils it fastest Macintosh yet, the Ilfx. An extremely high-speed machine, the Ilfx incorpoCOMMU

ICATIO

ARTS

143

MATERIALS

rates a 40-megahertz 68030 microprocessor, a 32K Static RAM Cache memory subsystem, and a 68882 floating-point coprocessor for rapid processing of complex mathematical problems. Equipped with six NuBus slots for maximum expandability, the Ilfx also has a Processor Direct Slot (PDS) that gives you transparent access to the system's 68030 processor bus. A Ilfx Logic Board Upgrade kit is also available for about $3000 for owners of the II and Ilx systems who may be feeling obsolete. For more information, write the product manager at Apple Computer, Incorporated, 20525 Mariani Avenue, Cupertino, California 95014, or call (408) 996-1010.

DEsKTOP P u BLISHING SoFTWARE

Aldus Corporation introduces Aldus PageMaker 4.0 for the Macintosh, featuring over 75 enhancements including Story Editor, which enables you to enter large amounts of original text or edit imported files directly in Page-Maker.

The Story Editor displays text in a text-only window, allowing for typing speeds equal to or greater than most programs. 4.0 users can choose the new Inline Graphics option for moving graphics around with their corresponding

text as layout and editing changes are made. Another feature is the Links dialog box which li sts each text and graphics file imported to the layout, identifying its file type and indicating which page of the layout it appears on. The recommended system configuration is a Mac SE/30, II , Ilx , Ilcx , or Ilci plus a hard disk and 2MB of RAM. Priced at $795, the 4.0 is available from Aldus Corporation, 411 First Avenue South, Seattle, Washington 98104, or call (206) 622-5500.

PERSONAL DowNTIME DisK

This idea was first applied to companies that wanted their logo to appear on the screen whenever the computer was idle. Now you can have anything (almost) appear when you turn on your terminal. Your favo rite baseball player, your wife (or husband) , your mom , your wife's mom (well, maybe not), Marlon Brando as the Godfather, you name it. First, send your favorite photo , color or black and white, to Integrated Concepts. They di gitally translate it onto a database. They then send you a diskette and in truction for loading the program. They do counsel us not to send "ad ult" pictures. I hadn 't thought of that. We might

Berol ®

PRISMA~

ART MAR Heads

© 1990 Empire Berol USA

144

M A Y I J U

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Any way you look at it, Berol®PRISMACOLOR®Art Markers make you a winner. With a broad tip for quick coverage and a fine tip for detail work. You buy one marker instead of two-and save money coming and going.

Best of all, PRISMACOLOR markers feature a central ink reservoir that flows freely to both tips. So you get a perfect match of brilliant color end to end.

Certified non-toxic PRISMACOLOR Art Markers are sold

be on to something. The cost is only $19.95, so if you want to stare at your mother-in-law all day , write to Integrated Concepts, 139 Village Drive, Redding, California 96001, or call (9 16) 246-9013.

N Ew FoNT FoRMAT

Monotype announce that its library of more than 300 Type 3 fonts are available in a Classic Fonts format.

Produced using software under license from Adobe, all the significant features associated with Type 1 fonts are included , and Classic Fonts requires less disk space and will operate faster with more application s. Compatible with Adobe Type Manager, thi s format uses Monotypes original typeface outlines and offers renditions of those designs at high resolutions. To pursue further, contact Ira Mirochnick at Monotype, 53 West Jackson Blvd. , Suite 504, Chicago, Illinois 60604 , or call (312) 855-1440.

a 14-inch flat display with a 70Hz screen refresh rate.

What does this mean for the blurry-eyed? According to Facit, studies have shown that most of us cannot detect screen "flicker," a source of fatigue and eyestrain , at refresh rates of 68 Hz or higher, hence their 70Hz screen.

In addition, the A1600 series' overscanned display improves readability by continuing the raster scan past the edges of the monitor, eliminating that annoying bar on the rightand left-hand margins of the screen. Prices start at $549.

For more information write George Bausewein, Facit, Incorporated, at University Center, 400 Commercial Street, Manchester, New Hampshire 03108, or call (603) 647-2700.

LITERATURE FoR YouR FILES A request on your letterhead to the following companies will bring you the literature described .. free unless otherwise noted.

Typographic Tapestry ... is Hopper Paper Company's first Low-CosT TERMINAL

In an effort to reduce eyestrain, Facit, Incorporated , introduces a line of low-co t video display terminals that feature

promotion of the '90s. This collection of loose papers offers a unique look at the textural characteristics of type and letterforms in everyday environments. Numerous

individually or in convenient sets of 12, 24, 36, 48, 72 and 120 colors. Ask for them by name from your favorite art supply retailer, along with famous PRISMACOLOR Art Pencils and Art Stix~ Because with PRISMACOLOR art products, you just can't lose.

Tails

EMPIRE BEROL USA BRENTWOOD. TN 37027

COM MU

IC AT IO

A R T S

145

WHYNOT A NON-CHRISTMAS GIFT? Perhaps we should say eight gifts. A subscription to CA will be appreciated for a whole year. It includes the Annuals, too.

Those eight gifts are listed at the right. They carry about 60% more editorial pages than the next largest design magazine. There are other reasons why we have been the circulation leader for over twenty years, but we suppose there isn't much we could tell you about CA that you don't already know.

If you are not a subscriber yet, however, may we suggest that you take a close look at this issue?

The care and extra preparation we utilize assures superior reproduction quality as well as the fidelity to the original piece. We follow that up with 175-line screen printing by one of the finest printers in the United States. Doing it better is expensive, but we believe the results are worth it.

The CA Annual began in 1960. Since then it has grown in prestige and entries, and we've had to split and split again to four annuals, adding two more issues to our subscription year. Each of these important annuals is chosen by a national jury of top people in the design and advertising field.

If you would like to give a CA subscription to a client, colleague or friend , we will make it as easy as we possibly can. Those who know about these things tell us a coupon makes responding easier.

So we have a coupon. We've also printed a tasteful gift announcement which we will mail to the lucky recipient of your most thoughtful generosity. Or we can send it to you if you 'd prefer to personally deliver the notification of your gift.

If you might be considering making more than one gift, we offer some special rates for that.

Single copy prices for CA beginning with the March/ April1990 issue: March/ April 142 pages* .. . . . ... . ... .. ... $7 May/June 142 pages .. .. ... . ........... $7 July Illustration Annual 208 pages ......... $14 August Photography Annual 198 pages .. . ... $14 September/October 148 pages ............ $7 November Design Annual 284 pages ... . ... $21 December Advertising Annu al 244 pages .... $21 January/February 140 pages .............. $7 $98

*Pages last year

~~~~~~~ Please Print~~~~~~~

(

P 0 . Box 10300

(COUPON)

Palo Alto, CA 94303

Pl ease se nd a subsc ript io n gift to: Na me ___________________________________

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We can bill you but we mu st receive yo ur check or Visa or MasterCard numbe r before we can issue a gift acknowledge ment. If you are using a credit card, please fi ll in th e num be rs here and se nd this with the coupon.

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P.S. lfyou're not a subscriber, why not give yourself a gift?

INTRODUCING

a striking new publication of graphic design

CREATION is a new publication of graphic design, art and illustration- conceived, created and beautifully printed in Japan.

CREATION is a showcase of the individual brilliance, design aesthetics and the unique characteristics of leading international designers.

TACTICS DESI G N

CREATION is the brainchild of Yusaku Kamekura, Japan's foremost name in graphic arts. His guiding principle is to search for the essence of graphic design.

,-----------------------------, CREATION will be published four times a year, for five years. (It will constitute a 20-issue series.) ..,.. Number of pages: ..,.. Size: ..,.. Text:

168 (full color).

83f4 x lP/4 inches .

English and Japanese .

I CREATION Order Form

CA/5-90

1 Year (4 issues) for $48.00. (Save 20% off the single-issue price.)

NAME __________________~------~~---------------(pl eose typ e or print) COM~NY

___________________________________________

ADDRESS ____________________________________________

Publisher: Recru it Co ., Ltd., Tokyo, Japan.

Distributor: Zokeisha (USA) Inc. 51 East 42nd Street, New York, NY 10017 Tel: (212) 986-3120 Fax : (212) 986-3122

CITY _ _ _ _ _ _ _ _ _ _ _ _ STATE ______ ZIP _________

My check is enclosed : D $15 for Volume 1.

0 $48 for Vo lumes 1, 2, 3, 4.

Please bill me : 0 Mail to: Zokeisha (USA) Inc., 51 East 42nd Street, New York, NY 10017 L-----------------------------~

MATERIALS

applications were used, including duotones, tritones and foil stamping. The assortment of type treatments shows the versati 1ity of the designer more than the paper. If you'd like to decide for yourself, contact your Hopper Paper merchant or write Lisa S. Mills for your free copy at Hopper Paper Company, 133 Peachtree Street, N.E., 24th Floor, Atlanta, Georgia 30303.

Drafting, Engineering & Graphic Arts Supplies ... is Alvin & Company's new M3 general catalog for architects, engineers, graphic artists and students. A comprehensive source for available products, the M3 has been updated and includes two 16-page, four-color sections. One on drawing instruments and accessories, and one on furniture, chairs and lamps. The M3 sports eighteen different ections, each with its own table of content , and a cross-referencing system that Alvin says makes the M3 " user friendly." If I never hear that phrase again, it' ll be too soon. It 's a benign term that originated in the computer indu stry and now everybody wants to make it universal. Nyet! You can get thi s catalog for two bucks by

writing to Alvin & Company, P.O. Box 188, Windsor, Connecticut 06095.

Cut & Comp ... contains hundreds of color images on various topics featuring computer-generated graphics that could prove to be a useful tool in your art department.

Images are printed on one side only , allowing you to cut them, photocopy them to size and paste them. That's the only difference between this and any other stock photo catalog. Cut & Comp simply encourages you to mutilate their publication. The spiral bound book is divided and organized by category and even provides useful hints on how to work with tock photography. For information on availability and co t, call Craig Aurness at 1-800-872-7872, or write West Light, 2223 South Carmelina Avenue, Los Angeles , California 90064.

The Software Encyclopedia 1990 ... presents a one-stop guide to over 20,000 available computer software packages.

Virtually any subject under the sun, and some over the sun, are now on computer software. From desktop publi h-

Better color. That's what you 'II get with Design® Art Markers. Color that's more brilliant. More consistent. That lays down beautifUlly, thanks to a unique nib that glides across the page. The professionals' choice for over 20 years. It's easy to see why.

For more infonnation on Design An Markers. send your name and address 10: Design Art Marker lnfonnalion #I, P.O. Box 2223. lewisburg. TN 37091 .

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FaberCastell®

THE DESIGN OF TIME The extraordinary series of Zanders Calendars has, year after year, pressed boldly against the outer

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li m i ts of technique and esthetics in graphic art.

Many of our era's leaders i n des ign and illustration, photography and printing, comm issioned by Zanders, created true works of art that have become valuable collectors' pieces. A few of the Calendars, in very limited numbers, are still ava i lable for purchase on a f i rst-come-first-served basis. They are listed on the following pages.

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to twelve of the timele

hose images taught us

all to see. In a brilliant tci.J'-"(.Ie~~r1b~, he offers portraits of Monet, O'Keeffe, Ut

dinsky, Munch, Klee,

Redan, Mondrian, Oela

, de Chirico and Klimt,

each executed in that a

distinctive style.

Jd

J!l

ld

ORDERING

INFORMATION

~c; -;;-0 E R

F 0 R M -. - - - - - - - - -

Only the six calendars described

Paper Sources International

on the previous pages are avail-

Box 368, Rutherford, N.J 07070

able, and those in very limited

Please send the following Zan-

numbers; therefore, all sales

ders Calendar(sl, at $37. 50

must be on a first-come-first-

each, express paid . I have ind i-

served basis, as orders are

cated the quantity of each that

received. If you care to, you may

I would like to purchase, and my

list alternate choices in order of

order of preference.

0

1/1

3

_j

preference, and we will attempt

I NO .

to fill them that way.

I I I I I

Each calendar contains 12 oversize pages- approximately 19" x 25" or thereabouts- eminently suitable for framing, and many have covers and other supple-

A

ORDER

1984 Milton Glaser Incomplete set of Milton Glaser pages 1985 Stereo animal eyes 1986 Ruting/Feekman 1988 Holography

mentary pages which are like-

I

wise frameable. In the case

I 1988 1989 Computer design: I Takenobu Igarash i I I __ 1990 Hans Hansen large-

of the 1984 Milton Glaser calendar and the 1988 hologram calendar, we have available some nearly complete sets of

Incomplete set of pages,

format Polaroids 1

pages, in addition to the small number of full units, which can be ordered.

Prices for all calendars (and incomplete sets of pages) are

I I enclose my check for $ _ _ __ I (If order cannot be filled, checks I will be returned . ) I Name-- - - - - -- - - - - - -

the same: $37. 50 each, which 1

Company------------

Express . Check with order,

1

Address---- - - - -- - - - -

!;!lease.

1

City _ _ _ _ _ _ _ _ _ __

includes delivery by Federal

We're sorry there aren't more copies available, and we can only suggest that you order early to

'ill pavSoidl disappointment.

T

PJ pcr So urces InrcrnJtto nJI

I State _ _ _ _ _ _ Z i p - - - - - - 1

I Daytime phone (in case of questions) I

l= ___________ =-_j Printed on lkonolux Cover 74 lb.

MATERIALS

ing to games and entertainment, the spectrum is broad and educating. R.R. Bowker is the publisher of this book, which provides an extensive listing reflecting the constant updating and innovating that is inherent in the software industry. This type of directory could even be updated every six months , considering the rapid growth. Software can be found under 38 application headings , from accounting to word processing, and is further divided into over 600 specific areas (e.g., linear programming, networking, etc.).

The 4,268 producers and vendors in the Publisher/Title Index list complete contact and ordering information. There are over 2,500 pages , 2 volumes, but you will have to part with the generous sum of $189.95. This sourcebook could prove to be an essential addition to your bookcase, or make an excellent door stop. To order, write Customer Service, R.R. Bowker Company, P.O. Box 762, New York, New York 10011, or call1-800-521-8110. Fax (212) 337-7157.

there is so much color in this promotion, even Ted Turner could not improve it. For your free copy, call 1-800992-0412, ext. 138 for the Neenah dealer nearest you.

MacTac Starliner ... is a new recycled pressure-sensitive sheet paper stock that is now featured in a sample portfolio and stock selector. MacTac product manager Barry Madel claims " ... there is absolutely no trade-off between this line and comparable non-recycled pressure-sensitive stocks in terms of appearance or printability." The portfolio contains 5" x 7" samples of each stock and pull-out stickers to demonstrate the quality of the papers, while the stock selector consists of unprinted samples and specifications. For more information, write to MacTac, Printing Products Division, 4560 Darrow Road, Stow, Ohio 44224, or call 1-800-334-7310.

-William Rayburn

B/PAA Members hip Directory ... is a directory of the members of the Business/Professional Advertising Association. The 144-page directory lists all 4000, plus members of the B/PAA by chapter as well as alphabetically. Name, title, company, address and phone number are included and in addition, a Yellow Pages section lists services/ suppliers to the industry such as ad agencies, business publishers, telemarketing companies, market research firms and more. All members get one free, while the non-member price is $50.00. For more information or your very own copy, write the B/PAA, 100 Metroplex Drive, Edison, New Jersey 08817, or call (201) 985-4441.

Three new Volk Classics clip art series ... are now available from, you guessed it, Yolk Clip Art. Just released are Business & Industry, depicting office, factory, construction scenes, etc.; Seasons & Holidays , which is self explanatory, and Idea Starters, with themes and ideas for promotional and editorial uses. The collections are in 6" x 9" looseleaf binder format and contain more than 200 illustrations and graphics. For details and purchasing information, write George Bryan at Yolk Clip Art, P.O. Box 347, Washington, Illinois 61571 , or call 1-800-227-7048. Fax (309) 698-0831.

Discovering the World of Colour ... is Neenah Paper's promotion for their Artone Colours text and cover line of papers. The portfolio, which incorporates a cumbersome design consisting of a folding cover, two flaps and eleven loose sheets of paper, purports to show the "intriguing, and often surprising" world of color. Neenah insists that this booklet will "take you on a journey across the globe in search of the wondrous secrets of nature's palette." In fact,

There's a reason that Pinwheel customers are the finest designers in the world.

Screen printed design and package comps, beauty packs, color corrects, shrink wraps, decals, transfers, Identicolors~ wax backs, die cutting and embossing. Especially for art directors and designers in short runs of two to 200. Also pre-press camera services, super veloxes, High Definition® and Laserline®halftones, ad composites, b&w and four-color special-effects and precision fine-line camera work.

Send business card or letterhead for free subscription to the Pinwheel Pink Pages and 24-page booklet which explains why Pinwheel screen printing is A Horse of a Different Color.

Schaedler Quinzel Inc., 404 Park Ave South, New York 10016 Phone 212 684-5140 Fax 212 684-4543

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

A R T S

153

CLUBS , CONFERENCES , SEMINARS MAINE

The Maine Photographic Workshops, now in its eighteenth season, will be conducted in Rockport, Maine, beginning on Memorial Day weekend and running throughout the summer. The catalog is now available. It contains descriptions of more than 100 one and two-week courses taught by some of the industry's most recognizable names, including Arnold Newman, Jay Maisel, Helen Marcus, Jim Brandenburg, Marie Cosindas, Joe Baraban, Scott Morgan, Brian Lanker and Mary Ellen Mark. Costs range from $450 to $600 for tuition and $350 to $550 for accommodations and meals for the week. Meals are served at an old farmhouse and there are lobsters every Friday evening at the Wrap Party. Courses are generally fully booked , so early application is recommended. You may receive a copy of the catalog by calling (207) 236-8581 or writing to The Workshops , Rockport, Maine 04856.

SEGD The Society of Environmental Graphic Designers announces this year' s national conference "What ' s Next? Preparing for the '90s" to be held at Cranbrook Academy of Art in Bloomfield Hills , Michigan, August 2-5. The conference,

A BUSINESS MESSAGE CARRIES ONLY As MUCH WEIGHT As THE PAPER IT'S PRINTED ON.

marking the lOth anniversary at Cranbrook, will examine the issues which will define the last decade of the 20th century and explore the role of environmental graphic design within their context. A multi-disciplinary group of speakers , panel discussions and workshops will help to create a vision for the profession in the future. The range of topics includes art in public places, new design tools and communication technologies , professional practice, design innovation and exploration and the social responsibility of the designer. SEGD has over 600 members in the fields of graphic design , education, architecture, interior and industrial design, landscape architecture, research and sign manufacturing. For information, contact SEGD, 47 Third Street, Cambridge, Massachusetts 02141 , (617) 577-8225 or fax (617) 577-1769.

SIGGRAPH

The Dallas Convention Center will be host for Siggraph '90 on August 6-10. This conference deals with computer graphics technology for designers , engineers , artists , scientists and enthusiasts from industry and the academic world. Major components featured are: the technical program which includes papers , panels and courses; an exhibition of hardware and software; an art show ; and film and video theater. The seventeenth annual conference is sponsored by the Association for Computer Machinery 's Special Interest Group on Computer Graphics in cooperation with the IEEE Computer Society ' Technical Committee on Computer Graphics. For further information , write Siggraph '90 Conference Management, lll E. Wacker Drive, Suite 600, Chicago, Illinois 60601 or call (312) 644-6610 or fax (312) 938-1232.

A corporate identity program with

impact demands cotton fiber paper.

Its crisp texture and elegant finish enhance everything from letterheads to proposals to memoranda. No other paper gives your clients' correspondence a more commanding presence. And no other paper is so inherently strong that it can perform under the most demanding production techniques and printing processes.

For presence, performance and prestige that lasts, always specify cotton fiber paper.

COTTON FIBER PAPER MANuFACilJRERS For DISCOVERY, our Guide to Cotton Fiber Paper, write on your firm's letterhead to Discovery, API, Dept. C, 260 Madison Ave., New York, NY 10016. Or call (212) 340-0798.

154

M A YI J U N E

I 9 9 0

PosTAL FACILITY DESIGN

The United States Postal Service, in cooperation with the Design Arts Program of the National Endowment for the Arts, has announced an awards program to recognize excellence in postal facility design. Architects, engineers and designers in private practice or the Postal Service who have designed projects or programs completed between January 1, 1980 and January 1, 1990 and reflect outstanding achievement in the design, construction, renovation or preservation of Postal Service facilitie s are eligible.

Awards will be given in the following categories: new facilities , renovations , programs (e.g. , prototype development, design guidelines) and special projects such as interiors, landscape, graphics, handicapped access. Deadline for entries is July 2, 1990. For additional information and entry forms , write: National Honor Awards, Office of Design and Construction , Facilities Department, U.S. Postal Service, 475 L ' Enfant Plaza SW , Washington 20260, or call (202) 268-3899.

.

Th 1 s y ear ' s distinguished p ane1

.

WI 1 1

spea k about design topics that have been on their minds for years.

This year, some of today's most prominent minds will be reverting to their childhood in the International Design Conference in Aspen . "Growing By Design" will explore the important relationship between design and children.

-

Speakers will include Jerome S. Bruner,

Ved Mehta Writer

Jerome S. Bruner Child Psychologist

Ved Mehta, Peter Calthorpe, Roger Hart, Geraldine Laybourne, and Kenneth Brecher, to name a few. In addition there will be exhibits, workshops, seminars, as well as an additional program for children.

To register for this year's conference, send in the form below.

IDCA

International Design Conference in Aspen, June 17- 22, 1990

Geraldine Laybourne President, Nickelodeon

Peter Calthorpe Architect, City Planner

0 $575: Regular Registration Fee 0 $325: One Additional Adult Household Companion 0 $75: Children (7 -17) 0 $150: Full-time Students (photocopy of current I.D. required) Name _________________________ Address _ _ _ _ _ _ _ _ _ _ __ City _________ State __ Zip _ __ Profession--------------------Firm Affiliation ___________________ Make check payable to IDCA and mail to: IDCA, Attention Registrar; P.O. Box 664, Aspen, CO 81612 For credit card registration or additional information call (303) 925-2257.

Kenneth Brecher Director, Boston Children 's Museum

Roger Hart Director, Center for Human Environments

CR0\\ ' 1\:(; BY DLSICi\: JLI\:L 17 - 22 1990 lnrtrlll!Hdltl

llt,r~n

( ••nttrtTHt 111

\..,ptn

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-serve d 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.

NOV/ DEC 1977

$21

CA-77 Advertisi ng & Design Annual JUL/ AUG 1978

$14

The Art Annual1978 Illustration & Photography NOV/ DEC 1978

$21

CA-78 Advertising & Design Annual NOV/DEC 1979

$21

CA-79 Advertising & Design Armual NOV/DEC 1980

$21

CA-80 Advertising & Design Annual JUL/AUG 1981

$14

MAY/JUN 1985

JUL1985

$21

$14

NOV/ DEC 1982

CA-85 Design Annual

$21

CA-82 Advertising & Design Annual

DEC1985

JUL/AUG 1983

CA-85 Advertising Annual

$14

$21

CA-83 Design Annual $21

CA-83 Advertising Annual JUL 1984

$14

Photography Annual NOV1984

$21

CA-84 Advertising Annual JAN/FEB 1985

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 $7

$7

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game

Deborah Sussman; Arthur Meyerson; Wilson Mclean; Weymouth Design; Art Posters; Index to Volume 26

AUG1986 Photography Annual

DEC1986

$21

CA-86 Advertising Annual $7

Heinz Centennial Annual Report; Richard Hamil ton Smith; Dyer/Kahn; Wi eden & 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

$7

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems MAY/JUN 1987

$7

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Prediction ; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses $14

Illustration Annual $14

Photography Annual SEP/OCT 1987

$7

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 NOV 1987

DEC1987

$14

$21

$14

$14

Illustration Annual AUG 1988

$14

Photography Annual SEP/OCT1988

$7

Tony Schwartz; Julie Lieberman; Franc;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer $21

CA-88 Design Annual DEC1988

$21

CA-88 Advertising Annual JAN/FEB 1989

$7

Edelstein Associates; Myron; Joy Radio; Muller+ Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhibit MAR/APR 1989

$7

Tom Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure MAY/JUN 1989

$7

Ammirati & Puris; Computers in the Studio; Scott Morgan; Richardson or Richardson; Exhibit; Yesterday inCA JUL1989

$14

Illustration Annual AUG 1989

$14

Photography Annual SEPLOCT 1989

$7

Lewis Moberly; Will iam Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit NOV 1989

$21

CA-89 Design Annual $21

MARLAPR 1988

DEC1989

$21

CA-89 Advertising Annual $7

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 $7

JANLFEB 1990

$7

International Posters; Deutsch; Joyce Kitchell; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference Ill; Earthquake; Exhibit; Index to Volume31 MAR/APR 1990

$7

Michael Brock; Rob Day; Great Moments in Design Tools; The Ball WCRS Partnership; GeofKern; Madsen and Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "A n American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen MAY/ JUN 1988

JUL1988

NOV 1988

JAN/FEB 1987

JAN/FEB 1988

Illustration Annual $7

CA-86 Design Annual

CA-87 Advertising Annual

Steinhilber & Deutsch; Per Arnoldi's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

JUL1986

$21

CA-87 Design Annual $7

MAY/JUNE 1986 $21

CA-84 Design Annual DEC1984

$21

MAR/APR 1986 $14

Illustration Annual AUG 1984

$21

JAN/FEB 1986

The Art Annuall983 Illu stration & Photography

NOV 1986

AUG1987 $7

$7

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise FiJi; James Sebastian; Franken berry, Laughlin & Constable; The American Advertising Museum; Next

JUL1987 $14

Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento NOV1985

DEC1983

$14

Illustration Annual AUG1985

The Art Annuall982 Illustration & Photography

NOV1983

$7

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel's Ballet

SEP/OCT 1985

CA-81 Advert ising & Design Annual JUL/AUG 1982

$7

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler

Photography Annual

The Art Annuall981 Illustration & Photography NOV/ DEC 1981

MAR/APR 1985

SEP/OCT 1986

$7

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