mayjun1992

COMMUNICATION ARTS VOLUME 34, NUMBER 2, MAY/JUNE 1992

Editor and designer Patrick Coyne Executive editor Jean A. Coyne Associate designer Stephanie Steyer Managing editor Anne Telford Production manager Scott Perry Production Ron Niewald Scott Teaford Advertising and circulation director Michael Krigel Retail sales Art Carbone Administrative assistant Nancy Hagemann

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PINKHAUS

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TOM CURRY

58

CLIENTS A D DESIGNERS

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STEIN ROBAIRE HELM

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BILL THORBURN AT DAYTON'S HUDSON'S AND MARSHALL FIELD'S

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JEFFERY NEWBURY

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GREAT IDEAS ON LIMITED BUDGETS

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RECYCLED PAPER

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EXHIBIT

Editorial assistant Sue Sprinkle Subscription manager Vickie Perry Subscription Jason Jackson Kim Jones Traffic manager Vernon Carter Founder Richard Coyne Contributors Maxwell Arnold Byron Ferris Mark Fulton Mike Hicks Jim John ton Marty Neumeier Robert A. Parker Rhodes Patterson Mill Roseman Dugald Stermer

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

by Marion A. LaNasa

by Mike Hicks

by Ellen Shapiro

by Julie Prendiville

by Sandra Bucholtz

by Ken Coupland

by Patrick Coyne

by Anne Telford

Reproductions of new and best.

COLUMNS

18

EDITOR'S COLUMN

148

ADVERTISING

22

CONTRIBUTORS

150

D ESIGN TECHNOLOGY

25

LETTERS TO THE EDITOR

158

TECHNOLOGY REV IEWS

28

LEGAL AFFAIRS

166

BOOK R EVIEWS

170

MATERIALS, AVAILABLE LITERATURE

175

CLUBS, CONFERENCES, S EMINARS

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Tad Crawford

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Wendy Richmond Lisa Spiegelman

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Larry Keeley

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Barbara Gordon

FREE-LANCE •

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OPINION/COMMENTARY 0

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Cathi Mooney

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CA-92 CALL FOR ENTRIES COVER: © 1992 Jeffery Newbury

Commun ication Arts Magazine (ISSN 0010-3519) is published eight times a year , January/February, March/April , May/June , July, August , September/October , November, December, by Coyne & Blanchard , Inc ., 410 Sherman Avenue , Palo Alto , California 94306.

Subscription rates : U.S.: one yea r- $50; two years- $96 California residents add sales tax : one year- $4 .13; two yea rs- $7 .92

Copyright 1992 by Coyne & Blanchard . Inc .

Canada: one year-$67 (U .S.); two yea rs- $125 (U .S.) Includes GST tax . GST Number 127848620

Second class postage paid at Palo Alto . California and additional offices.

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No respons ibility will be assumed for unsolicited editorial contrib utions .

Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

Single issues : $7 except Illustration Annual (July) $14 , Photography An nual (August) $14, Design Annual (November) $21 and Advertising Annual (December) $21 . California residents add 8.25% sales tax.

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

Attention Retailers: To ca rry Communication Arts in your store , call Art Carbone , retail sales manager , at (415) 326-6040.

Editeur res ponsable (Belgique) : Christian Desmet , Vuurgatstraat 92, 3090 Overijse , Belgique Postmaster: Send address changes to Communication Arts , P.O. Box 10300, 410 Sherman Ave. , Palo Alto, CA 94303 .

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THE SCENERY nt \\~ldcn IS o n a hu111blc scale . and 1h no1~h vcr,· bcauntul. ,lcocs nor approach ro grande ur. nnr c~ n u rnuch concern o ne who has not It"''! frequented it o r lived by ITS shore; yet thts po nd is so remarkable fo r trs depth and purity as to merit a particular dcscnpnon . It is a clear and deep green well . h~Jf a tnile long and a mile and three qu:mcn in urcumlerence . a11d coma1ns about sixry; me and a haU aaes; a perenmal sprinlltn the nll .. lsr nl pme and oak woods. witho ut any vistble inlet o r o urler except by the clouds and evapor:uion. ·me surruundint.: hills rue abruptly from the w;ITer tO rhe hetqht of forty to ei~o:hry feet . rhuc tqh ••n rhe southeast and ~3< t thc=y anain ro about o ne hundred and <lite hundred and hfry feet rcspccnvdy, wuhin a 4u.mcr and a rhird of a mile . lh<-y arc c~clusivcly wotxllaud . :\U o ur l."ncord water-s have t\" > colors at least; one when viewed at a di:.rancc, .tnJ another. more proper. close at hand . ·me first depends more on the light . and to Uuws the sky. In clear weather. in mmmcr. thc=y arpear blue at a little distance . especially if agitareJ . and ar a great dtstance aU appear alike . In stomry wear her thc=y arc snmeomes of a dark sl.ate-wlur lhe sea. however. is s.-ud to be blue L•ne Jay and green anod1cr without any perceptible chance in the armusrhcre.

I have seen o ur river. when. the landscape being ··overed w11h snow. both water and icc were almost as green as grass. 5< >me collSider blue "to be d1e color of pure water. whether liquid or solid." But, lookmg dire~ down inro our waters from a boat. they are seen to be of very d ' crenr colors. Wilden is blue at o ne nme and green at anotl>er. e•·en from the same point of vtew. Lying between rhc earth and the heavws. it p:ut:akes of the t•>IIJf of both . View.,d from a hilltop it reflects the color of the slr.y; but ncar at hand it isoi a yellowish tim next the shore where ynu on see the sand . then a light green, which gradually deepens to a uniform dark green in rhe b.xJv of the pond In some lighrs. viewed even from a hilltop. it is of a vivid green next rhe sho re . So me ha"e referred rhis ro rite reflection of the verdure ; but it is equally green there ogainst dte r:atlroad sandbank . and in the spring, befo re the leave,; are e~panc.led . and it rnay be <~rnply the re;ult of the prevailing blue rnixec.l with the yellow of the ..and. Such i> tl1e

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·.v. ll crs. when much ~~11ar c d . in dear "e"rhcr. so th ~ r the ; urt':!ce uf doc " 'a•·es may retlcct the ~kyat the nghr an~k u r because there is rn• ><C liqhr mixed wiTh it . it aprears at a lirt!c dbrance of a darker blue than the skv it.sc ll , and at ; uch a time, bemg o n irs surf.1ce. " 'd luuking with divided " '"on. su as ro see the retlccrion. I have & ·cemed a rnatchl<"ss and i nd cscrib~hlc ltght blue. such as warered <Jt c hatt~eable <ilk!. and sword blades suggest . more cerulean rhan th~ , ky it5elf. alternaTing with rhe <>nqinal dark green o n the •>rP' " "e <ides o t the ""ves. which last appeared but muddy in <omparison . It is a vttreu us I,'Tceni sh blue. as 1 remember it. lil:e du '"" parr hcs of the winrcr ~ ky seen thn1ugh doud vista> in the we>t f>,·fo re su11dnwn Yer a sin~le gb'-S uf Its "'-Iter hdd up til the l i~ lu IS as .-olorll'S< as an,., jttol quannty L>f aiT It 1~ well known that a l.u1:c ri.Hc "f gb:.., wtll ha-·e a ~n·en lllll . <l\Yll1~ . as rhe makers S.1'p\ '" liS "b.,dy. · hut a >mali Fte.:e of the :;amc wtll be colo rlc55 How lat~e a lxxly uf \Vaiden water would bt- required m rclkct a ~~feen nnr I have ne•···r pmvcd . The water of our nver is black or a •-ery . hrk brown ro •me looking directly down on 11. and. like that of Tlii JSt p mds . intpans to the bndy oi o ne bath in~ it it a yelluwtsh tiliJ?t: , but tlu~ w:11rr ts " f such cryswlline puriry tl1at the body of the bather appears of an abba>~er whiteness, snU mure unnatural . wh~eh . as d1e limbs an: mal!nified and distoned wtthal. produces a mo nstmus ctfect. makmg fit sn1d ies for a ~ lichael Angelo TI1e w;uer is so tr.lnsparer.r that the lxmum can easuy be dt:...cmcd at the dcrth of rwcnry-th·c feet or rhiny feer. PJddling ow r ir. you may see. many feer beneath the surface . the schools of perch and shiners. rerhapsnnly an inch lo ng . yet the fo rmerea.suy d i> llll~ti sl. cc.l by their t:r.lllS\'t·r:.e bars. and vou thmk that rhcy must be asccnc lL<h tl1at find a sub,isrcncc there Once , 111 the wmrer. many years a~;o. when! had been oming hnles through d>e icc 1n o rder to c:uch pickerel. as I stepped ashore I tossed my axe ba..-k o n ro the ice, but , as if some el'il ~e n ius had directed it. it slid fo ur ur ftve ruds dircccly int<l one oi the hub . where the water was IWCllry·itve feet deep Our uf curiosiry, I!Jy down o n the ice and l..>~ed rluuugh the hule . un11l l saw d1e axe J lmle un o ne side, srandill)l on irs ht:ad . with Its hell'e ••n:ct an.! ge ntly swaymg to and

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EDITOR'S

COLUMN

PATRICK COYNE

ACK IN MARCH 1991, I MENTIONED THAT most analysts were predicting economic recovery by the third or fourth quarter of 1991. Well, here we are in mid-1992 and I can't say we've experienced a dramatic turnaround. Some have even suggested that this is not a dip, but a reality check of what to expect in the future.

B

We have several articles in this issue addressing the current economic condition. Barbara Gordon discusses how some freelancers continue to get assignments even in tough times.

Wendy Richmond takes a different tack in her Design Technology column by suggesting that computer-experienced designers working on a free-lance basis could improve their chances of landing a full-time job.

On the creative side, knowing that many designers are experiencing client mandated budget cutbacks, we are publishing a collection of work produced on a limited budget. It's impressive and refreshing to see so many compelling ideas and so much meaningful content from around the country without the benefit of expensive printing techniques.

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Exactly twenty years ago, we published an entire issue dedicated to environmental concerns. Guest edited and designed

by Dugald Stermer, that issue was obviously ahead of its time. While there was quite a bit of lip service given to the environment in the 1970s, most of it went out the window during the freewheeling 1980s.

In September 1990, we ran a comprehensive article on recycled paper, including a listing of paper companies that manufacture uncoated papers containing post-consumer waste. In writing the article, I wondered if the design profession's growing environmental commitment was a short-term trend that would wane as the economy soured and Earth Day 1990 became a distant memory. Fortunately, two years later, the commitment appears to be stronger than ever.

Knowing that paper specifiers are demanding more recycled paper and paper companies are offering more products with post-consumer waste, we felt it was an appropriate time to address this subject again. Our list of recycled papers containing post-consumer waste has increased 58% since 1990, a strong indicator that paper companies are responding to customer demand.

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There has been an ongoing complaint by designers that they are not involved early enough in the decision making phase of most projects, or in the greater role of helping businesses to strategically position themselves for the 18

MAY/JUNE

199 2

future. On the other hand, there has been very little effort by many designers to communicate the value of design in shaping business decisions.

You don 't have to look too far to realize that the designer' role is growing. Since information is replacing raw material as the most important element in the products and services we buy today, design is becoming the method for converting all this new technology into something the consumer can use.

Product differentials and corporate identity are being driven more and more by their interaction with the end-user.

Manufacturers are reevaluating policies-held since the beginning of the industrial revolution-that competitive advantage belongs to those who can make products at the lowest cost. Today, customers want quality and the designer is in the position of helping business by acting as the ultimate consumer advocate.

I think it is important that we hear more from the client's viewpoint on the benefits gained from quality design and advertising. It has not been easy to do since so few corporate leaders see much benefit. This is understandable when you consider that historically few courses in corporate identity and communication have been offered in business school .

This is changing and future business leaders will at lea t have some exposure.

What about design schools offering courses in understanding business and the innovations that drive it? It eems logical that business courses should be a part of the design school curriculum, but you're probably looking at a totally impractical ten-year program.

In this issue, we have two articles discussing clients. Ellen Shapiro continues her excellent series on client/designer relationships with a visit to the Wadsworth Atheneum in Hartford, Connecticut and designer Peter Good. Her conversation with the Atheneum's director, Patrick McCaughey, and the selection process used by the museum to hire Peter Good, makes for informative reading.

Our Opinion/Commentary column is a recreation of a speech made at the AlGA national conference last year by Larry Keeley, president of the Doblin Group, a Chicago design planning firm. His Strategic Design Palette is a very u eful model in explaining how business can be affected by change.

By understanding where innovation could be applied to a client's business, a designer could actually help drive strategy rather than be an order taker. I think Larry has taken a very complex idea and simplified it into an understandable structure. "We have been using the Strategic Palette to guide our work for over a year," Keeley said. "It 's nifty. It tends to create unusually powerful programs that create massive conceptual change. That's the kind of change industry after industry needs now. "

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POLAGRAPH INSTANT SLIDE FILM IS DESIGNED FOR CHARTS, GRAPHS, AND DIAGRAMS. REMEMBER, THAT'S CHARTS, GRAPHS, AND DIAGRAMS. The picture is finished art. The photographer is Michele Clement. And the film is Polagraph HC. Isn't that meant for line art? Well, we thought so. But hundreds of photographers think differently. And they're using Polagraph, Polapan and Polachrome instant slide films for applications we never imagined. But one thing nobody's imagining is this: Polaroid art is finished art. Found in galleries, brochures, annual reports, and magazine advertisements. Like the one you're reading now. To find out how other photographers are using Polaroid instant films for finished art, call 1-800- 225-1618 for your free subscription to TEST Magazine. And see why nothing works like Polaroid instant films.

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CONTRIBUTORS FEATURES

COLUMNS

KEN CouPLAND is a West Coast-based writer and editor who is also a designer. His abiding interest in the fine art aspects of photography and design has motivated much of his writing about commercial art. He is also interested in the environmental aspects of design. A frequent contributor to many magazines, he profiled photographer Michele Clement in March/April 1991.

This issue he went on assignment with photographer Jeffery Newbury.

Mnrn HICKS is presi-

dent of Hixo, Inc., in Austin, Texas. He has been a featured speaker at many conferences and clubs and has also done broadcast interviews. He wears many cowboy hats as a writer, designer and regional humorist. He is the founding president of AlGA/Texas, a board member of the Texas Fine Arts Association and has his work in the permanent archives of the Smithsonian Institute.

Hicks has been a contributor to CA for many years. He walked a few blocks to interview Austin illustrator Tom Curry.

ELLEN SHAPIRO is a

graphic designer, writer and president of Shapiro Design Associates Inc. , in New York City, where she manages identity and marketing projects for an international roster of clients. She is the author of the book, Clients and Designers, and has been a member of the Communication Design faculty at Parsons School of Design. Shapiro is a native of Los Angeles and a graduate of UCLA's College of Fine Arts. In the third of a series of articles on clientdesigner relationships, Ms. Shapiro explores the dynamics between designer Peter Good and The Wadsworth Atheneum, in Hartford, Connecticut.

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M A Y I J U N E

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SANDRA BucHOLTZ

has become a fiercely independent copywriter, advertising consultant, voice talent and actress in Minneapolis. Formerly a vice president/manager at Martin/ Williams, Bucholtz wrote an article on Tom McElligott and Ron Anderson for CAin 1974, was herself a CA article subject in 1976 and helped judge the CA Annual in 1977. She wrote about Bill Thorburn at Dayton's, Hudson's and Marshall Field's.

MARION A. LANASA

is a writer and a former newspaper editor and account executive. For the past nine years, he has served as a public affairs manager for Martin Marietta, a prime contractor to the U.S. Space Shuttle Program. A native of New Orleans, he received his undergraduate degree from Tulane University and a post-graduate degree in journalism from the University of Texas at Austin. He profiled SlaughterHanson in our last issue; this issue he traveled south to Miami to profile Pinkhaus Design.

JULIE PRENDIVILLE is

the product of an Irish Catholic upbringing in Orange County, California. She spent her early years learning about saints, venal sins and subject-verb agreement in parochial school. After graduating college in 1980, she began a career as advertising copywriter for Ketchum Communications, Chiat/Day and Foote, Cone and Belding and as staff writer at Dick Orkin's Radio Ranch.

Currently she works as a free-lance writer. Prendiville has written for CA since 1987 and has also written a book entitled Graphic Design: Los Angeles.

For this issue, she wrote about Stein Robaire Helm in Los Angeles.

WENDY RICHMOND is co-director of

the WGBH Design Lab in Boston.

Her column, Design Technology, has appeared inCA since 1984. She is author of Design & Technology: Erasing the Boundaries .

TAD CRAWFORD is an attorney, author

and publisher of New York-based Allworth Press. A specialist in legal issues pertaining to the arts, he is the author of Legal Guide for the Visual Artist as well as Business and Legal Forms books for graphic designers, illustrators and photographers and has been a CA columnist since 1983.

BARBARA GoRDON , an artists and photographers representative since 1969, is a past president of the Society of Photographers and Artists Representatives and is the author of two books. She has written on free-lance issues for CA since 1983.

LISA SPIEGELMAN is currently senior

editor for Computer Reseller News, a weekly national, computer business magazine as well as our Technology Reviews columnist.

CATHI MoONEY is chairman/creative director of Mandelbaum Mooney Ashley, the San Francisco agency she and Ken Mandelbaum founded in 1987.

In past lives she has been an art director at Hal Riney & Partners and Ally & Gargano in New York. Cathi wrote the Advertising column for this issue.

LARRY KEELEY is president of Doblin

Group, a design planning firm in Chicago. He is a board member of the American Center for Design, a past board member of the Design Mangement Institute and is a board advisor of the Illinois Institute of Technology's Institute of Design. He wrote this issue's Opinion/Commentary column.

ERRATA On page 124 of the 1991 Design Annual , Rolling Stone omitted Laurie Rosenwald 's credit as calligrapher on the Robin Williams cover.

The reader stops. On this page, there is a special invitation to linger. To feel. To explore the topography of the subject. The sense of touch quickly confirms what the mind suspects.

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I NTER I\!ATI ONA L@PAPER

LETTERS TO THE EDITOR Work on speculation I've been comfortably surviving as a free-lance graphic designer for fifteenplus years. I never fear competition, except in one situation.

Recently, I was invited to bid on, along with six other professional designers, a sizeable project for a university. The assignment was to include a 40-page brochure, a course listings booklet, a direct mail piece and a poster.

I pent two days assembling a competitive, honorable bid on time, with an explanation of my style of problem solving through the creative process, (without turning an art too badly into a cience).

I wa complimented on my bid, and then asked by the prospective university client, to submit a "quick draft" of my idea for the direct mail piece (remember, all of the pieces will relate).

I flatly refused, but to my astonishment all six of the other designers agreed to do it. I was outraged, and I let my feelings be known.

There are two major questions I'd like to ask both guilty parties. 1. How can these designers "give away" their ideas for free without loosing any self respect? What they are doing is giving away the best commodity we , as designer , have to sell. This is not being competitive, I call it cheating yourselves and all the designers around you.

2. As a school of higher education, will the teaching of bu ines ethics only be preached and not practiced? In a way this univer ity tried to bribe me. Give us this "free gift" or you'll lose the opportunity to be the chosen one for the job. No thanks pal, I till have my self respect.

Karen Kratzer Karen Kratzer Graphic Design Higganum, Connecticut D

Information Design I read with interest RitaSue Siegel's article, "The New Economy and the 25

M A Y I J U

E

I 9 9 2

Changing Demographics of Design" in the March/April issue.

I appreciate Ms. Siegel's insightful approach to the problems and trends in the graphic design industry. I thought you'd be interested to know that here at The Understanding Business (TUB), at least, and perhaps contrary to a trend Ms. Siegel has noted, information design and language simplification are thriving.

We have found that, while the experience of studios may be to ignore the trend towards information-based design, this is definitely not the case with our growing roster of corporate clients who recognize that information design is smart business.

TUB produces text and graphics for a wide variety of client applications, from corporate directories, catalogs and maps, to handbooks, shopping directories and much more. When we are asked by prospective clients to name our competitors, for exactly the reasons noted in the article, we have to tell them we have few at the present time. Design offices sell attractive packaging and consultants provide data without tying the information back into the client's strategy ... we think we do both effectively, and so far our clients agree.

Mark Johnson President and Creative Director The Understanding Business San Francisco, California 0

Employee Reclassification The article by Tad Crawford in the March/April issue was enlightening and frightening, from the perspective of a consistent buyer of art and photography.

I have always negotiated buyout status with the photographers I use, primarily because the product is a perishable commodity, and photography must be taken a year before the final use is even determined. I have substantial budgets for this, and the prices

negotiated are very fair. The transparencies become the property of this firm. I have never had an unhappy experience dealing on this basis with photographers.

Now, I am considering the same sort of need for artist illustration, and have had several extremely satisfactory experiences based upon fair compensation for total and unlimited use. Now I find, in IRS factor control #1, instructions on when and how the work is to be performed. "When" suggests that deadlines and time frames are verboten, else we must consider the artist an IRS qualified employee.

"How" leaves vast black holes of interpretation, doesn't it? Color fidelity, shape of product, and even angles of presentation are all part of the product holy-cows that we don't slaughter. That requires some pretty explicit determination of how the work is to be done.

What would the IRS have to say about that?

We don't need or want an artist employee we use for perhaps two or three illustrations a season. Caveats like the twenty points of IRS light could be a discouragement for using illustrators, and force a greater exploration of the potential of computer graphics, which we can certainly handle in-house. That is not a satisfactory trade off, but when regulations as those outlined in the article begin to strangle businesses like a boa constrictor, the pragmatic approach is to stay out of boa constrictor country.

This is no help to illustrators, or photographers, whose options may be another line of work.

Maggie Andre Vice President Communications Oregon Washington California Pear Bureau Portland, Oregon

ADDRESS CoRRESPONDENCE TO: Letters to the Editor, 410 Sherman Avenue, Palo Alto, California 94306. We reserve the right to publish letters and to edit for clarity and length.

Bieber

Tim Bieber Film & Print

Chicago: joel Harlib

New York: Michael Ash

Los Angeles (Film): Dorothea Poloynis

(312) 463-3590

(312) 329-13 0

(212) 80 -6286

(818) 782-22 9

LEGAL

AFFAIRS

T AD CRAWFORD

A TAX WARNING (PART II) Y LAST COLUMN REPORTED ON THE increasing scrutiny being given by the Internal Revenue Service to the classification of workers by graphic design firms and advertising agencies. If the worker is hired as an independent contractor rather than as an employee, the firm will not have to withhold for federal, state, and local income taxes; the firm will not have to pay taxes for FICA (for social security), unemployment, or workmen's compensation; and the firm will escape having to file a number of tax returns (other than Form 1099MISC which is used for independent contractors). The firm will also avoid paying for employee benefits, such as health insurance, vacations, holidays or retirement plans.

M

Part I of this article detailed the twenty factor control test that the IRS looks to in determining whether a worker is an independent contractor or an employee. The danger is that a firm will either misinterpret these factors or intentionally misclassify a worker as an independent contractor.

As Part I pointed out, any firm that is in doubt as to how to classify a worker should consult with its accountant or tax specialist for assistance.

A Matter of Intention Part I referred to the fact that the payment of back taxes, penalties and interest may be double what should have been paid by the firm. If the firm is small and a number of workers have been intentionally misclassified, the very life of the firm may be threatened. Also, the IRS may argue that workers with a very peripheral connection to the firmfor example, mechanical artists or even illustrators-are employees. In one case involving state tax authorities, a mechanical artist worked four days for a firm on one project. The artist then filed for unemployment benefits.

Not only did the state tax agency determine that the artist was an employee, they also commenced an audit of the firm for three years. The potential liability neared $100,000 and the case has not yet been resolved.

The exposure for unintentional misclassification of an employee is serious, but not nearly as serious as the risk for an intentional misclassification. If the misclassification is unintentional, the employer's liability for income taxes is limited to 1.5 percent of the employee's wages. The employer's liability for FICA taxes that should have been paid by the employee would be limited to 20 percent of 28

M A Y I J U N E

I 9 9 2

that amount. The employer would have no right to recover from the employee any amounts determined to be due to the IRS. Also, the employer would still be liable for its own share of FICA or unemployment taxes. Interest and penalties could be assessed by the IRS, but only on the amount of the employer's liability.

If the misclassification is intentional, on the other hand, the

employer can be liable for the full amount of income tax that should have been withheld (with an adjustment if the employee has paid or does pay part of the tax) and for the full amount of both the employer and employee shares for FICA (but might receive an offset if the employee paid FICA self employment taxes). In addition, the employer is liable for interest and penalties. However, the interest and penalties are being computed on far larger amounts than in the case of an unintentional misclassification.

An Ounce of Prevention After conducting a careful review of how workers should be classified under the IRS's twenty factor control test, a firm may remain uncertain what is correct. A wise approach is certainly to err on the side of caution and classify workers as employees when in doubt.

If the firm believes a worker to be an independent con-

tractor, a carefully worded contract should be executed with that worker. It should be legally binding and accurately set forth the parties' agreement. To be most helpful in the event of an IRS challenge, it must be apparent from the contract that the worker is an independent contractor under the twenty factor test. The contract must then be adhered to by the parties. If a firm has such contract in place already, they should be reviewed with the IRS te t in mind-and whether the parties in fact are following the terms of the contract.

Safe Harbors The tax law also creates certain safe harbors , areas in which firms can know that their cla ification practice will stand up to IRS review. Taxpayer must have a reasonable basis for their classification decisions. According to the law, a reasonable basis will be found to exi t if the taxpayer made a "reasonable reliance on any of the following: (A) judicial precedent, published rulings , technical advice with respect to the taxpayer, or a letter PA G E 34 J ruling to the taxpayer; [ c o T 1 u E o o

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TAD CRAWFORD

(B) a past Internal Revenue Service audit of the taxpayer in which there was no assessment attributable to the treatment (for employment tax purposes) of the individuals holding positions substantially similar to the position held by this individual; or (C) longstanding recognized practice of a significant segment of the industry in which such individual was engaged."

So the law, as stated in (A), creates a safe harbor if an IRS determination is made as to the worker's status. If the IRS concluded that a worker was an independent contractor, it would of course be bound by its own determination. While the IRS offices in Washington, D.C., are issuing very few determinations as to status and firms ought not to expect to obtain guidance in this way, the local district offices of the IRS do issue determinations if requested on Form SS8 with respect to an individual's status. However, the SS8 is very specific and may not help as to other employees. And, if the individuals have already been employed, sending in the SS8 may simply be waving a red flag and asking for an audit. Also, neither judicial precedents nor published rulings are offering clear guidelines for firms to follow.

If the firm has been audited before and no employment tax issues raised as to a worker doing similar tasks to the worker at issue, this will also provide a safe harbor for the firm. Not every firm is so fortunate as to fall within this safe harbor, however.

Finally, the firm may argue that its treatment conforms to the "longstanding recognized practice of a significant segment of the industry in which such individual was engaged."

According to Hal Daub, tax attorney and National Director of Federal Government Affairs in the Washington, D.C. office of Deloitte & Touche, this is "an empirical test which is not necessarily nationwide, but can be by industry and locale. Historical practices are established by evidence which may take the form of surveys, affidavits, and testimony. " The increasing focus of the IRS on worker classification raises a baffling problem here. If the safest course is to classify workers as employees (even if they might be independent contractors under the twenty factor control test) , isn't the IRS really forcing the industry to change its practices? And won' t this change of practice then be used to defeat firms who seek to assert that their practices are consistent with the practices of a significant segment of the industry?

34

M A Y I J U N E

I 9 9 2

The Virtue of Consistency Also, the safe harbor provisions will not be available at all if the firm is inconsistent in its treatment of workers.

If one worker is treated as employee and another doing similar activities is treated as an independent contractor for the same period, this inconsistency will deny the taxpayer the protection of the safe harbors. If a worker had been treated as an employee in prior years but in the audit year was doing substantially the same work while being categorized as an independent contractor, this will also smash the firm's safe harbor defense on the reefs of inconsistency.

Another important point is that all required information returns should be filed , however a worker is classified.

The filing of 1099s may aid in arguing that the firm has been consistent in its classification practices. Also, the 1099s will encourage tax compliance by the worker, so that the exposure of the firm will be less in the event the IRS successfully reclassifies the worker.

Legislative Relief?

Bills pending in Congress propose measures both favorable and unfavorable to firms. On the one hand, there are proposals to require a liberal construction in favor of the taxpayer as to what is a "longstanding recognized practice of a significant segment of the industry ... " and to allow a tax holiday for firms switching from the treatment of workers as independent contractors to treatment as employees. Such a tax holiday would allow the switch to be made without the risk of liability. On the other hand, a proposal is pending to eliminate a prior audit as one of the safe harbor categories. While legislation doe s not seem likely this year, the classification issue will remain on the legislative agenda.

"The real problem is the underground economy, not 1099s vs. W2s ," Hal Daub points out and adds , " Independent contractor status is even more needed than ever and is necessary for companies to be competitive in the future ."

Certainly if firms in the communications field are to compete on an equal basis, the ground rules for determination of independent contractor status should be clear enough to be easily and uniformly complied with by all firms.

©Tad Crawford 1992

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PINKHAUS DESIGN BY

MARION

A .

LANASA

of ex pres ion , the work i better.

UST OFF BISCAYNE BAY IN Miami, a small design hou e has ambitious plans. At Pinkhaus De ign Corp., the goal i not to create the 'look of the '90s,' but to redefine and design the environment of the times.

J

The chief visionary at Pinkhau is designer and co-founder Joel Fuller.

Through an almost nomadic career, Fuller has honed his kill and attracted a upporting ca t capable of succeeding in a widely divergent collection of design project .

The journey began in Green boro, North Carolina, with stops in Atlanta, Bo ton and New York. Along the way , Fuller helped create the image for Omni Hotel as a member of Cole Hender on & Drake. His portfolio also reflects work with other major accounts uch as Swissair, Toshiba, GE and Pep i. And he wa profoundly affected by hi experience in introducing a bed and bath line for Marimekko of Finland.

Then , seven years after a particularly memorable photo shoot in Miami, Fuller found himself living there.

Initially working with Mike Sloan Advertising and Beber Silver tein & Partners, Fuller worked on account such as Bertram Yachts and the Florida Tourism campaign, "When you need it bad, we ' ve got it good ."

But soon his diverse interests and restles nature caused Fuller to move on again-to Pinkhaus.

"My goal i to get people believing in what Pinkhaus is about," Fuller say .

"That is , a Florida version of the Bauhaus. " (The name derives from the colorful architecture of Miami , where pink adorns more than ju t the resident flamingos .)

In the 1920s , the German Bauhau school revolutionized de ign by cro ing di ciplines, uniting art , architecture and technology.

In starting Pinkhau in 1985, Fuller 40 M A Y I J U

E

I 9 9 2

" We talk bu ine , not de ign ," Fuller as erts , when meeting with client uch a Royal Viking Crui e Line, Sen i and Softouch. " If you can upport every design decision with a busine decision , you can ell your idea. "

sought a similarly diverse mix of talents. He wa joined by co-founder Mark Cantor, an architect-turnedde igner, and shortly thereafter, by Patrick Fiorentino, founder of one of Florida ' largest retail computer dealer hip . Together they crafted an organization uniting design and technology with sound bu iness practices-Bauhaus principle at their be t.

Busine savvy is an important part of Pinkhaus' s succe s. Through Fiorentino, every area of the operation from computer to designers is evaluated as profit centers. If an area or function such a printing or tripping cannot be profitable , then busine s plans reflect that.

Following tho e principles, Pinkhau s has grown to a staff fluctuating between twelve to fifteen members , including four designers, two or three computer personnel , a team of three administrative support personnel , one production person, a mechanical arti st and two new business/architectural upport people. The re sult has been a team approach that provides on-the-money design work that succeed for Pinkhaus clientele. In fact , the team approach at Pinkhau s is so egalitarian that everyone take turn at phone duty and bu ine cards don ' t bear titles. " I've alway been a firm believer in an open environment," Fuller says. " If you create an environment where there is freedom

Fuller include the de igner when meeting with clients on new projects.

Then the work evolves in the Pinkhau "open environment," where sugge tion and a istance come from any or all taff members. If needed , technical computer olutions to de ign problem are ought only after the initial concept i in place.

"There ' not a project here that doe n't come in the door and go out Pinkhau s staff, seate d left to right : Ra lph Schuetz, Tom Sterling , Joel Ful ler ; stand ing , Herk Hern an d ez, Frank Cunn ingham , Suzette Sullivan , Mark Cantor , Susan Lath am, Teri Camp be ll , Claud ia DeCastro and Patrick Fiorent ino . Not p ictu red , Nanette Ferro .

Comm en ts by Joel Fu ll er.

Rig ht: Pinkhaus has a party every year d urin g the hol idays ; la st year the theme was recyclin g , so for the ir party invitation they used a logo they created for Ch ip-ATree , the recycling prog ram of The Christmas Tree Assoc iat ion of Florida. Joel Fuller , art d irector ; Tom Sterl ing , des igner; Claudia DeCastro , logo design ; Frank Cunn ingham , writer .

Tile of Spain pr int ad d irected to arch itects and interior designers . "The c li ent wanted to show tile , but not to show til e. Our challenge was how to solve the prob lem .

We shot the tile in fu ll four-color and screened the photo back so you cou ld see the tile but it wasn 't foremost. " Joel Ful ler , art director ; Mark Cantor/Joel Fu ll er , designers ; Grant Peterson, photographer ; Frank Cunningham , wri ter .

Packaging for Softouch , sportswear and hosiery manufacturer . "The name imp li ed such a wonderfu l theme with fabr ic . We tried to capture a softnes s with the way the products were lit." Joe l Full er, c reat ive d irec tor ; Tom Sterling , art d irector/ designer; Ralf Schuetz , compu ter graphics ; Galien Mei , p hotograph er.

Wlen the •ulc e1e11ents

·····1"1

are Infused with the IIBrt•·s 11ast

;rr .,

frtiiSpt il. lliYisiln If lhe Trt•e [IUISSIII If S'illl . [Ill - - FIX (305] +15-2612.

COMMU

I CAT I 0

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41

PI KHAUS

again that would have been the same with that person working on it alone," Fuller says.

The results of the Pinkhaus team approach are more than $3.6 million in 1991 billing , an extraordinarily high 95 to 98 percent referral rate and success in winning new accounts.

But the projects that excite Fuller, Fiorentino and Cantor most are their publishing of The American Directory of Architect (with Philip Smith a a business partner); a recently approved joint venture with an architectural firm to create new parking ignage for downtown Miami; and continuing work on de igns for an environmental beach house and their own office.

The architectural directory was one project that resulted from sound busine s reasoning combined with the firm's commonly shared interest .

"We all have a deep interest in architecture," notes Fiorentino. "We want the directory to become the definitive book on architecture in America. It goe beyond what the Black Book does for photographer ." Fuller explain , "In the Black Book, photographers do their own ads. In our book we do all the ads and we don't allow logos. It maintains a continuous look; we designed the whole thing to keep that editorial viewpoint."

The business advantage is that as their own clients, work on the directory can fall into the 35 percent of taff time that would otherwise be unbillable to any client. Thus, lost time for taffer can be turned into a profit for the firm.

Pinkhau and Daniel Williams, the architect who designed their offices , won the downtown signage project as a re ult of a national earch with seven other firms. " For us , it's another area we haven ' t worked in that much," says Fiorentino.

"And it gives us a chance to change the scenery of downtown Miami."

As bright and diverse as the present is , the future is equally promising .

"We want to get into de igning furniture and fabrics; we've done sheets and towel s," says Fuller.

"If we can say, ' Here 's a facility we built, this is our own home,' then we're ready to take a re sort in the islands and manage the whole operation , from the property to the graphics, the products that go in ide , to the sheets on the bed. Then I'd be where I want to be. "

Fuller's vision and excitement remains . And the rest of the Pinkhaus team is equally determined to make that vision to change the environment of the times , a reality.

/ /

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This page : Banners for the1989 Christmas party , showing the symbol for the Chinese Year of the Snake .

"There are about 150,000 people who pass our building every day ." Joel Fuller , art director , banner design ; Joel Full er/Mark Cantor, designers ; Ted Lodigensky , illustrator; Ronie Mateu , building architect .

Views of Pinkhaus 's office space designed by architect Daniel Williams.

"I was on Long Island for a weekend and I collected stones- white , granite, copper-an d they became the color palette . Natural materials were used including aluminum siding and stained concrete floors ."

Right: Brochure for WJMK , a television production company . "WJMK is the only client who has ever come to us and said , 'We want to look creative , do whatever you want to do .' The cover was shot on Miam i's South Beach in an Art Deco hotel. We made separations of each visual , in brown and in green tones (double separations) , then cut apart the match prints and glued them back together and the printer stripped them together . It looks like it was done on a computer but it wasn 't. " Tom Sterling , art director/designer; Mark Kielar , writer ; Gal len Mei, photographer.

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Left : Pinkhaus Publications published The American Directory of Architects . " It is a directory of architects that is sent to major developers around the world , top Fortune 500 companies and distributed in book stores . Photographers , stylists and film production companies can get ideas from it. Our books sales have proven it to be a viable project. " Poster. "We were trying to give our impression of what is happening on the West Coast with architecture : Experimentation with natural materials , a certain attitude that architecture was more important , more experimental. The sculpture represents a man holding up a building and build ing materialsconcrete , copper , metal- were used ."

Joel Fuller, creative director; Tom Sterling , art d irector/ designer ; Jose Molina , photographer .

Cover and spread from the directory.

Joel Fuller , creative director ; Mark Cantor/Tom Sterling/Joel Fuller, art directors ; Tom Sterling , designer ; Philip Smith , writer ; Ralf Schuetz , computer illustrations ; James Palma , cover photography .

This page: "Packag ing for Sensi , manufacturer of sports-oriented equipment.

Sensi makes arrangements with international manufacturers to sell their products as gift accessories . We do all the film work here and it is shipped to Japan for the final printing and production. " Sport sponge: Joel Fuller , art director ; Lisa Ashworth/Diane Brunschwig , designers ; Frank Cunningham , writer ; Michael Dakota, photography . Flexlight : Lisa Ashworth/ Diane Brunschwig , art directors ; Lisa Ashworth , designer ; Frank Cunn ingham , writer ; Gail Molina , photographer .

Sandals: Joel Fuller, art d irector ; Karen Hoosic/ Laura Latham/Joel Fuller , designers ; Nick Norwood , photographer .

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45

PI NK H AUS

PICTURE

SOUTH

flOR I DA

SUNRISE TO SUNRISE

A permanent record

of this spring day in 1988 .

•

These one hundred photographs w ill capture the essence of life in South florida, with olllts beauty, all its diversity, all its creativity.

•

Cover and spreads from South Florida ASMP brochure . "They were going to do a take-off on A Day in the Life of America, with a 24-hour shoot in Florida . All the film was sent in and edited by a group of judges . They were seeking funds from corporations. The 3 /2 x 3 /2 brochure had to fit into a #1 0 envelope. It's probab ly the smal lest tab letop book in the world .

With proper funding , the little book can become a big book. " Joel Fuller , art director ; Laura Latham/Joel Fuller , designers; Frank Cunningham , writer; ASMP/Miami , photography .

• Out of this will come a traveling exhibition of the photographs.

If you share ovr love and our hopes for the P'oce we live and work and ploy and raise our families, then this Is a pro ject you'll be proud

to be associated w ith .

•

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<gJ e mui u § .

Gilbert Paper brochure , from the Designer Potpourri series , one of five brochures which will make up this promotion. This was printed on Esse paper, which Ful ler designed in conjunction with Robin Rickabaugh of Principia Graphica in Portland , Oregon. "I'm on the advisory council for Gilbert Paper . This is one of the first times a paper mill has come to designers and asked them to design a paper from scratch. We had total freedom to choose colors and paper weight . Gilbert said , 'Do anything you want-make sure you can print on it , that it has longevity and it sells .' The theme is , 'What is smart? ' This is probably the last great cause we can get behind .

It shows some of the things that the average person is doing to help the environment; little, simple solutions to big environmental problems that are actually making a big difference ." Joel Fuller, creative director; Mark Cantor/Tom Sterling/Joel Fuller, art directors; Tom Sterling/Joel Fuller , designers ; Frank Cunningham , writer ; Gallen Mei , photographer .

Above : Logos for Re x Ill , an engraving company. "They wanted a new corporate image for printing . I had a dog named Re x when I was a kid . I suggested using a dog-printers become designer's best friends ." Joel Ful ler , art d irector; Lisa Ashworth , designer ; Ralf Schuetz , computer illustrator .

•

...

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

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47

TMIE MYST IUtv 01'" Al'"l'tiCA

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thi•exciling

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passagt!, you will visit the colo ...ful ports o r Arnca, Madagucu

ond the SeycheiJ . To give you the fullt.ost African experience, the cruise is combined with overland journeys tl1al will let you taste the African interior.

You may e njoy a champa~ne hrcakra lintheMawiMara Game ~ ... ve whose inh.abitanh include wildcbce.t, zeb ...a,

elephants and blade-maned lio ns . You can play golr on Ke nya 's bcauti£ul coun~c• and enjoy a black-tie cocktail and dinnel" reception at Girarre Manor. You ca n vi it the

home of Kareo Blixen, outho, of Out o/ A/nca, ond Oo.t 11ilcntly in a balloo n OVCI" va.st herds o r animal.s mi~ratin~ rrom the Sc ...cngcti Plain .

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Left: Spreads from the Royal Viking 1992 cruise atlas .

"When I first moved to Florida I sat and watched the ocean for several months . Ten years later I got to use this inspiration . Metallic ink helps capture the feeling of what you see looking into the water . The image had to be elegant ; to capture an experience you might get at sea on the Royal Viking line . The atlas shows all their cruises for the year- for trade , consumer and travel agents ." Joel Fuller , creative director ; Mark Cantor/Claudia DeCastro/ Joel Fuller, art directors/designers ; Frank Cunningham , writer ; Ralf Schuetz , computer graphics; Duncan Sim/ Harvey Lloyd/stock , photographers.

This page : Covers of Captain 's Pac ific Journey and African Sailing Safaris. "These are two specific cruises that they do special brochures for ; much longer cruises , 70 days and up, sometimes around the world ." Claudia DeCastro/Joel Fuller , art directors; Claudia DeCastro , designer ; Harvey Lloyd (Captain 's Pac ific Journey)/ Stephen J . Kraseman/Chuck Tocco , photographers.

COMMU

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49

ToM CuRRY BY

MIKE

NE OF THE THINGS I REMEMBER BEST about growing up in West Texas was the high value accorded understatement and brevity. The goal among the cowboy was to utter as few words as po sible, especially in the face of extraordinary events.

If two cowboys careened off the highway, rolling their pickup and hor etrailer 60 feet down into a gully, for instance, one might climb out of the wreckage through a window, slowly du t off and re-crease his hat and tell his companion, "Gue s I took that corner kinda wide." To which the other might reply, "If you decide to do that again, wake me up fir t."

0

HICKS

"I gue

corporate work pay better, eh?" I asked.

" Sometimes," he replied. "The rule of thumb i the more input there is, the more art direction there i ; the better paying the work usually is."

"Sounds fair enough in a wet beer can, chrome lettering ort of a way," I stated. "Kind of a non-concept compen ation fee.

Is the in verse also true?" " Yeah ... unfortunately. The less they interfere; the le pay, is u ually the case."

they

"Another of life's grating ironies ," I agreed.

Tom Curry may be the quintessential cowboy illustrator, a man of few words and great visuals. Fortunately, Su an, his wife and assistant, doe promotion and takes care of the busine ide, freeing up Tom to concentrate on the work itself.

"Yeah, that' the only thing great about it," Tom said. "I just got a rep in Tokyo. I haven't gotten any big budget job as of yet, but he has gotten me into gallery shows in Japan and has generated a lot of promotion. "

To ay he' not gabby, hardly covers it, although he did say more in the hour or so we talked than I have heard him utter in the decade we've known each other. Maybe it was my piercing questions. Maybe it was the rain. It wa coming down hard enough to make Noah start looking around for marine plywood and sawhorses.

"Going to help cure our trade deficit?" I inquired.

" How much of your work comes from Au stin anyway?" I bellowed, trying to break the ice over the downpour outside. " Very little," Curry replied quietly , adjusting slightly in hi s chair. "Except for Texas Monthly, the last job I had from Au tin was two years ago."

"So how do you get work, Tom?" I asked.

"People call," he said, with a thin smile that let me know I wa in the presence of a joke. "Every now and then a rep will call, but for the last few years corporate art directors have called directly. Lately I've been doing a lot of corporate work, especially for annual reports ."

"I always think of you in a magazine context."

"There is a lot of freedom doing magazine editorial. I like doing the concept.

There's something exciting about coming up with just the right idea. So I till work for a lot of magazines.

Lately I've been getting a few assignments from European one a well, but magazines come and go. I usually wind up working for the same art directors, but at different magazines."

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"That 's what I'm hoping," he aid dryly. "If they won't buy our cars maybe they ' ll buy our illu tration. " The fir t thing to understand about Tom Curry is that he i a whole lot more sophi ticated and urban than one might imagine. Thi is very apparent in hi work, but not nearly as obvious in person. Born in Coleman, Texa , educated at North Texas State in Denton and ultimately winding up in Austin , suggests ales worldly perspective than i actually the case. In fact, Curry spent two years in Germany in the military, worked as an art director and designer in Dalla and ha traveled exten ively. Nevertheless, he till eem happie t in places with a three digit population count.

Returning from Europe in 1972, hi goal was to become a painter. The path he took was somewhat

Caption information was supplied by Tom Curry . Unless noted , all the illustrations are acrylic on hardboard .

Right: " New York Woman magazine short story , "Vissi D'Art ," about an aspiring writer living in an old tenement bui lding above a peep-show in Times Square. The setting of the story appealed to me as an interesting visual . After some convincing , the magazine staff surreptitiously took some Polaroids around Times Square and sent them to me . Blown up color cop ie s were made, cut up and incorporated into the painting in a collage form. " Ann Kwong , art director ; Margot Frankel , designer .121,2 x 181,2

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

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ToM CuRRY

circuitous, starting in de ign then shiftin g to art direction before returning to painting in the form of illustration.

Thi s proce s took the better p art of five year and it wa n' t unti 1 the early '80s that his ty le began to emerge.

Since then , hi s career ha flouri hed. " Do you advertise in any of the portfolio books?"

"No, not a nymore. I tried it about five years ago. My rep in isted. " "And ... " I prompted.

"And I couldn ' t find my ad in the book. The thin g was about four inche thick. I figured no one el e would find it either. If the portfolio books are any indication , there are a whole lot of illu strator flooding the market the e day s, that 's for sure ."

Another thin g th at 's for ure is that mo t of tho se illu trator don ' t po sess Curry ' quirky conceptual per pective and painterly skill. The combination impart a somber , yet funny aura to hi work. Hi s paintin gs have simultaneously been described as enigmatic, cryptic, inscrutable and also humorou s. It's a wry humor, dry as

This page: "One of three illustrations for Quality Review. The article , "Don 't Fix the Product, Fix the Customer ," addresses the problem of product warranty claims when the fault lies with the customer misusing or mishandling the product. " Peter Deutsch , art director ; Doris Kogan , designer . 11 x 16.

"Illustration for Sales and Marketing Management magazine .

The article , "The Voice of the Customer ," concerns a sales method whereby the customer is seen more as an individual instead of cold research data . The old cliche "can 't see the forest for the trees" came to mind and seemed to be an appropriate analogy ." Charles Doherty , art director. 18 x 19 .

Right : "Book jacket for the novel , The Monkey King. The story ,

by London writer Timothy Mo, chronicles the life of a Cantonese family living together in the same house by the sea . The main character carries out a devious plot against the others so I wanted to get this across by painting him looking in a different direction than the others. " Cheryl Asherman , art director ; William Morrow Co ., publisher . 10 x 10.

"Cover for Netware Technical Journal for an article on development tools for computer systems . The ease of use enables a company to gain a competitive edge over the competition.

Dealing with technical computer software as a subject , it is a real challenge to come up with a concept that communicates the idea without literally having a boring -looking computer in the illustration. " Kate Johnson , art director . 12 x 12.

"The illustration for an In Health magazine article , "Rock and Roll Syndrome ," concerns ear damage caused by loud rock and roll music . Art director Jane Palecek commissioned several illustrators to interpret the same article and the illustrations were all very different and personal ." 10 ~ x 8.

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ToM CuRRY

an August wind and almost as invi sible , but for it context. You find it in hi s conversation as well, but again, you have to pay attention.

"I there anything you would like to be doin g more of?"

"I'd like to do more painting, you know, large- cale stuff.

I talked to E laine Horwitch in Sante Fe about it. " "And what did she say?" I asked.

"Large tuff ell ," he said and smiled down at his boots.

I was till trying to recall anything he had ever p ainted being larger than 24 inche square when I finally go t the joke.

"I've painted small for so long," he said wistfully, and we left it at that.

• This page : " Texas Monthly magazine primer on flash floods in Texas . Floods have been known to carry a lot of things down river. In reality the water would be a muddy brown color , but for the sake of a more colorful illustration , artistic license was taken. " D. J . Stout , art director . 11 x 15 .

"Illustrations for a page in the EDS (Electronic Data System) 1990 annual report. There were five sections , each by a different illustrator, focusing on one of the customers using EDS services .

This page was for Kredietbank in Brussels , Belgium , that specializes in the international investment marketplace ." Gary Daniels , art director . 24 x 21 , acrylic on canvas .

Right: "Technical manual cover for a Lotus software program .

The program speeds up data processing time. In the original concept I had the rabbit jumping over computer key turtles. Art director Gary Gibson thought this was sending the wrong message because of the hare and tortoise fable , so I changed the keys to snails ." 9 ~ x 9 ~ "The first in a series of five illustrations for Weitek's 1991 annual report. The company specializes in numerology software , supplying computer systems to its customers . It was decided an evolutionary theme wou ld be a good approach and the numbers as primordial vertebrates seemed appropriate for the first illustration ." Paul Huber, art director; Jon Rant , writer. 14 x 16 ~ "Lotus magazine cover for an article on electronic mail. Ironically I was working on another project at the same time and the client sent a circuit board for reference . The little electronic components were so colorful and interesting looking , I had to paint them into the prairie environment where they looked wonderfully out of place ." Deborah Flynn-Hanrahan , art director . 12 x 16 .

"Rolling Stone illustration for a fiction piece , 'East is East,' about a man who jumps from a Japanese freighter off the coast of Florida and swims ashore . His mother was Japanese and his father Caucasian so I exaggerated the face , dividing it into two nationalities ." Fred Woodward , art director . 12 ~ x 15 .

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Left page: '"The Sting ' is a story in Country Life about stinging insects , pr imarily bees and wasps . Having lived on a farm in West Te xas as a boy , I had been stung on numerous occasions so it was easy to relate to this assignment . The wasps flying in formation were inspired by an old Betty Boop cartoon I remembered that had a scene in wh ich hordes of mosquitoes were flying in format ion like so many B-52 bombers ." Susan McClellan , art director . 13 1,2 x 18 1,2.

This page: "' Schoolyard Menace ' was the title of this article about the psycholog ical makeup of bullies . My first drawing had an ove rsized bully with large horns , but the editor felt this was a little too menacing so a compromise was made and the horns became smaller, more subtle . The illustration was a two-page spread but viewed vertically giving it a lot of attention in the magazine." Wayne Fitzpatrick , art director; Psychology Today, client. 14 x 22. "'What New Englanders Wouldn 't Do For Love ' was the title of a story in Yankee magazine dealing with love , sex and romance . The idea for this piece began with a small doodle of a separated heart laced together. As the drawing developed , this became the heads of a man and woman . To fit the story the couple needed to be in a romantic situation . The serpent was added to suggest sex , guilt or the consequences of love. " J Porter , art director . 11 1,2 x 13.

"Cooking Light magazine half-page illustration dealing with the issue of steroid use and the dangerous side effects assoc iated with it. The editor felt showing a syringe would be too harsh for their readers . Art d irector Susan Dendy came up with a clever idea of us ing a b icycle pump to show an ath lete being 'pumped up ' on steroids . I made the athlete floating and expanding to imply the artificial benefits derived from the drug ." 51,2 x 61,2.

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CLIENTS AND DESIGNERS BY

ELLEN

SHAPIRO

In the third article in this series, Ellen Shapiro explores the relationship between graphic designer Peter Good and his client, Patrick McCaughey, director of the Wadsworth Atheneum.

F c ro c Qj ~

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N Ol Ol

©

Patrick McCaughey, 49, has been the director of the Wadsworth Atheneum, Hartford, Connecticut, since 1988. A native Australian, Mr. McCaughey received his Doctor of Letters from Monash University, Melbourne. Before joining the Atheneum, he was visiting professor of Australian studies at Harvard University and, prior to that, director of the National Gallery of Victoria in Melbourne, where he was also art critic of The Age newspaper.

His distinguished career has included several prestigious academic .positions and appointments, including fellowships at the Museum of Modern Art in New York and the Institute of Fine Arts, New York University.

Peter Good, 49, a graduate of the University of Connecticut's School of Fine Arts,founded Peter Good Graphic Design, in Chester, Connecticut, in 1971. There, with his partner, Susan Fasick-lones , his wife, Janet Cummings Good, and a staff offour, he creates award-winning design and illustration for clients ranging from major corporations to nonprofit art organizations. His work has been exhibited in biennial exhibitions in Poland, Finland and Japan, and is in collections including the Library of Congress, the Cooper-Hewitt Museum, Die Neue Sammlung in Munich and Japan 's Museum of Modern Art. Several of his posters are currently touring Russia as part of Design USA , a United States Information Agency cultural exchange program.

OUNDED IN DOWNTOWN Hartford in 1842 by philanthropist Daniel Wad worth, the Wad worth Atheneum has grown from one Gothic Revival structure housing a gallery of 80 paintings to a five-building complex devoted to the exhibition, care and interpretation of more than 45,000 work of art. Today it i home to noted collection of American and European painting and sculpture, contemporary art, co tumes, textile and work on paper.

I spoke with Mr. McCaughey in hi office at the mu eum.

CA: It's a generally accepted fact that you've made quite a difference. Which of your accomplishments are you most proud of?

McCaughey: It' an evolutionary tory.

We raised seventeen million dollars.

We 've renovated the galleries, of course, and cleaned lots of pictures.

We installed new acces ramp for the handicapped. I'm quite proud of our collections of African-American art. But I guess I'm mo t proud of exhuming the ba ement. Did you know that there' enough art in the ba ement of American museums to go around the world three times? It '

Quotes by Peter Good , the art director on the projects unless otherwise noted .

Right: Atheneum newsletter covers . "The composition allows flexibility within a consistent framework or structure . Paper stock varies depending on contributions .

The photos are supplied by the museum and all illustrations are by our studio ."

Peter Good/Ed Kim, designers ; Robert Hauser/Jeffrey Sob iech/Joseph Szaszfai , photographers .

Open ing spread of the Summer 1990 newsletter. Peter Good/Ed Kim , designers .

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... ., '"' " '" "

' '"''~"

Atheneum

Ath neum The Wadswonh Atheneum is going robe: in an uproar from June until the end of the: year. 8 We are mounting perhaps the largest and most ambitious exhabirion of a single artist ever held here, the: mrospe:crive of Robe::n Longo (sponsom! by ATacT). whteh wiU occupy dle entire Austin Gallery and Avery Coon. h is a most dramatic as well as a monumental exhibition. 8 Coinciding with this e:xhibinon, we wtll be: staning the massive: renovation of the: building in preparation for our 150th-annjversary celebration in 1992. 8 Thefirstofthe:se:projecuand the most urgent is to create access for the:

handicapped to all public mas of th< m\lSC'um. This involves placing ramps suategicaUy throughout the: museum., sanking shafts for new elevators, and refitting the existing de:vaton so that univerul access can be gained. 8 The Avery skylight has leaked for years, and as tt prO(ccts the American collection from windandwe:athe:r,it isincre:asinglyurgem thatwerepairtheskylightthissulllmt:rso thatitwillbe:ingoodshapeforche:falland winter seasons. It will mean thai we will hne to rtmOVe cr:nain paintings from the area around the: third-floor bakony, but wt will do our best to display the key works in an adjoining gallery. 8 The: Morgan memorial building will have its last summer without air conditioninglawsDm. Evc:ryonewillunderstandthat toconrinue to hold tht lll06t valuable pan of our European collection under such cood.itionsisre:allyunwisc,tosaynorhing about the comfon of vtSitors. S The: founh major project is the renovation of the original Wadswonh building (built in 18-42), which means that we wil l encase: it withJCaffoldingwhilewoclunandrepoint the stonework and repair the windows, k>na overdue for an extensive overhaul.

8 The: last of the great renovation projccu is,o(a>WX, thomtire «furbishing of the: Avery Theater. and dut proie:cr will occupy us for most of 1991 . 8 We wiU attempt aU of these renovations with a of disturbance ro works of an

and visiton. We: want to make: sute that our summer visitors enjoy their time at the: museum and don't have too much of tht feeling that they are walking through a construction site. Whenever possible, we will try to keep galleries open to the: public. 8 We are: going to need an excess of patience on your pan while we undergo these renovations. We are going to have to do some pretty grisly things as part of the total renovation, such asclosingthe:MainStrtttemranceatsomestage:during the summer to repair the steps. We may also have to shut down the main elevator for some weeks over the summer while: we refit and repair it. 8 But we must remember that the: purpose: of all these renovations is to make: the buildings s.afe, secure, and comfonable for works of an and visitors alike. I hope you wil l bear with us through this period. We are going to post signs so thatyouandyourguestswill haveaclear picture as 10 what is going on and why we are doinc it. S Perhaps it should be pointed out that many of the greatest pans of the collection- the Europtan old masters, the American furniture and paintingscollection,therwe:ntie:th-cemury galleries will be relatively unencumbered by these renovations. The museum will still be a splendid place to visit. Don't nay away because of our appearance:! 8 This comes with my warmest greetings for a pleasant summeL

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Patrick McCaughey Director

P.S. Do I need to remind you that we are only able to undenake these renovations through the: substantial generosity of the Aetna Foundation, which contributed to the renovation of the theater. and the state of Connecticut, which awarded us both a Historic Assets Grant and an Inner City Economic Development and Cultural Stimulus Grant. Thank you very much!

Robert Longo

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COM M U

I CAT I 0

A R T S

59

CuE TS A o DESIG

Rs

about time we got it up and let the public have a look at it.

CA: What are some of your plans for the future ?

McCaughey: To make the museum ab olutely sing this year. To raise the level of seriousness of the temporary exhibitions, to do more things on the level of the recent Ralph Earl show.

To mount more traveling exhibitions from our collections, such a the 200 Years of American Painting which went to Paris in 1989.

CA: Do you foresee the ' 90s as a tougher decade for museums?

McCaughey: Museum will have to do different kinds of things. Because there will be less money for blockbu ter , there will be more emphasis on the permanent collection . New resources are being explored, for example theme exhibitions.

CA: In the 1990 Wadsworth Atheneum annual report, you wrote: " .. .Peter Good was chosen from a group of highly gifted graphic designers working in Connecticut ... Largely through Mr. Good' s inspiration and vision the Wadsworth Atheneum now boasts one of the Liveliest quarterly magazines produced by any museum in the northeast of America. " Tell me about how Peter Good and his firm were chosen. What were you looking for at the time ?

McCaughey: When I fir t came here the situation was graphic anarchy. The membership office would get its designer to do certain thing , the public information office would get another designer to do the annual report and a third designer might be working on the newsletter. The mu eum projected a graphically disjointed and incoherent message. We wanted a graphic designer who could give a real sense of unity to everything from catalogs to po ter to the new letter to gift cards and tote bags. It wa with that idea in mind that we set out to find a designer. And it so happens that in and around the Hartford area there were at least three or four very able graphic designers. They 60 M A Y I 1 U

E

I 9 9 2

all knew each other and competition was fierce. We wrote to each of them and explained what our graphic need s were. We were very up front about the fact that we were approaching the others and asked , "If you ' re interested, would you like to come in and make a presentation?"

CA : How were the presentations? Did you find them similar or dissimilar ?

McCaughey: Oh, they were very di ssimilar indeed . One de igner came in and told us virtually how he thought we should be running the place, what should be the focus, and so on. Well , there are a lot of able people around here who think very hard about our nature and mission, and we really didn ' t want a designer who was going to try to impose his view on us. Some graphic de signers have a lightly Napoleonic view of what their roles are or hould be. Other designers we saw had a very distinct hou se tyle , which , impressive as it might be, made us feel like we would be ab sorbed into that style and that didn ' t seem to be a particularly attractive option .

What was really attractive about Peter wa that he had a terrific sen se of the dynamics of the institution , what happen here, what our goal s are . He let us know that he wanted to find a de s ign style for us that mirrored the goal and ambitions of the institution.

CA: One of the things that' s so impressive about all the work the museum has produced is a consistently higher quality than one usually associates with nonprofit organizations on small budgets.

McCaughey : If you get a great de signer you al so try to live up to hi s expectations. It was quite a con sciou s deci ion that our graphic communications should be of high quality and maintain our image in the surrounding community upon whom we depend critically for financial help. Peter has helped us enormously from time to time by knowing people in the trade who can donate paper and so forth.

But at other times we pay. He gives

us a very favorabl e rate, but we've learned to pay for qu a lity.

CA : Wh en you say you've learned to pay, was there some resistance to that in the beginning?

McC a ug hey : Not ex actly res istance, but it certainly cau sed some ge nera l adju stments around here. And not a ll good desig n is neces. arily ex pen ive .

CA: Can we talk a bit about how specific proj ects are handled? What kind of presentation do you like to see?

McCaughey: We mi g ht say to him , " We've got thi s idea , now show us what it hould look like ."

CA : Is his working relationship primarily with you, or are there other people on th e museum staff who he works with ?

McCau g hey: He de a ls ma inl y w ith the director of public inform ation becau e that 's where much of th e graphic work is channe led.

CA : Do you work with his staff? In other words, do you see this relationship as two organizations working together?

McCau g hey: It 's clo e r to two indi vidual , but in re pect to Peter's taff, he 's obviou Iy much in de ma nd and we have to tru st hi s shop. On th e larger, more important produ cti onsthe catalog, the a nnu al re po rt , th e c apital campai g n docum e nt- Peter and I have a ve ry close connection .

He has a tremendou s sense about the Atheneum. It' sort of a pocket battl eship of a mu eum. For th e ize of th e mu seum and for the s ize of th e city it has a c oll ection of a to ni hin g ly hi g h qu a lity . The be t pi c ture of

Right: Cover of the 1991 annual report.

"The cover art is a detail of an original handcolo red lithograph. " Peter Good , designer; Jennifer Huget , editor .

Cover and spread of 1990 annual report .

The cover features an lsamu Noguchi sculpture of Lincoln Kirstein . Susan FasickJones/Peter Good , art directors/designers; Jeffrey Sobiech/Joseph Szaszfai , photographers; Jennifer Huget, editor.

1 [ ]

~o~~:~n~:~~i:r~; ~~:~:=:~:~p:~n~::.~~~a~~~::h~;:n~~d roth~ Wadsworth Ath~n~um a portfolio of rw~nry-four sk~tches dating from

1941 to 1944.

In addition to theK g~n~rous gifts, th~ Ath~n~um acqu ired a1 auction two important works induding th~ first painti ng by Robert H~nri to ~mer the collection, Th- Whiu Houst, Qmcarntau (t899). Although the Wadsworth Athen~um hopes to acquir~ a New York sc~ne by this c~nrraJ figure of the Ash Can School, this H~nri joins that interesting theme in 19th-c~nrury American painting of th~ Am~rican a.nist working in Euro~. The Wadsworth Ath~n~um has a particularly strong group of these paintings from Thomas Cole through James McNeill Whistler, George Innes, and now Robert Henri.

Th~ mUSC'um also acquired at auction a ~markabl~ po rtrait head by lsamu

oguchi of Lincoln Kinuin (t9>9). The Wadsworth Atheneum was particularly ddighted to make this acquisition, both for the object itsdf which shows oguchi at an early S[.age of his distinguished car~r as a sculptor, and as a document of Mr. Lincoln KirSl~in's long association with th~ Wadsworth Ath~neum dating back to the early 19305, wh~n h~. tog~ther with rhe then Director, A Evc~n Austin, Jr., brought Grorg~ Balanchine and his company ro dance forth~ first rime in Am~rica on rhe stage of th~ Wadsworth Ath~n~um .

ScuU'TURE: Sculpture has always prcsc:nted a problem for the Wadsworth Ath~neum , as its major acquis ition funds arc dedicated solely ro the

acquisi tion of paintings. This year two rcmarkablc sculptu res entered the collection through gifts.

Robc:nHe.nri

usan Morse Hilles, on~ of rh~ g.re:uest benefactors of th~ Wadswonh Atheneum and an Honorary Trwr~ aft~r whom the Gallery of wth-Century Art is named, presented a long-promised gift of a major sculpture by David mith, Thru Cirr:ln &laud It joins th~ distinguished anthology of Abstract Expressionist paincing in the Susan Morse Hilles Gallery. The sculpture, so r~miniscc.nt of the impact of Picasso on David Smith's work, elaborates the great theme of that gallery, showing the transition from Paris to ew York.

Erik th. Rtd, a sculpture by the contemporary sculp tor Carol Kreeger Davidson, who works borh in New York and Hartford, was th~ second significant acquis ition of sculptor~ in th~ past year. It was a gift of Southern New Engla ndTdephone and the Henry and Walt~r K~nq Fund, and choscn to be displayed on th~ northwest corncr of th~ Wadsworth Atheneum, overlooking Ath~n~um Square North and Main Srrecc.

Thc Wadsworth Atheneum is particularly grat~ful to SNET who contributed substantially to thc acquisition as a w.~.y of commemorating thc c~m~nary of th~ first pay tdcphonc, which was insrituted 100 years ago in Hartford.

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l~muNoguchi

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COMMU

I CAT I 0

A R T S

61

CuE TS AND DESIGNERS

Hartford are equal to the best pictures of Bo ton.

CA: But if your newsletter hadn't been in the CA Design Annual, I would never have heard of the Atheneum. Everyone driving to Boston or northern New England from New York or points south has to go thrt<ugh Hartford. Very few people on the way to Vermont say, "Let's stop at the Atheneum and see the art." Why is that?

McCaughey: Usually because there were no igns on the highway. There is one now, thank God, yet you and I know that there are people who don't want to stop off and look at museums on their way. I wish more did.

CA : Some designers have found that museums can be very keen on things like the letterhead and the shopping bag, but when it comes to actually bringing people in by putting up attention-getting billboards or bus posters or advertising in The New York Times weekend section , they' re very hesitant to do that. They might see it as somehow inappropriate.

McCaughey: No good museum thinks that any more, and we expend an enormous amount of energy turning the walls outward to get people to come in. It' s just that one has to apply the re ources of the mu eum to its priorities. You know what the rates are like to advertise. The problem is that Hartford isn't yet a tourist destination, but we're working on orne ideas.

CA: What are your plans for the futur e in terms of your graphics?

McCaughey: Our five buildings were sort of banged together over the last 125 years , and as you ' ve een, the museum is the most glorious maze.

But one doesn't know which way to go because there is so much to ee and look at.

CA : A signage program.

McCaughey: Exactly. I still have an undone bit of business to raise funds for a really good graphics system.

62

M A Y I J U N E

I 9 9 2

CA: If you were addressing a gathering of other museum directors who were looking to improve their own institution' s graphics , what is the key thing you would say to them ?

McCaughey: I'd say that you really have to find a designer who can embrace the artistic goal and ambitions of your museum, and the capacity to translate them without stereotyping or making everything exactly uniform.

CA: If you were addressing a group of young graphic designers interested in working for museums, what would you say to them ?

McCaughey: The first thing you have to do is to talk to people in the museum and become familiar with its style or the style it wishes to have. You have to think hard about what these people want to achieve , what this curator wants to do with this exhibition, and then ask yourself how can I make that idea really peak in a catalog, a flyer, a poster. Peter Good is an ab olute object lesson to people in his field and that's becau se of his tremendous ability to listen and to understand other people' s ambitions.

0

Later, I spoke with Peter Good .

CA: How do you f eel about the process used to select your firm ?

Good: The selection proces was handled very professionally. I made a pre entation to a committee, expres sed my philosophy of design, showed about ten projects and poke about what I thought wa important to the museum.

I emphasized that I had grown up in Hartford and had always loved the museum. My first experiences of the applied visual world were there; it was there that I saw my fir t Picasso, my first Caravaggio, my first Egyptian mummy . And I tried to make three specific points: 1) The museum presents a unique identity problem because it doesn ' t

have a s ingular specialty. It ' like a mini-Metropolitan: there ' a major twentieth century collection with terrific experimental tuff, a well a Renai ss ance art and collection of almost every other period. The identity must expre thi wide breadth. 2) The identity hould evolve over time from a lot of material s rather than be a rubber-stamp " logo ." 3) The name Wad worth Atheneum is di stinctive and different and should be kept.

CA: Tell me about the committee? Ha ve you been required to satisfy a committee all along?

Good: The committee con i ted of even or eight people- Patrick and hi assi tant, two outside consultant , the pre ident of the board of tru tee and several other people. Although the committee wa very involved in electing the designer, it i n' t involved with approving de igns.

In terms of committees, the only people I have difficulty with are tho e who con ider themselves marketing experts.

I u ually find them too focu s-groupdriven. Focu group results should be one element a de igner can con sider, but not the driving force. I also have difficulties with tho se who as k for work on pee. I was worri ed th at thi s might happen in thi s case .

CA: Did it?

Good: Fortunately, no. Before my presentation , I called Patrick to let him know that peculative work i again st my policy and he said it wa n' t nece ary to prove or how them what I would do if I were hired. He said he ju t wanted to hear my general idea .

That made me want to work for him.

But I did orne ketche for my own

Right top : "These are all simple two-color invitations . Piazza Del Sol uses type directly from the laser printer ." Peter Good , designer/illustrator .

"The two-color Dada invitation is printed on 9" X 12" cover stock, then trimmed . The cards work independently and compositely. "

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8:30pm until midnight

ATHENEUM WADSWORTH

The Dada and Surrealist Word-Image

7:30pm Seating limited; tickets required in advance Judi Freeman Associate Curator of Twentieth Century An. Los Angeles County Museum of Art, Curator of The Dada and Surrealist Word-Image

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by Elliou Sperber of Northeast Magazine and a dada saga created by you and your fellow partygoers.

Lecture:

Main Street Entrance Members $11, Guests $16

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Ongoing Dada musical event directed by Robert Black and James Sellars

Museum Cafe open for dinner to panygoers beginning at 7:30pm.

Reservations accepted, call728-5989.

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In honor of its tenth anniversary Bronson & Hutensky is proud to spoosor this exhibition in Hanford.

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C 0 M M U

I CAT I 0

ARTS

63

CLIENTS AND D ES IGNERS

benefit, to clarify my ideas before coming in to speak.

CA: Did your presentation include examples ofworkfor other museums ?

Good: No.

CA: You 've got to give any prospective client credit for not insisting that they see something exactly like what they're looking for in a designer's portfolio.

Good: I've lost projects because of that kind of myopic thinking. A client should be able to have confidence in you as a generalist.

We were able to demonstrate our history of work in the arts , though, such as corporate po ters for exhibitions at the Atheneum sponsored

by United Technologies. One project I am very proud of was "The American Experience" sponsored by Aetna. We do all the graphics, posters, mailer and national ads. Thi project demonstrated the application of a look or ystem to all kind of visual materials.

We were also able to how a range of pragmatic olutions , the organization of complex information .

CA: Let's return for a moment to your second point, that you thought a logo would have been wrong for the Atheneum. Why? Good: It would have been easy to come up with something that looked marvelou . But I think it would have been irre ponsible. A symbol would sway the perception of the museum , which goes from Rubens to Rau chenberg. Should the logo look contemporary? Should it be Gothic or classical? At the meeting , I expressed my feeling that the museum hould have a more open approach to identity.

CA: Did they make it clear to you at the outset that they weren't looking for a logo?

Good: No , but they stressed the importance of continuity of de ign.

It's usually the opposite; people insist that they want a logo, something they think will make everything neat and simple.

64 M A Y I J U

E

I 9 9 2

CA: You use a wide range of typefaces.

Good: Yes, but I've establi shed certain guidelines. The typography is Garamond , Sabon and Bodoni. I like Bodoni becau se it reflects the fine balance between the cla sic and the modern . It has limitations, however, when used for large amounts of small text. While there is typographic consistency , sometimes it's hard to point to because I violate certain rules when appropriate.

CA : How do you keep up the quality on a museum budget?

Good: We keep up the quality by hard work. We ' re very fus sy . Our office ha that dedication , and once you establi sh a certain level you can't fall back. Doin g it within the budget is a constant battle.

Sometimes we don't even cover our expenses. We work all the time to get corporate sponsors, paper companies and printers to don ate services. We do all the type etting in-house because that 's the only way to keep costs down.

CA : /' m impressed by the quality of the art and photography.

Good: We do all the illu tration s here and the photos are upplied by the client. The art i picked up from resource books, or we'll do line drawings , sketches, mezzotints, silhouettes, anything to ave a photo .

CA: Paintings never look very good reproduced in black and white, do they?

Good: No, and we might lose the budget for four-color, but Patrick always manages to find the funds somewhere.

There are several rea ons why all thi s effort is worthwhile. One i Patrick. He is brilliant. And he and I have a common goal-to make people in and outside Connecticut aware of thi exceptional mu se um.

There are till people in Connecti cut who don ' t know about it. Yet it ha an incredible legacy.

CA: Building public awareness is a slow process, isn' t it?

Good: Especially when it comes down

to whether you ' ll run an ad or fix the leaking skyli ghts; you fix the skyli ghts.

CA: Many designers say that they would rather do a great design fo r nothing than do a had design for a lot of money.

Good: When omeone tru t you and g ives you th at opportunity , you ' ll work harder. You accept the chall enge to do the be t po sible work for them-and your e lf. On the other hand , if your work is sc rutinized by a board of tru stee , if you feel there are multiple agendas to plea e, you lo e intere t, becau e that kind of critical overview inhibits intuitive so lution s.

CA: Today, more and more designers are broadening their roles and positioning themselves as marketing and communications consultants in addition to visual communicators.

Patrick made it clear to me that he rejected designers who wanted to advise the museum about what it should he or how it should promote itself How do you think he would react ~f you recommended an ad campaign or a way to get publicity in tourist guidebooks so that more people would know about the Atheneum ?

Good : I think he would be open to it, but that would depend on how it wa presented. If omeone comes in and say to a sc hol ar, which Patrick i , "Thi s is the way you should do thing ," it mi ght be viewed a in sultin g. Having th at kind of attitude i a mi take a lot of designers make. You have to re member that curator know their subject matter a lot better than you do. But if so meone comes in and says, "I have an idea I'd like to di cus with you , how do you feel about thi ?" it would probably be well received.

CA : Tell me about your approach to style.

Good: I like to think I have no style.

Style is created when a problem is so lved . To me, there i enc hantment in ex pres in g idea in a imple way.

The art and the glory of the institution should be the star .

Cover and spread from a brochure accompanying fund raising information for Wadsworth Atheneum 's 150th anniversary campaign. "The timeline (four pages) , g ives the reader a br ief history of the museum in the context of major national events ." Peter Good/ Susan Fas ick-Janes , designers .

"The pin size is 2 ~" x 2 ~" and is a mini ature version of a bus shelter poster ."

Peter Good , designer/illustrator .

The Life and Times of America's

First Public

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COMM

I CAT I 0

A R T S

65

STEIN ROBAIRE HELM BY

JULIE

PRENDIVILLE

They decided they ' d get together later and discu s how they should do it. "But the reality was, we were o darned busy, we never did get together," John explain . "Finally, we just set a date and aid, 'We've gotta live up to thi . On this date, we do it.' Probably the wisest thing would have been to get a list of potential clients."

"And a bu iness plan," adds Helm.

But they didn't. "We had no client and no office so we pent the first couple of weeks between each other's home figuring out the game plan," Robaire ays.

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"John, the receptioni t and I shared the living room pace up front and we had one table," Robaire ay . " Greg had the bedroom, which he eventually shared with an account executive. In the kitchen we had a production artist. She kept her rubber cement in the ink."

"We sat there for about two hours, with a few other people from Chiat/Day, explaining the process of advertising.

There were about fourteen people from the show," Stein, 41, remembers. "We told them about the approval process, tories we knew, strange things that had happened, ju t to help them get a sense of the business."

Before their phone were hooked up, they at in Greg' car and waited for calls on his car phone. Before they had a letterhead, they wrote letters on stationery Robaire dummied up at PIP. ("When all el e fail , Futura," he advise .) Before they had clients, one lead had to leave a mes age on Greg 's phone machine at home. There was no way to track the guys down.

HEN THE CREATORS OF THE TV SHOW "thirty omething" needed a crash course in advertising, the chosen profession of two of its lead characters, they turned to Chiat/Day. And Chiat/Day turned to copywriter John Stein and art director Jean Robaire.

In the show, creative Michael and Elliot strike off on their own to start an advertising agency. Little did creative team John and Jean know they'd be pulling a Michael and Elliot themselve , only a year later. And with more success.

With Greg Helm , then general manager of Chiat/Day Los Angeles, they opened Stein Robaire Helm in October 1988.

"Monday morning, October 3rd, 1988," Helm, 44 , clarifies.

"That wa a very trange morning. We at around at my house, staring at each other, saying, 'what do we do now? "' Only a month before, John and Jean had posed the question to Greg. In effect, would he be interested in leaving megaagency Chiat/Day with the creative team to open a whole new place, complete with an uncertain future? "I said, ' Sure' ," Helm say now.

Robaire, 34, says with a laugh , "It was actually an amazing moment when we asked Greg, becau e he wa the general manager. We knew we'd either have a partner for life or get fired on the spot. We pulled him into one of the famous offices at Chiat/Day, one with a door, and told him, ' Here' what we want to do , are you in?' I'll never forget thi . Greg never batted an eye. He just started talking about our future.

It had already started."

66

M A Y I J U N E

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From tho e beginnings they 've built an agency that ha parkled with work that has won lot of attention, gained enviable accounts and moved into official office with original art on the walls. According to Helm , their billing are up to $35 million and the agency has grown to 31 employee .

They 've been able to win accounts, including IK EA, Southern California Acura Dealers and Clarion , that have allowed them to create the kind of adverti ing they feel i right. "We place a lot of importance on strategy," say Robaire. "It's not worth anything to be creative if you're not going to make that turn tyle turn . Creative and trategy are o integral , one depend upon the other."

Pictured , left to right : Stephen Levit , Dav id Brad ley, Greg Helm , John Stein , Laura Sweet , David Stolberg and Jean Roba ire. Not pictured : Stephanie Shap iro, studio designer/manager and Gary Sanchez , print production manager . Jean Robaire and John Stein are the creative directors for all projects shown .

Right: Print ad for Redken . Stephen Levit , art director; David Brad ley, writer; Victor ia C. Pearson/Michael Ruppe rt, photographers.

Pri nt ad for Clar ion . Chuck Bennett/Stephen Levit, art directors ; David Stolberg/David Bradley , writers .

BEAUTY IS IN THE SOUL.

IT IS IN THE WAY ONE SEES .

AND WALKS. AND BREATHES .

IN SHORT, IT IS NOTHING MORE THAN

HOW ONE LIVES LIFE.

BuT NICE HAIR WOULDN ' T HURT.

The leading shampoos and conditioners sold exclusively through salons also happen to be preferred by hair care professionals around the world. Redken. Absolutely no animal testing. Environmentally responsible. Healthy-looking hair forever. Nice.

NEVER UNDERESTIMATE THE POWER OF BEAUTIFUL HAIR." REDKEN

YOUR JOB STINKS. YOUR LOVE LIFE

This is escapism. This is accelerating as the road clean and the CD drops into the slot and Ul's ''Streets Wrth No Name" begins. This is cranking it. This is leaving work early on Friday afternoon. This is the Clarion Car Audio

5770 CD AH/FH Stereo CD Player. This is

a removable chassis, single DIN unit that fits almost every car that's been around since

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THE GUY IN THE CAR NEXT TO YOU STINKS.

Clarion's Magi-Tune · FH reception system that eliminates "picket-fencing" interference and locks in weak signals without crowding from stroncer adjacent channels. This is sex.

IT DOESN'T GET ANY BETTER THAN THIS.

This is purple haze. This is rock 'n' roll. Call Clarion at 1-800-487-9007, Dept. IN for more information. This is free.

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I CA T I 0

A RTS

67

STEI

RoB A IR E H ELM

Stein ays, "One thing our work has is warmth. We have a rea l appreciation for human beh av ior. Ob se rvin g what human are really like. We also like our work to be timely. There' omething smart about that. The people who work here know what 's going on in the world , politically and all, so our work ha a wit to it. It 's human. "

IF ONLY CONGRESS WERE THIS LEAKPROOF. No other water bOttle can riVal the 144 color combinatiOns. Ingenious non-sup grip ana leakproof D-ring seals of the Giro BOttleRocket." But you dldnl near that from us.

FOr 1M ,.me Of an authortzecl GIWCIUier near you, c.H IJ00-.969-GIRO Patents pet'KJin{l. GirO Sport DesJr]n, lnc. . 1~2

"John and I made a pact a long time ago," Robaire says, "We ' re anti dopey-humor. " Their commitment to smart strategy and smart creative paid off in a new busines pitch for Clarion Corporation earlier thi year. Scott Lederer, director of marketing and product development for Clarion , ays, "What amazed me was that the agency was able to hit a very difficult target-eighteen to twenty-four-year-old males . And they really hit it. " So much o , that the audio electronics company produced every piece of work prese nted at the pitch.

The three principal s ay that chemistry plays a big role in their succes , too. From their staff to their c li ents to the people who shoot their ads and direct their commercials, John , Jean and Greg are convinced it all comes down to relationship . Stein remembers the first time they met their IK EA West client, marketing manager Cynthia Neiman.

COnslderlno Its durable HardiX>dy"constructlon.lrS nowondertneGiro"Hammertlead"IS tneehOiceOI profeSsiOnal mountain bike riders all CNer AmeriCa. 01 course. ~ dOeSnt nurt tnat ~also makeS ever)'OOe look great.

For the dealer nurest you, c./1800 96.9-GfRO. The three-~nel deslpn ts a trlKJemarJ( of Giro Sport Deslpn. Inc.

"It was 3 p.m. on a Friday , and she came in and sat down ," he ays. "Well , you can tell right away if so mebody is your kind of perso n or not. She told us all about IK EA and

This page : Jean Robaire comments on two small space print ads for Giro Sport Design , Inc .

Top : "The first ad ran during the Clarence Thomas confirmation hearings , when everyone was trying to figure out who in Congress leaked confidential information. It's always wonderful to take advantage of a timely situation . It gives an ad extra top spin ."

Kevin McCarthy , art director ; David Stolberg/Brian Belefant , writers ; Terry Heffernan , photographer.

"The second ad was a fun shot to pull off. Michael Ruppert , the photographer , got four mannequin heads and put them into the exact same position as the four Mt. Rushmore heads . He then positioned the helmets on the mannequins and shot . The end result was one piece of film that positioned itself perfectly over Messrs. Lincoln, Roosevelt , Jefferson and Washington. It also saved the client lots of extra 'separation ' money ." Kevin McCarthy , art director ; Brian Belefant , writer .

Poster for Foster Farms. Jean Robaire , art director ; John Stein/ Brian Belefant, writers ; Terry Heffernan , photographer .

Right: Two ads from the campaign for Roland Corp . "This early stock photo of a Trident missile was purchased from Time/Life ," John Stein explains. "We wanted to pull a Ted Turner on it, so we used the talented Antonis Ricos to colorize the shot. It freshened up what was a lackluster stock shot , giving the ad some extra strength both visual ly and conceptually." Laura Sweet , art director; David Stolberg , writer ; Michael Ruppert , photographer.

Roland newspaper ad . Stephen Levit , art director; David Bradley , writer ; John Craig , illustrator; Michael Ruppert , photographer .

68

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Has your dinner seen more ofthe countrythanyouhave?

Most chickens served in restaurants out west arerit from out west.TheyTe actually from back east,where they're frozen and eventually trucked out here to be sold in restaurants. Not, however, in roster Farms Restaurants.

We serve only locally-grown chicken thafs so fresh, it tastes as if it's just off the fann.Which, in fact, it is.

HEY, WHAT'S THIS BUTTON FOR?

If you'rt intertSted in unrivaled sound quality, rtmarkable performance flexibility and perhaps world domination, we suggest the JO-llOO Prognmmable Synthesizer.

wa:f;~;:!.l: ~j~~i~ty t~~~~~b~~~ ~~\~ f~~~0e~~~~~~~

way. So you'll be able to deker CO-quality sound and clarity.

And continue to deliver again and again, thanks to an array of intuitive controls that's mind-boggling, to say the least.

All of which means you'll be getting not only the most impressive synthesizer ever produced, but also one that's, well, a real blast to play. You knew that one was coming, didn't you?

This is the story of jack. '

tiny, almost imperceptible dark cloud

what could be called a religious ex-

Which isn't surprising. Because jack was

followed him. Some would . _

perience. ' He didn't see God

also a smart corporate geek and Roland,

or anything. And he didn't hear

over the last 20 years, has become one of

call it malaise. But people who who jumped over the candlestick.

the world's leading makers of digital

have experience with such

or even,

electronic pianos., It's an intelligent invest\ C/' I

the other infamous jack who had an obsession with knives and roamed the

respectable person, didn't believe in

back alleys of London. ' Our jack

magic. So he never saw the cloud.

in his head. Gone was the spring in his

lived in a respectable neighborhood,

Instead he kept slogging off down the

step. He had become wooden , stiff, and

worked at a respectable firm, drove

well-worn rut of his life until one

hollow. In effect, he had become a dull,

versatile and

a respectable car, had a respectable

morning before a big presentation

corporate geek. ' Well, to make a me-

very easy to

stay that way? No longer was there a song

They're fun ,

All work and no play makes Jack a dull corporate geek.

I .8 children and was a member of a

when , in a fit of frustration over

dium story a little longer than short, jack

learn on--with none of the "ruler-across-

respectable athletic club. ' There was just

burnt toast, he kicked the family

decided to change his ways. He bought

the-fingers"experiences of old. It's just

one problem. ' Wherever jack went, a

dog Pearl. ' That day jack had

an HP Digital Piano from Roland.

what the family needs. And, this is what he told

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his wife,"The kids ca. play it because it even has a headphone jack."

She laughed and c.~'t:,!·d:.f:.~:!,"" said, "You can wear them too! " ' What bliss! Music had returned to jack's house. Now the whole family joined in.

Even Pearl. ' And as far as the little dark cloud is concerned, let's just say it never hung over jack's head again.

Roland®

COMMU

I CAT I 0

ARTS

69

STEI

RoB AIRE H ELM

we howed her our work and I think she got the sense we were her kind of agency . As we dealt more and more with her and the other managers there , it felt very good. There was a tremendou camaraderie between us."

IKEA, a Swedish company that is the world' s largest furniture retailer, needed an agency for the western half of the United States. "I had done a three-month agency search ," Neiman explains. "It included about 30 agencie , which we finally narrowed down to a final four. T he people at Stein Robaire Helm were unbelievable. It ' s important to find people that are kindred spirits, especially at IK EA . It's such a personality account."

Their first assignment wa to launch the grand opening of IKEA Burbank. By the time the store opened in November 1990, Southern Californians definitely knew something called IK EA was coming , thanks to the teaser campaign created by the agency. "The week before we opened," says Neiman , " I went to get my hair cut, to a re staurant and to the grocery store. At each place, people were talkin g about IKEA ."

SeeHowThe

Other Half Lives.

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"It was like staging the invasion of Normandy," say Chuck Labiner, media director at Stein Rob aire Helm . They definitely won the battle for attention.

They ' ve come a long way in just over three years, since the day when all three had to share the same parking spot outside that one-bedroom apartment. "Whoever got there earliest got the spot," re members Jean, " Otherwi se, you had to park half a mi le away. " They wouldn ' t have had it any other way. Stein says, "You roll the dice, and that 's it. "

•

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REMEMBER.

Newspaper ad for the Southern California Acura Dealers . Laura Sweet , art director ; David Stolberg , writer ; Seth Ehrlich , photographer.

"Day Runner is the largest retail seller of personal organizers in the wor ld. They're also very smart marketers ," Ste in says . "Every year , rig ht before income tax returns are due , panic sets in on those people who wished they had been more organized du ring the year . To take advantage of th is, Day Runner runs a newspaper ad reminding them just how d ifferent their fortunes would be if they used a Day Runner personal organizer ." Ste phen Levit , art director; David Bradley , writer ; Michael Ruppert , photographer .

Right: Print ad for Everest & Jen nings . "For John , Greg and me, th is ad has the most sentimental value of all ," Robai re says . "It was our first Stein Robaire Helm ad ; it not only won numerous awards and got us a lot of press , it also sold lots of wheelc hai rs." Jean Robaire , art d irector ; John Stein , writer ; Paul Gersten , photographer .

Poster board for IKEA. Kevin McCarthy , art director ; Dave Mc Macken , illustrator.

70

M A Y I J U N E

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IT MAY WORK FOR POLITIC I ANS , BUT THE IRS WON 'T BUY IT.

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It's a big country. Someone's got to fum ish it. ~··~

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

A R T S

71

Today the world. Tomorrow Burbank.

Unless you're particularly fond of lingonberries, you 've probably never wondered what people in Almhult, Sweden have that you don't.

But now that we've brought up the question, we ntight as well answer it.

Almhult- like london, Vienna, Paris, and over 80 other towns and cities around the world-has its very own IKEA .

lKEA was founded on the principle that everybody should

be able to afford new and beautifully·designed home furnish -

ings. And while that may sound rather naive, in forty years it's made IKEA the largest home furnishings retailer in the world.

And in the process, it's allowed us to provide a better everyday life for literally millions of people.

What's helping us fulfill that dream is that we've redefined

the way home furnishings are designed . And we've opened stores all around the world - some in places so exotic, even your travel agent hasn't heard of them-that not only redefine the way home furnishings are sold but also the way they're bought .

On November 7th, lKEA will be opening its 88th store in a place you might be a bit more familiar with . Burbank.

At the intersection of Burbank Boulevard and North San Fernando Boulevard, you111ind a huge, 240,()00-square-loot IKEA store, complete with 110 impressively-coordinated room

settings. a Swedish restaurant, and a .

su~~hi~:.':'o~~~;~~hat could hold every single car in Almhult.

(!I K EA~

Grand Opening, Nov. 7.

MORE TALKED ABOUT~ THANTHIS. ~

Grand Opening Nov. 7 Burbank

~-·~®

72

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Left: Newspaper ad from the IKEA campaign . Stephen Levit/Jean Robaire , art directors; John Stein , writer; Michael Ruppert , photographer.

Outdoor board for IKEA . Thirteen different executions went up with no advertiser identification . After two weeks of tease , the boards revealed IKEA's name and grand opening date . Stephen Levit/Kevin McCarthy , art directors ; David Bradley, writer ; Michael Ruppert , photographer .

IKEA barricade. Kevin McCarthy , art director; Brian Belefant, writer ; Richard Daily, photographer .

TV commercial for IKEA West.

The Once-A-Year ... What He Doesn't Know Won't Hurt Him" Sale.

"lngvar Kamprad " :30 (Open on a man standing in a parking lot. Dissolve to the man in a furniture showroom) Super: Almhult, Sweden , 1953 Anncr. (VO) : In 1953, lngvar Kamprad founded IKEA on the belief that quality home furnishings should be affordable every day . What he didn 't believe in was having a sale .

(Cut to lngvar on the telephone , zoom in on his face) Anncr . (VO): Fortunately, he only understands Swedish .

Camera card : The Once-A-Year "What He Doesn 't Know Won 't Hurt Him" Sale .

Anncr . (VO) : Announcing the what he doesn't know won 't hurt him sale . IKEA, Burbank.

(Cut to a series of quick cuts of colorful furniture) Anncr . (VO) : Where we'll lower our already low prices so much it's good lngvar doesn 't speak the language. It's our only sale of the year so tell all your friends , but please , just don 't tell them in Swedish .

Laura Sweet, art director ; David Stolberg/John Stein, writers ; John Stein/Jean Robaire , creative directors ; Susan Ashmore, producer; Michael Ruppert , director ; Sixteenth Street Productions , producer.

Right: TV commercial for Acura .

BURBANK While supplies last.

"Lawyer " :30 (Open on aggressive performance footage of the Legend Coupe on a mountain road) Anncr. (VO) : The new Acura Legend Coupe features ultra-precise handling . So if it were up to our engineers , this is how you 'd see our car . (Cut to sexy , slow-motion footage romancing the lines of the car) Anncr. (VO): It also offers exceptional styling . So , if it were up to our designers , this is how you 'd see our car. And its race-bred engine can rocket you to 60 miles per hour in 6.99 seconds .

(Cut to head-on shot with super filling entire screen) Anncr. (VO) : So if it were up to our lawyers .. .

Super : LEGAL DISCLAIMER: The 1992 Acura Legend Coupe is not alleged to be, nor should it be construed to be, a rocket-propelled bomb , missile or projectile. The zero to sixty mile-per-hour elapsed time indicates a rate of acceleration based on a Sports Car International road test, independently conducted for their July 1991 issue . If by some strange reason you are still reading this disclaimer, we would also like to point out that it has been drafted purely for this entertainment value and should in no way, expressed or implied , be taken seriously . This statement goes into effect as of June 15, 1991 . We reserve the right to attempt to make it funnier at a later date. Have a nice day.

Anncr . (VO) : ... this is how you 'd see our car . (Return to aggressive performance footage) Anncr. (VO) : Fortunately, they don't get a vote . Logo.

Southern California Acura Dealers .

Laura Sweet, art director ; David Stolberg/John Stein , writers ; stock footage.

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BILL THORBURN A T D A YTON 'S , HUDSON 'S AND MARS HALL FIELD'S BY

SANDRA

BUCHOLTZ

ACE IT. UNLESS YOU'VE WORKED IN A LARGE DEPARTMENT STORE, IT'S HARD TO APPRECIATE THE CHALLENGE AND THE GLORY OF BILL THORBURN'S JOB AS DIRECTOR OF THE DESIGN DIVISION FOR DAYTON'S , HUDSON'S AND MARSHALL FIELD'S. COMPARED TO MOST STUDIOS OR AGENCIES, THE RETAIL ATMOSPHERE IS UNRELENTING STRESS. THE LEAD TIME FOR MOST PROJECTS IS SHORT. THE DEADLINES ABSOLUTE. On the other hand, just threading your way through the store each day is a kick. At its best, a great department store is the place where tomorrow lives. A heady environment for any ad person. Particularly appropriate for a designer. And 30-year-old Bill Thorburn appears to be thriving on it.

As Bill is quick to point out (and every native Minnesotan has grown up knowing), Dayton's is no ordinary department store. Since the days of founder George Dayton there has always been a special link with the community. A commitment to put something back; in social programs , grants to the arts and education.

Inside the store, Dayton's gives something extra back, too.

Like special holiday exhibits; flower shows every March (much appreciated in Minnesota); live piano accompaniment for shoppers and an unrelenting commitment to aesthetics.

With his earnest intensity , jeans and leather jacket, Bill Thorburn could pass for a college student, but for his side-buzzed, prematurely gray hair. He says he knows what sets Dayton's apart. "It's not a building, merchandise or even 0 people," he explains. "Dayton's 0 .c is a conscience; a part of the Cl... community. That ' s what I, as a -§ >. designer, have to reflect. The same 8 is true of Hudson's and Marshall ~ Field 's. They 're all part of Dayton's @ C/)

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now. But each store retains its own identity and commitment to its own community."

A native of Minneapolis, Thorburn studied painting at the Minneapolis College of Art and Design while picking up valuable technical know-how working at a print shop. He didn't know then, how useful these double skills would become. Heading west, he made his first mark in graphic arts in the Lake Tahoe area. By 1988, however, Bill was back home and working at a retail marketing design firm.

It was there that Dayton ' s found him.

In less than three years, Thorburn has garnered international attention inspired by his highly imaginative promotion pieces for those havens of haute couture-Dayton ' s Oval Room and Marshall Field ' s 28 Shop.

"People ask if these clothes are relevant in an era of economic recession. Well, I like what Thoreau said, ' Beauty justifies its own existence. ' And if you ' ve ever seen clothing by Romeo Gigli or Issey Miyake, then you know there's nothing like it.

These people are the artists of our times. They deserve to be treated with reverence in advertising or promotion."

Describing the Oval Room books, Bill 's voice is both mellifluous and emphatic. "On the same level that the books are selling clothes, they ' re also selling intelligence

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Remarks by Bill Thorburn, the art director and designer for all projects unless otherwise noted .

Twice a year , Dayton 's produces a specialty booklet to showcase American and European designer collections for Dayton 's Oval Room and Marshall Field 's 28 Shop .

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Cover and spreads from "Stitched Together ," the Fall 1991 booklet for Dayton 's Oval Room . "Th is book touches history. We wanted to take images of tangible fact- stained glass windows , mosaics and quiltsand frame the fashions inside them ."

Amy Fine Coll ins, writer; Sarah Moon , photographe r; Jean Henry , hand tinting ; Todd apJones , calligrapher .

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and compassion. That goes back to the philosophy of George Dayton. We're trying to put an idea behind the clothes, to frame the clothes around a concept, to ground the aesthetics in a theme."

The preparations for each book begin at least six weeks before concepts are presented for approval. In a sense , the instigator is Shelley Sams, the senior buyer for the Oval Room and the 28 Shop, who spends upwards of 175 days a year in Europe and New York, su~,veying the fashion scene.

"Shelley talks to me from Milan, Paris, London, telling me 'this is what I'm feeling, this is what I'm seeing,"' says Thorburn. "Eventually I rendezvous with her in New York to view the American collections, to figure out where we 're going this season and get an insight on the shows, because like artists , these designers take their impetus from the world around them, and reflect it in their clothing."

The pressure builds as he begins assembling ideas, images and techniques to express the new Oval Room collections. Thorburn's committed to producing each mailing with the same kind of care and attention to detail as the designer clothes they depict.

"It ' s very much a collaborative effort. You ' re putting things together on the run. Last time, two days before the photo shoot in New York, we made our final presentation to Shelley Sams and the senior VP, Mary Hughes. Luckily everything was copasetic. It isn ' t always.

"There are countless people involved from start to finish ," he says. "It ' s almost like working on a motion picture.

You have to leave yourself open to immediate decisions.

It's difficult. The collaborative process forces everyone to search, to find and to give. " When they 're finished , these precious books will find their way to just 15 ,000 of the fashion-conscious in Minnesota, and another 15,000 in Illinois. (If you 're not on the mailing list, you may inspect three of Thorburn' s Oval Room books 76

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next time you're in London. They 're now part of the permanent collection at the Victoria and Albert Museum. ) Beyond the Oval Room, Thorburn and the Design Division are also responsible for various special events promotions , collateral and creating packaging images for private label wines , spirits and gourmet food s.

One of Bill 's favorite projects was the 1990 opening of the new Dayton ' at the recently expanded Southdale shopping center in Edina, Minnesota.

"We used an angel to represent ' The Great Change.' We didn't show a building. It 's not about a building. It 's about a place the entire community gravitated to. With the suburban expansion of the ' 50s , Southdale was the world 's first enclosed shopping mall ; a new village apart from downtown. In the ' 60s , the marketplace got smaller and consumer options grew; Dayton 's was the first department store to have London Mod. In the '70s, it was where you found the beginning of the designer era, the first de igner collections. We ' re still the only department store that handles Miyake, (Yohji) Yamamoto and Comme des Gan;ons.

The ' 80s were about the fax , Star Wars and MTV ; Dayton 's responded technologically , they installed the first in-store media wall. The new Dayton 's isn ' t just architecture. It ' s our desires , our hopes, our dreamsan Angel holding the ball of light.

"Instead of just design, I try to support every idea with an entire campaign ," says Thorburn. "' The Great Change' started as an invitation. It grew into ads, posters and products. Opening night we had 150 of our ' res ources' (people like the C.E.O. of Donna Karan) here, thousands of the store ' s patrons and Lauren Bacall, with Bobby Short at the piano! " Each of us should have at least one job we enjoy this much.

•

Left: "The impetus for the Oval Room Fall 1990 book was to depict a celebration of Eastern European cultures within the fashions ." Debra Herdman/Bill Thorburn , art directors ; Amie Valentine , writer ; Glen Erler/Geof Kern , photographers .

This page : The Spring 1992 booklet is a series of unbound sheets folded together and wrapped in hand-made paper from Thailand .

"We wanted to express the delicacy of nature , the ephemeral in all things- to show what the French call 'the almost seen ."'

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Left : For attendees of an AlGA/Minnesota conference , from Great Faces typographers , Thorburn designed four sheets, with type printed in a different color, that appear to be a jumble of letters until assembled in a 2" x 2" glassine pouch . "A gift that speaks to the idea of beauty and whimsy in a very subtle way in a process that could be done entirely in the shop. " Jim Poole, writer .

In-store poster/invitation for an exhibition of flowers .

"This was an attempt to reflect the feel ing of the Scandinavian folk culture." Beth Mellender, writer ; Jack Molloy, illustrator; Todd apJones, calligrapher.

Poster for Minneapolis Chamber Symphony.

"This poster represents the purpose of the music and is therefore more ethereal. " Matt Eller/Bill Thorburn , designers ; Vicky Rossi , writer ; Jeff Barak, photographer.

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This page : In-store promotion poster . "This was designed to create empathy with the gentle , whimsical nature of Babar artist Jean de Brunhoff's original mood ." Barbara Read/Jean de Brunhoff, writers; Todd apJones , calligraphy.

"This poster reminds the listener of their relationship to the composer and is therefore more accessible. " Matt Eller/Bill Thorburn , designers ; Vicky Rossi , writer; Michael McCaffrey, Dayton 's Photo Studio ; photography .

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Print advertisements for the Spring 1991 designer collections of Dayton 's Oval Room and Marshall Field 's 28 Shop . Alexei Kruchenykh , writer ; Don Freeman , photographer.

Right: The Spring 1991 specialty booklet for Dayton 's Oval Room has a chipboard cover and a hot wax seal with silver thread. "We discovered a volume of poetry in a New York bookstore . A poem in it by the Russian playwright Alexei Kruchenykh , made us want to show hope. Some found objects-feathers , flowers- and the fashions made us feel hope , this is what we wanted to give ."

Words from Kruchenykh 's opera, Victory Over the Sun, 1913. Don Freeman, photographer.

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Left: "Invitation for the Spring flower show, Fiori d'ltalia, where an antiquarian book style became appropriate ." Barbara Read , writer ; Graham Brown , photographer .

Poster to announce the opening of the newly expanded Dayton 's store at the Southdale shopping center. "We used an angel to represent 'The Great Change ;' we didn't want to show the building or address the architecture ." Vicki Rossi , writer ; Scott Morgan , photographer .

Poster to announce the inception of the restoration of Dayton 's downtown Minneapolis store . It was also an invitation to the press to participate in a media event. Barbara Read, writer ; Graham Brown, photographer.

Holiday advertisement for the Oval Room , "Peace on Earth ." Hans Neleman , photographer .

This page: Private label wine and sp irit packag ing for Marshall Field 's. "A wine bottle should be as lovely on the table as a lit candle so we wanted the packaging to take on a more sensuous and romantic dimension . A bettie of spirits doesn 't sit on the table, it's poured in another room and the glasses are carried . The liquor needs to be eas ily identifiable ."

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JEFFERY NEWBURY BY

KEN

IS STUDIO IS IN AN INCONSPICUOUS factory building on a grungy side street in San Francisco ' s South of Market district, its nondescript fa9ade enlivened by the aerosolfueled fantasies of a roving graffiti artist. Inside, the studio is a windowless, Zolatoned bunker that has all the ambiance of a body shop.

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Jeffery Newbury doesn ' t look the least bit out of place in these surroundings. With his unruly mane of hair and denim wardrobe, he' d fit in quite well with one of the heavy metal rock bands he likes to photograph. But appearances rarely being what they seem- the graffiti on his building was commissioned-Newbury is a highly successful commercial photographer, currently in demand by West Coast advertising agencies for clients ranging from Levi Strauss and Apple Computers to A&M Records and publications including Creem and L.A. Style.

It' a line-up that' s led to many major assignments and commissions in the last year or so , and has helped make Newbury's reputation as one of the most imaginative and unpredictable photographic talents in the country. In a mere six years, the 38-year-old has carved out a very comfortable niche for himself with a body of work which is distinctive for its brooding, expressionistic, in-yourface directness.

At the same time, he has embraced a bewildering range of subject matter in virtually every genre of commercial photography. Chameleon-like, he cheerfully juggles fashion , record-album covers and editorial assignments. "I welcome variety ," he says. "I like to have the challenge of applying the disciplines I've learned to different projects."

In a schizophrenic indu stry which pays handsomely for anonymity (advertising photography) and only so-so for name recognition (editorial photography), Newbury 's managed to amass an impressive body of work in his own name that clearly demonstrates his passion for his chosen medium.

"I always had a love of images and was drawn to photography at an early age," he recalls. Raised on a small dairy farm in the north woods of Wisconsin , he moved to the West Coast at the age of twelve, completed high school in Alaska, 84

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then studied the rudiments of his craft at a Milwaukee technical college.

Looking for art training after two years of technical experience, Newbury spent several months driving around the United States, sizing up various art schools that had offered to accept him, finally settling on Southern Illinois University. His three-year stint at SIU found him working in the darkroom every day. "I was driven to produce because I realized that as I produced I learned," he ays of that formative time.

After graduating, he made a cross-country car trip to San Francisco, where he worked almost all the way through a masters degree in fine art photography at San Francisco State before setting up shop professionally. Newbury says he got into commercial photography because "I wa sick of being broke. Besides, back then , magazine were starting to open up to more fine art imagery in a way that advertising is only now doing. Seeing that, I started to show my work. " His first product assignment was hooting a jewelry catalog for Macy ' s California. "I was so stumped I hopped on a bu s and took it all around town ," he recalls. "I ended up at a ceramic show at the local art chool , and that gave me my idea. " Jeffery went home and made a clay ba e for the jewelry, double-exposing that onto the product shot. The job was accepted.

Today , Newbury brings the same approach to a range of project which include a ignificant proportion of creative ri k. It 's not uncommon for agencies he works with regularly to enlist his services for projects the client is, realistically , unlikely to approve. "It' s a gamble," he says with a laugh, on the topic Comme nts by Jeffery Newbury .

Thi s photograph was used for an in-store poster for Levi 's "Sweats. " The photo graphs featured real peopl e sel ected from a three-day scouting in San Francisco. Thes e non -mod els' personal styles were the oppos ite of what Levi 's was sell ing ; th e tag was "Sl ip into something more comfortabl e. Sli p into Levi' s Sweats ."

Aubyn Gwinn , art director ; Foote Cone & Beld ing , San Franci sco, agency.

Rig ht: Photog raph from an eight-page fas hion sprea d for L.A. Style magazine .

"At th e time I was interested in the juxtaposi tio n of glam our an d spiritua lity ."

Marilyn Babcock, art director.

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of test days, as they're known. "Somebody hires you to come up with something on spec which the client might just hate. But test days are as important to me as a major shoot, maybe more so.

Because I have such limited time for doing things for myself, I actually welcome the arrangement. Even if I don't get paid a lot, at least I know I'll get some good portfolio pieces out of it."

trade-he still shoots mainly 35mm-is a trio of high-end Canon T -90s which provide him with an equal number of different light meter systems and drive speeds.

"Motor drives are necessary because you don't have to take your eye away from the camera," he says. He's also been experimenting with a Fujica G617 2 ~ panoramic camera.

Deborah Ayerst, Newbury's representative, has followed his career closely over the years. "Talent aside," she says, "I think Jeffery's been successful mainly because of his truly voracious appetite for interpreting and rendering the widest possible range of subjects. But that comes with a highly individual talent. The clients who hire him are looking for a photographer who makes a photograph, and doesn't just take one. And Jeffery definitely falls into the former category."

Experimentation, where Newbury's concerned, often occurs under significant pressure. "I like to work right to the deadline," he says. "I really think you do your best work when it comes down to the wire." But creation doesn't come without cost. "I don't have as much anxiety on shoots anymore," Newbury maintains, "but when I'm on deadline and it's a conceptual piece I have to admit to a certain amount of nervousness."

Newbury uses the term, "controlled experimentation" to describe his method of working and explains it as an "openness and looseness in shooting, then letting the variable of the photographic process work for you. What you're doing is throwing in a catalyst-whether it's the control you have in directing the situation, the tension between background and foreground, or the film you're using relative to the subject matter in a way that brings out your personal vision of the subject's essence."

An artist who has created many of his most resonant images using ingenious artificial lighting and darkroom techniques, Newbury has recently taken to open-air photography and now shoots many of his assignments out of doors, printing and processing without resorting to special effects. Looking back, he says he realizes that, "I had to start off by being pretty experienced to get into doing what might be considered to be 'straight' photography. I say 'considered' because I don't think what I'm doing is all that straight.

"That's a point I'm reaching in fashion, for example. Technique can override the message. The challenge is, how do you make something strong and credible without manipulation? Not that there isn't a lot of manipulation involved in this kind of shooting. It just happens before you take the shot instead of during or afterwards."

For all his pride in the mechanics of his calling, Newbury pronounces himself "no equipment freak. People walk in here and say, 'Where's all your gear?' But you really don't need a lot of hardware in this business. Motorized booms? Give me a break!" Which is not to say he isn't ready to make some concessions to technical innovations, like the latest electronic motor drives. Newbury's stock in 86

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Part of that nervousness may come from the super-charged atmosphere in which Newbury chooses to operate. Because creative types who respond to the more audacious and provocative aspects of his work tend to be mavericks themselves, the collaboration can be intensely rewarding-or just plain intense. When he isn't blowing off steam in his sporty roadster, Jeffery juggles destinations, dividing his time between a 42-foot trawler (named for his three-yearold daughter Ariel) moored in Sausalito, his studio loft and out-of-town assignments. "I live in San Francisco because I love it here," he says. "There's more of the kind of work I want to do in L.A., but when I come back home I always remember why I wanted to live here in the first place."

Newbury may be able to write his own ticket these days , but his drive and perfectionism haven't deserted him. "I think my photography combines elements of Gothic horror and the ethereal. The dark side can be very beautiful," he says, with a broad grin. "And I think people are often afraid of that."

Right: Inside montage photograph from the book, We Owe It to Ourselves and to Our Children, coordinated by James Lambertis, who acted as art director, designer and writer . The book dealt with the subject of communicable diseases within the Hopi Indian tribe . The eagle feather symbolizes the tribe and ill ustrates the fragile nature of existence .

Th is photograph, for a 1988 Zylos Holiday collection catalog , was taken at an abandoned boy's school in Marin County and later hand-toned with selinium and other chemicals . Tom Bonauro, art director.

Darkroom montage from Publish magazine article "First Fax Publishing " about receiving your morning newspaper by even ing fax. Margaret Swart, art director.

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Left: Two images from a 1991 Levi's Silver Tab brochure. "These were shot on Tri-X . In the darkroom, I used developer with a paint brush and painted the images rather than immersing them in a bath . Every page had a painterly type image interspersed with straight-ahead fashion shots of models ."

Paul Tsang, art director/designer.

Photograph from an article , "The Avenger ," in Pursuits, a now defunct Whittle Communications publication . '"The Avenger ' is still one of my favorite editorial executions . It's from a series of photographs I did of child abuse lawyer Andrew Vachss who draws from his real life cases for his novels . I wanted to show him as an 'eye on society."'

Deb Hardison , art director .

This page : Image from a test project for Foote Cone & Belding for the Levi Strauss "Cut Loose" campaign. "This was one of five looks that we did to illustrate the idea ; we spent a week in production for this one day shoot. Levi decided to go in a different direction ." Michael Mabry , design director ; Aubyn Gwinn , art director; Michael V. , stylist.

One of five images from an Egg magazine portrait and fashion spread of actress Brooke Shields . "We portrayed her as the four elements , this one illustrated Earth .

It was about a twelve hour shoot; and yes, her mom was there. " Douglas Riccardi , art director; Jim Franko , photo editor.

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Portrait of James Hetfield , vocalist and rhythm guitarist for the heavy metal band Metallica , for a Creem magazine cover shoot and six-pag e spread. "He was very cooperative. I th ink everyone had fun doing the session ." Marvin Jarrett , publisher/editor ; Gary Koepke , design director.

Test shoot for Levi 's brochure "Worn ," showing descriptive photographs of various jeans finishes . This photograph illustrates the Rinse finish . Michael Allen , art director ; Matt Dong , designer.

Right: Cover of one of six product line brochures for Apple Computers , printed in sixteen languages for world-wide circulation.

"This was shot at night in San Francisco on Tri-X film . It took about twenty minutes to execute , other images took a ful l day ; everything fell together at the right time . It started out as a test shot but worked so well we used it." Jan Davis, creative director; Andy Dreyfus/Tim Brennan , art directors , Apple Creative Services.

Portrait of Tupac , an actor in the film Juice, and member of the band Digital Underground , was an outtake from an article in Entertainment Weekly magaz ine . "I used a multiple exposure , which lends itself to interpretation in terms of personality ." George Pitts , photo editor .

A&M Records cassette cover for rapper Triple m is an in-camera double exposure Polaroid photograph . Len Peltier , art director .

Outtake from a Britannia jeans shoot for a pocket flasher.

Husted Glasson Design , design firm.

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Interior photographs from a cover article on San Francisco actor Danny Glover for San Francisco Focus magazine . "This was the second time I worked with Danny Glover.

His shirt wasn 't working photographically , so I asked him to remove it. We started talking about athletics and that led to Glover stretching and I directed him to more geometric poses . The portraits were shot in 2 ~ on Tri-X film with reversal printing and toning done in the darkroom ." Matthew Drace , art director.

Collage for a Sierra magazine article , "The Dark Side," about old war techniques versus modern technology . Newbury scouted for the armor in the foreground. "The shape of the head armor looked like a missile warhead , reminding me of both the old and the new. " Bill Prochnow , art director.

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GREAT

IDEAS

PRODUCED ON LI MITED BUDGETS BY

PATRICK

N TALKING TO DESIGNERS , IT ' S OBVIOUS that clients are budgeting less for the same amount of work. The sour economic climate has many designers struggling with cutbacks while still trying to produce the necessary communication projects required by their clientele. In an effort to provide some inspiration, the following pages show a few examples of work produced with limited resources .

I

The idea for this article actually began over two years ago for reasons other than economic. As part of my lecture to various creative clubs, I started showing a collection of award-winning work produced on minimal budgets from our recent Design and Advertising annuals. It has always concerned me that some designers and art directors feel superior projects can't be produced without spending a great deal of money . In many parts of the country, largebudget projects are simply nonexistent because of a small client base and a lackluster economy.

In preparing for these lectures, I've come to discover that some of my favorite solutions are the ones produced at minimal expense . They communicate more effectively because a good idea was all the designer had to work with.

It makes me wonder about graphic embellishment. It may be interesting to look at, but it doesn't do much to further the objective.

Environmental factors also need to be considered today.

When reading business journals and newsletters, it's apparent that companies want to be , or at least want to appear to be, more environmentally responsible. Consumers and customers are becoming more eco-savvy and manufacturers know that they have to change with the times to remain competitive. Nothing makes that statement better than recycled paper with little flecks in it and minimal ink coverage. This direction does eliminate some techniques, but I hope it mig ht also push creatives to think of new approaches. After all, when there's no budget for execution , there has to be a good idea.

For this article, we called around the country to more than 40 established firms and relative newcomers. We asked for work that was produced in the last two years and that used a maximum of two colors. Some of the solutions required considerable hand work, but their quantities were limited and they required a minimal investment in time.

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Upon reviewing the submissions, some trends quickly became apparent. The most obvious was the use of the photocopier as a method of creating inexpen ive illustrations. It wasn't long ago that zoom copiers came into existence and it's clear that they have been embraced by the creative profession in a big way. Copiers were also used for generating type, although in-house computer y tern s have quickly become the dominant typographic generator.

I imagine that more designers will work completely in an electronic environment as scanner technology continues to improve.

It was also interesti ng to see where designers got their art.

In addition to copyright-free engravings and woodcuts, de sig ners used a great deal of images from old books , magazines and catalogs.

I've included work for non-profit organizations , where the creatives and suppliers donated their time and material s. I feel that it is important to show that design can help further cultural activities and social causes as well as commerce.

Some of these projects initially had large production budgets, but the final solutio n didn ' t require them. Thi s suggests that a smart designer or art director could become even more valuable to a client by substantially saving on expenses without reducing the impact of the client's message.

• Scott Ray , of Peterson & Co . in Dallas , created a two-color brochure for the Dallas Repertory Theatre , to publicize the need for support from patrons . The theme "Keep us in the spotlight ," became a backdrop in all the spreads for continuity . The images are photocopy collages made from photographs of actors from past performances, eliminating the problem of no budget for illustration or photography . Scott Ray , art director/designer/ il lustrator ; Keith Nichols , photographer .

Mad Dogs & Englishmen , in New York , created a series of inexpensive posters for the Tiny Mythic Theatre Company . This play is about the fickle nature of people 's loyalty to their roots .

"The concept was done three months before Michael Jackson 's video came out, but it ran the week his video debuted ," said Nick Cohen , creative director. "We filled the theatre most nights.

People stole the posters." Nick Cohen/Taras Wayner , art directors ; Amy Heller/Shalom Auslander , writers .

A Man's a Man exposes man's willingness to shed his identity.

TINY M YTHIC THEATRE COMPANY presents a comedy by Bertolt Brecht Ohio Theatre 66 Wooster SoHo Nov 8 - 24 (except mondays) Cabaret 7pm/Show 8pm $10 ($7 stu; snrs wknts w/ ld) TDF* Res: (212) 274 9807

COMMU

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G REAT I DEAS P RODUCED ON L IMITED B UDGETS

Th is page : An invitation to a computer trade show for Kendall Square Research, manufacturer of a new supercomputer . "We wanted to do something that symbolized the interaction of art and science in the development of technology ," said designer Brent Croxton . The project was a collaborative effort between the client in Massachusetts , two art directors- Bob Manley in New Hampshire and Steve Guarnaccia in New York City- and Croxton in San Francisco.

"Where would we be without fax machines and Federal Express?" Brent said . Kathy Schleyer, writer ; Trout Design/ Croxton Design , design firms.

Every year , Orchard Place holds a benefit event for which architects , designers and artists create bird houses, feeders and bird baths that are later auctioned . The proceeds are used to provide care for children in need of a stable home environment. "Des ign and production happened simultaneously using photocopied etchings and laser prints of the type elements ," said art director Steve Pattee of Pattee Design in Des Moines , Iowa. "Th e weeds used for the background image were put directly on the copier to create the cameraready art. The poster was actually designed and produced in less than a day." Steve Pattee/Kelly Stiles, designers.

Right page : This poster was created in tandem with the publication of the book Ethiopia : Th e Politics of Famine, by Freedom House , a nonprofit organization devoted to preserving democratic freedoms around the world . "Images of hunger and refugee camps have become frighteningly familiar on our television screens ; unfortunately , th is has contributed to a kind of immunity to these images ," said art director and designer Jurek Wajdowicz of Emerson Wajdowicz Studios in New Yo rk . "I wanted to evoke the despair and tragedy of the individual rather than the inevitably anonymous masses . I feel that the sparse use of typography and color reinforce the simplicity of the poster ." Freedom House, writer; ian Steele , photographer .

PLACE ~ D

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Cover and spread from the Barsuhn Design , Minneapol is, redesign of the Minnesota chapter of the American Society of Landscape Architects newsletter . "The parameters were to make it creative and make it cheap ," said art director Scott Barsuhn . "Working sketches by members became an essential part of the issue . Not only are they beautiful and inexpensive illustrations , but they gave members hands-on involvement in their newsletter ." Scott Barsuhn/Sandra Harper , designers; Peggy Sand , editor .

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This page: Silkscreened theater poster , 24 x 36. "Paralla x is a scrappy little theater company in Chicago ," said Michael Bierut of Pentagram in New York . "My old fr iend , Victor D'Aitorio , called and asked if I would do a poster for a new play in wh ich the action revolves around three neurotic New York women who share an apartment and fight over the shower . I wanted to suggest the relationship between neuroses and plumbing . My partner , Jim Biber , found a crude plumbing fixtures catalog that had what I was looking for- a halftone of a shower nozzle and spigots that , when inverted , resemble a face . Except for the type , everything was done using enlargements from the photocopier ." Michael Bierut , designer/illustrator; Victor D'Aitorio , writer .

Bag used for tradeshows . "MacUser magazine consists of indepth reviews of Macintosh hardware and software ," said art director Mitchell Mauk of Mauk Design in San Francisco . "We felt the bag could function as a metaphor for the magazine . It presented a different appearance each time , depending on what literature the tradeshow attendee collected. The bag was hand assembled by women in South Korea. They requested sunglasses because the fluorescen t ink on the inside was blinding them ."

Mitchell Mauk/Lucia Malioli , designers ; Jon Lane , MacUser, writer .

Right : Siebert Design Associates in Cincinnati created a recru itment brochure for the Univers ity of Cincinnati 's College Conservatory of Music using only two colors and exi sting photography . "They had a lot of photography from productions on file , not all terrific , but workable with some manipulation ," creative director Lori Siebert said. "The concept was to create an illustration on each spread to represent the feeling of each d ivision using photos , type and shape . The use of colored stocks came from the goal of creating a lot of color with only two-color printing . It was fascinating to see how those two co lors changed because of the paper. Nobody guesses this is a two color job ." David Carroll , designer/illustrator.

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A-.1411 Hefti... The standards of con-

duct encoun se individualt to avoid confttcuofintneAintharro&csufcd employees. These confticu include worltina with companiC'S when: they

hold 6nancialintnuts; partiapae:inB in outside aaivic.in or m~ploymmt which conflict with thdr dut ies at the Fed; diK\IuinBorexchangmamuiatdinformation with individuals from other companin or institutions; ac«pti ng g1fts, enter tainment, favors o r loans from OUIII<k vomdon or sohci10n; and hoklingpartinnpolitialofficcs.

In addition, the Jtanduds o( conduct

mnlnd tmpioyca o( thar mponsibllttialotheBanlr.. SauorVaPmident Daclr. Anstec. who also serves u an ethiacounselo r, explains 1hc impor-

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:;;ty~~:r!::~::nc:::f::: na110n'spaymm1Js)'llcm,thcfcd'src-- maybC'compktclyedUcai.M lcrt~datlyncws . Ptopkc~ac .

Compan1ts foul. And t.axpa~rs

ofu:nfindlhnnldvnclc:amngupl~

mess. ButdnpttcdtrlydcaltanddiSOrgamzcddcastOnsbypcoplcmlhcbunncn world, thC' cmplcytts of many

organiu.uons,bothpubhcandpnvatt, pndcd\C'mstlvnonkt't'pmgthtubooks morckrandd)C'u~puutionsuiUO!Icd.

MEthiCS IS a hoc tOpiC right now. And goYC'11tmmtethtalsmnpcaallyhoc toptc." uys Scmcn Va Prn~dmt md Gmttal Counsd 8111 Gram, who KTYU UOIII:oflhcfhnk'st-woethoolli«n.

MAt lh.Js h1stoncal pomt, when t~ s.~v­ lngs and loan dcbxk and other sarld.Jis havcleftthtpubhcwnhqucstJJnsabout whtdler rcguluoryand govrrnmmul procnsn -work properly, 1~ ughtcnmg ofconfhct ofmtcrnt and ethiCS stmdards has cmngcd u an 1mponant focus fort~ Fcckral Rncr~· hn'IH As a maJOr rqul11or o(

,..lie

the' bankmg 1ndustry, the' key pbyn m rhcntabhshmmlofmonrtary pohcy,

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andlhemoAsigmfiamfacilitatorofthe

tothcpublk,evmthoughyoo r actioru

spon•1blllllts I'C'qUirC'Ittomaintain an mugc u an nhal msmunon. And as a pubhtinstltUIIOIIiCTVIIIgbof:hmftnbcn ofthcfinannal mdustryandauzcmof the commun.cy, thc Fed consl<kn thc mtcgntyandobjC'C1tVItyofiutmP'oYtts oncof11Jhlghntpnont1n.

The' Fed rcgululy finds iudfundcr

u ..,.., l.t•IJrftJ' lbc Board of Gov·

thcscrutmyofanumb«ofJNirtinmdloldlnJthc SOVC'mmnn, the !Mdia, and

bythtBoard'smspccto~"acnen.l . lnad­

thc'gmm~lpubhc, andthtrd'orcaamsto

pcrformJttdut~nandaducveJUSoals

emon and Fcdcnl Rt'snve Banb auurc the mtesnty md obj«1ivity ofthtu daalyfunc:tionsthroughanumbttofmtemal mcch.anisms, mcludang rcsular hnmcialcnmmation andaloldltproa-durcs for allofficn at bof:h the" DiJtrict and System kvds. andoccuioiUI visiu duJOn,andividuaiRcsc.rvcBanlr.scncourage ettucal bC'havior amona all of theucmployecsbyrcquirinaadhcrmcc

faulyandobJCCIIvdy,mdtoavoidspcculauvc s!luatJOnJ whKh may tngacr suSp!CIOtl or cnt!C1sm. Gnm cxpbms, .. Appcu;~ncn arc 1mponant. When

to umdards o( condUCI and mon"onng forconft!CUofintct'CS(whichmayafTccc

ethical conndcDtionsareinvolvcd, the' w;~yinwh~ehasltUation miahtbC'pcr-

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tmponant Howwouldyouhkttosce!l on tht bus1ncu page o(lhc C"K'Ifl' Tn!Junt? How would you hkt 10 have to vrpbm 11 to a Congress mC'mbCT? When fO'l gn mto the' am o( cducs, you ha~ to consider how Ktmethmg m1ght look

emP'oYtts' ability to perform tht:u f'C'sponsibilllklobjca:i~ly.

chat their acuons are ethlal by undcrstmdmg and com!dning the' standards o( conductmthnrdailywork. 'Thnc~tan­ dank. wtuch aredistnbutcd to Dluna nnplo)usannually,outhiiC'vanousconfi.JCU o( mtnnt md tmploymmt raponllblhuath.Jt:mocnuc:altoCII'lplortnas thcycarryoutthcirjobrcsponsibaht!C'S

tanccoftthica.lcm~behavior: "Thc

samerulnthatapplytotheBank'•bu•tncsswithfinancia.linstitutw..nsorthe putMKinatntta.Japplytoiuintenul dca.linp.Emp&oycaha~amponsibil­ 'lYtObefairand~Mmcscwtththe&n.lr.

and with udl odwr- to bdu- edUally in the' performance o( 1hdr duttcs and in

thcuse:ofBmlr.rnouras ...

He con1inucs, "A common u~p that employtts get caugh1 in is viewing ethia.lbduviorasamatterofck:ar«S. lnchvldua.ls may vJCWont 1ypcofbe-. haVIOru morce~tualthm mother. It K'CflU to me, howevn, thai behavior is either appropriate or uappropri11c. A pcnoncan't bejuUahukblluncth!C:a.l. nor an 10mcone who 11 unethical in onc

S~CJfic employee rcspon••b•htiC'sconsist of prou:cunathe Bmlr.'s assns from

kKs.thcftorm!luse;

defending the confidmdahty of offiCial informauon and n:cordt; limitmg per-sonal Indebtedness wtuc:h may rcftcct advcnclyontheBank;rd'niningfrom cmploymc:ntiOIICiwiOI\whlkconductina&n.lr. bwancss;andnuintain~n~rc-­ sponsiblc penona.l bduvior in addiCM)n toothn'aencnlcdual rnpomibilitkl. ,_,.efl.teptty Pc.rhaps more lmporuntlyth.anJUISKU,~er, thc

rcfram from cxamininalnJtltUt!Ons wherctheyholdaccounu,loansorcred•l cards., where dote rclaciva hold po~t· uonsorwhcrC'othcrconfhcumayuua.

Dav1d EpstCin, v1ce prcsadent 111 SuperviSIOn & Regulat.oncommmu:

"'ThcSupcrvuion&RtauJ.ac10110rtpartmmltalttsthc•uucoffinancialdJSCiosure vuy senously, and we devote Jlgnlficantnm~tod•scuumsthcguldc­

Fed must p rotect \u rcpuution as a rqulator of the finmaal industry and its imagtuapublkKTvmt. ForthJsrca-

hncswithouremploycaandmonllor-ing for compiWKe. It ultts thc cffon of thC' Ehnlr.'s tntlrC' m.11Ngcmmt team md

IOn.,IJroupofBmltem~whose

uaff1o nwnum a tugh lcvd ofcon-

responsibtltt~ pbtt them m •iruauons where 1ntcgruy i• paramount mu1t nwnu.an consunt JW2tCIIOS ol potmlia.l conflicuofintercti. Tiusgroupofemp&oyus Includes: Bmk officers. examinns in the Supervision& Regulation DcJNrlmml, attomtytofthcLcga.IDeJNI"Immt, md ~gulatory and uadstal

lciousncstf'C'8Vdm& conii.ICI:J ofmtttHI. andlhccnmintndoancxcdknc JObofJ»YIII811taliKMitOthC'1fXCIOIISI.II cwryasttBnmenttheyperfonn•

sp«ial•su •n EconomiC Res.tuch.

To protect t~K employees from potenual confhcu, the Bank rcquitn them to reve1l ~nona! and fam1ly fina.naal mtercsu, as W'C'IIas cmpioymmt and indcbc.tdnns inform;~tJOn annually by compkting sewn! disdosun

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ckputmcnCithroughoutlhcBanksharc thu altitude o( consciousness. and dcmomtnte d~t1r comm1tmmt to the fed. cnl Reserve md 1he 1m porum functiOns " pnforms by appi)'UI£ the uandatds of condua and pnncipla ofbusmeu educs rorhetrday-co-dayaaMWUanciJObrc-•potmbaiiUCI. In dotng .so, uwbvtduals ptncrwthelong-standinBrcpuunonof the" Fcdcnl Rncr~ Syscen~, and ~

forms . By~alinglhisinformauonto

mote!Uabllitytosupportt~finmcnl

thcBanlr., thcsetmP'oYttsavotd brina plaoed Ill aU!SnffimiJ W~ confhcU o( intcrctl may rnult. For example, banlr.

mduJtry md Kfft the publiC llltC'ftsl w•thmtqntyandobjtctivity.

cx.amincn., whosepos•tJOCUrequ•ffi~ tcract:IOI't w1th fmmoal mstiNuons and lr.nowlcdg:e of confidential mformauon,

Gnmcondudcs.nprnstnghasWJIImancsstoUSJu employees m unckrumdma theu cducal rnponsabai!IIC'S •formo~~cm~tht

umdard•ofconductarc IIOiaproblcm. lncttuin snuauons, howcvn,whrnqun:t-IJ arasc, I encoungc them to t;~llr. to nK 1n ordnloaVOidpotcnnalconft!CU..

GREAT IDEAS PRODUCED ON LIMITED BUDGETS

Left: In response to a Croatian friend 's request to create an invitation for a fund-raiser , Scott Mires , of Mires Design in San Diego , enlisted the help of friend Gerald Bustamante to design a piece that would intrigue people enough to come to the event. "After discussing more complex printing solutions , we realized that a more immediate execution was both conceptual and economical ," said art director Mires . "Our client is getting very positive response from people saying that they are pleased to see an invitation to a charity fund-raiser that didn 't spend all their money on the invitation ." Gerald Bustamante , illustrator .

Cover and spread from Reserve 7, a newsletter published by the Federal Reserve Bank of Chicago for Seventh District employees and retirees. Originally planned as a four-color bimonthly , new budget constraints required eliminating one issue and a pared-down approach for the final issue of the year to address the economic climate.

"We dropped back to a two-colo r tabloid approach , playing off the concept of moving the budget deficit from the red into the black ," said art director Jilly Simons of Concrete in Chicago . "The tactile and visual quality of the publication was handled more soberly , to reflect the issues at hand. " David Robson/Jilly Simons , designers ; Tom Ciesielski/ Carole Braden/Eden Feuer/Jim Holland , writers ; Kevin Anderson , photographer.

DIU

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This page : "This cover is a statement about people who are color impaired," said Knopf book cover designer Chip Kidd . "The author originally wanted the type black on white with little neurotic comments written about each of the letters, but it looked too busy . I think the end result is quite funny and you can 't miss it in the bookstore ."

The Women 's Symposium is a two-day forum of lectures and discussion about worldwide concerns . "The Symposium asked me to design a poster with the instruction that it was not to look effeminate ," said art director and designer Bryan Peterson of Peterson & Co. in Dallas . "Since many of the issues that would be discussed in the symposium would present opposing viewpoints , I thought it would be appropriate to split the poster in half to symbolize the coming together of different perspectives. Most of all , I was looking for an image that would give the poster visual strength since it would be forced to compete on bulletin boards with homespun images that were loud and colorful in their own right. " The two-color silkscreen poster uses a blend of two metallic colors .

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...

GR EAT ID EAS PROD UCED ON LI MITED B uDGET

This page : Crimson Tech asked Clifford Seibert Design in Cambridge , Massachusetts , to create a low budget , quick turn around announcement for a multimedia trade show. According to creative director Seibert , "The solution was easy and the client liked the one day turnaround. " Robin Perkins , art director/ designer ; Diana Musto , writer.

...

...

F£81'lUARY 26 li 27 · 1992

Right : Two covers and an interior spread from a series of fourpage newspaper inserts for The Market Place Foodstore . Art director and designer LN Va illancourt of Vaillancourt Design in Oak Park , Illinois , has produced 365 of the weekly two-color inserts . "Due to the nature of a weekly printed piece , experimentation is encouraged because of the short time in circulation ," Vaillancourt said. "I always use this ad to learn and note thirdcolor combinations. As I grew proficient with overprinting , I began to mix tints and maximize two-color usage . At one point the grocery store called to say , 'We can 't afford three-color ads .'

That was a good indicator to my development ." Patti Green , illustrator (broccoli).

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HOT STUF, OR R I DGED

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

A R T S

103

A re they crazy or what? " was Oueen Foster' s first reaction when she heard the require ment lor working In a battery plant. · why should I need something like that to get a Job?" F.rwomntaworkt.JollasoaCoalrals Giallo

udHaatng, ru1l.atthat.....ulhdfttllpnlatUOJI

Boilary Dlwtslao , thay hd to prOYidt mtdlnl

pollclu eoosntot..d D}ataat. wnrt gnhr-buad

documUIItlllll ol tholr tterlltty Tbt umpuy

diltttmtaauoa" M.Nd n "ufawul-., audntlftc

tlatN tbat tU pohcy was on oJ "t.taJ pN!etUoa. •

slanoiyp:tt aoUua about w.mn • + t. adiol.all

safogutrdlagpateaUal.tfsprlllglromupot•nto

brlrustraUoa, tbtCIHirtaottdtbat"awttb.. l.l

lnd. <0> Uoawara oltb. poltc:y, Futtr applld IGr a

ul r~ulrad to Neoma 1 Vtctortu brood mora·

)MI oa tho usn~hly !too -¢- "Ia 1983, I wu dotog

.. d tilt I th rltht to uchadt womu nl of a

dutulwork, mat..latlloralytDIDih to pay lar wlaot II CKtt to llf't A ln.od of mt•a told ma tbart

tuppoud coouralor fetalu fatyl•pllotthe c:ompny tao ta.Uar )udp the lHua thaa womeo

thams.lna .00 Oaan foste:r ·s nt• nta~ltbd lh.ltt:.J.Uon~la ...ta.. arwpndectniU..lbllffpe

0 UUN F OITU

of dllatmtaaUoa wad.rtba Fair Empl!Jfm.aaf and Hal.lalatAct .0. Ia aseparata ..ll•nrJobasoa Controls· ntlloawtdt poltq.tba US Supnm• ... ajoboo tbeusambly lloatbatpa~ 59111

Court ,. .uir1ud tbepnrtld~UJ;C.!Ua.n~ll wumu

hour ThamOUfwllgoodaodJb.. . Jc.ouldllG

galud bacnn af Ouau Fostar ·s c:ua The

tb.vork.,~e~lapplta~t;ahea:rplatos

<0- Dur1q

mantoppott\lotUHiar . .m.. wbacuula.al&r

1h1 wu ltlflll 11 11t tha)ob .(, · 1rald rham

MaxcludadbyatraU.rpahdui.Jr.aUtatell\oylllher

durl•l my pllystuln.a .. tbet I lltdattntaad to

compultaacrauthacoulry

ban 1ny cbtldraa, but tbayhld I andad papen

Fntar"• taaaclly aad parnuru.u. womu

abowto; I etulda•t bua cbtldrao Ill waatad the

worbn -

)ob .(, "Tb. qunlllnlS about my far1U1ty wera my

altu dt.Jproporuuatt!y alftc:tad by thiN poiLtlll -

amplaymaat oppertuallln How, wh,. tbara art

badaafnnlglnllqthatllllspollcywlluafatrud

toxloa tatba workplacaaad tba nproducttn

c:oul.. beclaaqed Wbatr11llyupsatmawaatbetl

capaclttasofwomuanllllmu•r•tbrntuad, WOIDII aloiiiDIY 101 g•prottctld• ouf Df lbalt

oowlbedt~otobetall oOo

)obt hutnd, amplorar• •111 han Ia aumlat

"Wbealflnttalbdlla

wayalll wMch tbavarkplata may be road• ufl

Dartoglba tnaa

ud bnltbfullorallworhra .0. "llyn lui

'""of ray cau, l bad a let olllalp fram my

aomtthlogiJualalt. fOV.IbCNlld.tal.k .. slltiDHD.ata

lamtJy n..,ta.lpadme-.rttbmyr"IOI, butlto..U,I

daHEutlllalahoutu,· rosrarcoacl.dn "Tba

hd togl1'1 up my apartmaataad llu wltb

mostl.mportaatthlqll tlatluwaomath!.ftUt

lrinda, · sllaeaaUaau

01u yaura uud to

waa uafatr aod tha.l'l waa nmacm.a hU tba Lagal

buta;apaf1:Mck•nd tb11 fllllla .. u, ttsrully

Aid Sactaty out tbarato balp ma It gat ta tha

bed But tl you doa't uy aomathlo,g about wbata

ltallomolll

the CaltlorDll C.urt ol Appaaluoaotn.ou.sly ~Graeci wltb Foster alld. tbt Dtpartmnt al felr Emplaymenl

I 9 9 2

hUifllll.-dlrDUIIdlalhlllr.ff)lfllt.c{Ut!

bedalrlldyqultmyotbarfab!Qtabthllonaud

fOi niOO, It'sfuttgotogtoeonltnua " <Oo lo1990,

E

Bacaunol

owtlpersooalbuatous, oottbac.ompuJ•.· aba

td11 bow Joagll would taka

MAY I J U

~

parUcularly womaa al color wba. ,,..

auatt1 ~To ma. dtacrlttltoalloa w11 tbe "'"' I

lawyer 11 tba Emplormant Law Canlar, l bad no

104

d«:lltaaprotactau-.tlmaltllf20mlll'-s~mplly

ba.rJihr•kal, F01tarwutoad abe ....ted tiiJJ'O'"

GREAT IDEAS P RODUCED 0

LIMITED B UDGETS

Left: "The cl ient came to us with a very good red wine and very little money with wh ich to develop a label , but when he told us the name , Red Zeppelin , we couldn 't pass up the challenge ," said designer and illustrator Rick Tharp of Tharp Did It in Los Gatos , California . Using a humorous story about a dirigible overloaded with Bordeaux crashing near Los Gatos , Tharp went for maximum impact in a four-inch square . "We couldn 't find a dirigible to shoot so we swiped existing imagery and , by traditional methods , we produced the camera-ready art over a weekend . The wine was well received and The Wine Spectator magazine called it 'The Best New Label ' of 1991 ."

Stillman Brown/Dan Lewis/Ambrose Bierce , writers ; Anthony Bander, photographer (vineyards) .

Cover and spread from the Legal Aid Society of San Francisco's annual report. The Society 's primary purpose is the elimination of poverty through the advancement of employment rights . "I wanted the design to reveal the raw power and integrity not only of the organization , but of their clients as well ," said art director Mark Fox of Blackdog in San Rafael , Cal ifornia. According to Joan Graff, executive director of the Legal Aid Society, they have received terrific feedback, "Despite the fact that we 're in a recession , our contributions have not diminished and I would credit that in no small way to the annual report. " Mark Fox/Giorgio Baravalle , designers; Linda Gebroe , writer ; Will Mosgrove , photographer; Linda Peterson/Tia Creighton , communications consultants .

Me Stories of My ·Life

Katharine

Th is page : Poster/mailer for the Center on Contemporary Art, an organization committed to the avant garde in performance art. "I've been fascinated by industrial graphics from the late '40s and early '50s for some time , and I have been looking for a client with enough guts to let me try out some ideas in that direction," said designer Art Chantry of Seattle . "The solution was to print the piece on a newspaper web press at a local news tabloid . We literally got thousands of cheap , two-color large format poster/mailers all folded and ready to mail. The tool ad was lifted from an old hotrod magazine . I simply blew it up and reworked the elements . The mechanical was about one-half actual size and submitted as dirty as possible to obtain that authentic cheesy look. The whole attempt was to recreate machine age industrial letterpress mass production using contemporary technology . It was a huge success. The entire season sold out in advance and the poster was even reviewed in the news coverage alongside the event reviews. " "This is an unusual design for many reasons ," said Knopf book cover designer Chip Kidd of Katharine Hepburn's autobiography.

"It is a two-color job for a book that had a budget that would accommodate much more. Secondly, there is no picture of the author on the front. This fact confounded and disturbed both retailers and marketing personnel , but art director Carol Devine Carson and I stuck to our guns and won out. The book debuted at number one on The New York Times best seller list and stayed there for over twenty weeks ."

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

A R T S

105

GREAT IDEAS PRODUCED ON LIMITED BuDGETs

Remaining a mallv!, productive ndlv dual In th! midst of an orgallzatlon r!qulr!s convlrtlon and l!naclty ••• and a IIIII! h!lp from O!ta Is •• with

This page : For a new product introduction brochure for the lOS lamp from Steelcase, Chicago 's Thirst created a tabloid-s ized brochure printed on newsprint to create impact without the expense. Rick Valicenti and Tony Klassen also created a custom typeface to complement the product. Response has been positive to their inexpensive and recyc lab le solution. Rick Valicenti/Michael Giammanco, designers; Rick Valicenti, designer; Nancy Lerner, writer ; Corinne Pfister/Michael Pappas , photographers .

offlc! mmorl!s that balam s!lhxprmion w th a s!m of b!long ng. Thm obJHis ofhr !XIraordlnary solutions to ordinary mds ••• and along lh! way, c!l!bral! an mtttng n!w spirit of work. Lib os.

Th! task light that rhym!s with r!ason. Untttng a passion for d!slgn with th! knowl!dg! of how task lighting can Improve th! work mironm!nt.

Right: "Throughout the Massachusetts Horticultural Society 's 140 years , its mission has continued to grow and evolve , yet its public image has not, " said creative director Clifford Seibert in Cambr idge , Massachusetts . "This brochure was created to communicate how the society is an active force in environmental awareness , education and improvement. Our objective was to convey the vital link of people and the environment." This collaborative effort included the donation of time by Seibert and photographer Harry de Zitter and paper by Monadnock. Melan ie Lowe , art director/designer ; Terry Cronin , writer.

Ush!rlng n th! Rg! of En I ght!nm!nt.

...................... ,... ... ...... ::.·=:::::.:'. . ~,..:'!..'";:: . ~·

,...

Posi11on the shade whm II bests su1ts the way you work. AdJust the bottom of the shad2 below your eye level to avo1d any qlm from the lamp. If you want to 1nmm the 1ntens1ty of the lu]hl, JUSt move the arm so the shade [Omes [loser to the task at hand.

Whm do I plm a task l1qhP S1m the task liqht 1s portable, you [an plm 1t wherever 11 benefits you most. Generally, If you're r1qht handed, you'll want to plm 11 on the left of your work surfm.lf you're left handed, you may find 11 most [Omfortahle on the ru]hl.

_

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106

M A Y I J U N E

19 9 2

... .,.....

comprekenJ.we ~w;:uln.oral rnource in the world. Linked by compurer

10

1•.000 hbraroef. worldwide, the Soc:oety's collection holds 8.5,000

(NEGHS). Ovu

•oo rne:mi)c,rs study the houory of New EnAtand hon:i-

prdenhisroryandrothec:on~~ervarionofthel..>brary'•collection .

• • •

• • • • iiiei~~= • • • • • • • • • •

•

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

A R T S

] 07

l•hllolll•• . . . . . . . .

HI tterlc Teurt

Th e folk l rk tJ~.h l bl t l on programs howe been ttrv l ng the loy Area tinct 197• w i th o c om m i tment to preten tlng Jlgnlftcont work by

sh i pping ma gnate, rema i ns at o magnif i cent

reg i onal and not i onal artists In th e vlauol, p e rform i ng , and literary oris , W e ore

ded ic ated to fostering the worlc or living ortltt, and pro•ddlng the pub lic w ith opportunities to l earn about today ' • I nnovative v i sual orfl through e.ahlbltlons ,

The hia to ric home of Capta in Rob ert Dollar ,

rem i nder of the orn ate Outen Anne Style of Ca li fornia Country Victorian Arch i tecture .

Docent tours of the house and gardens con be

arranged t hrough the Fan l rlc S ervice league .

Outt l de of the Cen ter i t our owo rd· w inning hlttorlc greenhoute, operated by th e Natural Garde n in g Company .

publ ic at i on• , and I ntimate tympotla with

o rtlstt and critic 1.

..... 1•1 . . . . . . . l~th l b l t l on

reception• Concerlt on the lawn Gorden parties Decemb er Showcatt of Det l gntrs and Performtn

A Ho•e Per Tho Arte On tht tecond floor of Folkirk art two add i t i onal ortt orgonl&ot i ont : Publ i c Art Workt and the Marin Poetry Center . Alto on th i t floor It Folkirk'• leading loam featuring &oy Area poetry and hltloric preservation lite rotu re .

ltrlv•te ltortlee Memorab le weddings , receptions, parties, rttreatt . photography th oots and small butines t mee t l ngt come to life In this groc i ou 1 V i ctorian . Folkirk mansion, verondot and gorden1 ore available year round fo r p rivate rental. ltluc•tlon Art clottet for oil ages Evening lecture tlrlll

Poetry workohopo and readlngo Horticulture clo•••• In the greenhouse Camp Chiclr·A·Oee , children'• tuauner program

1408 Mill io n St. at I St. Son Rolool , Co 94915 •1560 Tolophono : 415 415 3328

l•ter••tl••el llstor City

P••••••

One of Son Rofoel'• Sit te r Ci t l • 11 fo l ~ i r k Scotland~ tho b itth ploc of Robert Dollar . !crch year pipers In colorful kilts greet guestl to honor the hi storlc link between the two commun i t i et.

Docent •ntl Volunteer Oppiort"ftltles Voluntee 1 eod tou n , host receptions, welcome vi sito n ond o ultt with th e cult ural and h i storic publ i c rog rams of th e ente r .

You ore Inv i ted to join the Folldrk family as o do cent , In tern , o r mem 'of Polkirk Serv i ce league ond become on ombostodor of culture for your cornrnunfty .

froo and opon ta tho public.

TuudaJ, We4noodar , frldaJ 10e••6p• Thure4ap 10a•·9pm. hlurdar 10all•1pm

... ] 08

M A Y I J U N E

I 9 9 2

G REAT I DEAS P RODUCED oN L IMITED B uDGETS

r---------------,

0@*!# off, you establishment-embracing pseudo-anarchists and take your money-hungry subscription offer with you ... you've all gone softer than the over-fed bellies of the crooked middle-aged babykissing handshakers you so hypocritically condemn. I mean, what ever happened to good old-fashioned anarchy, huh? You bogus "members in good standing" of the corporate cartel. Go, run your daring exposes on capitalism and democracy. Run them right beside your money-grovelling ads for subscribers and Classifieds, you pathetic overweight exhippies. Try playing your Grateful Dead 8-tracks a few more times.

What you need is a lesson in revolution and so help me God, the minute my parents let me out of this room, I'm going to burn your weak-ass paper to a crisp.

Left: The front and back of a three-panel information folder for Falkirk Cultural Center, a visual and performing arts center located on one of the largest Victorian estates in the San Francisco Bay Area . "It was a process piece ," said San Francisco-based designer and art director Tom Bonauro. "I didn 't know what it would look like until the photography was done . The size was dictated by what would fit on a certa in press sheet and what would fit into a # 10 envelope ." Thea Schrack, photographer.

Th is page : "We were asked to rep lace an existing subscription ad The Village Voice was using , that was just a co upon wi th an offer and didn 't attempt to connect with the reader ," said creative director Nick Cohen of Mad Dogs & Englishmen in New York.

"The ads were the first wo rk ever to appear in the Voice , that got the journalists talking about them ."

Taras Wayner/Nick Cohen, art directors; Mikal Riech/ Shalom Auslander, writers .

D YES,

I WANT TO BUY A ONE YEAR SUBSCRIPTION TO THE VILLAGE VOICE. National Rate: $47.95 (Just 92$ per copy) New York Metro Rate: $44.95 (NY, NJ & CT: Just 86$ per copy) To order, call toll-free 1-800-33&<>686 Or mail this coupon to: The Village Voice Subscriptions, P.O. Box 1905, Marion, OH 43302.

Name.______________________________ Address.___________________________ City/State/ZiP·---------------------Amount enclosed $___________.Bill me_ _ __ Charge Me: Am Ex._ _ _ M/C _ _ _ VISA~....-,._ _ Credit Card #

Exp Date_ _

Signature_______________________

Rates good In U.S. only. C1111edian end foreilln subscriptions $79.20 per year; must h ~ wi1h order. Allow 4-6 wks for deli\oery. For address chqes. ceii1-8C»347~969 .

L---------------~ C 0 M M U N I C A T I 0 N

A R T S

] 09

GREAT IDEAS PRODUCED o

LIMITED B uDGETS hluUIItllll

u4 ultclltu In• th .,,. ,, .. tf I~•

Pu1fu htu4 tlutrh h•,uy

Lucille Tenazas of Tenazas Design in San Francisco designed and art directed this three-panel , two-color exhibition announcement for SF Camerawork, a center for photography and related media. The exhibition is an installation culled from 8,000 glass negatives used as teaching slides at the University of California, Berkeley, and from the archives of Pacific Gas and Electric Company. The architects/artists designed the installation based on the concept of the panopticon, (all seeing) , based on Jeremy Bentham's design for a prison . "No images of the installation existed at the time the announcement was being designed, " Tenazas said. "I relied on the plan and working drawings for the exhibition . The typographic solution on the interior panels serves to visualize the mechanics of the installation plan ." Bruce Tomb/John Randolph , writers .

Ecru is a retail clothing store on Melrose Avenue in Los Angeles . "We had been working on a new logo and packaging , when the owner , Elaine Kim , requested a Christmas mailer that looked rich and interestin g but that didn 't cost much to produce or print," said Los Angeles-based art director and designer Margo Chase. "We left the layout very simple and concentrated on the folds to draw the viewer through the piece . The typesetting is simply typewriter type that has been extended on the Xerox machine . This saved money , but was also consistent with the store's 'deconstructed ' image. " Eric Blum , photographer; Elaine Kim , writer/stylist.

p

N

SUBJECTIVE

A R C 48I V E S

lnu h•• u• hh ht4ttp• , wtl• luhr4 hrtu Ptlflclt luli' " ui hh tUt Ou lt

and

wtth lnNe , ...... eiMI , . .., a..-.pa.

......... y. . .y2 . 1~

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110

MAY/JUNE

1992

RECYCLED PAPER UPDATE '·

BY

ANNE

A

S WE 1-fEAD TOWARD THE 21ST century, America i run_ningtout of_places to throw its garbage. The number of operating landfills has decreased from 14,000 iQ 1978 to 5,500 in 1990. By the year ~003, the Environmental Protection Agency predicts only 1,500 landfills will be in business, making it imperative that we find environmentally sound, economical solutions to our predicament.

t:.

Right now, the average American discards over four pounds of trash eac}:l day. Last year, the nation threw away over 1~0 million tons. Thirteen percent of the_entire municipal waste stream consists of products created by graphic designers. Annually that's 23.5 million tons of catalogs, annual reports, books, letterheads, posters, magazines, d~rect mail, · paper packaging and promotional materials. The potential exists for designers to become a major part of the solution.

However, it's not as simple as specifying recycled paper.

To keep some of what we do out of landfills, we must collect our wastepape.r in quantity and quality to provide paper manufacturers with the raw materials to cre<ite recycled paper with high post-consumer waste' content.

Manufacturers can~ot meet the demand for recycled stocks without the raw materials to make them. And they will not invest millions of dollars in mills to convert wastepaper unless they are assured that the use of recycled paper by designers ' is an established business practice.

Demand has been increasing according to paper companies as evidenced by the number of de-inking facilities processing post-consumer waste. In 1990 there. were only three facilities producing de-inked pulp for printing and writing papers. Today there are six, with a seventh .facility currently under construction. '

Simpson Paper, headquartered in San Francisco, operates the only de-inking facility on the West Coast. For Rick Torreano, Simpson's senior specifications director, the change in requests by designers has been dramatic. "Two and a half years ago I wasn't getting any ·calls from designers asking about recycled paper," Ton:eano said. "Within six ·months, it went from zero to about 35%. A year later it Went from recycled papers to post-consumer pap~rs. Now it's difficult to make a presentation without 95% of my papers having at least one form of wa tepa per 'in it."

"This year, in text and cover, we're seeing increases o( 20% over last year and some grades up as much as 30%," aid Howard Mostyn-Brown, vice president of sales for Cross Pointe Paper in Minneapo~s, one of ~e oldest manufacturers of recycled paper in the United States. "We/re making more products that a're recycled and improving the. post-consumer waste content in the products we've got. It's all in response to demand."

TELFORD

For Constructive Communications, a design firm in Mississauga, Ontariq, environmental responsibility is just another design specification. "We've been doing this for so long, we don't think o'f it as being out of the ordinary," said principal Greg Herriott. Joe J?uffy of Minneapolis's Duffy Group agreed, ."! think ifs really important for designers to bring their cl~ents up to speed on the n~ed to use recycled products, also what\constitutes a recycled product. We have to take a lead role because we're in' charge of a lot of packaging, . ' which can either be easy to THE REcYCLING Co TINUUM . recycle or impossible." .

Are clients .requesting recycled paper more? "For the most part yes,': confirmed HerrioH. Many· of his clients contract the firm for corporate annual reports.

"This is an area where we hav~ seen a distinct shift to a more . responsible proces_s. The public and the shareholders of corporations are increasingly voicing a favor towards more -conservative, factual documents. The 'look' andiJrint performance of most recycled papers helps to support this type of image."

Steve Tolleson, of San Francisco-based Tolleson ~esign, said, "If you'd asked me six months ago; my· answer would have been different. The larger companies, producing greater quantities of material, ate more aware that the stock needs to be recycled. Once one major company does it and gains PR out of it, the others fall into place."

Specify · recycled paper

.'

Collect wastepaper

Produce recycled paper

Designers must specify recycled paper with post-consumer waste to increase demand and encourage investment by paper mills in deinking equipment.

Designers must also encourage post-consumer waste collection programs irt their own and their clients' offices to ensure a supply · of quality post-consumer waste for ,de-inking.

If the demand for recycled papers increases without an increast in collection of quality post-consumerwaste, the cost 'of recycled paper will increase.

At the Third Annual Recycled Paper Conference, hel9 in San Diego this last February, attendance by corporate representatives ~as strong evidence that clients are taking recycled paper seriously.

. \

The conference was held by the Center for Earth Resource Management Applications; Inc. (CERMA), a nonprofit educational organization which focu~es on issues relating to r~cycling and source reductio_n. (See the Materials · column, page 170, for CERMA'publi~ations.)

While 25% of the 242 people attending the co~ference were representatives of paper companies, some from as , far away as England, Japan and Nigeria, most attendees COMMUNI .CATION

ARTS

111

RECYCLED pAPER

. I

. forwhrd for govern~ent purchase of recycled.paper at all levels.

were government and corporate end-user.s including The , Upj'ohn Company;State Farm Insurance Company, Gillette co·mpany, Miller Brewing · . Company, Aloha Airlines' and City of New Orleans Sanitation, among others.

Howard Mostyn-Brown feels that we can expect more legislation 0n 'recycling at both federal and state levels. "We need a good federal program that's more 9rganized than the, s~es because there is a lot of confusion," he said. "It has become almost unbearable for manufacturers ~o handle it. The best example of a goo,d national environmental law is Canada and their EcoLogo program. Everybne abides by the same rules and it' easy \ to follow."

According to CERMA conference manager, Saridy Enderle; . this was quite a change from the firs( conference which was attended largely by paper industry representatives. "I'd say this year's confetence was ,99o/o successful,'f she said. "We ' obviously reached the right types of people, and had a strong I progra~. It reinforced the i~ea· that it's going to take everyAn independef!,t cert}fying organization under contract w!th one working together to continue · the Canadian government reviews submi~sions by manuthe education and growth in facturers and .allows them to display the EcoLogo_symbol WHY tJsE SoY-BASED INK? ,government and' private industry." · on products· provided they meet certain criteria. For J.:wo. of the conf~rence' s general recycl~d priJ?tin·g and ~riting papers to qualify, ,they mu t sessions deaft with recycled conc'o ntain a minimum of 50% recycled fibers of which 10% tent regula.tions, at the state and must be post-consumer wa .te . . federal levels. Although all 50 Collection of post--consumer waste is a major issue ;n the -states and Washington, D.C. , now United States. Louise Law; director of internatioo.al sale~ have expressed some official for. Consolidated Fibres' Settsu, Inc., explained: "All . preference for the purchase .o.f wastepaper scavengers .and ~ealers are trying .to turn a In Vegetable_-based inh, sor_ne of recycled paper over virgin paper,. profit ·i n a high-volume, low-margin b'usiness. They are the petroleum-based solvent in the level of commitment varies ,constantly weighing their c~st of transportation and which the pigment is dissol'(led is from state to state. Since recycled handling against the va~ue of the grade of paper. Therereplaced with vegetable oil, paper often costs more than virgin fore, they are looking for full truckload quantities of _usually ,soy oil. paper, states must eit~er .establish paper. If you work for a large firm and you generate 80+ ·a price preference program or· The clearest advantages are boxes (18 cubic yards) of paper per month, a wastepaper reducing air-polluting hydrocommit to purchasing specific. dealer will be happy to establish a ~ollection program ' carbons during printing and quantities of recycled. ·paper, suite~ to_your company's needs.': reducing our dependency on known as set-aside programs, in petroleum products. )n small offices, where the wastepaper generated is not order for their recycled paper purthat great, Law suggested cooperatively collecting wastecha ing programs to be effective .. · But inks still contain toxic pigpaper in your building. Members of local creat¥-ve clubs ments including heavy metals A big dlsappointment at the ·c.ould band together' to recycle their office waste. If the that will end up in landfills or corif~r~nce was learning about the as sludge du;ing de-inking . . amount of your wa~t'epaper is small, look for a scavenger lack of fed~ralleade~ship. In who is making his livelihopd doing this kind of collection 1971 President Nixon prorpoted for a large company while using his own small truck. A government buying of recycled pr<_>ducts 1 but in the '80s, rule of thumb for a smali scavenger would be -abou't 6.6 . under President Reaga,n, government buying of recycled · cubic yards per pickup. The other option is less attractive, products stopped. Until .a recent executive order promoting but it certainly wo(ks. In very sm.all offices, the only way recycling programs in federal agencies, George B?-sh, our to participate in a recycling program is to pack up your "environmental" president, pad continued his ~redecessor' s own car and driv_e the paper to a recycling f~cility. approach. Despite continu.ing criticism, the EPA's gu'ideEconomies of scale permit larger companies to have a much lines for recycled paper are still weake.r than those in greater.impact. This was illustrated by presentations at the I many states. For most types of printing and.writing papers, CERMA conference by two designers worl9ng in-house. , the EPA recommends a minimum content of 50~ wasteI Designer Gail ~eacock, responsible for the procurement and paper, which may be made up enti:r:_ely of pre-consumer production of over $14 million in print for the West Coast wastes including mill broke ( was,te produced in the original Attractions Division -ofThe Walt Disney Company, advopaper-making process). A strong national stance would cate asking vendors about their stanc~m the environment help eliminate the confusion caused by varying state and asks printers not to shrink-wrap her projects, but to regulations and guidelines and help. move the process ·

.

I

]12 / M A Y I J U N E

1 ' 9 9' 2

.

(

• I

. .

[fyou spec.ify paper with}Jdst-consU,111;er waste, you're kee;ing so'mepdper from being dumped into landfill. ,Th.is chart lists some uncoated papers that contain post-consumerwdste. Since new produCts are being introduced daily, it is impossible to make this a complete listing, but it should ·serve as a starting point for your own research.

•

· Paper Name

\

Type

'

Basis

•

% . % Recycled Post

%

.Colors

'

t

Finishes/Notes

Cotton

THE BECKE'!J' PAPERCOMPANY, 400 DAYTON STREET, HAMILTON, 0Hio45011 (513) 863-5641 Cambric

24

50

10

·o

16

Linen

Text

70

50

10

0

20

Linen

Covet

80

50

10

,0

22

Linen

12

Fi~r, Wove, Linen/Acid-Free

Writ. "\

Cqncept

Enhance I

RSVP ~

Rid?e

Writ.

24

50

10

·o

Text

70

50

10

0

6

Fiber, Wove, Linen/Acid-Free

Cover

80

50

10

0

6

Fiber, Wove, Linen/Acid-Free

Writ.

24

50

10

0

11

Special/Fancy Finish

Text

70

50

10

0

15

Special/Fancy Finish

· Co~er

80

5P .

10

0

17

. Special/Fancy Finish

Text

80

50

10

0

5

Felt Finish

Cover

80

50

10

0

9, '

Felt Finish

Text

70 '

50

10

0

6

Special/Fancy

80

50

- 10

0

9

Spec:tial/12'ancy

I

Cover

·

.

l_

~

CHAMPION lN:rERNATIONAL CoRPORATION, ONE CHAMPION PLAZA, STAMFORD, CoNNEcTicuT 06921 (800) 442-3463 • Writ.

Be'nefit

24

50

'10-3.0

0

2

Vellum, Linei:l

/'

Text

70

50

10-30

0

7

Vellum, Linen

Cover

80

50

10-30

0

7

Vellum, Linen ,

.'

'coNsERv AThE PAPER CaMPANY, 1oLoMBARD S.TREET, SA FRANCISCO; CALIFORNIA'94111 (415) 433-1000 I

Premium Opaqu-e

Conservatree 100

I

Writ.

40-80

100

15

0.

Vellum, Smooth, Satin (80)

Cover

80

100

15

e

Vellum, Smooth, Satin

Wri~

50-60

60

15

0

3

Vellum

CRANE& Co., INc., 30-SouTH STREET, DALTON, ~ASSACHUSETTS 01226 (413) 684-2600 Writ.

24

50

' 15

100

Byron 'weston Save a ~ource * Writ.

· 24

50

10

25

3

Cover

80

. 50

10

0

3

Cranes Crest R

Laser, Wove Wove, Laid/Watermarked

•'

CRoss PoiNT~ PAPER CoRPORATION, 12Q5-BANDANA Bol!LEvARDNORTH, SuiTE #335, ST. Pf}UL, MINNEsOTA ·55108 (612) 644-3644 C.P. Recycled

Passport

C.P. Book

20-24

50

10+

25

2

Las~r. Light' Cockle/Acid-Free, Watermarked

Cover

80

50

10+

25

2

Aotique Finish/Acid-Free

Writ.

24

50

10+

0

9

Felt & Laser/Acid-Free

Text

80

50

10.+

0

12

Felt/Acid-Free

Cover

80

50

10+

.o

12

Felt/Acid-Free

Book

40-80

50

10+

0

2

Satin, Vellum, Smooth/Acid Free

Bond

,.

*Byron Weston, (413) 684-1234, is a subsidiary of Crane & Co. , Inc.

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

ARTS

113

RECYCLED pAPER I

re-u e existing containers. With the aid of an intern, Peacock has compiled a list of recycled papers ' and keeps sample filed with comments. Many of her prqJect have a 24-hour turnaround, so having paper samples handy is important.

She also uses an environmental impact statement tq calculate the number of trees and energy saved ' by using recycled pa~er.

'

on a non-white substrate," Allen aid. "You can't take graphic treatments that work on a white substrate and transfer them over.

We decided on a photographicba ed image.' It wa accorn.inodating to the nature of flexographic printing. We decided to try white ink because it subtly retained the equity we had in the white ldok." ('

I

I

I

Disneyland currently recycles aluminum cans, cardboard, glass bottles, kitchen greas~, laser printer 'toner cartridges~ office paper, oil, batteries, plastic bottles, polystyrene foam cups and scrap metal. As an inc;entive, .Disneyland gives "points" to employees who car-pool; they can trade these ,lNFORMATIO RESOURCES points for Disneyland products.

___________________ America.n Paper Institute 260 Madison A venue New York, New York 10016 (212) ,340-0600 Environmental Defense Fund 257 Park A venue South

New York, New York JOOJO (212) 505.-2100 EPFHotline (800) CALL-EDF For inf.ormation on recycling programs in your area.

National Office Paper Recycling Projectfl'he United States Conft!rence of Mayors , 1620 Eye Street NW.' Washington, DC 2()006 Write for free pamphlets on of.f}ce recycling.

I

Peter .A'llen, creative director of worldwide packaging design for Apple Computer, Inc., discussed the process o~ Apple changing its patkaging from the bleached white, oright look that immediately identified Apple's products-to kraft material with high post-consumer waste. "Apple had three goals: to revitalize the ·look; to show we · promot~ innovation and change; to use environmentally appropriate materials and to do it in a way that would save the company money," Allen explained.

A cross-functional group of Apple employees was as enibled-product marketing, financial, legal, supplyNationaJ Recycling Coalitio~ 1101 30th Street NW, Suite 305 based management, distribution, Washington, DC 20007 design-to meet those three needs.

(202) 625-6406_ Based on research in ch~nging · materials to a bare bones substrate, they calculated they could save the company over $3 million annually on materials ·alone. The group I co·n struded a proposal to take to upper management and ,rec;eived seed motley to conduct research on how custo~ers would react t? the potential new look.

"We printed up orne test designs and shipped them under normal circumstances to normal distribution point~ to see how they would travel," Allen said. The existing white boxes were· sent to the same locations. They learned that the kraft packaging traveled bette_! and _was mor,e cost effective because a percentage of the white packaging always needed to ·be replaced due to scuffing in· transit. ·

I

'

I

•

.

"We forced ourselves to create a solution that would work 114

M A Y I J U

E

I 9 9 2

Within six months, Apple wa shipping the new .packaging. Th~ re-design has been enthusiastically received, and seems to have accomP.lished its goal ·of revitalizing Apple's look. "We definitely were successful in terms of the recycled content; we went from virgin to anywhere up to 100% post-consumer waste content,'; he said. "And we were able to reduce the material cost of packaging and the material cost of production.

...

"We decided to go public with. this and s~are what we learned with any industry that was willing to listen," Allen said. "It's iJ?portant to understand that it's de igners' . responsibility to change the value perception of these materials. Until we change the demand for the materials, the)• might be more expensive. We have a moral obligation to change the public's perCfeption of what const-itute . quality design:" "Many designers think that they will have to compromise the design integrity in order to make it more environmentally sound," Joe Duffy said, "Environmentally sound design and great design are not at odd with each oth~r. . It's important for designer to change their attitude and expectations as to what constitutes a well-produced printed piece. you almost have to look through new set of eyes.

The differences can create a new and exciting look."

a

"We've now passed th~ point where we're iooking for slick, slick images all the time,'' said Jim Berte of Mor-ava Oliver Berte in Santa ·Monica, California. "Now you can look at inexpensive sheets of paper and do printiqg that i suited . for wh~t it's used for."

A word•of warning came from Richard Lewis, chairman of Addison Corporate Design in New York. "Make ure .· you don't over-promise to your client. As lo~g a it has decent contrast, yoti can print on pretty crude paper if you're dealing primarily ~ith print materia( Some client~ will be happy to get less than 100% results becau e they want that environmental identity." . "This is not the first nime the recycling issue has made it to the forefront of people's agendas, but ,this may be our last chance to make the mo t positive and Htsting impact," said Rick Torreano. "What we really should. be standing up for is not recycling in and of itself, but for the ..environmental legacy we leave behind."

I

I

RECYCLED PAPERS WrTH AT LEAST 10% PosT-~ONSUMER WASTE (Continued) \ Paper .Nam:

Type

B.a is'

% % Recycled Post

% Cotton

Colors

Troy

Book •

35-80

50

10+

0

2

. Satin , Vellum, Smooth/Acid-Fr~e

Miami Book

Book

35-80

50

10+'

0

2

Satin, Vellum, Smooth/Acid-Free

Heritage Book

Book

50-60

50 .

tO+

0

2

Antique, Vellum, Smooth'/Acid-Free

Hal opaque

Text '

40-100

50

10+

0

2

Vellum, Satin/Acid-Free

Cover

' 65 , 80

50

10+

0

50

10+

0

7

Vellum/ Acid-Free

Finishes/Notes

\

Satin/Acid-Free

Sycamore

Text

Bellbrook Laid 1

Writ.

24, 28

50

10+

0

12

Laid/Acid-Free

Text ·

60, 70

50

10+

0

12

Laid/Acid-Free

Cover

65

50

10+

0

12

Laid/Acid-Free

Text

70, 80

50

10+

0

10

Felt/Acid-Free

Cover. '

65 , 80

0

10

Felt/Acid-Free

Writ.

24

0

10

Ltnen/Acid-Free Watermarked

Text

70, 80

50 -

10+

0

10

Linen/Acid-Fr~e. 4 colors are flocked

Cov r

65,80

50

10+

0

10

Linen/Acid-Free, 4 colors are flocked

Script

28

100

15+

0

7

Smooth Vef1urn!Acid-Free

Text

80, 100 100

15+

0

7

Vellum/Flocked, AciQ.-Free

Cover

80

JOO

15+

0

7

Flambeau Index

Index

90, 110

50 '

10

0

8

Index/Acid-Free

Flambeau Vellum Bristol

Bristol

57-80

50

10

0

10

Vellum/Acid-Free

Cross Pointe Brights

Text

60

50,

10

0

11

Vellum/ Acid-Free

Cover

65

50

10

0

11

Vellum/Acid-Free

Text

50-70

50

10

0

15

Smooth/Acid-Free

50,65

50

10

()

15

Smooth/Acid-Free

Medallion

Normandie

Genesis

Torchglow Opaque

.

l

Fox RivER PAPER CoMPANY, 200 EAsT WASHINGTON S.TREET, SurTE 300, APPLETON, WrscoNSIN,54913 (414) 733-7341 Confetti

Early American

Fox River

Circa 83

Circa Select

Tempo Bri tol

Text

80

50

25

0

11

Smooth

Cover

80

50

25

0

11

Smooth

Text

75

50

25

0

11

Felt

Cover

80

50

25

0

11

Felt

Bond

20,24

100

15+

25

Laser, Air-D 'ed Cockle/Custom Watermarks Available

Cover

80

100

15+

25

Writing

Bond

20, 24

50

15

0

6

Wove, Laid/3 Colors Cont~in Fiber.Enhancements

Text

80

50

15

0

3

Wove, I:.aid/Fiber Enhancement

Cover

80

50

15

0

, 6

Writ.

24

50

15

0

5

Wove, Laid, Smooth/Contains FibeJ Enhancements & Watermark

Text .

80

50

15

0

8

Wove, Laid/4 Additional C?lors J1ave Fiber Enhancements

Cover

80

50

15

0

8

Wove, Laid/4 Additional Colors Have Fiber Erhancements

Recycled

100

50

15

0

•

Wove, Laid/Fiber Enhancement

Plate

COMMUNICATION 1

ARTS

115

RECYCLED -PAPERS WITH ~T LEAST 10% PosT~CONSUMER WASTE (Continued) Type

Paper Name

. Basis

%

%

~olors

%

Recycled Post

~otton

,50

' 0

Fini he /Notes

·

Fox RIVER PAPER CoMPANY (Continued) Velvetsheen Text Recycl~d

Text

75

15

Plate

FRE CH PAPER CoMPANY, 100 FRE cH ST~ET, NILES, MICHIGAN 49120 (616) 683-1100 Text

;-;o

50+

10

0

5

Cover

80

50+

10

0

.5

Embossed, Flocke'¥13 Additional Co)ors in Antique Finish Acid-Fre~

French Speckletone , .

Cover

80

50+

10

0

2

Cord tone/Acid-Free

French Rayon

Text

80

50+

io

0

5

.Smooth/Acid-Free

Cover

80

50+

10

0

5

Smooth/Acid-Free

. French Speckletone

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XEROX CoRPORATION, P.O. Box 25075, SANTA ANA, CALIFORNIA 92799-5075 (800) 822-2200 . I

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118 MAY/JUNE

1992

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EXHIBIT SEND SAMPLES OF YouR LATEST and best to Exhibit, Communication Arts, P.O. Box 10300, Palo Alto, California 94303. Describe the purpose, background and include creative credits. Submit TV commercials on %" videotape cassettes NTSC. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return material or your Federal Express number.

THIS P AGE: FoR PHILIPS INTERACTIVE MEDIA of America,

a developer of consumer interactive media hardware and software, Maddocks & Company of Los Angeles designed and produced the software packaging for all programs used in Philips ' s Interactive Compact Disc (CD-1) player, The Imagination Machine. The packaging elements consisted of an open-ended sleeve, label for the CD-1 case, disc graphics, individual product catalogs and a consumer catalog of the entire library. "We worked closely with Philips and the producers of the programs to create packaging that would communicate essential program information and at the same time make consumers aware that each program would satisfy their sense of wonder," explains creative director Mary Scott.

Paul Farris/Julia Precht/AIIan Dennis/Valerie Croome/Dana Marotta , des igners ; Cam ill a Bravo , project manager.

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

A R T S

119

EXHIBIT NAME THAT WEED

THis PAGE: THREE PRINT Aos from a campaign for Ciba-

Geigy' s turf and ornamentals division. "The assignment was to convince the audience that Pennant controls a broad spectrum of weeds," says art director Susan Jones of Howard Merrell & Partners in Raleigh, North Carolina. "We had a concept and laid out some spreads, then copywriter Anne Moss Rogers said, 'How about Name That Weed?' But Name That Weed didn't sound like a spread, it sounded like a series of small-space ads. It actually works better than a spread because it can be used to sell yellow foxtail control, for instance, only in those areas where yellow foxtail is a major problem." They opted for photography over illustration. "Anybody can draw a picture of a crab with grass coming out of it, but a photograph is more unexpected and it adds a dimension of realism. We used real grass in all the shots, which presented its own problems, because of course grass wilts. We had to paint the bluegrass. The crab for the crabgrass was a real crab that they had flown in from Alaska, and it was really getting stinky by the end of the shoot."

Crabgrass is just one of many weeds that Penn ante prevents.

So now you can choke out your worst weeds without beating up on ornamentals and warm-season turf.

PENNANT

NAME THAT WEED

Gary Knutson , creative director; Buck Holzemer, photographer; Atomic Props , model maker .

RIGHT: ONE OF A SERIES OF introductory consumer ads

for Crown Cruise Line and its upscale, downsized (800 passenger) ships. The Palm Beach reference plays off the obvious cachet of departures from that city's port, as opposed to the standard departures from Miami for Caribbean-bound ships. "The key point of this ad is to dispel the prevailing notion that a quality cruise experience means having to take one of the more expensive, 'grande dame' steamers," explains Barrett Batson, associate creative director of West & Company in Tampa, Florida. As preparation for pitching the account, the creative staff took a Caribbean Crown cruise and concluded that "the creative process was indeed enhanced by relaxing poolside," Batson says. The initial trade reaction has been enthusiastic.

Yellow nutgrass is just one of many weeds that Pennante prevents.

So now you can choke out your worst weeds without beating up on ornamentals and warm-season turf.

PENNANT C l992 OBA-GCIGY CorPOrfiiOI'I Ahuys rud Mid lollow l.tbtl dtrKIIOtls

NAME THAT WEED

Doug Hardee , creative director; Chris Robb , art director; Elizabeth Henderson/Doug Hardee, writers ; Jane Shirek , photographer; Mike Reagan , illustrator.

PosTER TO RECRUIT PARTICIPANTS for the Visiting Nurse

Association's mall walk fund-raiser. "You've heard of lending a helping hand. Well, I thought it was time feet got some credit for all they do to help us," says art director/ designer Scotti Larson of Franken berry, Laughlin & Constable, Inc. in Milwaukee. "It's unusual to feature a foot; the poster breaks through the clutter and grabs your attention."

Dennis Frankenberry, creative director; Brad Berg , writer ; Dick Baker, photographer.

Goosegrass is just one of many weeds that Pennante prevents.

So now you can choke out your worst weeds without beating up on ornamentals and warm-season turf.

PENNANT

120

M A Y I J U N E

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FOR THE VISITING NURSE ASSOCIATION. PLEASE JOIN US JANUARY 12, 1992. NORTHRIDGE AND SOUTHRIDGE. CALL 328.4430 FOR DETAILS.

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

A R T S

121

ExHIBIT

Tms PAGE: TELEVISION CoMMERCIAL

from Austin-based GSD&M' s campaign for the Texas Department of Commerce. "For the past few years, we've highlighted different scenic parts of the state and positioned Texas 'like a whole other country,"' says writer Brian Brooker. "In this commercial we wanted to maintain that position, but we've added humorous supers to show how Texas is also unique."

"Riviera" :30 (Open on a Texas mountain) Anncr . (VO) : On your next vacation , come to a place with rugged terrain like you 'd find in the Australian Outback .

Super: But you won't need a passport.

(Cut to a Texas beach) Anncr . (VO): A place where visitors bask on warm, sunny beaches like the French Riviera ...

Super : But we keep our tops on .

(Cut to the Alamo) Anncr . (VO): And where you 'll find historical bu ildings like those you 'd see in Italy.

Super: But ours don 't lean .

(Camera stays on one cowboy with saddle and ropes) Anncr . (VO) : Come to Texas. It's like a whole other country .

Super : But we speak English . Sorta.

Kevin Lory Mote , art director ; Guy Bommarito, creative director; David Hepp , agency producer ; Mimsi Sumner , production company producer; George Kline Co ., production company ; Sam Holcomb , director ; Tom Faulkner , music .

R IGHT: CAMPBELL MITHUN EsTY , in Minneapolis, had the assignment to revive interest in Call Waiting, a triedand-true telephone service that had not seen advertising in the us WEST market for a number of years. Their solution was to present a mundane, day-to-day event in a problem/solution format.

"Missed The Bus " :60 (Open on two small boys running in the rain after a departing school bus) SFX : Busy signal .

(Cut to boys in a phone booth) Billy: Is she coming?

Jimmy : The line's still busy . We 'll have to walk home.

(Cut to shots of boys walking in the rain, Billy is playing , climbing , he loses his hat as he runs) Billy: Jimmy , I'm tired . I'm tired , Jimmy .

Jimmy : Where 's your hat?

Billy: I don't know .

(Jimmy removes his hat and puts it on his brother. Cut to boys walking in the rain , dodging obstacles. Cut to close-ups of their exhausted faces. Finally, they arrive at the ir front door) Mom (on phone) : Oh , wait a minute , here they are.

Jimmy : We tried to call you but the line was busy ...

Anncr . (VO) : Don 't miss an important call.

Get Call Waiting from US West. Making the most of your time .

George Halvorson/Bill Winchester , art directors ; George Halvorson , creative director; Tom Evans , writer ; Terry Friedlander, agency produce r; Lesl ie Dektor, director; Dektor Higgins & Associates , production company .

THREE IMAGES FROM A SERIES of self-

promotion posters created by South African photographer Ian Difford and designer/stylist Cheryl FosterAdamson of Johannesburg 's Touch Design. "The fluidity of life," is a phrase that Difford feels best expresses his images.

122

M A Y I J U N E

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

A R T S

123

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M A Y I J U N E

I 9 9 2

ExHIBIT

LEFT: POINT OF PuRCHASE PosTER from

Harley-Davidson clothing campaign. "The local Harley-Davidson dealership wasn't having any trouble selling motorcycles," says writer Todd Tilford of The Richards Group.

"They did, however, need some help getting the word out about their clothing. To accomplish this we used real bikers in their own Harley clothing. The posters were targeted not at them, but at a more mainstream audience who want a piece of their mystique." The mechanic/model shown goes by the name "Hogman."

Stan Richards , creat ive director ; Bryan Burlison , art director; Richard Reens , photographer.

PACKAGI G FOR PHA CORP I c., a Toronto,

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Canada, small paper merchant. "Our approach was based on creating a fine balance between environmentally responsible design and graphic prominence," says writer Greg Herriott of Mississauga, Ontario-based Constructive Communications. "Minimize was the key influence. The use of two colors allowed ample creative latitude while still applying our minimize rule," he explains.

The firm researched and specified materials with high recycled materials content with special emphasis on post-consumer waste.

Drew Welsh , art director/designer; Tracey Watt , creative director.

Tms PAGE: THE Musrc CE TER of Los

Angeles County was planning to raise 60 million dollars in a five-year period from the private sector. Vice president of marketing communications, Larry Londre, and the director of development, Debbie Hyde, approached Baker Design Associates of Santa Monica, California, to design a brochure to facilitate their capital development efforts.

"We knew the development campaign was going to target high net worth individuals. We wanted the packet to feel extremely special and convey that it was an exclusive honor for a receiver to be asked to contribute," says art director Gary Robert Baker. "The outer kit folder was designed to feel like you were opening a special gift. Even the inside vellum wrapper-elegant and tasteful-also simulates the tissue paper one finds opening a present."

Yee-Ping Cho, designer ; Geoff Kern , photographer; The Music Center of Los Angeles , writer .

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

A R T S

125

ExHIBIT

MoRROW S owsoARDS CATALOG. Scott

Clum, the company art director, says, "My nature as the art director has been to relay the energy I feel in the sport. I wanted to apply solutions taken a step further to create a raw format for the display of snowboarding equipment. Sometimes the edge gets lost because the solution isn't pushed far enough to gain a different feeling. My direction for Morrow is to push the sensibilities and keep that edge."

Scott Clum/Brad Steward , writers ; Gavin Wilson/ Michael Roth , contributing artists ; Scott Clum/ Gavin Wilson/Trevor Graves/Brad Steward, photographers .

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OPINION/COMMENTARY

L ARRY KEELEY

THE STRATEGIC PALETTE

OST DESIGNERS AT one time or another have found themselves asked to design some simple thing for a client, perhaps a brochure, a new logo, an exhibit. Often, in the midst of beavering away, the sudden realization hits: the client asked for the entirely wrong thing .

Jaguar M Engineering Materials Styling Corporate Identity Advertising

IS

I

Advanced products and materials Electronic wireless entry Scratch-resistant paints Integral hands-free phones Options systems: CD changer, radar detector Satellite-linked service network 24-hour roadside service Showrooms designed for privacy New, non-pushy sales methods Promotions, like pick up and deliver

Lexus came from literally nowhere to become the #1 car company in customer satisfaction in its first year . This is no accident. Look at how broadly their design initiatives extended beyond the car . Jaguar, despite similar pricing , has a much more conventional , narrow focus.

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At a larger level we find modem corporate strategies suffering the same fate.

Corporate strategies are remarkably complex. Consider a few examples: Of all the things in the world you could possibly make, which should you? Of all the places in the world you can sell your merchandise, should you use fancy stores, discount stores, catalogs or some combination? How many zippy electronic features should you design into a microwave oven, a phone, a kid's toy? With literally thousands of variables to all these decisions, even today' s most advanced companies tend not to get the strategies they truly need.

This problem is compounded by American business schools that are decidedly out of step with current needs. For too long they have taught general management and finance, allowing other countries to take a commanding lead in their focus on products and services. The best business schools, like Harvard and Northwestern have even admitted that they erred by not addressing design in their programs.

Both of them, and others as well, are suddenly scrambling to figure out how to catch up.

Given this background, a research team at the Doblin Group has created the Strategic Design Palette, a theory of potential value to designers and design planners. We began by realizing that most aspects of corporate strategy are changing more today (and changing

faster) than at any time since the industrial revolution. We went on to identify what the most innovative companies in the world seem to be doing to outdistance their competitors.

This led to the Palette model, twelve 'lenses' through which strategy for nearly any organization can be examined. The Palette has two essential purposes. First, it describes twelve areas of common corporate activity that are each in rapid change. Designers and planners ought to be familiar with these twelve areas in the abstract, in order to have some sense of what changes they make possible. Second, the Palette can work to prescribe a strategy, allowing designers to decide which areas (and how many) need to be changed to gain strategic advantage for a client overall.

Right: Designers who are familiar with the revolutions that are happening in each area covered by the Palette are more likely to have powerful , relevant and innovative ideas for their clients. Meanwhile , organ izations that wish to create strong strategies that cannot easily be emulated should take care to address several areas of the Palette, simultaneously, in an integrated way .

Functions and features

Channels

Systems

Development

Service

Strategic alliances Legal

Copyright © Dobl in Group , 1991 , 1992. All righ ts reserved .

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The premise behind the Strategic Palette is that it helps organize a world characterized by rapid change. It is useful to go around each part of the Palette to describe its significance.

we are surrounding ourselves with 'smarter' products, though they often baffle their poor users. Deciding what features are important and how to make them usable are big design issues.

Brand and personality Branding in America is now sufficiently odd that you can find a movie star, Paul Newman, selling groceries like lemonade and salad dressing.

There's a Coca-Cola store in New York selling Coke bicycles , apparel and nostalgic stuff. The idea is to get an ' unfair share of attention ' for a firm.

Apple and Nike, among others, do this very well.

Development

Physical distribution

In virtually every field, product life cycles are shortening. CAD systems, rapid prototyping and concurrent engineering are some of the buzzwords that describe modern practices. New ' swat ' teams are commonplace too, with terms like evangelists and flamekeepers. For new tools and teams the goal is the same: Develop something better than ever, faster than ever.

Not too long ago it actually seemed amazing to send something overnight.

Thartks to bar code, scanners and other technologies, now there are many smart ways to get an item where it needs to go, at almost any speed you like, anywhere in the world. We can wire flowers , or buy nearly anything mail order and have it arrive the next day.

Materials

Channels

We are living in the midst of a remarkable materials revolution. Kevlar, Velcro , ceramics, titanium, epoxyresins, composites and new glues are just a few examples of neat stuff coming out of the labs. What's more, these exotic materials find themselves used in everyday products: athletic shoes , tennis rackets, sailboats, etc.

Not long ago, Sears or the local grocery store were king. Now even exotic items can be easily selected from mail order catalogs no matter where you live.

Stores have changed too: Wal-Marts, Nordstrom's, manufacturer's discount outlets and showcase stores abound.

Boutiques like TCBY , Mrs Field ' s Cookies and Starbucks stores are found even at airports.

Manufacturing Robotics, new kinds of glues, off-shore assembly , electronic links between CAD systems and tooling or manufacturing systems are all commonplace today. It is increasingly possible to make customized items , economical short runs or new kinds of modular products. Designing for assembly and for disassembly are hot new skills.

Functions and features Stick a little chip in virtually any product today and it can be given a panoply of capabilities. From VCRs to phones, laptop or pocket computers, 136

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poorly. Lexus cars promise 24-hour roadside service anywhere in the country. Land 's End takes returns back no matter how many years you might have worn something. Nordstrom employees write thank you notes to shoppers. Customer-satisfaction rankings are now zealously watched in many fields.

Strategic alliances In the effort to serve cu stomers well it is increasingly common to be in cahoots with someone else. Apple has alliances with Sony, Sharp and even its one time arch enemy IBM to bring out special products. IBM has a special alliance with Federal Express . WalMart often make pecial deal with its suppliers to gain efficiencies.

Legal Lotus sued several companies over the ' look and feel ' of a spreadsheet.

Polaroid forced Kodak out of the instant photography field. Some labs now actually unravel, then patent the normal structure of human chromosomes. In our litigious society, firm s must decide how to protect inventions, and how aggressively to defend them from others.

Systems Invisible , yet everywhere, systems surround us today. Network systems allow you to use your 24-hour bankcard around the country and your credit cards around the world. Scanner systems help you check out of a store a little faster while controlling inventory. Others have revolutionized flight, hotel and car reservations, and control your local pharmacy.

Service Companies have suddenly discovered that they can't afford to treat customers

Standards It is no accident that you can remove an appliance from a kitchen and replace it with a newer model that fits. Computers are supposed to have standard operating systems, cables and di ks.

Electrical power voltage and plugs differ around the world. Creating new standards for HDTV is a raging debate.

Following or breaking industry standards is a strategic decision.

Each of these areas is in the midst of rapid, often traumatic change. But the true significance of the Palette comes clear when it is used to plan and direct simultaneous innovations in more than one area. Here are three companies that raced ahead of their competitors by using this type of systemic thinking.

(Incidentally, this is purely the result of disciplined research. None of the cases covered here have ever been clients of the Doblin Group.)

Gillette Sensor

The results for Gillette were equally impressive. They managed to reverse their market share erosion to disposables, while getting their profits and even their stock price to climb sharply.

What's more, 22 separate patents on manufacturing and design protect these innovations from competitive emulation.

Walt Disney Company For many years, the folks at Disney thought they were mere cartoonists. It was Walt himself who first began to have a bigger vision-he conceived the first Disney theme parks.

8. 8 . .. ··

·· . .

• • • · •

Gillette found itself getting badly squeezed by low cost, high quality disposable razors a few years back, some elling for as low as nineteen cents.

The challenge for them was to reinvent a mature product category and find some way to restore it to profitability.

Gillette mounted a huge effort and achieved impressive results. They used special multi-disciplinary teams to create razors with independently pivoting blades. This required the invention of new manufacturing methods using special kinds of laser welding. They also created some human factors advances for blade loading, grip and usage. They did all this in record time, something less than eighteen months tart to finish.

The product that resulted is the Sensor razor. It sells for less than four dollars in drug stores, yet there is a fancy ' gold ' version that sells for more at the Sharper Image, and a 'platinum ' version that costs a bundle at Tiffany & Co. The Sensor has won lots of design awards, including the 1990 Best of Category in the prestigious Annual Review by /D magazine.

Legal

• • • ••

This diagram shows five areas of the Strategic Palette that Gillette made simultaneous innovation in as it created the hugely successful Sensor Shaving System .

But, in the last decade, some very ambitious and imaginative people have taken Disney even further than Walt ever dreamed. Michael Eisner now has Disney operating theme parks all over the world and owning its own retail stores and restaurant chains, a direct mail business, cable channels and magazines. Disney makes plush toys, apparel lines, figurines, games, jewelry, lunch boxes, bed sheets, shower curtains and electric toothbrushes.

Characters from movies like the Little Mermaid, Beauty and the Beast, The Rescuers Down Under, plus the 'evergreens' like Mickey, Pluto, Goofy and Bambi, are specifically managed for their marketability across a broad spectrum of media. This remarkable use of characters as brands, extended across media and channels, is amazing.

Most corporations are baffled by the idea of managing more than one channel to market, yet Disney successfully manages about six or seven. This has required some extraordinary conceptual skills, and the insight to realize that Disney's core skill is about creating lovable characters. Then its business opportunities come from making them a broad part of people's lives. Disney also aggressively protects its characters; mess with the Mouse and you can expect a nasty lawsuit, fast.

Many people decry this broad exploitation and what it does to children.

These critics have many good arguments. Yet in its ability to think so C 0 M M U N I C AT I 0 N

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conceptually, Disney offers useful lessons for others. And their results speak for themselves: The Disney juggernaut has achieved an astonishing growth rate, while its profits and market share remain untouchable. And, of course, their CEO compensation is the stuff of legend.

Eisner set a record in 1988 by being paid over $40 million, and he's been near the top of the charts ever since.

8 8 . 8. ···...

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• •

Legal

• • •

One of the remarkable features of Disney's success is the way it uses such wildly different parts of the Palette . Just by looking at th is diagram it is possible for a good strategist to realize that competing against Disney would be very hard indeed.

store, low-paid managers are required to display them in precisely predetermined ways. Should all these carefully tested and planned approaches still fail to move the coats, The Limited will react with blinding speed. Prices can be lowered on all the coats in every store across the country in less than an hour.

The Limited Most people think of The Limited as a fancy store on Fifth A venue. Yet The Limited has taught the global fashion world a whole new way to play hardball. The Limited owns many retail and direct mail operations, including Henri Bendel, Limited Express, Structure, Victoria's Secret, Lerner's Stores and others. These operations use the most exhaustive analysis and obsessive attention to detail known in retail today.

Here's a snapshot of how The Limited works. Their buyers might begin by finding a hot fashion item, say a coat, in Italy. They buy one of the expensive originals. It is shipped to the Far East where special shops copy the item in most details. Perhaps a hundred or so of the copycat coats are shipped to the U.S., then placed in test stores at various prices. The Limited carefully watches to see what price causes the coat to go flying out of the store.

Then they ramp up. A few factories in the Orient will be asked to quote on about a million of the coats. It is clear to each of them that only the factory that hits a rock-bottom price and tough delivery schedules will win the huge job. One of them undercuts the others and gives The Limited a great price. For shipping control, The Limited owns and operates its own 747 cargo planes, so that fashion items get to its smart warehouses in Ohio fast enough.

The warehouse is a huge automated system that sends items to each store around the country in the precise combination needed by each , as fast as possible. Once the items get to the

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The combination of multiple outlets and brands, global product sourcing and development, plus amazing distribution, pricing and retail operational systems, makes The Limited a tough fashion force. Their growth rates and profits are far beyond industry norms, and they show no sign of having their formula tire. The Limited could easily build or buy several more chains and treat them the same way.

At Doblin Group we deplore this kind of knock-off approach to product development. We even have grave doubts about the Soviet-style idea of treating store operators like minions who follow orders from central authorities.

Nevertheless, we cite this case a an example where the Strategic Palette becomes a useful tool for figuring out how to compete against The Limited.

8 8 8 The Limited uses a remarkable number of simultaneous innovations and excruciatingly detailed execution to lead the tough world of fashion retail ing .

In both the discussion of the Palette and

the three cases, the significance of our research should be clear: The Strategic Palette is a powerful framework for creating new design programs. The Palette can help organizations forge massive changes in concept that take a whole industry in a new direction.

Typically this will stun competitors and cause them to play catch-up for year .

Of course these advances don't come easily or instantly. We contend that using the Palette well requires special design teams and methods. Usercentered design methods, special social science skills and special planning methods all help. These may well form the core of a new design field over the balance of the decade.

Designers often wish to make immediate use of the Strategic Palette. This is a healthy impulse that can be enormously beneficial to clients. Here are seven tips for effective use:

User needs are at the core of ,' any great strategy and / designers are typically better at 1 understanding them than 1 ~ anyone else. Methods like \ user-centered design are now emerging to foster this thinking.

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A great user-centered idea does your client no good unless some portion of it is fresh, new, and proprietary.

Lawyers play a small role too here, but the key is designers who can conceive things others cannot easily copy.

A user-centered artifact with a difference still goes nowhere unless customers know about it.

So you must do something to get an "unfair share of attention". Apple and Nike do this well. Graphics, events, demos, great ads, all play a role.

···· ... Finally, some bunch of people

. . ........... All this adds up to a smart strategy. The point is simple: designers are key to the equation. So dive in. And don't make the mistake of thinking somebody else has thought through all the answers. Often they haven't even discovered the questions.

must ensure that the cool, unusual, dramatic artifact is manufactured well, priced properly, in the right stores, and serviced. Though designers have minor roles here, this is where engineers and MBAs perform essential roles.

1. Question the problem statement.

Almost always, clients ask for the wrong thing. This isn't becau e they are misdirected, it's because the universe of possible things to ask for is so huge.

5. Center around end-user experiences.

Always, always, always, create strategies that make customers deliriously happy. It 's the surest way to succeed.

2. Look for the largest context you can manage.

6. Seek evaluation of the results.

Chances are you cannot do a truly strategic program merely by changing a logo. A larger context, managed well, is more likely to affect the company's succes .

Try to avoid the 'designer knows best ' syndrome. Try to be real curious about what parts of your ideas are working or not. But do not subject your work to stupid tests, like focus groups or surveys.

3. Seek contributions from other specialists.

7. Accept accountability.

Good design efforts must be aided by other experts in engineering, psychology, distribution, etc.

If you help your clients win, you deserve lots of credit and compensation. If you don't, maybe it really is your fault.

Lots of people , many of them designers, believe that this kind of strategic thinking isn 't design , but something else instead .

Designers think "businessmen " are supposed to work this stuff out, then hand them the usual product styling or graphic programs , etc . But we argue that thinking like this is at the core of effective design practice and cannot be done without designers. The equation above explains why.

4. Prototype ideas rapidly.

The faster you can give clients tangible ideas and models , the faster they can give you feedback. Thi allows their experience and instincts to shape your work.

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FREE-LANCE

B ARBARA GORDON

How To GET AssiGNMENTS DESPITE THE RECESSION T A RECENT GATHERING OF REPREsentative , we discussed the economic situation in our business and what to do about it. Nearly everyone in the group mentioned that they represented at least a few freelancers who seem to be recession-proof. No matter what the economy did, these people just kept on getting assignments despite the odds.

A lively discussion followed concerning the traits that make orne freelancers recession-proof.

A

means choosing the right medium in which to adverti se, whether it is a directory , direct mail or personal selling.

Make sure the work is seen by an active buying audience.

To find these people, the freelancer or repre entative has to do research and investigation into which directories, magazines, mailing lists and client lists are potential clients for the work. In doing research, it is better to rely on one 's own sources of information rather than the people trying to sell their directories or mailing lists.

The first factor cited was that these people were "good," "very talented," "doing something different from the rest of the crowd" and had a style or look that was commercial.

An additional part of promoting and adverti ing free-lance work is to display the right pieces of work on the page, in the mailer or in the portfolio , one is showing to prospective clients. Once again, this means knowing something about the prospective clients that your promotion is going to .

Obviously, if the adverti ing is going to corporate clients, one would show a different range of subject matter than if it were going to paperback book publi her or client in the cosmetics industry. If the buying audience i diverse, then try to put several commercial sample on a page. A note of caution- alway make ure you have the portfolio to back up the work in the promotion. If you put a portrait on the page and someone calls for your portrait portfolio , don ' t be in the position of having to tell the client, "That's it, my only portrait is on the page, you ' re looking at it. "

Admittedly, freelancer have to think they're good, that they have a commercial style and they must believe in themselves. If they cannot evaluate themselves correctly, then they should get someone to do it for them. The end result is that quality always ells and it behoove the potentially successful freelancers to strive, develop and grow until they are the best they can be. Remember, the work is there to sell and a commercial style is one that enhances the products or services, making customers want to buy them.

The second big factor is diversity of markets. In other words, the more markets a person ' s work is appropriate for, the better the chances of getting work. It' s really a numbers situation. If the work is only geared to fashion , for example, then with the terrible slump that's taking place in retailing, one is severely limiting the opportunity for work. If the portfolio is 90% romance covers and the market for covers weakens , the potential customers slacken proportionately.

For those freelancers whose portfolios fall into a specialized area-either through style or subject matter- ! suggest they expand their portfolios. The portfolio is like a store' s inventory, the greater the inventory , the greater the chances for a ale. In recessionary times, the portfolio should be geared to the widest range of markets.

This doesn ' t mean that you should change your style, but simply expand what you ' re currently offering. Perhaps you can include pieces geared to the corporate, pharmaceutical, industrial, sales, promotional or direct mail accounts. The recession-proof freelancer develops a portfolio by doing amples, if one cannot get assignments , to appeal to the widest range of markets.

The third factor is that the recession-proof freelancer advertises and promotes the work correctly. Correctly 140

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Once again, only your be t work should go in the promotion piece . Don't get hung up with tearsheets or client names.

If one of your assignments didn ' t produce one of your be t pieces and one of your amples does , use the ample.

Yes, there are freelancers out there who are going through this recession unscathed. They have good commercial tyles that can sell a client' product or ervice. They how a range of work in their portfolios and in their adverti ing and promotion that indicate their work i appropriate for many markets. These freelancer eem to be rece ionproof, but what they ' ve actually done is to statistically increase the odds of getting assignments by manipulating and directing their portfolio and adverti ing.

Many of you can do the same thing. If you can ' t find the rece sion-proof markets, the next best thing i to rece sionproof yourself.

•

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CA92

33rd ANNUAL EXHIDITION SPONSORED BY COMMUNICATION ARTS MAGAZINE

Work first printed, published or broadcast between June 22, 1991 and June 22, 1992 is eligible for CA-92. Deadline for submitting entries is June 22, 1992.

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-92.

The November 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.

incorporate special reproduction techniques developed by CA, including quality 175-line color separation, printing on premium 80 lb. coated paper by one of the finest printers in the United States and 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 1993.

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.

The largest (26,706 last year) of all the juried competitions, these are also the toughest to make. Having your work selected is of corresponding significance.

No entries can be returned. Submission of entries to CA-92 acknowledges the right of Communication Arts to use them for publication and exhibition.

60,000 copies of the world's most respected 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 540 pages last year) will

Please note: Illustration and photography categories are not included in CA-92. Work in these categories should be submitted to the Illustration Annual or the Photography Annual, separate juried competitions published in July and August, entry deadline March 16.

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EDITORIAL 11A Consumer magazine (cover or page or two-page spread) ($2S) 11 B Multi-page section of 11A ($40) 11 C Newspaper (page or spread) ($2S) 11 D Multi-page section of 11C ($40) 11E Trade magazine (cover or page or two-page spread) ($2S) 11F Multi-page section of 11E ($40) 11 G House organ/newsletter/association (cover or page or two-page spread) ($2S)

11H Multi-page section of 11G ($40)

BOOKS & JACKETS 12A Book, entire unit ($2S) 12B Book, cover or jacket ($2S) 12C Text book, entire unit ($2S) 12D Text book, cover or jacket ($2S) 12E Children's book ($2S) 12F Children's book, cover or jacket ($2S) 12G Cover/jacket series, limit of five ($40) SALES PROMOTION/ADVERTISING 13A Direct mail, data sheets, sales presentation kits, sales promotion materials, etc. ($2S) 13B Series of 13A, limit of five ($40) SELF-PROMOTION 14A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($2S) 14B Series of 14A, limit of five ($40) 14C Printed promotion for ad agencies, art directors, copywriters, suppliers ($2S) 14D Series of 14C, limit of five ($40) 14E Art/design clubs, communication/ promotion ($2S) 14F Series of 14E, limit of five ($40) 14G Advertising clubs, communication/ promotion ($2S) 14H Series of 14G, limit of five ($40)

17H Series of 17G, limit of three ($60) 171 Radio, lf4" magnetic tape, 7lfl ips ($4S) 17J Series of 171, limit of three ($60) 17K Program title, logo, signature, 3f4" video tape NTSC ($4S) 17L Series of 17K, 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 ($2S) 18B Series of 18A, limit of five ($40) 18C Newspaper ad ($2S) 18D Series of 18C, limit of five ($40) 18E Poster ($2S) 18F Series of 18E, limit of five ($40) 18G Booklet, direct mail ($2S) 18H Series of 18G, limit of five ($40) 181 TV commercial ($4S) 18J Series of 181, limit of three ($60) 18K Radio commercial ($4S) 18L Series of 18K, limit of three ($60) ARCHITECTURAL GRAPHICS 19A Signage, interiors, architectural graphics, limit of ten slides ($40) 19B Display (trade show exhibit, point of purchase, etc.) limit of ten slides ($40) MISCELLANEOUS X>A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 9H) ($2S) X>B Series ofX>A, limit of five ($40) X>C Calendar ($2S) X>D Menu ($2S) X>E Series of menus from the same restaurant, e.g. lunch, wine list, breakfast, etc., limit of five ($40) X>F Anything not covered in previous categories ($2S) X>G Series ofX>F, limit of five ($40)

A PREPARATION OF AUDIO/VISUAL ENTRIES All television commercials must be 16mm 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 slides 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, 71!2 ips in reel-to-reel format.

Audio/visual series are limited to three commercials.

PREPARATION OF PRINT SERIES 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. (Slides are projected for the judges.)

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." Non-United States contestants should mark each package: "Materials for Contest Entry. No Commercial Value." No provision will be made by CA for U.S. Customs or airport pickup. International entries should be sent by mail, not air freight.

All entries must be received by June 22, 1992.

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

Phone

Fax Company

Address City _

State

Air Express entries to:

CA-92 Communication Arts P.O. Box 10300 Palo Alto, CA 94303

CA-92 Communication Arts 410 Sherman Avenue Palo Alto, CA 94306

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-92. Foreign contestants must send an International Money Order or a check in U.S. funds drafted on a U.S. bank.

Tape Form B (or a facsimile) to the back of each entry. If the entry is a campaign, tape Form B 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 B and 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. As soon as we open your package we will send the acknowledgement to you. For foreign acknowledgements, enclose a self-addressed envelope and include 35 cents for Mexico, 40 cents for Canada or 50 cents for other countries in your entry fee.

Call (415) 326-6040 if you have any other questions.

Single entries . .. ... ... . ....... . . .. .. ... .. .. .. $25 each$ _ __

_

_ _ Single TV Commercials . . . . .. .. .. .. ..... . . . . ... $45 each$ _ __ _ _ TV Commercials series . .. .... . .... .. . .. . .. .. .. $60 each$ _ __ _ _ _ Single Radio Commercials. . . . . . . . . . . . . . . . . . . . . $45 each$ _ __ _ _ Radio Commercial series . ....... . .... ..... . . . . . $60 each$ _ __ TOTAL FEE$ _ _·_

CFo,CAu.o ~ Date Processed

D

Please check box if you' ve included a self-addressed stamped envelope for acknowledgement

L----------------------------------- ·

B r::

Tape this form or facsimile to the back of each piece submitted to CA-92 (no paper clips).

Category ]

I Letter

Fo~ c~paigns or series only

~ Fo' CA u.o ~

This ts No.-- o f - -

Submitted by Company

~-----------------------------------·

B

Tape this form or facsimile to the back of each piece submitted to CA-92 (no paper clips).

r::

Letter

Category ]

mber

I

Fo~ c~paigns or series only

This ts No. -

~ Fo' CA ure ~

- of--

Submitted by Company

r-----------------------------------

B r::

Tape this form or facsimile to the back of each piece submitted to CA-92 (no paper clips).

Category]

mber

DEADLINE FOR ENTRIES IS JUNE 22 • NO RETURN OF ENTRIES

Zip

_ _ Campaigns or series .. . .... .. ..... ... . . . . .. . .. . $40 each $ _ __

mber

Mail entries to:

This form and entry fee must accompany entries submitted to CA-92.

I Letter

Submitted by Company

. . only Fo~ c~prugns or senes This ts No. - - of -

-

~ Fo' CA u.o ~

At Colorhouse, You Won't Have To Worry About Suffering From Separation Anxiety.

It's a long and stressful road from concept to keyline. And suddenly you're near the end of the line, but there's no time left and you need a great separation and you don't know the technology and you're trying to do something that's new and now what do you do?

Relax. Call Colorhouse. We'll give you great separations on time. We can © 1992, Colorhouse, Inc.

even work directly with publications to make sure all deadlines get met.

We 've combined the most advanced color systems in the industry with some of the most experienced and creative people-to get more out of our equipment than our competitors believe is possible. You don't have to understand the technology to appreciate the results.

We 'll even work with you to invent oneof-a-kind solutions to your most unique separation needs.

So if you've ever suffered from separation anxiety, call Colorhouse at (800)328-8046. And ease your mind.

Ce Le RHe USE

ADVERTISING

C ATHI MOONEY

WHY BIG IDEAS COME FROM SMALL AGENCIES

F

OR A LONG TIME, I WONDERED WHY SUCH a disproportionally large amount of good work came from small agencies. Now that I work at one, I'm beginning to see why.

People would like to believe that it has to do with the smaller clients these agencies work with. The fact that a shop like Fallon McElligott was winning awards for underwear stores and haircutting salons has helped to fuel this theory in the creative departments at many large agencies. They contend that it's far easier to sell great advertising to small entrepreneurial (God, how I hate that word) clients, than to large corporate, P&G-educated ones.

Wrong.

It's as hard, if not harder, to sell good work to a small business owner than to a larger one. Many times these businesses are doing advertising for the first time, so they're scared. I had one such client who said that he couldn't sleep nights because he was so worried about his advertising.

Even an advertising expenditure of $20,000 could spell the difference between staying in business, or ending up on the unemployment line.

So why is it that small agencies, with limited resources, are able to do the kind of work larger agencies seem incapable of? And why is it that "hot" agencies rarely continue to be that, once they grow into large agencies?

One reason is that at a large agency, creative people are very guarded about their work. Ownership is everything. In the climb up the corporate ladder, it's important to garner as much personal recognition as possible. It's not unheard of for creative people to hide layouts before they go home at night.

But a small agency is like a family, and to survive it can't be a dysfunctional one. Everyone must be open-minded and willing to listen, advise and take advice. There really is no ladder to climb. There are simply too few people for a ladder.

Every creative person has at one time or another come up with what they are certain is the "Big Idea," only to have other people look at it in total bewilderment. If I ever say to a creative person, "I don't get it," someone will usually suggest we show it around the agency. We use everyone's input, from the secretaries, to, in one instance, the janitor.

By being open-minded and willing to listen to others, we ' re

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able to screen out the dubious "Big Ideas" before they end up on prime-time.

Creative people often believe any idea not originating with them is a bad one. This narrow-minded thinking prohibits them from growing creatively. A good creative person must subjugate his ego to his work, and remember that a big idea can come from anywhere.

But this is impossible at big agencies where departments often view one another with disdain. At one agency where I worked, the creative director hated account executives so much that he was known to throw One Show pencils at them (luckily, this did not result in any fatalities).

At a small agency, this attitude is never tolerated for long.

A couple of years ago, an art director from a large and well-respected New York agency joined us. When he saw that his antagonism towards account people would not make him a popular figure at the agency , he quickly learned to live in harmony with them (especially the female ones). Even though he returned to New York (I guess he missed the roaches) I've heard him ay that he did his best work here.

There's no doubt that better work gets done in a place where people respect one another and where there is no back stabbing or as kissing.

A couple of weeks ago I decided to cut my hair very short.

A copywriter saw it for the first time and instead of showering me with compliments, said, "Well, I guess I'll have to get used to it. " Now while some agency owners , upon hearing that, might begin calling headhunters, I didn ' t. Because that kind of honesty told me that the same copywriter wouldn't hesitate to tell me that one of my ads didn't make sense, or that one of my layouts looked just like one he ' d seen in an old CA advertising annual.

I always pray that our bad ideas end up in the recycling bin, and not in a magazine.

I'm beginning to think that at a smaller agency, there' less risk of that happening.

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DESIGN

TECHN O LOGY

W ENDY R ICHMON D

DON'T LOOK FOR A JOB ROM WHAT I CAN SEE OF THE RECESsion-and there certainly is an expansive view of it here in the Northeast-there's still a lot of design work to be done, with fewer people in steady jobs to do it. Design firms and corporations are extremely cautious about hiring people, and many have hiring freezes. But there are projects and the projects do have budgets. Which brings me to the theme of this column.

F

position because of the substantial investment. There 's overhead, paper work, an unknown future work load, benefits packages. And if an employer has to lay someone off, expenses such as unemployment and health insurance often continue. But a project is a known quantity: there's a specific budget, specific tasks and a specific start date.

(Yesterday!) We once interviewed someone at 3 p.m. and by 5 p.m. he was working-literally.

If you've been laid off, or if you're a recently graduated

Begin looking for project work as you would look for a job, with a few differences. Rather than saying, "I'm looking for a full-time job," let people know that you're flexible and have skills to apply to immediate needs. Your resume should emphasize projects that you've worked on, so that a project leader can easily recognize a match. Tell everyone you know, join organizations (your AlGA chapter, the local Macintosh users group, etc.) and volunteer to work on newsletters, events or conferences.

student, and you have some computer skills, don't look for a job. Look for a project.

OK, this is a nerve-racking way to earn a living. But it has more potential for immediate income, and for immediate experience, than putting all your eggs in the job-search basket.

1. If you look for project work, you will increase your chances of getting work sooner.

Think of the recession from the employer's point of view.

He or she is cautious about hiring a designer for a full-time

2. Project work increases and diversifies your computer skills.

There are lots of opportunities for people who are computer-savvy. For example, here at WGBH a small team is creating animations for the children's television show "Where in the World is Carmen Sandiego?" The majority of the animation team consists of freelancers.

All of the team members were computer-literate when they were hired, but not necessarily in .the exact software programs needed. With intense teaching from other team members, plus very focused tasks, it didn't take long for them to pick up their MacroMind Director skills.

By the way, I am not happy about people defining themselves by their particular software abilities. It's narrow and it emphasizes tool skills instead of design skills.

However, this is a case where the end justifies the means.

If you use your skills to enrich your understanding of other professions, and even to change your own idea of what design is, great.

If you read my columns you know that I advocate "erasing

1 I I I II

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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 calll-800-255-3169.

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M A YI J U N E

19 9 2

the boundaries" between design professions. Print designers can add video to their portfolio, illustrators can add animation, and so on. The computer can be a useful instigator in expanding your design vocabulary.

3. Project work gives you exposure in diverse areas.

The Macintosh provides the "Esperanto ," the common language, of diverse design fields. If you're fluent with the Mac, your skills may translate, in production work, tO animation, [ C 0 N T I N U E D 0 N P A G E l 5 6 ]

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W ENDY R ICHMOND

NCJNSPEND LESS TIME

indu strial design, architecture or broadcast design. Of course you may not be knowledgeable in the design aspects of those fields, but that's just the point. By applying your computer-based production skills to a proj ect, yo u have a perfect opportunity to learn about a new area of design.

AGONIZING

()VERDADI:D

ANDM'Oi"

The freelancers on the Carmen project, for example, are involved in a whole new aspect of design thinking that involves sound and movement. One designer said, "Animation is new to me, and I need a professional (non-computer) animator's help. I have an idea of how the animation progresses, but it doesn't come across right. The animator suggests additional effects and movements that make the character real and convincing."

AGONIZING

They have also learned about technical requirements for creating animations for broadcast, such as legal broadcast colors, how to do insert editing and how to lay animation to videotape. In terms of their careers, the project ha expanded their design horizon . On the more immediate and practical side, it has led to more work.

TIME

OVER IDEAS.

4. Project work opens other doors.

In my last column, I descri bed a recent project at the WGBH Design Lab: The Multimedia Macmillan Dictionary for Children. That, too, was a short term project (about ix month ) during which we worked with freelancer .

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After the project was finished, several of the people migrated (together, coincidentally) to another big project that happened to start up soon after at a software company.

Now several of the same people are working together on Carmen. People get to know each other when they work on a team, and then they recommend each other for subequent projects.

One particularly nice thing about these independent people is that they provide peer recommendation . When a project leader looks for free-lance help , he or she says, "Who would you like to work with?" This is very intelligent. The group dynamic is a crucial part of any project.

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5. Project work may lead to a full-time job.

After one or two projects at the arne location, you can become so knowledgeable and skilled at the work, and so valuable to the company, that they depend on you. They will realize that it would cost a lot to find and train orneone else for the next project. They will see that you are too valuable an investment to risk losing.

As a matter of fact , they may offer you a full-time job.

© 1992 W. Richmond

156

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QUESTION #7: FOR CENTURIES, THE HEART HAS REPRESENTED LOVE. BUT LOVE HAS CHANGED. GIVE US A NEW SYMBOL.

THE J. WALTER THOMPSON ART DIRECTOR TEST: 1. The Census Bureau could save millions if they didn 't have to track down all the people who ignore the mailed census form. Design an envelope for the census that would get every single person to open it and fill out the questionnaire inside. 2. Invent a product that every teenager in America would buy. 3. The Logo Company needs a new logo. Design it. 4. For years, The Lingerie Company has run ads featuring beautiful women in seductive poses . They want a new approach for the 90's. Do an ad. 5. Create the poster uAmerica 1992." 6. Visualize your way out of a paper bag. (Hint: we have absolutely no idea what we 're looking for.) 7. For centuries, the heart has represented love. But love has changed. Give us a new symbol. 8. Do a better version of this ad. Do the eight preceding questions and send completed entries to: J. Walter Thompson Art Director Test, 466 Lexington Avenue, New York, NY 10017. Attn: Jim Patterson, Chairman, JWT North America. Please do not call.

THE MOST IMPRESSIVE RESPONDENTS WILL BE HIRED AS ART DIRECTORS IN ONE OF THE WORLD'S BEST ADVERTISING AGENCIES.

TECHNOLOGY

REVIEWS

L ISA SPIEGELMAN

SILICON GRAPHICS 3D GRAPHICS AND VIDEO ANIMATION COMPUTERS

0

NCE UPON A TIME, IN A LAND CALLED Silicon Valley, an unknown company developed an amazing computer that could produce spectacular, three-dimensional color drawings and real-time motion video at lightning speeds. For years, only a few people in the kingdom knew about the company and its incredible machine.

Then, one day, a Hollywood prince fell in love with the princess who invented the computer. After she taught him how to use it, the prince produced a wonderful movie with the computer. Throughout the kingdom, everyone talked about and wanted the computer. Alas, few people could afford it. Then, one day, as if by magic, the princess decided to make another computer that was similarly powerful, but less expensive. And everyone lived happily ever after, especially the graphic artists who learned about the computer.

This is the almost-true story of Silicon Graphics Inc. (SGI) and its 3D workstation, the IRIS. Since SGI was founded in 1982, the company's products have steadily gained recognition as excellent graphic workstations for scientists, engineers and video animation artists. Whether you know it or not, you have probably seen the graphic and video animation capabilities of the IRIS computers in one of these movies: The Abyss, The Hunt for Red October, Star Trek VI: The Undiscovered Country, Beauty and the Beast and Terminator 2: Judgment Day. SGI received the most attention for its part in Terminator 2, rendering the cyborg, the bad-guy terminator machine that melts, oozes, shatters and changes shapes. In The Abyss, IRIS workstations were used to create the alien floating in the water, in The Hunt for Red October, the underwater submarine scenes and in Beauty and the Beast, they were used to create the dancing forks and the ballroom dancing scenes.

Last year, as a reflection of its success in Hollywood and in the technical markets, Fortune magazine ranked SGI the 65th fastest growing U.S. company. This success, so far, has been based on products priced between $29,000 and $62,000. Now , SGI is changing its high-priced, elitist strategy. Last July, SGI introduced the IRIS Indigo, a reasonably-priced, 3D graphics workstation. And in January, SGI announced three new IRIS Indigo systems, now available. The IRIS Indigo product line ranges in price from $7,995 to $27,000. While this is still expensive, all the systems have a minimum configuration of 1024 by 768 graphics, 16-inch display, microphone, 8MB of memory, audio and system software.

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"With Indigo, we made great leaps in the technology and packaged it into a price point to reach more people," said Chris Surowiec, product manager for the Indigo workstations. "Now, SGI' s vision is to put 3D graphics, audio and video on a desktop."

Along with the IRIS Indigo personal computer family, SGI markets two higher performance and more expensive systems: the IRIS Crimson systems and IRIS Power Series supercomputers and servers.

What makes SGI' s products different than Macinto h and DOS computers is the microprocessor. All of SGI' s computers are based on Reduced Instruction Set Computer (RISC) chips produced by MIPS Computer System Inc. In addition, the IRIS systems have an optimized, 3D graphic engine and run the Unix operating system. Despite these differences, the IRIS systems are like other computers. For example, the IRIS computers have a pull-down, point and click graphic user interface and support Adobe Systems Inc. Display Postscript for WYSIWYG (What-You-See-IsWhat-You-Get) functionality.

"The main difference between the Macintosh and Indigo is the Indigo systems have a RISC processor that just has more raw performance power than the Macintosh 68030 processor," Surowiec said. "On top of this , the Indigo systems have greater expandability, faster I/0, real-time, 3D graphics, DAT audio and write 30 to 40 million pixels to the screen per second. The Macintosh doesn 't.

"This added speed boils down to one thing-you can move a color, 3D image around the screen without stopping or noticing any slow down," Surowiec claimed.

To create images like those in Terminator 2, you're going to spend serious money for these systems. But this level of expenditure isn't necessary for most graphics applications. According to Surowiec, the best IRIS computer for color publishing and imaging processing i the Indigo XS24 model. With a 16-inch display and 16MB of memory , the system costs $17,000. Thi model is good for color publishing because it has true 24-bit color processing, and supports 1280 by 1024 pixel resolution. The less expen ive Indigo models have an 8-bit color frame buffer and a 24-bit virtual mode. Inside the Indigo XS24 computer, you'll find a 33Mhz, R3000A RISC chip and a bu s that has a data transfer rate of 133MB per econd. By comparison, the Macintosh Quadra' s bus has a 9MB per second data transfer rate. [ C 0 N T I N U E D 0 N P A G E I 6 2 ]

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Entry Instructions A copy of th e entry form mu st be

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filled out and inserted in s id e th e

and internatio nall y recog nized

and awarded exce lle nce in ann u al

Please note: if your en! ry is

front cove r of each re port submitted .

g raphic des ig ners will serve as

report design . In all of graphic arts,

selected as a winner you will be

For each e ntry, send two re ports

judges for the competitio n. This

there is no competition more pres-

required to provide 60 copies of th e

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year's judge a re :

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check or money order for $35.00

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Winners who cannot provide these

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The 1992 Mead Annual Report

samples by July 17, 1992 will be

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Show wi ll ch ampion the efforts of a

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select few. Winning reports will

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Awards Catalog

and portray a company's image

In formation for the award s and for

Certificates of Excellence will be

through grap hic design, photog-

awarded to the designer, art director,

raphy, illustration, typography,

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print all information. For multiple entries, please make photocopies of

a n ekive ll

ancekivell Des ig n Office Minneapo li s, M

the entry form . Deadline fo r receipt

of en! rics is May 29, 1992.

Mark Schwartz es nadny & Schwartz

Mailing Information

will be notified by July 1, 1992.

between June 1, 1991 and May 31,

Each person who attends the Mead

7992. Entries are required to con-

Annual Report Show wi ll be given

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tain a letter from the chairman along

a catalog. Catalogs may also be

Mead World Headquarters

Cleveland , OH

Entries should be mail ed to :

wi th financial data. Entries may be

obtained after September 17, 1992

ourthou se Plaza N. E.

submitted by the designer, corpora-

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tion , photographer, illustrator,

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For additional information , call 1-800-345-6323, Ext. 53308

butor. Reports need not be printed 011

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th e catalog will be taken from th e

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Entry Form Please ty pe or print clearl y. It is importa nt that a ll fo rms are co mpletely accurate. This informatio n is

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Company Information A NNUA L REPO RT NAM E A

ANNUA L RFPO RT

D YEA R

OMPANY N A ME

ADD RESS

C ITY. STAn, L ll'

COMMU ICATIO

TELEPHO E

S DI RECTOR

Submitted by NAME

COMPA

Y

A DDRESS

CIT Y. STATE. Z I P

Design Information

TELEPHONE

COMPANY

ADDRESS

CITY. STAn. l iP

TELEPHONE

ART DI RECTOR

DESIGNER

P H OTOGRA PH ~R

I LLUSTRATOR

TYPOGRAPII ER

I'RI TLR

ADDRESS

C ITY. STAfE.lll'

Paper Stock and COVER Printing Methods

TELEPHO E

85. WT

W EB

TEXT

BS. WT

WEB

OT H ER

BS. WT

WEB

SH EET-FED

SII EET+ED

DESIGN® 2. FOR .TTER YOU CAN'T BEAT THE SYSTEM. GREAT COLOR SELECTION IS EASY AS 1 TO 5 Thanks to the new color value system, there's no guessing at which color is best for a pecific highlight or shadow. Say you want to draw a red sports car.

Simply grab reds 1 through 5, and start your engine. Number 3 is your base color, 1 and 2 are highlights, and 4 and 5 are shadows. It' that easy.

120 RICH, NEW COLORS 2 GREAT·WORKING NIBS Every aspect of the new De ign2 Art Marker is intended to improve color performance, and to ensure easier, superior ink laydown. Our brilliant, new colors are drawn from two new nibs. The broad nib is wider, for complete coverage. The ink flows through the polyester fiber construction to allow mooth laydown. There is none of the cratchiness or ragged edge of line associated with nylon nib .

The flexible fine-point nib, with varying hand pressure, adjusts d1e width of the line from ultra fme to fme to bold, all in one stroke.

Of course, ink from each nib matches because it is drawn from the same ink re ervoir.

And the physical design of the Design2 Art Markers makes them easier to use, for faster, more accurate color election and a quicker work process. For example, the label accurately depicts the color, and graphics enable quick identification of the broad or pointed nib end. And the markers are also color coded on both end caps, for fast selection when they are in their vertical tored po ition.

Central to your uccess is our new color value system that makes color selection faster, easier and more accurate.

You can see that in the drawing at left. Here, we show just a sampling of our 120 rich, brilliant colors, uniquely formulated from a superior, alcohol-ba ed ink, which meets all current safety standards.

Gree111

Green2

Yellow Green 1 Yellow Green 2

To find out more, write to us at the address below.

The Art ofDesign Headquarters P.O. Box 2223 Lewisburg, TN 3 7091

TECH OLOGY REVIEWS

Unfortunately, this wonderful story about SGI and the IRIS products doesn't end happily-ever-after because there's a mean old dragon in the kingdom that must be killed-a lack of software dragon. So, if you want wonderful 3D performance, you have to be content, at least for a while, with a limited number of software programs. Even though there are 1,400 programs available for the IRIS computers, most are for scientific and engineering design. A a result, there isn't a wide selection of paint, page layout or desktop publishing programs like there is for DOS and Macintosh computers, because the IRIS systems are based on a RISC chip and run the Unix operating system. Surowiec explained the problem this way: "It's the old chicken and egg thing.

We weren't ever attractive to the mainstream software developers until we shipped volumes. But we can't get the volume until we have the software."

Without a doubt, SGI is working hard to get mainstream software companies to develop and rewrite software for Indigo. These efforts have begun to pay off. In recent months , many software companies have announced or introduced software programs for Indigo. Among these companies are Adobe Systems Inc., Alias Research Inc., MacroMind Inc. and Time Arts. Not only is SGI trying to get support from software companies, but they are aggressively promoting their IRIS Graphics Library (IRIS GL) as an industry standard programming interface for 3D graphics. Among the companies pledging support for the IRIS GL library are IBM, Compaq Computer Corp. , Digital Equipment Corp., Intel Corp. , Microsoft Corp. and Unix Systems Laboratories. With all this support, SGI' s 3D technology has a shot at becoming a de facto industry standard.

In case you're curious about the companies working on software for Indigo, here ' s a partial list: Adobe Systems Inc. has announced that Illustrator will be available this year. Adobe Systems Inc. , 1585 Charleston Road, P.O. Box 7900, Mountain View, California 94039, (415) 961-4400.

Alias Research Inc. has four new products for Indigo: Alias Designer, a $10,000 program for creating new product designs, packaging and styling; Alias Animator, a $14,000 animation program; Alias Full Color Publisher, a $9,000 page layout program and Alias Sonata, a $10,000 2D and 3D modeling program. Alias Research Inc. , 110 Richmond Street East, Toronto, Canada M5C 1P1 , (416) 362-9181.

Autodesk Inc. is developing a computer aided design and drafting software product for Indigo that will be available sometime soon. Autodesk Inc. , 2320 Marinship Way , Sausalito, California 94965 , (415) 332-2344.

Digital Arts has a variety of video graphics products under development for Indigo. The first to be released are RenderManger, an interactive photo-realistic 3D rendering 162

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product, and Digital Arti st Paint, a high-re olution image manipulation program. Digital Arts, 4531 Empire Avenue, Burbank, California 91505, (619) 541-2055.

Frame Technology Corp. is making a ver ion of its de ktop publishing software for Indigo. Frame Technology Corp. , 1010 Rincon Circle, San Jose, California 95131, (408 ) 433-3311.

Informix Software Inc. is working on a 3D graphic, desktop presentation product. Informix Software Inc., 16011 College Boulevard, P.O. Box 15998, Lenexa, Kansas 66219 , (800) 331-1763.

MacroMind Inc. is porting MacroMind Player. MacroMind Inc., 600 Townsend, San Francisco, California 94103 , (415) 442-0200.

Spyglass Inc. has introduced Spyglass Transform , which is a 2D data and image manipulation program for $795.

Spyglass Inc., 701 Devonshire Drive, C17 , Champaign, Illinois 61820 (217) 355-1665; fax (217) 355-8925.

Time Arts announced a color graphics program (code named Collage). It will have video graphics , a color palette and artist brush capabilities. Time Arts, 1425 Corporate Center Parkway, Santa Rosa, California 95407, (707) 576-7722; fax (707) 576-7731.

VPL Research Inc. introduced Swivel XVR for the Indigo, a version of the popular Swivel 3D, three dimensional program. VPL Research Inc. , 656 Bair Island Road, Third Floor, Redwood City, California 94063, (415 ) 306-1150.

SGI can keep you up-to-date on all these program as well as provide you with mountains of technical information about the IRIS computers . Silicon Graphic s Inc ., 2011 North Shoreline Boulevard, Mountain View , California 94039 , (415) 960-1980.

0

NEW FILE CoNVERSION UTILITY

Altsys Corp. is one company that always has something new to talk about. (Or, maybe I'm on their mailing list too many times.) Their big news is a $149 utility program, called EPS Exchange 2.0, that allows Aldus FreeHand users to open and export Adobe Illustrator 88 or Illustrator Version 3.0 or later documents. Also , the utility allows users to transfer Aldus FreeHand files to the Adobe Illustrator format so the files can be used in Adobe Photoshop and Letraset LetraStudio programs. EPS Exchange requires Aldus Freehand 3.0 or later, a Macintosh Plus or SE with 2MB of memory.

Since it was founded in 1984, Altsys has not only developed Aldus Corp. ' s FreeHand drawing program, but the company has developed and is marketing a bunch of Macintosh font editing and graphic design programs.

RASTER0PS PRESENTS CORRECT COLOR FRoM START To FINisH. DISPLAY OUTPUT

INPUT

l TRODUCING THE (ORRECT(OLOR MA AGEMENT FAMILY. At long last, what you see is what you get, from start to finish.

RasterOps, the leader in color graphics technology for the Macintosh, has put it all into one family of products that's available today.

With the RasterOps CorrectColor family, there'll be no more costly, time-consuming trial and error. No more printing output thats the wrong color. No more ~ guesswork. Here's how it works. ·.. ··· There are individual Device RasterOps CorrectColor Display System Calibrator Color Profiles (DCP) for input The devices and printers. Display correaeolor systems also have unique DCPs 1• • • Management system which are created when the 300 Input Dffl:t CorrectPrint RasterOps CorrectColor Calibrator "reads" the display's screen. Included with the calibrator is the RasterOps CorrectColor Management System software which

n . . . _ llllillii .::.········.·.::

knows and compensates for these profiles when transmitting color information from one device to the other. This ensures consistent color across your entire system.

This easy and efficient way to manage color can be used with most hardware or with fully integrated devices from RasterOps which include our CorrectPrint 300 printer and 24bit photorealistic displays. There's also CorrectColor The Rasterops Calibrator gives you an Optional acceleratOr board Which WYSfWYG across the board. makes the color management functions run up to 60 times faster.

Who else but RasterOps would bring you the first complete system for calibrated color, from start to finish?

For more product information or the name of your nearest RasterOps dealer, diall-800-SAY COLOR today.

RA5TER0PS® THE ART & SCIENCE OF COLOR"'

©1992 RasterOps Corporation. All brand names and products are trademarks or registered trademarks of their respective holders.

TECH OLOGY REVIEWS

One last note, Altsys recently announced it is giving away a free booklet called Type Terminology On The Desktop, which defines type and desktop publishing terms. To get the new book, information about the new product, or just to get on the mailing list, contact Altsys at 269 We t Renner Road, Richardson, Texas 75080, (214) 680-2060; fax (214) 680-0537.

ALDUS SHIPS PAGEMAKER 4.2

Last winter, Aldus Corp. embarked on an impressive streak of product updates and announcements. So far, Aldus has released five new or revised products. Among these are PhotoStyler 1.1, PageMaker Database Editor, FreeHand 3.0 for Windows, FreeHand 3.1 for the Macintosh and the latest, PageMaker 4.2 for the Macintosh.

PageMaker is Aldus's extremely successful page layout program. In the new version, Aldus has added 40 new features. At the top of this list is Apple System 7 compatibility, enhanced typography and improved performance such as faster text importing. With System 7 compatibility, PageMaker 4.2 supports Balloon Help, TrueType fonts, and Apple Events. (With Apple Events support, you can

HOttr sl101J grows becattse ottr cmttive side at1d our bttsitless side work togetl1er.

1ltttts wl1y we ttse Clietlt~ &Profit~.''

Successful ad agencies and desew studios get that way when everyone wens together. Over 500 of today's smartest shops do it with Clients &Profits~ the best-selling job trac:lq, costi& biq and acc:otlltq software for the Mac:ittosh. It's designed only for creative businesses,so it works just like you do.

Call 800 334-3001 today for a free ~ed toor and complete information.

Or fax (619) 945-2365.

now update between PageMaker and Aldus FreeHand file .)

Plus, with the new version, Aldus is giving away a little bonus-a free copy of PrePrint, a TIFF image enhancement program. The retail co t of PageMaker 4.2 is $795. If you're a registered PageMaker 4.0 or 4.01 owner, upgrading to PageMaker 4.2 is $85, which includes PrePrint 1.5. Or, if you have an earlier PageMaker version, the upgrade i $150.

The system requirements for PageMaker 4.2 depend on whether you have a color or black-and-white display. The requirements are an Apple Macintosh II series system or SE/30 computer, 4MB of memory and an 80MB hard disk.

For black-and-white displays, you ' ll need a Macintosh LC, SE, Classic or Plu computer with 2MB of memory and a hard disk. PageMaker 4.2 runs under System 7 or System 6.0.5 or later, and it requires Finder 6.1 or later.

For more information about PageMaker 4.2 and other new products, contact Aldus Corp. at 411 First A venue South , Seattle, Washington 98104, (206) 622-5500.

Q uiCKDRAw DISPLAY CARDS

With NEC Technologies Inc.'s two new QuickDraw display cards, NEC's popular MultiSync FG monitors will work great with Macintosh II and Quadra Series computer . Both new MacFG boards allow you to change the monitor's dotsper-inch (DPI) resolution without restarting the system.

Plus, the boards have a variety of viewing modes-72 DPI, condensed and expanded. Condensed and expanded mode do just what you might think. The condensed mode queezes more information to fit on a page and the expanded mode magnifie information on the creen.

Of the two new boards , the MacFG 24X Color Di play Interface Card is a better product for graphic designer working on demanding color, paint and de ktop publi hing applications. To make the $1,899 price worth it, the MacFG 24X board has 24-bit color and features the NEC Accucolor control sy tern, which enables you to adjust and match oncreen color to almost any printer, service bureau , other monitor screen or personal preference.

At $899 , the NEC MacFG 8X Color Display board will save you money , but it won't match the performance. The MacFG board with it 8-bit color support i de igned for basic business graphic application , it i primarily de igned to accompany the NEC MultiSync 3FGX monitor.

NEC Technologie Inc. can be reached at 1414 Massachu etts Avenue, Boxborough, Ma achusett 01719 , (508) 264-8000.

WORKING COMPUTER 7be Triangle Building 4755 Oceanside Blvd., Suilf 200 Oceanside, CA 92056 (619) 945-4334

164

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•

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Your voyage &om start to finish doesn't take forever; either. Ray Dream Designer's built-in Chris had the right idea He knew the world

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DreamNet, Ray Dream Designer 2.0 and Ray Dream are trademarks of R~y Dream, Inc. All othe~ tr":demarks are properties of their respective holders. 1992 Ray Dream lnc. 1804 N . Shoreline Boulevard, Mountam Y1ew, CA 94043.

BooK REVIEws ADVERTISING R EALITIES

By We s Perrin Published by Mayfield Publishing Company 1240 Villa Street, Mountain View , California 94404

$13.95

No matter what its title, why this small paperback is presented as a textbook seems its only unreality. It is crammed with information way beyond its size and price tag, good stuff that i very real for advertising agency operation, but often above the student level dream.

Not to misunderstand, the author's well-experienced realities of the gritty challenges of today' s ad agency management are the value of this book. Its pages are a valuable catechism of understanding and cautionaries about agencies and clients, ad people, career choices and employment fits.

As a textbook, the advertising student is well advised to study it. Graduation time is job-hunting time and even the first choices will probably define the ensuing career path. Wes Perrin's "get real" information is worthwhile ammunition to hunt out a sensible pathway.

As a handbook for the working professional, already immersed in the realities of the advertising agency, Perrin's depth of insights about how ad agencies "live and breathe," their "coping with client ," "surviving and thriving," the "creatives," and their going "way-over-the-budget" are all very real parts of operations and life in the ad world.

This fellow, Wes Perrin, is a delight. He writes with color and a good sense of humor that he surely used to help create one of the agencies that is now on the national list of hot creative shops. A self-admitted "rubber chicken man," Perrin's personality glows through his writing, so hi book is very easy to read.

Though he sets the story in the voice of the account manager/account executive, he takes much more. Portland, Oregon's Borders Perrin & Norrander began as an agency with no clients, a breakaway from an Ogilvy and Matherowned agency. The original "Gang of Four," with Bev Petty as staff, opened offices that announced at the reception desk, "Timid clients need not apply." Since the new agency was in the old drunk-in-the-doorway part of town, their announcement pictured a wine bottle in a paper sack. From such audacity and bravado twenty years ago, they have linked with advertisers who have shown respect for vitality and creative thought to gain major billings and high-tech offices in the city center.

All of this is in Advertising Realities, plus examples of the agency's "strategic thinking and big ideas: the cornerstones of effective advertising" for typical clients.

It's my belief that the ad biz is one of making fantasies and Perrin's book is about the business of getting it done in a real way. This small and valuable handbook is for the 166

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pros, but as a student's textbook, it will reach a needful audience, one that might not yet realize that this "glamour biz" has a busine s base. Then, too, Perrin knows that if it i accepted as an advertising course textbook, ale are as ured. Good marketing thinking from a great adman.

Perrin , having completed this gift to education, i now moving to another post of contribution to the world of advertising, the presidency of the American Advertising Museum, also in Portland, the nation's complete archive of advertising history. His book will join the 3,500 others in the Museum's re earch library as the mo t up-to-date reading of ad agency operation as this vital field grows, shifts and changes.

-Byron Ferris KANBAN: THE ART OF THE JAPAN ESE SHOP SIGN

By Dana Levy, Lea Sneider & Frank B . Gibney Published by Chronicle Book 275 Fifth Street, San Francisco, California 94103

22.95

Kanban may seem like an obscure subject-the playing field of scholarly collectors or Japan aficionados. But the traditional shop sign is the genesis of the trademark in Japan. The book provides many examples that make kanban a worthy historical precedent for those currently working in graphic design.

The book primarily con ists of photographs of antique, carved wooden signs. The majority of the photographs are black-and-white, which is not a significant drawback in this case. Most symbols clearly communicate the type of business, easily crossing over cultural, historical and language barriers. Interesting to note, many of the sign shown are from the Peabody Museum in Salem, Massachusetts, which has the world's largest collection of kanban.

The history of kanban is fascinating. Signs were first proscribed in eighth century Japanese law, so the history of kanban parallels the transition of Japan from a military to a mercantile society. The graphic development rises and falls with each historical period, but the message was always distilled to catch the public's eye. These sign provide a rare glimpse into the world of Japanese adverti ing and business acumen.

According to the publisher, this is the only book available in English on the classic Japanese business signs. It also happens to be a book that is well designed, well written and well organized. The text is concise, taking up only 27 of the 167 pages. The signs are organized by the type of business: food and drink, tobacco, household goods, etc.

In addition, the commentary section places a small reprint of 106 of the symbols next to the historical and social background of each individual work.

-Amy Herndon

c

u

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R

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BooK REVIEWS

TOTAL DESIGN, OBJECTS BY ARCHITECTS

By Dorothy Spencer Published by Chronicle Books 275 Fifth Street, San Francisco, California 94103

$45.00

Total Design, Objects by Architects, could easily be mistaken for a photographic collection of furniture designed by architects. Over 90% of the "objects" happen to be furniture. While total design-interiors and exteriors designed together as complete architectural works-is written about, it is rarely shown in the pages upon pages of photography. Putting aside the rather enigmatic title, the author does offer a comprehensive history of architectural involvement in interior design starting in the early nineteenth century and examples of furniture (with a few housewares) designed by architects. Photos are reproduced in both color and black-and-white.

Although Dorothy Spencer notes that architects have designed interiors for many years, a cohesive movement was formed as a reaction to the industrial revolution. Hence the book starts with the Arts and Crafts movement in England that placed increasing importance on hand-crafted, decorative arts as a social virtue in the light of mass production. Art Nouveau and the Arts and Crafts movement in the United States are chronicled next. These three sections showcase fine hand-crafted furniture and objets d'art all made under the influence of the "nineteenth century preoccupation with individualism and symbolism."

It's worth noting that the author discusses the architect's desire to have complete design control of exteriors and interiors (showing interior examples of Greene & Greene and Frank Lloyd Wright), but she does point out that very few people could afford such services. This raises some serious questions about the viability of the total design concept-a valued service or an architect's dream?

But dreams go on and the movement took a 180-degree swing as the century turned and the modernist influence embraced "mechanization, mass production, and mass consumption." Furniture to be mass-produced needs to be simple. Different materials were introduced, particularly the use of metal and laminated wood. Once again, total design was embraced by architects, but this time it was still cost prohibitive and the people didn't like the modern styles.

After World War II, the dilemma of supply and demand was resolved in favor of the consumer: "With the advent of a new middle-class market, designers had to adjust their ideas. Standards of taste were no longer set by an elite, to be sifted down to the lower classes. Nor did taste automatically reflect social standing, as it had in past decades."

The effect on design was profound and is well illustrated with photography, bringing back memories of molded '50s chairs, ala Ray and Charles Eames. The post-World War II selections are still primarily furniture, but you do see 168

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more household items in the last section, "Total Design Today." In between, there is a discussion of various design movements, most notably Pop Art, Post-Modernism and Italian Design.

All in all, the book seems to offer two different experiences: A photographic chronology of furniture by architects and a well researched and interesting historical discussion of furniture through the architectural notion of total design.

Both are interesting, but neither directly supports the other.

-Amy Herndon

10,000 EYES The American Society of Magazine Photographers' Celebration of the 150th Anniversary of Photography Published by The Professional Photography Division of Eastman Kodak Company and Thomasson-Grant, Inc. One Morton Drive, Suite 500, Charlottesville, Virginia 22901 $50.00

10,000 Eyes is an outstanding collection of some of the best work from the American Society of Magazine Photographers (ASMP) celebrating 150 years of photography.

The foreword, by renowned photographer Arnold Newman, chronicles the history of ASMP and its role in furthering the art of photography.

A panel of seven top photo editors viewed more than 13,000 images submitted by ASMP members. From this they chose 181 of the finest images, including the work of Jay Maisel, Mary Ellen Mark, Arthur Meyerson, Gilles Peress and Galen Rowell. A special "ASMP Masters of Photography" section features classic images from such well-known Society members as Ansel Adams, Richard A vedon, Margaret Bourke-White, Ernst Haas, Dorothea Lange, W. Eugene Smith and Edward Weston.

Drawing upon each of the photographic disciplinesadvertising, editorial and fine art-10,000 Eyes presents a wide range of American photography. Revealing portraits of Billie Holiday, James Dickey, Marilyn Monroe, Man Ray, Martin Luther King, Jr. are interspersed with dramatic images from other fields including nature, fashion and travel.

Equally affecting human interest photography is also featured: A little girl and her kitten flash identical gap-toothed smiles, a scrawny boy poses with bodybuilders on the beach, a newlywed tries to prevent his angry wife from taking his Corvette by clinging to the hood as she speeds through town.

Society member Edward Steichen once said, "The mission of photography is to explain man to man and each man to himself." 10,000 Eyes accomplishes that mission. It is an excellent photography book that I highly recommend.

-Scott Teaford

frorn Your heart, d to the World.

Works on Hop_ the Kudos

MATERIALS FoME-CoR BoARD

Monsanto ' s Fome-Cor boards are sporting a decidedly different look. Sandwiched between the trademark white clay-coated liners is the drama of black for daring displays, presentations and mountings of any type. Think of an Oreo cookie turned inside-out. Available in the standard 3/16" thickness, the boards come in 32" x 40" and 48" x 96" sizes for projects of most any dimension. So if you're trying to decide how to put some zing in your next presentation, consider the only white board with black in the middle.

For further information contact Fome-Cor Graphic Arts Boards, Monsanto Company, Department 198, 800 North Lindbergh Boulevard, Saint Louis, Missouri 63167.

ADHESIVE SHEETS

If your co-workers run for cover when you use spray adhesives , Chartpak has the product for you. Dry Bond Adhesive Sheets "eliminate the need for noxious sprays, waxes and glues, saving time and the environment." While I'm all for anything that can help save the environment, I'm even more impressed with the fact that the product creates a strong bond (without leaving residue on clothing, furniture or equipment) while still allowing artwork to be moved around. Dry Bond is available in an 11" x 17'' format in 25 and 50 sheet pads. For further information on this or any other Chartpak product, phone (800) 628-1910 or write Chartpak, One River Road, Leeds, Massachusetts 01053.

ORGANIZER

The Norwood Products Company says their Memogenda Time Management System "is a handy time organizer designed to help busy people organize their schedules."

Now, not only can you look forward to future appointments but you can review past projects and get a grip on your schedule. And the organizer, along with a separate pocket for notes and data according to Norwood , is "enclosed in a reusable zippered leathertex case. " Leathertex is definitely not on the endangered species list, so you can buy it with a clear conscience. To order your Memogenda, phone (615) 833-4101 or write Norwood Products Company , 1000 S. Thompson Lane , Nashville , Tennessee 37211.

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TASK LIGHT

Biovation Products, Inc. has introduced Bio-Lite, a new lighting system which they ay provides true color and twice the brightness of everyday fixtures. No longer will you have to buy expensive halogen bulb or get up at the crack of dawn to take advantage of the best lighting.

Bio-Lite produces a soft light de igned to duplicate natural morning sunlight, with a simple 60-watt bulb. By converting normal alternating household current into direct current, the lamp ' s circuitry eliminates the flicker found in standard incandescent and fluorescent lights that's not only annoying but causes eye strain. Available in a flexible desk lamp or board-type task light, the company claims Bio-Lite is ideal for designer , photographer , architects and anyone else whose work requires optimum light and true color. So stock up on those 60-watt bulb and order a light fixture by calling (203 ) 454-4775 , faxing (203) 454-4889 or writing Biovation Products, Inc. , 335 Post Road West, Westport, Connecticut 06880.

- Sue Sprinkle LITERATURE FoR YouR FILES A request on your letterhead to the following companies will bring you the literature described .. .free unless otherwise noted.

Editor 's Note: As a sidebar to our Recycled Paper article (see page 111 ), we have included information on a number of paper promotions for recycled paper stocks, as well as instructive videotapes and books on various aspects of recycled papers and recycling of other graphic arts materials.

Azon Corporation ... offers two recycled papers for large document xerography users, Thru-put Recycled Copy Bond and Thru-put Vellum, made without Volatile Organic Compounds (VOCs). The copy bond contains 50% total recycled content made up of 40% pre-consumer and 10% po t-consumer waste. Available in all heet and roll sizes, the company says their Thru-put Recycled Copy Bondi the first recycled copy paper to be available for large format use. Thru-put Vellum i manufactured of 100% rag paper and tran parentized and coated without the use of VOCs. "No VOC emissions during manufacture or post-consumer disposal helps reduce the impact on the environment,"

Where there's a will, there's a surprise.

Oscar Proggs, the oldest Production Manager in the world died last month at the age of 103.

To his aged daughter, he left his matchless collection of X~Acto knives.

To his three doddering sons, his uncut set of Horatio Alger's Self Improvement Volumes.

The balance of his estate of 31 fully restored Duesenbergs and Rolls Royces he left to his faithful representative from Bulkley Dunton.

"He's the only rep I ever met who didn't drive me crazy, so he gets the wheels," was his terse explanation.

Whatever the size of your estate, someone from Bulkley Dunton would be glad to make your days on this earth free from any paper product concern.

Since 1833

BULKLEY DUNTON III5 Broadway, New York, NY wow-2890 2I2-337-56oo /205 Chubb Ave., Lyndhurst, NJ 07071 201-933-64oo

MATERIALS

says Mike Cline, product manager. For more information, contact Mr. Cline, Azon Corporation, 720 Azon Road, Johnson City, New York 13790, or phone (800) 847-9374.

Keeping Your Company Green ... by Stefan Bechtel and the editors of Rodale Press, is a helpful book that offers simple, practical advice on steps your company can take to keep it-and the world-green. Plastics, green marketing and setting up an in-house recycling system are some of the topics covered in this handy little book; a directory of green products and service is also included. To request a copy, write Marge Stefke, Rodale Press, 33 E. Minor Street, Emmaus, Pennsylvania 18098.

Get Real! A Consumer Guide to Real Recycled Paper .. . is an informative brochure from Conservatree Paper Company, a wholesale distributor of recycled paper committed to the development of new recycled products. It provides a listing of available recycled papers as well as useful charts, definitions and explanations of sources of recycled papers.

To request a copy or for further information about Conservatree Paper Company, Environmentally Sound Papers, write 10 Lombard Street, Suite 250, San Francisco, California 94111 or phone (415) 433-1000.

Neenah Paper... has doubled the percentage of post-consumer wastepaper in its four Classic Laid Recycled Papers.

Previously 15 %, now they will contain a minimum of 30% post-consumer wastepaper. All four papers contain 60% recycled fibers and 40% virgin fiber. They are available in a newly improved brighter Recycled Bright White, as well as Recycled Ivory , Recycled Topaz and Recycled White Frost, and are offered in a variety of weights in matching writing, text and cover. The Swatchbooks are available by calling Neenah-Link at (800) 338-6077, ext.

200 (Monday-Friday, 8 a.m.-5 p.m.); they will connect you with a Neenah Paper merchant in your area.

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Now you can find .. .lined notepads that are environmentally friendly. Riverside Paper Company offers Ecology, 100% recycled note pads with 10% post-consumer waste. Ecology is also available in copier/duplicator bond, bond/off et, off et, bond and envelopes. To find the distributor nearest you, write Riverside Paper Company, P.O. Box 179, Appleton, Wisconsin 54912.

Handle With Care .. .is a brochure from Hunt Manufacturing Co. that addresses consumer ' most often asked que tions about the Bienfang Foam Board manufacturing process as it relates to the environment. The brochure de cribes the Bienfang CFC-free manufacturing process and improvements in product recycling and packaging. Bienfang Foam Board is a brand of Hunt Manufacturing Co., headquartered at 230 S. Broad Street, Philadelphia, Pennsylvania 19102.

For further information or a free copy of the brochure, write to Hunt or call Customer Service (800) 765-5669.

Laser Technologies & Services ... one of the nation' fastest growing recyclers of disposable toner cartridges ha inaugurated a nationwide Toner to Doner cartridge recycling program. Under this program, corporations could send their laser printer toner cartridges-Canon, Apple, Wang and Hewlett Packard, among other -to Laser Technologies & Services, who in turn will donate $1.00 for every cartridge to needy children. More than twenty million u ed toner cartridge are being dumped annually in landfill aero the country. Rob Falcone, president of Laser Technologie & Services , said, "Mo t corporation are throwing their cartridges away because they are unaware that a simple program exists for recycling them. Toner cartridges are the products of advanced research and technology and need not be thrown out once they are used. They can be recycled and made new again." For those interested in participating in the Toner to Doner recycling program, call (800) 362-8663.

Recycled Papers, The Essential Guide ... by Claudia G. Thompson, published by AlGA Boston's Recycled Paper Project and distributed by MIT press, is an aptly named book. Ms. Thompson cover the history of papermaking, how recycled papers are made, definition and tandards, the characteri tics of recycled paper, and also addresses the issues of designers specifying recycled paper and the challenge of the solid waste problem. Appendice include a list of available recycled papers, bibliography and re ources for further information, a glos ary, diagrams of the pulping and papermaking processes and a de igner impact analy i form.

The book is available in both hardcover and paperback; $25 for the paperback and $40 for the hardcover edition.

To order from The MIT Press, phone (800) 356-0343.

VIDEO Printing With Recycled Paper .. .a new video co-produced by Zellerbach, A Mead Company and James River Premium Printing Papers Group, examines i sues related

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RECYCLED PAPER BEFORt TUT·s SECRET WAS UHRAUtlltD WI? Wl?rl? ma.kin9 rl?c~cll?d papl?r in 1915. Sl?vl?n ~l?arS bl?forl? thl?

tr~asur~-ladvn tomb of Kin9 Tutankham~n was uncou~r~d.~ Cross Point!? bl?lil?lii?S thl? facts about rl?c~cll?d papl?r should not

b~ buri~d ~ith~r.

f Sow~ mad~ Sp~cial uid~o. W~ ~xplain a

how

9J?nuinl? rl?c~cll?d papl?r can hl?lp alll?viatl? thl? landfill probll?m.

And WI? di9 out thl? truth about dJ?-in.kin9 and thl? J?nvironmJ?nt.

~Cross Point!? did not 90 into rl?c~clin9 to brl?a.k nl?w 9round.

WI? simpl~ ri?C09ni?l?d that wastJ?papl?r was a lll?r~ practical sourcl? of fibl?r. Toda~ WI? ma.kl? 1o uncoatl?d, acid-frl?l? papl?rS in a full palJ?ttl? of colors. plus bri9ht whit!?- without crJ?atin9 harmful dioxinS in thl? dJ?-in.kin9 prOCI?SS. ~ Un,artl\ tl\' fadS about

r'cycl'd pap,rs; ord'r our uid'o witl\ ttL' coupon b'low.

Cross Pointe~ P A P E R

<t> 1992 Cross Pointl' Papl'r Corporation

C ORPORATION

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to specifying and printing with recycled paper. The tenminute video investigates topics such as recycled paper' s quality, availability, price and printing characteristics, as well as its long-term market outlook. It features interviews with printers who have substantial experience with running recycled paper on press and comments from industry experts and end-users. For further information , contact your nearest Zellerbach or James River printing papers sales representative or branch office or phone Craig Jolley at Zellerbach, (513) 495-6093.

CERMA PuBLICA noNs The following is a list of publications available from The Center for Earth Resource Management Applications, Inc. (CERMA), a nonprofit educational organization which focuses on issues relating to source reduction and recycled products. CERMA publishes Recycled Paper News and staffs the Recycled Products Information Clearinghouse, a national recycled products hotline which is an outgrowth of the EPA Procurement Guidelines Hotline. To order any of these publications, write CERMA, 5528 Hempstead Way, Springfield, Virginia 22151, or phone (703) 750-1158, fax (703) 642-1258.

Recycled Paper News is a subscription-based newsletter published ten times per year. RPN offers in-depth articles

on the latest recycling technology, products, market trends and related policy implications. Regular columns include "What' s New?" providing the latest information and announcements of new or reformulated recycled paper and paper products, and "State of Affairs ," offering timely synopses of the latest state legislation affecting recycled paper regulations. A year' s subscription to RPN is $195.

Recycled Printing & Writing Papers: Products & Manufacturers, Winter 1992 is a product chart and directory of manufacturers of printing and writing paper. It is updated and printed quarterly. The publication is a list of 56 mills and 300 brand names divided into eleven grades of printing and writing papers. The product chart notes important information such as the amount of post-consumer and deinked content, if the content is based on total sheet or fiber weight and which papers have received private labeling certification such as Green Cross , Canada' s EcoLogo and the New York State recycling emblem. Mill addresses, contact names and phone numbers are provided. Recycled Printing & Writing Papers is available for $25 prepaid ; a year ' s subscription for four issues is $80 prepaid.

Printing on Recycled Papers (subtitled Ignorance and Superstition vs. Skill and Science) is a how-to manual that "dispels the myth that recycled paper is an inferior product."

The manual tackles questions asked by printers and troubleshoots potential problem areas. This publication also contains a comprehensive glossary of terms, an explanation of the recycled symbol arrows and a reproduction sheet of the logo. The cover price is $25.

Are you having problems finding correct information about a particular state's legislation? Want to know who is likely to buy your recycled product locally? Or if there is a local manufacturer that can use your recovered materials?

How can you get involved with other recycling advocates ?

State Recycling Contacts includes the addresses and phone numbers of state government solid waste organizations, recycling organizations and EPA regional offices. Canada is also included. This publication is $10.

Miscellaneous Recycled Paper Products is a listing, updated quarterly , that provides the names, addresses and phone numbers of manufacturers and distributors of recycled paper products from office supplies to household products.

The list includes fax paper, gift wrap, bags, report covers and binders, among other recycled paper products; it is $10.

Call, send or fax for a free catalog.

Name Title Company Industry

President Bush ' s Executive Order released in October, 1991 , requires, among other things, that Federal Agencies be required to recycle, buy recycled products and source reduce. A copy of this Executive Order is $3.

Phone

Address State

City

Zip

FPG International Corp 32 Union Square East New York, NY 10003-3295 Ph one 21 2 77 7 421 0 Fa csi mi Ie 21 2 995 9652

A07

- Anne Telford 174

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CLUBS , CONFERENCES , SEMINARS CATALOG CoNFERENCE

The 9th annual catalog conference and exhibition, sponsored by Catalog Age and the Direct Marketing Association, takes place at the New York Hilton, June 23-26. During the conference, participants will have an opportunity to select from more than 100 sessions featuring many industry experts who will provide practical information and answers to questions and problems the industry faces. Exhibits will show ways to control costs and improve efficiency in all phases of the catalog business. For a program brochure, write to Catalog Conference & Exhibition, Cowles Business Media, 911 Hope Street, Box 4232, Stamford, Connecticut 06907 or call (800) 927-5007.

STANFORD

The Stanford Professional Publishing Course will be held in Palo Alto, California, July 19-31. Tuition is $2,475 for Stanford Alumni members, $2,575 for non-members. This includes books, materials, receptions, an excursion, all lunches and continental breakfasts, the keynote dinner and the closing party. Participants are encouraged to stay in Roble Hall, an on-campus tudent residence reserved for the course. Single room rate $34 per day; double occupancy $25 per day. For information, contact Bill Merz, Manager, Stanford Publishing Course, Stanford Alumni Association, Bowman House, Stanford, California 94305 or call (415) 725-1083 or fax (415) 725-8676.

NEw YoRK

The One Club For Art & Copy, sponsor of The One Show, recently filled vacancies on its Board of Directors. The additions are Steve Penchina, Ketchum Advertising; Gary Goldsmith, Goldsmith/Jeffrey; and Lee Garfinkel, BBDO New York. They will join Ron Anderson, Tony Angotti, Larry Cadman, Sal DeVito, Mike Hughes, Tom Nathan, Joe O'Neill, Diane Rothschild, Helayne Spivak and Tom Thomas. The posts were made available due to the expired tenures of former president Allan Beaver and member Tom Monahan. The Club has a membership of almost 700 art directors and copywriters. For further information, contact Mary Warlick, 3 West 18th Street, New York, Nev., York 10011 or call (212) 255-7070 or fax (212) 633-6950.

SEATTLE

New officers were inaugurated at the Society of Professional Graphic Artist : president Bill White; vice president/ promotions manager Richard Polf; treasurer/membership coordinator Dan Ballard; secretary Christine Vaughn; newsletter editor Carol Dillon; assistant editor/ambassadorat-large John Chamberlin; biography editor Monica Kaul; ethics committee chair Bill Werrbach; phone tree coordi-

nator Barbara Newton; luncheon reservations coordinator Celeste Henriquez. SPGA, P.O. Box 31258, Seattle, Washington 98103.

CAPE MAY, NEW JERSEY

The Art Kane Photo Workshops has changed its name to the Cape May Photo Workshops and this year's meetings are beachside from June 22 through August 7. National and international photographers specializing in editorial, portraiture, architecture, photojournalism, travel, fine art, corporate and computer imaging will provide sessions for photographers of all levels. These include both five day in-depth workshops involving hands-on activities and critiques ($495) a well as weekend seminars involving lectures, portfolio critiques and discussions ($195). Also the workshop will continue the international program with a return to Italy in July and September, Israel in October and Paris in November. For additional information, call (609) 884-7117, Bill Deering, ext. 16; Sarah Hardy, ext.

17; Norris Clark, ext. 11; or fax (609) 884-9074 or write Cape May Photo Workshop, 1511 New York Avenue, Cape May, New Jersey 08204.

CHICAGO

Women in Design/Chicago announced its 199111992 Board of Directors: president Louise Tessing; vice president Susan Emanuel; secretary Gabrielle Schubart; treasurer Carolyn Aronson; membership directors Debra Schoeneberg/ Jessica Jay Jagielnik; programs directors Pat Keenen/Debra Naeve; education director Nathaniel Ascher Marks; special programs directors Lynn Holler Zurowski/Gladys Rosa Mendoza; public relations director Molly Ungs; publications/resources directors Debra Kocis/ Chris Paule/Karen Forch-Leader; fundraising Cathy Ewan; directors at large Joyce Pekala/Mary Jo Krysinski/Sherry Trojniar Russo; newsletter editor Catherine Lange; newsletter designer Lena Checroun; chairman Gladys Rosa Mendoza; photographer Sue Kalesz; copywriters Amy Vanderstoep/Deborah Spector/Laura DiGangi. Women in Design, 2 North Riverside Plaza, Suite 2400, Chicago, Illinois 60606, (312) 648-1874.

SEGD The 1992 National Conference of the Society of Environmental Graphic Designers will take place in New York, August 13-15. For more information, contact SEGD, 47 Third Street, Cambridge, Massachusetts 02141 or call (617) 577-8225 or fax (617) 577-1769.

-Jean A. Coyne Copy must be received two months prior to the publication date.

Please include a contact, phone number and a full address.

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CA BACK ISSUES Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period ( 1985 on), a hundred or less of others, and none of a few. That' s why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

We pay the postage, second-class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

Issues not listed are no longer available.

SEP/OCT 1985

$7

Barry Mo er; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacramento

NOV 1985

$2 1

CA-85 Design Annual

DEC 1985

$21

CA-85 Advertising Annual

JAN/FEB 1986

$7

MAY/JUN 1987

John Van Dyke; GSD&M ; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Moha es

JUL 1987

$7

CA-87 Advertising Annual

$14

Illu tration Annual $14

$7

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures ; Louise Fili; James Sebastian; Franken berry, Laughlin & Con table; The American Advertising Mu eum ; Next $21

CA-86 Design Annual $21

CA-86 Advertising Annual

JAN/FEB 1987

DEC 1987

$21

$7

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser De ign ; Twenty- even Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right;" Index to Volume 28

SEP/OCT 1988

$7

Tony Schwartz; Julie Lieberman ; Fran~o i Robert; NFL Properties; Nevi lle Brody; Exh ibit; Creative Greeting Cards; Herbert Bayer

NOV 1988

$21

NOV 1990

DEC1988

DEC 1990

JAN/FEB 1989

$7

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

JUL 1989

$14

AUG 1989

$7

JUL 1988 Illustration Annual

$21

Illustration Annual

14

$7

$7

$14

7

Frankfurt Gip Balkind; Annual report ; James Stagg; Clients and Designers; Office Ergonomics ; Brian Lanker; Crispin & Porter Advertising ; Alan Chan De ign Company ; Exhibit

NOV 1991 $7

Tim Girvin ; Pagano, Schenck & Kay ; Aaron Jones ; Wine Label Get Bolder; Terrelonge Design ; "Design-Speak Vs . Communicating for Success;" Richard Mantel ; TED 2; deGraf/Wahrman; Exhibit

JUL 1990

14

Illu tration Annual

SEP/OCT 1991

$21

$7

$14

7

Museum Design Competition; Mandelbaum Mooney Ashley; James Mar h; Client and Designers; Johns + Gorman Films ; Rick Rusing ; Emery Vincent Associates; Pricing & Ethical Guideline ; Exhibit

Photography Annual

Michael Brock; Rob Day ; Great Moments in Design Tools ; The Ball WCRS Partnership; Geof Kern ; Madsen & Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

MAY/JUN 1990

$7

MAY/JUN 1991

AUG 1991

Lewis Moberly; William Coupon ; Drenttel Doyle Partners; Anthony Russo ; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit

JAN/FEB 1990

MAR/APR 1991

Soviet Graphic Design; Bill Westbrook; C.F. Payne; Graphic Demographic ; Michele Clement; Vaughn!Wedeen Creative; Creating an Eco-Safe Office ; American Package Design; Exhibit

JUL 1991

SEP/OCT 1989

DEC 1989

$7

Craig Frazier; Bill Vuksanovich ; Victor Papanek; Raymond Meier; Bartle Bogel Hegarty ; Salary Survey Re ults; Color Predictions ; Elli s Island Immigration Mu eum; Exhibit; Index to Volume 32

$14

Photography Annual

NOV 1989

$21

CA-90 Advertising Annual

JAN/FEB 1991

Edelstein Associates; Myron; Joy Radio; Muller + Company; Polaroid Po ter Collection; Matthew Carter; John Hersey; The Partners; Exhibit; Index to Volume 30

MAR/APR 1990

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

$21

$21

CA-88 Advertising Annual

MAR/APR 1988

MAY/JUN 1988

$7

CA-90 Design Annual

International Po ters; Deut ch ; Joyce Kitchell ; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference III; Earthquake; Exhibit; Index to Volume 31

Robert Appleton; Vint Lawrence ; Museum of Flight, Seattle; Martin/ William ; Simpson ' s "An American Reader;" Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

SEP/OCT 1990

$21

CA-88 Design Annual

Smart Yellow Pages; William Neill; Art Chantry; "Design Job : Fact and Fiction;" Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29 $7

$ 14

Harry De Zitter; Mercede McDonald; Clarity Coverdale Rueff; Aspen ; James McMullan 's Mural for Lincoln Center; Exhibit; Recycled Paper; Vignelli Associate

CA-89 Adverti ing Annual $7

AUG 1990 Photography Annual

CA-89 Design Annual

JAN/FEB 1988

Photography Annual

DEC 1986

$7

$7

NOV 1987

$14

Illustration Annual

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

JUL 1986

NOV 1986

$14

Photography Annual

CA-87 Design Annual

SEP/OCT 1986

$14

SEP/OCT 1987

Koppel & Scher; Skip Liepke; WPA Po ters ; Rusty Kay; Jean Moss; The College Marketing Game

AUG 1986

$7

AUG 1987

Steinhilber & Deutsch ; Per Arnoldi's Po te r ; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller De ign Group; Ed Soyka; ASMP

MAY/JUN 1986

$7

Illustratio n Annual

Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche + Associates; Lloyd Ziff; Poltroon Press Postcards; Al GA Conference; Index to Volume 27

MAR/APR 1986

MAR/APR 1987

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

AUG 1988 Photography Annual

Sold Out

CA-91 Design Annual

DEC 1991

Sold Out

CA-91 Advertising Annual

JAN/FEB 1992

So ld Out

Society for Environmenta l Graphic Design ; Leagas/Delaney ; John Ru h; Tolleson Design; Re volutionary Posters of Central and Eastern Europe; Sheila Metzner; AlGA Conference IV : Exhibit; Index to Volume 33

MAR/APR 1992

$7

Concrete De ign Communication ; Mullen Adverti sing; Cathleen Toelke ; Emigre; Bruce Hand ; SlaughterHanson; The Changing Demographics of Design ; Color Prediction ; The City of Phoeni x Logo Competition; Exhibit