mayjun1995

C o m m u n ic a t io n A rts FEATURES

44

A t l a n t a A rt a n d D e s ig n

Message before design is the philosophy of this Toronto firm.

By Michael Kaplan

54

W ard S chum aker

This San Francisco illustrator’s career took a circuitous route.

By Mark Fulton

64

W ill v a n O v e r b e e k

A Texas photographer with a wide angle vision.

By Anne Telford Volume 37, Number 2

74

Jung vo n M att

Surprising ideas and quality are the hallmarks of this German agency.

By Maja Janders

84

G r e a t I d e a s o n L im it e d B u d g e t s

Outstanding work from 22 design firms in one and two colors.

By Patrick Coyne

ECO

A solution to the floppy disk dilemma and the year’s best recycled papers.

Designed and edited by Eva Anderson

106

‘C r e a t in g t h e F u t u r e ” T im e l in e

Ethel Kessler Design creates a timeline for the Clinton administration.

By Ellen Shapiro

108

E x h ib it

Reproduction of the latest and best in visual communication.

T E C H N O L O G Y

EDITOR AND DESIGNER

Patrick Coyne

EXECUTIVE EDITOR

Jean A. Coyne

CONSULTING EDITOR AND DE SI GNE R

123 133 136 143

TECHNOLOGY San Francisco and Park City, Utah's Plunkett + Kuhr are HotWired.

DESIGN TECHNOLOGY Wendy Richmond looks at where we work and it how it affects creativity.

TECHNOLOGY R e v i e w s Edward Bigelow tackles color management on the desktop.

T e c h n o l o g y R e s o u r c e s Books, magazines, newsletters, seminars and training.

Stephanie Steyer-Coyne

MANAGING EDITOR

Anne Telford

ASSOCIATE DESIGNER

Mark Eastman

PRODUCTION MANAGER

Scott Perry

PRODUCTION

Ron Niewald

C O L U M N S

18

D e s i g n I s s u e s Michael B iem f s primer on how to become famous.

2 8 LEG AL A f f a i r s Tad Crawford on law and advertising in cyberspace.

8 8 O PINIO N/CO M M E NTAR Y A panel discussion on the issue o f certification for designers.

A D V E R T I S I N G AND CIRCULATION DIRECTOR

Michael Krigel

ADMINISTRATIVE ASSISTANTS

Nancy Hagemann Kris Johnson Nina Kitching

EDITORIAL ASSISTANT

Sue Garibaldi

SUBSCRIPTION MANAGER RETAIL SALES

Jason Jackson

F R E E -L A N C E Maria Piscopo discusses the new technology clients.

150

D E P A R T M E N T S

8

E d i t o r ’s C o l u m n

18 1 M a t e r i a l s , A v a i l a b l e L i t e r a t u r e

C o n trib u to r s

164

SUBSCRIPTION

Priscilla Brooks Gloria Rosario

ACCOUNTING

David Galuppo

TRAFFIC MANAGER

Lisa Marie Perez-Capella FOUNDER

ADVERTISING Nick Cohen's ten commandments.

15 L etter s to t h e E d it o r

152 155

C lu b s, C o n fe r e n c e s , S em in a rs

188 D ir ecto ry

B o o k R e v ie w s D e sig n a n d A d v e r tis in g C a l l f o r E n tr ie s

Richard Coyne C O V E R : © 1995 Ward Schumaker.

C om m u n ic atio n A rts (IS S N 0 0 1 0 -3 5 1 9 ) is

S econd class p ostage paid a t Palo A lto , CA

published e ig h t tim e s a y e a r, J an u a ry /

and a d d itio n a l o ffices.

February, M a r c h /A p ril, M a y /J u n e , July, A u g u s t, S ep te m b e r/O c to b e r, N ov em b e r, Decem ber, by Coyne & Blanchard, Inc., 4 1 0 Sherm an Avenue, Palo Alto, CA 94306.

Copyright 1 99 5 by Coyne & Blanchard, Inc.

P ostm aster: Send address chang es to C om m unication A rts, P.O. Box 1 03 00 , 4 1 0 S herm an A v e., Palo A lto , CA 9 4 3 0 3 .

All pieces reproduced in this issue a re under prior copyright by th e cre a to rs or by con­ tra c tu a l a rra n g e m en ts w ith th e ir clie nts .

N othin g s how n m ay be repro duced in any form w ith o u t obta in in g th e perm ission of the c re a to rs and a n y o th e r person or com pany

E diteu r responsable (Belgique):

w h o m ay have copyright o w nership.

C hristian D e sm e t

J0 A B C

V u u rg a ts tra a t 9 2 ,3 0 9 0 O verijse, B elgique

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■ ii

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T h is I s F or A ll T h e P eo ple W h o T h o u g h t T h e y C o u l d n ’t A f f o r d T o S h o o t W it h E r ic M e o l a . ©2995, The Image Bank, Inc. Image by Eric Meola #207618

s*<jv

Eric Meola, Walter Ioossjr., Paolo Curto. If we sound like we’re dropping names, it’s because we are. Our collection of shooters reads like the W ho’s W ho o f photographers and illustrators. So if you want to use the best talent available, call us at 1-800-TIBIM AG ES and ask for ext. 900 to receive our latest catalogue, brochure, C D or information about our film footage.

We have the right image, at the right place, at the right time.

US. 1-800-842-4624, ext. 900 / Canada 1-800-387-9837, ext. 900 Atlanta Boston Chicago D allas Ft. Lauderdale Houston Los A ngeles M inneapolis M ontreal N ew York San Francisco Seattle Toronto

Behold the next revolution.

The man you see to the right isn’t exactly a rebel. Bruce Cunningham is, in fact, a conservative third-generation prepress man. But he’s also a savvy guy who knows there’s no better way to stay alive in business than to revolutionize it.

That’s why he’s using Power Macintosh™ com­ puters. To create film, of course. And to take quick advantage of the lucrative new media markets.

Power Macintosh gives his people the power they need to manipulate complex images, sound and video. So they can create CD-ROMs, interactive demos, digital catalogs and more with the ease of a Macintosh? Power Mac™also gives them accelerated applications and new tools like QuickTime® VR and Apple®MediaTool Kit. So the creation goes faster.

Most of all, Power Macintosh gives Bruce new markets to explore. And new services to deliver. So while he’ll gladly output film for his clients (oryours), this much is clear: business as usual is history.

Bruce Cunningham Lanman Companies Washington, D.C. Founded in 1911, Lanman Companies is one of the largest privately held digital imaging and prepress opera­ tions in North America, with clients like Harcourt Brace and Company, the American Automobile Association, General Mills, the National Geographic Society and Smithsonian magazine.

“Changeseemstobethebig‘newidea’ thesedays.Butourbusinesshasbeen

No, the clock isn’t run­ ning out on printed communications. But that doesn’t mean you can’t reuse images scanned for print to create CD-ROM catalogs, portable presentations, interactive demos, info for the Internet, and more. All you need is a Power Mac. Oh yeah— and the desire to make more money.

changing for years. That’swhy we -0

use Power Macintosh to embrace new technologies like multimedia-

In real-world tests on Power Macintosh systems, Lanman Companies realized overall productivity gains of 26%. No big surprise, when you consider that the RISC-based PowerPC'"chip at the heart of every Power Mac runs optimized applications two to eight times faster than any previous Mac.™

What’s the best way to see eye to eye?

Talk face to face— even if the two faces in question are on videoconferenced computers divided by a continent.

Even if one runs the Mac OS. And the other runs Windows. Such is the promise of Power Macintosh, the ultimate cross-platform collaborative tool.

m

CM— |

so we can survive, and thrive.

1

It also helps us integrate services, improve efficiencyandslash budgets.

Come to think of it, maybe Power

Start your own revolution.

To learn how you can get the most out of new media markets, or to see the independent research that shows Power Mac outperform­ ing Pentium-based systems by as much as 92%* call us at 800-770-4864 to receive a free Power Mac Publishing Kit by fax.

Or if you prefer, call 800-522-0990, ext. 100, to receive your free materials by mail.

PowerMacintosh: The business Macintosh.

Macintosh could change the way Applew they do business up on the Hill!’

'It 's true. For proof ask for the 1995 Ingram stud)’. "A Performance Comparison: Apple Power Macintosh Computers vs. Intel Pentium Processor-Based Computers Punning Windou’s. "©1995 Apple Computer, Inc. All rights reserved. Apple, the .\pple logo. Macintosh and QuickTime are registered trademarks ofApple Computer.

Inc. Mac. Power Mac and Power Macintosh are trademarks ofApple Computer. Inc. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. AllAppleproducts are designed to be accessible to individuals untb disability. 1blearn more (U.S. only), call 800-776-2333 or TDD800-833-6223.

E D I T O R ’ S

C O L U M N

P a t r ic k C o y n e RECENTLY RETURNED FROM SPEAKING AT South A frica’s first national design conference.

Besides having the opportunity to meet designers and art directors halfway around the world, it was exciting to observe a country in the process of reinvent­ ing itself. For the conference, I was asked to provide a global perspective on design issues. To accomplish this, I sent out a fax survey to 40 designers in various countries asking for their comments on the economy, business, society and culture.

Predictably, designers in countries like Japan with relatively homogenous societies found the whole idea of cultural identity to be a non-issue, whereas countries with a broad mix of ethnic groups, seemed to feel a lack of connection to any particular culture.

“A lot of lip service is given to protecting our cultural identity,” said John Pylypczak of Toronto-based Concrete Design Communications. “We’re just not sure what this identity is. About 20 to 30 years ago, Canadian design was influenced greatly by the Swiss style— lots of Helvetica (Peter Ustinov once said Toronto is like New York, but run by the Swiss). We are continually searching for a Canadian identity. Where America is the great melting pot, Canada is the great mosaic. We are very much a multicultural country.”

“European settlement in Australia is only 200 years old,” said Garry Emery of Emery/Vincent in Melbourne and Sydney. “There is therefore little established history and tradition (other than that of the aboriginal peoples, who have had virtually no influence on the development of a regional design culture). There is an Australian design sensibility, born out of pluralism, multiculturalism, lack of order, climatic conditions and our casual, eclectic, open way of life. However, there is no recognizable design style in our country. We are a product of the global village of international market networks, such as Coca-Cola® and M cDonald’s®.”

“Historic tradition and Chinese background have definitely influenced the design industries in Hong Kong, as well as my overall approach to design,” said Alan Chan of Alan Chan Design Co., in Hong Kong. “In the past few years a lot of design has gone nostalgic, people want to trace back where they belong.”

Oscar Marine Brandi of OMB Diseno Grafico in Madrid feels there is a recognizable Spanish style descending from traditional Mediterranean story telling. “I would define it as a style where optimism and entertainment are as impor­ tant as the communication itself. In a global environment, where ideas and styles are becoming more and more similar, historic tradition should be treated as an added value of design by every nationality.”

“Some designers are seeking to find a New Zealand style, however it is my opinion that a style emerges as a result of your own individuality and not necessarily from overt 8

M A Y / J U N E

1995

consciousness of being a New Zealander,” said Peter Haythornthwaite of Haythornthwaite Design in Auckland.

“If, as a result of a whole group of people being indi­ viduals, a New Zealand character emerges, then let it be so, but to self-consciously create a New Zealand style (I believe) will foster a decorative and stylistic approach to design. German, Swiss and Italian design are because of national traits and heritage, not because people are trying to be German designers.”

And lastly, Dave Mason, of Dave Mason & Associates Inc in Vancouver, B.C., said, “I was born in England, moved to Canada as an eight-year-old, was absorbed into a French/ English speaking community, moved to the West Coast four years later (where Asian influences have become more and more prominent), and all the while I was bombarded primarily by U.S. produced television, advertising, movies and publications. What was the question?”

I also asked if design has had any significant influence in their country’s culture.

Willem Kars of Inizio Group bv in Amsterdam responded with a resounding yes! “Signage, graphics, exhibitions for trains, trams, bus systems and so on. You cannot get lost in Holland.”

Peter Haythornthwaite has seen some positive influence in New Zealand. “There have been a few large projects undertaken in New Zealand such as for the National Museum and these in turn have affected people’s aware­ ness as to the “look” of design. Whether it has changed our culture to cause people to look at content as much as style, I don’t know. New Zealand is very much a nation of imported culture and imported influences. We read and see a great deal of what goes on in other nations and, while wanting to be New Zealanders, people seem to want to emulate other lifestyles. There is a self-consciousness about being right and correct and fashionable. I believe we as a country are more influenced by what takes place overseas than what actually takes place within our own country.

This is sad.”

“Certainly not for the better,” replied Henry Steiner of Steiner & Co. in Hong Kong. “The biggest cultural influence is karaoke.” □

We are planning a full report on design and advertising in South Africa for our September/October issue. That same issue will also include the winners of our first design competition for interactive media. □

In the July 1993 issue of CA, Ellen Shapiro wrote the most convincing argument to date on graphic design certifica­ tion. The debate continues on page 30 of this issue with a panel discussion sponsored by the Art Director’s Club of Metropolitan Washington and the Washington D.C. Chapter of the American Institute of Graphic Arts.

Divine i n t e r v e n t i o n .

Photographed and digitally manipulated by Giles Hancock. Talent courtesy Stars/S.F.

A d o be P h o to sh o p The forces of nature are capricious. The sun, the moon, light and shadow don’t always cooperate. Sometimes an J image could use a few small miracles. In the digital world of Adobe Photoshop™, photographers can achieve a level of control that’s almost heavenly. Call forth unlimited effects and filters on Mac®, Windows or UNIX. Alter color and balance or dodge and burn at will. Since you already know so much about nurturing an image, this tool simply extends your reach. At last, the angels are on your side. Call 1-800-521-1976, Ext. E0265 for information and your nearest Adobe™ Authorized Reseller. Adobe Adobe Photoshop'3.0

I f y o u c a n dream i t , y o u c a n do it.™ Adobe, the Adobe logo, Adobe Photoshop and the tagline, “If you can dream it, you can do it” are trademarks of Adobe Systems Incorporated or its subsidiaries which may he registered in certain jurisdictions. All other marks and trademarks are the property of their respective companies. The Adobe Photoshop package is the protected trade dress of Adobe Systems Incorporated. © 1995 Adobe Systems Incorporated. All rights reserved.

C o n t r ib u t o r s FEATURES M a r k F u l t o n , a CA contributor since

1981, provides creative concept and copywriting for clients in San Francisco and in Northern California’s Silicon Valley. He is co-author, with Houston graphic designer Jerry Herring, of The A rt and Business o f Creative Self-Pro­ motion fo r Designers, Writers, Illustra­ tors & Photographers. He profiled San Francisco illustrator Ward Schumaker.

M a j a J a n d e r s started her advertising design career thirteen years ago in San Francisco. In 1988 she decided to expand her personal and career hori­ zons by moving to Europe. She’s currently working as an art director in Hamburg, Germany and, in her first article for CA, she’s profiled the Hamburg ad agency, Jung von Matt.

E l l e n S h a p i r o is a graphic designer,

writer and president of Shapiro Design Associates Inc., in New York City. 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. Ellen inter­ viewed Ethel Kessler in Washington, D.C., about a recent government project.

M i c h a e l K a p l a n , a New York journalist, writes frequently on the subject of graphic design. His work has appeared in a variety of magazines including Spy, GQ, Premiere, American Photo and Manhattan, inc. He visited Toronto, Canada, to profile the principals of Atlanta Art and Design.

Eva A n d e r s o n is principal of Eva Anderson Design in Providence, Rhode Island, which specializes in ecologically-conscious design. She is also editor of Eco, a newsletter which specifically addresses environmental issues faced by graphic designers and their clients.

Eva received a grant from the NEA in 1991, and an EPA Environmental Merit Award in 1992 for her work with Eco. 10

M A Y / J U N E

1995

JACK W e is s founded Jack Weiss Asso­ ciates, a communication design and planning firm, in 1977. A fellow and past vice president of the American Cen­ ter for Design, he lives, designs, writes and recycles in Evanston, Illinois. He wrote an article on the year’s best recy­ cled papers for the Eco newsletter.

KYRA B u t z e l is a Providence, Rhode Island-based writer specializing in environmental issues. She is currently newsletter coordinator for the Rhode Island field office of the Nature Con­ servancy. Kyra graduated from Brown University with a BA in Women’s Studies. She wrote the lead article in this issue’s Eco newsletter.

COLUM NS M IC H A E L B i e r u t is a partner in the

New York office of the international design consultancy Pentagram. His clients range from The Council of Fashion Designers of America to the Disney Development Company. Bierut wrote the Design Issues column edited

by DK Holland.

N lC K C o h e n , chairman and executive

creative director of New York-based Mad Dogs & Englishmen, Inc., began his advertising career as a messenger boy/tea maker for a small agency in London before working at Mavity Gilmore Jaume, Chiat/Day and Ogilvy & Mather. Nick, who believes that to be good at advertising, you just have to be incredibly ashamed and embarrassed to be doing it, wrote the Advertising column, edited by Tom Monahan.

T a d C r a w f o r d is an attorney, author

and publisher for New York-based Allworth Press. A specialist in legal issues pertaining to the arts and author of several legal guides, Tad wrote the Legal Affairs column on law and advertising in cyberspace.

E d w a r d B i g e l o w is a professional

photographer and writer who has been based in Northern California for almost 30 years. Bigelow now specializes in digital imaging and works as an inde­ pendent computer consultant. In the Technology Reviews column he tackles the issue of color on the desktop.

S a m M c M i l l a n is a San Francisco-

based free-lance interactive script writer.

He wrote the Technology Resources column, and the Technology feature on Plunkett + Kuhr of San Francisco and Park City, Utah. McMillan’s Retirement Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and was cited as “easiest to use” by the Wall Street Journal.

M ARIA P i s c o p o is a creative services consultant based in Southern California.

She teaches the business side of graph­ ics and free-lance success strategies classes for the Dynamic Graphic Educa­ tional Foundation and is starting on her next marketing book for designers. In this issue, Maria wrote the Free-Lance column on new technology clients.

W e n d y R i c h m o n d ’ s column “Design

Technology” has appeared in CA since 1984. She lectures extensively, is an NEA grant recipient and serves on the national board of AIGA. She is currently an independent consultant and teacher.

BOOK

REVIEWS

A n g e l y n n G r a n t majored in mathe­

matics at Harvard, worked on a Ph.D. in topology at Brown and received an MFA in graphic design from Yale. The Boston-based free-lance designer and educator began reviewing books for CA in 1991.

patterned

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INTRODUCING

NEW

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ELEM EN T S, SO FT

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L e tt e r s to t h e E d it o r That Darned Internet

First of all, I'd like to say I just went online. More accurately, I just figured out how to do it from my office M acintosh. So I really d o n ’t know if you’ll get this. Obviously if you are reading this, you have.

It’s good to see a legit design mag taking on this issue, even if you are just checking the water. We can spend all our lives at design conferences and in design journals screaming about the legitimacy of our profession and questioning the worth of our organiza­ tions. We can join sides on the Vignelli vs. Emigre/Ray Gun debate and pummel the opposition. Then at some point, maybe today, definitely tomor­ row, w e’ll all check our e-mail, get into the Internet, try to receive, try to send, try to anything, and realize that this, this pixelized nightmare of unending, often indecipherable infor­ mation, is a graphic designer’s nirvana.

It is a world of bad typography, no typography (Are you reading this on your monitor or is it easier to print it out? How do I change the leading?), horrible organization, banal visuals and a non-existent directional system.

There are a few designers who have taken on this beast in small doses.

Erik von Blokland designed the system graphics for Live Wire, the OneNet service from the Santa Clara Metro new spaper (I know I should have italicized Metro, but I can’t, see what I mean?) There are a few other examples here and there with small localized services, but it is really a territory waiting to be crossed.

I usually hate hearing and reading tirades and complaints that are not followed by suggestions for improve­ ment. If designers leave the design of online com m unications to the engineers and techno folks that put them together it will be similar to leav­ ing the design of books and magazines to the printer. I don’t believe that the 19" monitor and a Power Mac will ever really replace printed communi­ cations, but what if they did? How can we “design” this type of ethereal information? How can we incorporate

the sensitivity and clarity that are so important to us in our printed design?

I would love to see articles exploring these design possibilities as well as the online services themselves.

It is great that CA is on the Internet.

I’m happy to be here with you (although I still don’t really know where “here” is). I believe that this “Information Superhighway” needs some road signs and I would love to read about how it’s coming along.

etc., I have always been impressed by your standards— you had real class.

I’ve subscribed for over 20 years.

Thus, I was really underwhelmed by your CA condom promo in [January/ February] #254, p. 274. Condoms are arguably hindrances not aids to full communication, but perhaps that should read Communication AIDS. But sex sells— yuck!! You ought to be able to do better.

B r i a n B igg s

Sun and Stars Artworks Dayton, Ohio

brianbiggs@aol.com

J o e B a r r is h

□

Typeface Awards

My name is Gaston Yagmourian. I am a nineteen-year-old Argentine who spends his time studying advertising.

Having subscribed to your magazine in mid ’94, I wanted to congratulate you for making this great magazine and to ask you a question. After browsing-seeing-enjoying the last CA Design Annual, I wanted to know why you don’t give awards to typefaces. Since the introduction of the computer and desktop typeface production programs (Fontographer in particular), it has been possible for many people to create them. But instead of having to cope with millions of crappy fonts, the design world has discovered and embraced excellent works of art.

I think you should implement the idea.

What do you think? D on’t answer that it can’t be done because it’s very subjective, or that each typeface serves a particular purpose, because that same thing occurs with design.

□

Errata

On page 56, of the January/February 1995 issue, we w eren’t provided with the photographer’s name for the Battaglia ad. It was Gail Specht.

On page 91, of the January/February issue, the photo credit for the Leica ad w asn’t listed in the body copy, although it does appear under the photograph. Macduff Everton is the photographer.

On page 124, of the January/ February issue, the photo credit for the portrait of Ellen Shapiro was listed incorrectly as Lisa Stone. It should be Marian Goldman. Also in the same article on page 126, the top photograph should be credited to Peggy Barnett and the bottom photo­ graph should be credited to Lisa Stone. Our apologies to Ms. Goldman, Ms. Barnett and Ms. Stone.

G asto n Y ag m ourian

Buenos Aires, Argentina □

Condom Promo While I haven’t always agreed with CA in areas of design selections, in choice of winners for competitions,

A d d r e s s c o r r e s p o n d e n c e t o : 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.

Please include a signature, address and phone number. Anonymous letters will not be published. c o m m u n i c a t i o n

a r t s

15

Put a big juicy image on the floor, the wall, a pillar, the ceiling, the sky’s the limit. Scotchprint graphics can be output onto a variety of adhesive-backed 3M materials, all of which age beautifully. Guaranteed. Plus, the process is often less expensive than screenprinting. For a cornucopia of application ideas, call 1-800-374-6772, ext. 101 and ask for the Idea Book. In Canada, call 519-452-6046.3M™ Scotchprint™graphics. Made you look.

DESIGN

ISSUES

M ic h a e l B ie r u t

How t o B e c o m e F a m o u s

F

How to Win Graphic Design Competitions a m e , o f c o u r s e , is r e l a t i v e , m i c h a e l Jackson and O.J. Simpson are famous. Most People who enter design competitions, particularly people people have never heard of Milton Glaser or who enter and lose design competitions, comfort them ­ Paul Rand. In the context of this little guide, selves by imagining that something sinister goes on in fame refers to something very specific: a famous graphic the tomblike confines of the judges’ chambers. designer is famous among other graphic designers. My When you judge a competition yourself, you learn that mother, for instance, knows that I’m “famous” because nothing could be farther from the truth. Behind the my sister-in-law, w ho’s a dental hygienist, used to clean closed doors are table after table covered with pieces of the teeth of a graphic designer in my hometown back in graphic design. Like most things in life, only a few of Ohio. Nothing could have astonished my sister-in-law more these are really good. Each judge moves along the tables, than when her patient asked her if she was related to me. looking at each piece just long enough to ascertain Other than that, I can ’t say for sure that being famous whether he or she likes it. It takes a long time and a lot counts for anything. of people to produce even a modest piece of graphic I was asked once to prepare a presenta­ design. The judging process takes less tion with the title “Lifestyles of the Rich than a second. and Famous Graphic Designers.” Rich The predictability of this ritual, which I know nothing about. It was surprisingly has all the glamour and sinister aspects easy to calculate fame, however. I took of digging a ditch, makes it easy to out the Membership Directory of the devise some simple rules that will YOU ONLY NEED TO DO American Institute of Graphic Arts. I increase your chances of winning. went through the list and ticked off any­ 1.

Enter only the kind o f piece one who had a name I even vaguely ABOUT THREE in design competitions.

For the record, recognized from awards books or the the kinds of things that win in design lecture circuit. The result was 185 or REALLY GREAT PIECES competitions are cool-looking projects so names. With further thought, I could that solve easily understandable prob­ have even put them in order, from mostA YEAR TO lems.

Things that are brilliant responses famous to least-famous. to intricate marketing briefs but that That was in 1989. Five years later, there BECOME FAMOUS. can’t be understood by another designer are even more famous graphic designers. in less than a second will not win.

Yet, I sense that most people feel there Exception: If something is sufficiently really aren’t enough famous graphic cool-looking, it may not need to be designers. A lot of women designers understandable.

In fact, being incom­ don’t feel there are enough famous prehensible may be part of its allure. women designers, a lot of African(Negotiating your way through the ever-shifting sands of American designers don’t feel there are enough famous “cool-looking” is your problem.) Note: Don’t be tempted African-American designers, a lot of designers from Ohio by competitions that invite you to fill out long forms don’t feel there are enough famous Buckeye designers, describing the problem, the client, the market situation, and so forth. And, of course, a lot of individual designers the strategy, and so forth. Very few of the judges read them. don’t feel that they themselves are sufficiently famous.

2. D on’t enter things that rely on complicated unfolding or This is too bad, because I feel that becoming famous isn’t unwrapping operations. The first few judges won’t bother really all that difficult. Most kinds of fame are based, to opening it. The one that does won’t bother putting it back a certain extent, on individual merit. But there are a lot together. Also, don’t enter things that involve confetti or of trivial things involved as well. These have to do with other supposedly festive materials spilling unexpectedly things like speeches and competitions. You can only do out of envelopes. so much with the talent you were born with. On the other 3. Try to enter so your thing is the biggest thing on the hand, these trivial things are sometimes amusingly simple table. The pieces to be judged are almost always separated to manipulate. But remember, there’s no guarantee that into categories so like is judged with like. Having your being famous counts for anything.

18

M A Y / J U N E

1995

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piece be one of the largest in its category gives it a tremen­ dous advantage. For instance, your 17" x 22" season schedule poster for the local symphony orchestra that looks nice over your desk will look pathetic next to a gargantuan Ivan Chermayeff Masterpiece Theatre bus shelter poster. Enter it as an “announcement” instead. It will compete much more successfully, trust me, against things like wedding invitations.

4. D on’t enter slides unless you 're sure they 're going to be projected. See number 3, above. Nothing is smaller than a 35mm slide with a big old entry form hanging off it.

How to Give a Speech

afraid you’re going to bore them. At the very least, they will question your choice of typeface.

5. Choose the last slide o f the first tray with special care. It should be really great or really surprising or really funny.

Why? To ensure a satisfied buzz in the audience during the endless amount of time it takes to change to the second tray. For that reason, never change trays in the middle of a thought; the sense of deflation in the audience is palpable when the second tray goes on and y o u ’re still talking about that same old damn project.

How to Do Great Design Work

It should be obvious by now that great work, in this con­ text, is work that gets published and Graphic designers are lucky in that when wins design awards. Work that com ­ speaking before a group they can show municates effectively and solves slides almost the whole time. This FOR THE RECORD, marketing problems for actual clients obviates most of the advice on speechwill make you rich, not famous, and THE KINDS OF THINGS making you get in airport bookstores consequently is not discussed here. about eye contact and forceful gestures.

THAT WIN IN I. Do lots o f work. You only need to do The only thing left to remember is the about three really great pieces a year reason that the audience is there— they DESIGN COMPETITIONS ARE to become famous. Depending on how want to see what you’re like. The rules: much talent you have, you may have to 1. When in doubt, show two trays o f COOL-LOOKING PROJECTS design a lot of good things on the off 80 slides each, first one, then the other. chance that a few of them might turn Dissolve units break down. Side-byTHAT SOLVE out to be great. Design anything you side images get out of sequence. can get your hands on. Stationery makes M ore than 160 slides make peoples’ EASILY UNDERSTANDABLE a nice gift; design some for every butts hurt. D on’t worry, plenty can member of your family and all your still go wrong.

PROBLEMS. friends, particularly those with funny 2. Never describe the slide people are names that permit visual puns. Brew­ looking at. A slide presentation should ing beer is complicated and messy, but follow the same dramatic rhythm of an it provides a pretext for designing beer Alfred Hitchcock movie: tension followed by release, labels. Avoid, however, designing clever wedding and birth tension followed by release. Describe the design problem announcements, which are sacred events that shouldn’t be you were asked to solve. Give the audience a moment to cheapened with clever design concepts unless the design think what they would do. Then, show them what you concept is really, really clever. did. Done properly, this acquires the cadence, and ulti­ 2. Do lots o f posters. In America, posters are not as rele­ mately the effect, of telling a joke. It’s boring to be told vant a part of the cultural landscape as they are in Europe, what you’re looking at: you already know what you’re but they look good reproduced at a fraction of their original looking at. Instead, try to make the audience guess the size on the pages of a design annual. next thing they’re going to see.

3. Never read your speech. It’s tempting, but it tends to 3. Do lots o f freebies. It’s a cliche, but it’s easier to do great make an audience really, really dislike you. If you must, free work than great paying work. Be careful, however, use really comprehensive notes instead. about working for charitable causes or large cultural institutions, which can be even more cum bersom e and 4. If possible, avoid showing slides o f annual report spreads bureaucratic than corporate clients. Also, even in the or slides created with presentation software. It’s very diffi­ shallow, craven context of this article, there is something cult to say anything funny or interesting about projected particularly distasteful about trying to leverage a worthy images of spreads from even well-designed annual reports. cause like fighting H IV or breast cancer in your own And presentation software slides— with all those gradated personal quest for fame. Do those projects for their own backgrounds and rules and bullets and Times Roman with merits, not to win prizes. Instead, find a local theater group. crisp little drop shadows— will make your audience

20

M A Y / J U N E

1995

You are not making art

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This will permit you to solve easily understandable prob­ lems (see above) with posters (see above).

4. Make your paying work as good as it can be. While a lot of famous designers make compromises to pay the bills, I don’t know any that actually do really bad work just for the money. It seems to be really bad for morale and consequently makes it harder to do great theater posters.

5. Have something cool-looking you can always do when you can’t come up with any other solutions. Every really famous designer I know has a visual strategy he or she can fall back on when all else fails. One makes lovely Matisse-like torn paper collages, another makes a com ­ plicated three-dimensional model and takes a picture of it, and still another puts big black horizontal stripes on everything. This fallback position, if chosen carefully enough, will eventually become identified as your signature style, another hallmark of a famous designer. Reluctance to develop a surefire fallback position will only mean that you will waste a lot of time trying to invent exciting new solutions that probably don’t exist for problems that prob­ ably don’t deserve them.

6. When in doubt, make it big. If still in doubt, make it red.

This rule of thumb, a slight but crucial improvement on

“If it’s big and ugly, it isn’t big enough,” is embraced by a surprisingly wide range of contemporary famous graphic designers. It appears to be, like the typeface Garamond, one of the few things that everybody agrees on.

7. Finally, remember what my mom always says. My mom says: “It’s nice to be important, but it’s important to be nice.” She’s not just the smartest woman in the world but the mother of a famous graphic designer. Trust her.

His mother drove it home that he would be unbearable if he let him self get too big fo r his britches. Yet at this writing, he has probably won more awards, made more speeches, taken part in more judgings, participated in more practical jokes, made more o f a fool o f him self and kissed more babies on behalf o f the AIGA than any other graphic designer in history. H e’s a big-hearted lug from Cincinnati, Ohio, who ended up in The Big City and once joked that I was but a fish swimming in his ocean. God bless him, you just gotta love Michael Bierut.

— DK Holland

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1995

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LEGAL

AFFAIRS

T ad C ra w fo rd

L a w a n d A d v e r t is in g in C y b e r s p a c e FTER READING A NUMBER OF NEW books that seek to evaluate what the future holds for communications and new technolo­ gies, I can only wonder— marvel— at the nature of cyberspace. It is space, yet it is not. We imagine it, yet it is merely an array of interconnected computers exchang­ ing digitized data. Can the law enter this realm of imaginal, rather than physical, space? The answer is clearly yes.

The law enters wherever people have relationships. As computers become ever more connected, so do the people who use the computers. Although much is new and open to interpretation, the law has often proven itself flexible enough to adapt to technological innovation.

right protection to new technologies that may not easily be accommodated by copyright, while at the same time recommending that new technological uses of copyrighted works quickly be given protection. In concluding this study, Goldstein takes an optimistic view: [T]he best prescription fo r connecting authors to their audiences is to extend rights into every corner where con­ sumers derive value from literary and artistic works. If history is any measure, the result should be to promote political as well as cultural diversity, ensuring a plentitude o f voices, all with the chance to be heard.

The Celestial Jukebox

Another helpful text for those concerned with cyberlaw is Cyberspace and the Law: Your Rights and Duties in the On-Line World (The MIT Press, 220 pages, $19.95) by attorneys Edward Cavazos and Gavino Morin. After discussing the nature of cyberspace, the authors deal with electronic privacy, including the issue of encryption of data. A curious facet is that federal law treats data encryp­ tion hardware and software as munitions and the export of such materials must be licensed by the State Department.

The book proceeds to discuss a number of legal areas with each chapter first offering the generally applicable law—-for contracts, copyright, the First Amendm ent, adult materials, and criminal activities (such as fraud and theft)— and then focusing on the application of that law to activities in cyberspace. The power to transform images in the digital environment sometimes raises peculiar issues, such as w hether laws against child pornography are violated when digitized images of adults are altered to make the adults appear to be minors. Arizona has a law which criminalizes when adults “masquerade” as minors, but the authors question whether such a statute will be found to be constitutional if tested.

The authors point out that tough laws are now aimed at computer crime: [T]he legal system has reacted to the specter o f these cyber­ punks and techno-terrorists...There are federal statutes addressing computer fraud and abuse, credit card fraud, the transfer o f stolen property, and wire and phone fraud. All but three states have passed computer crime statutes that outlaw computer trespass, unauthorized use o f or tampering with computer equipment, and other harmful conduct.

The authors warn that “it is quite possible to get in trouble for seemingly innocent activity in cyberspace” and encourage learning about cyberspace crimes so that violations can be avoided. While the text of Cyberspace and the Law is only a little more than one hundred pages, the broad spectrum of issues covered makes it a worth­ while introduction to this evolving field. In addition to

Copyright is one of the most important bodies of law governing what is permissible in cyberspace. In Copyright’s Highway: The Law and Lore o f Copyright from Gutenberg to the Celestial Jukebox (Hill and Wang, 261 pages, $21), Paul Goldstein, Professor of Law at Stanford University, explores how throughout its history the copyright law has met the challenge of technological invention through court decisions and legislative enactments. This review is fas­ cinating, including a lengthy treatment of Williams & Wilkins v. The United States in which the boundaries of permissible photocopying were at issue.

Goldstein’s speculations about the future are astute and of great interest when no day seems complete without an innovation in communications technology. He observes: The metaphor that best expresses the possibilities o f the future is the celestial jukebox, a technology-packed satellite orbiting thousands o f miles above Earth, awaiting a sub­ scriber’s order— like a nickel in the old jukebox, and the punch o f a button— to connect him to any number o f selec­ tions from a vast storehouse via a home or office receiver that combines the power o f a television set, radio, CD player, VCR, telephone, fax, and personal computer.

This “celestial jukebox” will place stress on the copy­ right law in a number of ways. Because many of the uses of copyrighted material will take place in the privacy of the user’s home, legislators may be reluctant to impose penalties of the kind to which profit-seeking infringers are subject. In addition, the global reach of this celestial juke­ box will make copyright disputes more likely to involve the laws of several nations with the resulting potential for conflict between differing national copyright laws. As nations that are net importers of copyrighted materials seek to evade the impact of international treaties, nations like the United States that are net exporters will rely more heavily on international trade agreements such as GATT. Goldstein warns legislators to be wary of extending copy­

Beyond Copyright

C O M M U N I C A T I O N

ARTS

25

L e g a l A ffa ir s

the text, appendices include where to seek help, the Electronic Communications Privacy Act, the Computer Fraud and Abuse Act, and a typical state computer law.

Doing Business in Cyberspace

If the celestial jukebox and cyberspace law seem too speculative, How to Make a Fortune on the Information Superhighway: Everyone’s Guerrilla Guide to Marketing on the Internet and Other On-Line Services (HarperCollins, 208 pages, $20) immediately returns us to the realm of the Almighty Dollar. The authors are Laurence A. Canter and Martha S. Siegel, a husband-and-wife team of immi­ gration attorneys who scored a publicity coup by violating Netiquette and advertising their legal services in places on the Internet where advertising was frowned upon by many Internet users. Canter and Siegel were attacked in many ways, including being flamed (i.e., excoriated by Internet fellow travelers) and having their lives threatened.

This vile treatment didn’t weigh heavily on the authors’ minds, at least not in comparison to the profits they felt could be made by advertising and selling on the Internet.

Moreover, they deflate some of the metaphors that make cyberspace seem a romantic frontier: Those who buy into the myth that Cyberspace is a real place also believe that this illusory locale houses a com­ munity, with a set o f laws, rules, and ethics all its own.

Unfortunately, the perceived behavior codes o f Cyberspace are often in conflict with the laws o f more substantive lands like, fo r instance, the United States o f America.

Responding to the outrage about their ads becoming ubiqui­ tous billboards along what had been pristine Internet highways, the authors argue that they live in Phoenix, Arizona and are subject to the laws of Phoenix, Arizona, and the United States— not the laws of a non-existent Cyberspace government. They suggest that many of the people and groups that want to restrict advertising have hidden motivations which are pecuniary in nature. Nor do the authors show any remorse about their own bottom line orientation when they opine, “Money. Is there ever enough of it?”

At the least, this book can serve as a clear introduction to how the information superhighway is structured and can be used. Beyond this, the information offered allows the reader to contemplate advertising to at least some segments of an audience that is estimated to perhaps be thirty million strong.

Controversial as advertising on the Usenet (a collection of some ten thousand discussion groups) or via e-mail may be, it is certainly a far less expensive way to reach potential purchasers than through traditional media. In addition, the authors discuss the steps and costs in setting up paperless catalogs, stores and shopping malls in Cyber­ space. However when the controversy regarding the appropriate places for advertising on the information highway is resolved, there will certainly be a place for 26

M A Y / J U N E

1995

the entrepreneurial spirit to exercise its marketing ingenuity. This book will stimulate the thinking of entrepre­ neurs in their constant search for new markets and greater profits.

Commercial Culture

Moving from the realm of the practical to that of social policy, Commercial Culture: The Media System and the Public Interest (Oxford University Press, 384 pages, $35) by sociologist Leo Bogart offers a penetrating view of the way in which the media are governed by consider­ ations of commerce. The book is crowded with information that builds a disturbing picture of how both news and entertainment are created in a world that seeks to serve those who pay for advertising rather than the public. The result is the degeneration with which we are all familiar in the mass media— too much violence, too much sex, and less and less substantive information. Beyond this, “adver­ tising is dedicated overwhelmingly to persuading us to acquire possessions for our individual selves, and thus scants society’s resources for more valuable things we use and need in common.” Bogart argues that audience size should not be the criterion by which advertising media are evaluated. But since advertisers view size as crucial, sensationalism— which increases size— becomes ever more prevalent in both entertainment and journalism.

The result is a mix of fact and fiction (in part by the selec­ tion of which stories to include in the news) which diverts us from the strenuous effort that would be necessary to make an informed opinion as to what is true.

The efforts to consider alternatives and reforms are less fully realized by Bogart than his description of the prob­ lems of commercial culture. He does not recommend censorship and his thoughts on changes in the regulatory structure for the media do not seem to promise an improve­ ment in content. Perhaps a voluntary code of ethics for journalists would be of value, especially if combined with a watchdog body that simply reported on the accuracy of reporting. Such a group, the National News Council, existed from 1973-84, and Bogart suggests that the need for it is even greater today when local competition among newspapers has been greatly reduced.

Commercial Culture does not deal directly with cyberspace, but one can only wonder whether cyberspace might not offer an alternative to the media that are dedicated to reaching masses of people and are willing to trade off quality to do so. The discussion groups that flourish in the Usenet are each focused on an area of special interest. Such groups as alt.culture.theory, soc.culture.italian, and talk.religion offer the hope that the Internet is creating micro media in which content quality rather than audience quantity will be the criterion for success. For the celestial jukebox will hardly be worth turning on unless we find among its mechanical permutations some correspondence to our higher dreams and aspirations. © Ta d C r a w fo r d 1 9 9 5

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A re G r a p h ic D e s ig n e r s C e r t if ia b l e ?

The Art D irector’s Club o f Metropolitan Washington and the Washington, D.C. Chapter o f the American Institute o f Graphic Arts co-sponsored a recent program concerning certification, a hot topic among graphic designers. The program began with presentations by professionals in other industries explaining their certification programs followed by a panel o f graphic designers representing opposing viewpoints.

The graphic design panel members included: Michael Bierut, Pentagram/New York; Philip Meggs, Virginia Commonwealth University; Ellen Shapiro, Shapiro Design Associates/New York; and Joseph Essex, Essex Two, Inc., board member AIGA/Chicago. Hal Baskin, The Baskin Group/Washington, D.C., acted as moderator and introduced the speakers.

Because o f space limitations, only a small portion o f the lively panel discussion could be included. To order a tran­ script ($15 on disk, Mac only; $20 on paper) please call (301)261-4166. □ S a m B a le n : The National Council of Architectural

Registration Boards is involved in the legal registration of architects as well as the certification process. We are an organization that is founded by the legally constituted state boards for the regulation and practice of archi­ tecture in each of the 55 United States jurisdictions.

Certification requires a professional degree from an insti­ tution accredited by the National Architectural Board; three years of internship and passing of an architectural examination.

V in c e n t C a r t e r : The National Council for Interior Design Qualification (NCIDQ) administers minimum com­ petency exams for the field. We were formed initially, by the various interior design organizations that saw the need to raise the level of professionalism for the field.

We celebrated our twentieth year this past November. It is very important for us to administer a minimum competency exam to establish the standards that are uniform across the country. We do that by continually reviewing and renewing the exam. It’s a six-part exam, a combination of written and then three design courses. You have to pass all six parts to be certified. We are establishing an intern­ ship development program and we also track the continuing education records.

R o b e rt S c h w a r tz : I represent the Industrial Design Society of America. The organizations which merged to 30

M A Y / J U N E

1995

form IDSA in 1965, date back to 1938. Our 2,400 m em ­ bers are spread across 25 chapters. They work in 530 consultancies and 750 corporate design groups, across more than 60 different kinds of industries. As a minimum for full voting m embership in the society and the right to use IDSA after one’s name, at least a four-year bachelor’s degree is required. This is our form of professional certifi­ cation. Since IDSA is not a standard setting body, a relationship was established with the National Association of Schools of Art and Design (NASAD). They are a nation­ ally recognized and sanctioned accrediting body. And through NASAD, minimum curriculum standards and an accreditation program for industrial design schools was developed.

For an organization of 2,400 members, the cost and legal issues for a comprehensive national certification program are overwhelming. In order for industrial design to develop respect and recognition, it takes combined and ongoing programs of improvements to academic standards, a well conceived and widely disseminated code of ethical practice, public outreach and education, continuing contact and nurturing of leaders in the business community and govern­ ment, and first-rate media relations.

B ria n G ra y : As an accredited m em ber of the Public Relations Society, I’m entitled to use the initials APR after my name. It means accredited in public relations.

Unlike other organizations, there are lots of entry points into the field, so our accreditation program does not rely on degrees, but rather on tests and length of service. The Society, nationally, has existed for about 50 years and w e’ve had an accreditation program for about 30. Today, about half of the 16,000 members are accredited. The qualifications are a beginning five years of paid profes­ sional experience. Pro bono doesn’t count, looking for a job doesn’t count. You file an application and pay $200.

The one-day examination is given twice a year. The first half, about three-and-a half hours, is kind of nuts and bolts issues, definitions, many case studies to test general knowledge. The afternoon is a three-hour case study where you pick from seven scenarios and you answer specific questions, build timelines, budgets and respond to queries. There is also an oral exam.

H al B a s k in : Thank you for being here and helping us with your expertise. Ellen, may we begin with you?

E lle n S h a p ir o : I don’t think I need to define certifica­ tion for you. Certification should determine whether a designer has attained the level of skills required to serve a client. It should determine proficiency in the whole con­ tinuum of graphic design activity. Who would certification

m

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benefit? First of all, it would benefit employers. Our out the report, indicate positions of the highlights, notes, industry has no standards. No one agrees on what a graphic auditor’s report. You must develop an editorial concept designer is or does. Certification, as an adjunct to the for the essay section. Or how about this: A hospital serves portfolio, could help employers, companies and design a patient population that speaks English, French and two Native American languages. Design a signage system that firms find qualified senior designers and design managers. directs people to the em ergency room, x-ray, patient Schools will benefit. There’s no argument that everybody rooms and waiting. If each of the AIGA’s 8,000 members teaches whatever they feel like. When I taught at both paid $200 each in additional dues, we’d have $1.7 million, Parsons and Pratt, I was totally on my own in my class­ rooms. A fear though, is that school accreditation w on’t enough to hire Fallon McElligott to do a nice little cam ­ work. The politics are such that no outsider can come paign that runs in magazines clients do read. in and dictate what to teach. The deans, department chairs M ic h a e l B ie r u t : There are all kinds of reasons that and individual faculty members would never stand for it. get thrown around for certification, but what I always Then how could certification be good for schools? hear is this person out there with a Mac on their kitchen Because they’ll ultimately have to upgrade their faculty table, running QuarkXPress, stealing our clients. If I have and curricula in order to compete. If a message for you, it’s that if yo u ’re they can say 80% of their graduates competing with that person on that gain professional certification within person’s terms you lose. One of the five years of graduation, it will be good nicest things about graphic design, in for business. Students will learn more. my mind, has always been the fact If a program is developed that roughly that there aren’t any universal stan­ follows the NCIDQ model, it will cover dards for what’s right or wrong, that it’s everything from design theory and not codified, that anything can happen history to project management. Clients and anything will. Some of the best will benefit. Clients don’t know where to designers I know are, by formal stan­ go to find designers. A vast majority of dards, the most poorly trained. But clients don’t go to design shows or read alternately, a lot of the worse designers design magazines. Designers would I know are people that know design benefit. Certification programs provide inside and out, everything from Firmin educational opportunities and study Didot and Cooper Black and which is materials. Corporate communication harder to read on a reply card, and people w ho’ve passed the stiff IABC s do n ’t know jack shit about the real (International Association of Business world, about how to solve a problem, Communicators) exams, say the study < how to listen to a client, how to talk sessions were the most valuable part of to a client, how to get something done.

ESSEX the program. Is it possible to devise a I would say that what we don’t need test that doesn’t measure aesthetics or taste, which seems is more education and certification, but we need to know to be everyone’s biggest worry? I made up a theoretical more about w hat’s going on out there in the real world. example. Question: If you were designing a reply coupon, What you need are some ideas in your head and some value which typeface would be the most legible? A. Firmin in your relationship with your client.

Didot; B. Universe 55; C. Cooper Black; D. Emigre 15?

P h ilip M e g g s : Back during the 1970s, when the issues You’d have to know what the typefaces look like and of certification of designers and accreditation of educational how they reproduce in small sizes. You’ll never know programs first popped up, I envisioned a gang of Swiss which typefaces will appear on the test, so you’d have to educated grid storm troopers who would come and estab­ know all of them, within reason. Now, multiply this to lish rigid criteria for accrediting design education. So I include design history and theory, paper specification, art balked at the whole idea. Well, I think I was wrong. I think direction and photography, electronic prepress, printing the truth of the matter is this, graphic design is caught and finishing techniques, business practices, professional between a rock and a hard place. The rock: The most ethics. Other types of questions might require you to make precious thing a graphic designer offers a client is creative a judgment. What are the most important questions you vision. That can’t be certified or quantified. But the hard need to ask a client in such and such a situation? Other place is this: We’re in business, like accountants or dentists, sections might look for the ability to work out a typical offering specific services to clients. This means we have design problem. Let’s say you’re given information about fixed costs, space, equipment and insurance. If handled a company, its history, products, prospects and some finan­ properly, I now believe that certification of designers and cials. You get a blank storyboard or paper dummy with 36 pages plus cover. You have three hours to roughly lay accreditation of schools can benefit designers, clients and 32

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1995

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students. I believe we need to jettison the Bachelor of box dance. You had to keep up. All good professionals do.

Fine Arts degree and replace it with a Bachelor of Graphic I hate the word graphic designers— the concept of graphic Design degree, accredited by the profession. Our designers. It’s so limited. That, to me, is much more a blas­ profession has matured to the point that we know what we phemy than certification. It’s limiting. And the process of certification, to me, is even more limiting. need to know. I think most of our lists would include some of the same things— fundamentals of design and [At that point Hal Baskin thanked the panel and suggested typography, photographic and computer imaging, the there was an opportunity to ask questions, comment or theory of form and communication, design history, project rebut any of the statements heard.] management, software, electronic prepress. By accrediting S h a p ir o : We’re talking about two different things here. a graphic design degree, the profession can influence the Whether you have talent and can do something like draw quality of education and standards for teachers could or whether you are a professional who can serve clients be established as well. Every graphic designer I talked and engage in the entire process of graphic design activity. to, painted a scenario of the blind leading the blind into a You’re two-thirds of the way through a project and a new profession based on vision. Certification would help us client team comes in and wants you to educate clients about our profession. change everything without increasing One big worry is would certification your fee.

What do you do? You say get rid of that brilliant genius? It just do a good job, just serve our would not cut geniuses or imbeciles clients.

People haven’t been trained out of the field. Certification is not a how to do that anywhere. magic pill to cure the ills of the pro­ fession. But I think we should be B ie r u t : W hat advantages are you prepared to accredit education pro­ giving everyone of having, say, all grams and to offer certification to young the firms that do corporate identity a designers entering the field. Graphic common way of approaching corpo­ design must reinvent itself for the 21st rate identity? century. We can become the highly E ss e x : You two are talking about two trained interface designers who create different things. You’re talking about links between people and their infor­ doing it through the schools, setting mation environment. We can use up a basic curriculum or performance accreditation and certification to raise level so that if you graduate, you have educational and professional standards a degree that qualifies you. or we can let nature take its course and M e g g s : I think it would be important go the way of the blacksmith.

M EGGS to have a Bachelor of Graphic Design J o s e p h E s s e x : There are a great degree and have the requirements of many people here who come to our this degree certified by the profession. Interior design profession from different levels of experience and come to has this type of thing and I think it’s really helped this meeting to consider the arguments that are being improve the ones who have become certified. presented with a different set of criteria. Experience is B a s k in : One question I would like to pose. What would an enormous educator, both for the positive and negative.

I think part of what we have to consider is that there’s prob­ you consider the ideal curriculum for a graphic design ably a great deal about this subject that we do not know. student, in two parts, one side the design part and the other It can get pretty threatening to think that there is somebody side the education or liberal arts part? out there who is going to have as much control over you E ss e x : I taught for the first time last semester. I had been as the traffic cop who’s pulling you over and taking your complaining about students that I see on a regular basis. license away. All these people that have control over your These were all seniors and I asked them a lot of questions life and that you don’t feel are fair or feel are demeaning about whether they understood how to apply what they to you, maybe that’s how you think about certification. One had learned. They looked at me rather strangely. Then of the things Michael said was do good work. If it were I set the curriculum for the class. I made them write pro­ easy, more people would be doing it. We talk about doing posals.

I made them interview people. I made them good work. I don’t think anyone is going to disagree with experience what it’s like to take the process through to that, being well-educated, well-prepared. There are prob­ its conclusion. ably those in their 30s and 40s who didn’t learn on the computer in the beginning. So you don’t know all the words B a s k in : But the question is what is a well-educated and all the terminology, but you do know how to make the designer?

34

M A Y / J U N E

1995

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generalist, like a G.P. can handle a lot of things. First I think we need to address the issue of accrediting edu­ cation and deciding if young designers entering the field B a s k in : How about read and write? would benefit from some sort of certification.

E ss e x : Sometimes what the client wants to have happen, A u d ie n c e m e m b e r : What is it that we as designers isn’t the right thing. Part of it is just the guts to say are liable for that could be certified? We’re not going to “that’s not the right thing.” It’s the ability to listen, inter­ certify design. The issue is what is it that we are certifying? pret, read all the signs. To be successful in our business you deal with politics, you deal with the insecurities of S h a p ir o : Do you know how to do what needs to be clients, with money. Those are the things that students done from the moment you meet with a client until that are not prepared for. job is finished? Certification is not something you would get upon graduation. You’re not ready yet. If we were to M e g g s : The thing that’s changed is clients and firms can do this at all, wouldn’t it make sense to have it based on no longer afford to train people. A lot of places require that people be up to speed and ready to go to work when a combination of education, experience and testing? they get out of school. They can’t do D e a n N e t t l e s (program chair of their postgraduate or intern program ADCMW): M ichael, apprenticeship afterwards. I think we can make a list programs have gone out the window. of what a graphic designer does and Nobody can afford the time and effort how we can best prepare people. to train an apprentice, so maybe these B a s k in : Are you describing a trade desktop publishers are in fact some school? sort of apprentice program. What I’m suggesting is that maybe certification M e g g s : No, I’m not. The craft aspect is setting standards for the industry so of graphic design is only part of it. Most people consider graphic designers to people who are outside trying to get in be creative problem solvers who have know what to shoot for? mastered the language of communication B ie ru t: Whose standards, what stan­ and the language of form and can apply dards, determined by whom? The those to a given problem. They’re also reason I’m not an enthusiast for certi­ involved in analysis, problem solving, fication is because one, it do esn ’t proposal writing, presentation, some of seem that a plausible model could be the things Joe was alluding to. It’s a developed to do it and two, even if it very complex thing. were possible, it doesn’t seem like it B a s k in : I’m beginning to feel it’s a would do any good to find out. So I B IE R U T generational thing too, in my personal think w e’d waste a lot of time and experience. The people who I learned a lot from really money. As far as I’m concerned, I’m baffled by education, didn’t have any formal education. One man in particular, which is why I remained silent during that. I can’t figure taught me everything I knew about type. He was a very out what a good education for a graphic designer well-read man who gave me new experiences and broad­ would be. ened my education, both in literature and the arts. What M e g g s : Training som eone’s vision has got to be in I’m hearing about is a student coming out of school and the equation. being ready to deal with clients. That’s a lot to ask from a young person without any experience.

B ie r u t : I agree. It’s just my taste, but I w ouldn’t seek to impose it on anyone else. I ’m pro-choice when it E s s e x : When computers came into the office, most of comes to this. the hand work went away. People that used to answer the phone, run the stat camera, learn to do the paycheck S h a p i r o : I would be interested in know ing what the stuffers, that apprenticeship program doesn’t exist. I think accredited public relations person thinks about graphic it’s a changing responsibility for education. design and would advise us to do?

A u d ie n c e m e m b e r: Do you propose there be boards G ra y : I think that in the public relations business w e’re for environmental design, for interior signage, for book fighting somewhat the same things you are. Anyone can jackets, for each specialty in graphic design? If that’s come out of school and hang out a shingle as a public possible, I might agree with you. relations practitioner, w hether yo u ’re good or not or M e g g s : I think we should start small and I think that whether you’ve had a client or not. That’s why those of many of these design specialties can be handled by a us in public relations who are accredited think it sets us E s s e x : Somebody who can talk, somebody who can

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1995

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design business. If that’s what you’re really concerned apart from, heaven forbid, the hacks in the business. What about then I would concentrate my efforts on a curriculum it says to a client is that this is a person who has persevered and how to accredit that curriculum by organizing some in a program of study, w ho’s taken an exam. If you’re form of an accreditation body to visit schools. Let the advertising for a PR agency are you asking how many people have APR accreditation? T hat’s how I think we public know what they’re buying when they send their elevate the whole field. children off to those schools and that when they come out they’re going to have a marketable degree and that S c h w a r tz : Designers don’t get no respect. It doesn’t degree has to be identified with what the marketplace is matter what the discipline is. In spite of certification and doing.

You, who represent the marketplace, can define licensing, legal licensing, architects have the same damn what it is that needs to be taught. You can build in a certain discussion all the time. This is not an issue of certifica­ amount of general education, but you also have to include tion, it’s an issue of public education. It’s an issue of a great deal of technical education and the two combined the culture and the country. will produce the kind of graphic person you’re looking M e g g s : Could I add something? I think one of the main for. You probably ought to concentrate on the education problems that needs to be addressed is side. Once that’s going, then you can the lack of visual literacy training in pitch that to your client group and then the schools in this country. maybe certification will become some­ S c h w a r t z : Thank you, that’s thing that’s not relevant since you don’t absolutely true. The notion that K really regulate the profession. Certifi­ through 12 education, virtually excludes cation in architecture has to do with the arts, let alone design thinking as a regulation and that’s a function of gov­ way of learning and doing is really ernment. Here the issue of certification terrible. This issue is not focused on really bends down to education and this or on that, it’s all of the above. You qualification. If you get those going, have to have public education, profes­ certification may go by the boards. sional education, yo u ’ve got to get to C a r t e r : The field of interior design business leaders and government people is very similar to architecture. We test and manipulate the media to get your for minimum competency, so we do message out there. Getting initials not deal with aesthetics at all. after your name isn ’t going to solve B a s k in : Industrial design? the problem.

S c h w a r tz : I have to agree with Sam S h a p i r o : T h at’s one of the reasons Balen. Educational standards are really I asked our public relations professional, S H A P IR O what will drive this for you. It’s not “If a graphic design association was going to happen overnight, if it your client what would you recommend happens at all.

It’s going to take a generation or more, we do right now?” several generations coming out of schools working against G ra y : What I wouldn’t recommend you do is go out and minimum curriculum standards that the schools are spend a lot of money. I think you need to do something reviewed and ascribe to. And in our case, we were allowed that raises standards and heightens public awareness of to determine what those minimum standards were. It’s our standards. Have a subcommittee at the top of your organi­ people that go into the schools and evaluate them, so it is zation looking at your image as a profession, and from possible to do. that could flow suggested types of article placement and M e g g s : So you’re talking about a second entity, the perhaps some modest advertising. industrial design professional group, that adds another [An audience member asked if testing for aesthetics was layer of evaluation? used in certification for the other professions] S c h w a r t z : We provide NASID with evaluators that B a le n : In architecture, we test for minimum competency go into the schools. that has to deal with public health, safety and welfare. The A u d ie n c e m e m b e r : Is that also true of public aesthetic part is very difficult for us to evaluate so we tend relations? to stay away from that because it is subjective. I’ve been listening to what you’ve been saying and I am wondering G ra y : We expect people in public relations to know the what you want to certify and why you want to certify it? difference between libel and slander, how to write a press It seems to me that the whole thing is coming down to an release, to understand you d o n ’t institute a corporate issue of how well a person is educated within the graphic image program in two days. Our test questions are based 38

M A Y / J U N E

1995

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around those types of things. There are many right solutions, but w e’re looking for principles and overall concepts for people.

A u d ie n c e m e m b e r: So if the four representatives of those organizations that have successful certification don’t have aesthetics as a top requirement for certification, what’s the debate about? It’s really a simple small issue, one foot in front of the other, one step at a time, to determine quali­ fied entrance for employment, agreed upon standards for education.

H o w a rd S m it h (AIGA member, ADCMW past presi­ dent): I think part of the reason we do this is not for us, it’s for the future. If you want to look at the profession ten years down the road to see that we’ve done something during our professional lifetime to boost the professional level of the people that come behind us, then we would have done something.

M e g g s : Amen.

D o n n a L o m a n g in o (president AIGA/Washington): May I ask one last question? Since not everybody here is in favor of certification, I feel that this question hasn’t been asked. Is there a viable alternative to achieve our goals that will be less costly and take less time? Is there some­ thing else we can do, Bob Schwartz?

S c h w a r t z : Manipulate the media. Manipulating the media has done more for us than anything we have done in 100 years.

E s s e x : If we had educated clients who could perceive the difference between what was good and what was bad, we wouldn’t have this problem. We’re talking about an educated audience and an educated, prepared consumer.

B a s k in : Thank you to our panelists and thank you audience. □

At the beginning of the evening, a questionnaire was passed out to the audience with the request to complete and return.

Prior to the discussion, 11% of the audience was against certification, 45% were for certification and 44% were undecided. At the close of the program, 27% were against certification, 46% were for certification and 27% were undecided.

Editor’s note: Caroline Hightower, the form er director o f the AIGA from 1978 to 1994, was scheduled to appear on the panel, but because o f illness she couldn’t participate. We invited her to send a statement to be included in this article. □ C a r o lin e H ig h t o w e r : I do not believe certification of graphic designers would be effective or desirable for

40

M A Y / J U N E

1995

several reasons. Design is already suffering from a current trend to train rather than educate which increasingly puts the designer at risk of being less discernible from the undereducated competition they wish to keep at bay.

Certification which, as stated in the discussion, tests for “minimum competence,” could become the goal on which mediocre programs set their sights: easily defined and attainable. Students and parents could be misled into think­ ing that certification initials represent something more than minimum competence and, because they presumably provide access to the field, they’re worth the price of tuition. Hardly. Testing creativity is an age-old problem: Who is to judge and by what standards? The concern of graphic design in relation to public health, safety and welfare are minimal, except when illegibility mocks the public and wastes an opportunity to com m unicate.

Aesthetics are central and must have weight. My second concern is that I believe the motivation toward certifica­ tion is essentially protectionism, that it would serve not so much to identify those who are certified, as those who are not, which ultimately w on’t matter much, for reasons already given. A designer’s work, and what it can signify (insight, understanding, creativity, ability to comm uni­ cate) will always be more telling than certification and what it signifies (minimum factual competence). Which is why potential employers usually want to see a portfolio first. Then the interview process provides a personal take on whether a designer would be an interesting, effective colleague: Are they attuned and able to comm unicate verbally? Are they knowledgeable enough to be responsive to a varied client base? And finally, reference checks to find out if the designer’s responsible and able to get the job done. These are all aspects of an individual that are not certifiable. W hat’s left? Not much that is essential. The AIGA has rigorously debated the issue of certification over a number of years. It was never determined that it would effectively serve the field. Instead it chose to determine, with great deliberation and care, what consti­ tutes an effective education and why, which is succinctly outlined in the AIGA Education Statement. This was followed by the AIGA Graphic Design Career Guide and Education Directory which specifically elaborates on the interdependence of education and effective practice. Both provide a strong rationale about what sets the educated designer apart. Despite education, if designers’ work is mediocre, they’ll have a hard time in an increasingly competitive field. No one can certify that someone is a “professional.” No matter how reassuring the initials may be— for the designer or the client— the proof is in the work, which is one of the compelling reasons why most designers got involved in the first place.

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he f ir s t th in g y o u n o tic e a b o u t Atlanta Art and Design is the unusual name. As fitting as the moniker would be for a firm located within, say, 100 miles of Peachtree Boulevard, it seems oddly cryptic up here on the top floor of a loft building in Toronto’s garment district. Arthur Niemi, who founded the firm in 1985, fields the question of its origin with an amused smile. “Everybody asks us that,” he says, standing at the roughly finished metal door that bears his firm’s name. “There is no reasonable answer to the question. I needed a name and I thought it printed nicely.” He inspects the word, as if for the first time, and points out that it allowed him to reverse etch the A’s on his door window in clear glass while making all of the other letters opaque. Then he marvels, “Those A’s work the same way frontwards or backwards.”

Readability, one can assume, is what led Niemi to name his firm so idiosyncratically. And that actually makes some sense— in an in-joke sort of way— when you consider that Atlanta Art and Design is on a virtual one-shop crusade to maintain the legibility of text in graphic design. During these days of computer layered imagery and the deconstruction of commercial and editorial art direction, Niemi and his partner, Mark Koudys, still pay tremendous attention to words and the abilities of readers to decipher them. “We try to put the message and words ahead of any design considerations,” says Niemi, now sitting at the conference table of a glass walled meeting room. “In most things we do, you will find that words are of equal importance to the picture. We are not the kind of design firm that would place tiny type on the page just because it looked good. I like the idea of some kind of gestalt occurring between the words and the picture.”

Niemi’s magazine background (prior to founding Atlanta, he had been the art director for Canada’s now defunct Quest magazine) has formed the design com pany’s collective aesthetic. “We basically look at everything we do as a magazine spread in which information needs to be com­ municated in a compelling way,” says Koudys, whose

T

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M A Y / J U N E

1995

KAPLAN

previous commercial art experience was with a general assignment design firm. “That way you can combine all the elements to put across a strong message instead of just a jumble of words and type.”

This philosophy has a direct impact on the approach that Atlanta brings to its annual report assignments. N iem i’s pet peeve in this area of design is the lack of synergy between images and text-driven messages. “Nine out of ten annual reports you look at, the title on the page has very little to do with the picture,” he says. “You have a whole rack of type that no one will read. Then there will be a picture— albeit, a picture of the president— that just says nothing. After wading through that, you go to the inside pages, and find all sorts of pictures and messages that don’t match.

There’ll be talk about corpo­ rate structure or initiative accompanied by a picture of somebody sitting in front of a computer. That makes no sense to me.”

W hen the principals of Atlanta found themselves up for the job of designing YM CA of M etropolitan Toronto’s annual report, they used their penchant for communication as a selling point when pitching them ­ selves. “The people from the Y liked the idea of words and images working together; they gave us the job,” says Niemi, adding that the magazine approach was employed in a very literal sense. “The graphics could have amounted to an incredibly boring pictorial essay.

They told us the shots they wanted: people using the Pictured left to right: M ichael Cherkas, Arthur Niemi, A lison Upper, Ian Brignell, John Ormsby, Mark Koudys, Paula Whyle.

Right: Audi brochure. Atlanta reworked all of Audi's point-of-sale materials, a llo w in g the cars' artful lines to carry the m essage in "sto ry te llin g " sequences. Full bleeds of tightly cropped details were contrasted with generous w hite space and m inim alist type. Printed on heavy coated stock, the brochures were substantial w ithout being ostentatious, the way Audi lovers prefer their cars. M ark Koudys, art director; M ark Koudys/M ichael Cherkas, designers; George Simhoni/(La gamme Audi 90 cover and An Inside Look at Style spread)/Manfred Rieker (Audi Coupe quattro 20v cover), photographers.

ok at styl e.

The true measure of grace, style, performance and function is culled not as one may expect from an automobile's exterior attributes, but rather from where it can most properly be expe­ rienced; that is. the driver's seat In this respect, the Audi 100 and 200 series prove themselves peerless Housed behind a non-reflective panel, analogue instrumentation provides accurate operational information at a glance An Auto-Check system ensures that all systems are operating correctly and, after dark, soft red instrument lighting preserves night vision In the Audi 200. Zebrano wood inlays on dash and door panels surround the occupants with refined elegance The Audi/Bose sound system with anti-theft coding is to the ear as the sculpted console is to the eye. Automatic seat belts, which are triggered by the power­ train's rearward displacement during a severe frontal impact, thus restraining the passengers from being thrown forward, lend an extra measure of safety, as does automatic shift lock (ASH Found on those Audis equipped with automatic transmission. ASL pre­ vents engagement of the powertrain unless the brakes are fully applied From nowhere but the driver's seat is Audi's philosophy of sheer driveability more apparent

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exercise room, a minority family swimming in the pool, a portrait of the YMCA’s president, a kid at summer camp. The potential was there for it to be dull.” In order to avoid that dreaded distinction, Niemi hired editorial photographer Brian Smale to shoot the scenes with the same kind of spontaneous panache that he brings to assignments for magazines such as GQ, Rolling Stone and Texas Monthly. Smale’s series of touching, humorous and candid images were fleshed out with text written by a group of Toronto-based journalists who were hired in lieu of the typical annual report scribes with their soporific writing styles.

Like anything that would hold a reader’s interest for more than five minutes, the annual report is a neat amal­ gam of words and pictures that seamlessly fit together.

However, Niemi is quick to acknowledge his aversion toward running photographs that are dependent upon prose for their meanings. “In every case, when we assign a piece of art, I hope to tell a story with the picture while it cleverly ties into the headline,” he says. “When you assign art, you want it to be a piece of art. It should be able to stand anywhere on its own. What I hate to have, though sometimes you are forced into it, is a shot that does nothing more than record. My feeling is that print pieces do not need straight documentation. Television does that just fine. Why in your annual report would you have a photograph of somebody doing something that is described in the text?” He smiles, shakes his head with a bit of bemusement, then adds, “Are you trying to prove that the text is telling the truth?”

Though annual reports are an easy jump for the editori­ ally orientated Atlanta— the firm has art directed Digital Corporation’s in-house magazine; in addition to Four Seasons, for guests of the hotel chain; the Canadian travel publication Destinations, and Canadian Art— Koudys and Niemi insist that their company possesses no real specialty. Spread out on the conference table are samples that run the gamut from highly graphic safety posters for Norbord Industries to a slick brochure that shows off the attributes of Audi to a handsome logo for the image consulting firm Manifest Communi­ cations. Impressed [ c o n t i n u e d o n p a g e s o ]

C om p lim en ts o f Four Seasons H otels and R esorts

Fo u r Se a s o n s H otels and R esorts

This page and right: Covers and spreads from Four Seasons magazine. When Atlanta w as invited to redesign the in-house magazine of Four Seasons Hotels and Resorts, an international hotel chain based in Canada, the job w as to convert a muddled afterthought into a focused calling card, on a slender budget. Exercising a prominent degree of editorial control, Atlanta anchored each issue on the work of a fine-artist, w hich resulted in an inviting cover and main inside feature article. M ark Koudys, art director/ designer: Barbara Cole (woman and girl on beach)/John Lloyd/Nancy Saxberg (rice bowl), photographers.

46

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q f Four Scason^H otcls a n d T teso rti

M agazine

By Ellen V anstone

C 38 a * A

o 1

.d%o/oyraftAer dfta rl>ara (' o/e i/arted off ai a teenayer wAo tuentfrom fa rt-tim e moc/e/iny in Aiy/dc/too/to a ten-year career at /Ac 3/oron/o

. /tin ai ie/f-fauyAttfaiAton editor andftAofty raftAer .. Icue yean ayo, jAe W oat on Aer own, and toai a/moit t ni/ant/yfticAed aft Ay/tine ( orAin, (bantu/a i fron tier dea/er «m fin e a r/ftAotoy raftA y .

. A nee /Acm iAc Aai won a num/ter o f awardi fo r AtotA Aer commendedandfine artftrtfeeti.

by E l l e n V a n s t o n e

C O M M U N I C A T I O N

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47

344 program sites serving 138,000 people across The theme for t his year’s annual report is

fa cts fig u res may not in them­ selves conjure up images of the family experience we all share

a family portrait. M aps, charts, and

7,000

a s participants of the YMCA. This section will add to your overall understanding of our Association a s a well-managed,

ch aritable organization 7 committed

community-based

to family values. From the bottom line to topnotch volunteers and staff, we are pleased to show you the 1 9 9 1 - 9 2

results.

Anne Fawcett Chair Richard R. Bailey President and CEO Elect

Alberto and Maria-Angelina

h a w bee n co in in g to th e Y M C A th re e to four tim es a w eek for six years as financ ially assisted m em bers. N o rm ally A lberto jo g s o r w alks on the th ird -flo o r tra ck . M aria A ngelina takes a fitn ess class and th e n goes on th e bicycle for 2 0 m in u te s o r so b e fo re h ittin g th e w eights. As th e y m ake th e ir w ay across th e w eight ro o m , th e tw o regulars are g ree ted by th e ir fellow exercisers w ith h ea rtfelt — if w eary — sm iles.

T h is past fall th e tw o celeb ra ted th e 2 2 n d an n iv ersary o f th e ir arrival in C an a d a fro m B razil an d th e ir 70 th b irthdays. To m ake th e ir ap­ p o in ted ro u n d s at the Y M C A . th e y travel an h o u r each w ay fro m th e ir ap a rtm e n t in N o rth T o ronto. “ It's g o o d ex e rcise ju s t co m in g h ere ," says M aria. B ut exercise is on ly p a rt o f th e story. "W ith o u t th is,” says A lb erto , " th e re is w hat? Eat. sleep, T V ? T h a t’s n o t so nice. I like to ta lk because for m e co m m u n ic a tio n is n u m b e r o n e ." A nd for the M iran d a s, there's plenty o f talk at th e Y. "T h e y 're p retty m uch a fix tu re aro u n d here. E veryone stops to chat w ith th e m ,” says m em bership d ire cto r Boon Yong. “A nd they in tu rn take real p rid e in th e ir m e m b ersh ip — p rid e o f o w n e rs h ip ." As w e fin ish o u r to u r, M aria stops su ddenly and rifles th ro u g h h er purse. "P lease, please.” she im plores. "I w ant to show you this." She pulls o u t a Y M C A pam p hlet advertising th e b en e fits o f m e m b ersh ip and sm iles proudly, p o in tin g to a p ic tu re o f A lb erto sm iling p ro udly back u p at her fro m th e page. L ater as w e p art. A lberto p oints to Ins p ic tu re h a n g in g in a row o f o v ersiz ed p o s te r shots o f various m em bers. "Y ou see?" he says, "I am always h ere !” - /) o iiglas Hell

48

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kilometres

A t l a n t a A rt a n d D e s ig n

z

/ W ttu B e

i

-

i

n

r

m

~ ^

r

^

Attitude Left: The Y M C A of Greater Toronto w anted an annual report that would appeal to its existing membership and help attract new members. Atlanta's idea was to recruit w riters who would work pro bono with Y M C A members and staff to tell personal stories of the difference the Y has made in their lives. The studio optimized the visual impact of a tw o-color job by using different colors on either side of the printed sheet. Arthur Niemi, art director; Arthur N iem i/John Ormsby, designers; Brian Smale, photographer.

This page: Identity for a line of women's wear. Forced to compete with specialty retailers, Canada's largest department store chain, Eaton's, wanted to recast its Attitude line of casual women's wear using a new graphic identity to market aggressively priced fashions of simple design and high quality. Atlanta devised a flexible system of wordmarks, logos, labeling, patches, posters and point-of-sale advertising. Cohesive yet adaptable, it fits everything from antique W estern to urban chic. Product: M ark Koudys, art director/ designer/writer; Ron Baxter Sm ith/Kint Quan, photog­ raphers. Logos: Mark Koudys, art director; Mark Koudys/ Ian Brignell, designers. In-store poster: Mark Koudys, art director/designer; Ron Baxter Smith, photographer.

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norbord H ardh a t Eye P rote ction H earing P rote ction

Lon g-sleei S a fe ty Be

norbord

S te e l-to e d B o o ts

Y ou r life d e p e n d s on it!

by Atlanta’s versatility, the Canadian department store chain, T. Eaton Co. Limited, commissioned the firm to create a look and personality for a group of its casual women’s clothing.

Designing for E aton’s Attitude line of sportswear, Koudys created a series of images that resulted in ads, posters and garment tags. He transformed the Attitude logo from something clumsy looking and with a sten­ ciled appearance to one that is simultaneously breezy and elegant. However, the project’s most daunting creative challenge was the package design for a line of shorts that had yet to be produced. “I figured that the whole purpose of wearing shorts is to show off your legs,” says Koudys. “So, inspired by an old shot of a movie star, I decided to reveal only the m odel’s legs in the packaging.”

Another project for Eaton’s, this one for a line of jeans called Vintage, is steeped in ’50s-style graphics. A com­ plete departure from the Attitude campaign, it serves as testimony to the Atlanta philosophy: a singular, instantly recognizable company-wide graphics style is not neces­ sarily a good thing. “We approach every project individ­ ually,” explains Koudys. “Our belief is that you can’t force a single style or attitude toward any individual project.

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Each client is different, and our thought process changes as we move from one to the other.”

Part of that probably evolves out of the laissez-faire man­ agement style employed by Atlanta’s partners. The firm is small, with only five designers and an office manager.

“We don’t have any junior designers here,” says Koudys.

“We have never really had a need for people to work in that capacity. Everybody works on their own projects from start to finish. Each designer’s unique vision is really important to us.” As Niemi adds, the individualized per­ spectives provide Atlanta with a kind of flexibility that would be tough to achieve in a more collaborative setting.

“Our studio is a group of individuals. We have a type designer, a comic book artist, an illustrator. Everyone has a real strong talent that belongs exclusively to the individual. It is part of what makes us different from everybody else.”

A tlan ta

A rt an d

D e s ig n

Contents D e s t in a t io n s

N o v i :m b i :r 1993

Left: To be effective, industrial posters must com m unicate quickly w ith fe w words. For Norbord, a forest products company, A tlanta created a series of large safety posters w ith simple, strong messages about worker safety. Arthur Niemi, art director; Arthur N iem i/John Ormsby, designers; Ron Baxter Smith, photographer.

This page: Table of contents page and spread from Destinations, a national travel magazine published until recently by the Globe and

Mail. This spread, for a story about North America's fifteen best beaches, captured the mood and feel of beach-going without resorting to images of w hite sand, blue skies and overstuffed bikinis. Mark Koudys/Arthur Niemi, art directors; M ark Koudys, designer; Cathrin

Features 18 P ractical Route

Apartm ents Time'* short? M oney’* low? W orry not. traveller*. O ur guide to three fu ST00 w eekend* show* how to make a little go a long, long way.

By Johanna Schneller

Beaches bring out o ur wild side. But w here's the best place to h a w a sand blast? L ook n o further than our list o f IS top beaches south o f the b order 3 6 lagoon Tactics

S hop before you swim: Fine a sorics m ake a beach trip hettc

Bradbury, editor; Chip Simons, photographer.

Paris flats beat pricy hotels, and dow n in Belize. Coppola changes direction.

By Jerome Richard

Back to the days of lords and ladies at Jam aica's G ood H ope plantation.

By John Allemang

The spirit o f chili lives in D allas, and T olbert's is the keeper o f the flame.

By Mimi Murphy

In sunlit Rome, a young Italian artisan brings rare beauty to everyday things.

S tore fron t 1 4

By Matthew Hart

it Carson was 16 w hen he joined a >n train headed west. IIc was look tg for adventure. I Ic found glory

By Tony Leigh It.

c visit rem em ber u:

>yJohanna Schneller

Photography by Chip Simons

Dm tin a tk

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A t l a n t a A rt a n d D e sig n

This page: Cover and spread from tenth anniversary issue of Canadian

Art. John Ormsby, art director/designer; Sarah Milroy, editor.

On the cover: Set design for The Impresario from Smyrna, by M ichael Levine (in collaboration with Phillip Prowse and Geoff Rose), Citizens' Theatre, Glasgow, 1982. John Vere Brown, photographer.

Spread: Fine-art photographer Michael M itchell was assigned to create a series of portraits of people who have played a significant role in the Toronto art scene during the publication's history. The uncropped portraits were arranged to provide a narrative quality with mixed pacing.

Right: Covers and spreads from Digital News magazine. D igital Equipment Corporation's in-house publication w as circulated not only among employees but customers and prospects. Atlanta's goal w as to make it visually distinctive from other office mail with a recognizable cover, yet vary the design of each issue with different column widths, type styles and color schemes. Rather than photograph computers and other hardware, the designer kept all visuals purposefully allegorical and evocative. Costs were reduced by collaborating with a single artist.

For a flat fee, the photographer/illustrator w as given creative latitude for the entire issue. Mark Koudys, art director/designer; Betty Ewing Pearse, editor; Ron Baxter Sm ith (top tw o)/A lan A bram s/Francesca Lacagnina, photographers.

| Lynne Wynick | art dealer, wynick/tuck gallery With a keen eye for loveliness, she never misses an opportunity for quiet pleasure and elegant thought.

Ihor Holubizk) SENIOR CURATOR.

GALLERY OF HAMILTON He has looked to the past for the roots of the present, providing much-needed ballast for the trendy ship of art. Recent exhibitions include Small Villages, on the legacy of The Isaacs Gallery.

Upcoming in 1995: How Red Works.

IGary Michael Dault grumbling humanist, an advocate of all that

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witness to all that is crumbling away. His pulse quickens his prose.

l 9 9 5

ANNIVERSARY

Irene Avaalaaqiaq Albert Barnes Georges Bogardi Roch Carrier Gary Michael Dault Robert Fulford John Goddard Betty Goodwin Geoffrey James Betty Ann Jordan Urjo Kareda Olga Korper William Kurelek Michael Levine Gillian MacKay John Bentley Mays Michael Mitchell Jane Ash Poitras Richard Rhodes Nancy Tousley John Will Jackie Winsor

DI GI TAL N E W S ; and

presto

eusmso

DIGITAL N E W S ;

Inform ation Technology raised so many

hopes.

Its potential seem ed without limit.

It p r o m i s e d to open all the doors— bring k n o w l e d g e to people and people t o g e t h e r . To make organizations

smarter, leaner, more competitive.

and only a vague sense of having gained. The dream of Information Technology's

aura

a dream.

C O M M U N I C A T I O N

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53

BY

MARK

OST ILLUSTRATORS D O N ’T WAIT UNTIL they’re 35 years old to start illustrating, but that’s how long it took Ward Schumaker. Ward had studied art at the University of Omaha, and his expectations then were that he would be a fine artist, if he were to be any kind of artist at all. “When I was little, back in Nebraska,” he says, “I dreamed of becoming a New York action painter or a Japanese artist. I’d always admired Japanese art. It was some time before I faced the fact that I probably would never be a Japanese artist.”

Ward credits two people with making early contributions to his future career. “I had a great painting teacher at Omaha, Peter Hill. But of course at that time we w eren’t painting pictures of things, we were just painting. And I got an extra education on the side after working for furniture designer, Cedric Hartman, whose voice echoes in my head to this day, ‘Yes, that’s good; but how can we do it better?’ They both taught me a lot about style and taste.”

Through his twenties, Ward was working as a paper salesman in the San Francisco Bay Area and doing a little graphic design on the side. “I was calling on guys like Michael Vanderbyl and Michael Manwaring when they were just starting out,” Ward says.

Another designer that Ward called on was San Francisco legend, Marget Larsen. “I’d go in ostensibly to sell her some paper, and w e’d just talk and talk, literally for hours.

One day she said, ‘You’re not just a paper salesman, are you? You’re some kind of an artist.’ I said, ‘Yeah, well, sort of.’ ‘Why don’t you bring in some of your stuff?’ she asked. So I brought in some of my work and she said, ‘Go quit your job .’ ‘W hat?’ I said. ‘Go quit your job ,’ she repeated. This was Marget Larsen talking, so I went and quit my job.”

The day after he left the paper company, Ward lost his only client. “She was a woman who did stuff for shopping centers,” he says, “and she called and said, ‘Listen Ward, I’m closing my business.’ I had a wife and a baby and a degree in fine art from a school where you weren’t supposed to paint pictures of things.”

Ward didn’t have long to worry.

Two days later a San Francisco design firm, Fetzer/Conover, called and asked to see his portfolio. “I had examples of everything I’d ever done in my 54

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1995

FULTON book: photography, illustration, writing. I didn’t know you weren’t expected to do everything.”

Fetzer/Conover offered Ward a job as a designer. “I worked there for two years, learning a lot by designing annual reports and magazines. Then I quit and went to work for Determined Productions designing Snoopy calendars and Snoopy bedsheets.”

At the same time, Ward’s wife was writing a book, and he was illustrating it. “Since I didn’t know how to draw, I started tracing photographs and turning them into these nice little black-and-white ink drawings that were all hand dotted.

I’d do them four times up and then reduce them. Actually they were a lot like the original photographs, but they had this ‘look’ to them. We weren’t able to sell the book, but I ended up with about fifteen ‘dot drawings.’ I’d finally figured out that you don’t put everything in your portfolio, so I started showing just these drawings.”

The new portfolio paid off, promptly, if not profitably.

In the first week, Rich Silverstein, who was then at San Francisco magazine, gave Ward his first illustration assign­ ment. “It paid $30,” Ward laughs, as he explains, “and it took me 30 hours to do it.” His second assignment for Don McCartney at City magazine was a little better. “They gave me a cover, so it paid $75.” Ward pauses. “It took me 75 hours.”

As his “dot drawings” became increasingly popular, Ward became increasingly unhappy doing them. “I called it Caption information provided by W ard Schumaker. A ll illustrations are India ink on tissue on acetate.

Right: "Originally, I drew this image for the San Francisco Jazz Festival, under the art direction of John Sullivan and Dennis G allagher of Visual Strategies. The client. M ercury Flouse, had a tight budget, so I sold second repro rights to them, reworked it slightly, under art director Sharon Sm ith's instructions. Later the book w as sold at the SF Jazz Festival, next to posters and T-shirts w ith the same image."

61/2 X 9 1/2.

"Every year, the Jazz Festival and I have a big argument about the image. W e just don't agree easily. This year we compro­ mised by producing the image two ways: as a head alone (my preference) and a head with a body (their preference)." Dennis G allagher, designer; John Su llivan , art director; Visual Strategies, design firm. 8 x 9 .

"Sara Rogers, the designer, gave me dim en­ sions and com plete freedom, 'D raw the circus and w e 'll w rite copy to m atch.'" Design Metro, design firm; Rono Graphic Com m unications, client. 83/4 x 7.

j e M (o C lQ M ?jeL$o# A te r e N

JltL ioC ortA ^

Ph^p uas®% i f f i *

C O M M U N I C A T I O N

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W ard S chumaker

‘Presbyterian Purgatorio’: it was interminable, it was boring and it was hard work. I’d start dotting early in the morning and I’d dot until ten at night.

“1 had no respect for what I was doing and kept remembering a statement I’d heard from illustrator James M cMullan years before, ‘If your work doesn’t look like your signature, it’s not your work.’ Perhaps that’s not word-for-word what he’d said, but that’s how I remember it. So I started doing some colored-pencil drawings at night, just for myself and to get the dots out of my head.”

It was Linda Hinrichs who gave Ward his first opportunity to do something other than dot drawings. She wanted some pencil drawings of mush­ rooms, and she wanted them to look like an artist’s sketch­ book. “It was exactly what I wanted to do, and I couldn’t believe she picked me.

“Anyway, I drew Linda’s mush­ rooms, and for the next three years I kept drawing mush­ rooms. I’d get up every morning at one or two, and draw for two or three hours.

I drew millions of mushrooms.

I even had shows of m ush­ room drawings.”

Along the way, as Ward developed his techniques, he learned to draw. He credits Kit Hinrichs with forcing this issue. “I’d done a drawing of a fox for Kit and when he saw it, he said, ‘That’s nice, Ward, but I’d like you to turn the fox’s head so he’s looking straight at us.’ Then he paused for a minute and said, ‘Oh wait, you can’t do that can you? You’re one of those illustrators who works from photo scrap.’ Of course he was really saying, ‘Because you trace.’ Ouch.

“I told him, no problem, I could turn the head. Naturally I thought I was lying through my teeth, but I told him anyway.

For the first time I realized I wasn’t happy tracing photos.

It might be fine for a lot of people but not for me, and in the back of my mind I’d known that for a long time.

“I went back to the studio and drew that damn fox head on.

I didn’t think I could, but I did. It looked so good that I’m sure Kit thought I found another photo to trace. I vowed right then, that I’d never again be dependent upon tracing.”

When Ward was 40, he and his wife divorced and he became the full-time single parent of their ten-year-old son. The mushroom drawings kept Ward sane, but the dot drawings 56

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1995

were still how he made his living. “When my marriage broke up, I felt like a real failure. I hated my dot drawings.

I knew they were well crafted, but they seemed like such a stupid thing to do. I wanted to be a fine artist, and this was anything but fine art.”

During Ward’s dot drawing/mushroom period, Veronique Vienne was the art director for the San Francisco Examiner Image magazine. She hired Ward to illustrate a feature story with his dot drawings. “When she came to my studio and saw the colored-pencil drawings that were all over the walls, she asked, ‘Who did these?’ I said, ‘Oh, those are just the drawings I do for myself. Nobody will publish them.’ She said, ‘I’ll publish them. Forget about the dot drawings, I want something like this.’”

Vienne went on to purchase and publish Ward’s illustra­ tions in a succession of jobs she held, from the San Jose Mercury News to Parenting to Self. “I really owe Veronique a lot. Every illustrator needs someone like her— someone with vision and guts.

“On my birthday, I decided to give myself a treat: a selfpromotional poster depicting the actress Lotte Lenya, rendered in my new technique.

The poster was really just for me, I sent it out thinking it wouldn’t get me work.”

But the colored-pencil poster rapidly gained new support and new clients. For the next three years, Ward happily produced illustrations for a wide variety of clients. “My only problem was keeping the drawings fresh. Sometimes I’d get a day into a drawing and suddenly do something I didn’t like and couldn’t correct. I’d have to start all over again.” Ward began to think about moving to still another rendering technique for his illustrations.

This page: Cover from Let's Do It, a book based on the Cole Porter song. "Jay Schaefer, Chronicle Books editor, came up w ith the idea of producing an illustrated version of the 1928 classic." Gretchen Scoble, designer; M ichael Carabetta, art director. 6 1/2 x 6 V2 .

Right: Spreads from the book. "For me, getting to draw the fish jumping from one bowl to another made the whole job worth it. I enjoyed drawing the dancing insects so much that it became the inspiration to w rite a children's book, Dance, to be published in the spring of 1996 by Harcourt Brace." 13 x 6 1/ 2 .

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W ard S chumaker

His inspiration came from an unlikely source— his own work. “I was drawing for the Berkeley Monthly, and down in the corner I had this little drawing of Willie McCovey. It was only about two-inches high.

I looked at this tiny drawing and thought, this is the best thing in this entire drawing, this is what I want to do.”

Ward copied Willie with a triple-aught pen and then enlarged the drawing to poster size, giving it a fresh spontaneous look. “I felt like I’d finally found what I’d been looking for. The response to Willie was terrific. I now had a technique that I could keep fresh because I could control it by drawing in pencil for as long as I wanted, copying in ink only what I liked. Sometimes I do a dozen, even two dozen preliminary drawings. Then I cut and paste the best elements together before I do the final inking.”

The new technique has allowed him to move into book illustration. H e’s done several for Chronicle Books and his first children’s book, Mouse Chase published by Harcourt Brace, is coming out this fall.

‘I remember what Peter Hill taught us at Omaha.

He said, ‘Don’t worry about technique. If you have something to say, you’ll figure out the best technique to communicate it, and if you don’t have anything to say, you don’t need a technique anyway.’ I’m hoping I’ll find something to say, especially to children, and that this new technique will allow me to do it.”

Left: Owl, bears and calligraphy from A ll M y Best Friends Are Animals address book. "This is the first book idea I actually sold.

It has sold very w ell, around 60,000 at last count." Brenda Eno/Karen Pike/W ard Schumaker, designers; Karen Pike, art director; Chronicle Books, client. 6 x 8 .

This page: "This image ended an interview w ith a canine vedette

du cinema— a 1950's term for film star, no one uses it anymore in French, except me." Donna Agajanian, art director; Hollywood Reporter, publisher. 4 x 2 .

'Even though I traveled to Paris and NTmes to draw for Veronique's book, French Style, this shoe I drew in my office w as my favorite illustration in the book." Stephen Doyle, designer; Veronique Vienne, art director; Drenttel Doyle Partners, design firm; Express, client. 5 x 23A.

t i 1/ t L/

"Less an homage to W illie McCovey than to a group of Japanese artists whose work w as described as heta/uma (self-conscious bad drawing), this poster was my attempt at incorporating their spirit in my work." Ward Schumaker, designer. 24 x 36.

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This page: Identity for the restaurant of M ary Etta and Ed Moose.

Logo, N ew Year's Gala invitation and M oose's hot drinks menu.

"I wanted to make the logo as amusing as the laugh of Ed Moose's w ife, M ary Etta, but nothing can match the infectious joy of her uncontrolled guffaws. My favorite clie nt.” Various sizes.

Right: "M osBurger is Japan's highest quality fast-food chain. My drawings appear on the packaging, dishes, etc." M isuhiro Tomita, designer; Draft, design firm. V/2 x 3.

"Columbus Bakery in N ew York City is a very upscale place and I appreciate the client's recognition that humor is not antithetical to quality." Mark Randall, designer; W orld Studio, design firm. 4 x 5 .

"There's almost no one I like better to work w ith than Kit Hinrichs, but that doesn't mean we agree on much. For example, he removed the words from this drawing because he thought they were rude."

Kit Hinrichs, designer/art director; Pentagram, design firm; Simpson Paper, client. 4 x 6 .

"This magazine cover purported to be about 'The L.A. Woman'; it was actually a portrait of the most beautiful woman in my high school, Patricia Blakeney, upon whom I had an eight-year long crush, but who's to know?" Nancy Duckworth, art director; The Los Angeles Times Sunday Magazine, publisher. 3 x 4 .

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This page: "Old M an" and "M a rtial Arts" from a brochure for the The San Francisco Japanese Community Cultural Center. "Like a lot of my work, there are no 4-color process separations in this book. Instead, we picked a palette of five PM S colors plus black (to fit a six-color press) and I designed all the illustrations using that."

Kit Hinrichs, art director; Piper M urakam i/M ark Selfe, designers; Pentagram, design firm. 7 x 7 .

Right: "Paper company promotions are supposed to inspire; this poster w as inspired by one from the 1930s, supplied by Laura Hamburg-Cirolia, the art director." W ard Schumaker, designer; Dunsmuir House and Gardens, client. 131/4 x 24.

"The Antiquarian Booksellers Association's representative, Jeffrey Thomas, said this design w as chosen because it w as the most radical.

After the posters were sent out, complaints received were accepted with delight." Ward Schumaker, designer. 13 x 21.

Poster for the San Francisco Contemporary M usic Players. "These squiggles, which I hoped would represent the group's repertoire, derived from the mushroom drawings I'd done years before for Linda Hinrichs. As I started doing the paste-up, I turned on the radio to find, serendipitously, an interview w ith John Cage— one of the composers whose work this group plays. Cage kept referring to a book whose subject I'd missed by tuning in late; he also discussed in length his thoughts on the importance of both giving up control and of using elements of chance in creating art. A willing convert, I decided to reverse everything I'd done in the paste-up. Squiggles I'd designed to be black I sw itched to gray-green; those I'd designed to be gray-green I switched to black, simply by reversing the PM S chips on the overlays. Ju st as I finished the m echanical, the interview came to a close and I heard Mr. Cage say, 'And that's how my book on mushrooms got published.'" 35 x 22.

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W ill van O v e r b e e k BY

ANNE

HOTOGRAPHY IS AN ART FORM DEPENDENT on chemistry, but the more important alchemy of photography takes place between the photographer and the subject. When you look at a photograph, you know instinctively if there was some essential chemistry going on between the two. Austin, Texas-based photographer Will van Overbeek calls it “magic.” Magic. Chemistry.

Whatever it’s called, van Overbeek has it.

He consistently manages to capture revealing glimpses of a broad spectrum of humanity— from ex-presidents to Mexican villagers, from famous musicians to overweight kids at a theme park. After a few minutes with Will, you can see why. His puckish personality and ready smile put you at ease.

“I have specialized in what middle-class white people do that’s really strange,” Will says, explaining his oeuvre. “But if you’re just friendly you can fit right in and people appreciate you being there and taking pictures.” His photos capture people without the self-consciousness common to the rarely photographed subject. They portray a naturalism that you get when the subject stops being aware of the camera.

Van Overbeek (pronounced Over beck), who was born in California and moved with his family to Texas in 1967, works from his home, a modest tract house in North Austin, on a street replete with trees and green lawns. His living room sports a lively collection of Mexican masks, angels, voodoo goddesses and devils, as well as large Brazilian costume heads. A somewhat macabre assortment of objets d ’art for such a, well, friendly-looking guy. His staff consists of his business manager/assistant Phil Bentley, intern M arsha Miller, and his wife Mary, an attorney, who accompanies him on the road and meticulously researches and maps out these journeys.

The business has grown under Bentley’s direction.

“Phil deflates my pretensions,” Will says.

Will’s leitmotiv is his juxtaposition of shapes which echo elements of the work of Garry Winogrand, his photo­ graphic mentor and teacher. “Mary calls it the ‘angle thing,’” Will explains. He primarily shoots in 35mm with a 28mm lens. “It has great depth of field. The perspective — the fact that close objects are large and far away objects are much smaller, kind of pulls you in— forces you to work really close to your subjects, and that forces you to have a good rapport with your subjects. Basically, you are sticking the camera, if not in their face, close to 64

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TELFORD their face. They have to feel comfortable with you and you have to feel comfortable with them. The whole perspective of the picture involves the viewer.”

He works in two styles: documentary and lit portraits (often shot in the 2%format). “I am always trying to make the two styles help— or inform— one another, so the portraits are not so posed and so the documentary work is a little cleaner. That’s always a conflict, because the strength of a good portrait is that it’s an intellectual thing, it’s well thought out; and the strength of a good documentary [photo] is a visceral thing. It’s nice though to have the two styles; it’s unusual for people to do that.

In a way, it’s a liability to me because I think people don’t know what it is I do...but I enjoy doing it,” he says.

Will is driven to large-scope projects, like a recent Texas-wide shoot for a Compass Am erican Guides's book on the state. After fifteen years in the business he just packs his equipment and shows up without too many pre­ conceived ideas. “You have to tell a story,” is his artistic credo, which he | applies to commercial clients as well “ as personal projects, such as his on-going ^ documentation of San Juan Evangelista, cn ^ a small Mexican pueblo near Guadalajara. @ The project was inspired by Marilyn Davis, an anthropologist friend who has studied the villagers there for twenty years. Will first accompanied Davis to San Juan in September 1992. He had been looking for a personal documentary project to do in color.

In documentary work, he spends a lot of time with his subjects to put them at ease. “Mainly I talk to people, look at them, smile and say, ‘Hi.’ With portraits I have a whole different mode. I want eye contact with people, there’s a lot of talking back and forth and being silly when I do portraits. 1 need the eye contact and I want a little spark of personality.” W hat’s his trick to draw out this rapport? “He yells,” Mary says. “I make funny sounds. I yell and they yell back. After somebody yells, their face just kind of relaxes,” Will adds, with a grin.

Lately working on developing a whole style in color, he says, “ I’m moving in the less is more direction. Color is more thoughtful than black-and-white. Black-and-white Caption information provided by W ill van Overbeek.

Right: "The Howl at the Moon Club," for Time magazine's issue on senior lifestyles. Liz Carpenter, author and former L.B.J. press aide, w ith her friends. M iche le Stephenson, photo editor.

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W il l v a n O v e r b e e k

is purely responsive and visceral; with color, in a way, you are forced to think about some issues.”

Van Overbeek may be best known for his book, Aggies, Life in the Corps o f Cadets at Texas A& M , published in 1982 by Texas Monthly Press. The three-year long Aggie project ended up netting him a recent commercial shoot for Wieden & Kennedy, for Nike.

Will, whose first camera was his mother’s Bakelite Brownie, claims, “You’ve always got technical challenges. No matter how well I may have done an assignment, the room for improvement is infinite. I’ll never run out of things to learn about understanding light and working with it. I feel like I make a discovery every time I pick up the camera.”

He tackles the challenges with enthusiasm. “I really have never felt like ‘Oh, I’m gonna take a picture, how would I do this in my style that everyone would recognize?’ I want to have a style everyone recognizes, but I’ve never been able to figure out what that is, although people say they recognize my style. When I take a picture I just try and solve the problem. I draw on my bag of tricks to come up with an angle or some way of making an inter­ esting picture out of the subject that I’ve been asked to take a picture of, and out of that comes the style. I don’t have a way of imposing my style on the process; it works the other way around, the style just comes out of me struggling to figure out a way to do it, and make an interesting picture.

“It is magic!” Will says, punctuating his remark with his trademark enthusiasm. “It’s always a bit of a surprise— something a little more than what you planned on.”

Some things just can’t be planned, like good chemistry.

This page: "Jimmy Carter photographed in Tijuana, M exico, at a Habitat for Humanity construction site. Carter gave me only three minutes of his time to shoot this cover for The Discovery Channel Magazine, now titled

Destination Discovery." John Lyle Sanford, art director.

"M arion W inik, author and National Public Radio commentator. W inik suggested the cigarette, I added the Bogart style backlight to illum inate the smoke." Nancy M c M ille n , associate art director; Texas Monthly, client.

Right: Aggie "Fish" (Texas A & M University cadet freshmen). "During my first year as a professional photographer (1979), I proposed a photo story on the Aggies to then Texas Monthly an director Jim Darilek. It w as my first big documentary project/major magazine piece (cover story and photo spread) and went on to become my first book.”

"M argarita Sames. According to Margarita, during the 1930s, she enter­ tained her w ealthy guests w ith month-long parties at her mansion in Acapulco where she invented the famous drink. Her potent formula: 2 shots tequila, 1 shot cointreau, 1 shot fresh lime juice." Nancy M cM ille n , associate art director; Texas Monthly, client.

"Lincoln Edwards at his grandfather's cattle auction in Clyde, Texas. These auctions are both big business and cultural events. Unpublished, photo­ graphed for Smithsonian magazine." Ed Rich, photo editor

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W il l v a n O v e r b e e k

Left and top of this page: Photo essay on Schlitterbahn W ater Park, New Braunfels, Texas. D.J. Stout, art director; Texas Monthly, client.

Left, bottom: Barton Springs, from a personal project on Austin's legendary swimming hole. Unpublished.

This page, below: Sunbathers, Leningrad, USSR, for W hittle Communications. "This picture w as taken on a cold April day as rafts of ice floated by on the Neva river." Ken Smith, art director.

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This page: "Redneck in Red Square. Gonzo journalist Pat Kelly posed for this magazine cover to illustrate his first person account of travel in the disintegrating Soviet Union. Unpublished, for W h ittle Communications."

Ken Smith, art director.

Bert Turner, funeral home greeter, Brady, Texas. Nancy M cM ille n , associate art director; Texas Monthly, client.

Right: Portrait of Edward J. Masoro, PhD, medical researcher for Business

Week. "M asoro has caused rats to live much longer than normal lives by putting them on low calorie diets." Larry Lippmann, photo editor.

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Left: "This photo essay on the lives of high school students w as shot for Special Reports magazine which ceased publication before the story could be published." Keith Bellow s, editor.

This page: '"Princess of the Fiesta,' from a personal project on life in a rural M exican village. Unpublished collaboration with anthro­ pologist, M arilyn Davis."

M ariachi celebration at the M ission San Jose, from an unpublished story on San Antonio, Texas, for Conde Nast Traveler. A lice Rose George, photo editor.

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JUNGvMATT BY

MAJA

AM BURG MAY NOT BE ABLE TO COMpete with the fast pace of New York, but in Germany it’s become the hot bed of busi­ ness, media, trends and above all, advertising.

Hamburg is now one of G erm any’s most active and progressive cities.

In spite of Hamburg’s sudden popularity boom, it essen­ tially remains a conservative, traditional city where one’s success could depend on three factors: name, address and background. Success takes its time in Hamburg— it doesn’t happen overnight.

When the ad agency Jung von Matt opened its doors in July 1991, it seemed to be an exception to the rule, when in fact it was the continuing success of two well-known adver­ tising stars who had already made their mark in Hamburg.

Marketing expert Holger Jung, a born Hamburger and his Swiss partner, Jean-Remy von Matt (known as the CopyGuru) made the decision to form their own agency after having worked closely together for five years at Springer & Jacoby, one of Hamburg’s most popular and prestigious agencies. With 35 years of collective experience— Lintas, Scholz & Friends, BBDO and Ogilvy & Mather, to name a few— and a healthy dose of ambition, Jung and von Matt founded what was soon to become “N ewcom er Agency of the Year” and fierce competition.

Jung von Matt (JvM) is housed in a former corset factory in a section of Hamburg that invites more criticism than compliments, but there’s an honesty to the area that reflects the reality of daily life. Upon entering the brightly lit, high-ceilinged offices, I was greeted by a 14-foot wooden horse.

The Trojan Horse symbolizes JvM ’s form of advertising and way of working; “It’s attractive on the outside,” describes von Matt, “but on the inside is a core that’s tough and consis­ tent.” JvM ’s advertising is recognizable more in its consis­ tency than in its appearance.

The variety of solutions reflect the variety of their clients. “Every client is unique,” explains von Matt.

“The only thing they should have in common is quality.”

In terms of work philosophy, von Matt describes theirs as a “bottomsup” versus what he calls a “top-

J A N D E R S down” approach. The creative staff produces ideas right away before any kind of strategy is conceived and circu­ lated. They create on an emotional, intuitive level in different and preferably many directions. Only at this point, when the first creative phase is complete, do they start to think about strategy. “This gives us the chance to explore and then decide which directions lead to the most viable and appropriate solutions,” says von Matt. The classical or “top-down” approach is just the opposite; one starts with a strategy or concept and then fills it with ideas. “The disadvantage of our way of working is that it’s much more time consuming,” he explains. “A lot of ideas end up in the wastebasket. The advantage, of course, is that through an interesting idea or execution, one may discover an idea that would not have been possible through purely didactic thinking.”

JvM has been in the spotlight from day one. The advertis­ ing world wonders how long it can maintain the level of quality in a country which is actually in its teenage years of advertising development. The importance of television is relatively new to German advertising since privatiza­ tion ten years ago. Before then, an agency could survive as a “print” agency, but now it’s tough for an agency to This page: H olger Jung (left) and Jean-Rem y von M att. © 1995 Christian Ahsbar Right: "The subject of deafness is not only a serious one, it's also taboo— tw elve m illion Germans suffer from hearing disorders yet only two m illion have hearing aids. W e felt it was time for a cam­ paign which would increase aw areness and convince people to take a hearing test. But instead of communicating this in a m oralistic, serious manner, we chose a colorful, cheerful one, because the target group may have lost their hearing but not their sense of humor." H eadline: Do people have to keep repeating themselves repeating them­ selves repeating them selves? Hartwig Keuntje, creative director; D aniela Sautter, art director; Jana Liebig, writer; Philippe Petit-Roulet, illustrator.

"Advertising for underwear is alw ays the same: A ll brands present their product as the hero, but no one really goes beyond that point. W earing quality underwear isn't only an experience for the wearer, but also for the one seeing them. The idea behind the new M ey campaign is to not only show the product but to show the admirer's reaction to it." Headline: Underwear can be this captivatin g...w h en it's M ey fine under­ wear. Deneke von W eltzien, creative director; Bettina Olf, art director; Frank Nesemann, writer; Thomas Anders, photographer.

ii

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JUNG v. MATT compete if it doesn’t have TV experience. JvM recognized the opportunity for growth in television and in the begin­ ning was known as “TV specialists.” It had a clear advantage which most small agencies didn’t have at the time— expe­ rience. “We had already produced hundreds of TV spots together, and most of the creatives in Germany hadn’t had much experience. We knew about the hairpin turns and cliffs that one is confronted with,” says von Matt.

What turned out to be an award-winning first year in TV became an award-winning second year for print and yet JvM has taken on a challenge that is often met with strong head winds. “We have a harder time winning national awards versus international aw ards,” admits von Matt.

“There may be two likely reasons for this: first, as a national newcomer one has to accept a certain amount of resistance and second, our style of advertising has more in common with an international versus a national mentality.”

Despite these head winds, Jung von M att’s positive and ambitious attitude has created tail winds (and headlines) which have pushed it quickly into an internationally com ­ petitive arena. (At press, they had just picked up a $65 million dollar account for the association of German savings banks after bidding against three other agencies.) Threeand-a-half years have passed and with 65 employees, 22 clients and over 70 million Deutschmarks in annual billings (over 45 million dollars), JvM has proven to be, not only the talk of the town, but also of Germany and Europe.

Most European advertising is influenced by either American or British advertising. Von Matt personally prefers the

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This page: "This is currently Germany's most unusual cigarette ad vertis­ ing because there are no cigarettes in the ad. No one is smoking, no one has a cigarette between their fingers, not even a package is shown. The only visib le branding is the gold band where the headline is placed and, naturally, the claim: Benson & Hedges. Sim ply Gold." Headline: Fido's boss is looking forward to something better. Hartwig Keuntje, creative director; Ove Gley, art director; Stefan Schilling, designer; Robert Span, writer; Uwe Duttmann, photographer.

Print ad for Jever pilsner. "A beer campaign which was solely and specifically developed for a 'Trendsetter' m agazine directed tow ard a young target group. The winning prize in the campaign-related promotion is a weekend in a bottle-green (Jever) Porsche. The hot w ater bottle w as given away as a consolation prize." Headline: Not everything w hich passes its e lf off as a Jever actually tastes like a Jever. Deneke von W eltzien, creative director; Kai Zastrow, art director; Ralf Zilligen, writer; Jan Putfarcken, photographer.

Right: Print ads for Rene Lezard. "The main problem in fashion is its inter­ changeability and this begins with the product. In no other field is plagiarism so often, so quickly and so relentlessly practiced as it is in the fashion world.

This fact is also reflected in advertising. Nine out of ten fashion campaigns are interchangeable. W ith the use of better photographers, more beautiful faces and more exotic locations, the same generic message is com m uni­ cated: Fashion is beautiful. The campaign for Rene Lezard, which expresses quality, makes a different point." Headline for Sharpei ad: Not everybody can buy a suit that really fits. Deneke von W eltzien, creative director; Bettina Olf, art director; Petra Raddatz, designer; Frank Nesemann, writer; Kajetan Kandler, photographer.

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51065KolnFabrume. Bergoche LendUr. 30. 51375Leverkuan B* S. KapeBenflr 12-14.52066Aachen Knaubar.EndemcherStr. 120.S3II5Bonn Kroger. BonnerStr 65-67. 53757St Auguitm Frwu-Fahrrad. HohenfeiderStr 7-9. 56068Koblenz Weber. Am Enambech8. 57080Sagtn Klein. Lwzmanmtr 4. 58095Hagen KnumKobeSir. II. 59065Hamm MEGA-bike GmbH. Manaanerhellwag21 59477lima Wierieuker. Bruchhauaner Str 67. 59759Amiberg Engel OHG. Warstenentr 17.59B72Meschede Feldmann.Sprmgdr I. 59929Bnlon BoettgenGmbH.AltBomham4160385Frankfurt Heeg.GoldbacherStr 15.63739Aahaffenburg Bruegeimann. ffiwHiederbachemeg4165843Subbach Winter. Kirchemtr 7.66424Homburg Fecht Sedenstr 29. 67063Ludwigdtafen Aitig. Lenautr 14.68187MannheimHedcmann.Bahnhofetr I. 69488Bukenau Leitz.Henm-Klemm-Str 50.71034Boblingen Rattay. Oamlantr. 6. 71083Herrenberg Meyer. Sultbachentr 10.71522Backnang Merz. lemachvStr 51.71634ludmgiburg Mang. Katharinenetr 34. 72072Tabmgen Ocht bnGrundA 72800Enmger LeonbergerGmbH.Frtj-Mgler-Str. L73730 Esdmgen Hadenmch. KhngenbetgerStr. 4.74223Ftern Krto. Blumeratr 15.74731WeHdom Eicker. Durmenheimentr 91.76185Kartmjhe Lewandowiki. Schubtr 12.7W66Donaueahmgen Wieber. Hutemtall 8. 78267Aach UeblanPenoramaitr 2.78713Schremberg Oages.Karf-Fnedrich-Slr.14,79312Emmendingen Regenechert. lumnngentr 224.79539Lorrach Metzger Elslsantr 68. 79110fraburg Gnesbeck. Lerchenfebkttr II. 80538Munchen Rathmayer6IMmann. Butenburgxtr-Dl 80634Munchen MOM.lintermarid48. 82418Mumau Schneider, Quemaedr. 3. 83278Ireunetan RiedelshamerOHG.Sachankammentr 6 83646BadTolz Eibknear. Fontenetr 28 83700Rottach-Egem Radauer Robert-Kodi-Str.75.84489Burghauan Pfaffenhubr.Hauptitr 12.84513logmg Keoler.SchlessheimerStr 61________________ _ ___ ■

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85221Dachau Fag. Bflrgerm.-Auenth Str 2186199Augeburg Hirahmann. Pfefa-Bezier-Str 34. 86316Fnedberg Socher. lindauerStr 54. 87439Kempten Heckman-.Baehetr 8. 87561ObentdoH Goelz.Karidr 7-9.B8348 Saulgau Schertl. SdwonauerHauptitr 8890441Numberg Funo. HombergrStr.105.91052Ertengen SimmehdorferF Muhle.OitamoherWeg II 91245Simmeltdorf Motormd-IafGmbH,WonburgerLanddr 24. 9(522Antbach Owterer. SegnngerStr.25. 91550OinkelsbuM GruberGmbH.Spitalitr 8 91710Gunzenhauan Stadler Bayreutheritr 2. 92224Amberg Run. Hemmemeg 12. 92637Waden Stadler. Kirchmaentr 28 93051Regeneburg Darmaer. Brunnendorfitr 28 93413Cham Huamam.

Riedelshuttentr B. 94518Spiegeleu Gril. Lmplemng7 94535Egmg Grtsal. Mohldemm18.95028Hof Drene. Hohenzellemring44. 95444Bayreuth Kaei. NumbergerStr. 15196050Bamberg Schmidt Ruppen8. 96317 Kronach J6M. Mohrenstr I4A.96450Coburg Sdteunng. U-Kreuzbageieg19.97833frammenbach Kohler Hauptitr 83. 98544Zela-Mehla

VL

American style to the British (although he’s in the minority, most are partial to the British style). He describes American advertising as direct, clear in speech, consumer-oriented and perfect in execution; the British as much more indirect, much less consumer-oriented, a lot more decorative and complex and also perfect in execution. German advertis­ ing is also consumer-oriented yet rarely light or pleasurable.

“Central Europe is generally more rational,” he says. “It doesn’t have the Jewish or Anglo-Saxon humor.”

And yet Jung and von Matt are committed to creating the same high quality in Germany. “The future has everything to offer,” explains von Matt. “Germany is coming closer to the world standard through the internationalization of business. An American production studio is available for German films, communication is easier with English as a common language; crews are therefore interchangeable and through Europe’s integration (the European Common Market) more films will be produced for international usage. This will allow for bigger budgets, which of course will allow for the possibility to work with better directors, actors, etc., and in the end produce better results.”

There are also clear advantages to working in Germany.

The client/agency relationship is a more stable, consistent one. “A client can’t fire an agency just because they pro­ duced a spot that didn’t turn out as well as expected,” explains von Matt. An agency has a kind of “time security” invested in the client (six months notice is standard) which allows the agency to make future plans and decisions 78

M A Y / J U N E

1995

® The W 3y ah ead .

based on real numbers, not projections. “We can already see what our minimum income for the year will be in January and are therefore able to make concrete decisions about investments, hiring new employees and renovations or growth in general.” The exact same working ethic is practiced between em ployer and employee. G erm any’s working system is still very “socialized” and as Jean-Remy von Matt boldly states, “less brutal.”

The key to JvM ’s success lies not only in their positive attitude, but also in their work ethics and active way of running the agency. Von Matt admits that they’re a fairly young agency. “The more dynamic and courageous an agency is, the more attractive it is to younger people.”

The seniors (among them, Jung, 42 and von Matt, 43) coordinate and coach the work. The end result is a com ­ bination of maturity, experience and a young, dynamic approach. With a hierarchy of four creative directors and two account managers, it’s not quite as steep as in other agencies, allowing employees more flexibility and above all, more responsibility.

As a rule, they brainstorm outside the office, have meet­ ings standing up, shoot videos for fun, mix and remix the teams, change offices and partners every six months and work hard. Sounds like fun but it’s a working method that’s based on results. “W hat’s important to us,” explains von Matt, “is that we have fun and that we work in a relaxed yet non-stagnant environment. Change is essential.

It brings movement into our daily routine, and movement is very important in our business.”

JU N G v. M A TT

Left: Print ad for Panasonic bicycles. Headline: If our bikes are too dangerous for you, just buy our bread baking machine. Elke

I

Ditschuneit, art director; Petra Raddatz, designer; Frank Nesemann, writer; Bildarchiv, photographer.

This page: Left, TV commercial for Bild Magazin.

'B osses" :25 SFX (throughout): Street sounds.

(Open on a top manager, who, accompanied by his bodyguards gets into a lim ousine and drives away) Super: Germany's bosses could lead a quiet life if Bild Magazin didn't exist.

(Two reporters wave from inside the trunk as the limo drives away) Heiner Rogge, art director; Heiner Rogge/Oliver Voss, agency producers; Oliver Voss, writer; Lars Kruse, designer; Christian Aeby, director/editor; Christian Vitt, camera direction; Uwe Lange, producer; Jonas C. Haefeli, music.

Right: This spot for Deutsche Sparkassenverlag profiles the bank as a modern and helpful financial service.

"Dream Car" :25 M usic: "Hey Big Spender" (A man flirts w ith a woman at a bar. Everyone seems to admire him. The fact that he has the key to an old-timer "dream car" opens up the hearts of all the women. Yet his exit ends in disaster; as he turns the key in the ignition the car disappears into thin air and he drops to the ground, holding an imaginary steering wheel) Super: If one doesn't save it'll only remain a dream.

Tina Obladen, art director; Gerhard Baum gartl/W ilfrid M assa, agency producers; Claudia Schnars, writer; Nikola Karo, director; Dieter Deventer, camera direction; Stefan M u ller/ Helmut Buckle, producers.

illfl Dir Deine Meinung!

Germany’s Mass-Market-Tabioid

L

A C O M M U N I C A T I O N

ARTS

79

and alle Teile fur sportliche Leistungen gebaut.

Informationen unter Fa* 0 7141/398560.

Cabrio ein

Braun werden Sie auch in anderen Cabrios.

Nur nicht so schnell.

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dauert im 911 nicht lange.

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Gibt es ein besseres Fa milienauto?

80

MAY/JUNE

1995

E

JUNG v. MATT

S C H L A N K

Jung von Matt is definitely on the move and as for future goals— an office in Berlin, or perhaps even further expan­ sion— one goal is clear: surprising ideas and quality, quality, quality. “Awards aren’t really the end goal,” adds von Matt, “although, because they’ll always be a barom­ eter for success, we have the goal to be on the top ten list for the next 25 years. We don’t care if w e’re number nine, but we don’t want to be number twelve.”

Left: Two print ads from a campaign for Porsche. "Advertising for convertibles often refers to the sun. Our ad also does this, yet with an added 'spirit of sport."' Headline: You can get a tan in other convertibles.

But not as quickly.

"The opening ad for the 1992 Porsche campaign stirred up some controversy. Although driving fast is allow ed in Germany, its support in M IN O U A

ALLES WIRD GUT

advertising isn't really appreciated. Nonetheless, the target group related to the ads and after a year, three times as many Porsche drivers responded positively to the advertising compared to the previous year."

Headline: You can linger longer over breakfast. You're home earlier for dinner. Could there be a better fam ily car? Deneke von W eltzien, creative director; Claudia W riedt, art director; Tina Obladen, designer; M athias Jahn, writer; Uwe Duttmann, photographer.

Wenn Sie

DEN bedienen

konnen, konnen Sie auch bedienen.

DIE

Far leute ait ememgate* luge und m i lake* Hand* Die Dycai 3xi macfit aotMutiscb nchlig bekchtete. ricfctig scharte und richbggate Fetes - nor das Moth nmsea Sic nodi setbsl aussucfcen.

UndweanSic men Prespekt aochten. bedienenSic d#ch schndt mil Ihr Telefon 04102/70 234

This page: Two ads from a campaign for Minolta. "Our favorite theme from the '94 cam paign for com pact cam eras incorporates the conventional before and after technique commonly used in diet ads. Thousands of satisfied consumers confirm that the new M inolta Riva is immediately effective in changing one's form— the com pletely foldable lens makes it possible." Headline: Slim and trim, thanks to M inolta.

"M irror reflex cameras from M inolta are very easy to operate. So we developed a campaign that not only claim s 'ease,' but one that shows 'ease.' And that's how easy the campaign functions: sales increased to over 50% w ithin six months." Headline: If you can use that, you can use this. Hartwig Keuntje, creative director; Ove Gley, art director; Stefan Schilling/Tina Obladen, designers; M athias Jahn, writer; D. Philipp/S. Fosterling/A. Gern/M. Agah, photographers.

M IN O LT A ALLES WIRD GUT

C O M M U N I C A T I O N

ARTS

81

JUNG v. MATT

This page: Two from a print ad campaign for Sixt, a car rental company. "Twelve years ago Sixt was number seven under the German car rentals— insignificant, unknown and without profile. Through its claim 'Drive first class, pay economy prices,' aggressive advertising and concentrating on business travelers as its target group (high airport v isib ility), Sixt has proven its effe ctivene ss and made a breakthrough to number two, ahead of Hertz and Avis. Today, it's not only clever to rent Sixt cars, it's absolutely en vogue." Headline: It's just not fair, is it? Your garbage goes by M ercedes, and you don't.

Headline: Your fin ancial accountant w ill think you have driven a Beetle.

Deneke von W eltzien, creative director; M oi Soltek, art director; Christoph Rabanus, designer; Oliver Krippahl, writer; Dietmar Henneke, photographer.

Right: Two ads from a campaign for Audi. "Steeper hills and even deeper mud holes: This advertising world is w ell known for four-wheel-drive vehicles. But the question is, who needs this added feature in a normal family car? Everyone.

And that's what this four part ad for the A4 Quattro proves (of course, one can also win the Pikes Peak mountain race with a four w heeler— Audi did it in 1987)." Headline: The new Audi A4 Quattro. On paper at least, there may be better cars. But not on gravel roads, smooth asphalt, snow or w et leaves.

"The opening campaign for the new Audi A4 alw ays shows the car in motion.

W e've taken advantage of a multi-picture impression in order to tell a story.

The headlines have a 'think about it' character. The most important thing for Audi w as to underscore th eir claim 'Advantage through Technology' w ith em otion. The kind of car one buys is an emotional decision; the only rational aspect is how much to spend." Headline: Maybe, when the weather's dry, a rear-suspension car can be just as safe as the new Audi A4. But how often is the weather dry? Last winter, it was fewer than 20 days. Deneke von Weltzien, creative director; Heiner Rogge/Ove Gley, art directors; Peter Harasim/Lars Kruse, designers; M athias Jahn, writer; Boudewijn Smit, photographer.

1st es nicht ungerecht, dal) Ihr Miill immer Mercedes fahrt und Sie nicht?

E in e n g u n stig e n M e rc e d e s u n d d a z u n o ch 5 0 0 L u fth a n sa M eilen; D a s kriegen S ie bei Sixt. B u c h e n S ie unterTelefon: 0 8 9 / 6 6 6 9 50.

Sixt

Autovenneftmg

Budget

rentacar

Ihr Conlroler wird denken, Sie seien Kafer gefahren.

(PorscheKir199.-/ Tag+0,99/lon)

Sixt hat die ne ue ste n P orsch e , M e rc e d e s und B M W . U n d n ach wie vor die gun stige n Preise. B u c h e n S ie unter LH -M ile s& M o re -A n ge b o t; J e d e r Luttha nsa-Passagier, der am Abflug- ode r Ankunftstag ein Sixt-Auto mietet,

82

M A Y / J U N E

1995

Telefon: 0 8 9 /614 1 4-4 80. U n d d e n k e n S ie a n d a s b ek om m t 1.00 0 L H - B o n u s m e ile n g u t ge sch rie b e n .

ciietung

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das auf dem

P a p i e r b e s s e r i s t a l s er.

a u f S c h o tte r, a u f A s p h a lt, a u f S c h n e e u n d a u f Lau b .

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T elefon 0 1 3 0 /2 3 24, Fax 0 1 3 0 /8 2 2 3 2 4 oder B tx*A udi

W enn S ie ein e P ro b efah r

D ie n c u c V ic rlc n k c r-V o rd c ra c h s im A 4 s o rg l fu r Ic ic h tc rc s H a n d lin g u n d s ta b ilc rc R u rv c n lu g c .

Z u s a m m c n m it d c m F r o n ta n tric l g ib t Ih n c n d a s a u c h a u f n a s s c n o d o r g la ttc n F a h r b a h n o b c rfla c lu

V ie lle ic h t f a h r t e in A u t o m it H e c k a n t r ie b a n t r o c k e n e n T a g e n g e n a u s o s ic h e r w ie d e r n e u e A u d i A 4 .

L e t z t e n W in t e r w a r e n e s w e n ig e r a ls 20.

A b e r w ie v ie le T a g e s in d s c h o n t r o c k e n ?

C O M M U N I C A T I O N

ARTS

83

G R E A T I DE AS P R O D U C E D ON L I M I T E D B U D G E T S BY

T

PATRICK

h e p r o l if e r a t io n o f d e s k t o p p u b lishing hardware and software has made it possible for anyone to get type onto a piece of paper. Today, a good deal of the simple corporate communications— the “bread-and-butter” work done by junior designers at rates that covered the unbillable hours of senior designers— is now being handled by people with little design experience who work in-house for clients.

For many designers, the desktop revolution has brought the painful realization that clients used to hire them more for their ability to get something produced than for their aesthetic judgment.

Despite the increasing sophistication of electronic page layout templates and tools, the skills of a good graphic designer can make all the difference between a project making a connection with an audience or not even getting noticed. In a culture bombarded with imagery, good design cuts through the clutter. The need for innovative visual communications, to reach people culturally and economi­ cally, has never been greater. In fact, it has become even more important in this decade of austerity and social con­ sciousness. And yet, graphic designers are being squeezed between lower budgets and higher client expectations.

For this article, we contacted 43 design firms in the United States and Canada. We asked for recent work produced with a maximum of two colors. Solutions requiring some hand assembly were acceptable, providing press runs were limited and necessitated a minimal expenditure of time. Our only other restriction was that the work not be for self-promotion. Besides contacting established firms, we saw this as an opportunity to see work from some relative newcomers. Frequently, firms in smaller cities are faced with small budget projects as the only way to gain recognition.

In addition to printing and paper, visuals are a big budget item. Here designers show their skill in manipulating existing photographs and illustrations supplied by clients and copyright-free sources. As digital technology has made it easier to manipulate imagery, it has also given rise to the illegal use of images and great care needs to be taken to avoid the possibility of copyright infringement.

Recently, a New York City newspaper settled a multi­ thousand dollar copyright infringement lawsuit filed by a photographer and his stock photography agency for the unauthorized use of only portions of the photographer’s original image (see Tad Crawford’s Legal Affairs column, “Scanning Suit Settled,” CA January/February 1995).

There is a fair am ount of pro bono work among the selected projects. Graphic design and advertising have the ability to inform and persuade. As a way of balancing one’s contribution to both commerce and society, designers,

84

M A Y / J U N E

1995

COYNE

art directors, writers, photographers and illustrators should seek out causes they believe in and contribute their unique skills to help increase public awareness and action.

With the elimination of many entry-level design positions, accepting public service work is one of the best ways for young designers to get hands-on practice while building a professional portfolio.

It would be inappropriate to suggest that a two-color solution is the answer for every design problem, but the examples presented here do show that good graphic design is a valuable service that, when directed by a professional, can have an impact and be cost effective.

Right: Direct mail piece for Translations, a retail gift boutique. "Since 'open' seemed to be a recurring theme, we decided to exploit the idea both in the copy and the architecture of the piece," said art director/designer/writer Joe G oodw in of D allas, Texas-based M ay & Co. W hen opened, each panel read: Open, to new ideas, to new experiences, to new locations, to new Translations. "During printing, we had a highly educational experience on the importance of slip sh eeting when printing large black so lid s on uncoated paperstock without the aid of varnish or time for thorough drying," he explained. "And later, w e had an equ ally inform ative d iscussion w ith the postal service w hich revolved around the finer points of metering requirements for odd-sized parcels; we learned that square envelopes are not referred to as 'square envelopes,' but rather as 'very proportionate rectan­ gular envelopes.' Nearly 100% of the m ailees were in attendance for the opening festivities, resulting in the largest retail weekend Translations had ever experienced. This prompted the client to ask us to create a series of event invitations over the next year. Never underestimate the power of onecolor printing." Douglas May, creative director; Richard Meyers, photographer.

Brand identity for ProColor M aster Salons. "W hen we were approached to create a new line of hair care products for exclu sive salons across the country, we knew w hat we wanted to avoid. W e wanted to design a brand identity that clearly broke the pseudo-earthy, weedy, teeny-typey, chip boardy, 'I listen to Enya' look that has been so prevalent in high-end cosm etics packaging," said art director/designer Brian C ollins of M inn eapo lis. "Our goal w as to create a sim ple, memorable brand architecture that could be easily extended to a range of products. Lim ited by color, w e die-cut a 'P' so the colored shampoos could be seen through the label. This makes the package readable from a distance, yet when you get up close you see details like the '50s-inspired 'beauty shop' logo and product description. The yellow band wrap is where individual salons can personalize the package w ith their own names. Demand has been so strong that ProColor is going back on press for more packaging far sooner than they had planned." Brian Collins/Lynne Schulte, illustrators; Paul Sinkler, photographer; The Brian Collins Studio, design firm.

Bob 'n' Sheila's Edit W orld is an editing facility working primarily with adver­ tising agencies on television spots. "This playful, retro image captured their personality perfectly and opened the door for additional graphic applications such as caps, bags and t-shirts," said art directors Dennis Crowe and Neal Zimmermann, of San Francisco-based Zimmermann Crowe. "By manipulating '50s style clip art into a likeness of Bob, Sheila and their employees, we were able to keep the system varied, fun and, best of all, cheap. Existing manila envelopes required only one-color printing to complement the system." Lucia M atioli, designer/illustrator.

C O M M U N I C A T I O N

ARTS

85

86

M A Y / J U N E

1995

L im it e d B u d g e t s

Left: "W e were designing a full-page newspaper ad for TDK

N OAK STREET

PROPL/CTIO

when we noticed, on screen, the beauty of the layered, ran­ dom type we had pulled off to the sides of the ad's borders.

A phone call w as made to the client to present the idea of producing a one-color poster on newsprint; we added an 800-number response line to the ad," explained art director Steve Farrar of Jag er DiPaola Kemp in Stowe, Vermont. "The concept was to clearly position TDK as a developer of digital technology and to move aw ay from any asso ciatio n w ith analog cassette tapes, as has been their position to date. TDK is a leader in digital media technology, and our intent was to elevate their message and portray them as forward thinkers actively pursuing future technologies. The poster sold out."

BY W A L L A C E SH AWN

Dl RECTOR: RANDOLPH Cl/flTIS R A N D

M ichael Jager, creative director; Steve Farrar/Kirk Jam es, designers; Kirk Jam es, writer/photographer.

This page: Poster for The Fever, a stream -of-consciousness monologue by W allace Shawn, which explores the feelings of a fictitiou s member of N ew York's privileged class as he witnesses oppression in a Third World country. "The production w as performed by N eil Hemphill at Oak Street Theatre, in Portland, M aine. The poster design w as initiated by Neil, who contacted me after seeing other theater posters I had designed," Paul Sahre, of American Commercial Art Co. in Baltimore, Maryland, said. "The production w as small and there was little or no budget for the poster; design and silkscreen printing were pro-bono." Paul Sahre/N eil Hemphill, art directors; Paul Sahre, designer/typographer.

"H artw ick College hired us to create an entire package of admission materials," said writer Joan W eadock of Baltimore, M aryland-based Rutka W eadock Design. "A s part of the package we recommended producing a search mailer (a directmail piece that is the college's first contact with prospective

THUR.SAT BPM SUN 7 PM (207)77 5 -St 0 3

students) that would really stand out in the stacks of mail that high school students receive at the end of their junior year.

Instead of the typical campus shots and boring copy about academic excellence, we chose illustration to create a light­ hearted look at the college admissions process." Tony Rutka/ P risc illa Henderer, art d irectors/design ers/w riters; Regan Dunnick, illustrator.

C O M M U N I C A T I O N

ARTS

87

M y role as G eneral C am paign C h airm an began at a small luncheon w ith a very select grou p These w ere C E O 's a nd po w er b rokers Instead. I had lunch w ith 25 pre-schoolers at the M argaret Bale C h ild C a re C run by T h e C h ild C a re G rou p. As w e passed the mashed potatoes, the C e nter's directo r. D o ro th y Jean M cC lo udy . told m e o f the accom plishm ents o f her yo un g charges and o f the critical need to give these chi solid foundation o f nu rturing and learning U in Bale and the C h ild C a re G rou p's D orothy Jean also told m e ab ou t the children on waitin

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their families. As I visited m ore o f ou r outstanding U n ited W ay agencies, the stories began to have a familiar ring ...w aiting lists w ere grow ing every day.

It quickly becam e clear that o u r prim ary goal was no t ju s t to raise m on ey . R a th er, it was to begin co m m un icating by every m eans possible the un m et hu m an services needs o f o u r co m m un ity and h o w the ’s. T h ro u g h talking specifically ab ou t people and d W ay and its agencies

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‘s largest com panies, o e face o f; veak local econ om y and significant do w n-sizin g in o ltly to ca n y this U n ited W ay message to others T h eir w o rk paid oil as m ore new com pai recognized the need and jo in e d o u r cam paign. T h e volunteers' willingness to talk ab ou t I ad recipients o f services prov ed m ore effective than sim ply asking for a co ntribution.

A il "exll* mile" effort by «ur a y n a a whelp educate our contributors through lours, speeeha auel A highly connnitleil group o f loaned executivesfront am i companies and our m m United W ay ogi The community-wide leicltoff at the Dallas Cou+oys- Washington Redskins game in September in Companies and their employees who worked long and hard to raise as much money as in the preii Stiong media support by newspapers, radio and television including a special lost minute appeal hi As in past years, leadership giving was evidenced by $25 gifts as w ell as the $1 m illio

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C onspiracy song - ring the doorbell hope your heart stays in its cage D addy answers he tells you there’s going to be a little w ait then the m inutes drag you know that you’re in trouble cause D addy thinks that you’ll be as bad as he once was and you’re th ink ing ...o h no conspiracy’s on worlds out to get you my son you can hide but you can ’t run feel like public enemy num ber one she comes dow n the stairs and she looking oh so pretty you think you’re in the clear and you’re feeling oh so witty but then she trips and falls breaking her leg on the last stair and as you drive hom e you scream out the w indow life isn’t fair oh no conspiracy’s on w orlds out to get you my son you can hide b ut you can ’t run feel like public enemy num ber one words and m usic by hal david starr

88

M A Y / J U N E

1995

t ongue b r u s h i n g s | d a v i d starr My A q ua riu m - I was sw im m ing in my aquarium o f my ignorance I was aware fears o f m onsters m ade o f pow der but the fish d on ’t seem to care my strings aren’t w ound too tightly still break them tw o at a tim e I always brush my tongue nightly it eases my state o f m ind keeps me from spin n ing all around under the cross' fire dancing up a storm in your hands I can ’t stand out and I w on’t listen when you say let’s be friends you know I thou gh t we were already w hat did you learn from your m istakes I d on ’t feel like I’m getting better I d on ’t feel like a juicy steak ju st feel like spin n ing all around in my cornflake field dancing up a storm on your leg I can’t stand out and I w o n ’t listen w hen you say let’s be friends my aq uarium w ords and m usic by hal david starr

L im it e d B u d g e t s

Left: This is the second year Rattan Design in Dallas, Texas, has been hired to design and produce the United Way of Metropolitan Dallas Annual Review. "Due to bad national press regarding the United Way's national organization,

P R IM E'S

ANNUAL r iv in g

SCHOOL

w e suggested that the Dallas organization become more 'transparent,'" art director Jo e Rattan explained. "W e proposed that they step back and highlight the donor and recipient, allow ing people who are supported by United W ay agencies the opportunity to say 'thank you' to the people who support them." Jo e R attan /Jill Elson-Pharr, creative directors; Jo e Rattan/Greg M organ, designers; J ill Elson-Pharr, writer; Ron St. Angelo, photographer.

"Emerging folk/grunge artist David Starr came to me needing a promotional CD/cassette package to market to A&R people in the recording industry," said art director/designer/illustrator Neal Ashby of Recording Industry Association of America, in Washington, D.C. "M arketing an unknown artist is difficult— you don't want the package to look so slick that it looks like they've already signed with someone, but you want to catch the audience's attention with something unique. In David's case, I thought the lyrics were strong, so I put them on the cover, thinking if someone read the words to the song, they would be seduced into listening to the music. The liner notes can also be folded different ways, giving it a new cover each time; this allow ed us to send out the same CD four times with a slightly different look. Having no budget for photography, I scanned images from old Sears catalogs. The reversed 'Kellogs K' came from a 1941 Life. I drew the sw irl. I think the w hole thing cost about $450. David is s till, however, u nsigned." David Starr/Paul Russinoff, writers.

This page: "Prime, a Springfield, M issouri-based national trucking firm, sponsored Stan Utley on the PGA Golf Tour in 1994. In return, Stan wore the Prime, Inc. logo on his clothing during tournament play and in PGA personal appearances. He also agreed to attend golf outings that Prime held for key clients and prospects," said creative director M ike Stelzer of the M arlin Company in Springfield, M issouri. "This piece w as a specialized invitation giving bio information on Utley and detailing the events of the outing. The concept came through a play on words; 'Driving School' had a nice tie-in to golf and worked with the image of a trucking company. Because the quantity w as relatively low and the invitation had to be personalized for several different events, a great deal of hand finishing went into this piece; the handmade purple paper border w as trimmed and spray-mounted in-house and the die-cut pocket folder w as hand trimmed. The opaque yellow ink w as tested and remixed four times to get the perfect color to elegantly pop off the stock. The inside left panel of the Event Details brochure was left blank and w e ran the pieces through our laser printer to personalize them for each event. They had an incredible 80% response rate for the event." M att Graif, art director/designer; Jay Moore, writer; Tom Davis, photographer.

w mW e. are proud to sponsor Stan Utley.

He expresses similar characteristics to those o f Prime

Prime C oif Classic

His goals are to be the best, It Prime

[riving

to always be capable o f a near perfect perform ance, to seek growth and challenge, and to always have fun.

But we would like to know

So let’s get to know each other better rhrotigh this golf outing.

Event Details & RSV P

After all, life’s too short your invitation to attend the

not to have fun.

Prim e G o lf Classic,

Hope to see you there.

Prim e’s Annual D riving School,

C O M M U N I C A T I O N

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L im it e d B u d g e t s

This page: Cover and spread from the 1993 annual report for the Houston Food Bank. "The concept w as to take an hour-by-hour look at a day at the Houston Food Bank," said art d irector/designer Haesun Kim Lerch of Pennebaker Design in Houston. "Since they have a limited budget, the annual report was designed small to conserve paper; the sm aller size also made the report more intimate. Photo­ graphs were printed as duotones and the two colors in the report were used sparingly so that they had more impact.

I have alw ays felt that a piece w ith a strong concept as its glue does not need a lot else to hold it together." Jeffrey McKay, art director/illustrator; Mitzi Coleman, writer; Drew Donovan, photographer.

Right: Brochure for Schertler, a small Sw iss company that produces pick-ups for acoustic instruments; their clients are some of the world's most important jazz and classical musicians. "W e wanted a sophisticated brochure reflecting the quality and integrity of the product," said creative director/art director Stefan Sag m eister of N ew York's Sagmeister Inc. "The main concept comes out of the elliptic circles of their logo; every article is illustrated by a photo­ graph resembling the logo in a variety of ways. A tight budget prohibited my original idea of printing in duotone, so we printed in one color only, which resulted in dark gray bars (instead of the desired black). A t the end, the printer did us a favor and hit the black tw ice." Stephan Schertler, writer; Eric Zim, designer; Tom Schierlitz, photographer.

esley Community C enters day extends well into the evening.

An extensive youth program, including team sports and scouting, is underway; parents gather their children from the day-care program; and the staff attends to the last-m inute rush of people who are seeking help from the center in their tim e of crisis. As one of 466 charitable programs served by The Food Bank, this m ulti-purpose agency last year assisted nearly 37,000 people, from infants to senior citizens.

"Our goal is to help people help themselves to get out of the cycle of poverty, to be selfsufficient. We want to enable people to reach their full potential,'' says Ruth Palmer, the center’s executive director and diaconal minister. Associated with the center for more than two decades, Ruth has seen that goal fulfilled in the lives of countless people through the years. Her eyes light up when she tells of the young man who had been in the center's Boy Scout program and now works with the Houston Police Departm ent, or the young woman, once active in Wesley’s 4-H Club, who now teaches elementary school and returns to volun­ teer in her old neighborhood. “It’s wonderful to be around for 20 years and see the little kids I knew in preschool now enrolled in college,” says Ruth.

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Among its many activities, Wesley conducts a number of feeding programs, including an emergency food pantry to help families in crisis, a supplemental foods program for senior citizens, lunch for children in its day-care program and a noon meal for the elderly.

The Food Bank is one of the food sources that the center taps for support of these programs.

About three days a week, Wesley's truck pulls away from The Food Bank's distribution docks loaded with food. “I can't tell you how grateful we are for the food we have been able to get over the years from The Food Bank," says Ruth. "W ithout that food, there would have been no way that we would have been able to do all that we have done to help people in this neighborhood. It's been a real blessing.”

Wesley Community Center and the 465 other programs which receive food from The Food Bank are a vital link in the chain that begins with a donation of food and ends with a family being fed. W ithout programs like Wesley C om m unity Center, The Food Bank could not accomplish its mission, but, because of them , the chain is complete.

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L im it e d B u d g e t s

This page: Direct mail piece for a solo dance performance by Mercy Sidbury.

"I have been a student and admirer of her work for quite some tim e," said designer Kathy W arinner of San Anselmo, California-based Aufuldish & W arinner. "W e arranged a trade for dance lessons, so it w as truly low budget. The choreography w as contemporary, abstract and organic so I used an abstract rather than literal approach to the design process. Many of the dances used natural metaphors (images of wells, water and stones).

Once the concept of natural elem ents w as decided upon, I started the design process by making different color transparency copies of natural textures and overlapping them. W hen the blue 'w ater' image overlapped the stones, it created such depth and alluded to w ater and movement so clearly, I decided to make it the main image for the postcard." Judy Allen (dancer)/stock, photographers.

Tyler Blik Design in San Diego, C alifornia, w as asked by the Jap an ese Friendship Garden, also of San Diego, to develop an invitation to so lic it funds for their annual fund drive. In the past they had sent out a rather mundane note card w ith a reply card and envelope for people to send in contributions. "W e opted to forego our sm all design budget in lieu of producing a more directed and engaging solicitation," designer/creative director Tyler Blik said. "The garden's main objective w as to gather funds for their new wisteria arbor and further their campaign drive for the future; the concept w as to create a mailing that would engage the view er in the same way as the garden. Panels fold out, with one actually containing a photograph of the front gate. A grid w as designed resembling a tatami mat, establishing an order in which the viewer assim ilates the information.

True to Japanese tradition, regardless of the amount of the contribution, all donors received a gift; the gift calendar was oriented in a vertical format emulating the w isteria in the background and traditional Japanese typog­ raphy of reading top to bottom." To save costs, normally incurred by printing and binding, volunteers of the garden agreed to collate and construct all 5,000

packages. The volunteers' involvement in the project generated so

much excitem ent and pride that many of them ended up making strong fin ancial com m itm ents. The Jap an ese Friendship Garden exceeded its campaign goals by 40%, launching them into phase two of development a year ahead of schedule. Ken Soto, designer; Grace Brophy, writer; Owen McGoldrick, photographer; Kaneko Bishop, illustrator.

Right: Collateral piece for Amnesty International's student program to accom­ pany a poster/tim eline of their upcoming campaign. "W e were allow ed a relatively high budget for the production of the poster, but not for the manual; we still needed to convey the feeling that they were both part of the same collateral program," said creative director A licia Johnson of Portland, Oregon-based Johnson & Wolverton. "W e didn't have a large budget, but we did have lots of powerful photos from Amnesty International's archives (the reproduction quality was low, but the content w as powerful). This is the key behind the success of their com m unications— em phasizing the humanity in the issues and how human rights abuses impact people around the world. The effect of the low budget production aesthetic strengthens the message, one doesn't expect to find a moving message in this context.

The most interesting thing that happened surrounding the production of this piece w as the response to it afterward; it's been a perennial favorite, of equal p op u larity to the poster, but w ith a much sm aller budget." Hal Wolverton, art director/creative director; Jerome Schiller, designer; Amnesty International, writer.

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M F F 1r i r e & A C T 1 0 High school and college groups generally meet weekly or biweek­ ly. High school groups may find it easier to meet at lunch, while college groups often meet in the late afternoon. But, times do vary.

• The introductory materials: this manual and the student video, “Think about Tomorrow...."

A letter writing action is also good to have.

FIRST MEETING RESOURCES

Regardless of whether you work at the high school or college level, this is what you need for a first meeting:

• Talk to your Student Area C oordinator (SAC) or regional office about how to pull off a suc-

• a faculty advisor/sponsor who is willing to be a liaison between your group and the school administration. Section Five gives you ideas for successfully recruit­ ing good faculty advisors.

• Your core group should get together, go over the manual, know the mandate, put together introductory handouts for new group members, and watch the “T hink About Tom orrow...” video.

• a core group of students inter­ ested in starting an AI student group. (This can be two people or twenty.)

FIRST MEETING PREPARATION

• A representative of the core group and the faculty advisor/sponsor should meet

with appropriate school adminis­ tration or student body officials to get the following: on-campus recognition, campus group guidelines, fundraising guidelines (and the possibilities o f getting funds through student govern­ ment), rules for holding oncampus public events, publicity guidelines and anything else that you m ight need to hold success­ ful activities. G et these on paper to avoid complications during the year. A sample constitution is available in T he Appendix.

• Set a day and time for the meet­ ing— lunch, after school, whatev­ er works best. In any case, mark the calendar so students know about meetings.

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L im it e d B u d g e t s

This page: Steve Black needed a piece for potential clients that would explain his approach to financial management. "We wanted to integrate his ideas, on a very conservative subject, with a subtle contemporary look," said Steve Gibbs, art director/creative director of the Dallas, Texas firm, GibbsBaronet. "Unfortunately, it's a little too soon to tell how well it's working." Steve Gibbs/Kellye Kimball, designers; Steve Black, writer.

risk We will T h e process o f u sin g asset a llo ca tio n is th e basis fo r all o u r special services.

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a l t e r n a t iv e s w e w il l c o n s id e r a r e

• M u tu a l Funds • M o n e y M a n ag e m en t C o n s u ltittg S ervices - F o r T h e S erio u s In v esto r - F ee B ased ($100,000 m in im u m ) • F ederally In su red C ertific ates o f D ep o s it (C D )

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• B onds: C o rp o ra te , T a x -F re e M u n icip al, G o v e rn m e n t, “ O ” C o u p o n s , C o n v ertib le • T a x -D e fe rre d A n n u ities b o th F ixed an d V ariable • In su ran ce as a m edium , for tax an d esta te p la n n in g • C o m m o n a n d P referre d S tocks > R e sea rch ed » C o n serv ativ e R ec o m m e n d atio n s * M o d e ra te R ec o m m e n d atio n s ’ A ggressive R e c o m m e n d a tib n • S pecial R e tire m e n t P la n n in g S ervices • S e lf-D ire cted IR A ’s > 401 K Plans . > 403 B Plans

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• Estate Planning • M u tu a l F u n d E v a lu atio n S erv ic e - C o m p lim e n ta ry • P referre d C lie n t A cco u n ts - C o m p lim e n ta ry G o ld c a rd s/C h e c k in g / 24 H o u r T e lep h o n e H o t L ine fo r a c co u n ts w ith $200,000 o r m o re • F inancial P lan n in g > A sset A llo c atio n - C o m p lim e n ta ry • R e tire m e n t P la n n in g A nalysis - C o m p lim e n ta ry - D e v e lo p in g a b lu e p rin t fo r re tire m e n t - 'P r o p e r p la n n in g an d h an d lin g o f a re tire m e n t

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. plan an d lu m p sum d istrib u tio n s • E d u c atio n fu n d in g analysis - C o m p lim e n ta ry - M an ag in g th e h ig h co st o f ed u c atio n

This page: "I worked w ith the director of the Settlem ent M usic School and a copyw riting public relations firm to define the m ission and scope of the project," explained designer Kerry Polite of Philadelphia-based Polite Design. "To add some life to the piece, we decided to separate the course listing from it, which changes every year. Instead, we produce extremely inexpensive

1 -color course listings every year; the overall budget w as the same, we just shifted finances around for maximum effect. I got a good direction for the cover after the initial meeting w ith the director of the school, who, as I w as leaving his office, said, 'I w ant to see happy, smiling kids making music.' The client had

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expectations of approximately twenty photographs in this brochure w ith a budget for about one day of photography. So we shot four dominant portraits that gave four different points of view and then shot hand-held editorial style shots for the rest of the images. The director also wanted to communicate the history

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of the school, the fact that there are five locations and that the school is a neighborhood artistic and cultural institution. W e used area maps to show locations and a tim eline to explain the school's history. By drawing thumbnails, I figured out how to get all the photography on one side of the printing form and save some of the budget. W e used an inexpensive paper (Potlatch M akers M atte), the cover w as printed as a 3/1 color form and the text pages were printed as a 4/2 color form. The brochure has been in use for over three years." Ann DeForest/Steege Thomson, writers; Ed Wheeler, photographer.

S m a ll en se mb le s and ch amber groups help s tudent s to l i s t e n and c ommun ic i

C O M M U N I C A T I O N

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Left: Pro bono poster for a multimedia event involving a number of people from a variety of disciplines in the visual and performing arts.

"The project w as one of those rare opportunities in graphic design where personal interpretation is not only appropriate but encouraged.

Images of w ater were a central theme in the performance and I used that as a departure point for the imagery in the poster," said art director/ designer David Horton of Boston-based Sametz Blackstone Associates.

"The curved, flow ing shapes and the use of the rounded sans serif type are also meant to reflect the theme. The orchestra featured an eclectic range of musical instruments from the medieval hurdy-gurdy to contem­ porary MIDI synthesizers. I attempted to suggest this eclectic mix with my approach to the typography— hard and soft edges of type against the hard and soft edges of the imagery. Basically, the poster was intended to evoke the feeling, energy and complexity of the event with as much impact as one or two colors would allow. Not surprisingly, there was virtually no money for production. W e got a very reasonable quote from one of our tw o-color printers, with the agreement that we would supply

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the film. W e don't do electronic trapping in-house, so the poster was designed w ithout the need for any traps. A ll the layers were created w ithin individual programs such as Photoshop and Illustrator. The poster w as originally designed in a vertical format but it w as interesting to see how many ended up being hung horizontally around the city. That w as an interactive aspect of the poster that w asn't anticipated."

This project was part of an overall identity program for Meeting Needs, Inc.; the direct-m ail package w as developed as an additional awareness campaign. "The concept of this entire program was to establish the understanding that M eeting Needs, Inc. w as aware that there was a void— the empty chair— that could be filled in a way unique to each potential client. The overall response to this campaign w as excellent," said art director/creative director/designer/w riter Morton Jackson of Baltimore, M aryland-based Graffito. Stock photography.

This page: Holiday card for Concerts For the Environment, the company that puts on the Earth Day concerts. "It seemed fitting to incorporate the concept of recycling and we decided to print on a piece of garbage," said creative director Bill Thorburn of M inneapolis-based Thorburn Design. "Although it w as d ifficu lt to trim and rerun the newspaper offset, the most interesting aspect was that the design changed with each sheet of newspaper. The response to the piece has been great.”

Chad Hagen, designer; M att Elhardt, writer.

"Turner Home Entertainment hired us to create a fun exciting package, to be printed on recycled m aterials, that w ould be used for m ailing inform ation and video release m aterials to consum ers," art director/ creative director Tom Antista of Atlanta's Antista Fairclough Design Inc, explained. "W e wanted to highlight Turner Home Entertainment as the video distributor, w hile also utilizing the actual color of the recycledmaterials box as an integral part of the design. W e used the "radiating starburst" to convey energy and an air of excitem ent around the receipt of the package; we w anted it to have the same effe ct as receiving a gift-wrapped package. Consumer response has been exceptional."

Thomas Fairclough, art director/creative director/designer/illustrator; Turner Home Entertainment, writer; M ichael W est, photographer.

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L im it e d B u d g e t s Si F a ^ l e S t r e e t S i n F r a n c i s c o , CA n m

"Alan Lewis is a free-lance marketing com m unications

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of industries and tastes. He approached us to create an identity that would appeal to the entire spectrum of markets he worked for, without offending anyone, but still conveying a sense of boldness and creativity," said designer Dennis G allagher of San Franciscobased Visual Strategies. "A lan w anted to show that he w as creative, yet professional. Since he is a oneperson operation and didn't need huge quantities of business cards or letterheads, it was cost effective to go full color. The basic idea is to mimic the progres­ sion of the w ritin g process, starting with pencil on paper, that ends w ith typeset copy. W e chose two subtle colors to downplay the large fragments of type so it w a sn 't too loud. The most im portant inform a­ tion— Alan's name, address and phone number— we made smaller, but bolder, so the word 'writing' in its different phases became a textural background.

Contrary to convention, we put the voice number under the fax number, because most people tend to glance at the end of an address block for a phone number, often dialing the fax number by mistake.

Alan reports that the identity has been a success, getting attention in a fun way, without pigeon-holing him into a particular category of writing." Dennis Gallagher/John Sullivan, art directors/designers; Alan Lew is, writer; Ruth Hagopian, calligrapher.

$i E a j l e St reet San F r a n c i s c o , CA

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"W illiam s-Sonom a is a continuing client of ours and they asked us to design a holiday greeting card invit­ ing customers to come in for an evening of holiday shopping, cooking demos, hors d'ceuvres and drinks," explained art director M elanie Doherty of the se lf­ named San Francisco firm. "W e wanted the piece to have a rich quality to represent Christmas, so we used deep colors and com plete coverage." Katy Boesch, creative director; Sharon Peterson, designer.

This festive night o f shopping will provide the perfect opportunity to select a gift for the cook on your list.

Included in the evening will be special drawings for American Express gift cheques. You will also enjoy hors d'oeuvres, wine, music and cooking demonstrations while you shop.

For $100 in purchases made with the American Express* Card, you will receive a complimentary copy o f 1 Williams-Sonoma Kitchen Library Cookbook.

Although only our most valued customers are invited, space is limited. Please RSVP by December 6.

1-800-706-7787

Complimentary valet paHcmg availablt

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S t a r t in g t h i s issu e o f ECO is A TIMELY ARTICLE ABOUT SOLU­ TIONS TO THE FINISHED FLOPPY DISK DILEMMA BY KYRA BUTZEL. & : O n c e A g a in ... b r in g in g t o YOU FOR THE THIRD TIME SINCE THE BIRTH OF ECO, “The Best of the Best-Top Recycled Papers" BY J a ck W eiss. In 1991, t h i s l i s t CONSISTED OF ONLY TEN PAPERS. T o d a y , w e h a v e exp an d ed t o 2 LISTS WITH 79 PAPERS (AND h a d t o e d it o u t a t h ir d l i s t o f 34!). In 4 s h o r t y ears, PAPER MILLS HAVE EXPANDED TREMENDOUSLY TO KEEP *UP WITH DEMAND... your DEMAND. K eep u p t h e g o o d w o r k !

B e WELL. Eva Anderson, Editor

o u

A Fine Futurefor Finished Floppies

BY K Y R A B U T Z E L

They are our little libraries-those neat, flat plastic squares-organizing our lives, storing our histories and passing on millions of megabytes of information. Each year, however, more than one billion floppy disks are discarded. Virtually unbiodegradable, these disks and their accompanying software are taking up over 16 million cubicfeet in our landfills.1 Others are incinerated, sending toxic materials into the air. The ones that aren’t thrown away-the old software, the yearly upgrades, the obsolete backup disks-are piling up in offices and homes, gathering dust. mericans consume an astounding 180 million disks every month.2 While many toss them away recklessly, the rest of us cringe when we hear the thud of a disk hitting the bottom of a trash can-we would rather hang onto them than imagine them sitting for 450 years in a landfill.

Luckily, our options are increasing.

At this very moment, recycled 3.5" and 5.25" disks are offered through mail-order catalogs, ecology magazines and a few computer and office sppply stores. And very shortly, we will be able to toss our old software and obsolete . disks into collection bins rather than garbage cans.

F in i s h e d

F l o p p i e s

F in d in g s

F C () I. O G I c: A 1 C RITIQU E & OBJECTIVES I \ I) I S I G N

May/June 1995 Volume 4, Number 4

The recycled disks that are on the market today originally come from software com­ panies. As new software and upgrades are developed (every other day it seems), software companies accumu­ late thousands upon thou- -sands of disks and accompany­ ing manuscripts that quickly become out of date and are taken off the market. Most of this material heads

straight to landfills. Now this wealth of unused material goes straight to soft­ ware recycling companies that collect and recycle this material and turn it into premium quality merchandise.

One such company is GreenDisk, based outside of Seattle, Washington.

In 1992, approximately 29% of software was being recycled.3 David Beschen, founder and president of GreenDisk, decided to find out what happened to the other 71%,, His re­ search led him to the concept of a software recycling company that offers software corporations an envi­ ronmentally-sound alternative to the hauling and disposing of their unsold merchandise.

In April 1993, Beschen and his partner, Joel Peterson, founded GreenDisk, a com­ pany that would secure, in an environmentally-ffiendly way, “the elimination of in­ tellectual property,” and “provide premium, high in­ tegrity personal computer diskettes that [the general public could] feel good about using.”

GreenDisk is the only natiotiallyc o m m u n i c a t i o n

a r t s

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known software recycling cofripany providing its services throughout the United States. Holding contracts with such companies as Aldus, Apple, Central Point, Microsoft and others, GreenDisk collects their unopened, unused software and recycles every bit.

Packaging and software manuscripts are recycled and the premium-quality disks on which software has been written are erased by a large magnet (a process known as degaussing). Disks are then relabeled and repackaged using recycled material and sold to retailers as recycled diskettes. /V s for the quality of these “GreenDisks,” they most often surpass the quality of unused disks sold on the market today. That is because the pro­ fessional grade disks used by software publishers are the only ones that are degaussed and sold as GreenDisks.

They have been written on only once, and have never been used. During the original manufacturing process, these disks are tested for quality, then tested again by the software publisher and then a third time by GreenDisk before they are packaged and sold. As a result, the premium-quality GreenDisks are like new disks-only better.

Gary Grossman, manager of Real Recycled, a mail order company offer­ ing a variety of recycled products, says that they are excited to offer Green­ Disks. “The fact that these disks have been written On once by the software companies essentially just means that they have been pre-tested,” he tells consumers. In fact, according to Joel Peterson, out of the six million Green­ Disks sold since February 1994, only six have been returned, a rating much higher than most store-bought disks.

Ironically, these premium-quality GreenDisks are “remanufactured” in one relatively small, simple office.

GreenDisk’s main facility is made up of 25 employees and is “about as lowtech as you could possibly get,” says vice president Peterson, “just a bunch of people standing around with knives.”

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These employees separate books from plastic, paper from their binders, disks from boxes and run the degausser.

This makes the company both port­ able and flexible, a desirable feature since the company is rapidly expanding.

They have plans of opening nine other facilities, located outside software

by when you open a new software package, GreenDisk offers a Letter of Destruction certifying that “the intellectual property and all the com­ ponents of the package have been destroyed in an environmentally re­ sponsible manner that also satisfies the legal requirements of their software license agreements.”

Once GreenDisk has their nine other facilities in place, disk recycling will become both simple and conven­ ient for the majority of us, and thou­ sands of old programs and the disk­ ettes on which they are stored will get another life as new disks. So hang on to those crummy old disks a little longer. In the meantime, keep a look­ out for GreenDisks and other recycled disks in stores and catalogs.

GreenDisk’s environmental commitment extends to their recycled chipboard packaging.

I f you would rather deal with smaller, local recycling companies, check your Yellow Pages for software recyclers.

One such company is DR Disk Works/Eco Tech in Houston,Texas.

This company has been undergoing ownership changes recently, and still seems to be unsettled. Keith Fox, op­ erations manager, is enthusiastic about the company and says that what makes them different from other recycling companies is the “unique de-labeling process” they employ to remove old disk labels. Both this new technology and the fact that they offer their disks in fibrous muslin drawstring bags; has given rise to some criticism from the industry. Still, their hearts seem to be in the right place: they are a cor­ porate sponsor of the Wilderness Society and display the Society’s logo on all their retail packaging.

★★★

distribution points to reduce trans­ portation and hauling costs.

F o r g e t F i n i s h e d

F l u s h i n g F l o p p i e s

As for those many disks we have all ac­ cumulated and don’t know what to do with-GreenDisk is taking care of them. The lower grade disks purchased from retail stores, and the countless disks from old software programs pur­ chased over the years will soon be collected, broken down and recycled.

Right now, GreenDisk has a pilot pro­ gram in place in the Northwest, soon to go nationwide, in which collection bins are placed in offices and at various retail stores for the retrieval of old disks. These lower grade disks are not degaussed, but instead are pulled apart entirely and refashioned: the small metal parts are collected and reused, the plastic is ground up and used in manufacturing new disks and the mag­ netic recording surface inside the cas­ ing is sent overseas to become the mag­ netic strips on the backs of credit cards.

As for the contract you are bound

F 3r more information about GreenDisk, call (800) 305-DISK. You can order DR Disk Works/Eco Tech’s recycled disks by calling (800) ECO-617 5. Watch for their ads in ecology magazines.

1. GreenDisk, “A convenient recycling program for disk users ...so they can help save the planet. ” 2. Joel Peterson, vice president, GreenDisk, 1994.

3. Joel Peterson, vice president, GreenDisk, 1994.

Best of the Best:1995 Top Recycled Papers J

B Y J A C*K W E I S S

A year ago, in our last “Best of the Best ” article, I noted that the list of recycled papers had grown substantially. Paper mills were, still are, responding to market forces and regulatory measures to produce more and better recycled grades of paper.

The 100,000 plus graphic designers who specify paper are in a unique position to drive the market.

designer say, “Recycled paper is just a fad!” Thinking I was experiencing a ’60s flashback-the raw look of earthy flecked paper and all that-1 concluded it was his ignorance that led him to make that statement. The issue,"while having economic overtones, is more importantly an environmental one. In 1990, 73% of all solid waste in landfills was paper, but only 6% of the fiber used in printing and writing papers came from recycled material.1We can do better.

In his Executive Order of October 1993, President Clinton set the stage for a new generation of recycled paper which mandated more extensive gov­ ernment procurement of recycled paper with post-consumer waste. The new standard set 50% total recycled fiber/20% post-consumer fiber as the current specification. In 1998 the PCW content will shift to 30%. In a subse­ quent, but related decision, the EPA in 1994 ruled that mill broke, paper which was reused in the manufacturing process anyway, must be “excluded from the definition of recovered mate­ rial.”2 Previously, paper mills could claim 100% recycled, even if most of the fiber was mill broke. Now the real measure of recycled paper is as it should be, paper already used-preor post-consumer product-diverted from landfills.

Early in the recycled paper move­ ment, to help consumers better under­ stand the true composition of recycled papers, Conservatree Paper Company introduced a ranking system for recy­ cled grades. Post-consumer content (deinked and non-deinked waste); pre­ consumer content (printed material

The A b s o l u t e Be s t R e c y c l e d P a p e r s Minimum 50% post-consum er fiber Mill/Paper/Grade

Processing

Coated

All deinked PCF.

U

Non-deinked PCF.

U

Non-deinked PCF.

U

Non-deinked PCF.

U

Non-deinked PCF. *

U

Total

Post-

100 100 100 100 100 100 100 100

100 100 100 100 100 100 100 100

• 80

80

Honshu Economy Gloss T *

80

80

Deinked PCF. Virgin ECF. No. 4 offset.

Honshu Lotus Gloss T *

80

80

Deinked PCF. Virgin ECF. No. 2 offset.

C

Honshu Premium Gloss T *

80

80

Deinked PCF. Virgin ECF. No. 3 web.

C

Cross Pointe Genesis W,T,C * Domtar Sandpiper W,T,C * Domtar 100% Recycled W,T * Domtar Comet, T Klippan Fridaflack Cover * Mohawk Vellum P/C 100 T,C Monadnock Revue PC 100 T,C * Simpson Quest W,T,C DaiEi Forest T

Hopper Proterra (colors) W,T,C Stora Papyrus Cyclus T,C * Champion Benefit’ W,T,C * Crane Old M o n e y ' T,C *

80*

100 100 100*

Non-deinked PCF.

U

Deinked.

U

Non-deinked.

U C C

80

‘ Excludes 20 % mill broke.

U

75

A ll deinked ECF. No. 4 uncoated offset.

U

cn *

A

JL V short time ago, I overheard a

* Deinked.

U

70

Non-deinked. TCF.

U

‘ Includes 30% recovered cotton.

70

* All deinked. No. 4 xerographic.

U

Jam es River Graphika 100 T,C

100 100* 100*

60

* All non-deinked.

U

Hopper Prbterra *W,T,C

80*

60

‘ Excludes 20 % mill broke.

u ,

100 Fox River Confetti T,C 100* Hammermill Unity DP & Offset T * 1 0 0 * Springhill Incentive 100 T,C * 100*

55

Domtar 100% Recycled C * Jam es River Eureka 100 T *

Riverside Ecology Offset

70

Non-deinked PCF.

U

u

No. 4 offset.

50

*M ay include mill broke.

u

50

‘ Includes mill broke. All deinked. No. 4 offset.

u

50

‘ Includes mill broke. All deinked. No. 4 offset.

u

DaiEi Sav-A-Tree C

50

50

“Gloss coated board.

c

Ward Forward Vellum Opaque T

50

50

No. 4 offset opaque.

u

Simpson Equinox T,C

50*

50

* Excluding 50% mill broke.

u

Grades are ranked by: 1 . highest percentage of post-consumer fiber; 2. highest percentage of total recycled fiber; 3. alphabetically by mill. M ill broke not included, if known. W =W riting, T=Text, C=Cover. ' Not all colors, finishes or weights have the same recycled content. Refer to swatch book. ♦^Verified by mill.

ECF=Elemental chlorine-free, PCF=Process chlorine-free, TCF=Totally chloririe-free.

Reference source: Paper Buyers Index System, A Guide to Recycled Papers, Volume II, Edition 3R, October 31,1994.

never distributed and make-ready); pulp substitutes (trimmings from enve­ lope and sheeting operations); and mill broke (paper waste which never left the

mill). PCI, publisher of Paper Buyers Index System, A Guide to Recycled Papers, our primary source for up-to-date (continued on page 102, third column) C O M M U N I C A T I O N

ARTS

101

T h e

B e s t

N e x t

R e c y c l e d

P a p e r s

Minimum 60% recycled with 20% post-consum er fiber Mill/Paper/Grade

Total

100

Domtar Naturals (Jute) T * Domtar Naturals (Kraft) T * Domtar Naturals (Corrugate) C *

PostConsumer Fiber %

Processing

Coated

U

45

A ll deinked. Chlorine processed.

80

45

A ll deinked. Chlorine processed.

U

65

45

A ll deinked. Chlorine processed.

~U

100 100 100 100

40

"A ll deinked. Chlorine processed.

U

35

A ll deinked. Chlorine processed.

U

35

No. 4 bond.

U

35

No. 4 xerographic.

U

30*

*AII deinked.

U

60

30*

*AII deinked.

James River Graphika Vellum ' T,C *

60

30*

*AII deinked.

Jam es River Graphika Laser W *

60

30*

*AII deinked.

Domtar Naturals (Brick) T * Domtar Naturals (Wicker) 1 * Riverside Ecology Bond Riverside Ecology Copier James River Curtis Brightwater ’ T,C *

60

Neenah Classic L a id ' W,T,C *

60

30*

*Deinked ECF.

Neenah Classic Linen W,T,C *

60

30*

‘ Deinked ECF.

Neenah Classic Columns W,T,C *

60

30*

‘ Deinked ECF.

Gilbert Cover Recycled *

60

30

No. 1 cover.

60

30

No. 2 laid text.

u u u u u u u u u u u u u* u u u u u

25*

‘ Deinked.

j f

25*

*Deinked.

25

Deinked PCF. No. 1 offset.

cT

25*

‘ Deinked PCF.

25

‘ Includes 25% cotton.

u u c u u

Jam es River Graphika Lin eal'T ,C *

Neenah Environment 25 Writing *

100* 100* 100 100*

Gilbert Correspond Recycled W *

85*

Crane Old M o n e y ' T,C * Fox River Bond & C Neenah Environment T,C *

30

‘ Includes 70% recovered cotton. Non-deinked TCF.

30

‘ Includes 25% cottorr. M ay include mill broke.

30*

*Deinked ECF.

30**

‘ Includes 25% cotton. **Deinked ECF.

30

•Includes 25% cotton.

Gilbert NuTech Recycled T *

85*

30

‘ Includes 25% cotton.

Gilbert Oxford W,T,C *

70*

30

'Includes 10% cotton.

Fox River Circa Select W,T,C

60*

30**

‘ M ay include mill broke. “ Deinked.

Fox River Circa '83 W,T,C

60*

30*

‘ M ay include mill broke. “ Deinked.

Neenah Classic Crest ’ W,T,C *

60

30*

‘ Deinked ECF.

Gilcrest Recycled W,C *

100 100 100 100

Champion B en efit' W,T,C Champion Ultra Laser W Biberist Renato T,C * French Dur-0-Tone *

75*

Strathmore Renewal Writing Biberist Renato Matte T.C * Cross Pointe Bellbrook Laid W,T,C * Cross Pointe B o o k ' T * Cross Pointe Halopaque' T,C * Cross Pointe Medallion T,C * Cross Pointe Normandie W,T,C * French Construction T,C * French Rayon T,C * French Speckletone T.C * Glatfelter Natures T Fletcher La Sierra Plus T,C Schoellershammer Glama

100 100 100 100 100 100 100 100 100 100 100* 100

Natural 100 W *

"Too

Westvaco American Eagle C

60*

Ward Lake Shore 25 W

20 20 20 20 20 20 20* 20* 20* 20 20* 20 20 20

Deinked PCF. No. 2 offset.

All deinked ECF. A ll deinked ECF.

PCF. Premium translucent offset.

u u u u u~ u u c u

Gloss offset cover.

I T

A ll deinked ECF. All deinked ECF. A ll deinked ECF. ‘ Deinked PCF.

»

»

‘ Deinked PCF. * Deinked PCF. No. 3 book offset.

M ay include mill broke. Coated offset.

‘ Includes 25% cotton. Excludes 40% mill broke.

u

Grades are ranked by: 1. highest percentage of post-consumer fiber; 2. highest percentage of total recycled fiber; 3. alphabetically by mill. M ill broke not included, if known. W =W riting, T=Text, C=Cover. ’ Not all colors, finishes or weights have the same recycled content. Refer to swatch book. * =Verified by mill.

ECF=Elemental chlorine-free, PCF=Process chlorine-free, TCF=Totally chlorine-free.

Reference source: Paper Buyers Index System, A Guide to Recycled Papers, Volume II, Edition 3R, October 31,1994.

102

M A Y / J U N E

1995

Best o f the Best (Cont’d from page 101) information on recycled papers, uses this ranking system in identifying all of the recycled paper grades it lists.

In evaluating recycled papers, we set high standards to encourage greater use of post-consumer waste.

The accompanying Absolute Best Recy­ cled Papers list ranks 26 grades which contain a minimum of 50% post-con- ' sumer fiber-20% higher than the current Federal PCW standard. The Next Best Recycled Papers list ranks 53 grades which contain 30% post-con­ sumer fiber, but have at least 60% total recycled fiber-20% higher than the Federal standard. For all recycled grades this year, we have attempted to verify whether they are process chlo­ rine-free (PCF), i.e., no elemental chlorine, chlorine dioxide or sodium hypochlorite used in processing the re­ cycled fiber. In addition to the recy­ cled fiber content, some grades use to­ tally chlorine-free virgin pulp (TCF).

When verified by a mill, that informa­ tion, too, is shown. (For more detailed information on these definitions, see uThe Next Generation”ECO Newsletter.; March/April 1995.)

1. ESP News. Conservatree Information Services, 1991.

2. Federal Register. Vol. 59, No. 076. April 20, 1994.

C orrection: In “The Next Generation,” ECO March/April 1995, the last five mills were inadvertently listed as producing Elemental Chlorine-Free (ECF) paper grades. In fact, all grades shown are recycled, not virgin. The T)omtar grades are ECF Recycled. The other grades are Process Chlorine-Free Recycled (PCF).,

|

CRE DI T S

Editor/Designer: E v a A n d e r s o n Contributing Writers: J a c k W e is s & K yra B u t z e l

Recycled Paper donated by:

N e e n a h P a p e r , N e e n a h , W is c o n s in

This newsletter is printed on Neenah, Classic Columns, Pistachio, 80 lb. Text, an ECF paper with 30% post-consumer waste.

C r e a t in g t h e F u t u r e Ethel Kessler Design Creates a U.S. History Timeline for the Clinton Administration BY

ELLEN

NE MORNING IN DECEM BER 1994, THE phone rang at Ethel K essler’s office in Bethesda, Maryland.

It was Victoria Elder of the Federal Quality Institute, a division of the U.S. Office of Personnel Management. “I’m calling because I need a project done for the president and vice president,” she said. “I need to have a timeline done.

Do you know what that is?”

“Yes.” “You do? I’ve called eight or ten different people in different cities and no one seems to know.”

That conversation marked the beginning of a working relationship that culminated ten weeks later with the delivery, by Ethel Kessler Design, Inc., of a fifteen-byfour-foot portable display that depicts— in understated style and with relatively few words and pictures— the milestones of American history. Presented on its five panels is a matrix of “A grarian,” “ Industrial” and “ Inform ation” eras overlaid with events and trends in the world and in American politics, government, society, economy and technology. Every 30 years or so, a flurry of typographic activity indicates a “break point of change,” such as World War II and the civil rights and peace movements of the 1960s. A “Future” panel, symbolizing time stretching beyond the year 2000, is left blank to give leaders and workers in the Clinton Administration— which considers itself operating at a significant break point— the oppor­ tunity to plot its vision of the years ahead.

“This is an interactive document,” explains Michele M. Hunt, a Clinton appointee and director of the Federal Quality Institute (FQI), the organization that com m is­ sioned the timeline. FQI is a key player in Vice President A1 G o re’s Creating a Government that Works Better & Costs Less program that, in a 170-page report, spells out how the Administration plans to “cut red tape,” “put cus­ O

SHAPIRO

tomers first,” “empower employees to get results” and “cut back to basics.” Launching “quality management training for all federal employees, starting with cabinet secretaries and agency heads, and cascading through the entire executive branch,” is a directive of the report— and Michele H unt’s mission.

Hunt, formerly senior vice president for quality and people at the design-driven furniture manufacturer Herman Miller, Inc. in Zeeland, Michigan, drew on her experience leading group training sessions there. To illustrate the A dm inistration’s “vision of our era as a time of major paradigm shift in which government is downsizing and reinventing itself,” Hunt chose the timeline as an engag­ ing medium that can be custom ized for each audience.

“We’re making deep, fast, bold changes,” she says, “and we want to get every single federal worker engaged in creating the future.”

To find the right designer, Hunt called on her former colleague Stephen Frykholm, Herman M iller’s creative director, who referred her to Ethel Kessler Design, a small metro Washington, D.C., firm known for imaginative corporate communications and posters for cultural organi­ zations. Kessler, a graduate of Maryland Institute College of Art who was an exhibition designer at the U.S. Informa­ tion Agency before founding her firm in 1981, bid on the project against two other firms, both of which submitted spec presentations.

Pictured above from left to right: Designer Jane Grigg Cleary; creative director/designer Ethel Kessler; text coordinator Karen Gill; design assistant Lisa Catalone and planner/researcher/writer Laura Greenberg.

Picture editor Laura Kreiss is not shown.

Victoria Elder/Ron Redmon/Colette W ickm an/Pat W ood/Joe Slye, Federal Quality Institute, project team; M ic h e lle Hunt, director, Federal Quality Institute, client.

C O M M U N I C A T I O N

ARTS

103

T im eline

“I refuse to do anything on spec,” says Kessler, asserting that the type of generic sketch some of her competitors use in the hope of winning projects like this is irrelevant.

“W hat’s important is a real passion for the project. We demonstrated the ability to form a real partnership with the client, put together a hardworking team, provide research...basically to fulfill the client’s vision. How do you capture 300 years in this much paper?” she asks rhetorically. “And procurement procedures in the govern­ ment are unlike anything on the outside. In this case it took four weeks for the bids to be reviewed, analyzed and approved.”

Once Kessler was sure she had the job, her firm launched into an intense six-week period during which they “worked until midnight every night” to make the deadline. “Actually, FQI was a dream client,” she recalls. “We would spread out laser proofs and say, ‘These are the changes w e’d like to make. Tell us if you agree.’ They— Victoria Elder was our main contact— always treated us like valued con­ sultants, not pairs of hands.”

Kessler’s team included graphic designer Jane Cleary; free-lance researcher/planner/writer Laura Greenberg, formerly of the Smithsonian Institution; photo researcher Laura Kreiss; text coordinator Karen Gill; and design assistant Lisa Catalone. “We’d come in in the morning and find 32-page faxes from Laura,” says Kessler. “This project is not about beautiful design. It’s about researching and organizing vast amounts of information, such as quotes from Peter Drucker’s Post-Capitalist Society,” she adds.

“It’s about taking the client’s vision farther than they’d imagined it. We added categories, did things like pull out communications technology into a separate band, and actually transformed what could have been a dry compi­ lation of historical facts into an energetic piece.”

The document was prepared by Jane Cleary at 50% scale in QuarkXPress, loaded onto a SyQuest drive, output as three-by-four-foot Iris prints, laminated and mounted on Fome-Cor® panels that can be easily transported from meeting to meeting. To date, it’s been unveiled at presen­ tations in A1 Gore’s office, at the Department of Education and at other cabinet meetings.

W hat’s next? According to Michele Hunt, the timeline may be used by the vice president at the upcoming annual conference of the Federal Quality Institute, and it could be transformed into a video, an interactive CD-ROM and/or adapted for public access online through an Internet service. “There’s tremendous interest,” Hunt says. Adds Kessler, “Sometimes there’s too much emphasis on design as decorative styles. This is design as process, a process that’s making a difference at the highest levels.”

104

M A Y / J U N E

1995

uWe hold i e truths to be self-evident, that all n are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit o f Happiness... ” FROM DECLARATION OF INDEPENDENCE. 1776

,

“Once in a great while nations arrive at the moments i the Declaration of Independence the Louisiana

1

A

N

E

R

Regional Schisms

i"

^

A

Individualism

"Self-sufficiency"

,

1

1

Regional Markets

N

D

U

Growth of Cities

Marx's Communist Manifesto 1846-48

‘From each according to bis abilities, to each according to bis needs...”

1860 Election of Lincoln.

Lincoln takes office, decides his obligation is to preserve the Union. It is the single defining moment of the 19th century

1803 Louisiana Purchase doubles the size of the country

Anti-Jackson (W hig Party)

“The dogmas o f the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty, and we must rise with the occasion. As our case is new, so we rnust think anew, and act anew.”

“It is to be regretted that the rich and powerful too often bend the acts o f government to tbeir selfish purposes...”

Tempc

ABRAHAM LINCOLN. 1

“It is hard to j worse never j to succeed. ”

>MESSAGE TO CONGRESS. J

“...every difference o f opinion is not a difference o f principle...We are all Republicans, we are all Federalists. ”

Anti-Slavery

FROM JEFFERSON'S INAUGURAL ADDRESS.

Pro g ressive M o v em en t

1765 Stamp Tax parts" US military ^Continental Congres

convention claims "all men and women

agricultural productio

K now -N o thing s almost 700.000 slaves and 60,000 "free negroes " Largest city (Philadelphia) 42.000.

First mechanized

“Let us...hind the Republic together with a perfect system o f roads and canals. ”

“JVo great improvements in the lot of

national industrial

Free-S oilers

productivity 50-fold

D em o cra tic Party

n adopted

W om en's S u ffrage

m ankind are possible until a great change takes place in the fundam ental constitution o f our modes o f thought. ”

FROM JOHN C. CALHOUN. 181

US Patent Office

R ep ublican Party

Indian Removal Act

Department of

Homestead Act

Department of Justic

Treasury Department

R econstruction Le g isla tio n prises

Dept, of the Navy

Anti

Bill of Rights ratified

La bo r Law s Te rrito ria l E xpansion

4rce

1 77 6 Governm ent Invented D eclaration o f Independence/ U.S. Con stitutio n

1801 Jefferson Size o f cou n try expansion

1829 Jacksonian Era

“Every few hundred years in Western history there occurs a sharp transformation... a “divide. ” W ithin a few short decades, society rearranges itself... its center o f gravity... is different from the one that dominated the last two hundred and fifty years... ”

P ro te ctive Tariffs

1861 Civil War R econstruction

11880 Productivity Revolution - Knowledge applied to w

f-CAPITALIST SOCIETY

s 100 million-fold

C O M M U N

CATION

ARTS

105

ice that define their course and their character for years to come. We celebrate the chapters of American history in which we chose boldly ase, the Containment of Communism, the embrace of the Civil Rights Movement. Now we have arrived again at such a moment. ” PRESIDENT CLINTON. 1993

5

T

R

I

A

L

Tensions between Labor and Industry

Rite of Hitler 1939-1945 Penicillin discovered Bolshevik Revolution Cuban Missile Crisis

1901 Teddy Roosevelt elected president and becomes an active reformer and “trustbuster”

tovered th e m o st te rrib le b o m b in th e h isto ry o f m a y be th e f i r e d estru ctio n p ro p h esied in th e \Uey E r a , a fte r N o a h a n d b is fa b u lo u s A r k . .. ”

1932 Election of FDR within first 100 days in office starts New Deal programs

HARRY TRUMAN DIARY ENTRY.

“Let the word go forth from this time and place, to friend and foe alike , that the torch has been passed to a new generation o f Americans ...”

“This generation o f Americans has a rendezvous with destiny. ” FDR ACCEPTANCE SPEECH. RENOMINATION FOR PRESIDENCY. 1936

( INAUGURAL ADDRESS. 1961

U rban R eform

“/ ha ve a d rea m th a t one daj th is n a tio n w ill rise up and liv e o u t th e tr u e m e a n in g q its creed: 'W e b o ld these t n to be s elf-evid en t; th a t a ll n a re created equal. "

Socialists and Com munists " In th is n a tio n ... I see m illio n s d e n ie d ed u c a tio n , recrea tio n , a n d th e o p p o r tu n ity to b e tte r tb e ir lo t a n d th e lo t o f tb e ir c h ild ren ... I see o n e -th ir d o f a n a tio n ill-b o u sed , ill-cla d , ill-n o u r is h e d . ”

Labor & Union Movements

Civii Ri

Stock market crash

nation's wealth is owned by 1%of the population Andrew Carnegie, the

MARTIN LUTHER KING.

R. SECOND INAUGURAL ADDRESS. 1937

Great Train Robbery

Fifty million cars hi been sold to date,

Americans live ir cities

McCarthy investigates

publishes The Gospel

First nuclear reactor built by US Atomic Energy Commission First regular Americi television broadcast

M cC a rth yism from 1950 ti consumer d«

levittown built at rate of 4 houses

The Pill* becomes

iohn L. Lewis founds Television demonstrated a World's Fair

Jackie Robinson breaks baseball s “color barrier*

ement

almost 1,000.000 si

" T h e c e n tra l p ro b lem o f o u r a g e bos hem c o n ta m in a tio n o f m a n 's to ta l envirom m substances o f incredible p o te n tia l fo r bar

RACHEL CARSON. SILENT SPI

B anking & O th er R eform s

Great Society Legislation

is erv a tio n Law s

1933 New Deal

1901 Progressive Era

196 1 New Frontier/Great Society

"... th e th irty -y e a r cycle accounts both f o r th e eras o f p u b lic p urpose - T R in 1 901, F D R in 1 933 , J F K in 1961 - a n d also fo r th e b ig b tides o f conservative restoration - th e 1920s, th e 1 9 30's, th e 1980's.

ARTHUR SCHLESINGER JR.. 191

11946-7 Managem ent Revolution - Knowledge applied to knowledge itself

The Vacuum Tube

J

First commercial radio station established: by 1923 there are

FOR begins “Fireside

ENIAC weighing 30 tons, and with 18.001 vacuum tubes.the al purpose computer.

Performs 400 calcula-

106

M A R C H / A P R I L

19 9 5

90% of American households have T\ and by 1989 99%.

There a TV's in u

The transistor launch­ es a revolution in electronics

piece of semiconductor

N

F

O

R

M

A

Regional Markets

T

I

O

Growth of Cities

N

E

Industrialization

R

A

Tensions between Labor and Industry

Collective Action

"Melting Pot"

c.1990 World Health Organization predicts 25-30 million cases of AIDS by end of century

Heatth security for all Reward work over Welfare Promote Democracy Abroad Reclaim our Streets Renew our own American Community

“We are determined to move from an industrial age government to information age government, from a government pre-occupied with sustaining itself to a government clearly focused on serving the people. ”

Peace Movement Jackson's R ain b o w C o a litio n

"The C ounter-C ulture"

g h ts 1967-1971 Anti-war rallies and student demonstraChicago Convention besieged by demon-

A majority of married women worked outside of the home

while the bottom

of American adults (some 60 million) arc effectively illiti The U.S. ranks 4

" T h e d a w n o f th is n ew civ iliza tio n is the sin g le m o st explosive fa c t o f o u r lifetim es. ”

nated, leads to politi-

able weawTatal*51

Sexual R ev o lu tio n

ALVIN TOFFLER, THE THIRD WAVE, 1980 Woodstock concert

PAC's

1990s

0%of GNP in 1850, to 7%in 1971, to 14% in 1992. At that

increased by 180%-giving the U.S. the highest rate of incarceration among developed countries

Number of Federal the factory worke working for the s. company — up fr

“Only transformation of the American style of management, and of govern­ mental relations with industry, can... give A merican industry a chance

unchanged for past

successfully grown on microchips the first step towards ' biochips'

IBM offers its first PC

G ra y Panthers

1982 Breakup of Ma Bell

e splicing' u "biotecn” e

tn t w ith...

P ro-C hoice M o v e m e n ts 1992 Perot's U nited We Stand

MARGARET MEADE

RING, 1962

“Im a g in e this: Businesses b u ilt on sa n d a n d g lass a n d w aves... c o m m u n ica tio n s p o w er a s a vailable as th e a ir a n d a s fa s t lig h t."

billion worth of illegal

“T h ro u g h th e fa m il y w e h a ve a co m m o n h erita g e th a t s u rv ive s a n d transcends a ll th e d ifferenc es th a t d iv id e m en ...

T h e ta sk o f each fa m il y is also th e ta sk o f a ll h u m a n ity .

T h is is to cherish th e liv in g , r e m e m b e r those w ho have g o n e before us, a n d p repare f o r those w ho a r e n o t y e t horn. ”

Department of Energy

Federal regulation of airlines loosened

Energy Legislatio

1986 National debt si

Veterans Affairs

Chrysler bailout Civil Service Reform

"N ew -F ed eralism "

S | ,A‘t,M")kal Brady Bill

Dept, of Education

ERA passes Senate

R eg u la tio n and D e re g u la tio n o f Industry B ud ge t and Trade

C o n su m e r P ro te ctio n E n viro n m en ta l L e g isla tio n A n ti-N u cle a r

Social Le g isla tio n

'Y 'oung m e n a n d w o m en w hose ideals w ere fo r m e d by T R a n d W ilson — F r a n k lin a n d E lea n o r R oosevelt, H a rr y T r u m a n — p r o ­ duced th e N e w a n d F a ir D eals in th e ir o w n m a tu r ity . T h e g e n e ra tio n w hose ideals w ere fo r m e d by F D R — J o h n K en n e d y a n d L y n d o n J o h n s o n — p ro duced in th e ir m a tu r ity th e N e w F ro n tie r a n d th e G re a t Society. In th e sa m e w a y th e age o f K en n e d y to u c h ed a n d in sp ired a n ew gen e ra tio n . T h a t g en e ra tio n 's tim e is y e t to com e. ” SCHLESINGER, THE POLITICAL CYCLE. 1986

I i9 9 2

Post-capitalist Society

“W e a re cu rren tly liv in g th ro u g h such a tra n s fo r m a tio n .” PETER DRUCKER, POST-CAPITALIST SOCIETY, 1993

the speed of computa phone lines

ber of calculations per

Communications As Voyagers 1 and 2 planets of the solar system, they radio back billions of bytes

Computer modems

All information and communications (voice and images) can be digitally for­ matted and transmit-

C O M M U N I C A T I O N

ARTS

107

M E S S A G E

F R O M

T H E

c

A

l> R O M I S K

T h e

emerged from the rubble to rebuild their tattered societies and econom ics. W here once despair had reigned, hope was renewed. Hopc-thc courage to believe that people's lives can, and will, be better in the future-is the basis of c a r e 's promise to support the world's poor in finding lasting solutions to their problems. As we revisit our successes of the past 50 years in this Annual Report, however, we must remember that those suc­ cesses will have been for naught unless we use them as a fbundafbr future progress. Progrcss-in places like Palestine, where E opened an office this year and where a tenuous peace brings the greatest promise of growth and development in many decades. In Haiti, where the restoration of democratic government has awakened aspirations for the end o f suffering and the opening o f new opportunities. And in Rwanda, where c a r e is com m itted to the arduous but necessary process of rebuilding a country and a society torn asunder by ethnic and political strife. c a r e 's continued progress is reflected in our achievements o f 1994-. Generous contribu­ tions from our diverse donors-individuals. foundations, corporations, governments and other agcncics-cnablcd us to reach more than 17 million people with some $367 mil­ lion in goods and services. Making this possistaff of 9 ,000 . most of whom are citizens of the countries in which we work. They deliver a “ c a r e Package" that encompasses programs in disaster relief, small business, primary health carc, nutrition, agriculture, natural resource management and family planning. When appropriate, they also deliver actual c a r e Packagcs-this year, for example, in the form of school supplies to Bosnia and seeds and tools to Rwanda. All these programs are built on jo years of experience that began with a promise: That through c a r e , Americans could make the world a better place. W ith the continued support of the American people, that promise-renewed now as c a r e begins its second half-ccntury-can be fulfilled once again.

On a sunny afternoon in May 1946, not far from the Normandy beaches, a small crowd gathered near the docks of Lc Havre, a French city still in ruins from the war. An American relief work­ er named Lincoln Clark looked over a list and called out a name in broken French. A local resistance hero named Marcel Fernez stepped forward, presented a piece o f paper and signed a receipt. The two men shook hands and smiled. And then, as his friends and neighbors cheered. Fernez hefted to his shoulder a plain brown box.of food, the gift of an American he had met. That first c a r e Package was the beginning of a grand experiment, one that would revolutionize the wavs in which Americans demonstrated their compassion for others. It an experiment that would show the world that individuals can make a difference in the lives of people far away. That compassion . docs reach beyond bordcrs-bc they politi- 1 cal. religious, ethnic or cultural. And that concern for people who arc less fortunate can be translated into effective action. Over the next year, c a r e will celebrate its 50 th Anniversary, taking the opportunity to reflect on an experiment that not only worked, but that has since grown into an American institu­ tion. The results of that experiment arc a testa­ ment to what is best about our country and its citizens: Compassion, optimism, and a willingi ideas into action. Across five decades. ) 5-million American; have supported c a r e , enrrusting to us rhcir hopes for a bet­ ter world. W ith additional support from governments and other organizations, we have turned these hopes into $7 billion in programs reaching more than one billion people in 1 2 1 countries. It all began in the wakeofW orld War 11 with the c a r e Package, some 100 million of which found their way into the hands of needy people-first in Europe, and later in Asia.

One by one, community by community, Americans made their contribution to what would later be regarded as a miraculous post-war recovery. Slowly, countries that hud been left in ruins

IVtcr D . Bell C hairm an

C H A I R M A N

P R E S I D E N T

Th Jh J

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F. W E D

L i b r a r y , h o l d 1 , 1 6 9 b o x e s o f d o c u m e n t s a n d r e c o r d s . It is o n e - v e r ­

s io n o f th e h is t o r y o f c a r r .

T h e r e is a n o t h e r . T h i s v e r s i o n e x is t s in

th e h e a rts a n d m in d s a n d v iv id m e m o r ie s o f th e o n e b illio n p e o p le

o u r w o r k h a s t o u c h e d o v e r f i v e d e c a d e s . T h i s y e a r ’s A n n u a l R e p o r t

c e le b r a t e s o u r 5 0 t h A n n i v e r s a r y b y b r i n g i n g y o u t h e ir s t o r ie s , in

t h e ir v o ic e s. I n

th e p a st ye a r w e h a v e sp o k e n w ith h u n d r e d s o f th e

f ir s t p e o p le t o r e c e iv e c a r k

P a c k a g e s a fte r W o r ld

W a r 11. M o st

w e r e c h il d r e n a t t h e t im e , r a is e d o n a ir r a id s , r a t i o n i n g , c o n c e n t r a ­

t io n c a m p s a n d t h e b a t t le f ie ld d e a t h s o f f a t h e r s a n d b r o t h e r s . T h e y

|

a re F r e n c h a n d G e r m a n s , C z e c h s a n d P o le s , K o r e a n s a n d J a p a n e se ,

C h r is t ia n s a n d J e w s. Y e t t h e ir m e m o r ie s o f c a r e

c o m m o n

a re lin k e d b y a

th re a d : A ll w e re in c r e d u lo u s th a t s o m e o n e t h e y h a d

n e v e r m e t w a s s e n d in g th e m

a g ift . A f t e r s ix y e a r s o f w a r, c o m p a s ­

s i o n w a s a s h o c k . It h a s le ft its m a r k .

T o d a y , m a n y r e c ip ie n t s a re

a m o n g o u r m o s t lo y a l d o n o r s . T h e y g iv e b e c a u se t h e y k n o w w h a t

,

P hilip Joh it is t o h e h u n g r y , h o m e l e s s , a r e f u g e e . T h e y g i v e t o r e p a y a n

in c a lc u la b le d e b t to a stra n g e r. T h e y g iv e t o r e n e w a p r o m is e .

I was in French captivity from 1945 to 19 47 . All o f a sudden these c a r e Packages arrived and the first reaction o f everybody, every­

Gavu Ja c k

body in the camp was:‘What s the snag?’There was a long discus­ sion in the camp. And after three days, someone got up and said, ‘I think I have the answer: These Americans are just different. They want to help those in need.’And we were stunned. j T h e y g a v e y o u ju s t s o m e o f t h e b a s ic s f r o m

t im e t o t im e , a n d p e o p le h a d t o s o r t

o f fe n d fo r t h e m se lv e s in th e c a m p . y b e p a rt a b o u t c a r e

is t h a t I t h i n k it w a s a

t a n g ib le r e m in d e r o f

A bove:

John B aku- •..‘i'th p a r e n t- 1947*

h o p e , a t a n g ib le r e m in d e r

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g f e r '- e .

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th a t th e re c o u ld b e b e t-

Packages materially kept the health o f the children o f this orphan­ age and encouraged them in their austere way o f life. We shall never forget the kindness you have shown us through the Packages.

l i v n t rl/

X u - f t * * * '* ',

AtJ* Mt>*' Kin Li c/n, o»u>

j

1995

L e t t : d i t h p a t i e n t* to d a y .

; t e r d a y s a h e a d . ;The c a r e Packages o f basic food you have sent to Korea have been received by this orphanage with gratitude. Those

j |

T* -

M A Y / J U N E

J

V ia

um M W A ik f f s w d s i u rv d .

1

\boseQsmtev Klaus 1‘uttrr. Germansoldier. Prisoner-of-war ReceivedCA M Packages 1946-47. France. RetiredvicepresidentofCoca-Cola International. n * J c a r * donor John Bakus Expelledwithfamily tromRomania. Receiveda m Package* 1948 inrefugeeounp, Greece. GreekOrthodox prior. Children's hospital foundation president c a r e donor Lee Man Chung. Orphanage superintendent. Receivedc a r e Packages 1957. Korea. Ar Left: A* topphoto shows, c a r e Packages includedeverythingIrommargarineandHour tocoffeeandbacon, later, donorscouldseodspecial Packages - pastafor Italians, kosher J foodforJew. andtealot theBritish, amongothers. But thebigfavoriteamongchildren, liketheAustrianboy inthephoto, waschocolate.

j

E x h ib it W e ’r e l o o k i n g f o r n e w , o u t s t a n d i n g , h i g h - q u a l i t y ,

original work and want to show it to people world-wide, using the best reproduction techniques in the industry.

Send samples of your latest and best collateral, packaging, print ads, television commercials, direct mail, shopping bags, CD covers, books, photography and illustration to: Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, California 94306. Describe the objective and include a list of creative credits. Submit TV commercials on 3/4" videotape cassettes NTSC. Material to be returned must include a self-addressed, stamped envelope adequate to return material or your Federal Express number.

g m a n can p lan t a s e e d , but on lg N atu r c a n m a k e it g r o w .

W o u l d it i k e d ifrr e s p e c t f u 1 to b r i n g u p th e su b je ct ol fer tiliz e r?

L e ft: t h e c o o p e r a t iv e f o r A m erica n r e m itta n c e s You put a seed in the ground and it grows. management program. POPCORN SULFUR also helps to lower soil pH, increase water That, in itself, can be considered a miracle.

And for over AO years, we at Unocal have penetration and improve crop yields by freeing been proud to be part of that process. Figuring up essential plant nutrients such as phosphorus, out ways to help you make your Western farm iron and zinc. It is also easier and safer to apply as profitable as it can be. A good example of and store when compared to other sources of which, is our own POPCORN S U L F U R . _ _ ^ ^ _ s u lfu r in the same price range.

Your dealer can help you prepare a Its high surface area will provide complete sod management program, you a continuous, timed-release of our agronomists will be happy to available sulfur. One application of POPCORN SULFUR can supply sulfur nutrition assist. Just a phone call away from your dealer, for as long as three years • unlike annually our agronomists are there to make sure that no applied fertilizers containing sulfur which can crop or soil situation you might face will ever be quickly leached out of the root zone by be too big for you to handle. both irrigation and rainwater.

Because in the end. we're not out to improve And when you use it as part of a total soil on nature. Nile just want to give nature a hand.

UNOCAL®

.

1

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to Europe, Inc., or CARE, needed an annual report to mark its 50th anniversary. The budget was limited, but Atlanta-based Wages Design made the commitment to meet the budget and match it with in-kind contributions of labor. This allowed both parties to move beyond the limitations of previous books and commit more time to solving delicate design problems such as donor lists, poor quality snapshots and financial charts. The writing and design team agreed each spread would feature a person who received CARE aid after World War II and explain how CARE’s help then affected their lives now.

The design vocabulary— photographs, cardboard, seals, stamps, handwriting— alluded to the shipping cartons of C A R E ’s past. The typography, composition and color palette suggest CARE’s contemporary role as a worldwide relief agency. For the cover, a duplex was created from two 80 lb. Proterra cover sheets, donated by Hopper Papers, to achieve the box-like weight CARE wanted.

C A R E ’s president, Philip Johnson, wrote to creative director Robert Wages to say the report made an invaluable contribution to CARE’s fundraising efforts.

Rory Myers, designer; M atthew De Galan, CARE, writer; Robert W ages/ Ted Fabella, creative directors; Rory Myers/Kevin Kemmerly, photo montage.

T h is page: “t h is ca m p a ig n w a s o u r f i r s t a s s ig n m e n t

W lie n in t o

you

w o rk

th e

e v e r y t h in g .

la n d , th e E ve n

y o u r

d ir t

g e ts

k lo o d .

There's nothing like the satisfaction that available and is ideal for use on winter comes with the harvest of a successful crop, vegetables such as lettuce and cole crops.

All the hours of labor now lie behind you.

DI-AN also dissolves calcium found in and still you find yourself looking forward Western soils for better plant nutrition. This to the work that is yet to come. solubie calcium will help improve soil That's what happens when you love what aggregation, reduce soil sealing and improve you do. It's also what happens al^ | ^ ^ ^ ^ w a t e r penetration.

Unocal, where for over AO Your dealer can tell you more years we've been working hard about Dl-AN, and how to best figuring out ways to make your use it. And our agronomists win be farm more productive and more profitable, glad to assist. They're just a phone call away Take, for example, our acid-based nitrogen from your dealer, ready to help in just about fertilizer. Dl-AN. It has the highest nitrate any way they possibly can. nitrogen content of any liquid fertilizer.

Why would a fertilizer company do all this?

Nitrate nitrogen which is immediately Because our passion, like yours, runs deep.

y m ivw

r u

for Unocal Agriproducts,” said art director Joe Cladis.

“In the past they had been known for their fertilizers only, but we wanted the growers to know that Unocal under­ stands the challenges they face and can help in a lot of ways. When we put together the comps to show the client, 1 pulled pictures from many sources, a lot of them from photo annuals, and after they bought it, I thought to myself, of course they liked it, every image is an award-winner.

Then the pressure was on to find stock photos that measured up to the ones in the comps. I went through 1,000 photos to find the 13 I ended up using. The campaign has been running in agriculture publications up and down the West Coast. Unocal liked it so much they asked us to put together a dealer mailing consisting of the ad reprints and an in-store poster.”

Kirt Gentry, writer; W ade Koniakowsky, creative director; stock photography; dGW B Advertising (Irvine, California), ad agency.

c o m m u n i c a t i o n

a r t s

109

L eft: te le v is io n c o m m e r cia l fo r f ila u sa

created by New York-based FCB/Leber Katz Partners, art director Sam Gulisano and writer Robby Austin. Charlex, the digital production company, used The Flame and Softimage software to create a male praying mantis and equip him with Fila sneakers. “We wanted the viewer to think he’d stumbled on the Nature Channel with George Page.

Slowly we draw him into the storyline then wham!

The surprise ending. The response has been phe­ nomenal,” Sam said. “In 25 years, I’ve never done as many interviews for a commercial.”

"M a n tis" :30 SFX: M usic under.

(Open on a praying mantis. Camera pulls back to show a second mantis) George Page (VO): The most interesting moment in the course of the praying mantis mating ritual...occurs at the point in the proceedings when she, the fem ale mantis, surprises the male and...bites his head off.

(Cut to the fem ale making her move. The male rears back in terror) George Page (VO): Unless of course, he's quick enough to get away.

(The male races out of danger clad in the Fila M an tis shoes) Coyne M alone/Randy Cohen, agency producers; Alex W eil, director; Steve Chiarello, producer; Greg Oyen, Flame artist; John Zawisha, editor; Chinmi Kim, Paintbox Design; M arc G oldfine/Craig Tozzi, digital effects artists; Ken Rudnick, live action producer; Henry Frenzel, executive producer; Cosimo, tabletop director; Robert Appelblatt, research and mantis wrangler; Sicarella, music.

R ig h t: o n e fr o m a s e r ie s o f t v c o m m e r c ia ls

for the Massachusetts Department of Public Health.

“The day before the shoot, Mrs. Sackman told us she needed it done in the morning because she had an afternoon appointment at a beauty salon,” said art director Dave Gardiner. “We asked if we could shoot there because it struck us as a very poignant setting. We also considered the use of subtitles, but once we met her, there was no question; she deserves to be presented as she is.

Her sincerity makes her message very powerful.”

"Janet Sackman" :30 (Open on a beautiful young woman. Cut to the older woman she has become) Jan et (VO): (Very labored, raspy voice from laryngectomy) You may get cancer, but I doubt if you'll get the truth from cigarette companies. They keep saying you can't get hooked on cigarettes. Even though many smokers who lose their vocal cords can't quit. I'm Janet Sackman. I was a model in cigarette ads.

(Cut to show photographs of Jan et as a glamorous model) Jan et (VO): And I convinced many young people to smoke.

(Cut back to close-up of Janet's face as she speaks) Janet: I hope I can convince you not to.

Ken Lew is/Stu Cooperrider, writers; Pete Favat/Rich Herstek, creative directors; Harry McCoy, agency producer; Palomar/Picture Park, production company; N eil Abramson, director; John Bick, producer; Houston Effler Herstek Favat (Boston), ad agency.

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E x h ib it

“ T h e t o u r d e F r a n c e i s t h e w o r l d ’s

largest annual sporting event and as such is covered thoroughly by over 300 photographers,” said San Anselmo, California-based illustrator Robert Hunt.

“I was working on an editorial project for Bicycling magazine and suggested to art director Ken Palumbo that to docu­ ment the 1994 Tour with illustration would be a unique approach, different from the traditional race photography used by other publications. What began as a project to provide race reportage evolved into a feature article and pre­ view of the 1995 Tour. After four months of organization and planning, assistant Charles Anderson and I followed the entire race by car. My approach evolved as the race unfolded. The project con­ sists of 22 paintings, one for each stage of the race. A selection of the paintings: Calais: Team time trial; American Lance Armstrong, suffering in the individual time trial; Bergerac: Indurain’s debut; Perigueux: the final winner Miguel Indurain, individual time trial; the first day saw the worst crash in Tour history.

Here, in Aniche, the final bonus sprint before the crash, contested by three of the top sprinters (Jalabert, Nelisen, Abdujaparov); 35 miles later, only Abdujaparov is left, the other two are hospitalized with serious injuries.”

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E x h ib it T h is page: p o s t e r fr o m t h e la u n c h o f a n e w p r o d u c t

called Red Dog Beer being advertised in both Canada and the United States. According to art director Michael McLaughlin, “The product is aimed at those who want to be seen as individualists and aren’t interested in following the ‘old’ crowd. It isn’t limited to any one type or age of drinker but a new generation of drinkers who are their own dogs.”

Larry Tolpin/M ichael M cLaughlin/Stephen Creet, creative directors; Stephen Creet, writer; Peter Leverman, photographer; BBDO Canada, ad agency; M olson Breweries, client.

P a c k a g i n g f o r c o m p t o n ’s i n t e r a c t i v e e n c y c l o p e d i a

CD-ROM. “We wanted to design a packaging system that would build on the existing identity and recognition for this established interactive encyclopedia, yet announce the significant improvements included in the new 1995 edition,” said creative director Ron Miriello of San Diego-based Miriello Grafico, Inc. “The design had to work easily on a wide and diverse list of applications, from posters to broad­ cast. Key retailers were consulted at the preliminary design phase and questioned on the design appropriateness and shelf appeal. It was also important to know that adults buy this product for their children so the design had to speak well to both groups.”

Dean Am stutz/M ichelle Aranda, designers; Lee Pritchard, writer; Dean Amstutz, illustrator.

R i g h t : “ i n 1991 w e w e r e a p p r o a c h e d b y h a l l m a r k

to assist in the development of a creative and motivational program for their internal creative departm ents,” said creative director/writer Mark Sackett of San Francisco-based Sackett Design Associates. “Concepts originally developed during the project led us to the conclusion that many of the problems creative individuals experience are universal. How do we get ideas? How do we stay inspired? What motivates us? What starts and keeps those creative juices flowing? In the fall of 1992, M ervyn’s heard about the Hallmark program. They asked if we would produce a similar concept for their creative staff. What resulted is ‘B rainfood,’ a portion of which is illustrated here. The program began with a two-day kickoff event held at a historic mansion just outside San Francisco with a half-day interactive perfor­ mance, including the African dancers shown. Jars, containing hundreds of items, were handed out at the end of day two to help remind the participants of a time in their lives when newness, exploration and discovery were everyday occurances. The core of the program was the 'Brainfood’ notebook that each participant received during the kickoff' event. Since 1988, we have conducted shopping trips for our out-of-state clients who come to the Bay Area and we refined these trips for 'Brainfood.’ We focused on small interesting boutique stores and retail concepts, murals, galleries and restaurants and we looked at how unique ideas were used in stores operating on small budgets or with limited space.”

Mark Sackett/W ayne Sakam oto/Jam es Sakam oto/M irjam Patscheider/Tamar Kondy/Chandra Crissman, art directors/designers.

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YEAH OF THE DOG. Thou sa nd s oi years ago, the Chin said ni ne t e e n n i n e t y - i o u r wo u l d he the ye a r oi the Dog. Good call.

C O M M U N I C A T I O N

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113

F o r d ’s w o r k

w ith

LIG H TW EIG H T M A T E R IA L

IS

BREAKING

new GROUND. Here going to m ake waves. Because in the partnership far the defense o f the America's Cup, ford Motor Company, Cray Research, Boeing P A Q T 25

and SAIC are helping design a sailboat so light

“ c . T.i....

its g r o u n d in th e r o u g h est o j seas. The

it practically defies gravity. W hile standing

secret is hidden in an intricate web o f carbon fiber a com posite m aterial with incredible properties. Nearly h a lf the weight o f steel a nd twice as strong. Molded, not pieced together. A m a /m g qualities th a t m ay someday enhance the quality o f our cars and trucks.

Stretching the gallon a nd giving y o u a quieter ride. W hich m eans our venture on the high seas could have an awesome effect on America's highways. A n d help lead Young Am erica to victory.

F o rd

m o to r

D E S IG N

IS H E L P I N G THE

M O ST

co m p a n y

FUEL

E F F IC IE N T

OFF-ROAD V E H I C L E EVER. Because in the partnership for the defense o f the America's Cup. fo rd Motor Companv. Cray Research. Boeing, a nd SAIC are helping design a sailboat tha t mores so fast yew m ight th in k n was flying. A nd w hat w ill m oke it possible It C om putational H u iJ l h n am e s < fancy nam e for m illions of

h ull design that w ill leave the com petition in liq uid Just. And since boats move through water the same way cars move through air, o ut work w ith PACT 95 w ill help us design more aerodvnam ic, fue l efficient cars. W hich means this o ff road vehicle w ill help us shape our vehicles on the road. A nd that come M ac I99S, we're going io drive a nav with a lot more Ih an a trophy.

114

Q jJ A L 1T Y

IS

JO B

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1

E x h ib it

L e f t : t w o m a g a z i n e a d s , a p p e a r i n g in

boating and yachting magazines, by New Yorkbased Wells Rich Greene BDDR Ford Motor Company, along with Cray Research, Boeing and others, is a major supporter of Partnership of America’s Cup Technology, PACT ’95— which is vying for the America’s Cup— and it is apply­ ing advancements in new materials and design technologies to this effort. The company hopes it can apply what is learned to the future design of automobiles and trucks. e / 1, .glass o r two of w ine each day is said by m any doctors to be an effective w ay of reducing h eart disease. U nfortunately, the

p rice you’ve had to p ay for fine w ine has often coun teracted its m edicinal effects.

But not anym ore.

You see. at Stafford's, we buy our w ines as close to the original source as possible: often directly from the winery.

We buy in quantity, nego tiatin g the best price available. A nd those savings are passed directly on to you. the buyer.

We c arry the best w ines, at the best value, you w ill find, including labels exclusive to O range County. We don’t just buy the best nam es: we buy the best w ines.

And w e don’t skim p on quality. We carry only prem ium wines, from C alifornia and around the w orld.

So w hile we c an't g u arantee a glass of w ine a day keeping the doctor away, we can say th at buying w ine from Stafford's w ill n e ith e r b e a shock to you r bank account no r to y our digestive system.

Patrick Sean Flaherty/M ark Fennimore/Elizabeth Sillen, art directors; Rob M o ss/M ich ae l Mark, writers; M ichael M ark/ Patrick Sean Flaherty, creative directors; Tom Christopher/ Chris Gall, illustrators.

T h is page: o n e fr o m a s e r ie s o f p o s t e r s

fo r Stafford’s Fine Wines. “We’re always look­ ing for work that will improve our portfolios; and we love spending time at wine stores,” said writer Jill Brubaker in Garden Grove, California.

“Working with Stafford’s satisfied all our require­ ments. The thinking behind the solution was to find a way to advertise a discount wine store without making it sound like the wines were inferior in quality. We thought taking a highbrow approach, combined with a sense of humor, would appeal to the kind of customers Stafford’s is looking for.”

Heavenly Wines at

Down to Earth Prices.

17801 M a in S tre e t, I r v in e (714) 4 7 4 -4 4 1 6

Vincent Picardi/Gerry Gomez, art directors; Vincent Picardi, creative director/illustrator.

“W e w e r e a p p r o a c h ed by fin e a r t is t r o d

Prouse to create a mini-catalog for his w ork,” said Greg Herriott, principal of the design firm Constructive Communications in Mississauga, Canada. “It also had to work as a promotional piece for a show of Rod’s work at the MacLaren Art Centre. The small budget actually became a benefit in the design. Rod’s contemporary woodcut impressions within this catalog allowed a two-color printing palette to work very well.

And the use of recycled file folder paper was a good idea.” Another detail was the wraparound band. Printed on the same dull coated paper as the inside, the ribbon-like wrap actually served as the announcement for the show: its location, time and date. This allowed the catalog, without the wrap, to be used after the show.

Tracey W att, art director/designer; W illiam Moore, director/ curator, MacLaren Art Centre, writer.

c o m m u n i c a t i o n

a r t s

115

They're pawed a ll d a y by who knows how m any retailers, a ll looking (or the cream o f the crop.

A n d loo often , w h at's le ft fo r you is the bottom o f the b a rr e l.

b est-looking

s ele ctio n s

cam e

d ir e c t ly

to y ou ,

week

a fte r

Bu t w hat i f the freshest,

w eek, u n to u ch e d

by

an y o n e

except the g ro w e rs? That's the a d v a n ta g e o f ou r F lo w e r T ra d in g C o rp o ra tio n M a r k e t in g

Partner program. Everything you order is grown exclusively for you.

I

'-iS S g t.

I Tu c h a n y I

C o I d l r c n d s I

That means less lime has passed between farm and florist. So your order will /aS{ longer, with less shrinkage. Your customers will notice the difference. Cet in

touch with your local Flower Trading Corporation Wholesale Marketing Partner today at (800) 777-8866

A n d learn why untouchable quality means unbeatable profits.

Flower TVading Corporation

It is a scientific fact that the human body cannot survive more than seventy-two hours

%

without water.

However, for some of us, anything more than 20 minutes is pushing it.

SCUBAPRO DeepDown, YfauUfcnt The Best.

116

M A Y / J U N E

1995

E x h ib it

L eft: tr a d e ad fo r f lo w e r tr a d in g c o r p o r a tio n

by Miami-based advertising agency Beber/Silverstein & Partners. “The client needed to identify the reason why their branded flowers (a type of distribution that goes directly to florists) are superior to the flowers hand-picked at the wholesaler,” said art director James Hale. “We finally arrived at the ‘Untouchable Quality’ strategy and knew we wanted a subtle, low-key fingerprint illustration. We kept talking to illustrators and no one had a clue. Finally our resident Photoshop god, Stuart Bailey, did no less than twenty versions before we decided on mixing a bad stock stem shot with the thumbprints of the assistant art director, Will Arthur, who had the biggest hands.”

Steve Horowitz, writer; Jo e Perz, creative director; Steve Kupinsky/ Lenny W olf, photographers.

I n te r io r s p r e a d fr o m a fo u r -p a g e p r e p r in te d m a g a z in e

insert for Scubapro by Grey Sunder Prescher in Cedarburg, Wisconsin. “Our client makes snorkeling and scuba diving equipment and the campaign was created in response to the advertising being done in the category,” said Blaine C.G. Huber, creative director, art director and writer.

“We decided to avoid the technology race and feature the experience, not the hardware. That is, after all, why people dive.”

Bob Talbot, photographer; Scubapro/Johnson W orldw ide Associates, client.

T h i s p a g e : m a g a z i n e a d b y a c m e a d v e r t i s i n g in

Newport Beach, California. Creative director Sakol Mongkolkasetarin said, “Richard Damion, chairman of Pacific Snax Corp., wanted to launch his new brand line: Pacific Lites Potato Snax, a healthy, low-fat alternative.

Jim and I had to create a unique, distinctive brand identity to set it apart from other existing brands. We explored countless ideas and headlines. As a graphic designer, I’ve always admired the type exploration of David Carson. As an art director, nothing is more important than the concept.

The outcome was not only surprising, but distinctive.”

Jim Real, writer; Peter Samuels, photographer; Pacific Snax Corp., client.

V i r t u a l i . o ’s i - g l a s s e s a r e p e r s o n a l d i s p l a y s y s t e m s

which enhance computer gaming, movie watching and busi­ ness computer applications. “Virtual I.O ’s came to us midpoint in the development of their product,” said writer Paul Matthaeus. “Neither a prototype nor a dummy prop were available for photography— just a couple of CAD generated images. But as it turned out, the lack of a photo-ready product was more of an advantage than a disadvantage. Blue Man poster was the result.”

V I R T U

A L

1 - 0

j - g l a s s e s !

Paul M atth aeus/W illiam Hyde, art directors; W illiam Hyde, digital image manipulation; W illiam Hawkes, photographer; M atthaeus»Halverson (Bellevue, Washington), ad agency.

C O M M U N I C A T I O N

ARTS

117

the C am p S h a n k s headquarters. Sum m er 1 9 4 4 or 1 9 4 5

E x h ib it

Photographer unknown Regardless of whether they were volun­ teers. employees, or visitors to the camp, civilians needed to learn a new set of rules.

Areas open to civilians were strictly defined, and civilians working at Cam p Sh a n ks soon learned to follow military procedure.

Col. Kenna G. Eastham. commanding officer, points out office equipment to civil­ ian clerical employees on January 4 .1 9 4 3 .

T

h i s

p a g e :

t h e

e x h i b i t i o n

“ l a s t

s t o p

u s a

,

c a m p

s h a n k s

1942-1946” at the Camp Shanks Museum in Orangetown, New York, explores the vital role played by stateside military bases during World War II. Over 1.3 million men and women spent their last night on United States soil at Camp Shanks, a hastily constructed U.S. Army camp built in a rural farm community on the west shore of the Hudson River, about twenty miles north of New York City. As part of the New York Port of Embarkation, Camp Shanks provided a final checkpoint for troops headed to the European theater of war. The June 5, 1994 opening of the Museum ensures that Camp Shanks’s role in the preparation of thousands of U.S. troops for the invasion of Normandy 50 years ago will be remembered. A centrally located barrack provides the focus for the exhibition. Artifacts and photographs are on loan from the Historical Society of Rockland, New York.

Jam es Sauter/Len Soccolich, exhibition designers; Jacquetta M. Haley, curator; Trisha Perrito, registrar; Brian Benedict, m ilitary consultant; Richard Rew Studio, exhibition fabrication; All Photographic Services, photography; Design First (Teaneck, New Jersey),

Civilian Lic e n se Plate and Identification B a d g e of C h a rle s M . Fales, C a m p S h a n k s.

O rangeburg. NY.

Ration t o k e n s an d c o u p o n s w ere colorcoded: red ration t o k e n s for fresh m eat and butter, blue t o k e n s for c ann e d go o d s.

Scott Webber Collection HSRC 1994.1.2: 1994.1.3 Tob acco ration card. Capt. Bernard Kelly.

C a m p S h a n k s . Orangeburg, NY.

Scolt Webber Collection HSRC 1994.1.24

© 1995

Bob V e r g a r a

design firm; New York Vets & The Historical Society of Rockland County, client

118

M A Y / J U N E

1995

H

e r e ’s

m ore o f w h a t y o u v e c o m

e

t o

e x p e c t fr o m

Repap.

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Te ch n ica l P ro d uction Notes The graphics used in producing this insert were created at Design Core of Redding, CT on a Silicon Graphics 4D35 TG work station using the following software: Alias Studio to create 3D objects, Alias Eclipse to edit, paint and compose photographic images and Xaos Tools Pandemonium for rendering special effects. Prepress production was performed at GIST Inc. of New Haven, CT, using Silicon Graphics and Macintosh workstations and Optronics im agesetting equipment. This insert was printed in four color process using 175 line screen on a six color Heidelberg Speedmaster. Gloss and dull varnishes have been applied off-line to enhance visual dimension.

Electronic wire frames were modeled to create both the flower and the butterfly images. These 3D skeletons were given an outer skin with intricate details and placed into the retouched image of marsh grass.

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8 /9 4 /7 5 0

Technology

P lu n k e tt + K u h r N e w s

f r o m BY

SA M

t h e

F u t u r e

M c M I L L A N

o u r y e a r s a g o , t h e d e s ig n te a m o f P lunkett + Kuhr, w ho are largely resp on sib le for the m eteo ric lau nch o f Wired m a g a zin e, w ere ready to throw aw ay their careers. A g ain . Ten years p reviou sly, they sim p ly stopped serving as hired guns for other design ers and took o ff on an op en-en ded sabbatical to Europe. “We just decid ed w e w ould leave.

A lot o f p eo p le co u ld n ’t understand that,” says Barbara Kuhr, h a lf o f the hu sb an d -an d -w ife d esign team . “E very­ one thought w e w ere throw ing aw ay our careers,” adds 43-year-old John Plunkett. “O nly kids do th is,” they said.

“W e d ecid ed w e w ou ld take our retirem ent in sta g es.”

C hucking a career on the fast track o f the N ew York design w orld m ay have been the sm artest thing they ever did.

Today, Plunkett + Kuhr ju g g le w ork on such high-profile accoun ts as exh ib ition d esig n for C arnegie H all, graphic design for the Sundance F ilm F estival, package design for softw are publisher Z elos! and o f course, creative direction for Wired m agazine, and its Internet offspring, H otW ired.

W h ile Wired and H otW ired m ay claim the lio n ’s share o f their attention, Plunkett + Kuhr rem ain com m itted to their roles as general practitioners o f d esign .

Ten years ago, it w as another story. A fter sailin g h alfw ay around the w orld , th ey fou n d th em selv e s in P aris and en rolled in a lan gu age sch oo l. Tw o years later, w hen the N ew York firm C arbone Sm olan w as aw arded the L ouvre sig n a g e p roject th ey n eed ed A m erican d esig n ers w ith sign age exp erien ce w ho sp ok e French. “A nd w e w ere the only o n e s!” says P lunkett w ith a self-d ep recatin g laugh.

From their office in the T u illeries, they had a short w alk to the L ouvre, and a job that m any fast-track M anhattan d esign ers w ou ld kill for.

F inally in 1984, about the tim e they had run out o f m oney in Paris, another bit o f serendipity struck that w ould change their liv e s. T h ey an sw ered a cla ssified ad in the Inter­ national Herald Tribune that sought an A m erican graphic designer. It turned out the job w as to d esign a new sletter and, as Plunkett tells the story, “We looked in this w indow o f a fou rteenth century b u ild in g and there w as this guy w ork in g on the first M acin tosh w e had ever seen . A nd that w as L ou is R o sse tto .” H is partner, w h o han dled the business side o f the new sletter, w as Jane M etcalfe. W ithin ten years, the four o f them w ou ld band together to create

© 1995

Bill Z em an ek

F

S O F T W A R E QuarkXPress Fractal Design Painter Adobe Illustrator K ai’s Power Tools Adobe Dimensions Light Source Ofoto Adobe Photoshop XAOS Tools Paint Alchemy Adobe Premiere Altsys Fontographer Aldus Fetch Electric Image Animation System Alias Sketch Equilibrium Technologies DeBabelizer Knoll Software CyberMesh Photoshop plug-ins Second Glance ScanTastic PS Photoshop plug-in

H A R D W A R E Macintosh II computers Radius Precision Color Pro two-page monitors Precision color calibrators LaserWriter II printer MassMicrosystem SyQuest drive Umax UC 630 Maxcolor scanner Farallon Ethernet and LocalTalk networks Cisco Routers Global Village TelePort and PowerPort Gold modems

This page: John Plunkett and Barbara Kuhr were the designers for all projects shown.

COMMUNICATION

ARTS

123

Technology

P l u n k e t t + K u h r D e s ig n

Wired m a g a zin e, w h ich has don e for tech n o lo g y and the w orld o f com pu tin g w hat Rolling Stone did for rock’n ’roll— m erely define it, g ive it a v oice and thereby bring a lo o se con fed eration o f underground fan atics into the m ainstream . In the process, the m ainstream w ould never be the sam e.

H yperlink to 1990. The Louvre sig n a ge project is over. Plunkett + Kuhr are back in N ew York. W ith only a prototype designed by Barbara Kuhr, Wired is a gleam in L ou is R o ssetto ’s ey e. A nd John Plunkett is ready to pull up stakes again. “A fter three years o f w orking in N ew York, I w as just sick to death o f the stress and difficulty o f livin g in N ew York C ity.”

For Barbara, a w om an w ho thrives on the diam etri­ c a lly op p osed extrem es o f M anhattan’s crow d ed can yon s and the open space o f M ontana w here she grew up, the ch o ice w as ob v io u s. “It’s alw ays been m y fantasy to work in M ontana and com e and go out o f there.” Unfortunately, after flying into K alispell and trekking out to W hitefish , reality m et up w ith fantasy. S o m etim e during the lon g flight back to N ew York, the fan tasy o f a d esig n team w orking out o f W hitefish, and exp ectin g to satisfy clien ts on both coasts evaporated. The final nail in the coffin cam e w hen they discovered FedE x w ould not guar­ antee overnigh t delivery. A ccord in g to John, “A s a d esig n er you are dead w ith ou t it.” W h itefish w as just too rem ote.

S o m e dream s d ie hard, and John P lun kett n ev er stop p ed lo o k in g for a w ay out o f N ew York C ity.

On a skiing vacation, he discovered Park City, U tah, hom e to R obert R ed ford ’s Sundance F ilm F estival (later to b ecom e a Plunkett + Kuhr clien t). “A fter three days, I ca lled up Barbara and said, ‘I found M ontana w ith an econom y and an airport! L et’s m ove to U ta h .’ A nd she said ‘Y ou’re out o f your m in d .’”

M ean w h ile, arm ed w ith Barbara’s prototype and a tw en ty-p age m ission statem ent, L ou is R o ssetto and Jane M etca lfe co n tin u ed their search for fu n d in g.

It turns out that the o v ern ig h t sen sa tio n o f Wired m a g a zin e w as years in the m ak in g. Its birth w as less than au sp iciou s. W ith initial seed m on ey co m ­ ing from v ision ary N ich o la s N egrop on te, director o f M IT ’s M edia Lab, Wired w as able to bring a team to San F rancisco. T he fact that neither R ossetto nor M etca lfe had ever p u b lish ed a national m agazin e, that P lunkett + Kuhr had n ever d esig n ed one and that their printer, a com m ercial six -co lo r press called D anbury L itho o f D anbury, C on n ecticu t, had never printed o n e, d id n ’t, at the tim e, seem lik e m ajor stum bling blocks. In fact, it w as liberating. A ccording to Plunkett, “O ne o f the great advantages w as that none o f us had ever done a national m agazine. We 124

MAY/JUNE

1995

This page: Plunkett + Kuhr create new interpretive exhibits every six to nine months for the Rose Museum at Carnegie Hall. "W e treat the rear w a ll of the d isplay case as a m usical score, com posed of brass rods. Each new exhibit is 'com posed' against the score, w ith artifa cts and sign panels p hysically attached to the metal rods." The Exhibit Company, fabrication; Jam es Stew art Polshek/Cherm ayeff & Geismar, museum design.

Posters for the Sundance Film Festival, sponsored by actor Robert Redford's foundation. "W e try to focus on w h at makes this fe stiv al d iffe ren t from others— its western, mountain locale, and the emphasis on independent film m akers." M ic h a e l Schoenfeld/R obert Glenn Ketchum /Brett C olvin/Steve Fugikawa/Sandria M iller, photographers; Richard Haffar, digital imaging.

"The medium.

E x c lu s iv e :

P a g lia a n d B r a n d

B e h i n d t h e In s la w

on M cL u h a n

"The Medium.

S c a n d a l at J u s t ic e D ig it a l S e x

N e g r o p o n t e : W h a t 's W r o n g w ith H D T V

E v e r y t h i n g is

Bruce Ste rling Has Seen the Future of War Why Wired?

ingel r am aH caftyZ'.

th ou g h t, ‘W ell, g o o d , n on e o f us k n ow the ru les that c a n ’t be b ro k en .” ’ W orking out o f a scary firetrap o f an office a friend o f R o sse tto ’s let them use ren t-free, the team o f P lun kett + Kuhr, R o ssetto , M etca lfe and a handful o f in d ivid u als began creating the m agazin e in the fall o f 1992. A t the tim e, Plunkett adm its, “It w as strictly B.Y .O .C . B ring your ow n com pu ter.” B y the tim e the m agazin e w as on press, they had run out o f m oney.

Wired burst on the scen e like a supernova, thanks to a last m inu te in fu sio n o f ven tu re cap ital m on ey. F lu o rescen t d ay glo inks scream ed ‘L ook at m e !’ R eaders that cracked the co v er w ere im m ed iately con fron ted w ith a tak e-noprisoners design that announced, ‘W e’ve discovered a brave new w orld and w e ’re goin g to take you there.’ T h ose first few p a ges w ere a d iz z y in g co m b in a tio n o f typography, gra p h ics, ink and printin g tech n iq u e. T h e result o f the w elter o f in form ation w as to slo w the reader d ow n , to force the ey e to d eco d e the m eanin g o f the text.

A ccord in g to publisher R o ssetto , “W hen w e d ecid ed on the design strategy, w e said that w e w anted to m ake Wired as v isu a lly ex c itin g as the revolu tion it’s describ in g. Art at Wired has never been about finding pretty pictures or m ovin g shapes around on a page, it’s about tellin g a story.

John is on e o f the best visu al storytellers around. Wired lo o k s the w ay it d oes not ju st b ecau se w e use fluorescent ink. It also has to do w ith the fact that John is an expert on printing and prepress. H e w as instrum ental in se le c t­ ing D anbury, w h o had a reputation as a printer o f annual reports. H e negotiated a great deal w ith them too, w orked

w ith them to a ch iev e su perior prepress and co n v in c ed them to v io la te all their b est in stin cts and put dow n the am ount o f ink w e n eed ed .”

T h e o p e n in g p a g es and the eig h t-p a g e sec tio n that follow ed , ‘E lectronic W ord,’ established Wired as a m aga­ zin e lik e no other. S tories scan n ed h orizon tally, in a co n tin u o u s data stream that interrupted other stories, jum ped across gutters and defied the lo gic o f page breaks.

T he print layout effectively evok ed the inform ation ex p lo ­ sion o f electro n ic m edia. A g ain , the reader w as forced to interact w ith Wired, literally com in g to grips w ith the content as the m agazine had to be turned in different direc­ tion s to read som e stories. If W illiam G ib son cou ld jack M T V in to the net, it w o u ld lo o k lik e Wired. H ere w as new s from the future, and the future never looked so cool.

S u dd en ly en gin eers, com puter nerds and geek s had a Rolling Stone o f their ow n. A nd som e o f them w ound up on the co v e r o f a national m a ga zin e that lo o k ed lik e nothing else on the rack. For Plunkett, that w as part o f the design plan. “I think w e ’ve done a good job o f differenti­ ating Wired from the com p etition . We are one out o f tw o hundred titles on the new sstand. We approached the m aga­ zine the w ay w e w ou ld any other d esign problem , w hich is w e first look at the context. In this case, it is the context This page: Cover and spreads from the premiere issue of Wired, January 1993. "Each issue begins w ith a quotation that represents the most powerful or provocative idea for that month. W e began publication with a 25-year-old statement from M arshall McLuhan's The Medium Is the

Message." N eil Selkirk, photographer: Eric Adigard, illustrator.

COMMUNICATION

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Technology

P l u n k e t t + K u h r D e s ig n

The Man Who Stole Michael Jackson's Face

Laurie And erson r e in v e n t s h e r s e lf - a g a in , (fir s t l o o k )

o f what else is out there on the new sstand. T here’s a status quo co n sen su s. T here are unspoken rules or m ass n otion s o f how m agazin es are su pposed to look that got pretty w ell co d ified in the ’6 0 s and h a v en ’t ch anged sin ce then.

So that becam e our list o f w hat not to d o .”

In the process, Wired has b eco m e the m agazine readers lo v e to hate. A n y o n e w h o has sto od n ext to a w in d ow , h old in g a cop y o f Wired in their hands, trying to adjust it to the right angle so the ligh t w ill bou nce o ff the page in su ch a w ay as to m ake the silv e r text on a purple b a ck ­ ground leg ib le, w ill understand the con troversy that has sw irled around the m agazine from its inception. A ccording to Plunkett, “N in ety percent o f the p eo p le com p lain in g about Wired are really talking about ‘E lectronic W ord’, the eight-page new s section in the front o f the book, w here w e exp erim en t w ith n o n -lin ear p resen tation . If you did this for 120 p ages it w o u ld be boring, and it w o u ld be irresp onsib le. W hat w e are trying to do w ith th ese eigh t pages is send a sort o f signal flare, and it’s sayin g, ‘G uess w hat? T he m eans o f com m u n ication are ch a n g in g .’

“W e never delib erately m ake som eth in g difficult to read,” P lu n k ett ex p la in s. “W e try to p ro v o k e p e o p le in to reading thin gs they m ight o th erw ise skip. So our notion is you trade o ff the absolute clarity o f reading The New Yorker, by adding som e le v e l o f visu al ex citem en t, and im agery to m ake a story appear m ore in terestin g. W e try to find the right b a lan ce w h ere the v isu a ls d o n ’t o v er­ w h elm the content. W hen it d o e sn ’t w ork, that’s the price o f innovation. It is to L ouis R ossetto’s credit— a publisher w ho really understands the role o f design in term s o f m ak­ ing a su ccessfu l b u sin ess— that h e ’ll say, ‘If w e d o n ’t fail, w h at’s the point? W e’re really not d oin g our jo b .’”

E ach m on th , P lu n k ett + K uhr are p resen ted w ith the challenge o f w orking along the ragged edge betw een break­ through and failure. John Plunkett adm its the design team is con tin u ally on less than solid ground w hen it co m es to the final execu tion o f the m agazine. “We are alw ays trying to do som eth in g new and extrem e. A lot o f this you can

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predict in desktop on your com puter, and a lot o f it you can learn through trial and error. Our trial happens on ce a m onth, and it happens in public. It happens so fast, so m e­ tim es w e kn ow th ese m istak es are co m in g , but there ju st isn ’t tim e to correct th em .”

O ne o f the criticism s that has dogged Wired from its in cep­ tion w as its use o f the tired old m ediu m o f print to report on a tech n ology that, som e said, sp elled the death o f print.

It w a sn ’t lon g b efore the tex t o f Wired w as a v a ila b le electro n ica lly on A m erica O n lin e. A nd so on , Wired spun o ff a p roject that p ro m ised to do for the In ternet w hat Wired had don e for m a ga zin es. L aunched in D ecem b er 1994, the p roject w as c a lle d H otW ired , and Barbara K uhr w a s tap p ed to sp earh ead the d e sig n d irec tio n . If Wired reported on new s from the future, H otW ired w ould become the future.

L o g on to H otW ired by typ in g in a cry p tic W orld W ide W eb add ress (h ttp ://w w w .h o tw ir e d .c o m /) and yo u are m et by a co lo r fu l in terfa ce featu rin g the rich ly satu ­ rated, p la yfu lly drawn illustrations o f A m sterd am -based artist, M ax K ism an. U sers can exp lore the eq u iv alen t o f

Above: Three Wired covers. "Issue 2.03 covered the m ultim edia artist Laurie Anderson. To capture the electronic nature of the cover im age— which N eil Selkirk photographed off a monitor— w e swapped the standard yellow, cyan and magenta for their fluorescent equivalents."

"Issues 2.07 and 3.02 detailed the competing visions of John M alone (Tl Cable) and Ray Smith (Bell Atlantic). W e designed the stories as bookends to symbolize these 'road warriors of the info-bahn' by collaging their heads onto M e l Gibson's and Arnold Schw arzenegger's torsos." John Plunkett/ Eugene M osier, d igital collages; Nora Feller, SIPA Press (John M alone)/ M ovie Star N ew s (Road W arrior still)/N eil Selkirk (Ray Sm ith)/M otion Picture & Television Archive (Conan the Barbarian), photographers.

Right: Electric Word spreads. "W hen readers tell us how much they either hate or love the design of Wired, we suspect they're mainly talking about this eight-page monthly news section. Over the past two years, w e have tried to retain the chaotic spirit of the original design, w hile improving some technical details of color, contrast and typography." J ill Greenberg/ W illiam Faulkner (e-m ail)/Neil Selkirk, photographers.

forested East Texas town of Nacogdoches - sent an e-mail massage to President Clinton: "One of these days, I'mgoing to come to Washington and blowyour little head off. Ihave a bunch of guns, Ican do it.’ Thomas's messagealsothreatened Hillary RodhamClinton and presidential daughter Chelsea, “because they deserve to die as well." Thomas got a personal response, not from President Clinton, but fromthe US Secret Service.

On June 21, the 19-year-old pleaded guilty to the federal charge of sending an interstate threat to another person, according to Title 18, United StatesCode Section 875(c). He nowfacesa maximum sentence of five years in federal prison, aUS$250,000fine, and three years of supervised release.

Thomas used the name, date of birth, and social security number of a former roommateto gain accessto the university's computer. Secret Service agents deter­ mined culpability in a rather low-tech way. they inter­

viewed the owner of the account and "got according to Assistant US Attorney Allen Hi then interviewed several students from and eventually extracted Thomas's Austin State University's computer under review, said Mike Jennings, c telecommunications officer. He said however, could do little to prevent s ‘ I hope it will wake people upar realize they could be prosecuted fo ing messages over e-mail systems,' based in Tyler, Texas, and is handlin Prosecutors don't need to showtha intended to or could have carried o Hurst said the US Attorney's office had "Sending the threat is itself acrime, just ajoke, or a mistake, or some kind of idle said. At presstime, Thomas's sentencing w; mid-September. - Nick Montfort

very own im ages to your very ow n com puter? Your choices have been recently lim ited by an Oklahom a court.

In w hat seem s to toe a trend tjustitled by m uch h and w ringing over how this filth m ight g et Into th e hands of children), the court s lapped Oklahom a Information Exchange sysop Tony Davis w ith 10 years in th e pen and a US$10,000 fine for 'trafficking in o bscene im ages.'T his follows on the heels of th e arrest In July of a California couple, based on a w arrant in Tennessee. Ain't it gran d w hen th e State starts defining obscenity? W hen wM Mteam tha t lec pointless as it is off? =111 M aybe Never: Do you smell a trend? AI Gore recently had this to say w hen asked if he would regula minimalist m easures to assist parents in satisfying th e legitim ate concerns th a t they have.* Watch o u t folks, here it comes. : o work with Ziff Davis's Interchange o nline service, ostensibly because negotiations w ere ta

it that the software giant

p a n h a n d l i n g w arred R odin th a t's also a p arty c ra sh e r an d an “a g g ressive p a n h a n d lin g ro b o t" Such is th e au tom a to n cre ate d by San F ran ­ cisco a rtist F ran k Garvey.

W hen G arvey set Goboy loose in the San F ran cisco M u seu m o f M odern Art, th e rad io -co n tro lled rob o t scream ed: “G im m e 50 cent! G od say s to g im m e 50 cent!" T h e p atro n s resp o n d ed w ith stu ­ p efaction an d fear. At last y ear’s Los A ngeles Art Fair, several peo ple actu ally assau lted th e roboL M ost folks v iew th e sc re a m in g rob o to n -w h ee ls a s e ith e r a h oo t, a th re a t, o r

an a n n o y a n c e. H ow ever, G arvey in sists that th e ro b o t's tru e efTect is h ard ly so su p erficial: “G oboy re p re se n ts th e b irth o f a m u ch m o re ass e rtiv e w o rk ing w illini e ‘folk a r t’ an y m o re , not w illin g to b e p assiv e a n y m o re . It re p re se n ts th e in terv en tio n o f th e u n d erc las s at th e level o f m ass cu ltu re."

W h ethe r o r not Goboy raises d eep e r sociological issues, h e d efinitely raises cash . At th e LA Art Fair th e p an h a n d lin g robot h au le d in m o re m oney th a n som e o f th e ex h ib ito rs. G arvey c a n b e reach ed at T h e a tre C oncrete: +1 (415) 621 4068.

The smartest telco CEO, Bell Atlantic's

Ray Smith, reveals w hat really torpedoed his m erger with Pomti Last year. Wirnfi David Kline snatched an amazing interview with the

Jo hn Malone's TCI, why the telcos are cowboy of cable. TCI chief John Malone. The mogul's uncensored revelations

going to kick cable's butts (and about the collapse of his US$13 billion merger with bell Atlantic Corporation •

where their real com petition will come not to mention his audacious jest about shooting the chair of the Federal

from), and precisely how the l-way is Communications Commission - ignited controversy (Wired 2.07, page 86).

going to reach your home.

Counterpoint! Now Wired has returned Kline to the gladiator arena, this time to the opposing comer - that of Ray Smith. CEO of Bed Atlantic Cloarly

By David Kline the most enterprising and farsighted of the teko leaders. Smith was the first

once-stodgy utility to a more entrepreneurial footing.

Smith enjoys poking fun at his old monopolist image at much as anyone.

On the white board in hit office he wrote: *1) Buy ATAT 2) Sell Pennsylvania

Wired: So. what's the plan7 Are you going to buy ATAT, or tell Pennsylvania?

Sm ith: N<». d on't u v that. I put that up just to a m use you. All n r need is to hasp a rum or going a round that w e're going to soil Pennsylvania.

I can imagine. Even John Malone said that you telco guys are the real monopolists.

3) Retire 4) Work for IBM (depose Gerstntr) S) Cancel subscriptions to aM

Yeah, in my ca reer I've com e to know a num ber of hum ble, onesho e-o v er-th rn ih er billionaires.

magazines and newspapers.’

So you’re not a monopolist, and you have no near-term plant to tell Pennsylvania?

.Absolutely n o t

Here, then, is what Ray Smith, the titan of telephony, hat to say about John Malone, the telecom wars. Jane Seymour (yes. Jane Seymour), and what the broadband network in your future is going to look like.

W e're g onna s d l W est Virginia.

(Laughs.] Well, now that we've got that settled, can we talk about Bell Atlantic's aborted merger with TCI? People still want to know what really happened the day the biggest deal in American history crashed and burned.

You know w hat a m azes m e? T here w ere only four people in the m om that day. but th rrr a re at least tw enty different v ersions of w hat h appened. It's like the mov ie Haxhomon.

Well. Malone said the merger was aborted because you

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a digital salon, read articles, check out first-person report­ ing from around the w orld or v isit m u ltim ed ia g a lleries sh ow ca sin g the n ew est form s o f digital art. T he m ixture o f new s, insider inform ation, rumors, tapeloops and digital m ov ies p u lses w ith the beat o f the inform ation age. W hat you w o n ’t find is p lain old A SC II tex t scr o llin g from screen to screen . A nd you w o n ’t find Wired m a ga zin e sh ov eled onto the N et.

From the b e g in n in g , Barbara K uhr has b een adam ant about the direction she w anted to take H otW ired. W here Wired co n scio u sly attem pted to ape the m achine aesthetic, H otW ired had to lo o k hum an. H otW ired m ay use the m achine as a v eh icle to com m u n icate, but it is resolu tely about hum an a ctiv ity , and w as d e sig n e d as a p la ce for p e o p le to co n g reg a te, to share their w ork and their e x p er ien ces.

Wired tapped a secret so ciety o f tech ­ n olog ica lly hip individuals and turned them in to su b scrib ers. H otW ired seek s to take those subscribers and turn them in to particip an ts. W hat m ost p eo p le understand about the Internet is that it prom ises a ccess to inform ation. W hat H otW ired under­ stands is that a ccess to inform ation is only h a lf the story. The other h a lf is com m u nication : a ccess to p eop le and their id eas. M ore than anything e lse, H otW ired is about com m unity, a gathering o f the digital tribe. O ne se c tio n , ‘R ants & R a v e s’ fea tu res the best o f public com m ents, selected and posted daily by the H otW ired editors. H ere the jou rn alism o f H otW ired is intertw ined w ith the con versation s about it, and so m etim es b ecom es in d istin g u ish a b le from it. It is “sp o n so red ” by a d ozen ad v ertisers, w h o are g iv en sm all ch u n k s o f screen real estate and a w in d ow o f tim e in w h ich to lure users from H otW ired. For th ese advertisers, in clu d in g AT& T and V olvo, H otW ired represents a chance to exp erim ent w ith in teractive advertising in the o n lin e w orld and tap into their up scale, tech n o -sa v vy dem ographic.

For Kuhr, H otW ired is sim ply, “The m ost ex citin g thing I’ve ev er d o n e .” It has g iv en her the ch a n ce to sp eak another lan gu age in term s o f w hat is p o ssib le in d esign for a new m edium . A nd w hat is p o ssib le ch an ges every day, depend ing on the sk ills o f H otW ired’s four-m em ber en gin eerin g staff. The constraints o f the tech n o lo g y and the lim itations o f H yper Text M arkup Language (H TM L), the p rogram m in g la n gu a g e that g lu es the W eb togeth er, are ch a llen g in g .

B reakthroughs are sm all, and on the order o f placin g text next to, as o p p osed to beneath, an im age m ap. W hile that m ay not seem like a big deal, Kuhr thrives on the continual

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g iv e and take o f p u sh in g the bou n d aries. To em p h a size the con stan t scr o llin g o f text that is a fact o f life on the Internet, sh e ex p r e ssly d e sig n e d narrow co lu m n s for H otW ired w hich allow the reader to q u ick ly race through the text. T his kind o f ic o n o cla stic in n ovation on the N et q u ick ly drew criticism from users w h o hate the fact that they ca n ’t read A SC II text by the screen fu l. Kuhr tries to deal w ith the lim itation s o f the on lin e w orld by m aking the lim itation s part o f the ex p erien ce, part o f the d esign eth os. “M y d esign approach,” she sa ys, “is defined by w h a tev er the current state o f the art o f te c h n o lo g y is .”

L o u is R ossetto points out, “R em em ber, w e ’re talking here about d ev elo p in g the graphic lan gu age for a brand new m ediu m . That B arbara’s solu tion s in stan tly b ecam e the accepted benchm arks against w hich all later sites w ere m easured is testim on y to the righ tn ess and in v en tiv en ess o f her so lu tio n s.”

Kuhr is qu ick to d isp el any n otion s o f H o tW ired ’s d e sig n as b ein g p reciou s. T he d esign happens fast, w ith a story k n o ck ed out w ith in h ou rs. F u n dam ental d e sig n issu e s at H otW ired q u ick ly b leed over into tech n ica l areas. H ow can files be shrunk dow n to size? H ow can the v isu a lly rich in fo rm a tion that su r­ rou nd s us be im p orted in to the g ra p h ic a lly im p ov erish ed m edium o f the W orld W ide W eb?

A n d th en , there is the issu e o f co n tro l. D e sig n e r s are u sed to con tro llin g not on ly their to o ls, but, as m uch as p ossib le, the final realiza­ tion o f their efforts. T he W eb first robs designers o f m uch o f their traditional to o ls, then co m p letely takes aw ay the issu e o f con trol. W hatever is d esig n ed for the W eb can be changed in appearance by anyone w ho receives it. A hom e page designed for a N etScape brow ser m ay appear jum bled and ch a o tic v iew ed on M o sa ic. T y p efaces m ay be m iss­ ing, or substituted. The bright vibrant colors o f H otW ired b eco m e a n o n -issu e w hen v iew ed on a g rayscale P ow erbook screen.

“Our first rea ctio n ,” P lun kett ad m its, “w as, ‘Oh m y go d , w e ’re out o f c o n tr o l!’ W e c a n ’t force it to be th is ty p e­ fa c e, w e c a n ’t m ake the backgrou nd co lo r be a certain color. For a w hile, w e fantasized that w e w ould send every­ one on H otW ired a package o f defau lt graphic m aterials.

But w hen you think about it, th ere’s this arrogance about that that has n oth in g to do w ith the p ro cess. S o w e ’re actually trying to figure out how to un-design our design s.

Instead o f lo ok in g at w h at’s on the N et and m easuring its beauty by print standards, m easure its beauty by how it fu n ction s in that m edia. Its a w h o le different an im al.”

W h ile K uhr now see m s at h om e in the o n lin e w orld ,

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and paintings— you click on the thumbnail to see a full-scale image; Twain feature Fear & Lava by M arc Cooper, illustration by Sabine M essner; Kino presents little segments of video, stop-m otion anim ation and quick movie clips to be viewed by clicking on the thumbnail images which include a blue bar w ith file sizes. Max

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A c r e a tu r e a s t in p and i n s i g n i f i c a n t as a speck o f d n st - new S o c k H o n k e w.

G o in g o u t t o n i g h t ?

H ake p la n s w ith P la n e t F i r e d ' s l a t e s t c a le n d a r s !

Barbie has been made u U ^ H to fill the fantasy roles of several generations. Now the world's fantasies fill her. Dana Smith's clever collages stuff Barbie with pictures from m agazines.

Robin V alle K ^ i J I creates art to commemorate crimes that happened in her neighborhood in Los A ngeles. This peice was inspired by two H ollywood assaults that happened only hours apart.

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"No, this is not a good to v n fo r psychedelic drugs.

R eality itse lf is too tv iste d ."

H unter S. Thom pson, in Fear and Loathing in Las Vegas, 1971 LAS VEGAS: NOVEMBER 1993. Heeding the good Doctor Gonzo's advice, I did not repeat hie mistake of twenty-two years ago by carting across the Clark County line two bags of grass, seventy-five pellets of mescaline, five sheets of blotter acid, a salt shaker of coke, or even a galaxy of uppers, dovners, screamers, and laughers. But just as Thompson had brought his Fat Samoan Attorney in tow to the Vegas strip, I thought it a prudent idea to invite along my corpulent Neapolitan literary agent. The Big Vig, for our follow-up visit. The Big Vig is along strictly for moral support.

As a semi-compulsive gambler, who better to have sitting next to me at the twenty-one table, approving each more reckless maneuver with a knowing nod, than one more irretrievable card and dice junkie?

And so far my strategy is working. No sooner do we dump our bags in our Tropic ana Hotel "garden suites" (both with a commanding view of the neatly furrowed rows of cars in die hotel perking lot) than we sit dow n at the blackjack table and within no time at all are experiencing financial free-fall.

"Better double up or even triple your bets now if you wanna win back what you're down," The Big Vig wisely advises as he rummages in his Bugle Boys for yet one more crumpled C-note.

Not that we are at this table on a fully voluntary basis. Actually, w e’re more like indentured servants.

Checking into the Tropic ana nowadays, or into just about any other Strip hotel, is like signing up for a stint in debtors prison. The balding gnomes that run these outfits - infinitely more sinister than their

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Rob Reiner created Spinal Tap, and the world could no longer look at big English rock stars the same way again; no real documentary captures their epoch better. Thanks to The Voyager Company, that Spinal Tap spirit now rocks the digital world, itself no stranger to hype-prone young millionares.

In a rare EUAJMBBB look inside Jacob Stewart's head, M ushM outh, we witness the transformation of his teeth in reverse.

Remember w hen...

It may have been a simpler time, but cars still blew up at random, resulting in gruesome accidents. A look back at some suppressed evidence that was swept under the rug by cold-hearted car manufacturers and their media lackeys.

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her transform ation from designer to W eb-jockey alm ost didn’t happen. “In itia lly ,” she says, “John and I thought, ‘G ee, w e ’re so busy, w e ’ll ju st hire so m eb o d y to do th is.’ A nd then w e lo o k ed at each other and w ent, W o!

T h is is the m ost interesting thing that’s happening. We've got to do th is.’”

H yperlink to Plunkett + K uhr’s sm all cottage in Park City.

Sn ow drifts up to the w in d ow led g es and b lo ck s the back d oor lea d in g to the h ot tub. P o w erb o o k s and d ig ita l v id e o cam eras are sca ttered around lik e sca rv es and m ittens. Barbara K uhr’s ex h ib itio n d esign for C arnegie H all’s m useum is pinned to sheets o f Fome-cor®. D ow n hill sk is, b oots and p oles are stacked next to the copier.

T h e d eco r c o n sists o f o ld ca sto ffs, the k in d s o f th in gs found in unused barns, ditches and yard sales. A sm ashed C hevy hubcap is proudly d isp layed on a book case; above the livin g room futon sofa a jackalope m aintains a w atchful gaze; throu ghout the h o u se en a m eled m etal sig n s are artfu lly d isp la y ed . T he back room is P lun kett + K u hr’s n erve center, w here th ey lin k up w ith the o n lin e w orld and their clien ts via an old M ac II suped up to FX perfor­ m ance w ith a 14.4 m odem . B o x es o f Ethernet softw are, still in their shrinkw rap, w ait for the spare m om en t w hen John can in stall them and replace A ppleT alk.

U ntil the day the local phone com pany can put in place the tech n o lo g y that prom ises to m ake geograp hy irrelevant, Plunkett + Kuhr log thousands o f frequent flier m iles, com ­ m u ting to Wired 's offices the o ld -fa sh io n e d w ay. T he irony o f havin g to be p h y sica lly present to provide the creative direction o f a m agazin e lik e Wired, w hich each m onth reports on breakthroughs that m ake rem ote com m ut­ ing p o ssib le, is not lost on John. “Wired requires m ore fa ce-to -fa ce m eetin gs than anything else w e d o .”

A typ ical w eek dem ands their presen ce four days in San Francisco, in the 15,000 square foot loft space that Barbara d esig n ed , and co n v erted from a rag trade sw ea tsh o p to offices that hou se c lo se to 75 em p lo y ees. T here John and Barbara sit in on editorial m eetin g s, help m old the m ar­ keting efforts, contribute to the strategic direction o f the

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com pan y and direct the six d esign ers w h o help put out Wired each m onth. A cross the hall, in a sm aller loft, Kuhr m aintains a desk in the H otW ired offices w here she and a four-m em ber design team ham m er out the new est version.

If they are lu cky, they get to spend three d ays back in Park C ity, a ham let com b in in g the virtues o f so m e o f the best d o w n h ill sk iin g in the cou ntry w ith a few square b lo ck s o f urban d en sity that offer a w o rld -cla ss film festiv a l, a first-rate m icrobrew ery, an o cca sio n a l traffic jam and a p lace to pick up a current New York Times.

On a recen t F riday in San F ra n cisco , P lun kett + Kuhr d ivid e their tim e betw een m eeting The E dge (a.k.a. A dam C layton ), v isitin g guitarist from U 2, tw eak in g H otW ired and w orking on files for their n ew est project, a U n ited K ingdom ed ition o f Wired.

For som e, Saturday is a day o f rest. For John P lunkett, it’s ju st another day at the office, even if this office is a reconverted bedroom 6 0 0 m iles aw ay from Wired's h ead ­ quarters. “W hen w e w ok e up in Park C ity, w e p lu gged into Q uickM ail, responded to som e m em os from the U .K . and then transferred som e files to San Francisco. Last night w e ran out w ith a cou ple o f files on a SyQ uest, but w e had to catch a plane, so w e d id n ’t get them all. W e’ve had to transfer som e m ore files, and now I’m w orking on the final cover and a tw elve-p age feature that w ill finish this current issu e. I’ll m od em th ose ton igh t and an ed itor w ill p roof them tom orrow and th ey ’ll go to the printer M on d ay.”

“A nd w e ’re g o in g to ski tom orrow !” Barbara interjects.

“A nd then,” John con tin ues, “w e fly back to San Francisco.

M onday, w e have three hours o f m eetin gs and then L ouis and I g et on a plane to L ondon.

“W e tell o u rselv es w e ’re g o in g to do this rem otely, even if it k ills us. A nd w e ’re right near that e d g e .”

This page: Two spreads from Wired. "W e actively seek new w ays of interpreting old m e d iu m s." Left: An introductory quotation for issue 2.10 realized by Jam es Porto. Right: M u sician David Byrne photographed by Neil Selkirk.

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“ D ig it a l N a p k in s ” N H IS B O O K A MOVEABLE FEAST, H EM ING W A Y d e scr ib e s the w ay he w ork s on a story. O ften h e ’s in a ca fe, w here a con versation or a detail o f so m e o n e ’s face finds its w ay into his noteb ook. For m any p eop le, m y se lf in clu d ed , our best id eas are born in pu blic settin gs, u su ally triggered by so m e random scen e. W e tend to forget just how m uch our creativity is affected by our surroundings.

We all know that w e have our m ost creative hours o f the day.

W hat about our m ost creative p laces?

T echn ology is ch allen gin g us to rethink how w e w ork, w hen w e w ork and where w e w ork. Is the traditional “office” the best p lace? S p en d in g eigh t to ten hours every day in side the sam e four w alls m ay not be the m ost con d u cive situation for good results. I b elieve that tod ay’s office is an inadequate co n ta in er for the w ork w e do. T e ch n o lo g y m ay p ro v id e, d irectly and in directly, m ore variations than w e realize.

I

The end of the job T h ere’s a lot o f talk about the d o w n sizin g o f corporations.

T he article “The End o f the Job” (W illiam B ridges, Fortune, Septem ber 19, 1994) offers a unique persp ective: rather than job s disappearing, it is the job itself that’s disappearing.

“T od ay’s organ ization is rapidly being transform ed from a structure bu ilt out o f jo b s in to a field o f w ork n eed in g to be d o n e.” D esig n ers kn ow this: m any in -h ou se d esign and produ ction departm ents have shrunk, and a lot o f the w ork is g iv e n to sm all stu d io s or freela n cers. T e ch n o lo g y has m ade this co m p letely viab le. “(In the 19th century) standardized w ork hours and p la ces w ere p ro d u cts o f m ass p ro d u ctio n and the g o v ern m en t bu reaucracies o cca sio n ed by it. ...T h e post-job w orker w ill far m ore lik ely be hired for a project or a fixed length o f tim e than a jo b holder is today. W orking and leisu re are no lon ger govern ed by the ca lcu lu s o f con stan t em p lo y m en t.”

T his got m e thinking. C om panies w ill no longer provide the p h y sica l sp ace for in teraction, the so cial glu e. A s w e w ork m ore in iso la tio n , w e ’ll seek m ore contact w ith the ou tsid e w orld. In a recent co lu m n , I m entioned that coffee h ou ses that look lik e liv in g room s are opening all over the country, en cou ragin g you to hang out. P ublic sp aces are p rovidin g the ch aracteristics o f person al spaces: co u ch es, co llectio n s o f b o ok s, m a g a zin es and new spapers and ch ess boards.

Ubiquitous computing A t X erox P alo A lto R esearch C enter (PA R C ), scien tists are busy pursuing U biquitous C om puting. T hey are figuring out how to em bed m icroprocessors into everyday things. Tw o o f m y favorite in ventions are the “L iveB oard s” and “ParcPads,” T h ey lo o k and act lik e w hite boards and pads o f paper, but they are en d o w ed w ith com p u tin g, m ultim edia and vid eo co n feren cin g ca p a b ilities.

T heir aim is to put the com puter into the m ost com fortab le utensil, one that is m ost appropriate to the task. That m eans the right m aterial, the right feel, it even m eans the right en vi­ ronm ent. T ech n ology w ill be em bedd ed into architecture, room s and furniture, in private sp aces as w ell as public. !

Working cafes

P eop le have alw ays used restaurants and ca fes to conduct b u sin ess. We often rheet w ith a clien t or co llea g u e outsid e the office, w here he br she is not bom barded w ith internal distractions. The atm osphere en cou rages brainstorm ing.

H ow m any tim es have you sk etched on a napkin or a paper tab lecloth ? T he “napkin sk etch ” is practically an icon , a sym b ol o f a creative idea.

W e w ork on our P o w e rB o o k s on trains, p la n es or b oats w h ile w e ’re co m m u tin g . W e use airport lo u n g e s ’ fax m achin es, m odem hook up s, telep h on es and cop iers. T h ese are all public offices. But they are p laces in -b etw een — not ch o sen d estin ation s. I ’m su gg estin g that p eo p le w ill ch o ose to vary their w ork p laces, and esch ew sp end ing eigh t hours a day in one spot.

There is evid en ce. N ew “cyber” cafes are opening; they have cou ch es next to com puters. T he other day I visited S m itty ’s O n-line C afe, a new place w ith nice view s o f Harvard Square.

I in vestig ated som e C D -R O M titles, researched a m edical problem on the N et, checked m y e-m ail, ordered coffee from an o n lin e m enu , and go t in to a lo n g co n v ersatio n w ith a total stranger about w h eth er or not ca fes sh ou ld p rovid e laser printers. T hen I took out m y (paper) noteb ook, sipped m y coffee and w orked on a few ideas. Just as the lin es are blurring b etw een hom e, office and hanging out, so are they blurring b etw een w ork, research and leisure.

I fu lly ex p ect that w ith in a year m y ch o ices w ill grow, both in the num ber o f availab le “p u b lic/p rivate” p laces as w ell as the digital fa c ilities they offer. I’ll bring m y P ow erB ook and find, at m y favorite table, a m odem line. In a few years, I ex p ect to see large digital sketch pads em bedd ed in tabletops. I’ll m eet w ith a co llea g u e or clien t and dow nload the w ork I did at hom e, at an office or on a train. W e’ll w ork on it together, then both m ake a digital cop y to take aw ay.

A re offices out-of-date artifacts? Is it p ossib le that by w ork­ ing in public sp aces, the results o f our w ork w ill be better?

W ill our ideas be m ore relevant to the real w orld, and better reflect p e o p le ’s need s? If w e im m erse ou rselves in public scen es, w ill w e trigger m ore ex p a n siv e ideas?

D e-job b in g, ub iquitous com pu tin g and new public sp aces are e v id e n c e o f the rad ical ch a n g es tak in g p la ce in the w a y w e w ork. To m e, th ey a lso sy m b o liz e n ew and rad ical choices, on es that I’m just b egin n in g to exp lore. © 1995 W. Richm ond

COMMUNICATION

ARTS

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EXCELLENCE

MEAD C O A T E D P AP E RS

A R R E S T I N G I MAGE S. T H E P R I N T E D I M A G E HAS T H E P O W E R TO H O L D T H E GAZE, TO

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BY F O R M , A F I E L D OF I M A G E S T H A T S H I N E N E W

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CREATI VE A L L I A N C E OF DES I GNERS A N D PRI NTERS A N D T HE M Y R I A D WAYS IN W H I C H

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J U R Y OF G R A P H I C ARTS P R O F E S S I O N A L S W I L L S E L E C T S I X T Y E N T R I E S T O R E C E I V E

C E R T I F I C A T E S OF H O N O R F OR A C H I E V E M E N T IN D E S I G N A N D P R I N T P R O D U C T I O N

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M EAD 60 M E D A L OF E X C E L L E N C E , T H E H I G H E S T H

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B E T W E E N J A N U A R Y 1995 A N D D E C E M B E R 1995 IS E L I G I B L E F O R ENTRY. F O R M O R E

INFORMATION

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ITfeod

Technology Reviews

E dw ard B ig elo w

H ue and C ry: C o l o r F o r t h e D ig it a l A g e E N S LAY M O R E E G G S W H E N T H E H E N house w alls are painted orange, m osquitoes avoid green and bees stay aw ay from red, w hich attracts h u m m in gb ird s. C olo rs ev o k e sim ila r territorial and em o tio n a l re sp o n ses in hu m an s. C o lo rs are u sed in national flags and com pany lo g o s to evok e loyalty and estab­ lish identity. We exp ress our eg o s and fan tasies w ith colors, and use them to sell products such as cars and cloth es. Our living and w orking spaces are color “tuned” to elicit harmony, tranquility, prestige, general feelin g s o f belongin g and w ell­ b ein g, and to assert ow nership and ev o k e security.

C olors can also ev o k e anger or ann oyance w hen they are un exp ected , unreal, incorrect or discordant by the v ie w e r ’s standards. T h ese em otion s are com m on to m any w ho use com puters to produce co lo r graphics. O ne o f the profound effects o f com puter-aided color com in g into the m ainstream o f graphic com m u n ication s is that the headaches form erly reserved for com m ercial printers are now on the d e sig n e r’s d esk to p . T he com p u ter p ro v id es the m ean s and fo r ce s a designer to becom e a color graphics production and prepress h ou se. O ften color sp ecified and v iew ed on a m onitor d oes not print out the w ay it “sh ou ld .” A fter another all-nighter, w ith a perfect im age on a diskette, the service bureau m akes a print w h ich c o m e s b ack w ith c o lo r s w ay off, again .

W Y S IW Y G ? Notl To resolve problem s o f color predictability, softw are solutions know n as C olor M anagem ent S y stem s prom ise to tam e the color beast. But w ill they save us from dull oranges, yellow ed greens and another m idn ight rem ake?

U nderstanding the variables in flu en cin g d igital co lo r and co lor perception is the key to a ch iev in g predictable results.

T h is article w ill exp lore the steps to m anaging color.

C olor theory is co m p lex and co n tro v ersial, for co lo r is an area w here scien ce, tech n ology, aesth etics and com m erce con ven e— or rather collid e. S cien ce analyzes color through p h y sics and p sych o lo g y . T ech n ology im p oses lim itation s through the hardware and softw are. Then aesthetic con sid er­ ations and com m ercial co m p etitiv en ess join to m ake a stew, part art, part craft, part m yth and part hard sell. A ny d is­ cu ssio n o f color is by n ecessity both too b rief and fraught w ith “y es-b u ts.”

The hum an ey e s con tain receptors sen sitiv e to red, green and blue ligh t. W hen ligh t fa lls on th ese sen so rs, sig n a ls sent through the nerves to the brain are p rocessed in to the im ages w e “see.” The N ational Bureau o f Standards estim ates that the hum an ey e can d istin g u ish about ten m illio n colo rs ranging from red at the lo w est freq u en cies to v io le t at the h igh est freq u en cies.

The ability to distinguish color varies w id ely am ong people, and stud ies su ggest that about 1% o f w o m en and about 8 % o f m en are “co lo r-b lin d .” It is unclear w hether this is due to gen etics, horm ones, environm ental factors or training, but the result is that p eop le w h o view the sam e colo r probably do not see it in the sam e w ay. T h e Ishihara co lo r p ercep ­ tion test, d e sig n e d to d e te ct c o lo r v isio n d e fic ie n c ie s, m easures an in d ivid u al’s threshold o f co lor perception— their degree o f colo r sen sitiv ity.

Additive vs. subtractive models L igh t trav els throu gh air and fa lls on a su rface, and m ay reflect from that surface. C olor is an alyzed from th ese tw o v iew p o in ts: from the sou rce o f lig h t and from the ligh t reflected from a surface.

Turn on a light in a dark room and you have added a source o f lig h t, the b asis o f a d d itiv e color. A d d in g lig h t y ie ld s b righ ter c o lo r s, and a d d in g the three prim ary c o lo r s in eq u al a m o u n ts— a saturated red, green and a d eep b lu eviolet (R G B )— produces w hite. A ll com puter and electronic im agin g eq uip m ent is based on this m od el.

W hen lig h t strik es an o b jec t, the su rfa ce m ay su btract (absorb) som e o f the co lo r o f the ligh t and reflect the rest.

T h is is ca lled su btractive color, w h ich is the basis for all printing p ro cesses. In printing there is an assu m ption that a w hite source light illu m in ates a surface onto w h ich ink, dye or pigm ent m aterials are applied. A n ink w hich absorbs blue ligh t reflects yellow , and so is ca lled y e llo w ink. T he su b­ tractive prim aries are cyan , m agen ta and y e llo w (C M Y ).

Subtractive co lors com b in e as darker c o lo r s, and the su b ­ tra ctiv e p rim aries are b righ t and u su ally transparent.

T he add itive and subtractive m od els are o p p o sites. T h is can be sh ow n by eq u ally m ix in g any tw o prim ary colo rs producing a second ary color, w h ich is a prim ary co lo r in

1700

1731

1766

1800

1810

S ir Isaac N ew to n in England

J.C. Le Blon, a French painter, demonstrated

En to m ologist and eng ine e r M o s e s

Ph ilip p Otto Runge, a

The Germ an poet Joh an n W olfga n g G o e th e , p u b lis h e d h is Theory o f

used prism s to sh o w th at

th a t all pigm ent hues could be reduced to

H arris, produced the firs t tw o-

Germ an painter, developed

w h ite s u n lig h t cou ld be broken

the three prim ary colo rs of red, y e llo w and

dim en sion al colo r circle, the first

the firs t con cept of three-

Colors, d e scrib in g co lo rs as a v isu a l

dow n into a lo g ica l spectrum

blue (RYB). S tudents using opaque pigm ent

co lo r model using the pigm ent

dim e n sion a l colo r space by

phenom enon rather than a purely

and then re co n stitu te d back

colo rs are s till tau gh t th a t prim ary colors

prim aries, RYB, and th e ir seco n d ­

devisin g a sphere on w h ich

ph ysical a sp e ct of light. He also

into a w h ite light.

are red, blue and yellow .

arie s of orange, purple and green.

colo r cou ld be show n.

proposed the con cepts of sim u lta n e ­ ous and s u c ce ssiv e contrast.

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1995

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the opposite m odel. For exam ple, m ixing the additive light from tw o sp o tlig h ts, o n e red and another green , the s e c ­ ondary co lo r y ello w w ill be produced, w h ich is a prim ary colo r o f the subtractive m od el.

O ne o f the m ajor difficu lties w ith co lo r m anagem ent is that the primary colors m entioned above do not have con sisten t, standard definitions.

Color management The first step in color m anagem ent is to standardize the defi­ nition o f color. The CIE standard (see tim eline) w as designed to be “d evice independent,” based on accurate light m easure­ ment, using w ell defined and standardized variables including a “standard” v iew er. T h e C IE standards w ere r e v ised in 1976 and are used for m ost com puter hardw are, softw are and color m anagem ent.

T he secon d step is to be able to sp ecify, or id en tify colors accurately. C olor specification system s such as Munsell® and Pantone®, Trumatch® and Focolor® are used for this purpose.

T he M u n sell sy stem u tilizes co lo r sw a tch es w h ich can be easily identified, and has been enhanced by adoption o f CIE color classifica tion valu es for sw atch reproducibility. The M u n sell system is reco g n ized by the U nited States Bureau o f Standards, and the eq u ivalen t b o d ies in E ngland, G erm any and Japan.

T he third and m ost difficult step in co lo r m an agem ent is to adjust for the d ev ice dependent variables. V id eo cam eras, color film s, scanners, com puters and color m onitors are RGB d evices, w hile virtually all output d evices, color printers and the in ks, d y es and p ig m en ts they u se, are C M Y K d e v ice s.

A ll equipm ent has design requirem ents and lim itations, and the co lo r s prod u ced by th ese d e v ic e s are referred to as “d ev ice dep en d en t.” T h ey vary from one d ev ice to another, even w ithin the sam e brand and m od el.

To m ake a com puter co lo r m anagem ent sy stem , softw are is needed to m odify the color values o f an im age to com pensate for the ch aracteristics o f the d ev ices used for im age input and output, and to con vert from one co lo r sp ace to another.

C o m p a n ies su ch as Agfa®, Apple®, D ai N ippon® , Kodak®, Letraset®, Pantone, Toyo® and others are devotin g con sid er­ able tim e, m on ey and skill to resolvin g problem s o f digital colo r accuracy. To date, com p etin g color m an agem ent so ft­ w are sy stem s and to o ls w ork on o n e co m p u ter but not another, or w ith one program , but not another. A ll sy stem s m ake an attem pt to co m p en sa te for m any o f the d e v ic e ­ d ependent variables encountered in m odern printing, and provide predictable co lo rs, but none can yet d eliv er c r o ss­ p la tfo rm , m u lti-site color m anagem ent.

W ith so m any variab les, a lack o f standards q u ick ly results in colo r ch aos. In an id eal w orld , com puter program s and hardw are w o u ld be lin k e d by th eir o p era tin g sy ste m s, w ith autom atic cross-ca lib ra tion com p en satin g for eq u ip ­ m ent differences.

The International C olor C onsortium (ICC) w as form ed to pro­ vide such standards. A pple has pioneered an operating-system le v e l colo r m anagem ent w ith C o lorS yn c I, w h ich has pro­ vided a basis for the ICC sp ecification s. T hese specifications define a D ev ice C haracterization P rofile (D C P ), a data file w h ich defines a d e v ic e ’s co lo r ch aracteristics. S oftw are to create d e v ice profiles is not yet a v a ila b le, and so d e v ice profiles w ill probably be released by the in d ivid u a l eq u ip ­ m ent m anufacturer, in tim e.

A p p le is upgrading its color m an agem ent ca p a b ilities w ith C olo rS en se II, in accordan ce w ith the ICC standards. For the In tel/IB M p la tform s, M icro so ft has a n n o u n ced that, am ong other features, the ICC standards w ill be im plem ented in the alleged W indow s 95, now scheduled for release before 1996. W ith luck, cross-platform operating system color sup­ port, the foundation for color m anagem ent, w ill be available som etim e in ’96. It is not lik ely that ex istin g softw are w ill fit in to th is u top ian p ictu re, so u sers w ill p ro b ab ly be exp ected to update m ost softw are.

Color space T he hum an e y e , the C IE standard, ad d itive and su btractive light and vid eo are all based on three-color m od els. That is, any colo r can be described as a proportion o f three prim ary v a lu es. A 3 -D R G B graph m igh t h av e red on the X a x is, green on the Y and blue on the Z axis. A ny other co lo r can be located as a point w ithin the area bounded by these three axes. This is thought o f as “color sp ace.” The range o f colors p o ssib le w ith in any co lo r sp ace is referred to as the gam ut o f colors. The CIE color space contains the largest gam ut.

E ach o f the fo llo w in g c o lo r sp a c es has a m ore lim ited gam ut o f colors: CIE X Y Z : D erived by the CIE, w ith the largest theoretical co lo r sp ace. A n in tu itive derivation o f this is ca lled CIE L A B , using one ch ann el o f lu m in an ce (L ) or brightness, and tw o ch an n els o f ch rom inan ce, or color, ca lled A and B. A d ob e P h otosh op supports this at present.

Y C C : A sp ace d efin ed by K odak , used on P h otoC D im ages, also u ses one ch ann el o f L u m in ance (Y ) and tw o o f chrom inance (C ). Im ages put on a PhotoC D are sam pled in R G B , then stored in the Y C C form at w h ich m ay allo w for sam pling errors by providing a larger gam ut o f colors.

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1878

1884

M ichel-Eugene ChevreuI, the director

J . Clerk M a x w e ll proved th a t the

Ogden Rood in the U.S. pu b lish e d M odern

French painter G eorges Seu rat w a s e xploiting the

of G obleins Tapestry A te lie r in Paris,

colo rs of nature could be replicated

Chromatics, w h ic h pre sen te d a co lo r c irc le of

principle of op tical m ixing w ith poin tillism . U sing lim ited

developed G oethe's concepts into

by m ixing together the correct

co m p lem e n ts and a system fo r p re cise ly

spots of primary colors, he painted pictures w h ich

law s of sim u ltan eo us contrast, su c­

in te n sitie s of ju st three colo r light

m atch ing com p lem e n ta ry hues by pro vid in g an

exhibited a broad range of colors w hen observed from a

ce ssive contrast, colo r m ixing and

sources, red, green and blue (RGB).

ob je ctiv e stand ard fo r p re cisio n pigm en t

distance. N o w known as ad ditive synthesis, th is principle

s p e c ific a tio n s using Pu rity (saturation),

is used by all colo r TVs and com puters.

p rin ciple s of harmony.

L u m in o sity (value) and Hue.

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R G B : N am ed for the ad d itive prim aries, the red, green and blue m odel has the largest gam ut supported by tod a y’s com pu ter eq uip m ent.

H L S : H ue, lig h tn ess and saturation is a n o n -in tu itiv e derivation o f RG B and a variant o f M u n sell’s hue (color), valu e (lig h tn ess-b rig h tn ess) and chrom a (saturation).

C M Y K : C yan, m agenta, y e llo w and black affords the n ext m o st lim ited gam u t o f c o lo r s and is the current standard for co lo r printing.

C M Y : The subtractive prim aries cyan, m agenta and y ellow offer the least gam ut o f co lo rs due to ink lig h tn ess and transparency.

Software transforms O ften im a ges produced by on e co lo r sp ace are con verted to another. In con vertin g to a m ore lim ited color space, as from R G B to C M Y K , the c o lo r s o f the larger co lo r sp a ce are red u ced to the m ore lim ited o n e, and c o lo r s lo st ca n n ot be brought back.

S im ila rly , files are so m etim es co n v erted from a 3 2 -b it or 2 4 -b it co lo r depth to 8 -b it files to sa v e sp ace or in crease p ro cessin g sp eed . A 2 4 -b it R G B file is m ade up o f three 8 -bit ch ann els: red, green and blue, each w ith 2 5 6 colors or shades. W hen translated to a sim pler 8 -bit color palette file, the p o ten tia l 1 6 .8 m illio n R G B c o lo r s are red u ced to ju st 25 6 .

T h ese co n v ersio n s are don e in softw are w ith m athem atical form ulas. S om e form ulas are m ore accurate than others, and the sam e typ e o f translation m ay vary rad ically from one com puter program to another. T he translation m ay clip colors and the im a g e m ay lo se dark to n es to b la ck , or w ash out ligh ter gray ton es to w hite. T ranslations m ay a lso use tonal com pression w here a w ide range o f tones are averaged dow n to few er. T h is m ay resu lt in b an d in g, the ap p earan ce o f stripes running across sm ooth gradient ton es, such as a blue sky. The best transform ations show the least distortions. The w orst, in effect, put eigh t quarts o f color into a six quart pail.

Printing N ew printing tech n iq u es— so m etim es kn ow n as H iF i color printing— are being introduced w hich use m ore than the four c o lo r s o f C M Y K . O ne o f the p ro m isin g co m m ercia l te c h ­ n iq u es p rom oted by P a n to n e, the H exach rom e p ro cess, adds orange and green to m od ified C M Y K inks, perm itting a sin gle pass through fairly com m on 6 -color presses. O range and green com binations are the m ost difficult colors to repro­ duce accurately using the standard C M Y K process colors.

Calibration It has b een said that if a g o o d printer reprints a jo b ten m inutes later, using the sam e press, inks and paper stock, the co lo rs w ill still vary. M inor eq uip m ent adjustm ents and en v iro n m en tal v a ria b les can ra d ica lly alter outpu t colo r, requiring regular calibration procedures.

N o m atter h ow so p h istica ted the co lo r m an a gem en t, all system s w ill rely heavily on calibration, w hich can be greatly aid ed by co lo r m easu rem en t eq u ip m en t su ch as sp ectro ­ p h otom eters and co lo r m eters. C alib ration d e v elo p m e n ts are com ing out daily, and one is the new low -co st ColorTron 32-b and d igital co lor sen sor from L igh t Source. W ith the a cc o m p a n y in g a n a ly sis so ftw a re it sh ou ld p ro v id e the fu n ction s o f a real-tim e sp ectral data, co lo r m easurem ent and m atch ing, d en sity m easurem ent, m on itor calibration and co lo r co n v ersio n , all n ecessary fu n ction s in the co lo r m an agem ent repertoire.

O ther variab les w h ich in flu en ce co lo r and are difficult to co n tro l yet h ave a p rofou n d effect on accurate co lo r are view in g light, contrast range, tonal com pression and gam m a.

Viewing light The color o f the source o f illum ination determ ines the final co lo r s seen by a view er. T h e su b tra ctive m o d el re lies on reflected ligh t and u su a lly a ssu m es a w h ite lig h t sou rce, y et there is no sin g le d efin itio n o f w h ite. For rep eatab le, accurate ev a lu a tio n , co lo rs m ust be v ie w e d under a stan ­ dardized ligh t source.

T h e co lo r o f the ligh t is o ften m easured in term s o f an a b so lu te colo r tem perature, in d egrees K elvin , the tem per­ ature at w h ich a theoretical su bstance g lo w s and g iv es out light. The sun provides us w ith one benchm ark, and at noon it sh in es at about 5 4 0 0 °K . P hotographic transparency d ay­ light film s have a reference tem perature around 5500°K , and a transparency m ade w ith a ligh t source tem perature low er than 5 4 0 0 °K w ill appear red d ish or w arm er. If the sou rce co lo r tem perature is higher, the transparency w ill appear co o ler or bluer.

T h e C IE esta b lish e d a standard for w h ite as the p oin t w h ere the a d d itiv e prim ary c o lo r s are eq u a l, at about 6 5 0 0 °K , co o ler than the noon day sun. T h is is the standard w h ite used by the E uropean graphics industry. T he N orth A m erican and B ritish graphics industries have settled on a lo w er 5 0 0 0 °K tem perature— slig h tly w arm er— w h ich is felt to g iv e m ore “norm al” results w hen v iew ed under m ixed or in can d escen t illum ination.

1909

1931

1959

The G erm an s c ie n tis t W ilh e lm O stw a ld develo ped a

A ls o in 1909, in the U.S., A lb e rt H. M u n se ll

The Comm ission International d'Eclairage

Chevruel's concepts w e re d ra m atically

con trov ersial, pre cise system of co lo r sp e cifica tio n

developed a pre cise system of co lo r notation

(CIE) or International Illum ination Com ­

d e m on stra te d by Dr. Land in the

and notation. H is system assu m ed th at all tin tin g

for hue, valu e and chrom a, sim p lify in g Rood's

m ission developed the first international

d e v e lo p m e n t of h is re vo lu tio n a ry

and shadin g cou ld be done by adding black or w h ite

system . It differe d from the O stw a ld system

standard for definin g colors, w h ich has

"tw o -c o lo r" model.

to fu lly satura te d hues, acclaim e d at the Bauhaus.

in th at colors w ere grayed by being mixed

been updated into the d ig ital age.

w ith th e ir com p lem en tary colors.

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Contrast range C ontrast is determ ined by the qu ality o f the ligh t and the surfaces illum inated. The ratio o f ton es in an im age, from the darkest to the lightest, is called the contrast range. Nature provides an extrem ely w id e range, and from a w hite b u ild ­ in g in su n ligh t to the b lack sh ad ow under a sh ad ed fern, the contrast range can ex c eed a ratio o f 1000 : 1.

Tonal compression Photographic film s can barely capture a 1000:1 range (a log valu e o f 3 . 0 ), or about the m axim um range a drum scanner can sam ple. E y es can o n ly p erceiv e around a 100:1 range, w h ile photographs can display less than 100:1 (lo g value o f 2 .0 ), or about the m axim um sca le w hich can be sam pled by m ost flatbed scan ners. M ost printed m ed ia is lim ited to about a 30:1 range.

A ch allen ge o f the graphics industry is to take a subject w ith a high contrast range and reproduce it in a m ediu m w ith a dram atically lim ited range. T his requires tonal com pression.

The input contrast v a lu es are adjusted to m atch the output contrast p o ssib le. In photography this is acco m p lish ed by m od ifyin g the film exp osure and d evelop m en t tim e to alter the contrast. In v id eo this is d o n e by circu it adjustm ents, and in com puter softw are, by built-in functions and form ulas w h ich in effect “tw ist the k n o b s.” In m o st c a se s, added contrast often m akes an im age appear sharper.

Gamma G am m a has different m eanings in scien ce, photography and v id eo , but gen erally refers to h ow the input v a lu es relate to the output values: how the shadow s, m id-range and highlights relate to each other.

E lectronic eq uip m ent is built w ith different assu m ption s about linearity. For in stan ce v id eo eq uip m ent is d esig n ed for v iew in g in a dim ly lit room and v id eo cam eras have bu ilt-in pre-com p en sation to adjust for this.

W ith a com puter, this linearity can be altered. Softw are per­ m its a user to easily change the ratio o f shadow s, m id-tones or h igh ligh ts. T he trick is to m atch the contrast gam m a o f an input im a ge to get the d esired output effect.

O ne o f the c h a llen g es o f d ig ita l co lo r m an agem en t is to co m p en sa te for all the in co n siste n t b u ilt-in a ssu m p tio n s w hich in flu en ce the final im age.

A personal example I need ed to m anipulate and print an im age that con tain ed ligh t pastel tints and subtle colors.

Each o f the ten programs I used displayed m y im age differ­ ently: different hu es, contrast, brightness and gam m a. I a lso d isco v er ed that R G B w as not id en tic a l on all pro­ gram s. Further, the translation from R G B to C M Y K varied from on e program to another; so m e rad ically altered the final colors. Finally, each program printed the sam e im age d ifferently, and ea ch printer settin g y ie ld e d ra d ica lly

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different co lor results. It w as ev id en t that no one program did everything w ell. O ne program w ou ld provide the m ost accurate scan, another w o u ld alter the gam m a, contrast and brightness in real-tim e and yet another w ou ld m od ify the co lo r m aps m ost in tu itively. O ne program w ou ld con vert from R G B to C M Y K b est, and another w ou ld provide the m ost accurate 24- to 8-bit con version . O ne program printed 300% faster than another, used better printer d efau lts or afforded easier co lor profile m o d ification s.

M y ch allen ge w as to find w h ich program ex c elle d at each function, and to use m ultiple program s to com plete m y im age m anipulations. To discover m y best com bination o f program s required a m eth od ology , p atien ce, n ote tak in g. T estin g b eca m e an o b sessio n , and calibration w as critical.

I tried color m anagem ent softw are, w h ich on ly w orked w ith so m e program s, and slo w ed a few d ow n to an u n accep tab le craw l. It becam e obviou s that it w as far easier to sp ecify than to control a color. Som etim es a 5% change in a param eter had no real effect on the final output. A nother tim e a 1 % change w ou ld y ield a dram atic, alm ost u n con trollab le ch an ge.

E ventually I got a good print from m y system . Then I d is­ covered that the colors used on the dyes o f m ost “affordable” printers (if up to $ 10,000 can be considered affordable), w ere not stable! The inks, paints, toners, w axes, dyes and pigm ents often faded in a relatively short tim e. In a test, w ith a highend printer, the m agenta faded aw ay w ith less than one d ay ’s exp osu re to the sun.

I w an ted to print w ith m ore sta b le co lo r s and on a paper form at larger than m y printer co u ld m an age. I to o k m y im a g e file to a se r v ic e bureau for final printing and w as shocked to get back a dark, over-saturated, red tinted im age.

U ltim a tely I fou nd that m y co lo r m an agem en t softw are had altered m y m on itor gam m a and printer co lo r cu rves. I had o p tim ized m y softw are and eq uip m ent for m y location , in iso la tio n from the service bureau. To get reliab le results, the tw o lo ca tio n s had to be cross-calib rated .

In this case I cut m y m onitor gam m a back from the “c a li­ b rated ” 1.8 to a n o n -ca lib ra ted 1.0. V ie w in g m y file, the screen im age appeared dark and o ver saturated, sim ilar to the service bureau results. I readjusted the m onitor, m arking the knob, added a little cyan to the co lo r m ap and resaved the file. T his tim e the file printed p erfectly at the serv ice bureau. T h is is a g o o d exa m p le o f b ack -to-fron t calibration and colo r m atch ing, u su ally the m o st accurate tech niq ue.

M oral: W hat you see m ay never be w hat you get. But to get c lo se , test, calibrate and cross-calib rate. If p o ssib le get a test file from your favorite service bureau, w hich prints p erfectly on their eq uipm ent. C alibrate your eq uip m ent to print that file w ell. A nd alw ays rem em ber that the daily variab les o f tem perature, m oistu re, paper stock , grain and color, ink, toner, am bient ligh t and tim e con sp ire to keep co lo r m an agem ent a ch a llen g e. F inally, rem em ber this: T he m ore autom atic any p rocess is, the le ss you know . T h e less you know , the le ss you can con trol.

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C om bine color, tex tu re and fin ish to fin d c r ea tiv e a n sw ers to your d e sig n c h a lle n g e s. C olors that w ork, that co m p lem en t, that en rich your cr ea tiv ity .

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P.O. Box 105237 Atlanta, Georgia 30348 For more information or paper samples call 1-800-635-6672 Printed on Kiana® Vellum, N atural, 80 lb. Text

Technology

R esources Books

T h e L it t l e O n L in e B o o k

By Alfred Glossbrenner 426 pages, paper $17.95 Published by Peachpit Press 2414 Sixth Street, Berkeley, California 94710 A ether M adness

By Gary Wolf & Michael Stein 297 pages, paper $21.95 Published by Peachpit Press 2414 Sixth Street, Berkeley, California 94710 P l a n e t In t e r n e t

By Steve Rimmer 315 pages, paper $24.95 Published by Windcrest/McGraw Hill Blue Ridge Summit, Pennsylvania 12794

A recen t crop o f b o o k s attem pt to m ak e cy b ersp a ce a kinder, gentler, ev en funn ier p lace. W h ile The Little Online Book provides sim ple, easy-touse instructions for first-tim e users, Aether Madness and Planet Internet hum anize the ch aos that is the Internet by tu rn in g th e in fo rm a tio n su p er­ h ig h w a y in to a tw o la n e b la ck to p co n n e c tin g fr e a k sh o w s, cu r io sity sh op s and fiv e-an d -d im e stores o f the hum an spirit. W h ile AI G ore h yp es the d ia l-in a cc ess o f the Library o f C o n g ress, th ese authors are e v a n g e l­ iz in g the detritus o f hum an en deavor and the effluvia o f in terest. From “alt.pave.the.earth” to detailed instruc­ tio n s for anti-gravity fly in g saucers, it’s out there on the Internet and these tw o b o o k s w ill h elp p o in t y o u in the right direction .

N ew co m ers to the o n lin e w orld w ill b enefit from the clear, ea sy -to -u n d erstand inform ation in The Little Online Book, e v e n w h ile th ey cr in g e at G lo ssb r e n n e r ’s ex h o rta to ry , rah-rah, you -can -d o-it, ch eerlead in g style. This b ook assum es you know nothing about g o in g on lin e. Starting w ith the b asics o f com puter, m odem , telep h on e lin e and co m m u n ica tio n s so ftw a re, The Little Online Book p r o v id e s a step b y -ste p g u id e to co n fig u rin g y ou r c o m m u n ic a tio n s p r o to c o l. It w alks readers th rou gh p ra ctice o n lin e s e s s io n s , co m p a res the fea tu res and b en efits o f the m ajor online service

p ro v id ers and in g en eral offers a sim p le , straigh tforw ard on-ram p to the inform ation superhighw ay.

Aether Madness is the first guideb ook I ’v e ev e r en co u n tered that had the honesty to adm it that getting an experi­ e n ce d frien d to sh ow y ou the rop es m ig h t b e the b e st w a y to m aster a co m p lex subject. W h ile Aether Mad­ ness w o n ’t p ro v id e m u ch a d v ic e about how to go online, it w ill tell you w h ere to g o . T h e bu lk o f the b ook co n sists o f b rief descrip tion s o f the a u th or’s tra vels in cy b ersp a ce, c o m ­ p lete w ith a road m ap (th e T elnet, h o m ep a g e ad d ress or B B S p h on e num ber) to in terestin g d estinations, and a snapshot o f w hat they did w hen they got there: d ow n load ed softw are, receiv ed an inspirational Bible verse, learned how to m ake P lay-D oh. There seem s to be no lo g ical arrangem ent to the order o f th ese sites, so the m aterial m akes for ex c elle n t b row sin g. W hile you are w aitin g for your files to be d o w n lo a d ed y o u can p on d er the B uddhist riddle in “T he O ne F inger K oan” or con tin u e to riffle the pages for m ore c o o l sites.

O f sp ecia l in terest to graphic artists w ill be the Art W ires chapter o f Aether Madness, w hich lists on lin e addresses for the D esig n lin k p ortfolio archive, the o n lin e ga llery O TIS (O perative Term Is S tim u late), and the A rtsW ire B B S , a sm all, in flu en tial com m u nity o f arts ad m in istrators lo g g in g on from state arts co u n c ils, the N ation al E n d o w m en t for the A rts, the P ew C h aritab le T rust and the N a tio n a l A sso cia tio n o f A rtists O rganizations.

A d d itio n a l re so u rces in clu d e ALT. artcom , w hich explores the intersection b e tw ee n art and co m p u ters, and The T h ing, a N ew York C ity B B S d evoted to art c r itic ism as p ra cticed by the d ev o tees o f D errida and Foucault.

Planet Internet by Steve R im m er takes an alphabetic approach to its guided tour o f the on lin e w orld, roam ing the frin ge elem en ts o f the Internet from a c a p p e lla m u sic to ’z in e s, th o se evan escent ’N et publications o f fierce

in d ep en d en ce and lim ited aud ien ce.

In addition to as m any ’N et addresses as the author can round up, each entry is accom panied by a few paragraphs o f introductory text and, if ap p licab le, ex cerp ts from actual p o stin g s. A n app en dix in Planet Internet con tain s the in form ation first-tim e users w ill need to get up and running, in clu din g phone num bers o f Internet providers, ex p lan ation s o f A rch ie, G opher and the W orld W ide W eb.

E nough o f R im m er’s personal p olitics and w o rld v iew b leed through in to the b o o k to m ake th is g u id e a little too person al. O n the one hand, it is refresh ing to have a curatorial ey e to g u id e yo u through the b y w a y s o f cy b ersp a ce. On the other, R im m er’s jau n d iced v iew s on cats, lim erick s, pornography and the culture o f p o liti­ ca l co r rec tn ess are n eith er new , interesting nor en ligh ten in g. W hile the inform ation delivered by Planet Inter­ net is b ey o n d reproach, the b ook labors under on e o f the w orst graphic treatm ents w itn essed sin ce the glory days o f the underground press circa 19 70 . Im ag in e green tex t and b lu e cut-and-paste illustrations, m any dow n­ lo a d ed from In ternet lib ra ries, and y o u ’ll have a sen se o f the visu al m ish ­ m ash that is Planet Internet.

U nderpinning R im m er’s eclectic guide­ book is the realization that o n ce you esta b lish a free Internet co n n e ctio n v ia a u n iv ersity, go vern m en t en tity, or m ajor corporation, y o u ’ll get busy w astin g hu ge am ounts o f tim e and h igh -tech resources by d ow n load in g L etterm an’s top ten lists, transcripts o f old “Star Trek” ep isod es and erotic p ictu res. It’s an odd thought, using the n ew est tech n o lo g y to satisfy one o f the o ld est hum an needs.

— Sam McMillan Publications

Interact, the A m erica n C en ter for

D e s ig n ’s 1 9 9 4 jou rn al, p resen ts a though t-provok ing roundup o f som e

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R eso urces

o f the m ost intriguing efforts don e by professional designers, educators and stu d en ts w ork in g in the field o f electronic design. E ssays by the partic­ ip ants exp lore and exp oun d on their o w n p ro jects, w h ich run the gam u t from in teractive training too ls to industrial design o f high-tech m apping d e v ic e s, au tom ated telle r m achines and designing corporate identities for a so ftw a re com p an y. Interact in clu d es a M a c in to sh -co m p a tib le C D -R O M w hich displays som e interesting inter­ face exam ples. For further inform ation c a ll (8 0 0 ) 2 5 7 -8 6 5 7 or fax (3 1 2 ) 6 4 9 -9 5 1 8 .

x-height, on e o f the m ore in terestin g

ca talo gs/m ag a zin es d evoted to ty p o g ­ raphy in the g ra p h ics in du stry, is available from Fonthaus, the developer o f in n o v a tiv e n ew fo n ts and fon t related softw are. For m ore in form a­ tion ca ll (2 0 3 ) 3 6 7 -1 9 9 3 or fax (2 0 3 ) 3 6 7 -1 8 6 0 .

Want to g et the latest free update to your graphics softw are program s?

W orried abou t r e c e iv in g the m o st recen t bu g fix es? D e sig n T o o ls ’s Monthly Updater D isk p ro v id es a m onthly su bscription to every free update and bug fix for program s and u tilities com m o n ly used by graphic d esign ers. Sharew are and F onts are also in clu ded . To start a subscription c a ll (3 0 3 ) 4 4 4 -6 8 7 6 or fax (3 0 3 ) 4 4 0 -3 6 4 1 .

Query, a m agazine d evoted to a n a ly z­

ing the latest developm ents o f Internet and netw orked tech n o lo g y issu es, w ill hop e to keep its readers apprised o f the ex p lo sio n o f inform ation along the in fo rm a tion su p erh igh w ay. P ub­ lish ed ten tim es a year, Query w ill p rovid e in -d ep th co v e ra g e on issu e s su ch as in fo rm a tion in frastru ctu res, Internet access, inform ation resources, cross-p latform too ls, w orking w ith m u ltim edia on the Internet, p u b lish ­ ing on the Internet, and creating your ow n M osaic server. To order a charter subscription ca ll (8 0 0 ) 7 7 3 -0 6 7 0 or e-m ail S y lla b u s@ n etco m .co m .

T he la test ca ta lo g o f m u ltim ed ia reso u rces is a v a ila b le from Future

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S y stem s In corp orated . In ad d ition to textb ook s and training gu id es, the catalog offers a variety o f w hite papers, reports and b u sin ess a n a ly se s o f the m u ltim ed ia industry. To order a ca ta lo g c a ll (8 0 0 ) 3 2 3 -3 4 7 2 or fa x (7 0 3 ) 5 3 2 -0 5 2 9 .

Resources

N o w w om en can com b in e w orking the ’N et w ith netw ork ing. W om en’s W ire is an on lin e com pu ter netw ork service dedicated to the global com m u­ nity o f w o m en ’s interests and issues, in clu d in g p r o fe ssio n a l m en to rin g netw orks, advocacy groups, m onitoring and participating in p o litica l d e v elo p ­ m ents as w ell as forum s on career and b u sin ess a d vice. For a starter kit or for m ore in form ation ca ll (4 1 5 ) 6 1 5 -8 9 8 9 or e-m ail in fo @ w w ire.n et.

A catalog o f m ore than 3 ,0 0 0 im ages, from C o n tin u u m P ro d u c tio n s’s a lld ig ita l im age archive, featuring som e o f the w o rld ’s best kn ow n w orks o f art, is a v ailab le via the C orbis M edia Forum to users o f A m erica O nline.

U sers m ay then e-m ail a request for sp ecific im a ges, w hich w ill be d e liv ­ ered v ia a cu sto m C D -R O M . For further questions call (800) 2 60-0444.

C om pu Serve and art g a lleries around the w orld have collaborated on an on lin e gallery that brings the w ork o f artists to PC s at the sam e tim e they debu t on g a llery w a lls. T h e forum , ca lled G O A R T IST , featu res d o w n ­ loadab le im ages o f an artist’s w ork, thum bnails o f all the im ages in clu ded in the show, an online brochure detail­ ing p iece s in the exh ib it, and pictures o f the artists at w ork. To su bscribe to C o m p u S erv e c a ll m em b ersh ip and in q u iries at (8 0 0 ) 8 4 8 -8 1 9 9 ; for C om pu Serve cu stom er serv ice call (8 0 0 ) 8 4 8 -8 9 9 0 .

Tools

For photographers on the m o ve from rem ote field lo ca tio n s, th ere’s Studio In A B ag, a handy case o f portable, fu lly d ig ita l im a g in g eq u ip m en t,

including a digital cam era, a recharge­ able laptop com pu ter and an option al scanner or printer. A cord less, cellu lar system is also available. B oth versions o f Stud io In A B ag can be purchased or rented for short-term sh oots. For m ore in fo rm a tio n ca ll (2 1 2 ) 7 7 7 5 9 0 0 or fax (2 1 2 ) 4 7 3 -0 6 9 0 .

T he d esig n s o f Frank L loyd W right liv e on in a n ew ty p e fa c e c a lle d Eaglefeather from A gfa. E aglefeather’s source alphabet, d esig n ed circa 1920, w as origin ally m eant to a ccom p an y on e o f W righ t’s architectural projects.

E aglefeath er F orm al, Inform al and Sm all Caps is available via floppy disk in three w eig h ts and m atch ing handtuned italic w eigh ts. For m ore inform a­ tion call A g fa at (8 0 0 ) 42 4 -T Y P E .

D o gb y te D ev elo p m e n t’s Stationery S tore, a w in d o w s co m p a tib le C D R O M , a llo w s users to q u ick ly create up to 6 0 0 cu stom ized stationery form s and m atch ing en v elo p es. P reform at­ ted tem p late sets in clu d e m ore than 1,000 graphic elem en ts allo w in g users to create a k a leid o sco p e o f stationery.

A n easy-to-u se interface for w ord pro­ cessin g is in clu d ed along w ith a card­ file database w hich stores and retrieves freq uently u sed nam es and addresses.

C om patible w ith m ost color in k jet and laser printers, Stationery Store is d is­ tributed by D avidson & A ssociates. For sales inform ation call (80 0 ) 5 4 5 -7 6 7 7 .

A re w e there yet? K eyM a p U S A and C ityM ap s, tw o com p an ion p iece s o f softw are from W ordStar for D O S and W in d o w s, p ro v id e c o m p r eh e n siv e m aps o f the entire country. In addition to planning a route and printing direc­ tion s, the softw are a llo w s d esign ers to export the m aps to their other appli­ cations. 153 separate C ityM ap s co v er m o st m ajor m etro p o lita n areas. To order the softw are call (80 0) 622 -339 0.

Frick on a d isc. D ig ita l C o llectio n s In c. s p e c ia liz e s in C D -R O M c o lle c ­ tions o f fine art from around the w orld.

R ecen t relea ses in clu d e Great Paint­

ings: Renaissance to Impressionism,

2 4 0 p a in tin g s from the F rick c o lle c ­ tion ; Masterworks o f Japanese Painting; and Ancient Egyptian Art

from the Brooklyn Museum. S o o n to c o m e , 1,000 Years o f Russian Art, and, in a p lain brow n w rapper, The Works o f Robert Mapplethorpe. A lso from

D C I is E m bA rk , an im a g e -o r ien te d in v en to ry co n tro l for m u seu m s, g a lle r ie s and others w ho m ust m anage large co lle c tio n s o f grap hics. For m ore in form ation , or to order D C I Im age B a se ca ll (8 0 0 ) 4 4 9 -6 2 2 0 .

R o ya lty -free Italy. T extures o f Italy, a c o llectio n o f 100 ph otograp hic clip art im a ges, is n ow av a ila b le on a C D R O M from C lip Sh ots. A rchitectural details, textiles, food, V enetian papers, and m ore ev o k e an aura o f all things Italian. Four resolutions o f each im age are in clu d ed on the K odak P hotoC D , w ith the h ig h est reso lu tio n o f 2 0 4 8 x 3 0 7 2 p ix els (an 18 M B file) su itab le for 4 -c o lo r p rin tin g. F or m ore in for­ m ation ca ll (8 0 0 ) 5 5 1 -3 8 2 6 .

H ita ch i in tro d u ces a n ew 6 " x 9" graphics tablet and co rd less pen input d e v ice av a ila b le for W in d o w s, D O S , M acin tosh , S ilico n G raphics and Sun S olaris operating sy stem s. F eatures o f the M ultiP ad 609J in clu d e 2 5 4 0 lin es per in ch reso lu tio n , 2 5 6 le v e ls o f pressure sen sitiv ity , 128 le v e ls o f tilt at p lus or m inus 6 0 °. F ast pen to screen draw ing is a ch ieved w ith a 205 p o in ts-p er-seco n d read rate. For m ore in form ation ca ll (4 0 8 ) 7 4 7 -0 7 7 7 or fax (4 0 8 ) 7 4 6 -2 3 2 3 . x R es, from F a u v e S o ftw a re , a c o m ­ p lete set o f p h o to -re to u c h in g and painting tools, accelerates all com m on im a g e -e d itin g fu n c tio n s, a llo w in g users to m anipulate files as large as 5 0 0 M B in r e a l-tim e. x R es attain s h ig h -sp e e d im a g e e d itin g on large im ages at full resolution by postpon ing rendering as lo n g as p o ssib le . W ork in progress can be saved in an X R S form at, then co n v erted to a standard TIFF file in final rendering. For m ore inform ation call Fauve Softw are at (8 0 0 ) 8 9 8 -A R T S .

B ackw ards into the future w ith M arkzTools. A Q uarkX Press X T ension that p ro v id es b ack w ard s c o m p a tib ility for Q uarkX Press docum ents, M arkz-

T o o ls crea tes a sp e c ia l file form at that e n a b le s d ifferen t Q u ark X P ress v e r sio n s to read ea ch other. A lso in clu d ed is a feature that com p resses and decom presses QuarkXPress picture files up to 50% and text docum ents up to 75% . For m ore inform ation call (8 0 0 ) 3 0 0 -3 5 3 2 .

A b ou tF ace from B ig R ock Softw are, a llo w s M acin tosh desktop publishers to select and ca talo g their co llectio n o f typ efa ces. U sin g the S tyleF in der tool, users m ay enter a page o f text and print the text in m ultiple fonts w ithout retyping. R eport form ats include tradi­ tional type sp ecim en pages o f available fon ts, a keyboard m ap, v isu al listin gs o f each character and its keystroke equivalent. Character Set d isp lay s all the characters av ailab le in a fon t and H eadliners prints tw o to three lin es o f tex t in m u ltip le fo n ts on a p ag e for ea sy c a ta lo g in g and referen ce. For m ore inform ation call (716 ) 2 88 -2 86 0.

A new tw o -sid ed scanner resolu tion test target for calibratin g co lor and B & W d u p lex sca n n ers is a v a ila b le from A & P In tern a tio n al. T he P M 189II Scanner Test Target is 81/ 2" x 11" d im e n sio n a lly sta b le standard co n ­ tainin g 26 high resolu tion im ages for b en ch m ark in g sca n n ers. T h e chart com es com plete w ith a pattern descrip­ tion and explanation o f the test pattern areas on the target. For m ore in for­ m ation ca ll (6 1 2 ) 7 3 8 -9 3 2 9 .

Tune up your C D -R O M ’s perform ance by a cceleratin g seek s, searches and fold er o p en in gs w ith the C D -R O M T o o lk it from F W B . P ro m isin g to im p ro v e the p erform an ce o f certain C D -R O M o p era tio n s up to 1,000% , the C D -R O M T oolk it autom atically configures itself to your individual hard drive. Its u n iversal drivers are co m ­ p atib le w ith all C D -R O M s in clu d in g K od ak ’s P hotoC D form at. For m ore in form ation call (4 1 5 ) 4 7 4 -8 0 5 5 or fax (4 1 5 ) 7 7 5 -2 1 2 5 .

International travel photographer Philip H. C ob len tz offers The Best o f San Francisco, 100 im ages o f the C ity by the B ay on K odak P hotoC D from his library o f Im ages From Ideas. The disc

is com p atib le w ith m ost C D -R O M X A drives with m ultisession capability.

E ach im age has been scanned at high resolu tion and color-m atched to the o rig in a l for h ig h q u ality. T h ey are easily converted to, and saved in, stan­ dard file form ats su ch as PIC T and TIFF. T h e im ages have been scanned at fiv e d ifferen t re so lu tio n s, from thum bnail to files greater than 18 M B. For further in form ation or to order ca ll (4 1 5 ) 4 5 6 -6 1 7 9 .

Conferences

Thunder L izard’s P ageM aker, P h oto­ shop and Q uarkX Press co n feren ces have been announced for the Spring, Sum m er and F all. P ageM aker co n ­ feren ces w ill be held June 12 and 13 in Seattle, O ctober 2 and 3 in C hicago and N ovem ber 6 and 7 in Los A ngeles.

The P hotoshop conference w ill be held July 10 and 11 at the M arriott M arquis in M anhattan. A new Q uarkX Press con feren ce is scheduled for Septem ber 21 and 2 2 at the W alt D isn ey D olph in in O rlando. For m ore inform ation or to register ca ll (8 0 0 ) 2 2 1 -3 8 0 6 or fax (20 6 ) 2 8 5 -0 3 0 8 .

Publications

T h e IB M M u ltim ed ia E x e cu tiv e C enter, located in Atlanta, offers com ­ panies the opportunity to exp lore the p o ssib ilitie s o f incorporating m ultim edia tech n o lo g y into their b u sin ess process. B riefings co ver em erging te c h n o lo g ie s, b u sin ess tren ds and sp ecific m u ltim edia b u sin ess ap p lica­ tions. To con tact the C enter call (4 0 4 ) 2 3 8 -3 3 2 7 .

A variety o f sem inars and hands-on w orksh ops for p rofession a ls in digital im agin g tech n o lo g y is availab le this Spring from R IT ’s Technical and Edu­ ca tio n C en ter for the G rap hic A rts.

In-depth w orksh ops run the gam ut from E lectron ic Im aging to Im age P rocessin g, G raphics and P ub lishing S oftw are and E lectronic P repress and P ub lishing. To request a catalog call (7 1 6 ) 4 7 5 -5 0 0 0 .

COMMUNICATION

ARTS

145

Send in your entry today to the 1995 Adobe Magazine Design Contest. If it's judged "Best of Show," you win $7,500 cash, the 3M Brand Rainbow Color Proofing System (retail value $18,500), and Wacom ArtZ Graphics Tablet (retail value $499). If your work is the Runner-Up, you win $2,500 cash!

And if your entry is the best in any one of our 28 categories, you win a free box of Adobe software— your choice of Photoshop, PageMaker, Illustrator, Premiere, or others (retail value up to $895).* Plus, if you're a winner or a runner-up in any category, your work will be seen by over 600,000 readers** in Adobe Magazine's annual design contest issue, published in December.

Deadline: August 11,1995 Entry fee: $25 per entry

Cosponsored by: Adobe

WACO/A Official rules Prizes: One Grand Prize consisting o f $7 ,5 00 cash, the 3M

Wacom ArtZ Graphics Tablet

Brand Color Rainbow Proofing System, and a Wacom ArtZ Graphics Tablet to be aw arded. One Runner-Up prize of $ 2 ,5 00 cash to be awarded. One w inne r in each category receives his or her choice o f a single Adobe software product

(retail value up to $895), excluding prepress products, UNIX products, Font Folio, and After Effects.

E lig ib ility : Your submission m ust have been p rin c ip a lly created using Adobe or Aldus software; and you

3M Brand Rainbow” Proofing System

must be a registered user of an Adobe/A ldus product, or have created your en try by legally using registered Adobe/A ldus softw are (such as your company's).

Fees an d deadlines: Contest begins March 15 ,1 9 9 5 , and ends August 1 1 ,1 9 9 5 . Entries must be received b y us no later than August 1 1 ,1 9 9 5 . Fee is $25 for each entry, paid by check or money order

Excluding prepress products, UNIX products, Font Folio, and After Effects.

drawn in U.S. funds on a U.S. bank, payable to Adobe M agazine Design Contest, except that residents

•Based on 239,361 qualified subscribers, sample copies m ailed,and docu­

o f Arizona, California, Georgia, M aryland, and Verm ont need not submit any entry fee due to local law.

mented pass-along o f 1.04 additional readers per copy.

Adobe is not responsible for lo s t late, or misdirected entries.

C1 1995 Adobe Magazine

Design Contest Entry Form (clip o r pho toco py )

rie s Contest

Contest cateqories 1.

Annual report

Please fill out this form and tape it to the back of your submission. One form per submission, please.

Fee is

$25 per entry.

DESIGN CREDITS (Please be thorough and careful— 3.

Catalog (for product, school, exhibition, etc.]

4.

Packaging

6.

Identity system (at least three separate pieces)

7.

Print advertisement

these will appear in print) Names and roles (designer, illustrator, etc.):

CONTACT INFORMATION N a m e ___________________________________ P hone___________________________________ C o m p a n y ________________________________

10.

Magazine/journal (cover, page, spread, or entire publication)

11.

Newspaper (page, spread, section, or entire publication)

12.

Book (cover, jacket, or entire publication)

Address _________________________________ C it y ____________ State________ ZIP________

13.

Manual/documentation (printed or electronic)

14.

Illustration, published

15.

Illustration, unpublished

16.

Photo-illustration, published

Adobe product(s) used (check as many as apply): □ PageMaker

□ Photoshop

□ Illustrator

□ Persuasion

□ Premiere

□ After Effects

Other ___________________________________ Adobe product serial number:

17. Photo-illustration, unpublished

18. Information graphic/technical illustration

19. Map

20. Invitation/announcement

21. Self-promotion

22. One-color piece

23.Two-color piece

24. Design for on-screen viewing (screen, page, or entire work)

Category (circle only one):

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Entry fee enclosed as:

□ check

□ money order

I certify that the enclosed submission is entirely the original work of the creators listed, and that it was created using the Adobe product(s) checked above. I grant to the right to reproduce and distribute the submission in connection with the Adobe Magazine Design Contest, which includes, but is not limited to, the right to reprint, overprint, publish, exhibit, transmit electronically, and otherwise use it to promote and advertise the Adobe Magazine Design Contest, free of charge and with no obligation on the part of Adobe. Use by Adobe of the submission and the images contained in it will not in any way violate the copyright or other interest of any third party.

I understand that this submission will not be returned to me.

Adobe Magazine

S ignature__________________________________ D a t e ______________________________________

25. Presentation (slide or multimedia)

Mail to: Adobe Magazine Design Contest, 26. Video/video clip (5-minute limit)

27. Animation/special effects

411 First Avenue South, Seattle, WA 98104-2871 Ship to (FedEx, UPS, Airborne, etc.):

83 South King Street, Suite 806, Seattle, WA 98104-2871

Adobe Magazine Design Contest, 28. Miscellaneous

P re p aratio n o f en tries: Print entries must be the actual printed piece (no comps accepted), except

category entered. Altered, defaced, m utilated, illegible, or incomplete entry forms are not eligible.

substitute prizes w ith similar or greater value.

th a t oversized items may be subm itted as 3 5 -m m . slides (subm it slides in page-sized transparent

Judges reserve th e right to recategorize entries and to forgo selecting a w inner in any given category.

Restrictions: The contest is open to all U.S.and Canadian residents who are 16 years or older a t the

sleeves— no loose slides please!). D igital files may be subm itted on floppy diskette (3'/2 or 5’A inches,

Judges: All entries w ill be judged by a preselected and independent group o f judges who w ill not be

tim e of entry except th at th e contest is not open to residents of Quebec. Adobe em ployees, affiliates,

PC or M ac), SyQuest or Bernoulli cartridge (44M B or 88M B), or CD-ROM (PC or M ac). Persuasion pre­

given th e names or identities o f th e participants and whose decisions are final.The entries w ill be

subsidiaries, promotion, and judging agencies are not eligible to participate. Contest void where

sentations must be in Persuasion Player form at. Videotapes should be in VHS form at. An entry form

judged on aesthetic criteria including creativity, originality, and appropriateness. Odds of winning

prohibited by law. All federal, state, and local laws and regulations apply. For th e names of the prize

must be taped securely to the back of every entry (photocopies are OK). Sorry, no entries can he re­

prizes are determ ined by th e total num ber of qualified entries received.

winners, send a self-addressed, stamped envelope to the address on th e entry form .

tu rn e d due to volume o f submissions. Logos must be subm itted in black and w hite, although a color

Releases: The prize winners, and the legal guardian o f any w inner under age 18, w ill be required to

If you have questions, call us at (206) 23 3-7 43 0.

version can be included. Logos, illustrations, and other pieces whose context or purpose are not ap­

sign publicity (Tennessee residents excepted)/liability releases and affidavits o f eligibility w ithin 15

parent m ay be accompanied by a b rief explanation (m axim um SO words). Please lim it the elem ents of

days of notification. By submitting an entry, participant (Tennessee residents excepted) agrees to

Adobe, the Adobe logo, Adobe Font Folio, Adobe Illustrator, Adobe Photoshop, Adobe Premiere,

an identity system to five items. For item s w ith te x t not in English, please provide a translation. Non-

allow th e use o f his or her entry and nam e an d /o r likeness an d/or voice in publicity or advertising

Adobe M agazine, A fter Effects, PageMaker, Aldus, and Persuasion are tradem arks of Adobe Systems

U.S. entrants should mark each package: "M aterials for contest entry. No commercial value." A n y e n try

related to th e Adobe M agazine Design Contest w ith o u t compensation. Adobe is not liable for injury,

Incorporated or its subsidiaries and may be registered in certain jurisdictions. W acom1” and ArtZ®

th a t doesn't m ee t a ll relev a nt requirem ents m a y be discarded.

loss, or dam age o f any kind resulting from acceptance of prizes and participation in the contest. Taxes

are registered tradem arks o f Wacom Company Lim ited. Other product and corporate names may be

E ntry fo rm : Circle only one category on each en try form . An entry may be entered in more than one

are th e sole responsibility of the winner, and the prizes are not transferable. No s u b s titution o r cash

tradem arks or registered tradem arks o f other companies, and are used only for explanation and to

category, but you must subm it a separate copy of th e entry, w ith its own en try form and fee, for each

redem ptions allo w e d b y w inn ers except a t th e sole discretion o f Adobe. Adobe reserves th e right to

the owners' benefit, w ithout intent to infringe.

FREE-LANCE

M a ria P isco po

N e w T e c h n o l o g y C l ie n t s A N Y F R E E L A N C E R S A S S U M E TH A T the purchase o f new tech n o lo g y m eans that they w ill be su ccessfu l at finding new clients.

A t th is p o in t, ev e r y o n e that has tried has had different ex p erien ces.

It is true that som e freelancers have fou nd n ew clien ts by entering new job m arkets created by the digital technology.

Som e o f these m arkets include: m ultim edia products; e le c ­ tronic p u blishers; in tera ctiv e training and p resen tation programs; entertainm ent and electronic gam es; educational program s; pu blic fa c ilities w ith in teractive v id eo kiosks; boutique stock illustration and photography agencies; and on lin e serv ices and in teractive p u blications.

Susan M iller, an artists rep resen tative in N ew York C ity, has th is to say: “A s p r o fe ssio n a ls in the p h otograp h ic industry, it is im portant to keep focused on the fact that w e sp e c ia liz e in p ro v id in g co n ten t, so m eth in g w h ich has b eco m e in creasin gly valued and em p h asized in the inter­ a ctiv e and d ig ita l field . T h e va rio u s to o ls that are u sed should never be g iv en m ore em phasis than m essa g e, style and em otional force being transm itted by the photographers.

Som e things never change; the m ore unique the visual m es­ sage, the m ore in dem and the photographers w ill be; the processes they use alw ays w ill be less im portant in the end.

“First, sin ce the virtual office is upon us, the o n ly w ay to m arket to b u yers w e ca n n o t find is to m ak e it ea sier for them to find us. A dvertising in directories w ill b ecom e m ore relevant in the future, and w e reco g n ize this fact.”

C lien ts now have the opportunity to v iew p o rtfo lio s and receiv e prom otional m aterials not only v ia the traditional m eth od s, but on d isk , C D -R O M or the o n lin e ser v ice s.

Perhaps clien ts can ask for a disk as w ell as a directory so that in addition to print there w ill be m ore w ork available through th ese alternative d eliv ery m ethods.

“S eco n d ,” adds M iller, “w e have built a team o f photogra­ phers w ho are doing all assignm ents digitally already. We fe e l the first areas to require digital form at photography w ill be from reta il, d irect resp o n se and ca ta lo g m ar­ keters— th ese areas put a prem ium on sp eed , on d elivery at m inim um production cost.

“Third, thinking quite far ahead, m y com pany has in vested tim e and funding in the start-up o f an o n lin e serv ice w ith a v astly superior data co m p ressio n system to J-PEG , the current industry standard. I fe e l on lin e serv ices w ill be the w ay o f the future to sh ow case photographers’ portfolios to a glob al m arketp lace.”

M ich a el F urm an, a p h o to g rap h er from P h ila d elp h ia , P ennsylvania, offers these com m ents, “T he primary clien t for digital capture products is still jou rn alism , w here you n eed an im a g e in stan tly, that can g o an yw h ere in the

148

MAY/JUNE

1995

w orld. T here are certain fash io n ap p lication s. T here are ap p lication s for products used in retail ad vertisin g. A nd finally, for cata log s w here the en tire project can be pro­ du ced electro n ica lly .”

A s I said at the b eg in n in g o f this p iece , new tech n o lo g y does not alw a ys bring n ew clien ts. A cco rd in g to Stan S h olik , a stud io photographer in Santa A na, C alifornia, “N o new clien ts h ave ca lled for ‘d ig ita l.’ T h ey are c a ll­ in g for such thin gs as different co lo red backgrou nd s, product retou ch ing, co m p o sites and ev en adding illu stra­ tion. W e h ave ch o sen to m arket th ese serv ices to our ex istin g clien ts, and certainly non e h ave co m e forw ard sayin g that they need d igital. F or us, it is m ore a m atter o f offering add itional serv ices to p eo p le you are already doing b u sin ess w ith .”

In som e ca ses, co m m u n ica tio n s tech n o lo g y cap able o f efficien tly d ealin g w ith large d igital files is a lim itin g factor in reach ing n ew tech n o lo g y clien ts. A ccord in g to R ichard Salzm an , an illustrators rep from San F ran cisco, C alifornia, “C urrently, som e o f m y artists m ay d eliver their traditional art in d igital form (for ex am p le, on a S yQ u est cartridge) w h ich still requires the sh ipp ing o f a p h ysica l item . T he sig n ifica n t im pact on our ab ility to m arket in ternationally w ill require tech n o lo g y and infra­ structure— data co m p ression and tran sm ission ca p a city— that a llo w s for file s o f th is siz e to be sen t by m od em , efficie n tly . In a cy b ersp a ce co m m u n ity, w e w ill be a lo c a l v en d o r to all our c lie n ts, w o r ld w id e , u ltim a te ly allow ing for im m ediate delivery, w ith artist and art director v iew in g im ages togeth er in real tim e.”

For som e, d igital tech n o lo g y has not been b en eficial at all. C onsid er th ese com m en ts from D eb b ie V y sk o cil, a photographer from C hicago, Illinois. “N o new clien ts have opened up for m e in the digital arena, in fact, it has really shut som e o f m y traditional m arkets dow n. C lients are able to m anipulate im ages so m uch that they are able to reuse art th ey ’v e already purchased. It a lso en ab les p eo p le to steal our im ages m uch m ore ea sily .”

E ven though som e in d ivid u als h ave fou nd great su ccess in find ing c lie n ts for n ew te c h n o lo g y p rod u cts and ser­ v ic e s, the true “n ew te c h n o lo g y ” c lie n t has not rea lly em erg ed y et. T h ere is too m u ch c o n fu sio n , m isu n d er­ stan d in g and m isin fo rm a tio n am o n g c lie n ts as to w hat freelan cers can offer.

T he true clien t for n ew tech n o lo g y n eed s to understand w h at’s in v o lv ed , w hat can be d on e, and h ow m uch tim e and capital investm ent is required. But change is com ing.

W atch th is co lu m n in the S ep tem b er/O cto b er issu e for the la test in form a tion a v a ila b le in the search for n ew tech n o lo g y clien ts.

387 I M A G E

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ADVERTISING

N ick C o h e n

“ T h o u S h a l t N o t D e c e iv e ” N A SU R V E Y C O N D U C T E D BY G ALLUP, A m erican s w ere asked to rank variou s p ro fessio n s in order o f integrity. O f the 27 p ro fessio n s listed , d ru g g ists and p h arm acists cam e in at the top . In second place w ere clergym en, clo sely fo llo w ed by co lleg e p rofessors, m edical doctors and dentists.

Way d ow n the list, in 26th p lace, cam e advertising prac­ titio n ers, rated as h a v in g s lig h tly le s s in teg rity than insurance salesm en, but not quite as m istrusted as bottom placed used-car dealers. (Thank heavens for sm all m ercies.)

N eed less to say, as an advertising practitioner m y self, the results o f the survey m ade m e sad and depressed. E ven law yers w ere rated m ore favorably (15th place).

It m ad e m e em barrassed to tell p e o p le w hat I d id for a liv in g . The sham e this m ust be bringing to m y fam ily.

I ev en started tellin g p eop le that I w as a graphic designer, w hich seem ed alw ays to get im p ressive nods o f approval.

(W hy did th o se p eo p le g et o ff so e a sily , w ith all their “tasteful” aesthetics and clever designs to enhance the per­ ceived value o f a run-of-the-m ill can o f peas and the like?)

So how did this anim osity towards the hard-working adver­ tising profession als in this fine country foster itself? W hy the m istrust? W hy all the resentm ent?

O f all the answ ers to th ese q u estio n s I’ve ev er heard or read about, the on e that rings the m ost true is that so m e­ w here along the w ay “cu stom ers” b ecam e “co n su m ers.”

T he big corporations w anted to cash in on the post-w ar boom years and turned to advertising agen cies to con vin ce the new suburbanite A m erican h o u sew ife that w hatever she had— cookers, cleaners, cereals, lip stick— w a sn ’t good en ou gh , and that neither w as she. If she d id n ’t run out and get som eth in g e lse, she w o u ld n ’t have or d eserve the lo v e o f her husband and fam ily. S h e ’d be d efectiv e.

T h e im a g e o f the a d v ertisin g e x e c u tiv e b eca m e a fasttalking cigar-ch om p in g m ale w ho w o u ld tell you ex a ctly w hat the A m erican h o u sew ife fan tasized about, and o f course he had the dream neatly packaged and ready to ship.

A nd w hen he w a sn ’t busy fu lfillin g her dream s, h e ’d be hard at w ork, inventing w ays to m ake her feel lou sy about h erself, secure in the k n o w led g e that h e ’d be able to sell her solu tion s to m ake her feel better again.

The old -fash ion ed idea o f the good and trusting personal relation ship b etw een a proprietor and a cu stom er w ent flying right out the w in d ow . N ob od y seem ed to have any reason for it.

The idea o f caring serv ice and a gen u in e em pathy for the cu stom er soon b ecam e a n ovelty. Sure, plenty o f adver­ tisers prom ised it ...“Y ea h ...le t’s say w e care about ’e m ... that’s a h ellu v a good g im m ick .” B ut h ow m any sin cerely m eant it or really d elivered on their prom ise?

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T he net result o f all th ese g im m ick s and m an ipu lations is that th ese days m ost ad vertisin g is not trusted; it’s seen at best as a n ecessa ry e v il, and m ore o ften as som eth in g tricky to be w ary of. C ustom ers have gotten sm arter about advertising (som etim es too sm art for their ow n good ) and com e to advertising presu m in g the w orst.

It’s an en em y rather than a friend.

P erhaps w e need to co m e up w ith a set o f ru les to clean up our p ro fessio n and esta b lish a better relation sh ip w ith the A m erican pu b lic. It ca n ’t be that hard.

H ere are m y ten com m andm ents: 1. Thou shalt not deceive.

2. Thou shalt not d isto rt.

3. Thou shalt not brag.

4. Thou shalt not co n d e sce n d .

5. Thou shalt not be mean sp irite d .

6. Thou shalt not make people feel in secu re.

7. Thou shalt not be sexist.

8. Thou shalt not be dull.

9. Thou shalt not be boring.

10. Thou shalt not d eceive.

O K , m ayb e som e o f them are tou gh to sw a llow . I m ean, so m etim es y o u ’v e got to “distort” stu ff a little b it...y o u k n o w ...c a st your product in a favorab le lig h t...e v e n M onroe had her better an gles.

The point is, unless w e aim a lot higher, even if that m eans b ein g p ick y about the clien ts w e take on, the ad vertisin g p ro fession w ill alw ays be p erceiv ed as shady and w e ’ll all be sure to end up in h ell. (W ith all the second-hand car dealers and in suran ce salesm en .)

T h e g o o d n e w s is that there are a g ro w in g num ber o f m ajor advertisers w ho have recogn ized that treating people w ith real resp ect and g en u in e affection is a surefire w ay to build a h u ge fo llo w in g and therefore create p ow erfu l brands. N ik e, Ikea, B en & Jerry’s, S n app le, A p p le and Saturn, to nam e ju st a few .

T hey and their agen cies are m aking advertising that’s about con n ectin g a valu ed cu stom er to a v alu ab le serv ice, not about tricking p eo p le in to b u yin g thin gs th ey d o n ’t need.

A nd in local m arkets a lot o f sm aller advertisers are creat­ ing strong footholds in their m arkets sim ply by being nicer, frien dlier and a w h o le lot m ore sin cere than their bigger, brasher com p etitors.

R ea listica lly , advertising w ill probably a lw a y s be seen as u gly com m erce intruding in to p e o p le ’s h om es and liv e s.

B ut w ith a little m ore care, though t, ap p lication and a com m itm en t to tell the truth in an en tertainin g w ay, w e co u ld quite ea sily b eco m e the gate-crash er at the party that is in vited to “H ey, stay and h ave a beer.”

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B o o k R e v ie w s F e l l o w R e a d e r s : n o t e s o n m u l t ip l ie d l a n g u a g e

By Robin Kinross Published by Hyphen Press 51 Grafton Road, London, England NW5 3DX $7.50

If the o ften harsh d isp u tes o v er poststru ctu ralism leav e you d izzy , then R obin K in ro ss’s sane and clear w ritin gs are the p rescrip tio n . Fellow Readers (m ore o f a lo n g pam phlet than an actual b o o k ), is a delib erate and lo g ical th esis on how lin g u istic theory has been m isu sed in the a p p lica tio n o f p o ststru ctu ra list and d e co n str u ctio n ist theories to typography.

The appendix offers a good beginn ing to Fellow Readers.

In it, K inross points out that th ese abstract, in tellectu al lin g u istic th eo ries h a v e in sp ired a m b ig u o u sly la y ered d esig n , the purported aim o f w hich is to allo w m u ltiple interpretations in reading. A s exam ple, he quotes Katherine M c C o y ’s a n a ly sis o f so m e d eco n stru ctio n ist d esig n , “T his w ork has an in tellectu al rigor that dem ands effort o f the audience, but also rew ards the audience w ith content and participation...G raphic designers have becom e dissatis­ fied w ith the o b ed ien t d eliv ery o f the c lie n t’s m e ssa g e .”

A nd , accord in g to B rid get W ilk in s, “L e g ib le is ea sy to read. If it is easy to read it b y p a sses the visu al potential o f the m essage. P eople prefer the com fort o f legibility. The p a ssiv e, com fortab le approach and n eg a tiv e visu a l in ter­ relation ships o f type and im age w ere firm ly rooted by Stanley M orison in the perpetuation o f le g ib ility and the cultural backw ater o f left to right reading in the 1930s.” To the latter, K inross responds, “The straw man o f ‘leg ib ility ’ is set up, put into stiff 1 9 30s cloth in g , and p illoried w ith deadly insults: ‘p a ss iv e ,’ ‘co m fo rta b le,’ ‘n e g a tiv e .’ E ven ‘left to right read in g’ is blam ed: is this another attack on W estern m e ta p h y sic s ? ...A ll this fire-b reath in g p o lem ic seem s to lead m erely to a p lea for grap hic d esig n e rs to be a llow ed to m ake their p resen ce k n ow n .”

K inross advan ces the n otion o f “com m on readin g” : w ith printed, “m ultiplied” language, w e m ay read as individuals, but w e understand as a com m unity, on e m ade up o f the readers o f any g iv en text. “T exts b eco m e m eetin g p la ces, grou n d s for o p en d isc u ssio n b e tw ee n p e o p le .” T h is co m m o n read in g d o e s not d ep en d up on nor requ ire the d e sig n e r ’s “u n v eilin g o f m y steries w ith in the tex t.”

H e w rites, “O ne on ly has to think o f any reader turning the p a g es, m isu n d ersta n d in g , turning b ack to see w hat w as said before, sneaking a look at the last chapter, being distracted by a phone call or the dem ands o f a ch ild , per­ haps fallin g asleep and dream ing around the text, and then returning to this bu sin ess o f turning marks into m ean­ ing. The p rocess is in d ivid u al and unpredictable. A s if w e need ed a d esign er to m ake this so! A nd yet the text is there as an ir resistib le and m u ltip le fact: a co m m o n g ro u n d .” In the end, he puts out a ca ll for clarity: “The

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reproduction and d istrib u tion o f text is part o f the lif e ­ b lo o d o f so c ia l-c r itic a l d ia lo g u e . T h e argu m en t for o p e n n ess and clarity in typ ograph y is m ade, m ost im por­ tantly, for this reason .”

A lo n g the w ay, K in ro ss to u ch es upon m od ern ism and m odern typ ograp h y, e n lig h ten m e n t (K a n t’s “h a ve the co u ra ge to u se y ou r o w n u n d ersta n d in g ” ) and the “v e r ­ n a cu lar” in d esign (“the fad for vernacular bad taste m ay be an attem pt by d esign ers to su rviv e by b len d in g into the landscape, ch am eleon -lik e”). H e builds his argum ents slo w ly , clea rly , at tim es a ca d em ica lly and alm ost m ath­ em atically (each assertion referen ced or b ased upon a p r e v io u sly b u ilt argu m en t) but a lso w ith o c c a sio n a l rem inders o f the real w orld w ith its bed p illo w s to prop up w hen reading, the w orld w ithin w h ich typography exists.

Is this little book required reading? It is if a designer plans to participate in any d iscu ssio n o f the history or practice or theory o f the p r o fessio n , ev en if that p articip ation is ju st p a ssiv e ob servation . In fact, reca llin g his p reviou s b ook , M odem Typography (w ith w h ich Fellow Reader m akes a v isu al and con cep tu al co m p an ion ), it is sa fe to say that R obin K in ro ss’s w ritin gs sh ou ld be at the top o f the p rofessio n a l reading list. It is sad to think that th ese b ook s, lack in g co lo r illu stration s, ev en m any black and w hite on es, m ay go unread by th ose w ho need them m ost.

— Angelynn Grant L o o k in g C l o s e r : C R IT IC A L W R IT IN G S O N G R A P H IC D E S IG N Edited by Michael Bierut, William Drenttel, Steven Heller & DK Holland Published by Allworth Press 10 East 23rd Street, Suite 400 New York, New York 10010 $18.95

If you are reading this review , then ch an ces are you read your d esign m agazin es and jou rn als thoroughly. M aybe you m issed an issu e or tw o during busy periods, or m aybe you are co m p letely behin d or o u t-o f-th e -lo o p w h en it co m es to the “in -h o u se” argum ents and con tro versies w e h ave in the d esig n p rofession . If so, Looking Closer w ill h elp catch you up. B ierut, D ren ttel, H eller and H ollan d have selected 48 articles originally published in Communi­ cation Arts, Print, Emigre, Eye, ID and the AIGA Journal in the past few years, grouped them into them atic categories (for ex am p le, “L an gu ages and D ia le c ts,” “Form F o llo w s F u n ction ”) and the result reads lik e a C liffs N o tes on recent d esign brouhahas.

The bulk o f the articles address tw o current sore spots: the battle b etw een M od ern ism and poststructu ralism and the “appropriation” o f the vernacular (or “L ow D esign vs. H igh D esig n ”). O ften th ese areas overlap, as in “G ood H istory/ B ad H isto ry ” by T ib or K alm an , J. A b b ott M iller and

To a d v e rtise in A rch ive, call 212 673 6 6 0 0 . To su bscribe , call 1 8 0 0 8 2 5 0061.

D IV IN §

IN SPIRATIO N

B ooks

K arrie J a cob s. T h is p ie c e , o n c e a sp eec h by K alm an, b ecam e, w hen o rigin ally p u blished in Print in 1991, a co llectio n o f hum orous foo tn o tes attached to a diatribe on “jiv e m od ern ism .” “Jive m od ernism ” is defined here as w ork s d irectly in flu en ced by th o se o f w e ll-k n o w n M od ern ist d e sig n e r s, for ex a m p le , the Jerry H arrison album co v er d esig n by M & C o. w hich w as based upon a 1929 S o v iet film poster.

“W hat is g o in g on here?” K alm an asks o f his ow n w ork, am on g o th er e x a m p le s. “T h eft? C h eap sh ots? P arody?

A ppropriation? W hy do d esig n ers do this? Is it b ecau se the d esign ers d o n ’t have n ew id eas? Is it a w ay to create a sen se o f old -tim e quality in a n ew fa n g led product? A re the design ers b ein g lazy, ju st ripping o ff an id e a ...? ” The authors appear to be d iscou ragin g d econ textu alization , but n ot as a m ean s to e le v a te w h at is co n sid e re d lo w d esig n . T h ey still w ish to k eep the lo w low , to hang on to the “bad history” (the history o f the bad). T hey are ju st asking that the “bad” and its con text be in clu d ed in the d iscu ssio n .

In Looking Closer, the reader gets not ju st the ca ll, but the response. B oth M odernism and nostalgia in d esign are addressed from various points o f v iew by Steven H eller, Katherine M cC oy, E llen Lupton, M assim o V ignelli, Jeffery K eedy, D ietm ar W inkler and P aula Scher, am ong others.

A s w ou ld be ex p ected , not all o f the articles are clearly and cleverly written; som e slo g g in g through is required, as in John J. R heinfrank and K atherine A . W elk er’s “M ean ­ in g .” Jonathan B arnbrook’s “T yp eface D esig n s and T ext” seem s to suffer from b ein g taken out o f the co n tex t o f an issu e o f Emigre. O ne o f the best p ieces is M ichael B ieru t’s “W hy D esig n ers C an’t T h ink” (orig in ally p u blished in 1988 in the American Center for Design Journal). D iv id ­ in g d esig n ed ucation program s into tw o kinds (p rocess, or “S w iss” sch o o ls, and p o rtfolio sch o o ls), B ierut notes, “O ddly though, the best-trained graduates o f either cam p are eq ually sough t after by em p loyers. E ast C oast co rp o ­ rate id en tity firm s lo v e the p r o ce ss sc h o o l grad uates; a n yo n e w h o ’s spent six m onths co m b in in g a letterform and a b a llet sh o e w o n ’t m ind b ein g m ired in a fat stan ­ dards m anual for three y ea rs.”

O ther g em s are Paul R and’s reflection s on “L o g o s, F lags, and E scu tch eo n s,” Gerard U n g er’s “L eg ib le? ” M ich ael R ock ’s “Since W hen D id USA Today B ecom e the N ational D esign Ideal?” and all the articles by Karrie Jacobs, e sp e­ cially, “D isposab ility, G raphic D esign , S tyle, and W aste.”

S in ce this is a co llectio n o f articles that need not be read in any order, perhaps every reader w ill jum p directly to the section titled, “Sex, L ies, and Stereotypes.” In “I Want to Sex You Up: Fabien Baron and the Pursuit o f the S exy,” R ock, faced w ith w hat is clearly a non -talkative inter­ v ie w e e , m ak es a silk pu rse b y tran sform in g a profile

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assign m en t into an opportunity to exp lore the roles o f the (h istorically m ale) art director and photographer in co n ­ trollin g “co d es o f fash io n and the arbitration o f ta ste.”

A s K alm an w rites, “We need few er co ffee table b ook s and m ore a m b itio u s d e sig n w r itin g .” W hat is en co u ra g in g about Looking Closer is h ow clearly the p ro fessio n has entered a new age o f critical a n a ly sis and critical history.

O ne w ish es the ed itors had draw n from a w ider range o f p u b lication s and m ore tim ely on es (the m ost recent entry here is tw o years o ld ). D esp ite the circular, ted iou s and, at tim es, h yp ocritical debates o v er lan gu age, M od ern ism and appropriation, d esp ite the o cc a sio n a l fo g g y n otion s and self-im p ortant puffery, th ese h eated w ars raise ever higher the standard o f w ritin g req u ired to w in the fight, and thus raise the standard o f o b se rv a tio n , d efin itio n , reflectio n and d issectio n . T he w ritin gs o f T sch ich old and R and and a few others served , and still serv e, d esig n ers w ell, but now is the tim e for m ore.

B r ie f l y N o t e d : D a n F r ie d m a n : r a d i c a l m o d e r n i s m by D an Friedm an

(P u b lish ed by Yale U n iv ersity P ress, 3 0 2 T em ple Street, N ew H aven , C on n ecticu t 0 6 5 2 0 , $ 6 5 ). A s d escrib ed in his press release, D an Friedm an is “an artist w hose subject is d esign and cu ltu re.” A lo n g w ith m ore con ven tion al graphic design projects and clien ts (for exam ple, C itibank, W N Y C radio, B o n w it T eller), F riedm an has ex p ressed his ideas through experim ental furniture, sculpture, in stal­ lation s, teach in g and ev en his ow n apartm ent. W ith 183 color illustrations and 24 black-and -w hite, Dan Friedman: Radical Modernism is m ore than a on e-m an -sh ow ; it pre­ sents the artist’s theories on M odernism (“w hat I propose here is a radical m od ernism — a recon sid eration o f how m od ernism can em brace its heritage alon g w ith the new reality o f our cultural p astich e, w h ile a ck n o w led g in g the im portance o f a m ore hu m an istic pu rp ose” ), typography and le g ib ility (“radical m od ernism in clu d es the fu ll sp ec­ trum from le g ib ility to u n p red ictab ility”), d esig n and culture (“our m arginalized p o sitio n m ay in spire us, lik e artists, to fu n ction o n ce again as cultural p rovocateu rs” ) and other issu es. P rov oca tive w ork abounds, as w ell as essa y s by Jeffrey D eitch , S teven H olt o f fro g d esig n and A lessan d ro M en d in i, form er ed itor o f Domus, all in a b ook w h ich , from jack et and en d sh eets to text typ e, is o f a p iece w ith the w ork and id eas w ith in.

— A.G.

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published or broadcast between June 23, 1994 and June 22,19 9 5 is eligible. Deadline for submitting entries is June 2 2 , 1995 . The November Design Annual will show entries chosen by Communication Arts C o m m u n ic a t io n A r t s DESI GN ANNUAL magazine’s 36t h Annual a distinguished jury of Exhibition. The results designers. The December C o m m u n ic a t io n A r t s Advertising Annual will will be published in the ADVE RT I S I NG ANNUAL November 1995 Design show entries selected and December 1995 by a distinguished jury of writers, art directors Advertising Annuals. Last year, less than 3% of the and creative directors.

25,370 submitted entries Both annuals will incor­ were selected for inclusion in these two exclu­ porate special reproduction techniques with everything sive indexed annuals. 6 5,000 copies o f the highly respected annuals will be distributed world­ reproduced at a size that allows the copy to be read. Award of excellence certificates will also wide, assuring important exposure for the creators of these outstanding projects. Work first printed, be given to clients, individuals and firms.

Y o u are invited to submit work to the largest and most preeminent of all juried competitions in graphic design and advertising:

Design Annual Categories

These categories are judged by the design jury and will appear in the Design Annual, November 1995: Audio/Visual Packaging

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Single record, cassette, compact disc, video, software ($25) Series o f 5 a , limit of five ($40 )

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6a

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(Including business-to-business advertising appearing in consumer magazines and newspa pers, and corporate-sponsored public service advertising) 3a Single ad, any size, including spreads ($25 ) 3b Campaign, limit o f five ($40 )

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4a

Book, entire unit ($25) Book, cover or jacket ($25) 12c Textbook, entire unit ($25 ) 1 2 d Textbook, cover or jacket ($25 ) 1 2 e Children’s book ($25 ) 1 2 f Children’s book, cover or jacket ($25) 1 2 g Cover/jacket series, lim it of five ($ 40 ) 14a

($ 25 )

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17E 17F 17k 17L

Printed pieces (brochures, etc.) ($25 ) Series of 17 E , limit o f five ($40 ) Program title, logo, signature, %" videotape n t s c ($50 ) Series of 1 7 k , limit o f three ($80 )

Consumer magazine (cover or page or two-page spread) ($25) 1 lB Multi-page section of 1 1 a ($40 ) l i e Newspaper (page or spread) ($25) 1 lD Multi-page section of 1 1 C ($ 4 0 ) l l E Trade magazine (cover or page or two-page spread) ($25 ) 1 lF Multi-page section of 1 IE ($ 4 0 ) l l G House organ/newsletter/association (cover or page or two-page spread)

1 lA

($ 25 )

1 lH Multi-page section of 1 lG ($4 0 )

Poster/Advertising Outdoor, 24 -sheet or larger, includes painted ($25) 4b Series of 4 a , limit o f five ($4 0 )

4c 4d 4e 4f 4g 4h

Transit (bus, subway, shelter) ($25) Series o f 4c, limit o f five ($4 0 ) Point o f purchase ($25 ) Series o f 4 e , limit o f five ($4 0 ) All other advertising posters ($25) Series o f 4 g , limit o f five ($40 )

Sales Promotion/Advertising

13a 13B

Direct mail, data sheets, sales kits collateral materials, etc. ($25 ) Series o f 1 3 a , limit of five ($40 )

Self-Promotion

(To be eligible for this category, the creative element must have been done as a donation or at cost for a non-profit organization) 1 8 g Booklet or brochure ($25 ) 1 8 h Series of 1 8 g , limit of five ($ 4 0 )

14c Printed promotion for ad agencies, art directors, copywriters, suppliers ($25 ) 1 4 d Series of 14c, limit of five ($40 ) 1 4 g Advertising clubs, communication/ promotion ($25) 1 4 h Series o f 1 4 g , limit o f five ($4 0 )

Environmental Graphics

Television Advertising

19a

15a

Public Service

19b

Signage, interiors, architectural graphics, limit of ten slides ($40 ) Display (trade show exhibit, point of purchase, etc.) limit of ten slides ($40 )

15B

Television commercial, Vi" video ta p e NTSC ($50 ) Series of 1 5 a , limit o f three ($80 )

Radio Advertising Miscellaneous

16a

Radio commercial, Vi" magnetic tape 7 Vi ips ($50 ) Series o f 1 6 a , limit of three ($80 )

Greeting card/birth announcement/ invitation (company announcements and invitations belong in 9 h ) ($ 25) 2 0 b Series o f 2 0 a , limit o f five ($ 4 0 ) 20c Calendar ($25) 2 0 D Menu ($ 25) 2 0 e Series of menus from the same restaurant, e.g., lunch, wine list, breakfast, etc., limit o f five ($4 0 ) 2 0 F Anything not covered in previous categories ($25) 2 0 g Series o f 2 0 f , limit o f five ($ 4 0 )

Television/Radio Station Promotion 1 7 a Poster/billboard ($25) 1 7 b Series o f 1 7 a , limit o f five ($4 0 ) 17c Ad (magazine or newspaper) ($25) 1 7 D Series of 17c, limit of five ($4 0 )

Advertising Annual Categories

Public Service

20a

Poster (exhibition, institutional, theater, gallery, etc.) ($25 ) Series o f 1 0 a , lim it o f fiv e ($ 4 0 )

Editorial

Trade/Institutional Advertising

12a 12b

These categories are judged by the advertising jury and will appear in the Advertising Annual, December 1995: Consumer Magazine Advertising

lA

lB

Single ad, any size, including spreads ($25) Campaign, limit of five ($40 )

Consumer Newspaper Advertising

2a 2b

Single ad, any size, including spreads ($25 ) Campaign, limit of five ($40 )

16b

17G

Program promo, Vi" videotape

17h

NTSC ($5 0) Series o f 1 7 G , limit o f three ($80 )

17l Radio, Vi" magnetic tape, 7 V2 ips ($50) 17j Series of 171, limit o f three ($80 )

(To be eligible for this category, the creative element must have been done as a donation or at cost for a non-profit organization) 1 8 a Magazine ad ($25) 1 8 b Series o f 1 8 a , limit o f five ($4 0 ) 18c Newspaper ad ($25) 1 8 d Series of 18c, limit o f five ($4 0 ) 1 8 E Poster ($25) 18 F Series o f 18E, limit of five ($40 ) 18l Television commercial ($50) 18j Series of 1 8 1, limit of three ($80 ) 1 8 k Radio commercial ($50 ) 1 8 l Series o f 1 8 k , limit o f three ($80 )

Deadline For Entries Is June 22,1995 ■ No Hanging Fees ■ No Acceptance Fees

Eligibility

All work must have been printed, published or aired for the first time between June 23, 1994 and June 22 , 1995. Publication means an ad appeared in a form of mass media exposed to a substantial audience. Entries may originate from any country, but we need an English translation for the jurors. Submission of entries acknowledges the right of Communication Arts to use them for publication and exhibition.

Preparation of Audio/Visual Entries

Television commercials must be on ^"videotape cassettes n t s c . Include 10 seconds of black, no slates or bars. Single tape commercials must be on indi­ vidual cassettes. If your tape commercial is accepted, please furnish us with 6 35mm color slides for reproduction in the Annual. Television commercial series should be edited together on one cassette with 4 seconds of black between each spot. Radio commercials should be on 3A" magnetic tape, 7 lA ips in reel-to-reel format. Audio/visual series are limited to three commercials.

Tape Form B to the outside of each video or radio case.

A Form D e s i g n & A d v e r t i s i n g 3 6 TH IS FORM A N D THE FEE M UST ACCO M PANY 1995 ENTRIES TO COMMUNICATION ARTS, 410 SHERMAN AVE., PALO ALTO, CA 94306 USA NAME PHONE

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 n o . o f packages.” If the package contains TV or radio entries, indicate on the outside wrapping: “Broadcast Entries.” Please mark each package: “Materials for Contest Entry. No Commercial Value.”

N o provision will be made by CA for U.S. Customs or airport pickup.

Entries should be sent by post or international courier. Do not send by air freight.

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 Communication Arts. 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 a single entry as well as part o f a campaign, a duplicate piece with its own Form B and entry fee must be submitted.

Acknowledgment 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 acknowledgment to you. For foreign acknowledg­ ments, enclose a self-addressed envelope and 50 cents (U.S. currency) postage with your entry fee.

Accepted Entries

Only accepted entries will be notified on or before September 15 , 1995 .

Complete credits and any necessary material for the best possible repro­ duction in the Annuals will be requested at that time. Award of Excellence certificates for firms, individuals and clients will be mailed in January 1996.

■ If you have any other questions, call (415 ) 326- 6040 , 8:00 a.m .- 5:oo p.m.

M -F Pacific time, or fax (415 ) 326 - 1648 .

■ Please note: Illustration and photography categories are not included.

Work in these categories should be submitted to the Illustration Annual and Photography Annual, separate juried competitions published in July and August, entry deadline March 16 th.

No Return Of Entries

FAX

COMPANY ADDRESS CITY

STATE/PROVINCE SINGLE ENTRIES CAMPAIGNS SERIES SINGLE TV COMMERCIALS. . .

TV COMMERCIAL SERIES SINGLE RADIO COMMERCIALS RADIO COMMERCIAL SERIES

Preparation of Print Entries

Submit ad tearsheets or proofs, u n m o u n t e d and trimmed as published.

Send annual reports, brochures, folders, books, catalogs, etc., in bound form. For posters over i 8 " x 24", packaging, displays, signage, submit plastic or paper mounted 35mm slides, n o g l a s s m o u n t s . (Slides are projected for the judges.)

E-MAIL ADDRESS

. . $ 2 5 ( U .S .) E A C H $ 4 0 ( U .S .) E A C H . . $ 5 0 (U .S .) EA C H . . $ 8 0 ( U .S .) E A C H

NO RETURN OF ENTRIES 1—

FO R

CA U SE

ZIP $ $ $ $

. . $50 ( U .S .) E A C H

$

$80 ( U .S .) E A C H

$

TOTAL FEE $ C H E C K T H IS BOX IF Y O U IN C L U D E D A SELF-ADDRESSED STAM PED ENVELOPE TO ACKNOW LEDGE RECEIPT OF YOUR ENTRY

- DATE PROCESSED —

B Form D e s i g n & A d v e r t i s i n g 3 6 T AP E T H I S F O R M OR F A C S I M I L E T O T H E BACK OF E A CH P I E CE CATEGORY

FOR

SERIES

T H I S IS N O .

ONLY

FOR

CA

USE

OF

SUBM ITTED BY DESIGN FIRM OR AGENCY

B Form D e s i g n & A d v e r t i s i n g 3 6 TAPE T H I S F O R M OR F ACS I MI L E TO T H E BACK OF E ACH PI ECE CATEGORY

FOR

SERIES

T H I S IS N O .

ONLY

FOR

CA

USE

O F _______

SUBM ITTED BY DESIGN FIRM OR AGENCY

Mail entries to:

(U.S. mail) Communication Arts 1995 Graphic Design and Advertising Competition P.O. Box 10300 Palo Alto, CA 94303 u s a

Delivery Service:

(Federal Express, UPS, etc.)

Communication Arts 1995 Graphic Design and Advertising Competition 410 Sherman Avenue Palo Alto, CA 94306 u s a

C

o m m u n i c a t i o n

A

r t s

T h e J o u r n a l o f C r S a tm ^ e E x c e l l e n c e D e s ig n A n n u a l

A d v e r tis in g A n n u a l

Juried by nine top design professionals and attracting entries from 20 countries, each year’s Design Annual features 250 pages of the best work in posters, brochures, packaging, trademarks, corporate identity, annual reports, catalogs, letterheads and signage, and is fully indexed for reference. Every project is shown in full color and at the optimum size to truly communicate its purpose. Last year’s Annual attracted more than 14,008 entries with only 246 selected for inclusion.

Juried by nine leading creative directors, art directors and writers, the Advertising Annual displays 250 pages of the best in consumer and institutional print ads along with posters, television and radio commercials.

Everything is reproduced in full color. You can actually read the fine print. The full television and radio com­ mercial scripts and a complete index are included for reference. Last year’s Annual attracted 11,362 entries with only 324 selected for inclusion.

T h i s w h i t

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This may look like an ordinary sheet of paper, but it’s not. We call it Totally Green™ because it’s made with totally chlorinefree (TCF) pulp from Louisiana-Pacific.

Totally

in

■

Louisiana-Pacific has taken the lead to make the TCF choice possible. W e’re the first pulp manu­ facturer in North America to eliminate all forms of chlorine from our process. _

Louisiana-Pacific created

T o ta ly G reen. lhe T„ ,llt 0 „ e„ loso

for you to let people know you’ve used the most envi­ ronmentally sound paper. Camera-ready logo sheets

t h e

cool

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In the 1980s, graphic designers asked for more choices in recycled paper and manufac­ turers responded. You can do the same for TCF paper in the ’90s.

Totally

Pulp is the raw material used in making paper.

Louisiana-Pacific’s TCF pulp is better for the environment because it’s made without chlorine. TCF paper lets you be green even when you choose white.

There’s a chance that you haven’t heard about TCF paper yet. But with rising public concern about chlorine’s impact on the environment, more people want an alternative to paper bleached with chlorine. TCF paper is the answer. And it’s available.

w h y

cool

in

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N ow you can get the best of both worlds.

For example, the paper you’re looking at — Aquarius from Cross Pointe — is made with L-P’s TCF pulp and postconsumer recycled paper processed chlorine-free. You can’t get any greener.

Join e

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There’s more to TCF paper than meets the eye.

Our TCF brochure explains more reasons to ask for and use TCF paper now. Call us at 1-800-299-0028 ext. 126 to request your free brochure and Totally Green logos, or write: Louisiana-Pacific, P.O. Box 10266, Portland, Oregon 97210-9936.

8® ""

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D o in g s o m e t h i n g a b o u t it.

M a t e r ia l s T ile

Im agine floor and w a ll tiles em b la zo n ed w ith any im age, text or pattern that you can think of. Im agine D esig n , an apt nam e for the com pany, d igitally produces designs that are fired onto the surface g la ze o f tile. W hether scanned in and m anipulated or created en tirely on the com puter, the artw ork is perm anently b on ded to the surface o f the tile w ith a w ear rating o f C la ss 5 + . Im agine D esig n is in the p rocess o f seek in g a patent for their p rocess and are “produ cin g d esig n s that [they h op e] reinvent the w ay tile is used in an interior or exterior settin g .” T h ey are in cor­ porating a fu ll range o f g la ze P M S colors and can use up to 2 5 6 shades o f any one color including halftones, m on o­ ton es, d u oton es, tritones and quadtones. If your d esign w ork in volves interiors or sign age projects, contact Im agine D e sig n at 2 1 0 E ast 25th S treet, S u ite 3RW , N ew York, N ew York 1 0 0 1 0 or ca ll (8 0 0 ) 6 80-T IL E ; in N ew York (2 1 2 ) 7 7 9 -8 6 1 6 .

R efilla b le P en

Staed tler sent m e a new pen. It’s refillable. I know that’s not in terestin g in itself, there are a lot o f refillab le pens on the m arket, but this on e is a roller ball. N o w do I have your attention? The pens com e w ith an ink cartridge that is activated by sn ap ping it into the bod y o f the pen, w h ich is clear, so the ink cartridge is v isib le through it.

The refillab le pens are a v a ila b le in standard co lo rs (red, blue and b lack ), not-so-standard co lo rs (hot pink, m int green , vib rant oran ge and fa sh io n p u rp le) and as h ig h ­ ligh ters w ith flu orescen t ink. W ith all o f th ese co lo rs av ailab le, Staed tler has co m e up w ith a w ay for you to id en tify the co lo r o f ink in the pen. A lth ou gh you can ea sily see the ink co lo r through the barrel, to m ake it ev en easier, the p ock et clip is the sam e co lo r as the ink.

A fter pop p in g the cartridge in, it takes three m inu tes for the ink to get to the tip o f the pen; I n eglected to continue readin g the d irection s and c o u ld n ’t figure out w hy m y n ew pen w a sn ’t w orking. For further in form ation on the pen that lasts and lasts (as lo n g as you con tin u e to buy cartridges), ph one Staed tler at (8 1 8 ) 8 8 2 -6 0 0 0 .

M

u ltim ed ia

F u r n it u r e

A ll o f the new tech n o lo g ie s h ave d efin itely had an effect on our office; the on ly thin g w e h a v e n ’t run out to buy is new furniture, although it’s n ice to kn ow it’s availab le.

W righ t-L in e, d esig n ers and m anufacturers o f tech n ical furniture, is lau n ch in g M ed iaL in x, a m odular furniture sy stem sp ecifica lly d esig n ed w ith the m u ltim ed ia office in m ind. T he furniture sy stem has an open-fram e d esign that is ea sily exp and ed or recon figu red in to sin g le or team station s (so if you lik e your co-w ork ers, you cou ld all b e in o n e co z y w orkstation; and if you d o n ’t, w ell, you can be a lo n e). T he sy stem features tw o w ork surface depths, sw iv e l arm m ounts for large m on itors, retractable keyboard trays, rollin g floor stands and sh elv in g units

w ith w eigh t cap acities o f up to 7 5 0 pounds. The com pany is also re-launching their O ptim edia storage system w hich is not on ly d esig n ed to g iv e you sp ace for all your hard­ w are and softw are storage n eed s but to expand w ith you w hen you need it m ost. S o, if y o u ’ve run out o f sp ace at your ex istin g w orkstation, m aybe now w ou ld be a good tim e to call; they have recently introduced a C D -R O M catalog o f their product lin e. To receiv e a copy, phone W right-L ine at (5 0 8 ) 8 5 2 -4 3 0 0 x 2 4 6 7 .

— Sue Garibaldi

“Ourshopgrowsbecause ourcreative sideandour businesssidework together.

That’swhyweuse Clients&Profits.”

S u c c e s sfu l ad agencies and design studios get that way when everyone works together. Over 800 of today’s smartest shops do it with Clients & Profits? the best-selling job trackiig, costing, billing and accounting software for the Macintosh. It’s designed only for creative businesses, so it works just like you do.

Call 800 2724488 today for a free guided tour and complete information.

O rfa x (6 1 9 ) 945-2365.

W O R K I N G C O M P U T E R The 7'riA . ngle B u ildin g

4755 Oceanside Blvd., Suite 200 Oceanside, CA 92056 (619)945-4334

COMMUNICATION

ARTS

161

M a t e r ia l s

L i t e r a t u r e F o r Y o u r F il e s A request on your letterhead to the following companies will bring you the literature described.. .free unless otherwise noted. Whenever possible, fax numbers have been included for convenience.

The Easy 8-Step Ergonomics G uide... p u b lish ed b y the Q uill C orporation ou tlin es in eigh t steps how to prevent cu m u la tive traum a d iso rd ers— a lso k n ow n as re p etitiv e task in ju ries. T h e freq u en cy o f com p u ter u se in offices has created a w ork fo rce that rarely has to le a v e their desks. Sitting in the sam e position , all day long (although so m e d ays it see m s id e a l), is rea lly bad for the bod y.

A cco r d in g to the W ork place E rg o n o m ics In stitu te at Q u ill C orp oration , in a d eq u a te lig h tin g , w o rk in g in a fixed p o sitio n , freq u en t o v er -r ea ch in g and co n sta n tly tiltin g your head back or forw ard can lead to ann oying pains that can ultim ately b ecom e problem injuries. A ccord­ ing to the press release, m any cases o f tendinitis, eyestrain and back and n eck pain can be a v o id ed b y fo llo w in g so m e sim p le and in e x p e n siv e w o rk sp a ce ad ju stm en ts.

For a free copy o f the book let, contact Q uill C orporation, W orkplace E rgonom ics Institute, Public R elations D epart­ m ent, 100 Sh elter R oad, L in coln sh ire, Illin o is 6 0 0 6 9 .

Laser Cut Images (LCI) California... has been sen ding m e p ress re lea se s and p rod u ct sa m p les re ce n tly and their m

E S IG N S0 FT ®

Billing can be one of the most frustrat­ ing parts of any job. Trying to make sense of vendor invoices and time sheets is time consuming and risky.

C r e a t iv e B illin g DesignSoft® Time & Billing changes that. It keeps track of time and expenses easily with common-sense organization. Now, you can design the way your invoices, estimates, state­ ments, and reports look and work.

Created by designers for designers, DesignSoft turns your billing, tracking, and accounting software into a design tool that will make you money. Simply and affordably.

Only $299.95, Mac o r PC

TIM E ( BILLING

1 .8 0 0 .4 2 6 .0 2 6 5 162

The DesignSoft® Company

Post Office Box 1130

MAY/JUNE

1995

Wheaton IL 60189

USA

708.858.5363

ser v ic e is d e fin itely w orth te llin g p e o p le ab ou t. T h ey laser cut and etch paper and packaging w ith a new m achine that co m b in es a rugged laser, co m m o n ly u sed for cutting and w eld in g steel, an autom atic paper feed er and patentpend ing tech n olo gy . T he result is im ages that w ill am aze you; I p assed L C I’s sam p les around the office and ev ery ­ on e w as im p ressed by the in trica cy o f the cu ts. L aser cutting and laser etch in g vary in the resp ect that cu ttin g in v olv es p recisely cu ttin g d esig n s co m p letely through a sh eet o f paper, w h ile laser etch in g in v o lv e s cu ttin g partially through a sh eet o f paper revealin g the interior color o f the paper (etch in g co lo red paper often reveals a contrasting shade). From rice paper to cover w eight papers, to 5 0 point packagin g sh eets, alm ost every th in g that can be printed can be cut or etch ed ; ev en very sm all text is leg ib le. A s w ith printing, co sts for cu ttin g and etch in g depend on the num ber o f sh eets; in gen eral, p rices are som ew h at higher than d ie-cu ttin g . LC I m ak es the claim that they are “the only com pany in the w orld that can etch im ages that are m ore than 200 square in ch es in a sin g le p a ss.” For sam p les o f laser cut or etch ed d esig n s, call LC I at (7 0 7 ) 5 2 3 -4 4 9 7 or w rite L C I C a lifo r n ia , 3 0 3 0 D utton A venue, Santa R osa, C alifornia 9 5407; for project estim ates fax (7 0 7 ) 5 2 3 -3 8 2 8 and be sure to in clu d e the size o f the im age and its placem en t, the num ber o f p ieces and the w eig h t o f the paper. A n d if by ch a n ce yo u are in terested in p u rch asin g the m a ch in e that m ak es th is tech niq ue p o ssib le , let them know , th e y ’re in terested in gettin g the tech n o lo g y in to other p e o p le ’s hands as w ell.

Art B iz... m agazin e is b ein g p u b lish ed w ith the hop e that

it w ill find a place on the sh elves o f art buyers in the U .S. T he n ew p u b lica tio n , printed on 80 lb. b o o k sto ck is d esig n ed to provide in ex p en siv e exp osu re for free-lan ce photographers and illustrators. S im ilar to sou rce book s in con tent, the m agazin e varies in the resp ect that it is relea sed on a b i-m o n th ly b a sis to a different grou p o f 5,0 00 art buyers each tim e— guaranteeing exposure to m ore than 3 0 ,0 0 0 in a sin g le year. For a rate card or brochure or to put your nam e on the m a ilin g list (th e y ea rly su b ­ scription rate has yet to be d eterm ined), w rite Art B iz, R O . B o x 5 3 2 3 , San ta M o n ica , C a lifo r n ia 9 0 4 0 9 , c a ll (8 0 0 /3 1 0 ) 4 5 0 -6 9 8 6 , fax (3 1 0 ) 4 5 0 -7 8 0 7 or e-m a il A rtB izP u b s@ a o l.co m .

Custom Papers Group...is rem inding d esigners that if they have to d esign hang tags they sh ou ld use a paper stock — lik e R iegel Jersey C over— that w ill stand up to the abuses that hang tags take. T heir latest prom otion sh o w s the cover stock in a variety o f hang tag sty les. A lth ou gh the press release states that the paper can w ithstand stitchin g, grom m ets, p erfora tio n , fo ld in g and sco r in g “w ith no sign s o f fraying or w ear,” their p rom otion , unfortunately d o e sn ’t in clu d e any sam p les u sin g th ese m eth ods. B ut, I b e lie v e them ; the op acity o f the paper m akes the printing lo ok great. The paper is not o n ly practical, but it look s

g o o d and its con ten t is 50% recy cled . For inform ation regarding the R ieg el Jersey C over prom otion p iece or any other C ustom Papers Group product, phone (804) 6 49-4463.

PaperTech...is trying to bring an end to the problem o f

too little quality paper for too m any high-end projects. The “grow in g” paper m erchant foresaw the “loom ing shortage” (that’s a g loom y phrase) and im ported an “abundance o f coated paper” from paper m ills in G erm any, A ustria and Italy. To help them get the w ord out, M ay & C o., a Texasbased design firm designed a series o f direct-m ail postcards on the coated stock. T he cards, in “vibrant y e llo w and b la ck ” h u m orou sly d escrib e the problem o f b ein g caught p aperless w h ile a lso dem onstrating the paper quality. O ne p ostcard p la ys o ff the current p op u larity o f tw o w ords: p ulp and fictio n . If you w o u ld lik e to see P ap erT ech ’s papers, g iv e them a call at (8 0 0 ) 4 5 8 -9 8 1 1 or w rite PaperT ech, In c., 13601 P reston R oad , S u ite 700W , D a lla s, T exas 7 5 2 4 0 .

Strathmore Case Study Series... is a new paper prom otion/

study o f su c c e ssfu l co m p a n ies and h ow their printed co m m u n ica tio n s have h elp ed them thrive. T his is a very com plete look at the history o f the com panies, the collateral m ateria ls that w ere d e sig n e d for them and the su c c e ss that the co m p a n ies attribute to the d e sig n in v estm en t.

C ase Study 1, Arkitektura (C S 1) and C ase Study 2, V id eo­ lab s (C S 2 ) are a v a ila b le now ; m ore are in the offing.

S trath m ore’s in ten tio n w as to create a paper prom otion that w ou ld not only interest designers, but that w ould also a ssist them in co n v in cin g clien ts o f the valu e o f printed m a teria ls. C o lla tera l m a teria ls p rin ted on Strathm ore Paper can be entered into the Strathm ore G raphics G allery, a qu arterly c o m p e titio n ju d g e d by grap h ic d e sig n e rs through w hich w ork is selected for this C ase Study Series.

Strathm ore plans to co n tin u e this series for an undeter­ m ined period; I h op e it w ill be a long one. For co p ies o f current or future case studies or for inform ation regarding the Strathm ore G raphics G allery, ca ll (8 0 0 ) 4 2 3 -7 3 1 3 .

Island Paper M ills... has a n ew paper p rom otion that is

a lso a beer p rom otion . (W arning: D o n ’t read it at lu nch tim e.) In Celebration o f the Amber Fluid: A History ofR.H. Moon & Sons is printed on Luna G lo ss 100 lb. and L una M atte 80 lb. tex t. I d o n ’t thin k I can w rite abou t the paper better than the press release, so I ’ll ju st repeat w hat I read. “If y o u ’re thirsting to produce cham pagne con cep ts on a beer bu dget, Luna from Island Paper M ills is the perfect recep tacle to pour your soul into. W hether your taste leans to light and heady im ages or darker m ore fu ll-b o d ied inner ex p lo ra tio n s, Luna provid es a perfect so lu tio n .” E ven if y o u ’re not in terested in the history o f beer and beer-m akin g, you sh ou ld get a co p y o f this pro­ m otion; the paper lo o k s great. C all Island Paper M ills (8 0 0 ) 6 6 3 -6 2 2 1 or fax your request to (6 0 4 ) 5 2 6 -0 7 0 1 .

— S.G.

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COMMUNICATION

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C l u b s , C o n f e r e n c e s , S e m in a r s A I G A / M in n e s o t a The M innesota Chapter o f the A m erican Institute o f Graphic A rts elected a new board o f directors. L eading the chapter w ill be president Grant Pound; v ic e presid en t Sue C rolick; treasurer S tev e N ied orf; secretary Sharon W erner; director o f events Jane Jenni; director o f public relations A llan Haag; director o f m em bership Karen M cC all-P en gra; director o f ed ucation D an W oychick; director o f chapter d evelop m en t Barry M cC ool; director o f com m unications Charlie Q uim by; director o f ex h ib itio n s Larry Skov; director o f p ro fession al d evelop m en t B ruce R ubin; and R ory Sparks student repre­ sentative. A IG A / M innesota Chapter, 275 M arket Street, Suite 54, M in n eap o lis, M in n esota 5 5 4 0 5 , ph one (6 1 2 ) 3 3 9 -6 9 0 4 .

C r e a t iv e B u s in e s s C am eron F oote has sch ed u led three w eek en d w orksh ops for freelancers, shop principals and sales reps. The s e s­ sion s are: “H ow to C harge W hat Y ou’re W orth,” “H ow To S e ll” and “H ow to G row a C reative S erv ices B u sin e ss.”

S om e lo ca tio n s and dates are: M in n ea p o lis, M ay 19 and 20; W ashington, D .C ., June 2 and 3; and A tlanta, June 16 and 17. C reative B u sin ess W orkshops have been presented every year sin ce 1987. O ver 3 ,0 0 0 graphic d esign ers, art directors, cop yw riters, illustrators, studio principals and reps h ave attended. For m ore in form ation , ca ll (6 1 7 ) 4 2 4 1368, fax (6 1 7 ) 3 5 3 -1 3 9 1 or w rite C reative B u sin ess, 275 N ew bu ry Street, B o sto n , M assach u setts 0 2 1 1 6 .

N ew Y ork The m em bers o f T he O ne C lub for Art & C opy elected six new directors to its fifteen m em ber board o f directors: Earl C avanah, M arty C ook e, W oody K ay, D iane R othschild, Tod S eisser and D ean Stefan id es. Four board m em bers w ere reelected , in clu d in g Tony A n g o tti, G ary G old sm ith, M ike L escarbeau and Tom T hom as w h o serves as v ice president o f the club. R ounding out the board are current directors: president L ee Garfinkel, vice chairm an, ch ief creative officer, L ow e & Partners/SM S; B ob Barrie, B ill H am ilton, R och elle K lein and Richard K irshenbaum . Each m em ber o f the board serves a tw o-year term . T heir c h ie f resp o n sib ilities in clu de esta b lish in g g u id elin es for their com p etition and setting p o licy for T he O ne C lub and its program s. The O ne C lub, 32 E ast 2 1st Street, N ew York, N ew York 10010. P hone (2 1 2 ) 9 7 9 -1 9 0 0 , fax (2 1 2 ) 9 7 9 -5 0 0 6 .

B r o a d c a s t D e s ig n e r s The Broadcast D esign ers A sso cia tio n w ill sponsor its annual four-day international d esig n co n feren ce and ex p o sitio n in W ash in gton , D .C . from June 7 -1 0 . B D A In tern ation al, recently m oved from San F rancisco to N ew York, is an a sso­ ciation esta b lish ed in 1978 o f m ore than 1,100 m em bers co n sistin g o f art d irectors, an im ators, d e sig n e rs, graphic

164

MAY/JUNE

1995

artists, sc e n ic d e sig n e rs, fr e e -la n c e d e sig n e rs, ed u cators and students. For in form ation , p h on e (2 1 2 ) 2 5 1 -8 7 1 2 , fax (2 1 2 ) 8 8 9 -1 5 9 5 or w rite B D A In tern a tio n a l, 4 7 0 Park A ven u e S ou th , N in th F loor, N orth T ow er, N e w York, N e w York 10016.

D ir e c t M a r k e t i n g To provide co m p a n ies that m arket by telep h on e w ith in for­ m ation on n ew tech n o lo g ie s, tech n iq u es and the ch an gin g le g isla tiv e en viron m ent, the D irect M arketing A sso cia tio n is n ow preparing for its 11th A nn ual T elep hone M arketing C onference. C o-sp onsored by the D irect M arketing C ou n cil, the con feren ce is slated for June 15-1 7 at the D isn e y Yacht & B each C lub in O rlando, F lorida. T he co n feren ce them e is “P o sition Your C om pan y for E x p lo siv e G row th in the T elep hone M arketing Industry.” A sp ecia l k eyn ote address

by Harry S. D en t, Jr., author o f The Great Boom Ahead, w ill p r o v id e tele p h o n e m arketers w ith p r ed ictio n s on future trends in the eco n o m y . P h on e (2 1 2 ) 7 6 8 -7 2 7 7 , fa x (2 1 2 ) 7 6 8 -4 5 4 6 or w rite D M A , 1120 A ven u e o f the A m erica s, N ew York, N ew York 10036.

D e s ig n E d u c a t io n A w o rk in g c o n fe r e n c e o rg a n ized b y the G rap hic D e sig n E d ucation A sso cia tio n (G D E A ) in collab oratio n w ith the S o c iety o f G raphic D esig n ers o f C anada, A lberta C hapter (G D C ) w ill be held at the U n iversity o f A lberta, E dm onton, C anada, A u gu st 10-13. A m ajor ev en t for graphic d esign education, the m ain objective o f the con feren ce is to identify and define d irection s for the future d evelop m en t o f graphic d esig n ed ucation and for its contribution to both the p ro fes­ sion and society at large. It w ill be attended by leading design educators from Canada, the U nited States and Europe. U nlike other ev en ts, w here the speakers d eliv er their m essa g e and then leav e, this is g o in g to be a w ork in g con feren ce. W ork­ shop leaders w ill m ake a b rief presentation ou tlin in g their v ie w s on the sp ecific top ic o f the w ork sh op they w ill c o n ­ duct. E very con feren ce participant w ill register in a sp ecific w orksh op o f their ch o ice to participate in the form ation o f “w h ite p ap ers” for the esta b lish m en t o f d irectio n s o f the future d ev elo p m en t o f grap hic d e sig n ed u cation . P resen ta­ tio n s and d iscu ssio n s at the co n feren ce w ill be con d u cted in E n g lish . F or m ore in fo rm a tio n , co n ta c t P eter B artl or Jorge Frascara at the D epartm ent o f Art and D esig n , U n i­ v er sity o f A lb erta, E d m o n to n , A lb erta T 6 G 2 C 9 C anada.

P hon e (4 0 3 ) 4 9 2 -5 7 8 9 or fax (4 0 3 ) 4 9 2 -7 8 7 0 .

— Jean A. Coyne Copy must be received two months prior to the publication date. Please include a contact, phone number and address.

Communication Arts C o m m u n i c a t i o n A r t s 1994 Advertising Annual P.O . B o x 1 0 3 0 0 , P a lo A lto , C a lifo r n ia 943 0 3 W Television Commercials

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D ir e c t o r y The Desktop Color Book Michael Gisney & Linnea Dayton Verbum P.O. Box 189 Cardiff, CA 92007 (619) 944-9977

Featured in this Issue

Ward Schumaker 466 Green Street San Francisco, CA 94133 (415) 398-1060 (415) 398-7295 fax Philippe Arnaud (France) Artist Representative (33) 1-45-56-01-33 fax Takahisa Iwayoshi/Interlink (Japan) Artist Representative (81) 3-3797-5865 fax Will Van Overbeek 305 E. Sky View Austin, TX 78752 (512) 454-1501 (512) 454-1669 fax Jung v. Matt GlashiittenstraBe 38 20357 Hamburg Germany (49) 40-43-13-53-0 (4 9 ) 40-43-13-53-53 fax

Ethel Kessler Design 4915 St. Elmo Avenue Bethesda, MD 20814 (301) 907-3233 (301) 907-6690 fax

Eva Anderson Eva Anderson Design 207 Williams Street Providence, RI 02906 (401) 351-1211 (401) 351-5744 fax Maria Piscopo Creative Services Consultant 2038 Calvert Costa Mesa, CA 92626 (714) 556-8133 (714) 556-0899 fax

Low Budget Design

Wired 520 Third Street, 4th Floor San Francisco, CA 94107 (415) 222-6200 (415) 222-6209 fax

Technology Reviews

Color for Professional Communicators Andre Jute BT Basford Ltd. 4 Fitzhardinge Street London W1H 0AH England

1995

Johnson & Wolverton 1314 N.W. Irving Street Suite 704 Portland, OR 97209 (503) 241-6145 (503) 241-2407 fax

Thorburn Design 311 1st Avenue N. Minneapolis, MN 55401 (612) 339-0350 (612) 339-8104 fax

The Marlin Co. 1200 E. Woodhurst Building V Springfield, MO 65804 (417) 887-7446 (417) 887-3643 fax May & Co. 5401 N. Central Expressway Suite 325 Dallas, TX 75205 (214) 528-4470 (214) 528-4473 fax Pennebaker Design 4801 Woodway, Suite 280E Houston, TX 77056 (713) 963-8607 (713) 960-9680 fax Polite Design 2116 Locust Street Philadelphia, PA 19103 (215) 985-4818 (215) 985-9402 fax

Aufuldish & Warinner 183 The Alameda San Anselmo, CA 94960 (415) 721-7921 phone/fax

Rattan Design 5924 Pebblestone Lane, #104 Plano, TX 75093 (214) 931-8044 (214) 931-6944 fax

Brian Collins Studio 126 N. Third Street Minneapolis, MN 55401 (612) 338-4043 (612) 338-4054 fax Melanie Doherty Design 333 Bryant Street, Suite 230 San Francisco, CA 94107 (415) 546-9606 (415) 546-1626 fax GibbsBaronet 2200 N. Lamar, Suite 201 Dallas, TX 75202 (214) 954-0316 (214) 855-0460 fax

Understanding Color 3M Imaging 3M Center, Building 223-2N-01 St. Paul, MN 55144 (800) 328-1684, x 350

Sametz Blackstone Associates 40 W. Newton Street Boston, MA 02118 (617) 266-8577 (617) 266-1937 fax

Antista Fairclough Design 64B Lenox Pointe N.E. Atlanta, GA 30324 (404) 816-3201 (404) 816-3301 fax

Tyler Blik Design 3607 5th Avenue, Suite C San Diego, CA 92103 (619) 497-0033 (619) 497-0589 fax

Technology Feature

Plunkett + Kuhr P.O. Box 2237 557 Park Avenue Park City, UT 84060 (801) 649-1702 (801) 649-1703 fax

MAY/JUNE

Eco

Free-lance

Atlanta Art & Design 511 King Street W. 4th Floor Toronto, Ontario M5V 1K4 Canada (416) 581-1531 (416) 581-1017 fax

166

Understanding Color Michael Kierran Peachpit Press 2414 Sixth Street Berkeley, CA 94710 (510) 548-4393

Jager DiPaola Kemp Assoc.

308 Pine Street Burlington, VT 05401 (802) 864-5884 (802) 863-8803 fax

Graffito Inc. 601 N. Eutaw Street, Suite 704 Baltimore, MD 21201 (410) 837-0070 (410) 685-2616 fax

Recording Industry Association of America 1020 19th Street N.W., Suite 200 Washington, DC 20036 (202) 775-0101 (202) 775-7253 fax Rutka Weadock Design 1627 E. Baltimore Street Baltimore, MD 21231 (410) 563-2100 (410) 563-0542 fax Sagmeister Inc. 222 W. 14 Street, #15A New York, NY 10011 (212) 647-1789 (212) 647-1788 fax Paul Sahre 1401 Belt Street Baltimore, MD 21230 (410) 783-8764 (410) 727-7395 fax

Visual Strategies 41 Pollard Place San Francisco, CA 94133 (415) 296-9702 (415) 296-9729 fax Zimmermann Crowe Design 90 Tehama Street San Francisco, CA 94105 (415) 777-5560 (415) 777-0370 fax

Exhibit

Sakol Mongkolkasetarin Acme Advertising 207 29th Street, 2nd Floor Newport Beach, CA 92663 (714) 675-1191 (714) 675-1190 fax Michael McLaughlin BBDO Canada Inc. 2 Bloor Street West Toronto, Ontario M4W 3R6 Canada (416) 960-1722 (416) 960-1531 fax James Hale Beber/Silverstein & Partners 3361 S.W. Third Avenue Miami, FL 33145 (305) 856-9800 (305) 854-7686 fax Jill Brubaker & Vince Picardi 6857 Mulberry Lane Garden Grove, CA 92645 (714) 895-5344 phone/fax Greg Herriott Constructive Communications 3405 American Drive Suite 5 Mississauga, Ontario L4V 1T6 Canada (905) 678-2500 (905) 678-6036 fax James Sauter Design First 539 River Road Teaneck, NJ 07666 (201) 836-1066 phone/fax

Joe Cladis dGWB Advertising, Inc. 20 Executive Park Suite 200 Irvine, CA 92174 (714) 863-0404 (714) 863-0933 fax Sam Guilsano FCB/Leber Katz Partners 767 Fifth Avenue New York, NY 10153-0150 (212) 705-1000 (212) 705-1238 fax Blaine C.G. Huber Grey Sunder Prescher W62 N578 Washington Avenue P.O. Box 886 Cedarburg, WI 53012 (414) 375-6167 (414) 375-3191 fax Dave Gardiner Houston Effler Herstek Favat 360 Newbury Street Boston, MA 02115 (617) 267-5050 (617) 267-6472 fax Robert Hunt 107 Crescent Road San Anselmo, CA 94960 (415) 459-6882 (415)459-0343 fax Paul Matthaeus Matthaeus Halverson 12718 Northup Way Bellevue, WA 98005 (206) 869-7788 (206) 861-7766 fax

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The Exhibit section runs in our four regular issues. Send samples of your latest and best work to Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, CA 94306. Describe the purpose, background and include creative credits. Submit TV commercials on 3A" videotape cassettes NTSC. Pieces to be returned must be accompanied by a self-addressed stamped envelope adequate to return the material or your FedEx number.

Please send press releases on Books, Materials, Literature and Technology Resources to Anne Telford, managing editor.

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A dvertis ers Index

Page

Ad A ge’s Creativity................151 Adobe Magazine..................... 146 Adobe Photoshop........................9 Agfa Worldwide........................21 Apple Computer.......................... 6 Archive....................................... 153 Bettmann Archive.....................22 Comstock...................................137 Consolidated Papers................ 41 Cross Pointe Paper...................23 DesignSoft.................................162 Digital Stock.............................. 31 Eberhard Faber.......................... 37 Encad, Inc................................... 33 Erickson Productions.............. 28 French Paper.............................131 Froomer, Brett back cover Hopper Papers..........................141 Image Bank...................................5 Image Club................................149 Louisiana Pacific.................... 159 Macromedia Freehand............. 19 Mead Paper............................... 134 MIT Media Lab....................... 163 PhotoDisc....................................43 Portfolio Center.......................163 Repap...........................................119 Stock Market..............................27 Strathmore Paper.......................11 3M Commercial Graphics 16 Wacom Technology..................39 Weyerhaeuser Paper...............169 Working Computers................161 X-Rite Color...............................35 H ardw are

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Color Tech 780 Broadway Redwood City, CA 94063 (415) 365-8788 (415) 369-7206 fax Kedie Image Systems 744 San Aleso Avenue Sunnyvale, CA 94086 (408) 734-9005 (408) 734-9107 fax Prepress Assembly, Inc. 80 Langton Street San Francisco, CA 94103 (415) 621-8970 (415) 621-3105 fax ProLith, Inc. 872 Hinckley Road Burlingame, CA 94010 (415) 692-4972 (415) 692-8682 fax Printer

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28 pt. recycled kraft Walt Peterson 590 Embarcadero Road Palo Alto, CA 94301 (415) 326-9344

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VSA Partners; Vivienne Flesher; Vitro-Robertson; Atelier de Creation Graphique; Pete McArthur; Color Predictions; Colorado International Invitational Poster Exhibition; Eco; Exhibit; Index to Volume 35 March/April 1994____________ $8

Hill/A Marketing Design Group; Don Asmussen; Keizo Matsui; Cole & Weber; Sue Bennett; Clients and Designers: The Knoll Group and Chermayeff & Geismar; Eco; Exhibit July 1994

$16

Illustration Annual November 1994

$24

CA-94 Design Annual December 1994

$24

CA-94 Advertising Annual $8 Javier Mariscal; McConnaughy Stein Schmidt Brown; Everard Williams Jr.; The Women’s Room; Color Predictions; Exhibit; Eco; The Designer and Client Partnership; Index to Volume 36 January/February 1995

March/April 1995____________ $8

Rigsby Design; Mad Dogs & Englishmen; Gregory Manchess; Hans Neleman; Designing a New Russia; The Golden Bee Biennale; Brno International Biennale of Graphic Design; Eco; Exhibit

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