mayjun1996

May/June 1996 Volume 38, Number 2

fe

r Di Paola Kemp This Vermont design firm builds brands, moves products, influences culture and sets trends .

By Ellen Shapiro

60

Martha Anne Booth A former advertising art director makes a successful career move to illustrator.

By Mark Fulton

68

Goldberg Moser O'Neill This San Francisco ad agency creates a unique look for each of their clients .

By Julie Prendiville Roux

78

Nadav Kander A hot London photographer shoots sumptuous black-and-white portraits and witty surreal fashion .

By Larry Frascella

88

Olympic Design 1996 A detailed report on the design of the summer games in Atlanta .

By Laurel Harper

105

Eco Dan Imhoff reviews the most recent report from the Paper Task Force on the pulp and paper industries.

Designed and edited by Eva Anderson

109

Creativity in South America An overview of design and advertising from Argentina, Brazil, Chile, Peru and Uruguay.

By Rick Torreano

124

Exhibit A selection of outstanding, new advertising and design projects.

Cover: ©1996 Nadav Kander Photographed for Zij, a women's clothing store in the Netherlands. Bela Stamenkovits, art director; Lysbeth Bijlstra, writer; TBWA Campaign Company, Amsterdam, agency.

tee

Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne

147

Design Technology Wendy Richmond discusses ways in which the computer helps control time and space.

152

Technology Resources Books, magazines, newsletters, seminars and training .

157

Technology Reviews Pat Soberanis looks at PageMill 1.0.

Consulting Editor and Designer Stephanie Steyer-Coyne Managing Editor Anne Te lford Associate Designer Mark Eastman Production Manager Scott Perry Production Ron Niewald Advertising and Circulation Director Michael Krigel

34

Administrative Assistants Nancy Hageman n Kris Johnson Nina Kitchi ng

Free-lance Maria Piscopo provides answers on what clients really want .

40

Design Issues Laura Shore describes how to have a successful client/designer relationship .

164

Opinion/Commentary Judy Kirpich comments on the relationship between designers and software and hardware manufacturers.

168

Advertising Tom Monahan wonders why more agencies aren 't coming up with smarter, cleaner and quicker newspaper advertising .

nts

e 19

Contributors

22

Letters to the Editor

174

Book Reviews

182

Materials, Available Literature

185

Design and Advertising Call For Entries

190

Clubs, Conferences, Seminars

192

Directory

Editorial Assistant Sue Gari ba ldi Subscriptions Gloria Rosa rio Priscilla Brooks Traffic Cam ille Lee kins Founder Richard Coyne

Communication Arts (ISBN 0010-3519) is published eight times a year, January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October November (Design Annual) December (Advertising Annual)

by Coyne & Blanchard. Inc. 410 Sherman Avenue.

Palo Alto. California 94306 Volume 38, Number 2 Copyright 1996

by Coyne & Blanchard. Inc. Second class postage paid at Palo Alto, CA and additional offices.

1 year U.S. subscription price: $53 POSTMASTER : Send address changes to Communication Arts P.O. Box 10300 Palo Alto, California 94303 Editeur responsable (Belgique) : Christian Desmet Vuurgatstraat 92, 3090 Overijse Belgique All pieces reproduced in this issue are under prior copyright by the creators or by contractual arrangements with their clients. Nothing shown may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership .

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Editor's Column

BY PATRICK COYNE

W

ill the World Wide Web kill print? The more

As our own company grows, we're looking at creating an

I'm asked this question, the more ludicrous it

internal Web site to help explain employee benefits, company

sounds. The Web frenzy we're all experiencing

procedures, identity standards, production schedules and

today makes it hard to look at this new medium with any

customer support. One positive benefit is environmental.

objectivity. The Web won't replace any previous medium, it will just continue to expand communication possibilities

Rather than reprint information every time we make a change, we can quickly update our site. And since our staff moves

and add more complexity to our already complex lives.

freely through the office, information will be accessible

As with the introduction of any new medium, we have to

from any workstation. It's an intriguing idea and certainly

figure out what the Web does best. Right now, most of the

an area of expertise that designers can bring to their clients.

Web sites I've seen are still mimicking print-based projects

As I mentioned in my last column, the new media is an

in much the same way early TV replicated radio with the

opportunity to recoup some of the investment we've all had

addition of talking heads. It took awhile before someone

to make in computer technology just to stay current with

realized you could move the camera, view scenes from

industry trends. Like most designers, I've witnessed how

different angles and alter the perception of time and space.

The Web does do many things better than print: you can

physical asset and greatest cost center. It's been astonishing

update information quickly, your audience can get more

to watch equipment purchased new for thousands of dollars

hardware and software have become our company's largest

detailed information than you'd ever want to publish in a

becomes obsolete so quickly. Judy Kirpich, a principal and

brochure or catalog and you can interact with it (search large

creative director of Grafik Communications, Ltd., a design

databases, play games, ask questions and send messages).

and marketing communications firm based in Alexandria,

But it's absurd to think the Web is the best medium for

Virginia, laments on the frustration many designers have

everything. Even if everyone in the world had WeB access,

over the cost and management nightmares computers have

there are many projects that must still be printed. Some exam-

brought to the design office. Her Opinion/Commentary on

ples would include anything that carries a certain amount

digital angst begins on page 164.

of prestige, like capabilities brochures and annual reports that act as calling cards for executives (although SEC requirements and quarterly reports will most likely move online), also most books, packaging, formal invitations, etc. will continue to be produced in print.

One big area of design work that should be directed toward

Creativity in South America We were excited when Rick Torreano of Simpson Paper Company told us he was headed on a two week trip through South America. We jumped at the opportunity to show work from the southern continent and enthusiastically began faxing requests for materials to the list of creatives Rick brought

online publishing over traditional print-based communication

back from his travels. Well, two years of high school Spanish

are internal corporate communications like employee policy

did not prepare me for the many phone calls, faxes and Email

and procedure manuals, identity standards, in-house news-

we received in Portuguese and Spanish. Fortunately Priscilla

letters, etc. This low-end communications material used to be the bread-and-butter of design firms, before much of it

Brooks, in our circulation department, is bilingual; she tran-

went to in-house desktop publishers.

slated faxes for me and acted as interpreter on several phone calls and I would like to thank her for her help.

Intranets or local area networks, are a logical step for this

10

new medium. Any firm that has to share files between

Olympic Design

computers within a company already has a network so there's little investment in hardware. You can view internal inform-

This issue concludes our Olympic coverage with a report from Laurel Harper about how the "Look of the Games"

ation using the same browser software used for the Web

was created for the 1996 Summer Games in Atlanta. After

and access speed is as fast as the network, not as slow as a

numerous interviews with everyone involved, Harper's detailed

modem. You also have a very defined audience with specific information needs to fill, unlike most Web sites that are

article explains the complexity of producing one of the world's

trying to attract potential customers and generate sales by

when multiple design firms are responsible for portions of

providing product information.

the same project. •

M A y I

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Contributors Features

Dick Orkin's Radio Ranch. She

Columns

Laurel Harper is partner and

has written for CA since 1987 and has also written a book

Laura Shore is assistant vice

creative director of Harper & Associates, a writing and design consultancy based in Kentucky.

An award-winning writer and former design magazine editor, she specializes in writing about

tided Graphic Design,: Los Angeles.

She profiled San Francisco ad agency Goldberg Moser O 'Neill.

Madison. She writes and lectures

president, marketing communications at Mohawk Paper Mills, where she is responsible for advertising, trade press relations

to various design and professional organizations on issues confronting the design industry.

She wrote an Opinion/Commentary piece for this issue.

Larry Frascella has worked as

and promotional material. She is

Wendy Richmond is recog-

also a member of the cross func-

nized internationally as an

designers and design issues, and in assisting design firms with effective structuring. Harper is

an editor at several magazines including Photo/Design,, Camera

tional teams developing new

innovator and commentator on

Arts and Aperture. Currently, he

markets and new products. She

visual communication and tech-

is a free-lance journalist in New

wrote the Design Issues column

nology. Ms. Richmond started

currently working on a book,

York and is writing a novel. He

edited by DK Holland.

designing with and for comput-

Living By Design,, in conjunction

has written many profiles for CA; for this issue he interviewed

Maria Piscopo is a creative

with designer Lori Siebert. She wrote Olympic Design 1996.

Ellen Shapiro, president of

Shapiro Design Associates in New York, covers various aspects of the design world for several academic disciplined

London-based photographer Nadav Kander.

services consultant based in Southern California. She teaches the business side of graphics and

Mark Fulton , a CA contribu-

tor since 1981, provides creative concept and copywriting for clients in San Francisco and in

free-lance success strategies classes for Dynamic Graphic Educa-

ers in 1977 at MIT. She teaches at Northeastern University and is an associate in education at Harvard University. Her column Design Technology has appeared in CA since 1984.

tional Foundation and is starting

Sam McMillan is a San Fran-

on her next marketing book for

cisco-based free-lance interactive

designers. For this issue Maria

script writer. McMillan's Retire-

catalogs and magazines. She is

Northern California's Silicon

in the process of publishing a marketing and learning tool

Valley. He is co-author, with

designed to teach dyslexic children how to differentiate the

Herring, of The Art and Business

Tad Crawford is an attorney,

of Creative Self Promotion for Design,ers, Writers, Illustrators & Photographers. He profiled Mon-

author and publisher for New

wrote the Free-lance column.

Houston graphic designer Jerry

York-based Allworth Press. A spe-

letters of the alphabet and put them together to form syllables and words. Ellen traveled to

tara, California-based illustrator

the arts, he has served as counsel

Burlington, Vermont, to profile

Martha Anne Booth.

for several art-related organiza-

cialist in legal issues pertaining to

tions . He has been a CA colum-

ment 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 He wrote the Technology Resources column and profiled San Francisco-based Post Tool Design for this issue.

Jager Di Paola Kemp.

Eva Anderson is principal of

Rick Torreano was hired by

Simpson Paper Company to increase awareness of their prod-

Providence, Rhode Island-based Eva Anderson Design, which

Tom Monahan is a founding

specializes in ecologically-con-

partner of Leonard.Monahan of

ucts in the graphic design community. He has done this by

scious design. She is also editor of Eco newsletter, which address-

Providence, Rhode Island, and

conducting workshops and seminars in the Northern California

es environmental issues faced by

ativity training and consulting

graphic designers and their

in Tiverton, Rhode Island. He

design community. The international distribution of Simpson

clients. Eva received a grant from

has won numerous creative

the NEA in 1991, and a 1992 EPA Environmental Merit Award for

awards, and was featured in the

Wall Street journal's creative

Book Reviews Angelynn Grant majored in

Papers became the starting point for Rick to expand his effom

nist on legal affairs since 1983.

president of Before & After ere-

Pat Soberanis is a San Fran-

cisco-based print and online publishing consultant. Her Web site, Publishing Resource, is located at http://www.soberanis.

com. For this issue she reviewed Adobe PageMill r.o.

her work with Eco. She serves on

leaders ad series. He has written

and led to his writing the article

the board of directors of New

and edited our Advertising col-

mathematics at Harvard, worked

on South American Design and Advertising for this issue.

England Businesses for Social

umn since 1990.

on a Ph.D. in topology at Brown

Responsibility, a trade organization of ethics in business.

Judy Kirpich is a principal

and received an MFA in graphic

and creative director of Grafik

design from Yale. The Boston-

Daniel Imhoff is a San Fran-

Communications, Ltd., a design

based free-lance designer and

and marketing communications firm based in Alexandria, Vir-

educator is also an associate pro-

the environment and agriculture.

He wrote this issue's Eco news-

ginia. Kirpich earned her masters

Art Institute of Boston and the

degree from Harvard University

Rhode Island School of Design,

letter insert on the topic of the Paper Task Force.

and did undergraduate work at

where she teaches an advanced

the University of Wisconsin at

typography class.

Julie Prendiville Roux is a

free-lance writer based in Los Angeles. After graduating from college in 1980, she worked as an advertising copywriter for Ketchum Communications, Chiat/Day and Foote, Cone & Belding and as a staff writer at

cisco-based writer who primarily concentrates on issues of design,

fessor of graphic design at the

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19

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Letters to _the Editor Sound Design: Not Desktop Quandary In the course of my business, I receive

use of layout space, oversize elements

many calls from small and minority businesses for advertising and design

and lack of concept. Our job is to solve

David Holmes/Simon Spillsbury, illustrators; EURO RSCG Ball Partnership (Singapore), agency; Hongkong Bank, client.

problems in the most creative way

Let me know what you intend to do.

services. I find that a distinction needs to be made between design created by

possible, not create pretty pictures.

Thanks a lot.

EUGENE CHEONG

While it is not my intention to generalize, I find that many of the small and

By emphasizing to the client the development processes a designer must go through, the true value of sound design for effective communication

minority business owners have had little or no experience using professional

is demonstrated. Together, an ad firm and its client can achieve well-designed

Editor Replies

design services and seem to lack knowledge of the value in well-designed visual communications.

and valuable visual communication that works.

Thank you for your recent letter concerning credits for the Hongkong Bank series.

Non-professional design only gives you an end without the means.

On Tuesday, September 5, I995' we faxed to Mary Cross (listed on your A form) at your office, congratulations and a request for credits. We didn't receive a respome, so again we faxed to Mary Cross on Friday, September 8, and continued to do so for many days. In desperation, we finally mailed the credit form but we heard nothing.

professionals and non-professionals .

There are a couple of reasons for this.

decorations, lack of hierarchy, poor

The rise of the personal computer and the abundance of graphics software available has given the general public access to the same tools as anyone in the design profession. This and fast turn-around graphic shops that spit out ready-made designs either the same or next day at cheap prices cause people to question the cost of professional design services, therefore seemingly diminishing the value of good design.

"Popular myths to the contrary, graphic

]UAN D. WILLIAMS ART DIRECTOR EFFECTIVE COMMUNICATIONS ADVERTISING & DESIGN MEMPHIS, TENNESSEE

computers can't make non-artists into artists any more than socket wrenches can turn the mechanically inept into repairmen. " ("Bount," Print, Computer

duced. Everything was perfect. My eyes

No Credits

SINGAPORE

CA Advertising Annual.

There were my ads wonderfully repro-

We're pleased to hear from you, finally.

darted instinctively to the top righthand corner of the page. The credit.

I have anticipated the moment for months. This is the moment I prayed

Marketing communications, whether

for, yearned for, longed for. My private moment of pride. But, Urruuggrruu-

business. Each design problem dictates

EURO RSCG BALL PARTNERSHIP

Our press date was fast approaching and, although we didn't have any credits, we decided to run the ads.

I can't contain my disappointment when I turned to page 3I of the latest

Art & Design. Annual I, 1992) good or bad, are representations of the

ggrrrrruuuuuuuuggggggrrrrrrrruuuuuuuuuhhhhhhhhh, shock of shocks,

Errata On page 164 of the Advertising Annual, the television commercial, "Nightmare After Christmas, " should have been credited to BBDO West and not BBDO New York. Our apologies.

the names of my partner and the illustrators. I, I, I, I, I, I, almost died.

In the January/February 1996 article on International Posters, the country of Colombia was misspelled on pages 52 and 6r. "Where in the World is Carmen Sandiego" would not be

finding information about the subject

However, what's done is done. And

pleased. Apologies.

matter before actually starting a design.

I'm a forgiving kind of fellow, so I'm

He or she draws upon history, typography, concept and design skills to

not going to sue. The following is the credit, I'm not really sure what you can

arrive at the desired visual solution.

do to correct the error.

This proves to be most beneficial to the client. By using a professional design

The missing credits: Michael Tan , art director; Eugene Cheong, writer;

service six common pitfalls can be

Jeffrey Fisher/Brian Grimswood/

the form of the solution. Owners need to be made aware that visual communication with continuity and substance must come from trained professionals.

The professional designer spends time

22

avoided: overuse of typefaces, useless

M A y I

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horror of horrors, my name was nowhere to be found. And neither were

Address correspondence to: Letters to the Editor, 4Io Sherman Avenue, Palo Alto, California 94306. We reserve the right to publish letters and to edit for clarity and length. Please include a sign.ature, address and phone number. Anonymous letters will not be published.

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Beyond Agreed Upon Usage

BY TAD CRAWFORD

W

hile words and pictures can be digitized and

for additional information as to the production run and

sent forth on the information superhighway,

similar matters. Not hearing back from the production

I've been thinking lately that all bits are not

house, Koeneman called to follow up and learned that the CD-ROM had already been published.

created equal. They may be equal as they travel within a computer or online, but when the grand moment comes

Kaplan began negotiations with Sports Illustrated with the

for the bits to assemble and be perceived by a humble

statement, "It's obvious that you like my work because you

human, one team of bits may be child pornography while

keep stealing it." In the initial settlement discussions ,

another is a novelistic masterpiece. One set of bits may be a beautiful photograph while another set may be an invoice for that same photo or the wired money that will pay that invoice.

Sports Illustrated indicated that it had paid $40 for most of the images used on the CD-ROM and $200 for a few. In view of the unauthorized use, Kaplan was offered $5 , 000 to close the matter.

If the effect of digitization were to make everything digitized of equal value, as anonymous and alike as the bits themselves, then our ;esthetic and moral standards would suffer

Digital History Is Just History

a death blow. I certainly wonder why the effects of digi-

with Time Warner-and Time before that-not his first,

tization should not be just the opposite. Why shouldn't

nor second, nor third, but his fourth! If $40 per image sounds

consumers and clients value creativity all the more, since

as if all bits are created equal, Kaplan's more ancient traumas

online computers ought to allow us to increase our richness

showed that digital history is just the same old history again.

of choice and variety? If this were the case, then a new

In 1980 Kaplan had been given an assignment by Life to

history would evolve in which it would be inconceivable

photograph the Great American Flag in Indiana and the

not to respect those who create art, honor contracts with

photos subsequently appeared as a double-page spread. About

such creators and pay fair value for usage. Yet the magazines

two years later a retouched version of the photo appeared in

and other clients that view electronic rights as a bully take-all proposition suggest that history is cyclic and defi-

an ad for Life. Life 's representative advised Kaplan of Life's

nitely repeats itself. For what are today's electronic rights

order to promote ourselves. " After fruitless settlement

belief that it "had the right to reproduce our product in

grabbers but the same overreachers who demanded and may

negotiations in which Kaplan initially asked for $3 , 000, he

still be demanding all rights and work for hire? Or made

was forced to sue in 1985 and the case was settled in 1987

additional usages beyond what a contract allowed and

for $28,500 (which was reduced by expenses and the one-

tried to get away without paying?

third that Kaplan's lawyer took for his contingency fee).

Stand Up and Be Counted

But if Kaplan gained a settlement, he lost a major client

Last year the prominent New York-based photographer Peter B. Kaplan discovered that an image of the Ranger Victory Parade that he had done on assignment for Sports Illustrated magazine had been reused without permission on a CD-ROM dealing with the 1994 year of Sports Illustrated. The image had actually been used twice, once in the magazine section of the CD- ROM and again in the gallery section.

26

Unfortunately, this was not Kaplan's first such experience

that had very frequently featured his work. This proved to be true despite a provision of the settlement allowing Life to treat $23 , 500 as a nonrefundable advance against assignments that Life might give Kaplan in the next three years.

Life chose not to give any assignments to Kaplan and so lost any benefit from these funds.

And Kaplan learned a great lesson: the importance of registering photographs. Because his image of the Great American

One remarkable aspect of this usage was that Kaplan had

Flag had not been registered before the infringing usage,

been contacted for permission to use the image on the

Kaplan was not eligible in his copyright lawsuit to ask for

CD-ROM. Sports Illustrated had offered $40 for the usage;

attorney's fees, statutory damages and court costs. Once

John Koeneman, Kaplan's studio manager, in turn asked

he understood how his [ c o N T r N u E D o N

M A y I

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PA G E

2 9)

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failure to register hurt him, Kaplan says that he "went back

sold with Kaplan's standard contractual language, "one-time

and registered everything, all of my old photographs."

North American English language editorial rights, not to be

Attorney's fees can be enormous in copyright litigation, but

used in advertising or promotion, reproduction of the entire

for work registered prior to the commencement of the

page and/or cover for advertising is not granted," but the

infringement the court in its discretion can award attorney's

photo was now being used without Kaplan's permission in

fees as part of the damages paid to the winning party. In

an advertisement for Life.

addition, works registered prior to an infringement are

"Life educated me by stealing from me back in '82," Kaplan

eligible for statutory damages. In some cases the usual

observes. Since after this he had registered all of his images

measure of damages based on the photographer's losses and

(his total registrations now total more than 2,000, covering

the infringer's profits may be very difficult to prove. Statutory

innumerable images), he could now move ahead with a good

damages avoid the need for any proof by allowing the court

possibility of receiving attorney's fees and statutory damages

in its discretion to award between $500 and $20,000 for

in the event litigation proved necessary.

each infringement (or up to $IOo,ooo if the infringement

However, Kaplan didn't want to sue Life again. He offered

is shown to be willful).

to work for the money that Life would have to pay in the

ASMP Advocates Change

event of an infringement battle in the courts. With this, Kaplan hoped to rebuild a good relationship with his former

The American Society of Media Photographers (ASMP) had

client despite Life's failure to give him assignments under

taken a leadership role in seeking to have the copyright law

the terms of the first settlement agreement. Again, Life

changed so that registration would not be a prerequisite to

showed no interest in rebuilding a good relationship. Instead

being eligible to ask the court for attorney's fees and statu-

Life's attorneys asked how much Kaplan wanted. Faced with

tory damages. As Richard Weisgrau, executive director of

this intransigence, Kaplan had no choice but to negotiate

ASMP, observes, "While the legislative attempts to ease the

and received $20,000 plus his legal fees as a settlement.

registration burden failed, the current process of altering the registration regulations seems to be headed toward suc-

Not Again

cess." Weisgrau is referring to the effort made by ASMP to

The third unauthorized usage involved Time Warner which

have the Copyright Office change its regulations and allow

had taken a Statue of Liberty poster that Kaplan had leased

photographers to register by depositing lists of images rather

to Air Jamaica for "Jamaican use only" and used it on the set

than depositing the images themselves. While the Copyright

of the "Living Single" television show. Inured to his now-

Office's final position will not be known for some months,

familiar routine, Kaplan says, "Once I have it registered,

the importance of being able to ask for attorney's fees and

they have to pay legal fees and, if we settle, there is no way

statutory damages can hardly be overemphasized.

I'm paying for my legal fees." Without resorting to a law-

By what might seem a strange coincidence, within a few

suit, the unauthorized usage was settled for $53,600, which

months of Kaplan's first settlement he found himself looking

included $2,500 for attorney's fees.

at a 1976 stock photo of the Statue of Liberty that had been

Having plotted so many points on the map of unauthor-

sold to Life for an issue on the 1970s. The photo had been

ized usage, we can return to where we started-the CD-ROM C 0 M M U N l C A T l 0 N

A R T S

29

usage by Sports Illustrated of an image sold only for maga-

unauthorized use but admitted "no liability or wrongdoing,"

zine usage-and recognize that place as peculiarly familiar.

a fascinating assertion in view of what happened.

A pattern has emerged that hardly seems unintentional. As

Kaplan's experiences, and his successes, have led him recently to add a second career to his busy life as a photographer.

In this new role he is The Copyright Cop, business advisor to photographers for such matters as work used without permission or held without payment.

Richard Weisgrau observes in a larger context, "Copyright transfer demands and work-for-hire demands have increased substantially as the economic situation for photographers has weakened. This is predatory behavior. " Certainly repeated unauthorized usage qualifies as predatory behavior as well.

So what did Peter B. Kaplan receive instead of the $40 paid for most of the images that appeared on the CD-ROM? Kaplan considered the work to have been willfully infringed twice and his contract breached twice (once for use in the magazine part of the CD-ROM and once for use in the gallery part). Damages for two willful infringements might be as much as $200,000. The final settlement concluded at $75,000 plus $3,250 for Kaplan's attorney's fees and expenses. Although this payment was made, the settlement also asserted that Sports Illustrated made the payment to resolve the claim of

"Working with

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company from head to toe .. .is our pricing right, are proposals

What a strange, and uncivilized, world we inhabit when photographers must also be Copyright Cops. It is as if the anonymous bits coursing through Cyberspace have made some of us forget the difference between what is beautiful and what is ugly, not to mention what is right and what is wrong. But it is not the bits that are to blame, nor the computers, nor the chips, nor the access lines that make the vast linkages on these highways. Once again we are left with only ourselves, noble and ignoble, predator and victim, struggling to make tomorrow's history more uplifting than yesterday's. • © 1996 Tad Crawford

Consider a business audit. Review issues like sales, marketing trategy, marketing materials, management effectiveness, inancial issues, technology, productivity, portfolio, employees, retirement provisions, and specific growth issues. udits are conducted in conjunction with Creative Business, he organization that sets business standards

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What Clients Really Want

BY MARIA PISCOPO

Dennis Gallagher comments, "We do editorial, book design and are a small studio without all the barriers to freelancers a large agency can set up. There are two groups we consider, people we have worked with and people we haven't. To work with you, we have to meet you and get to know you.

I like to see a manageable portfolio-not too many pieces, something I can simply and quickly categorize. It does put you in a pigeonhole, but a least it puts you somewhere. The

T

oday's competitive marketplace has most freelancers asking, "What do clients really want? " The key is to ask the client you don't have yet! Serbin Communications, publishers of California Image and other industry sourcebooks, sponsored a panel discussion to help answer this question. Panelists included Storm Tharp, art buyer, Wieden & Kennedy, Portland, Oregon; Amy Moorman, art buyer, Chiat/Day, Los Angeles; Vic Marcelli, art director, FCB Healthcare, San Francisco; Agnes Arceo, art buyer, McCann-Erickson, San Francisco; Dennis Gallagher, designer, Visual Strategies, San Francisco. Here are some of their insights on the subject of finding freelancers they are not already working with.

"When we get promos, we separate by photography and illustration, " says Storm Tharp, "There's so much crossover possibility. What if an art director wants to use a travel photographer for a tabletop shoot based on their style? So we tend to keep them more loosely categorized. When an art

34

electronic portfolios are still not successful just sent to us cold. The exception is when I see a freelancer's print work somewhere and can then access their portfolio online. It's immediate and it works. " Agnes Arceo says, "Our photography files are broken down into different and very specific subjects such as interiors, people, tabletop. With illustration, it's stipple, computer illustration, etc. I'll go to the sourcebooks when I know I'm not restrained by the project to use someone local and can look for a regional or national talent. " Vic Marcelli adds, ''I'm more specific about breaking photography into different categories: editorial, studio, manipulated or enhanced processes, and of course, conceptual or interpretive. I get a big kick out of that one. I probably look at the sourcebooks more often than my promo files. Often it's to get started or to get ideas. Then, I'll go to the promo files.

The next topic the panel addressed was follow-up by free-

director tells me what he wants, I go through the entire file , pull twelve to fifteen people and he goes from there. I also keep my rep's files apart and on my desk for convenience.

lancers. There were two factors each panelist mentioned.

The sourcebook directories , with just your name, address and phone are very valuable so that when I've seen your work in a magazine, I can find you. Sourcebooks are especially important for illustrators and are often the first place

don't make wasted calls. Storm illustrates, "It's hard to take connection. Promos are the best choice when I don't know you personally."

we look. One comment: If you mix illustration styles on a

Agnes offers some creative tips. "I need to remember you so

page, and I call for one particular style, you have to be able to support that style with a complete portfolio of that style.

Often, I get just a couple of faxes of a mishmash of styles.

anything from sending me articles you have done, notices

One, be consistent in style, subject or specialty to develop the recognition needed to know when to call you. Two, calls like this, ' Hey, how's it going? ' if we don't have any

of your gallery openings to calling when you hear about a new business pitch we're doing and offering your assistance

For photographers, I use the sourcebooks a fair amount.

Also, I look at every magazine I can get my hands on. "

helps the recognition factor. Photographers should design

Amy Moorman says, "Since I get 50 to 60 promos a day, send

you are aware of what our agency is doing. Things that help

and produce conceptual pieces. Things that say to me that

direct mail with really strong pieces. Often I've called people

me get to know you better. Don't just call and ask ifl got

in off a single promo card to find new talent. Show the pure work; often if I just see the finished ad, I don't know what

your promo. " Dennis concludes with this information, 'Tm

was your work and what was post-production. Right now,

work, then work with freelancers and never hear from them

electronic or digital portfolios are not really helpful. They take a lot more time and I feel they control me! A lot of

again. I agree, don't call every time and ask if I got your piece. It's amazing how many calls like that I get. It puts me

times I want to flip through your portfolio and get a feel for your work and I can't always do that with non-traditional

in a bad position. Do call if we have worked together and already have a relationship. Send small enough pieces I can

portfolios. Also, the screen quality is an issue. I need to see

file, I can't put everything up. A lot of this is timing. T he

astonished at the lack of follow-up we get. We see great

new work at least every three months to keep my file on

more follow-up you send, the more likely your promo arrives

you current. "

when the perfect project for you comes in. "

MAY /

JUNE

1996

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On the subject of what they see too much of (or not enough of), the panelists appreciated this chance to be more honest than they could be when talking to an individual freelancer.

Vic has an excellent suggestion for artists, "Illustrators always show a lot of very complex layered work. I don't see enough simple line drawings, icons that can stand for simple concepts I need for my clients ." Storm has one for photographers, "What I'm looking for, especially for Nike, changes.

In general, I don't see enough 'staged' real action portfolios.

So many portfolios come in and they are really buff, wet body, underwear-clad people. We're looking for the neighbor next door type person, something more subtle and real."

hard to tell from sourcebooks and promos whether you can only work conventionally or can do electronic imaging or can do both. It's really helpful to know you did your own computer work."

Finally, on the controversial subject of budgets for free-lance work, Agnes says, "When I know I have a limited budget, I'll be very up front and tell the rep or freelancer what I have.

But it is a constant struggle between me and the account person. I know what creative, pre-production and post-production costs are and I'm arguing with the account executive because the client is dictating to them how much they want to spend. It's a constant tightening and client-driven

Amy summed up the panel's feelings, by adding, "I want to see what you love to do; I never get tired of looking at work you are passionate about. It helps me when you show what you can bring to the party, what your style is as well as the straight shots on seamless. I'll always let you know whether you are dealing with a very literal art director and will guide you in putting the portfolio together.

struggle." Amy agrees, "Budgets I'm given are continually a frustrating, limiting and unrealistic phenomena I deal with.

Even with big clients, they tend to set their budgets before the concepts are done. Like Agnes, I like to be up front and tell the freelancers what budget range I'm dealing with. If I go in too low, it will tie my hands the next time I deal with that client. The more information I can give the client, the

"We are looking for freelance illustrators, comfortable in

better I can defend the price. Usually you can win the battle

the computer realm, dealing with Web sites. Sometimes it's

if you have a good creative argument and a great, talented artist you want to work with. Also, I have a message for those of you working client-direct. When you charge half the price for the same job, it makes my job so much harder

Lommunication Art~

when the client can tell me, 'I got it for half that price the last time."'

Dennis gives a realistic view on editorial work, "If an illustrator or photographer wants to work with us, they know there's not a lot of money in editorial. There is a lot of creative freedom and we are very open to letting someone shine in the piece because there's not a lot of money. " Vic concludes with a challenge to the industry of free-lance: "I wish there were some standards or formulas. The most frustrating part of being an art director is trying to be a financial manager. It's hard to work creatively and manage the money at the same time. My biggest problem is it takes so much time getting the detailed estimates and purchase orders that buying usage requires these days. " From all of this you should take away two challenges that will change your approach to prospective clients. One, design a plan to be both creative and consistent in your approach and follow-up. Two, give your clients help above and beyond what they are getting now to hold the line on budgets for free-lance work and help you get paid what

http://www.commarts.com

you're worth. • © 1996 M aria Piscopo

36

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Getting Great Design From the Personal to the Political

BY LAURA SHORE

M

y mom has a very selective memory. This week-

As a client, my sense has long been that many designers

end, when I was lamenting some new indignity

draw an artificial distinction around their discipline. While

or recent compression of work into ever tinier

designers may understand what their role is, I would expect

time slots, she reminded me (yet again) of some comment

that many clients are baffled by the limits of traditional

I made when I was twenty about how exciting it was to live

design practices. Given the pace of change in design firms

through a revolution. I can't remember what particular rev-

and client organizations-and given that client needs ulti-

olution I was living through at the time but it seems that

mately drive design, it always surprises me that we don't

revolutions occur more regularly today than they ever did

hear more about the client perspective in discussions on

back then.

graphic design. Perhaps it's because our mutual professional

There are the opportunities and challenges presented by new

lives are focused on doing rather than analyzing. Perhaps it's because the rules are

technology. The shift from local, relationship-based business to global enterprise. The pain of downsizing, rightsizing and resizing. People who seemed perfectly competent a few weeks ago suddenly seem woefully out of step and ready for early retirement. Today's business buzz words are tomorrow's cliches. We're told to reeducate ourselves, reinvent our profession, rebuild our resumes for our next job (too bad if we like the one we have now-it probably won't be there next week).

It seems that the soul searching and commitment to renewal evident at the AIGA Conference in Seattle is going on everywhere. I doubt there's a business on the planet that isn't examining its products, its people or its markets, trying to figure out how it will survive in the coming years.

A designer I know called me recently, looking for work. It seems his firm spent the greater part of the '8os designing corporate communications for a large, design-focused company. Over the past few years he's seen his workload decline dramatically as the company has taken more and more work in-house and shifted design resources into other areas. He

40

It is designers who provide the essential link between a great marketing idea and a real product. It's designers who create a visual expression of who we are. It's designers who create our voice in the marketplace.

being continually rewritten.

Or perhaps we're just all too busy to ask the next question.

In thinking about this article, I called several designers I know and asked them to suggest names of clients who were going through the Total Quality Process and who they considered to be good design managers. Each designer reacted similarly, with a long silence-followed by the comment that most of their clients were in the middle of such sweeping changes that they really didn't have a lot of perspective on the function of

design: They were pretty much managing day-to-day.

has resisted diversifying his practice, preferring to focus on the skills he worked so hard to acquire. If I had to guess I

This essay, then, is designed to be a conversation starter.

would bet that his client is probably spending the same

personal terms, of a particular company at a particular point

It is an attempt to lay out an informal case study, in very

money on design as before, but they're spending it quite

in time. We're certainly not experts at Mohawk. We learned

differently. They may be clients of some other designers I

our jobs on the job. But we have worked with a lot of differ-

know who have put together a hybrid practice that doesn't really look like anything we've seen before. They have writers,

ent designers and have seen a lot of change over the past few years. Our industry has a fairly unique relationship with

new media experts, traditional designers and strategists. This firm is able to provide a range of services that allows them

graphic designers who both create our communications

to provide value on multiple levels to their clients. They're

my department are deeply involved in product design as

so busy they have the luxury of evaluating their clients and

well as marketing communications. But while the scenario

material and use our products. For this reason the people in

selecting the ones they want to build long-term relation-

I'll describe is fairly atypical of large organizations, I expect

ships with.

it is quite typical of smaller companies.

M A y I

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One of the hallmarks of the last few years has been the drive

executions with a minimum of revisions. More important,

on the part of corporations to reinvent themselves to become more competitive. Whether it's technology driven by philos-

we produced some impressive, creative results.

ophy or philosophy enabled by technology, we're all being asked to work in new ways. People are required to form cross-disciplinary teams to tackle the specific problems that transcend traditional departmental responsibilities. A product development or marketing task force may have members from manufacturing, marketing, product testing, customer service and research. With the right strategic focus, an approach that blurs the distinctions between disciplines can lead to wider buy-in and result in rapid product development and implementation.

Sounds like business heaven, doesn't it7 As a communications manager in this brave new world of employee empowerment, Total Quality Management and cross-functional teams, one challenge has been to figure out how to coax great design solutions out of a process that seems to put greater value on consensus than on creativity.

Like many fine paper mills, Mohawk has identified graphic designers as an important audience. For that reason alone you would expect our products and promotions to exhibit a high degree of design literacy. And in fact, that's the case with the many mills promoting paper to the graphic arts community. Because many of the projects we work on are often as much about design as about any specific product we're promoting, designers tend to view them as golden opportunities for self promotion. In reality, our projects serve the same purpose as a brochure for Joe's Pizza and Muffier Shop: We want to differentiate ourselves from our competition. We want to change your perception of us from

For my company the change started about a year ago when we installed new management whose primary mission was to reverse a slide in our core markets and make our company a national player in the fine paper market. We embarked on a process of self-examination and reinvention that continues to this day. Thankfully our management has committed to its renewal through a bold program of new product development and attack of new markets, rather than through the route of layoffs and consolidation.

An obsessive focus on customer needs complemented by internal restructuring has changed old job descriptions forever and removed many obstacles to performance. The old ways of working are no longer relevant and that goes for the way we work with designers too. It took awhile to

over the years we had always put the emphasis on managing

get used to the new environment. (I switched majors two or three times in college to avoid taking statistics.) Like most sane people I detest meetings, cheerful slogans, jargon and overhead projectors. After an hour in a stuffy conference room I'm ready to jump out the window.

the project in a highly personal, fairly efficient way. By act-

As the new methods took hold we began to fear for the purity

ing as the link between our company and the designers we

of our design program. Where did empowerment end and meddling begin? We became even more nervous when they hired a new marketing guy. His "rows and columns" approach

A to B. We want you to try our new product. Or try our old product in new ways.

In the course of working with so many different designers

worked with, we were able to protect them from each other.

People in sales and advertising would brainstorm product, public relations or marketing issues. We would forge a design brief, which would circulate for comment before we began working with our contact at the design firm. We would

controlling the conduit between the company and the design

was in direct contrast to quick leaps of instinct. But it turned out that he was a gifted facilitator. After we'd been working together for awhile I noticed that he would listen intently as we rambled on in brainstorming sessions and then transform all of our verbal hand-waving into outline form, draining the ideas of all their emotion, transforming pure

firm we were able to operate very efficiently with few presentations, which kept costs to a minimum, achieving quick

experience and intuition into logic. What amazed me was how much more receptive others in the company were to

then work out content and visual solutions which we would evaluate before presenting to others at the mill. By tightly

42

Unfortunately, the results, though well-managed, focused and creative, were also largely ineffective in the ways that count in business. In a crowded market full of parity products, we did create a unique voice in the marketplace. And we did raise our profile among the design community. But the work had little measurable effect on sales or profits (aside from common cause variation). Of course there were many reasons for this. The marketplace was highly competitive, our product lines needed renewal, there were sea changes happening in our industry. What we came to realize was that in the '90s the design function cannot long remain disconnected from corporate strategy. As I told my friend who yearned for the good old days of eight-color employee newsletters, today, anything that doesn't contribute to the bottom line is overhead and is therefore expendable.

M A y I

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this approach. What had seemed just a little bit goofy when it came up initially suddenly seemed reasoned and informed.

I think I really got religion when I realized that I wasn't the only person who thought they had all the answers. Our technical guys thought their new process would save the company. Our sales guys thought we should turn our ad budget over to them in the form of higher salaries (it's true!) and the production guys thought all we had to do was limit our line to one product so we could make it efficiently at a really low cost.

Of course today we all work together on various teams. The process is often laborious as we strive to translate our ideas back and forth to each other. And though it generally feels very slow and unproductive at first, it has resulted in some almost unbelievable product and promotion breakthroughs.

Although we don't get to execute every cool, quirky idea that comes along, the design projects are now linked strategically to the larger goals of the company. Because success breeds success, we've been able to work on larger projects, with bigger paybacks, and those projects have, in turn, begun to raise the perceived value of design within the company.

The best part is that the design projects we've executed this way are selling lots of paper.

It continues to be a major challenge for us to get everyone lined up behind a good design idea. Like many of the designers I worked with over the years I believed for a long time that it was the purity of vision that set a design program apart. Ultimately it was an individual who carried great design through an organization. I've come to believe that the reality is vastly more complex than that. While it still takes individual vision, there is a big difference between good-looking design and effective design. And it takes many people working together, with a shared set of values and objectives to achieve design results that truly matter.

As the benefits of teamwork became clearer, I began to wonder how we could extend this powerful idea and involve designers more deeply in the process. I didn't want to waste the designers' time or that of the other team members. In addition, I was cautious because, as more number crunchers became involved in the design process, I noticed that a lot of them are "design-blind. " (As with color blindness, design-blind individuals usually let their spouses pick out their ties.) They truly can't tell if something is well designedand really don't care. On the other hand, once you combine a great metaphor with a cool-looking visual solution, I'm hooked, whether or not it solves any kind of real-world marketing problem. (Designers love to work with me.)

As we looked for designers who could survive the team meat

44

MAY /

JUNE

1996

grinder approach, I also saw the need to counter the prevailing stereotype among the numbers guys that designers are artists who are somehow not serious. So we focused on designers who-besides being good designers-are very good sales people: highly articulate individuals who can work at a strategic level and convince management that they have the ability to make a difference for the company. As someone who is passionate about design, I've come to realize that it's essential to multiply the opportunities for people in my organization to work with designers. But they have to be the right designers.

As we slogged through a recent product development and launch program, we began to implement a new approach.

One ofthe hallmarks ofthe last few years has been the drive on the part ofcorporations to reinvent themselves to become more competitive.

After we forged the design brief in the committee, then deleted the jargon, we found the essence and translated it back to the design firm. As the project started to take shape we invited some committee members to participate in client meetings at the design firm. We then invited the senior designer to the mill for a comprehensive presentation to a cast of thousands,

which included people from the product development team, marketing, finance, manufacturing, engineering, upper management, sales, etc. A very small group of senior management was later invited to participate in a discussion of the work over lunch.

In the days following the design presentation there was an astonishing wave of enthusiasm that swept through the ranks of my normally stoic colleagues. Before the design presentation nothing had seemed quite real; all we had was a collection of words and ideas, some paper tests and printing trials. After the design presentation we had a product with a name, a visual identity and narrative. It had become something we could all fall in love with.

Although we had worried that there would be a lot of nitpicking if we got too many people involved, we found that most people were pretty good about giving appropriate input.

We implemented suggestions where they made sense and communicated the fact so there was a high degree of ownership in the final project. It made getting support internally easier as we moved into the critical last few weeks. This approach involved a bit of theater and added precious time to an already impossible schedule. But it has worked so well

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on two occasions now that I am pretty convinced that it's a great way to build enthusiasm and create a positive envi-

Besides having a great product, great clients: • Put their customers first.

ronment for future programs.

• Know what their customers want and need.

While it's important to build an internal consensus and enthusiasm for a new product launch it's essential to build enthusiasm in the marketplace. When our project was finally ready to launch, we invited the designer to return (along with others in the market who had used the product in a kind of beta test) to present their experiences to our own

• Know their own capabilities and can communicate them to the design firm.

• Have a clear sense of the problem they want the design firm to solve. Know whether it's a communications, marketing or advertising problem.

sales force and a group of highly influential customers. In a

• Are open to fresh ideas.

brief two hours the crowd moved from polite skepticism to

• Evaluate ideas presented based on company needs.

a high level of enthusiasm. The response was almost unbelievably positive. While there are many reasons for a successful

• Have clout internally or the ability to sell design internally.

product launch (not the least of which is having a great pro-

• Are able to allocate the resources to do good work.

duct), it's exciting to know that, among my colleagues, the

• Have carefully researched the design firm's capabilities.

design firm has received a significant share of the credit.

• Hire the right designer for the job.

We've all had to give up a lot of autonomy in the transition from the personal to the political. It's a lot of work to be on

Besides having a great client, designers:

a team-all that jargon! In addition we used to like working

• Need to see through the client to the customer.

in our own little world with designers we enjoyed, coming up with designer-focused solutions. Our projects now seem somewhat more diffused, with solutions that are less quirky and more mainstream. But the payback, in terms of closer cooperation between departments and greater sales, is more than worth the effort it has taken to change.

In the course of this transition I have thought a lot about how designers and clients can better work together. Designers often complain that clients don't know what designers do.

Actually, I would say that's probably true. As a client who's worked with designers for over ten years, I can safely say that I still don't know what designers do. Today I, and many others in my company, do know that design is essential to our survival. In a crowded market full of parity products, design leadership linked with product leadership can provide an important edge. It is designers who provide the essential link between a great marketing idea and a real product. It's designers who create a visual expression of who we are. It's designers who create our voice in the marketplace.

But just as I've had to learn to translate my ideas and values into a language others in my company can understand, designers and clients today need to see the world from each other's perspective. How often have we heard the phrase: To do great design you need to get a great client. The flip side of that is: To get great design you have to become a great client. Here is a very personal, by no means exhaustive, list of suggestions to both.

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• Should remember that design-blind individuals tend to react to content rather than visuals.

• Must find someone in the client organization or within the design firm who can tease out the issues that will allow the creation of great visual solutions.

• Should talk to the client's customers.

• Should remember that professional project management will enhance credibility among client management.

• Should never bring up deconstruction unless they're prepared to define it in the same sentence.

• Should take heed: If the client's problem requires a business consultant rather than a graphic designer, proceed at your own risk. Even the best design program won't sell a flawed or poorly positioned product. Yet because design is so visible it can easily be blamed for poor performance. Of course if the product is a raging success then management will claim it was the strategy.

At least you'll get more work. •

Editor's Note: The client/designer love affair has matured.from an often selfish and myopic relationship to one ofgreater mutual repsect for the needs and goals ofthe company, at least fo r Laura Shore and other intelligent managers who are in sync with the times.

-DK HOLLAN D

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Connecticut 06 02 6

Jager Di Paola Kemp

BY ELLEN SHAPIRO

I

n a converted grocery warehouse on the shores of Lake Champlain in Burlington, Vermont, designers from all over the country have converged to do what they characterize as fearless, instinctual, passionate design.

The work they do builds brands, moves products, influences culture and sets trends. Yet everyone at Jager Di Paola Kemp dismisses the term "trendy." They prefer to describe their work as distinctive, on the edge, authentic, complex, action- and youth-oriented and rooted in solid market research. And if the studio sets a trend or two, so be it, because its imitators will most likely be left behind in the dust as JDK creates next year's product stylings, images and merchandising strategies.

Senior design director Janet Johnson, who came to JDK from Los Angeles five years ago, sums up the appeal of the firm when she says, "This is the place you come to do the kind of work you've always dreamed of. Friends of mine in L.A. looked at my portfolio and said, 'Go see Michael. He'll empower you to do what you always wanted to do."'

Michael is Michael Jager, the charismatic, 36-year-old creative director and co-founder of the $6 million, 47-person firm. A native Vermonter, Jager, like his Canadian-born wife and partner, Giovanna Di Paola, is a graduate of the Visual Design program at Dawson College, Montreal, Canada. The firm's third partner, marketing director and CFO David Kemp, is a Dartmouth MBA who was formerly manager of public relations at Dow Jones & Co. and a partner in the New York design firm Harmon Kemp.

The principals, who started the business in 1988 in the Jagers's Williston, Vermont, basement, now guide a staff of 23 designers, 7 account executives, 8 production and tech support people, an accounting and support staff of 5 and a librarian/archivist. JDK designers have come to "the studio," as they call it, from Arizona, California, Connecticut, Florida, North Carolina, New York, New Jersey, Maine, Massachusetts, Texas and Washington, D.C. Several are Cranbrook alumni, and others received their degrees from such schools as Art Center College of Design at Pasadena, Carnegie-Mellon University and Philadelphia College of Art. Although they're young-median age 26-past affiliations include top firms such as Grafik Communications, Skolos/ Wedell Design and Richard Poulin Design Group. More telling, their resumes list activities like ski patrol and vice president of the snowboard club. When they're not working-and they're working a lot of the time-JDK employees can be found at Stowe and other local mountains beta-testing Burton snow50

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boards, Karhu Nordic skis, Tubbs snowshoes and Specialized mountain bikes. They have found that Burlington, a town of 40,000 that's been named number-one dream town in the U.S. by Outside magazine, offers them an enviable lifestyle in "one of the most happenin' places in the country," as designer David Covell puts it, "away from traffic, smog and crime, but where you don't have to compromise on design." .Connected by a network of 80 computers with dedicated Email and Internet servers and close to an unbusy regional airport, JDK is far from isolated. In eight years it has built a national and international clientele of top brand names, primarily in the consumer sports and recreation categories. Here, there are no illusions of design as an art form, academic discipline or catalyst for social change. Design is a force that brings products to market, that makes people buy. And buy they do, as JDK work affects multiple steps in the product development and marketing process. A teenager loyal to Burton snowboards, for example, rides a board that's styled by JDK designers, launched at a ]DK-designed trade show booth, shown in JDK-art directed catalogs and ads and displayed in a ]DK-designed retail environment; choices of boots, binding, clothing and accessories are influenced by a myriad ofJDK logos, hangtags and packages.

And next year there will be an array of new choices. "Consumers want change," says Jager. "We help companies enhance change and keep up with it."

The firm's ability to motivate young people through design is being tapped by clients such as Canon USA, who called upon JDK to create training manuals intended to work the same kind of magic on copier and business products salespeople.

Michael Jager is the creative director on all the projects shown .

Right: The music is the message and TDK is the medium in this youth culture image aimed at a core 18- to 24-year-old rock 'n' roll audience who are heavy users of blank audio tape. The poster was done for a giveaway as part of a newspaper ad; readers called an 800 number and got one.

"The spontaneously cropped, raw type treatment is a quick snapshot of today's constantly changing information environment," according to Steve Farrar, senior design director. Steve Farrar, art director; Steve Farrar/Kirk James, designers; Kirk James, photographer.

To push blank audio tape through music and specialty audio stores, TDK created Team TDK, a mailing list of some 20,000 store personnel. Packaging and booklets delivered blank cassettes along with product information, critical to sell-through in a memorable and relevant format for a hip, design-aware audience. Striking images, saturated color and direct, concise copy are combined to maximize the impact of the small format.

Steve Farrar, art director; Steve Farrar/Kirk James, designers.

MIADROOM llN t THI IAMI AT ALL UIQUIHClll , AND HlltHll AH UH DIMANDI DP MUllC . IA · I II INO INllllD fO MAtCH llUL •WOILD MU .. C NllOI .

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Jager Di Paola Kemp Last summer, JDK purchased its three-story, 45,000-square-foot building and renovated it with the help of local architect Tyler Scott. With rough wooden ceilings, exposed duct work and brick walls, the building retains a warehouse feeling. But its own quirky culture is soon evident. "We're inventing ourselves as we go, " claims Jager. "Because we're babies and we've never worked at big agencies, we'll do things in ways that haven't been done before. " As a case in point, visitors first walk through "Exquisite Corpse Artsite, " which gives the public access to new voices in painting, photography, architecture and video.

The studio is organized into design teams named "Thrum," "Farm," "Horse, " "Furnace" and "Swerve." Low walls separate the team spaces and principals' offices from the little "houses" where the account executives work. In the center are two massive, nail-studded beams, "totems" into which nails can be banged to express frustration or satisfaction. Each team of two to six designers is served by the "Fuselage" team of account executives, who conduct focus groups, prepare market research reports (named "'suck books,' after sucking your brain") and are responsible for budgeting and estimating, but not selling.

The designers do the presenting because, according to Jager, "If you can't explain persuasively how you got where you did and why, you're not a designer. " He talks about "the power of presentation" and "inflaming a room with energy" in a way that would make Madison Avenue rainmakers wild with jealousy. Yet in his firm's offices, business attire is snowboard sweaters and hiking boots. Di Paola, who is responsible for the firm's business management and direction, says that while the "look" is relaxed, the work pace and tension level are as high as anywhere else.

In the "Farm" team space, Janet Johnson leads a team that's creating advertising, collateral and color consulting on Specialized's international line of bicycles. "We're heavily involved in product cosmetics, " explains Johnson , who says "Farm" is about "nurturing and growing design ideas. " In "Thrum," named after "the sound that goes off inside my head, " design director Mark Sylvester and designer Chris Bradley are using CAD to visualize the colorations for next year's Merrell footwear line.

In "Horse, " David Covell's group is generating art for some of the 55 different Burton snowboard "decks" for 1997. "We're flying in the face of traditional corporate identity," he says, flipping through binders of Burton logos, one for almost every product the company makes. In "Swerve," high-energy designs for Tubbs's lightweight aluminum frames are, according to design director George Mench, repackaging snowshoeing to be the coolest new action sport. In "Furnace," under Steve Farrar, they're putting the finishing touches on the name, mystical imagery and packaging that reflects the eccentric ]DK-created character of a new line of micro-brewed sodas.

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Left: Rising up from a small base to a dominant header, the Converse Athleisure point-of-sale display mimics heroic skyscraper images of the early 20th century. Its distinct form and combina tion of wood and silk-screened metal provide dramatic retail presence using a small amount of store real estate. Metal hoops stamped with the Converse logo provide a minimalist shelf for product display. Steve Farrar, art director; Steve Farrar/Kirk James/Richard Curren , designers; Butch Belair/Irene Farrar/ Floria Sigismondi, photographers.

This page: Converse's Athleisure product line is heavily influenced by street fashion and action-sport-driven youth culture. The trade catalog must present product offerings in a format that delivers their unique market perspective while educating sales reps and retail buyers on current fashion trends . Because youth culture changes so rapidly, the 1994 catalog represents a historical perspective on a period when consumers were beginning to look for authentic brand character, credibility and soul as opposed to a slick fa~ade . Converse's made-in-America heritage is communicated through photography done in Lumberton, North Carolina, site of the company's U.S. factory. "It's about freedom to roam , feeling good and passing on a positive vibe," says art director Steve Farrar. Steve Farrar/Kirk James, designers; Aaron Warkov (lifestylel/Peter Rice (product), photographers.

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••

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Jager Di Paola Kemp

SNOWBOARDS

Left: 1995 saw a huge explosion in video game technology and its 3-D rendered imagery as well as an incessant buzz around virtual reality and the Internet. Snowboarders embraced the new digital age with the same passion and commitment they gave to their sport. With powerful new entrants in the exploding snowboard market, Burton, the market leader, needed to signal its commitment to technology leadership and innovation .

The Burton Utopian Riding Technology (B.U.R.T.) trade catalog addresses both issues, combining sonic color, techno diagrams, the custom font Planivers and the Burton Robot tour guide. "It's a combination of the supersterile 2001: A Space Odyssey with the super-groovy Barbarella," commented David Covell, Burton senior design director. JDK also designed top and base graphics for the snowboards pictured in this spread, as well as all others in the line . David Covell, art director; David Covell/Mark Sylvester/Jim Anfuso/Dan Sharp/John Phemister/Ken Eiken (Horse), designers; Geoff Fosbrook (product)/various (action), photographers; John Churchman/Jim Anfuso, illustrators.

JDK produces more than 100 advertisements annually for Burton to deliver a distinctive, multifaceted brand character and consciousness that incorporates images from tech to trippy. In this ad for a U.K. snowboarding publication, the ultimate riding fantasy is peaceful and powdery, not aggressive and hard-edged . David Covell, art director; David Covell/John Phemister, designers; Jeff Curtes, photographer.

bur/on

This page: Staid, immutable corporate identity represents stagnation to Burton's 12-24 target market. Yet with some 200 competing brands, maintaining perception of core brand equities is critical to staying on top. Various wordmarks, symbols and icons have been used as Burton has evolved, often at the same time. Image maintenance has ensured that this is not perceived as confusion or lack of clear direction. David Covell, art director; Michael Jager/David Covell/Jim Anfuso/John Phemister/Dan Sharp, designers.

This board graphic represents a critical point in the snowboard industry's development. Use of sampling and appropriated images were critical to snowboarding's irreverent questioning of traditional sports. The Ouija board game art symbolized the emerging conflict between good or evil cults of riding and graphically represented everything a ski could never be . Michael Jager, art director; Adam Levite, designer.

JDK directed the redesign of Burton's factory store to create a complete multimedia snowboarding environment, utilizing video, sound, interactive displays and various other merchandising display structures and materials.

From the time they walk through the door, customers are immersed in the riding experience and infused with an excitement and immediacy that drives sales. Michael Jager/David Covell, designers.

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The center of the space is occupied by the creative services team, named "Outlet," that serves everyone in the studio. Under the direction of David Mendelson, a former agency print buyer, and Christopher Thompson, a Macintosh training consultant and software manual author, Outlet is responsible for production, art buying, traffic and computer systems. There is no media buying at JDK. Eschewing the label "agency," Jager says that buying media "takes your eye off the ball" and would make the studio's work less "pure. " After lunch one day, Michael Jager, David Kemp and about a dozen designers sit around a conference table, talking. "We jell really well together," asserts Janet Johnson. "The competition between the teams is positive, but it's fluid and we like to mix things up. " "There's no ownership thing," Mark Sylvester adds.

A project for TDK is demonstrated as a paradigm of the firm's methodology-and success. "Their stuff was really lame," says Steve Farrar. "The idea was to speak to the kid at Tower, to talk in language he knew from the club scene." The result is a carefully crafted campaign with a street-smart look that includes tape giveaway promotions, packaging, booklets, stickers and T-shirts.

"The product is hero. The product is king," emphasizes Kemp, showing work for Converse, Jogbra, Kastle ("we changed their whole attitude,"), Champion ("we made them younger, hipper") and a sequence of ads for Burton that, when collected, form a 35-foot poster. "The mood is set by photography," he adds. "We rely on the best photographers, the absolutely authentic models, especially for action sports, the careful art direction, the finesse.

Everything looks easy but is incredibly time-consuming and detail-oriented."

What's ahead for this firm? "Not more growth, but more refinement. Things that are cleaner and smarter, more beautifully controlled, " predicts Jager. "On one side of the design spectrum today is expressive typography, grunge, which has little concern for legibility. On the other side is classicism, structure, readability. We've created our own place right in the balance between these two models, bringing to clients what intuitively

Left: Wit h a new music director and conductor, the Vermont Symphony Orchestra also needed a new identity to mark its 60th anniversary and the start of a new era in its distinguished history. A sophisticated, contem porary direction was chosen reflecting a quality of music-making that transcends the borders of this small state. The mark took advantage of the fact that the group is universally referred to as " the VSO." Janet Johnson, art director; Michael Jager /Christopher Vice / Keith Brown, designers.

In a marketplace saturated with " microbrews" including several from major breweries, Magic Hat stands out with a totally original image. The alchemy involved in crafting a fine brew is communicated in whimsical and mysterious graphics and intriguing copy on labels and even on the inside of the bottle cap . Line extensions created by JDK include No. 9, Blind Faith, Heart of Darkness and Hocus Pocus. David Covell, art director/designer.

The Champion catalog features athletic imagery that is both contem porary and reflective of the brand 's 75-year history as America's athletic outfitter. Cover photography, by John Huet, uses a heroic athletic image and contemporary coloration to showcase the product and emphasize the heritage of the brand that has been an official outfitter of the 1994 and 1996 U .S. Olympic teams . JDK perfected the innovative three-holepunch tab to allow reps to file the catalog in binders and provide the design flexibility of spiral -wire binding . Michael Jager/Michael Shea, art di rectors; Andrew Szurley/Michael Shea, designers; Carl Tremblay/ various, photographers.

"Design can be a powerful tool to advance social missions as well as brands," says David Covell, who created this poster to benefit the American Foundation for AIDS Research . David Covell, art director/designer.

This page: Portraying the aggressive attitude of ice hockey while avoiding sports-team logo cliches was the challenge for the " Furnace " team . The solution broke the gestalt of the professional team emblem, making it mor e organic while preserving a sense of skating motion and power.

The design assignment also included uniform design, a custom font and a color system that will be introduced on ice in the 1996- 97 season . Steve Farrar, art director; Steve Farrar/ Kirk James/Richard Curren, designers; Steve Farrar, illustrator.

With 63 % market share, Canon dominates the color copier and printer market. JDK designed this mark to appear on all color products and sales collateral that represents the creative potential and pure beauty of color reproduction . Use of gradients and organic shapes signal the future of color reproduction, where technology has advanced beyond flat-color pie charts and fuzzy digital images, and reference modern ergonomic industrial design . Steve Farrar, art director; Kirk James/Steve Farrar/Mark Sylvester/ Richard Curren / Chris Bradley, designers; Kirk James, illustrator.

Located on Barbados, West Indies, Mystic embraces a holistic approach to mountain bike riding and health, employing both tour guides and a full -time nutritionist. Its identity captures the mellow cultural vibe of the island and its people as well as the spirit of the sport. Andrew Szurley, art d i rector / designer/illustrator.

is our own personal vision. That adds up to real visual distinction. " "And what happens," adds Kemp, "is excitement. You show ordinary people, consumers, this stuff, and it gets them very, very excited. " • C 0 M M U N I C A T I 0 N

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Jager Di Paola Kemp Left: "Why do you ride?" is the question JDK asked bicycle consumers, and it became Specialized's 1996 theme. That question is answered in bicycle and accessory catalogs that use soulful black-and-white and color images to communicate and distinguish the brand in a sea of full-color action. Clear product presentation and dead-accurate color reproduction sell the line to retail buyers. Steve Farrar/Janet Johnson, art directors; Steve Farrar/Janet Johnson/Keith Brown/Kirk James/Richard Curren/Shannon Poplin/Ed Wilbur, designers; Trevor Graves/Michael Jager/Steve Giberson, photographers.

This page: Video is often a key component of brand presentation. Dramatic concepts and distinctive videography are combined with considered typography and design in postproduction for overall impact of this spot for MTV. " Burning an old armchair on the summit of Mt. Mansfield was a fantasy that appealed to Burton's core market and supported the sport's ' outlaw' image at the time it was produced," explains David Covell.

"Burning Chair" :30 (Open on a black-and-white shot of a chair sitting in the snow. The seat bursts into flames) SFX: Gregorian chant.

(Cut to colorful action of snowboarding) SFX: Music changes to punk.

(Action and music stop. Frame freezes) SFX: Heavy sigh.

(Snowboard action resumes. Cut back to black-and-white. Chair is almost entirely consumed by flames. A figure approaches and kicks over the remains of the chair) Super: Burton Snowboards.

SFX: Chanters sing "Amen."

Michael Jager/David Covell/Dennis Jenson/David Schriber/Jacques Roiseux, designers; AdventureScope/Driscoll Communications, production company.

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Martha Anne Booth

BY MARK FULTON

hen I was a kid, my mother really wanted to have an artist in the family, so she put me in all kinds of art classes,'' says Martha Anne Booth. "And I enjoyed them, whether I really learned anything or not." Encouraged by her art teacher in high school, she applied for admission to the University of Hartford Art School in Connecticut, and

W

was accepted.

"When I went back for my second year and announced that I really wanted to learn to draw, I thought they'd encourage me, but what I got was total scorn.

It became a very depressing year for me. "

!

In spite of this, she says, "I stuck to my guns. I wanted to learn

~ how to paint ~ apples, so I en en @

painted apples, I drew apples, I sculpted apples. Everything was apples-apples on plates, apples in all kinds of different places, apples, apples, apples."

Her teachers ignored Martha Anne and her apples and she decided that the school was no longer the place for her. "Okay, so what am I going to do?," she thought. Her answer was to study in Europe. She enrolled in a program offered in Rome by the Temple University Tyler School of Art. As a learning experience, studying in Rome was the exact opposite of Hartford. "My teachers in Rome didn't believe in conM A y I J u N E

better, by God, look like a piano! Bue best of all," she says of her stint in Rome, "I learned that I could be independent. " A year after she returned from Rome, she graduated with honors from Tyler School of Art in Philadelphia. As a graduation present, her grandmother paid for a trip to the West Coast. Martha Anne's plans for the future were still no more clearly defined

"I was a good student in high school, but I didn't consider myself 'college material,' so art school seemed like the perfect fit. I said to myself, Well, I'm going to be a painter." In arr school, Martha Anne excelled at what was called "conceptual arr,'' which at the time loosely translated into, "If you have a big idea you don't have to be ab le to draw. " Her teachers told her, "You can always learn to draw, it's how you think about things that's important."

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ceptual art at all. With them, if you were painting a piano, it

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beyond someday to be a painter.

She spent a month in Arizona and "a while" in San Diego and discovered she had a cousin in San Francisco. "I thought I'd just go up there and get a job or something." In San Francisco, she began calling on art galleries, trying to get them to exhibit her paintings.

"I was so na'ive, " she says . "I just started walking around Fisherman's Wharf with my school portfolio full of things on paper with thumb tack holes in the corners." Miss Booth was not warmly welcomed by gallery proprietors. "They all said, 'Thank you very much. We'll call you.' Nobody said to me, 'Are you out of your mind? You don't just walk in off the street. There's a whole procedure you have to follow.' For a while I really expected them to call me," she says with a laugh. "Hey, they

said they would."

While waiting for the phone calls, Martha Anne found a job in a graphics production company. In the beginning, "production" mostly consisted of answering phones and sweeping floors. Later, she was promoted to proofreader and still later advanced to typing newsletters. Eventually she was lured away from the production company by the prospect of a more rewarding position in advertising. The new job itself provided slim rewards, but it did give her a hint of the advertising mystique.

Credit information provided by Martha Anne Booth . All illustrations are oil pastel on paper.

Right: Cover for the Detroit Free Press Magazine illustrating an article titled, "Do No Harm, Letters From Medical School." "Jim had seen an illustration I'd done for Starbucks Coffee Company, a single cup and spoon with a long shadow. We talked about what it was like to be in college and far from home and I remembered writing to my own parents late at night after studying." Jim Denk, art director. 18 x 20.

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Martha Anne Booth

Through mutual friends, Martha Anne met David Hunter, a Foote Cone & Belding/Honig senior art director. He told her about classes being offered by Artists in Print at San Francisco's Fort Mason. She decided to start with a portfolio class to help her get a "real job" in advertising.

Hunter agreed to monitor her portfolio progress. ''I'd go in to see David every six months for his critique. Finally, on the third visit, he offered me a job." That job was as a junior art director on the much coveted Levi Strauss account. The late, lamented legend, Mike Koelker, was the creative director and in addition to David Hunter, senior art directors included Chris Blum and Mike Salisbury.

The potential ramifications of working on this account, especially with these people, was not lost on Martha Anne. "I did whatever anybody said. I volunteered for everything. I even took Levis home and washed them myself to get ready for a shoot. I just kept saying, 'I can do that! I can do that! Let me do that! ' "I really went to school at Foote Cone. Mike Koelker taught me more than I ever learned in college." Obviously a quick study, she went on to do not only print ads, but also television commercials. "One thing led to another, it just kept growing and growing."

For several years she worked on the Levi Strauss Youthwear account and by her seventh year at the agency, the budget had grown considerably. "That year it was going to be a really big project, bigger than anything I'd ever worked on." To say that Martha Anne was excited would be a major understatement.

Then came the crushing news. Martha Anne was no longer to be part of the Levi's creative team. She wouldn't be working on the project. She could move on to other projects with other clients, but as she says, "I knew I didn't want to stay at Foote Cone after that. I knew I could go to just about any agency I chose, but after that disappointment, I decided to leave."

Again came the question, "So what am I going to do?" This time it was the old answer, 'Tm going to be a painter." And this time, based on her experience as an art director, she knew how to market herself and her art. All she needed was some art to market. So armed with a borrowed Polaroid camera, Martha Anne roamed San Francisco looking for subject matter. ''I'd shoot things like the chairs out in front of the Fog City Diner, all kinds of familiar things, actually just about anything with dramatic shadows."

At first, while she worked at being a painter, she did free-lance art direction projects for Foote Cone and other San Francisco 62

M A y I J u N E

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9 9 6

agencies. "I didn't do any illustration for anyone. I kept my advertising and my art separate." By this time she was living in Half Moon Bay, south of San Francisco, and painting in a tiny studio over a candy store in the small coastal town.

"My first legitimate fine art show was in a gallery down the coast in Carmel," she says. "The gallery was the only one that I felt my stuff fit in. They weren't showing all ocean scenes and boats and seabirds." Her show was a resounding success. Four of her pieces sold at the opening alone.

For her "big break" in illustration, Martha Anne credits the CA Illustration Annual. "When I was an art director, CA was where

I found illustrators, so I knew how valuable it was."

People saw her work in CA and illustration assignments began to come in. "Of course, since all of my illustrations published in the Annual were of chairs, most of my early projects included chairs. But eventually art directors started asking me if I could do other subjects. I said, 'Of course I can.' 'Can you do a bicycle leaning against a tree?,' they'd say. 'Sure,' I'd say. I'd just go ahead and do what they wanted. Every project pushed me to the limit."

This was especially true when it came to people illustrations.

"People in my paintings always were implied; action involving people had just happened or was just about to happen. The empty coffee cup implied that someone had drunk the coffee.

The full coffee cup implied that someone was about to drink it.

The first time I told a client that I could do people I got back to my studio and thought, 'Why did I say I could do people? I can't do people!' But then I went ahead and did people."

Martha Anne Booth is the painter she always said she would be.

And, as she says, "I use my illustrations to support my art habit." Not that anybody could tell the difference between one or the other. And, just as her mother wanted, there is an artist in the family. •

Right: Commission for L.D. Burke Ill, Cowboy Furniture. "I'd met L.D. on a trip to Santa Fe. His studio was filled with wonderful pieces of furniture he'd created and imbedded with cowboy artifacts, turn-of-the-century spurs, old bullets and horse bits. He saw my work and we agreed on a trade, one pair of antique spurs for one drawing of mine. I drew my favorite boots with the spurs on them ." 12 x 14.

Two illustrations for Starbucks Coffee's Pleasures of Summer cookbook.

"Since there was no product, simply a mood to be set, this project enabled me to concentrate on doing art for art's sake. The art directors allowed me a great deal of involvement and freedom." The Sweet Afternoon. 19 x 24. "One of my first cup and saucer pieces, The Long Lunch, was done for a show I had in a gallery in Carmel. It was used as the table of contents spread in the book." 27 x 20. Anne Dickerson/John Bull, art directors; Weldon Owen Publishing/Sunset Books, client.

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

A R T S

63

Martha Anne Booth

This page: Cover illustration Mixed Grill for the July 1995 issue of

Coast magazine. "I was asked to do a piece representing the Fourth of July. Simultaneously, I was having a one-woman show at Henley's Gallery on The Sea Ranch, which advertised in the same publication . I ended up creating a self-portrait using things I had become known for over the past eight years: coffee cups, Adirondack chairs, books on decks, a bull's skull for the cowboy art I' d started doing. The flag, it turned out, was the most obscure part of the whole piece." 36 x 40.

The Nine Red Hearts greeting card . "The assignment was to create an image for Valentine's Day and I didn't want to do the typical red heart filled with candy. I wanted the piece to be more thought provoking instead of an immediate understanding of what was going on. " Barbara Linhard, art director; First Impressions, Inc., client . 35 x 32.

Right: Special of the Day, commission for the executive dining room at Marriott Corporation . "There was a sense of elegance about something as ordinary as a sandwich, which seemed to fit the executive lifestyle." Janet Lash, art director. 30 x 30.

Olympic Weathering Stain package art for John Brady Design Consultants. "The client wanted a specific color stain to be shown on a non -existent house. The Adirondack chairs were the easy part, the house was created out of my imagination. The trickiest part was the size. The image had to wrap around the paint can .

Working in my usual 200- 300% up, the art would have been enormous. Everything was created in miniature using pastels filed to a point." John Brady, art director. 42 x 12.

64

MAY / JUNE

1996

•

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

A R T S

65

66

M A yI J u N E

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Martha Anne Booth

Left: Cross Ranch Drill Team commission Angel Sue, Cross Ranch Drill Team. 26 x 32.

Atlantic Monthly illustration Skating on Brooks Pond for an article titled, "How the Lawyers Stole Winter." Robin Gilmore-Barnes, art director.

16 x 23 .

Newspaper and outdoor board for Qantas Airways, Ltd. and Four Seasons Regent Hotel.

Claude Jacques, art director; Foote Cone & Belding, Inc., agency.

This page: Illustrations from Sunset's cookbook series Casual Cuisines of the World. Illustration of Table for One, half-title page, from Bistro.

32 x 40. The Celanese Vase half-title page from Far East Cafe. 32 x 24. Lisa Attwood/Patty Hill, art directors; Weldon Owen Publishing, client.

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

A R T S

67

Goldberg Moser O'Neill

BY JuuE PRENDIVILLE Roux

B

rian O'Neill has a date with Oprah. She wants him to come to Chicago and tell zillions of viewers how he, his creative

team and the production company made a baby break dance in a commercial. Over ice cream.

Only problem is, it's Monday morning in San Francisco and she wants him there that night for a 7 a.m. call. But Brian has lots of appointments. The client hasn't yet given the go-ahead.

And he has to audition over the phone for the producer of the Oprah Winfrey show to make sure he has a good "people voice." (He does.)

However, those annoyances were nothing compared to the biggest hurdle: his wardrobe. Brian was wearing beige that day.

Apparently, you can't wear beige on talk shows. "Naturally, Brian was wearing beige on Monday. In fact, Brian wears beige 99% of the time. It's kind of his trademark," confides Lisa Smith, director of public relations at Goldberg Moser O'Neill (GMO).

So, after canceling many appointments and getting the go-ahead from the client, Brian went home to pack a less offensive pair of pants. Something in black, maybe. Or navy. He got on the plane and while winging his way to Chicago it suddenly hit him.

He'd forgotten the pants. And he was wearing-you guessed it, beige. Thankfully, between his assistant Sarah Thompson, and a producer on the show, a suitable pair of pants lay neatly folded in Brian's hotel room when he arrived.

Life isn't always that exciting at Goldberg Moser O'Neill, but they definitely have had their share of exhilaration. Run by three entrepreneurial spirits, the agency was originally Chiat/ Day San Francisco, followed by Chiat/Day Mojo. Then, nearly six years ago, the company successfully completed a management buyout led by chairman/CEO Fred Goldberg.

Y&R merged with Dentsu and as general manager he built it into a successful operation. In 1982, he moved to Chiat/Day. "So really, I wasn't sure I wanted to create and build another agency," Goldberg continues . "But I got caught up in it, sort of like a fish swimming along, and finally I got a deal I couldn't refuse."

While these negotiations were going on, O 'Neill was ensconced at McConnaughy Barocci Brown (now McConnaughy Stein Schmidt Brown) in Chicago, where he had moved with his family two years earlier and Moser had just accepted a position at Hal Riney and Partners, San Francisco. So while Goldberg was scrambling to get creatives in place- most importantly, a creative director-Moser told him he was leaving. Goldberg

In the late ' Sos, there had been talk of collapsing the San

asked what he could do to make him stay. The next morning,

Francisco office into Chiat/Day Los Angeles, in Venice. At the

Moser asked for two things: his name on the door and the chance to work with Brian O 'Neill again.

time, Goldberg was president of the Bay Area office. He remembers, "The plan was, let's get rid of three-quarters of the people here and move all the accounts down. I said to Jay, 'First of all, we won't keep any of the accounts. Second of all, we're gonna lose all our good people. And third of all, I don't wanna do it.'

That went on for eighteen months or two years . And finally Jay ultimatumed me. He said, 'Either we do that or we're gonna have to figure something else out.' I said, 'What's the figure something else out? ' He said, 'Maybe you ought to take the agency.' We got to talking about it. I didn't even really want to do it because I was 50 at the time. " Goldberg had had a combined seventeen-year stint with Young & Rubicam (Y&R) in New York and Los Angeles. Out West, 68

M A y I J u N E

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9 9 6

Principals (left to right) Fred Goldberg, Mike Moser, Brian O'Neill .

Brian O' Neill provided the captions for several of the print and television projects featured . Mike Moser and Brian O'Neill were the creative directors on all of the work shown.

Right: Magazine ad, "The kind of ad only Dennis Rodman could love." Tim Hannell, art director; Michael McKay, writer; Dan Escobar, photographer; Catapult Entertainment, Inc., client.

The Red and White Fleet poster: "Still can't understand why we didn't get the Disneyland account." Michael Wilde, art director; Jim Noble, writer.

Poster for the California Shakespeare Festival. "One of three posters. The other two offended the handful of people who weren't appalled by this one." Simon Chandler, art director; Neville DeSouza, writer.

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

A R T S

69

Goldberg Moser O'Neill So they called Brian. "I remember Fred calling, but it was not in reference to the actual deal," says Brian. "But when Mike called he just came out and said, 'This is a harebrained idea, but what would you think about starting an agency?' It was very

managerial tasks, such as assignments and hiring. It's a plan that was put in place at the end of last year. Before that, the two principals split the agency's clients. With this new way of working, all the accounts would theoretically have the attention of both.

unexpected. I was focusing on what I was doing. I was getting used to going to Bulls games. I also forgot what life was like on the West Coast."

O'Neill explains, "Mike has certain strengths we'd never lever-

Goldberg and Moser Bew out to meet with Brian and his wife, Shelly. Although the O'Neills had strong family ties in Chicago, they knew it was a great opportunity. "Five-and-a-half years later, it does seem like the right decision. Had the agency not caught on, it would have been a different story, of course. "

aged before. He's got incredible insights into why problems exist, why products exist. He's a very problem-solving kind of guy. Also, if he never had to do another performance review, that would be fine with him. " Along with the unique delineation of duties, the two also decided to work together as a team again. Moser, trained as an art director and O'Neill, a writer, had been long-time partners at Chiat/

Just as Chiat/Day San Francisco earned a name for itself mak-

Day. Their inspired campaigns earned them over 500 awards.

ing internal disk drives as approachable as tennis shoes, GMO has created spontaneous, relevant campaigns for everything from

Unlike Los Angeles and New York, the San Francisco branch of Chiat/Day had a high-tech bent which Moser and O 'Neill used

a casino to a modem card.

to their advantage. At the advent of the personal computer age,

About 160 employees strong, the San Francisco-based agency services a roster of consumer goods companies like Dreyer's Grand Ice Cream, Kia Motors America, Inc. and Calyx and

the two were delivering some of the most compelling advertising.

Along with the creatives' and account groups' focus on strategic thinking, Goldberg Moser O 'Neill also integrates account

Corolla Florists along with high-technology clients such as Siemens Rolm Communications, Insignia Solutions and Xircom, Inc. Tech and non-tech clients are treated the same, creatively.

the U.S., with the account planner working alongside the account and creative teams to make sure the campaign message is mean-

The reason is simple. While Goldberg Moser O'Neill has evolved, it's managed to keep the brilliant parts of Chiat/Day and reinvent itself in the process: Key personnel from Chiat/Day

account work and creative. Catrina McAuliffe, director of account planning, says, "When it works at its best, it's actually a partner-

are among key personnel at GMO, the agency's creative philosophy includes account planning, which Chiat/Day originally

ship between account service and account planning. If an account person is the bridge between the client and creative, then account

pioneered in the United States and then there's the passion to do great work.

planning is the bridge between the customer and creative.

planning. The British practice is becoming more prevalent in

ingful, relevant and distinctive. It's a cross between research ,

"With packaged goods, it's often easier for creative people to

This was the office that created the controversial Reebok "Bungee

identify with the target," she explains. "Take ice cream. They

Jumper" commercial, which aired only a few times but generated millions of dollars in publicity and sales numbers that soared. Also, this agency developed the marketing and media

eat ice cream, their wives eat ice cream, their mothers eat ice

strategy for Apple Computer's Macintosh. Mike Moser, executive vice president, creative director, came up with the positioning line, "Why 1984 won't be like 1984" for the Apple III, which ultimately became the rallying cry for the Macintosh.

They enjoy football. They tend to be Trekkies. There's all sorts of stuff that you can work with."

cream. But on a technology account, you see these creative guys and their eyes glaze over and you go, listen, they're just real guys.

On the client side, too, there are valuable insights to be had.

"That question of treating the customers like people has been

The stand-out characteristic of their work now is how different each of their campaigns look and sound. The agency's structure supports that goal. In developing a campaign, there are lots of checkpoints along the way to make sure the work is not only on strategy, but that the strategy is on target, too. Although they are co-executive vice presidents creative directors, Moser and O'Neill have different responsibilities. Moser is the strategic

Right: Magazine ad for Sunvalley Shopping Center. "The sequel to 'Got Milk?'" Simon Chandler, art director; Eric Springer, writer; Hunter Freeman, photographer.

Oakland Raiders newspaper ad. "Deluxe seating for Raiders football? It was a whole new concept-watching carnage in comfort." Terry Rietta, art director; Paul Carek, writer.

creative director, making sure objectives and strategies ring true

Dell magazine ad . "Few people realized that when it came to receiving

and that those goals are met conceptually. O'Neill serves as the overall creative director, responsible for concept, execution and

accolades for superior quality and service, Dell was in a league of its own." Mike Moser, art director; Brian O'Neill/Randy Hibbitts, writers; Rudi Legname, photographer.

70

M A y I

J u N E

l

9 9 6

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SO FAR, WE'RE

AHEAD EIGHT TO NOTHING.

CUSTOMER SATISFACTION SURVEY Source Re h a~hty Ra11ngs-- 1992 PC Vendor Survey

TECHNICAL SUPPORT

PRICE

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1. DELL

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1. DELL

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1. DELL

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1. DELL

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1. DELL

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1. DELL

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1. DELL

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2. APPLE

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2. COMPAQ

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2. COMPAQ

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2. APPLE

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2. COMPAQ

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3. APPLE

(7.72)

3. APPLE

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3. APPLE

(858)

3. COMPAQ

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3. APPLE

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3. COMPAQ

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3. APPLE

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4. COMPAQ

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4. COMPAQ

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4. IBM

(854)

4. IBM

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4. IBM

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4. IBM

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

A RT S

71

Goldberg Moser O'Neill

our biggest issue on Dell (Computers), but it's also been the reason for our greatest success. It's remembering that these guys have home lives, attitudes, that they're not just guys who react to a mix of bits and bytes. Originally with Dell, we took profiles, did cardboard cutouts and took them

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the cutouts and said, 'They really go bar hopping a lot and they like barbecues.' It sounds stupid, but when you look at the ads, they're talking to people."

Last year, the agency helped Korean automaker Kia launch a market-by-market introduction of their first U.S. import, the Sephia. And although this is a low-priced, reliable car,

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there were plenty of obstacles to overcome. Would Americans accept a Korean import? Would they believe they could get

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quality at such a low price? Dick Macedo, executive director of marketing says, "We had to make consumers like us as opposed to a lot of attributes and features. Early in the process, I figured our advertising was going to be the key in this.

How am I going to get the message out there? If you spread it out, no one is going to see you."

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Goldberg Moser O 'Neill came up with a two-tiered program for Kia. In a new market, forget the car cliche of long, languid beauty shots of a beautifully styled car skimming a road in Napa Valley. GMO created "Gorgo," a retro black-and-white mini horror film that roars forth with a campy, angry lizardmonster terrorizing a neighborhood. Then a tide comes up, "There's only one thing more frightening to the Japanese: a well-made car for under $9,00o. " Once they've got the viewer's attention, they roll out spots that drive home reliability. Fast-paced, hilarious stories featuring a taxi driver, a rental car agency, a race car driver and a pizza delivery guy comparing the Kia Sephia and Sportage to hallmarks of dependability-Honda and Toyota.

This page: Magazine ad. "The creative team spent weeks researching this one. Coincidentally, they no longer have lips."

Trade magazine ad. "This fun, flip ad campaign was targeted to retailers and wine snobs who read the Wine Spectator. The magazine's rating, included in the ad, proved to validate our credibility." nm Hannell, art director; Dave Woodside, writer; Michele Clement (bullets)/ Rudi Legname (red wine), photographers; Sutter Home, client.

Right: Print ad for Levolor. "Pepsi challenge comes to the world of window coverings." Michael Wilde, art director; Dave Woodside, writer; Michele Clement, photographer.

Two outdoor boards for Heavenly Ski Resort. "With a name like Heavenly, it was only fitting that these messages be spiritual." Gerard Vaglio, art director; Randy Hibbitts, writer; Dave Woodside, associate creative director; Tom Erickson (Hidel/Mark Shapiro (Zen), photographers.

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St!tter Home 1989 Zinfort<kl. Roted on 85 ond c~ o "&est &y" In The Wm Sptttotor.

Therl1htwinefor therifhtt't'OSon.

TAKE THIS BLIND TASTE TEST. Tilert:'s cnly one quesuon on tlus tCSC

lfthesrt\\Om1m-blmdsrostroughl)' thesame:.1s there :myreason tochoose

the ugly on<'

If \ 'O U sa id yes, sorry. )'O U flunk.

Pie~ studv the blinds ag:un.

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per wand; apparendy our competitors

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thoughtdutWJ.sabitsteep. llleclosuresystemw.isre""°'"kedso

the slau snug togethtr tighter-again, co minimiu light gaps.

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Mark r -1s, according co our peers. the

sophi sticated appear-

ht-st blind t'\'tf made. In a nutshell , it

;mcc. Is this 0\-trk11l ?

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become ugl)' big det.;uls the more )'tars you ln'tw1th them.

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llus ad is agu1de tohdpyou dlOOSC

to the Mark I. how-

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system for the blinds

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a uble and te.ar 1t out.)

was reinvent ed to

At the top of the Mark I 1s a com-

make them hang true 1n wt~'S which.

pletel y redesigned l'l<:adr.111 that makes

unfortunately. are nocoriously untrue.

valan ces o bso lue.

The slats are v1rgm Alco.1 alummum

(You remember val-

(\'s. recycled scrap) for a smoo rher

ances. They 're those:

finish. mort nexibility and less crca.sing.

awkward s lats you

The au.achment for wands 1s vastly

msull to cover rhe

si mpler. and eliminates the hooks and

hardware.) And notice thetop slac:1tactwlly

slen~thatareeasyrolose.

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tucks tntO rhe rop headr.ul toel1mmate

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ult91.

If the Mark i blinds coot the same as

all the li ght gaps. Styli sh end caps hu:k the mounting brxkeu. ~wand was ttShaped to nuke 1t

nearly 1nv1s1ble,and we used a special pol)arborui.ethat"<:>rltcrackacloud as it ages. This costs an extra 40'

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For comple te information and the Mark I rer:ulers neuest you, call

1-800-LEV-9669.

~ LEVOLOR.

yot;1r proolems? ~

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

A R T S

73

)(-:irs.:1'§'..uchJrolog1stsd1SC01'\-red

HCJ11.,'-"n.1fthe~1uu'1T5" U1~

suniuds. To msrtt the- oldtv: bcTr IS

h1CroghT'lncson1empkw:illsd.:p1C1ul£

his .a ~ h 1swn~ th.u 's .:i big 1vobkm.

50ldtil'Sl,Coorsd15mhutorsUSt".i

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lkc.1u~.unl1kt

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l'"l'O!'in. And 1hm-'s dear <"·11..'kncr th:i1 bi.·4000B.C. B.1b\-ior1L11lS''~lllJk 1°!il

:it l;:;ut 16d1ffm"01\'UM'lk'50fbt'Tr.

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So rmrmM ro srock rhr Coors f.unil-.of~B.."OUSCunliksorn:bm-s.

::"k.~~~= THE FIRST BEER ··:.::,~~=~.

WAS BREWED IN 6000 B.C. HOPEFULLY, IT'S NOT SITTING ON YOUR SHELVES. •

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cup and S<pped and slipped •way co 'he days when I'd worn Blrkenslocks mscead of BA LLYS, when lunch was someching you HAD rarhfT ihan someching you DID, and chen, as cha<

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how I'd gone from being called a

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"i e~' BU!. hey. I'd figure !hat one OU< °""

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on the !IUbJcct hill\' kil011 n .111 along b«r t:i.~cs bcm:r 11 hen it's t'n.-sh. When

anorhfT cup of cea.

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proces.\k11lsan~1 ln't" b.ictena orw:1sc

s.1foguards our b<er wnh cold p.Kkag1ng.

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unpr'O\ u~. n sr..1ru ro n.m1rall1 bn·.1k

1.i:.llllg hcer umc .1fi('r 1111)('.

Unforru1l.1tch: 1t docs nothing !Or the t:tsu.·.

sh1ppmg..md storage. WhKh means

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to your ~hT:.. Coors. Coors Light.

extremch· d.1rk. broll'n bottb.

shcl1'l'S a full two 1wek.s h:fore ail\- of

A1n.1z1ngl~·· most bm1\'nes mre1mon.1lh

su:nlc brewing process since 1959. Which

lx-cr t!I r'f~·d 10 1h1s 1l0lor1ou:i

lw:it 1h.:1r lxcr .1fi:rr n's lxxtlcd or canned.

means we don't h.we to p.1Steunzr. Our

Coors Extra Gold and Coors Dn•arr

thn-l'some, Hh:gm) to lase its fn.-sh1....~ss

llus 1:. call{'d ··pasrrunt..mon'. "'h1ch

6.:-.,.~ are conunuousl\' chilled. lnd h.ivc

connnuousl\· prot1.·cced fron: chi: hi:at .

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been fOr ch 1rtr·thl't'(' ft'31'S.

0

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through a 140° hex warcr b.1th. This

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\\~'re :il!iO lmrekmmg m our fight

ag;ul1Sl'bcrrSothcrcn:m1es:lighrand:ige .

It asrOlmds us cen:un brt'wt·rs put A1~ unlike ,,,nc,h.w dOl-sn't r.isr:c

bt.'m:ruhcn 1r's aged.11\Slcad of

Olir rn.lJOI" coml'lt.'tu~

All du~ adds up ro our r.\du:.nr

their beer m clear bottles.

bl\"wt'n-tiitsh ta~e m l'1't'n can.bottll' .

p.tm b.11! ..m...i kegofCoors.AnJ con:..Jcrmg rht· Jrnt.md for flTsh

prou·cuw·ofourbtt'n.Fromthe

n10llntatns to lhl· markcrpbcl', no other

proJuctsdlC'scd.1n.stockmgCOOl"lo

brewer goc) 10 che length:. wt do to m.1kt·

aJds Uf' lO ntOrt' rrofits f(,,. \'OU

NEXT 10 PROHIBITION, THESE ARE A BEERS WORST ENEMIES.

A Fresh ApproachTo Beer. •

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Goldberg Moser O 'Neill In down-to-earth genuine language, they weave in the idea of reliability throughout television, print ads, brochures and even the kiosk at the dealership. Clients' collateral are handled at the agency's Studio 77. In many cases, the creative teams who come up with print and television ideas also conceptualize and write the collateral. In campaign after campaign, the big goal for GMO seems to be relating to the real target -the real person.

In a unique twist on orientation, Goldberg himself takes gatherings of new employees through the company history, client list and work in a two-hour meeting. At the end, he invites each of the initiated to suggest ways the company could help them do their job better. At a recent event, an account person felt she needed more "face time" with her faraway client. A designer felt oppressed by too many layers in the approval process. Someone suggested a program to help recent graduates with school loans. And someone else simply wanted more RAM on her computer. Goldberg listened thoughtfully to each request and answered with realistic next steps to achieve their wishes. (Except for the thing about paying back school loans. Although, as Goldberg pointed out, GMO does help out with tuition while you're on staff.)

All in all , the employee handbook, a bright yellow tome sporting a clown face with an international "no" sign over it, sums up the agency perfectly on page one : "This is what we are. A bunch of really bright people with terrific client relationships making great ads that work. " •

Left: Magazine ad for Celestial Seasonings. " The personality of the packaging made the brand .

We learned soon enough that it also made the advertising ." Michael Wilde, art director; Mary Dean, writer.

Trade ads for Coors Brewing Company. " Retailers needed to hear about the virtues of Coors freshness dating and light resistant bottles. Even to the trade, there's no excuse for flat beer ads."

Michael Wilde, art di rector; Barton Landsma n, writer; Michele Clement (6000 B.C.l/Rudi Legname (Prohibition ), photographers.

This page: Television comme rcial for Dreyer's Grand Ice Cream . " Dreyer's spots have already won a handful of Cannes Lions. It is ou r hope that th is little tyke helps us capture one more." " Baby " :30 SFX: Music box playing a lullaby.

(Open on a baby, with a pacifier in his mouth, sitting on the floor of his room listening attentively to his mother) Mom : C'mon, honey.

(C ut to mom, coaxing the baby ) Mom : That's my big boy... good !

(Baby starts crawling across the room) Mom : Mommy's gonna put you in your high chair...

(Mom turns her back and walks out of the room toward the kitchen) Mom (VO ): ... and fix you some Dreyer's Cookies ' N' Cream .

(Cut to baby. He spits out the pacifier and grins) SFX: Wwwoooowwww !

(Baby leaps to his feet) SFX: Music. Energetic funk track, punctuat ed by baby giggles.

(Baby performs a series of complicated dance moves, then struts off toward the kitchen .

Cut to a package shot) Anncr. (VO) : Dreyer's. Evidently, it 's not your normal ice cream .

Genji Handa, art director; Paul Carek, writer; Jan Frei/Debra Trotz, producers; Bob Giraldi, director; Giraldi -Suarez, production company; R. Greenberg Associates, special effects.

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

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Goldberg Moser O'Neill

This page: Television commercial for the Lindsey Museum . " Toxic Chemical" :15 (Open on a can of paint thinner. Hand unscrews the cap) Anncr. (VO) : Last year, Americans dumped three million pounds of toxic chemicals down storm drains which lead directly to wildlife areas.

(One hand holds the paint thinner, while the other hand grabs a pelican and forces open its beak and pours the thinner down its throat) Anncr. (VO): Please don't feed the animals. Stop storm drain pollution.

Tim Hannell, art director; Jim Noble, writer; Jan Frei, producer; Loi Creme, director; Pelorus Pictures Inc., production company.

Right: Television commercial for Kia Motors America. "The director, Jeff Zwart, had the courage to crouch down in the back seat while the car ran over medians and soared off a drawbridge. Funny, we never hear from his rep anymore." " Driving School" :60 SFX: Music under throughout .

(Open on a driving instructor in a classroom) Instructor: Good morning. Welcome to driving school.

(He points to a chalkboard diagram of an intersection illustrated with right of way symbols) Anncr. (VO) : In our continuing effort to make sure our new Kia sedan was well prepared for life in the hard cruel world, we sent it to school.

Super: Dramatization.

(Cut to a Kia with a student driver sign on the roof. An over-65 woman settles in behind the wheel) Anncr. (VO) : The school of hard knocks.

(The Kia peels out backward) Anncr. (VO): We gave our cars to this place of learning, knowing they'd be well -tested .

(We see a number of wrong turns, bumper hits and all -around scary driving intercut with reactions from the driving school instructor who seems to take it all in stride) Instructor (VO) : Okay, that was good.

Anncr. (VO) : We figured if we could make it there, we could make it, well , anywhere.

(Cut to teenage driver) Instructor (VO) : Try to stay off the curb. Good. Very good. This is our side over here.

(Cut to a bumper-abusive four point turn in an alley) Anncr. (VO) : We' re passing with flying colors .

(Cut to a slalom course as the car knocks down nearly all the cones) Super: Professional driver on closed course .

(Cut to instructor standing before a chalkboard) Anncr. (VO): And selling for three thousand less than a Honda Civic ...

(Instructor indicates a drawing of a Honda with the words underneath " Starting at under $12,000 and a drawing of a Kia " Starting at under $8,900.")

Anncr. (VO) : .. .looks like we aced economics.

(Cut to the Kia pulling up backward in front of the driving school, then speeding down a residential street) Instructor (VO): I believe that was a stop sign.

Anncr. (VO) : Kia. Because it's about time everyone had a well -made car. Call for the dealer nearest you.

Joey LaCascia, art director; Randy Hibbitts, writer; Jan Frei, producer; Jeff Zwart, director; @Radical Media, production company.

Magazine ads for Kia Motors America. Gerard Vaglio, art director; Joseph Cianciotti, writer; John Konkal (cup holders)/stock photography, photographers.

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It's about time everyone had a well-made car.

[ Its most useless feature may be the cup holders. ] The new Sportage 4x4 comes with a long list of useful features.

Like a tough 2-liter overhead cam engine that propels you over the steepest obstacles. Matched with a sh1f1-on-the-move 4-wheel drive transmission , it gives you plenty of traction m places you'd rather not get stuck. For example, the Sahara.

Even on the roughest terrain , u rides hke a much more elegant

vehicle thanks lo the all-wheel coil spring suspension of a much more elegant vehicle. And its built around a full-box ladder frame designed to withstand miles of punishment.

So when our Sportage raced in the grueling 16-<lay Paris-Dakar Rally, we were faced wtlh only one maJOr problem - how to get the cherry Slushee stains out of the driver's uniform .

Introducing the Sportage 4x4. Starting at $14,895.

The new Kia's been tested under the following road 1

conditions: bad, worse and ~~~!!, my head:'

It's about time everyone had a well-made car.

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

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77

Nadav Kander

BY LARRY FRASCELLA

T

raveling to Nadav Kander's studio, it's amazing how much

Currently, the 32-year-old Kander is celebrating his tenth year

the trip corresponds with a tourist's London fantasy. You

as a professional photographer in London. He moved to England

take a combination of the Underground and red double-decker

from South Africa in the early '8os , although he was born

bus slightly north of Central London, over undulating roads

in Israel.

and through curving streets, past stovepipe chimneys and book,

"I don't consider myself Israeli. We left there when I was three.

clothing and fish-n-chip shops into an area called Islington.

My dad lost an eye in the air force and my parents decided to

There, right off the Essex Road, and just across from Sonn and

move to South Africa which is where my mother originally came from. "

Co. Solicitors, stands Kander's studio . It's not the kind of cavernous space you might find slotted into the canyons of Manhattan or popping up out of the flatlands of Los Angeles .

Instead, it's a tiny, two-story, black brick building facing a narrow alley that feels like something out of Dickens. "At one time, we think the building might have belonged to a milliner, " says

Although he's never had any formal photographic schooling, cameras have played a role in his life from an early stage. He has a picture of himself with a camera around his neck at six but he didn't really begin to photograph until later.

one of Kander's assistants. Whatever the case, it's a unique and

"I was taking pictures from about thirteen, of school galas and

atmospheric setting for a photographer's studio.

sports events. I was always drawn to things like wristwatches,

Nadav Kander is one of London's hottest photographers. Over the years, he's become known as a master of genre and style. He's sho t sumptuous black-and-white portraits for Haagen Daz and witty surreal fashion for Woolmark, elaborate helicopter shots,

things that worked like clockwork, so cameras were a natural for me. And there was always one in the family. My dad was into taking slides from his pilot days. Now that I think about it, every time we went on a holiday, it was followed by a slide show. "

quiet still lives and colorful landscapes. Throughout his work,

When Kander joined the air force, "in South Africa," he points

you can see strains of photographers as diverse as Kertesz and

out, "National Service is compulsory, " they put him in a dark-

Mapplethorpe, Richard Misrach and Edward S. Curtis . Kander

room where he worked as a printer for two years. It was during

can echo the deep contrast black-and-white of late, great, fellow

those years that he decided to become a photographer.

Londoner Bill Brandt as well as the tutti-frutti colors of Norman Parkinson. He is something of a chameleon whose work shows

Shortly before his air force stint ended, Kander went to hear a talk by Harry De Zitter, South Africa's most famous contribu-

a deep love of photography, although he says his borrowings are

tion to the world of commercial photography.

generally unconscious.

"I was amazed. I didn't know what a large format camera was;

"I don't know what my influences are," says the soft-spoken Kander. "I think a lot of my influence is just from being around

I'd never seen a studio like that. I'd never known that whole

painting and photography, not living in a vacuum.

studios . Like I said about clockwork, I always liked things that

"I begin a project by asking myself how the subject will look its

were slick, well-run and professional and Harry certainly was.

best-whether it's a person or a leaf off a tree-rather than trying

So I waited until everyone was gone and I asked him for a job. I

to apply my own set style to it. When you look at every mature

went on asking him for about four months and he finally said,

thing existed: the world of magazines, advertisements and slick

work from Weston to Steichen to modern people you'll find that that kind of ego is not there, which is why when people look through my portfolio I sometimes get the comment that every campaign looks different. I'm just trying to do the best that can be done."

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All caption information provided by Nadav Kander.

Right: "Shot for an ad for Harvey Nichols, a department store in London similar to Barney's in New York." Ruan Milborrow, art director; Harari Page, agency.

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

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79

Nadav Kander

'Okay, you can come for a short time.' I was his third assistant for about four months and Harry gave me the confidence to

When it comes to home bases, Kander seems to be drawn to stability. His Islington studio is the very one in which he was

know it was okay to be serious about the work."

With De Zitter's blessing, Kander decided to try his luck in a

first set up by David Taylor ten years ago, although Islington itself is not necessarily a photo district.

larger market. On the cheapest flight he could get, he left for

"There really isn't a single photo district in London now. It's much

England. He knocked around London for a while, "No one

more sub urban," Kander says. "In the old days of David Bailey,

really wanted this little South African boy," he says, but just as

etc., there was one, mostly in the West End where all the theaters

he was about to give up, he was hired by photographer Peter

are. But during Thatcher's era, property became so ridiculous

Hopkins, for whom he worked for four years.

that most of the photographers moved out, most of them east.

"Peter was a total natural. He photographed everything. There were no real rules. If he wanted to use a torch to light something,

And there are lots in Chelsea because of the old '6os and punk scene. In London, photographers really are spread all over. "

he'd use a torch" -an experience

Looking around at its brick walls

that may account for Kander's

and wood floors (unique for a

eclectic approach.

photo studio because of vibration

After his time with Hopkins, Kander

problems) Kander says he has no

made the shrewd move of getting

plans of moving. "If they increase

involved in production work. "I

the lease I might tart it up a little,

became a producer for Americans

but not a lot. We kind of like that

who needed to find studios and

it doesn't look ostentatious, clean

locations in London. I did a lo t of

and pristine."

car work and it got me into agencies

When he contemplates the future,

and one day I met an agent named

Kander says he would like to

David Taylor who flipped when he

develop into more of a serious art

saw my photographs. He wanted to

photographer. Currently he is

rep me; he set me up in my studio

developing a relationship with a

and actually paid the rent for a year or so."

London art dealer. 'Tm just apply-

Within that year, Kander scored a

ing the gallery standpoint more and more to my advertising which is

major hit. Well-known British art director Nigel Rose offered

not easy. They are like two different languages. Lately, when a

him the prestigious Benson & Hedges campaign. "I don't know

job comes up, I ask myself, 'Is this only going to be a good ad

if people outside England know what Benson & Hedges means,

or is it going to be a good picture rno o/o on its own? "'

but with that campaign, the company became an unbelievable

As for lurches into film and video-which obsess so many pho-

icon in the photo world and, needless to say, it was a major

tographers stateside-Kander says, "I get asked a lot to direct

turning point for me.''

and I've lit one film. But I have as much interest in film as I do

Since that moment, it's all been uphill for Kander. Walking

in garbage trucks; not that I feel it's garbage. A lot of people

around London, you run into his images everywhere: in maga-

feel it's a logical progression and I don't think it is at all .''

zines, on billboards, on one-sheets for the symphony. He even

True to his devotion to photography, he admits, "When I dream

has an image hanging in the National Portrait Gallery.

at night, it's not about the opening of my movie. I dream about

Although his career seems to be bursting at the seams, with reps

having my first big exhibition. " •

now in New York and Paris, Kander would never think of leaving the confines of London.

"London is a great city, the most open-minded city I've ever been to, not in terms of the work or the career, in inverted commas. I know it could all be a lot bigger in America but I don't think I'd like to live in America."

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Right: "These were shot over the last year in the U.S. as part of a project to form a body of work that views and highlights the difference between the U.S. and anywhere else in the world. Every picture is uniquely American, but avoids cliches."

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Nadav Kander This page: "This was photographed in my studio in London. It is one of the first nudes I shot from a series that I am working on continually. It has been popular at the gallery in London where my work is exhibited."

"One from a campaign of three tranquil landscapes shot in Scotland, which ran as poster and press ads for Glenmorangie Whisky." Headline: A drop of tranquility. Nigel Rose, art director; Murray Partridge, writer; TBWA/Holmes Knight Ritchie, agency.

Right: "Print ad and poster for Silk Cut cigarettes that come in a purple pack. I only shoot cigarette advertising in Britain and everybody recognizes the ads simply by seeing the health warning, which is on all cigarette advertising in the U.K. The idea is simple: Whatever the purple object is, it is about to be, or has been, cut in some way. In this ad, the kite is just about to be torn . I shot this ad in one, and only the kite was stripped in ." Martha Reilly, art director; Richard Dean, writer; M and C Saatchi, agency.

"This was shot in Manhattan last year as part of a campaign for the International Wool Secretariat and ran in Britain, Europe and America." Peter Gausis, art director; Alfredo Marcantonio, writer; Abbott Mead Vickers, agency.

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This page: "This is a favorite of mine. It's a portrait of Jibby, who runs an arts club in London. She also models for Vivienne Westwood and is a known personality."

From an ad campaign for Nike Women. "This is one of my favorite pictures." Warren Eakins, art director; Evelyn Monroe, writer; Wieden & Kennedy, agency.

Right: For Amnesty International. "This is a portrait of Fatima Ibrahim, an extraordinary woman and a Union leader for Sudanese women's rights. She is now exiled and works in London ." John Doyle, art director; Robin Raj, writer; Doyle Advertising and Design Group, agency.

Part of a Levi's campaign, shot recently in Italy. Paola Manfrin, art director; Maurizio Maresca, writer; Mccann Erickson, Italy, agency.

From an ad campaign for Nike Women. Warren Eakins, art director; Evelyn Monroe, writer; Wieden & Kennedy, agency.

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Left: Work photographed in Peru .

This page: " A portrait shot in my studio in London . Last year it was selected by the John Kobal Foundation for exhibition at the National Portrait Gallery in London and also shown at the Royal Photographic Society in Bath ."

Ad for Dunham Brothers Boots. John Doyle, art director; Ernie Schenck, writer; Doyle Advertising and Design Group, agency.

An outtake from an assignment shot in Russia for an EMI Records CD cover.

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Olytnpic Design 1996

BY LAUREL HARPER

W

hatizit iz no more. Granted, it still looks like something a tubercular Papa Smurf coughed up. But the spin doctors

hope they have salvaged their much-maligned Olympic mascot with a cute new moniker and a newly refined target-a young audience who, presumably, won't be as discerning as the 48,000 Braves fans who booed it off the field at its Atlanta debut. And initial signs are that Izzy may, indeed, be a success financially, if not visually. To date, it's the darling of kids' merchandise, selling with a vengeance on everything from T-shirts to notepads to keychains. It's even starred in its own animated special on the Cartoon Network.

However, those concerned not with profit but with maintaining a sense of decorum in the Olympics imagery need not worry. When it comes to what the two million visitors

Q§e9 rn ~ Atlanta 1996

and hundreds of millions of television spectators will see during the Atlanta Games starting July 19, Izzy, like L.A. 's Sam the Weird Eagle, will remain largely (and thankfully) invisible.

What will be prominent during those two weeks is the elegantly fashioned "Quilt of Leaves, " an idea that melds Atlanta's reputation as the city of trees with the communal spirit of a uniquely Southern folk art. Used on a host of applications, from street banners to bus signs, fencing to playing fields, the quilt offers a pragmatic solution as well as an a:sthetic one.

"We love the quilt image, because the Games really are like a quilt, " comments Paul Acocella, the Atlanta Committee for the Olympic Games' (ACOG) director of creative services. "You've got 197 countries all coming together under this one entity called the Olympic Games. It's just a magnificent metaphor for that."

Looking at the Look The quilt itself is a fitting manifestation of the cooperative spirit, but how the Quilt of Leaves came about wasn't always so harmonious. Here's what happened.

Though the quilt idea hadn't yet been conceived, in the true nature of a quilting bee ACOG assembled a team of designers 88

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from across the nation to design the Look of the Games. After getting bids from nearly 500 companies, ACOG asked thirteen to make presentations. In the end, the ACOG management team, led by Atlanta benefactors Billy Payne and Ginger Watkins, selected five top-notch firms: Primo Angeli Inc. , San Francisco; Copeland Hirthler/Murrell, Atlanta (a temporary partnership between James Murrell and Copeland Hirthler Design formed to meet an ACOG stipulation that Atlanta firms working for it must have a minority ownership); Favermann Design, Boston; Malcolm Grear Designers, Providence, R.I.; and Jones Worley Design Inc., Atlanta. In addition, ACOG appointed Turner Associates/Architects & Planners, Atlanta, as project manager, overseeing the Look's actual application. Once the team collectively devised the Look-encompassing the theme, symbols and color palette-according to ACOG 's plan, each firm would be awarded contracts for specific applications.

To ACOG, the democracy of this setup must have seemed perfectly suited to the Olympie's lofty ideals of unity and friendly competition. In practicality, whenever you have such a gathering of creative minds, egos are sometimes bound to smother the cooperative spirit. At first, Malcolm Grear once said in a presentation, attempting to rein in the various personalities was like "trying to corral cats. " Yet somehow the five firms managed to put aside individual concerns long enough to collectively fashion a Look.

At an initial gathering in Atlanta early in 1994, their goal was outlined: They had three months to devise a visual identity for the Games that must not only reflect Atlanta, but the American South and the fact that this was the centennial celebration of the modern Olympic Games. The designers also established their own parameters for how the glory would be divided. Knowing the problem they faced in trying to design a collective project when most had never even met before-much less worked together-they agreed that no matter how the project turned

This page: The official Centennial Olympic logo created by Landor Associates, San Francisco.

Right: The official bid books for the 1996 Centennial Olympic Games.

Since there were three main groups that would reference and study these books (the International Olympic Committee; the National Olympic Committees and International Federations; the media), Copeland and Hirthler created a five-volume bid set to give each group direct access to the specific information they desired. The entire 630-page bid package was created on a five-month schedule. Brad Copeland, art director; Brad Copeland/Rich Godfrey/various, designers; George Hirthler/ Melissa James, writers; various, photographers/illustrators.

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awarded the pictograms to identify the sporting events, the design of the torch used to carry the Olympic flame to Atlanta in the opening relay and designs for the gold, silver and bronze medals.

Then they all went home to design happily ever after. Right?

Wrong.

out, they would be the Five Musketeers of design: All for one and one for all. The credit would be shared equally. They even came up with a name for their temporary partnership: Design Five. Then they went home to individually work on the Look.

In two weeks Design Five would meet again and compare notes.

Hopefully, some recurring themes would develop.

Surprisingly, things did go as planned. At the second meeting, a few key words kept popping up: harmony, representing the athletes from all nations competing in unity; grace, suggesting the character of Atlanta; and radiance, reflecting the "global glow" of the centennial celebration. Now they had to find a way to convey these ideals.

In the course of their research, two, three or maybe all the firms (accounts vary) hit upon the idea of a quilt, and suggested that it would be an effective tool for weaving the myriad themes of the Atlanta Games. The leaf also was a strong contender, alluding to both Atlanta's many trees and the laurel leaf's connection to the ancient Olympics. (As late as 1936, winning athletes were crowned with laurel wreaths.) So the final meetings were concerned mainly with coming to a consensus, but one wasn't easily forthcoming. In a last-ditch effort to reach an agreement, the firms tacked all their thumbnails up on the walls, spread them down on the floor and out on the tables, hoping one image would take precedence. That's when Ginger Watkins stepped in.

As ACOG's managing director for corporate services, Watkins took a personal interest in the Games design and was a constant presence at every meeting. She recognized just how valuable the Look would be to the success of the Games. After listening to the ideas being bounced back and forth with no end in sight, she stepped up, selected two boards-one with leaves and one with the quilt-taped them together and told the team, "There it is, you have it, that's it." So, as one designer put it, the Look "was a mix and match of all our ideas."

As planned, each of the firms was then assigned specific applications: Angeli, the structures and uniforms; Copeland got the banner systems, venues, fields of play, landscaping and initial print applications; Favermann and Turner took on cityscape applications; Jones Worley started on signage systems; and Grear was 90

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As time went by, the collective nature of the team's work began to fade. Certain members began to hint they were the true driving force behind the Look. Along with that, promised projects didn't always materialize. Other times, a firm would begin work on a project only to have it yanked away and either handed over to another firm on the original team or an entirely new player.

In November 1994, Brad Copeland, president of Copeland Hirthler Design (by this time the partnership with Murrell had ended), was officially named design director of the Look of the Games. Along with ACOG, he set about assembling a new Look team made up of architectural firm MSTSD, Atlanta; landscape architect Roy Ashley and Associates, also of Atlanta; and, from New York City, FTL architecture+ interiors. Their mission was to finalize and develop applications for the Look of the Games that Design Five had begun. Only Malcolm Grear seems to have completed the bulk of his original assignments.

Others ended up with bits and pieces. Angeli, Acocella says, did some "early work on structures, plus he helped with uniform design for our 70,000 volunteers" (although his design was not selected). Jones Worley did what Acocella calls "a variety of graphics projects, including the basic signage system," while Favermann "has done some of our environmental work. He's helping us with a structure we're putting in the atrium of the Marriott Marquis, which is the host hotel during the games.

This page: In celebration of the client sign-off on the Quilt of Leaves theme, the Atlanta Committee for the Olympic Games (ACOGI and the team members signed the rough design as a gift for ACOG's president and CEO Billy Payne. Primo Angeli, lnc./Copeland Hirthler design + communications/Favermann Design/Malcolm Grear Designers/Jones Worley Design/Turner Associates, design firms.

Right: Since many of the buildings didn't exist during the design process, Copeland Hirthler built 3-D venue models using Alias on a Silicon Graphics workstation to apply the graphic kit of parts. The designers were also able to render views that expressed important venue perspectives such as spectator positions and TV camera angles. Brad Copeland, art director; Brad Copeland/Sarah Huie/David Park/Erik Brown/Michelle Stirna/David Crawford/Jeff Haack, designers; David Craig, illustrator.

Bottom right: During three design charettes, Copeland Hirthler, MSTSD Architects and FTL Architects, created eight temporary structural components for various uses throughout the venues. The structurestowers, entry portals and gateway elements-ranged in height from 17' to 70'. The smaller elements accommodated plantings in the structure base for added eye level color. FTL created the twisted fabrics that gave the classical vertical elements a unique southern grace and elegance. Brad Copeland, art director; Brad Copeland/Sarah Huie/Erik Brown/David Park/Larry Sweat/Todd Dalland, designers; David Craig, illustrator.

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Turner Associates assisted us early on with the pricing and some of the logistical aspects of the Look, although they're essentially not doing much now. Brad, for sure, of those firms, has done the lion's share."

The Low-down Why did this happen? To a large extent, it had to do with the magnitude of designing for the Olympics and with human nature. It's the project of a lifetime. Just as obtaining an Olympic Gold medal is the ultimate test of an athlete's ability, the designer of the Look of the Games will likewise secure a coveted and lucrative spot in their profession. It's no wonder then that competition to be the designer of the Look of the Games is as fierceif not more so-as any athlete's quest for Olympic stardom.

"It can tear your design community apart," Robert Miles Runyan, who was initially involved in developing the Look of the 1984 Olympic Games in Los Angeles, is reported to have told Copeland when Atlanta secured the 1996 bid. The same is supposed to have happened in Mexico City. Only Barcelona seems to have achieved design nirvana in both its look and how it came about.

Runyan was a modern Nostradamus when it came to the accuracy of his prediction. Copeland soon found not only his company, but even his reputation, skewered by fellow designers.

Why? Some, especially locals, charge that Copeland wanted it all for himself. Yet they also agree he had a right to a huge chunk.

After all, his firm had worked with ACOG before it was even ACOG. In the days when many scoffed at Billy Payne's dream to bring the Olympics to Atlanta-when ACOG was still the AOC (Atlanta Organizing Committee), operating off the $50,ooo each that nine other converts, including Ginger Watkins, had kicked in to get the ball rolling-Copeland was lending design support. Most in the design community had neither the interest nor the means to join in.

Copeland came on board at Christmas in 1987, when Payne, upon the recommendation of a former client, asked him to design a poster free-of-charge, virtually overnight. Payne needed it to welcome the USOC to Atlanta, which was coming to check out the city's viability as a Games host. The following April when the USOC gave Atlanta the go-ahead to compete internationally as the U.S. candidate in the quest for the Olympics, Copeland was asked to design the city's official bid book. He plunged in headfirst.

"We lost our shirts on that part of the project ($300,000 in non-billable hours)," Copeland now admits. Initially, the AOC asked Copeland for two books to make up the bid: a glitzy volume showing off Atlanta's assets, and a more down-anddirty one addressing specific questions the International 92

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Olympics Committee (IOC) poses regarding a candidate's ability to live up to its promises. But, after a visit to IOC headquarters in Lausanne, Switzerland, to study previous bid books, Copeland and George Hirthler (at the time a free-lance writer who would later become Copeland's partner) discovered their original idea just wouldn't cut it. Instead, they ended up with a five-volume bound series that was so well-organized it has become the standard for subsequent bid books. The AOC was so pleased it rewarded Copeland and Hirthler by asking them to be on the five-person team who would make the final presentation to the IOC in Tokyo.

When the announcement came down September 18, 1990, that Atlanta had won, the partying began-and so did the strife.

Rich Godfrey, Copeland's senior designer on the books, who has since left to form his own company, recalls: "In the beginning, everybody was more in a dream world trying to get the Games.

After Atlanta got the bid, everything became political." The AOC evolved into ACOG and, though the key players remained virtually the same, everything else began to change. The dream had become serious business.

Copeland's talent, personable attitude and sincerity have earned him the trust of many a top executive. Hirthler's business acumen and drive have likewise gained respect. Together, they have been described by competitors as "the sales team of the future." But that didn't protect them from being singed by Olympics politics.

Probably their biggest disappointment came when the popular "Five Xs" logo Copeland created for the bid was discarded after the bid was secured, in lieu of Landor Associates' version.

Critics say although the San Francisco firm may be legendary in creating corporate identities, when it came to the Atlanta Games logo its work was just so-so. Landor says the stars on its logo represent the athlete's quest for perfection, while Atlanta gets its recognition from the green background. Atlanta critics say, "Bosh!" They charge that the logo has no feel for Atlanta whatsoever-and for that matter, not much for the Games. (In fact, Acocella says the green background has caused a problem for television, as it turns to black on-screen and its vertical layout doesn't fit the majority of their application needs, which are horizontal.)

Atlanta designers were stunned when word came down that a "carpetbagger" was designing this vital aspect of the Look.

They worried that, in its quest to show the world Atlanta was indeed a cosmopolitan city, the cream of the design projects would be farmed out to companies with big names rather than those who might ha~e actual empathy for the city. Seemingly (and probably) oblivious to the fear their actions had spawned, ACOG asked Copeland to partner with Landor in creating the standards manual for the logo's use. Though he admits his ego

was bruised (after all, many say, the bid books were what cinched Atlanta's win in the first place), Copeland went along with ACOG's request. That flexibility, along with his staunch support during the bidding process and the fact that he's a long-time Atlanta resident, have made him a popular man around ACOG headquarters. So, right or wrong, Copeland almost certainly feels he, more than anyone else, has a right to head up the Look.

Another problem with the Atlanta Olympics design scheme was that, for much of the process, no one felt truly in charge.

Turner Associates had bowed out and Ginger Watkins, although the final arbiter, never took a hands-on leadership role. Paul Acocella, who seems to have finally brought a sense of order to it all, was not hired until later in the game and, understandably, took some time to get his feet on the ground.

At times throughout, Copeland would surface as design director-though some charge it was a self-appointed role.

While he does seem to have made some public relations mistakes in this regard, it might just be that his attempt to control the Look was as much of an effort to make sure things got done as to amass glory. "Everybody just got so weird, " Godfrey recalls. "Nobody knew what was going on. We didn't either. Brad was trying to fight so that [ACOG] wouldn't go to San Francisco to get everything done, because we've got the resources here in Atlanta. It was crazy. " While things do certainly seem to have gone awry in Atlanta, it was no worse than most other Olympic stories. "The dirt in Atlanta is indicative of this sort of design effort. You have what is about to become the nation's largest corporation, made out of people who are going to be unemployed in almost a year, trying to give direction to a team of designers. And we all know how difficult it is to deal with an organized client, so you can imagine the task at hand here, " David Meckel, founding dean of the California College of Arts & Crafts School of Architecture, San Francisco, told the audience at the Society for Environmental This page: The Olympic Stadium cluster includes the new Centennial Olympic Stadium and the existing Atlanta Fulton County Stadium . Th is view incorporates all of the graphic elements from the kit of parts and the placement of structures, street paint, banners and fences and also reveals the field of play design for track and field . Brad Copeland, art director; Brad Copeland/Sarah Huie/Erik Brown/David Park/Michelle Stirna/David Crawford/Jeff Haack, designers; David Craig, illustrator.

Among its major venue assignments, Copeland Hirthler developed the Look for the Georgia Dome including the arenas where two of the most popular sports-gymnastics and basketball-will be played. To enhance the broadcast image, Copeland Hirthler made liberal use of the brighter teals from the extended Look color palette in lieu of the ACOG dark green . Brad Copeland, art director; Brad Copeland/Sarah Huie/Erik Brown/David Park/Michelle Stirna/David Crawford/ Jeff Haack, designers; David Craig, illustrator.

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Graphic Design conference last year in Dallas.

Meckel should know. He spent three-and-a-half years of his six-year tenure at The Jerde Partnership managing the environmental graphics for the 1984 Games in Los Angeles. Meckel assembled over 60 graphic, landscape, architectural and industrial design firms, who produced work that earned kudos not only from the AIGA and the AIA, but from Time magazine. While the Los Angeles design program represented much more of a community effort, it was not without its own headaches. ["Designing the L.A. Olympics," by Larry Klein, CA, January/ February 1984)

Laying It All Out To even begin to understand what happened in Atlanta, you first must understand the nature of the Olympics and, to a certain extent, the nature of the South. To most of the world, the Olympic Games is the most venerable sports event in existence, a time-honored competition of athletes whose ultimate goal is the promotion of world peace. To the International Olympics Committee, which owns the Olympics, it is a commercial dream, a commodity worth billions of dollarseverything from the largest television show on earth to a product licensing wonder. (In its first year, the licensing program of the Atlanta Games topped what Los Angeles sold in its entire four-year period. And NBC, which paid hand94

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somely for the '96 broadcast rights, expects to generate $650 million in advertising revenue.)

When the IOC awards the bid to a host city, that city in essence becomes a temporary franchisee of the Games. For all practical purposes, the host city's Olympics committee is a huge corporation that is quickly assembled to run the Games, then just as quickly disbanded when its chore is accomplished. It not only answers to the IOC, but to the national Olympics committee (in Atlanta's case, the USOC), plus the international federations owning the sporting organizations that participate in the Games. Just as for the IOC, big bucks are at stake. In Atlanta alone, the Games are expected to generate around $5·5 billion. And nearby states with main traffic arteries leading to Georgia are counting on the Olympics to give their economies a significant shot in the arm.

But it's up to the host city to raise the money to operate the Olympics (Atlanta's price tag was $1.6 billion, triple that of L.A.'s), mostly from private sponsors. To top it all off, the organizing committees often find themselves immersed in local politics, trying to convince their city that the Olympics will bring longlasting benefits rather than being nothing more than a shortlived logistical nightmare. Adding to all this mess from a design standpoint is the fact that when the roe hands off the Olympics franchise to a host city, it also gives them mandates

regarding when and how certain Olympic icons-such as the Five Rings logo and the Olympic medals-can be used.

Atlanta's case was even more complex. For starters, the fact that it was the rooth anniversary put Atlanta under intense scrutiny by sports critics looking for reasons, real or imaginary, why the city would fail in its effort to produce a great Olympics experience. Atlanta's selection was lambasted worldwide. Athens, Greece, home of not only the ancient Olympics but its 1896 revival, was by far the emotional favorite. Never mind that Athens's infrastructure couldn't begin to accommodate the masses of spectators who would pour into the city for the event.

When the announcement was made that Atlanta had won, the world was stunned.

The criticism probably made ACOG more sensitive than most clients. After all, the Committee was made up of dedicated people with the best intentions who'd put a lot of time, money and themselves into the Olympics effort. They'd pulled off a miracle: Atlanta was the first city in the last 50 years to get the bid on its initial try. And now they were being blasted because they'd done an outstanding job.

Adding to all the heat was the local design community, which wasn't buying ACOG 's "corporation" mindset. Matthew Porter, former writer and director of marketing at Bob Wages Design, Atlanta, explains why. "From the very beginning the Olympic

Left: The Look of the Games temporary sign system, which consists of a series of post and panel signs, was conceived by the original six-firm design team and further developed by Jones Worley Design . The majority of the signs will carry the official logotypes and green color; they should appear to the spectator as an " official " sign. Fitting the copy on the signs was the biggest challenge since French, English and Spanish are to be included on many signs. A full range of sizes and graphic formats have been developed for the signs, which will be up for approximately three to four weeks at all sports venues. ACOG adopted the U.S. Department of Transportation symbols for services.

Most venues will have a permanent use. Tennis Centre is located at Georgia's Stone Mountain Park, a large state park designed by a local architect consortium, Atlanta Tennis Design Group. The permanent sign system for the 40,000-person center court stadium was designed by Jones Worley Design and will be overlaid by temporary signs as needed for the use of the facility during the Games.

The Corporation for Olympic Development (CODA), a public corporation formed by the City of Atlanta government, developed the Pedestrian Signage Program to help visitors locate destinations and historical information about the area in which the sign is located. CODA's consultant team includes Jones Worley Design, information and history panel design, map cartography and content development; Studio Grafika, wayfinding signs and cultural bus stops; and The Atlanta History Center, development of history content and archival imagery. CODA has coordinated its efforts with ACOG so that the information addresses all the Olympic venues.

This page: Jones Worley Design created a series of alternating permanent banners for Atlanta's Peachtree Street which runs through the center of the city. CODA funded and managed a series of streetscape improvement projects for several major streets in Atlanta . The series of banners includes references to Atlanta 's official seal (The Phoenix) and motto (Resurgens), historical references to Atlanta which rose from the ashes after being burned to the ground in 1864 during the Civil War, and the Olympic flame.

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Olympic Design 1996 Committee defined themselves as a private corporation, a fact that I take issue with then, now, and will forever. Because even though by law they are private, they have a public oversight committee-the Metropolitan Atlanta Group. And since they had to use the city, its people, its history and everything else to sell itself, they were using the assets of the community to promote the Games. I think that's public patrimony. "

As you might guess, many Atlanta designers were feeling snubbed.

In the celebratory moments when the city learned it had won the bid, its creative talents saw their city's hosting of the Olympics as a chance to finally end the inequitable Southern gibes once and for all. Many banded together in a consortium called AVID (Atlanta Vision in Design) in the hopes of securing at least a piece of the Look action. They would use the opportunity to show the world that Atlanta could not only put on one hell of a show that would surpass international expectation, but it would be a visual sensation as well. Though the South may never rise

humor about his own Bulldog ties and I was using it, too , but he took it personally."

That would certainly app ear to be the case. In retaliation, though the eleven design firms who made up AVID were told their individual bids would be considered, ACOG refused to consider the AVID alliance as a candidate, even after Porter and Wages offered to bow out. Instead, ACOG opened up competition nationally and, eventually, appointed the five-firm design team, over half of whom were outsiders.

Then, in what AVID viewed as the final straw, the Quilt of Leaves was announced. It wasn't that they didn't like the ideain fact it was just the opposite. AVID had developed a video presentation for ACOG in which it proposed a tapestry as the Look's theme. Though AVID never got to show its

again, the Atlanta design community would certainly soar.

tape, some members

But they never got their chance. Caught up in a passion to gain the Look project, AVID made one very fatal blunder-they pissed-off the client, big time. Their main transgression was an

charge that ACOG had access to a "purloined" copy and that AVID 's

article, authored by Porter, which ran in C/\s 1992 Design Annual

idea was, in fact, what

"I had some idealistic dream that we would be able to shame [ACOG] into believing how right we were, and then they would embrace us and we'd all laugh happily down Peachtree Street

led to the quilt. (All our sources indicated that the similarity in ideas

in 1996. But that's not what happened," Porter said recently

was, indeed , a coinci-

of his article, in which he'd questioned ACOG's ability to make

dence. ) However, more

sound creative decisions regarding the Look.

ch arges, name calling and , most sadly, the

" ... While their creative decisions reflected poorly upon Atlanta, they defended them, ignoring their critics and repeating that they did not answer to outsiders," Porter wrote. "This position has become the single greatest cause of concern with ACOG's leadership, which operates in a secretive, insular manner. Criticism, helpful and otherwise, is not welcome. Instead of uniting the city, the 1996 Atlanta Games seems to be pulling it apart. " When Porter turned in his article to CA, AVID was not much more than a spark in its progenitors' eyes. But in the ensuing months between the article's acceptance and publication, AVID formulated its plan to go after Olympics work. Then the article appeared, and ACOG took umbrage. Reportedly the part that really got to them was Porter's comment, "If L.A. suffered the Valley Girl, imagine how Atlanta will feel when reporters find the Olympic chief in red socks at a Georgia football game. " "I thought that was funny," Porter says. "Payne is a big [University of] Georgia Bulldogs football fan , and even in his opening video to introduce Whatizit he pats the head of a stuffed bulldog in his office and says, 'No, this won't be the mascot.' So he was using 96

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This page: The Centennial Olympic Torch was designed by Malcolm Grear Designers to pay homage to ancient Greek reed torches. Twenty-two aluminum reeds represent the number of past host cities. In the center of the torch is a handle made of pecan wood, a Southern hardwood. The lower half is symbolic of both Southern and ancient Greek architecture and includes an engraved ring listing the past host cities. The tallest torch for a Summer Olympic Games, it is only the third torch to incorporate wood.

Georgia Institute of Technology engineered the design and production and Atlanta Gas Light Company developed a dual-burner system to keep the flame lit during poor weather conditions. Testing resistance to both wind and rain was done by attaching the torch to a pickup truck traveling at 30-miles-per-hour around a racetrack.

Right: Selection of pictograms designed by Malcolm Grear Designers to denote various events. Since they would be used in sizes varying from 20' to 3/32" on signs, banners, television graphics and other visual aids, quick recognition was important. Based on figures found on historical Greek amphoras to reflect the origins of the Games and in keeping with the Centennial theme, the design of the pictograms was heavily scrutinized throughout the process' by people representing different sports. For example: In baseball, do you show a batter or a pitcher? For basketball some wanted the dunker and others the dribbler. For gymnastics should it be a handstand or the splits? Once parts of the pictograms were designed (i.e., head, arms, hands, legs and feet) they were assembled electronically.

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have grown out of the skirmish. Jan Lorenc and John Mulhausen, two original AVID members, have teamed up to create a new wayfinding system for the Woodruff Arts Center, a project that was spurred on by the Olympics coming to town. Still, they turn down actual ACOG projects. Mulhausen explains why: "In order for us to do our best work, we have to be emotionally involved in the project and believe in the client's objective. I just don't have enough emotional involvement anymore. " However, other former AVIDers did, indeed, take on individual ACOG projects, including Maxey Andress, of EM2 Design, who did some T-shirt designs and TW Design, which produced the ticket brochures.

break-up of what was once a close-knit design community followed. Copeland, as the Atlanta designer closest to ACOG, bore the brunt of it.

Rich Godfrey recalls, "You'd go to the AIGA meetings and have these people thinking you were working for a studio that's stabbing them in the back, and I've got a bad reputation all of a sudden. And it's not justified. Brad kept saying that if we got the whole [design] package, then we were all going to be better off. He was going to farm out a lot of the work to Atlanta designers. But I think everybody ticked him off so much with all their pettiness that he decided to forget it."

Paul Acocella was still an Olympics civilian during much of the fracas, but, as an Atlanta resident, he was well aware of the controversy. He offers a different take on what happened. "It was considered a victory for the entire city when we won the bid. Then everybody you talked to for the next couple of weeks was asking, 'How can I get involved? How can I make a contribution, make a buck?' The bottom line, when you come down to it, is there isn't enough for every business in town. Its expectation level just a got a little high. "

All's Well That Ends Well With just two months left to go, things in Atlanta are hectic.

Olympics workers are frantically erecting and installing signage, banners, structures and other pieces that make up the Look of the Games. The critics are still hard at work, too, this time questioning whether it will all be finished on time. But no matter-soon the true focus of the Olympics, the athletes, will roll into town, and the eyes of the media and the world will turn in their direction.

As for Atlanta's design community, they're trying to put their differences behind them. Certainly some rifts will never be mended. When many talk about what happened it's with a sense of regret and sadness. But some new alliances and friendships 98

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Copeland and Hirthler are still immersed in the Olympics, and probably will be for years to come. "The work the Olympics brought in has made up for our initial loss many times over, not necessarily from ACOG but from the numerous opportunities that have come up," Copeland says, smiling. Their company has grown from about eight employees at the onset of their Olympics work to nearly 40 today, located in a brand new building on the edge of downtown Atlanta. Along with helping other cities with Olympic bids, Copeland Hirthler is busy on projects for Olympic sponsors including Delta Airlines, Hanes, AT&T and Coca-Cola, to name just a few. They've also been involved in a multitude of other sports-related projects, from creating bid documents for Super Bowl xxvn to, one of Copeland's favorites, shaping the image of the Paralympics.

Their interest reaches beyond projects offering big payoffs.

Hirthler recently founded the U.S. Pierre de Coubertin Committee, the American chapter of a non-profit organization that promotes the true meaning of the Olympics and a greater awareness of the modern Games's founder. Copeland serves on the committee's board. Copeland also is proud of his work creating the logo for Olympic Aid, an effort founded by three-time Olympic gold medalist Johann Olav Koss to provide health services to children in war-torn countries. As both Copeland and Hirthler will enthusiastically tell you, they now live, eat and breathe the Olympics.

Rich Godfrey is now out of the therapy he says the Games drove him into, happily running his company, FUSE, small and casual, just how he likes it. FUSE is currently working on sponsorship projects for Kodak and TBS. Plus it's helping Athens, Georgia, the site of the soccer, rhythmic gymnastics and volleyball competitions, develop its own Olympics programs and design identity. (Many of the 36 Olympics venues lie outside Atlanta.

ACOG 's responsibility ends with designing the actual venue sites and the main trafficways leading to those. ACOG will provide these outlying sites with banner designs, but it's up to the individual communities to have them produced and installed.)

Though the Games may have caused him temporary mental

anguish, like Copeland, Godfrey says, they have been very, very good to him. "I just show the bid books, and it's instant credibility," he says in awe. "You could say my studio grew out of the Olympics. " Bob Wages, on the other hand, shies away from Olympics work, though he may do a sponsorship project or two for an existing client. His biggest concern now with the Games is how he'll get to his office during the seventeen days they are in town, since most downtown Atlanta streets will be closed to public traffic during that time.

Jones Worley, one of the original Design Five team members, has been busy working for the city of Atlanta on its own revitalization programs, in conjunction with another Atlanta firm, Studio Grafika. The two are creating a series of historic markers, banners and street signs under the guidance of the Corporation for Olympic Development in Atlanta (CODA).

"The plan had been on the back burner for a while, " say CODA's arts coordinator, Patricia Kerlin, and project manager, Stan Harvey. "The Olympics was just the catalyst."

Other Atlanta firms have likewise benefited from the Games, some indeed due to Copeland's efforts. Steve Rousso, of Rousso and Associates, for instance, was hired by Copeland to create the logo for the Cultural Olympics (the artistic part of the Games). His scroll design was so popular that it's being used for the cauldron that will be lit during the opening ceremonies of the Games.

Even Matthew Porter is doing well, now living and working in San Francisco, lured there by opportunity. Yet he still speaks of his hometown and the controversy with sorrow. "It was draining and it was sad," he says. "I hurt Wages Design and I hurt myself.

It was either my youth, naivete or stupidity that put AVID together and, consequently, I haven't seen a lot of those people

Left: Brad Copeland standing in the basement of Copeland Hirthler's offices which served as the creative headquarters for the development of the Look of the Games kit of parts. Temporary structures, podiums, banners, fences, fields of play and sports equipment were designed and prototyped here from October 1994 through December 1995. ACOG is manufacturing podiums, signage, etc. in its own fabrication shop.

This page: Following the design of the Centennial Torch logo by Landor Associates in 1992, Copeland Hirthler and Landor teamed up to create the standards manual for the use of the mark. A year later, ACOG asked Copeland Hirthler to design a commemorative binder (top ) for select sponsors. Following the unveiling of the Look in 1994, Copeland Hirthler was hired to create the final artwork and standards for the Quilt of Leaves graphic and the approved Look configurations and extended color palette.

The initial applications of the Look were primarily expressed in ACOG 's licensing and sponsor program two years before the beginning of the Games. Later, the color palette was extended and new graphic elements were introduced. Brad Copeland, art director; Michelle Stirna / Raquel Miqueli/Sarah Huie/Samantha Hero, designers; Jason Hirthler, w riter.

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Olympic Design 1996 since it disbanded. We just remind each other of an expensive and futile effort. " Paul Acocella can attest to the fact that the Olympics can, indeed, bring out the best and the worst in some. With a background in editorial work and events planning, he has no interest in personally creating the Olympic design; he just wants it done well. His forte is in managing designers. And that, he says, while one of the most rewarding aspects of his job as creative director, is also one of the most exasperating.

"I have spent a lot of time the past couple of years nursing designers," he laughs, "cajoling them, hearing their confessions, criticisms and complaints. All of them, regardless of what they're doing, want to take a bigger role.

CULTURAL Even Brad would tell you he'd like a bigger role, as big as his is.

Atlanta 1996

"But they're just passionately driven to want to make a mark and make a contribution and be a part of the experience of the Olympic Games. They want to be a major part of it; they all want to be the major part of it. "

The Legacy Once the banners are down, the sites are dismantled and the mountains of dust kicked up by the ro,600 athletes, 5,000 coaches and officials, 2 million spectators

and 15,000 journalists have settled, what will the Olympics leave Atlanta? While it won't nearly match the magnitude of Barcelona's $8.8 billion resurgence, Atlanta will be the beneficiary of a number of Olympics perks, some bequeathed by ACOG, others paid for by the city or private funds , but nevertheless instigated by the Games.

For starters, ACOG has promised the city over $500 million worth of new buildings, including the Olympic Stadium, which will replace the Georgia Dome as the new home of the Braves.

Several downtown streets are getting much-needed facelifts, and many important historic sites are finally being designated, with good-looking signage, banners, sculptures and markers, thanks to CODA. Then there's the $50 million Centennial Olympic Park (ACOG's share: $15 million) , a 21-acre respite on the edge of the downtown business district that will serve as a spectators' shuttle bus point during the Games, then remain as a legacy once they (CONT I NUED

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This page: At ACOG's request, Brad Copeland selected five design firms from the City of Atlanta to participate in a paid competition for the Cultural Olympic logo. Steve Rousso's mark was selected as the best emblem representing the multi-disciplinary aspect of Atlanta's Cultural Olympiad.

The idea of the curled up corner of a piece of paper, or "scroll," was intended to represent the concepts of art, architecture, literature, music, etc. The different colors on each "face" of the scroll suggest the multidisciplinary as well as the multicultural idea in the mark. By breaking the edge of the square, the scroll symbolizes creativity-"breaking out of the box." The final solution was accepted by a committee of 25 representatives from local art groups. Inspired by Rousso's logo, internationally renowned artist, Siah Armajani, reinterpreted the mark in 3-D form for the Olympic Cauldron. Sitting atop the metal 110-foot structure, the Cauldron's lighting will signal the beginning of the Centennial Olympic Games. Steve Rousso, designer; Brad Copeland, art director.

Right: Copeland Hirthler was hired by the Atlanta Paralympic Organizing Committee to create a festive look for the Games. This project was the initial expression of the Look for the 1996 Paralympic Games-based on the theme the "Ascending Flame." The application of the Paralympic Look to a 1995 test event at the Olympic Natatorium was an opportunity to test the color palette and the Look created to brand an event which is just beginning to gain worldwide recognition. The "Ascending Flame" was widely approved by the disabled athletes and helped create an identity for the event. The same banners will be used again at the Games in August 1996. Brad Copeland, art director; Erik Brown/Jeff Haack/Todd Brooks, designers.

Following the debut of the Paralympic logo "Starfire" and the overall thematic design expressing "The Triumph of the Human Spirit," the Paralympics asked Copeland Hirthler to create the mark for the Cultural Paralympics. Using many of the similar graphic elements from the "Starfire" logo, they wanted to create a playful image for the arts as they relate to the disabled movement. Brad Copeland, art director; David Butler, designer.

Like the Olympic Games, the Paralympic Games were structured to be totally funded as a free enterprise. In an effort to raise $100 million through sponsorship sales, Copeland Hirthler was hired to create a sales kit presenting the benefits of sponsorship through three separate brochures outlining the history of the Paralympics, the Atlanta experience and the sponsorship package. The sponsor benefits package had to have the look and credibility of a world-class sporting event but couldn't appear to be too rich because the event and the movement behind it lack the widespread support of the much larger Olympic Games. Brad Copeland, art director; Suzy Miller, designer; George Hirthler/Karl Schnittke/Russ Supplee, writers; George Hirthler, creative director; Chris Hamilton, photographer.

To find sponsors for the opening ceremonies of the 1996 Paralympic Games, Copeland Hirthler created a limited edition portfolio of posters.

Each image created a conceptual vision of a various aspect of the ceremony described by Copeland Hirthler in poetic language. The theme for the ceremonies-"Once, Forever"-set up the impact and memorable qualities of associating with the event and was embossed into the leather binding in approximately 30 languages. Brad Copeland, art director; David Butler/ Suzy Miller, designers/illustrators; George Hirthler, writer/creative director.

CULTURAL PARALYMPIAD

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Olympic Design 1996

This page: The renovation of the Woodruff Arts Center-home of the Atlanta Symphony Orchestra, Alliance Theatre, Atlanta College of Art, Atlanta Opera and High Museum of Art was done to coincide with the Olympic Games. The project was to integrate the signage into the building's architecture and interior with related forms, materials and colors.

The electronic marquee gives visual identity and life to the Arts Center functions on a Times Square scale; the divisional lobbies and donor dedication will change the perception of the Theatre and the Symphony Hall by giving a renewed sense of pride in the arts to the citizenry and a focus on Atlanta culture to the Olympic visitors. Jan Lorenc, creative director/photographer; Jan Lorenc/Chung Youl Yoo/Steve McCall, designers; Lorenc Design, design firm; JP Hwang, Thompson Ventulett Stanback & Associates, architect.

Right: Delta Airlines hired Copeland Hirthler to create a strategic platform and graphic imaging system to celebrate their Olympic sponsorship. The theme "Wings and Dreams" served as the starting point for the development of Delta's look. Originally the graphic interpretation of this theme was applied to merchandise catalogs distributed in seat-back pockets on all Delta flights. Ultimately the look extended to "The Spirit of Delta," a Boeing 767 bought for the airline by Delta employees. The look was later applied to Atlanta Hartsfield International Airport and other Delta hubs.

The project, which had a two-week turnaround, moved so quickly that the Delta paint crew worked off a simple 11" x 17" color copy as opposed to the normal technical documents required. The plane was secretly painted and unveiled before 10,000 Delta employees and the media. Currently, Delta has two of these planes in service and they can be seen at the end of all Delta commercials. David Butler, art director/designer; Kim Dickenson, writer; Brad Copeland, creative director; Chris Hamilton, photographer.

When AT&T became the lead sponsor of the Centennial Olympic ParkACOG's 22-acre legacy in the middle of downtown Atlanta-they hired Copeland Hirthler to create a proprietary look for the entire park, beginning with the Centennial Park logo. Since the park was ACOG's most important legacy, the logo had to relate strongly to the overall Look of the Games-The Quilt of Leaves-while helping AT&T achieve its own corporate objectives. The global quality of the park logo created the connection with AT&T's identity. Once the logo was approved, Copeland Hirthler created a graphic imaging system that carried the Look through fencing, banners, structures and street painting in the park. Brad Copeland, art director; Mark Ligameri, designer; George Hirthler, creative director.

ACOG hired Copeland Hirthler to create this high-end sponsor benefit package for presentation to potential Games Partners at the $40 million level. The wood box and hardbound book were a gift to corporate executives . The book, titled The Celebration of the Century, gave sponsors an overview of the Olympic movement and ideals and positioned the Atlanta Centennial Games as the greatest peacetime event of the century. Inside the box, beneath the book, were two gold-plated tickets to the Opening Ceremonies. Brad Copeland, art director; Rich Godfrey/Michelle Stirna, designers; George Hirthler, writer; Jim DiVitale, photographer.

Atlanta Centennial Olympic Properties (ACOG's marketing department) employed Copeland Hirthler to create a package and collateral to sell signature sponsorship opportunities to Cultural Olympiad events such as the Olympic Arts Festival, youth camp and stamp program. With only five days to design and write the project, Copeland Hirthler had to create a simple, flexible format and supplement stock images with in-house illustrations. Since quantities were under 100 sets, it was difficult to hold down the unit costs. Like so many other Olympic projects, this one required a team effort by the entire studio to complete the job on time. Brad Copeland, art director; Brad Copeland/Raquel Miqueli/Michelle Stirna/Shawn Brasfield/Kathi Roberts/Suzy Miller, designers; ACOG/George Hirthler, writers; various photographers; Brad Copeland/Raquel Miqueli/Michelle Stirna/Kathi Roberts/Suzy Miller, illustrators.

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CENTENNIAL

PUTTING TH E DREAM W I T HI N

YOUR

REACH

r==v

AT&T

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Olympic Design 1996 are gone. Within the park will be a fifteen-foot sculpture of Coubertin, commissioned by the Coubertin Committee. Not far away will be another sculpture, sponsored by ACOG, ironically due in part to Porter's efforts. "When I spoke about the Olympics at the 1993 AIGA conference in Miami, Javier Mariscal (a key player in Barcelona's Look) introduced me to a woman from Barcelona who wanted to start an art exchange program going from one Olympics city to the next. So we pitched the idea to the Olympics Committee. They chose one of the nine pieces we wanted to commission. I then became involved in finding funding for the rest. In the end, we will have built five of the nine pieces. " Porter adds that, in a way, the Barcelona project is his healing process. "After the AVID controversy, some of my Olympic spirit was drained. But when I'm an old man, I'll look back at those Barcelona sculptures and know that I helped improve the :esthetic of Atlanta. " When it comes down to it, that's what everyone involved in the Atlanta affair was striving for. In a meeting with Watkins after the daggers of the design controversy had been sheathed, Porter told her, "Ginger, in the end what I really believed in was the same thing you believed in. I believed in my community. " And she replied, "Matthew, we both said a lot of hard things.

Let's all just go on beyond it. " Watkins is right. It is time to move on. After all, the Atlanta design community got what it wanted from the Olympicsmore business and , more importantly, national respect for its talent. •

This page: Inspired by the idealism in the writings of Baron Pierre de Coubertin, the French educational reformer who founded the modern Olympic movement, Copeland Hirthler CEO George Hirthler launched the United States Pierre de Coubertin Committee (USPCC) in 1993. To commemorate Coubertin's extraordinary life and work, the USPCC commissioned a statue for Atlanta's Centennial Olympic Park. Paid for by The Friends of Atlanta's Olympic Dream, the fifteen-foot statue, Gateway to Dreams, was created by classical sculptor Raymond Kaskey.

Favermann Design was asked by ACOG president Billy Payne to create a strong Olympic visual presence in the official Olympic headquarters hotel.

The IOC, heads of national and international sports governing bodies, ACOG and individual participating country delegations would all be staying at the hotel. Coupled with the primary problem of creating an intriguing form that would answer the needs of the awesome space, an existing ribbon structure had to remain in the space during and after the Olympic Games. The resulting design recreated the Quilt of Leaves turning it into a sculptural form that played with the immensity of the hotel's atrium and worked with the existing ribbon structure. Mark Favermann, project designer/creative director; Grisela Basualdo, senior designer; Paul Cunningham, designer.

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DURING PRODUCTION OF THE LAST ISSUE OF ECO, I RECEIVED A CALL FROM THE ENVIRONMENTAL

Taking Paper to Task

DEFENSE FUND . THEY HAD JUST

BY

DAN

IMHOFF

PUBLISHED AN EXTENSIVE REPORT 0.:-\ THE PULP AND PAPER INDUSTRY Ai"\JD WONDERED IF I WOULD ME:-..'TION IT IN THE NEWSLE1TER. AFTER REVIEWING IT, I KNEW

For three years, the Paper Task Force examined the pulp and paper industry under a microscope, in an attempt to propose a more environmentally responsible material

THE BOOK DESERVED MORE THAN A BLURB . BECAUSE OF HIS PRIOR

supply. Their long-awaited conclusions, "Recommendations for Purchasing and Using

RESEARCH \\1TI I ORGANIC COTroN,

Environmentally Preferable Paper," debuted to mixed reviews in December 19 9 5.

CHLORINE BLEACHING/ECF~TCF

Admirers are praising the unprecedented scope of the research, while critics are almost

AND TREE-FREE PULP ISSUES,

unanimously disappointed by the lack of visionary recommendations. Both assessments

DA'\.' . . IMHOFF WAS PUT TO TIIE TASK (PUN INTENDED). AITIIOUGH

are valid. And what the authors have labeled a "Final Report," may in fact have

\\'EIGHTY, I PERSONALLY RECOM-

only signaled the start of an important dialog.

ME. . 'D OWNING THE BOOK. BE WELL. !A Eva Anderson, Editor

THE MEMBERS, MISSION AND MOTIVATIONS onsider the Paper Task Force itself: Time Inc., Johnson & Johnson, McDonald's, ················· Prudential Insurance, Duke University and The Environmental Defense Fund (EDF). These corporate giants and non-profit organizations annually purchase huge quantities of paper each year, and thereby wield considerable influence over suppliers. In hopes of directing some of that purchasing power, the team set out in 1993 to identify cost-effective steps that their suppliers could undertake to produce more environmentally preferable paper.

C

WHY WOULD TH"E "EDI RISK TH"EIB B"EpUTATION BY JOININ<J A COALITION WHICH, ON TH"E SUBIAC"E, MI<JHT S"E"EM LIK"E TH"E IOX <JUABDIN(j TH"E H"EN Housd (Fime Inc. was associated

with chlorinated paper, McDonald's with deforestation.)

According to John Ruston, one of eight EDF researchers on the Paper Task Force project, his organization perceived a collaborative rather than

adversarial relationship with big business as an essential path to affecting change. "For years, the EDF has worked at the policy level and filed numerous lawsuits against offenders. We still do," Ruston said. "But after a 1991 project with McDonald's, we recognized that companies with large purchasing departments have an enormous ability to send signals to mills and thereby to influence the technologies they invest in, as well as the ways in which they operate their businesses."

The EDF is not alone in its foray into the business environment. According to E Magazine, the National Resources Defense Council (NRDC) is now working to make environmental business a reality by spearheading the development of The Bronx Community Paper Company. This proposed $200 million de-inking mill will produce pulp from recycled fiber in New York City.

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105

pApBR DBTAIL I.f YOU WANT A HANDY RBfBRBNCB Of

pApBR AND CORRU<JATBD <JRADBS OR AN INDBX Of BNVIRONMBNTALLY RBSpONSIBLB MILLS (AS WB WBRB HOpIN<J), THIS IS NOT THB BOOK YOU'RB LOOKIN<j fOR. It is, however, a treatise on the environmental impacts of paper production, as well as an exploration of some of the best available technologies.

For each topic covered, we learn the economic advantages or obstacles to their implementation. A great many stones are overturned, including source reduction, recycled fibers, forestry practices and totally chlorine free (TCF) versus elemental chlorine free (ECF) pulping.

A feeling of density emerges from the 250-page report, and a complexity that risks alienating the reader. Yet for Eric Werbalowsky, environmental director at Kinko's Inc., detail is the work's most vital attribute. "I've been humbled by this report," says the copier chain's eco-expert. "Before I read this, I used to think I was sure about a lot of things.

Now I realize that our decisions are a lot more complex. Do we want to conserve water and energy, minimize the amount of endocrine disruptors in the environment or preserve old growth forests and bio-diversity? And how can we make these goals succeed in the marketplace?" Werbalowsky believes any report of this kind is bound to be flawed, but admires the EDF for pushing these important issues forward by setting the terms of the debate.

RACIN<J TO CLOSB THB LOOp One of the most technical chapters dissects the pulp and manufacturing process. We not only learn how chlorinated bleaching chemicals create cancercausing byproducts which are nearly impossible to detect and even harder to dispose of, but how they can also corrode pipes in the mill. (Not exactly a viable long-term solution). As you might expect, unbleached kraft cardboard boxes emerge as environmentally preferable alternatives to bleached white 106

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ones. In terms of kraft processing, the Task Force found chlorine-free technology environmentally superior in nearly every category when compared to chlorine dioxide-based (ECF) manufacturing techniques. Unfortunately, their analysis concerning ECF and TCF is complex and contradictory. The best available technology is not always recommended.

influential in the recent defeat of a California bill that would have required state agencies to purchase TCF products when cost, availability and quality are comparable.

The ultimate solution, according to the Paper Task Force, lies in the development of the minimum-impact mill. In this system there is no effluent.

The U.S. comprises only 5% of the world's population and takes up only 6.5% of the world's total land mass. HOWEVER, 0 U.S. consumers use approximately of the total

i i /o

world paper supply. Of all paper produced worldwide in 1994, the U.S. discarded (incinerated or landfilled)

20°/o.

ENERGY INTENSIVENESS: among all manufacturing sectors, the pulp and paper industry ranks

4'& h.

CAPITAL INTENSIVENESS (ratio of dollars spent to generate $1 of income): among all manufacturing sectors, the pulp and paper industry ranks

It takes about

I S "t.

i I mi 11i0 n BTU's to produce 1 ton

of paper. That's enough energy to power a U.S. suburban home for 2 months. It takes

11,600 to 2 2 ,000

a a 11 o n s of water to produce the same ton 01 paper.

Imagine how far that would go in a developing country!

Soon after its publication, the Alliance for Environmental Technology (AET), a trade association representing chlorine dioxide manufacturers and users, issued a press release titled "EDF Paper Task Force Report Favors Chlorine Dioxide Bleaching." The claim is true, but omits some important data. Compared to conventional chlorine bleaching, ECF is favored. Then you must ask, which of the three ECF technologies? Only the most advanced ECF methods (which use oxygen, ozone and limited chlorine dioxide) compete economically and environmentally with TCF. Loose interpretations like these could have been

"Industrial nutrients" -water and pulping chemicals - are recirculated and recycled throughout the manufacturing process. By reclaiming all byproducts, the dispersal of hundreds of potentially harmful chemicals is eliminated. Findings show this approach to be both economically and environmentally desirable (achieving the Factor 10 efficiencies that Paul Hawken and William McDonough informed us of in the March/April 1996 issue of ECO).

An international race is currently under way between TCF and advanced ECF technologies to accomplish closedloop processing. Though the Task

Force hasn't stated who will finish first, they do assert that chlorine-free (TCF) processes "make additional progress toward the minimum impact mill."

TREB-FRBB FUROR While objections have been aimed at the Task Force's recycling and source reduction chapters, the tree-free paper community makes up the report's most vocal critics. An entire chapter is devoted to forestry practices, with diagrams detailing the various stages of tree plantations and clearcutting.

However, mention of tree-free alternatives is limited to a few paragraphs.

Readers are advised to "keep open to considering paper products that contain non-wood agricultural residue fibers in cases where the products are available and meet functional and economic requirements."

In fact, the Task Force suffered a mutiny prior to publication when a number of reviewers asked to have their status changed on White Paper No. 13, which details the study on non-wood plant fibers. The reviewers objected to unfair comparisons between small-scale tree-free mills and monolithic woodbased systems, emphasizing volume over environmental performance.

Experts outside the Task Force cited numerous inaccuracies in the data.

Meanwhile, the chapter on forestry calls for preserving old growth ecosystems and the adoption of the American Forest Product Association's Sustainable Forestry Initiative (SFI), a trade industry plan which is never presented in complete detail. The Task Force's far-reaching recommendation entails a universal adoption of these principles on all timber lands used for paper.

This means the SFI should not only apply to the 20% of forests held by pulp and paper companies, but to the other 80% now managed by private and public interests which supply timber for pulp. The authors do caution, however, that these industry-generated guidelines contain few standards for performance or enforcement, leaving the execution up to individual companies.

OpBRATIN<J INSTRUCTIONS

cup OR TAKE-OUT BA<j Of UNBLEACHED KRAfT OR SOME NEW LOW-IMPACT

Like Eric Werbalowsky, I was impressed by the scope of this project.

The Task Force has demystified the inner workings of the paper industry, and exposed (if you look closely enough) many of its environmental shortcomings. Reading it, however,

From 1991to1992, the top 100 largest industrial users of packaging materials increased their consumption by

s2.1 billion. requires a lot of effort. We are barraged by endless streams of facts. Yet the analysis tends to be cautious or vague and the recommendations sometimes timid. Every effort is made to address the "economic realities" of the industry- an understandable goal considering the players and their mission.

But what surfaces too frequently is the voice of a trade association rather than a visionary task force.

Draw your own conclusions from the data. If you're really interested in learning about the most "environmentally preferable" alternatives, I suggest reading each chapter's "Recommendations and Implementation Measures" in reverse order (from last to first). This way, the most progressive alternatives take precedence over the most economically practical. Also, study the comparative graphs and read the "Question & Answer" sections at the end of each chapter.

MATERIAL? CAN DUKE UNIVERSITY STUDENTS ANTICIPATE A RADICAL OpTIMIZATION Of pApBR ON CAMpUS NBXT SEMESTER? David Refkin, Paper Purchasing and Environmental Affairs Department for Time Inc., says the magazine will soon award a large contract based primarily on environmental performance, though he regrets the present prohibitive costs of recycled paper.

To move their recommendations forward, the Paper Task Force is relying on purchasers like Refkin and others who control vast paper budgets, to send the appropriate signals to mills, thereby inducing paper producers to act responsibly. Tell your suppliers you'll buy something when it's competitively priced, the reasoning goes, and they'll figure out a way to do it. You should also work with suppliers to achieve these goals in stages. It's Adam Smith's invisible hand guiding the market with an environmental twist.

I UNDERSTAND ALL TOO WELL THAT THIS IS YBT ANOTHER CHICKEN AND E<j<j PROBLEM. Designers want more environmentally preferable papers, but most clients can pay only a limited premium.

Cleaner technologies are being developed all the time, but most mills aren't willing to abandon the existing facilities they've paid vast sums to create. Virgin paper, in most cases, still costs less than recycled. Toxic organochlorine emissions have been significantly reduced, but in no way eliminated. Tree-free alternatives are great theoretically, but as yet have limited supply. With world paper demand expected to increase well into the future, and ecological systems steadily declining, the signals are already here. Chickens and eggs are needed now.

DBSI<JNBRS TO ACTION HOpBFUL SI<JNALS? "DBSI<jNBRS HAVB A KEY ROLE TO PLAY SHOULD WE BX:pBCT TIME MA<jAZINB TO

IN TRANSfORMIN<j THE INDUSTRY," SAYS

BB PRINTED ON MINIMUM-IMpACT

THE BDf'S RUSTON, asserting that they

MILL PAPER IN THE NEAR fUTURB? WILL

can be extremely helpful in developing

MCDONALD'S INTRODUCE A COffBB

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Mea Culpa

BY EVA ANDERSON

Errata Data Corrections

L

ike all good, yet slightly flawed, humans on this planet, I have erred. Unfortunately, the ··············· errors concern two papers that had been generously donated for the successful publication of ECO. I humbly apologize for my ignorance-the oversights were unintentional. I received two letters, and will share the meat of the contents for your education, too.

The first was from Carol Norton, marketing director at Vision Paper, who said, "We are really disappointed by the issue of ECO [March/April 1996] printed on kenaf paper. Not only does it identify Trailblazer™ as recycled- a battle we fight daily-Eva Anderson in her opening comments talks about specifying recycled paper, not tree-free. Specifying recycled paper is better than no action, but specifying domestically produced tree-free paper has the potential to turn an entire industry.

They are not one and the same kind of product.

"One of Trailblazer's advantages is that it is a virgin fiber (creating less problems in the press room). Eva says she thinks holistically; kenaf paper has integrity from seed to press. It is raised in an economically depres'sed area where cotton and soybeans would otherwise be grown. It provides a much needed cash crop that is cultivated without pesticides. Unlike cotton and soybeans, there is no farming subsidy necessary to make it economically viable. At the mill, it takes less energy and chemicals to process than does wood fiber. Unlike the vast majority of paper made from trees (even recycled ones), it is NOT bleached with chlorine, and no dioxin is produced in the manufacturing process.

"Paper made from kenaf, listed by the USDA as the fiber best suited to replace tree based paper, opens up a

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Taking Paper to Task (continued from page 107)

KENAF FIBERS, AS WELL AS ORGANICALLYGROWN COTTON. ARE

USED TO

MAKE TREE-FREE PAPER

& ADDRESS THE ISSUES OF SUSTAINABILITY.

whole new world of possibility and a future where trees are not cut to make paper. The process clearly fits the guidelines of 'Natural Step' products.

As Paul Hawkins states, 'The system's conditions themselves are essentially non-negotiable. No advertisement or product will change them.' There is nothing sustainable about cutting trees for paper. Recycling is not a bad idea, but it doesn't solve the problem." he second letter came from Jeff Lindenthal of Green Field ············· Paper Company. He said that he was "honored that we could donate the paper for an issue of ECO []an uary/ February 1996] that addresses 'sustainability.' I believe that organic agriculture is a fine example of sustainability in practice. Our paper, the first made entirely with organically grown and naturally colored cotton, is a great vehicle to communicate this message.

"As much as I enjoyed the article, I was disappointed to see that in the sustainable guidelines offered for readers, there was no mention of organic cotton paper. However, the suggestion was made to seek 'kenaf, hemp or straw fibers.'

"It was in an issue of ECO [January/ February 1995] one year ago that the question ~as first raised regarding organic cotton and paper in a [sidebar] column titled 'An Organic Future for Cotton Paper~' Our company is the first to invent just that. I would also add that

T

new types of papers for specific uses, and in making innovative materials visually appealing. By summer 1996, he intends to publish recommendations written specifically for designers.

I hope that the few huge companies that are sending signals may soon spur great advances in environmental papers.

In the meantime, I suggest keeping informed through other concerned analyses and reports (look for a list of resources in our next issue), supporting leading-edge companies whenever possible and giving every project an environmental perspective.

If you would like to own a copy of the Paper Task Force's 16-page synopsis, you can download it on the World Wide Web at <www.edf.org> or purchase the report for $25 by writing: Public Information, Environmental Defense Fund, 257 Park Avenue South, New York, NY 10010.

our ColorGrown™ paper has several attributes not found in other tree-free fibers such as: organic cultivation, 100% recycled content and that fact that it is both grown and recycled in the U.S. "All of us here feel the momentum and interest in alternative fiber paper building," Jeff concludes.

I couldn't agree more, and offer my wholehearted support, both as editor of ECO and as a designer in my paper specification decisions.

CREDITS

Editor/Designer: EVA ANDERSON Contributing Writer: DAN IMHOFF Contributing Illustrator: LEIGH WELLS, (415) 668-9068

Recycled Paper donated by: CHAMPION INTERNATIONAL CORPORATION STAMFORD, CT

(800) 348-1770

This newsletter is printed on Champion Benefit® Text, Mushroom/70 lb. It is 100% recycled with 75% post-consumer content.

Creativi ty in South America

BY R1cK ToRREANO

I

have always believed that when the time was right, Simpson

Paper Company should begin introducing the many colors and textures of uncoated papers it manufactures to South America. It was with this purpose that I embarked on the journey of a lifetime by traveling to five countries in October 1995, to introduce these papers to each country's design and print communities.

My visit in October coincided with spring in South Americaincreasing heat and steamy rain by day, balmy breezes by night.

My travels included the metropolitan cities of Buenos Aires, Argentina; Sao Paulo, Brazil; Santiago, Chile; Lima, Peru; and Montevideo, Uruguay. Each city had similarities and contrasts in its landscapes, economies, people, culture and in the business of design itself.

Spending just a few days in each country allowed me to see only a glimpse of its people and their attitudes about design, so my observations are not absolutes. But after meeting many designers through workshops and interviews, I feel comfortable in at least providing you with my personal and professional perspectives of these growing and passionate design centers.

exposed industrial iron. In contrast to the austere background, the city has an array of colors weaving through it, from signage to telephone booths, to window displays. Skyscrapers are common in the immediate downtown area. With almost 17 million of Brazil's 160 million inhabitants living in Sao Paulo alone, you can only imagine in your worst nightmares their afternoon commute traffic.

With a population of about 35 million people, Argentina is a distant second to Brazil. In contrast, over half of its land is meadows and pastures. Buenos Aires, with its European architectural look, made me feel as though I were in Madrid, Paris or any number of other European cities. The fact that Spanish, English, Italian, German and French are common languages tells you something about this country's European flavor. The buildings are incredibly detailed in their cement work with embellishments of gargoyles and other intricate carvings. Many seem to have an aged look to them creating definition and character-like the beauty of an ancient human being whose face has experienced life. Such age is contrasted by the youth, beauty, energy and vitality of its people.

Tiny Uruguay borders the South Atlantic Ocean between Argentina and Brazil. Of the five countries, Uruguay seemed to be the most mysterious. Indeed, after visiting this country, I decided it was the "hidden jewel" of South America. It is slightly smaller than the state of Washington, with a population of just over three million, a third of whom live in the capital, Montevideo.

Montevideo is a city of contrast, where the past and present intersect with each other, oftentimes in conflict. There is an "old"

The Continent, Countries and Cities

and "new" city and to go from one to another is to take a trip

Brazil, the largest country in South America, is located in the

between a culture of the past and a struggling future. My first

eastern section bordering the Atlantic Ocean. It shares common boundaries with every South American country except Chile and Ecuador. While two-thirds of the country is forest and woodland, the look of Sao Paulo is much like the movie sets for Brazil (remember Robert DeNiro as the plumber?) and Blade Runner. It's replete with old gray cement buildings and

proof of this was at the boat docking area where I entered the country. The first scent that hit me was the smell of wet cement; it's a smell I like. Collectively, it represents a state of demolition, renewed energy and future visions of physical space. What caught me off guard were my contrasting senses. I smelled a construction site with dirt floors and decayed rubble surrounding

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

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me, but as I came down the boat docking ramp, the first thing

The People

I saw was a graphically designed poster plastered on one of the many partially-demolished walls, advertising a very modernlooking cellular phone. During my short stay, I quickly gained

Describing the people of these five countries can be summed up in one word: Passion. Passion for their culture, their work, their play and for their love of life.

a feeling of respect and admiration for a country struggling to meld its old-world values with its need to press into the future.

The people I met in Brazil were both gracious and enthusiastic about their work and their city. They expressed a great deal of interest in moving their country forward into the 21st century and are intent on having design play a major role in its future.

Chile borders the South Pacific Ocean between Argentina and Peru. It is about twice the size of Montana with a population of about fourteen million. There are a great many low coastal There is a certain air of sophistication about Buenos Aires and mountains, a fertile central valley and the rugged Andes off its people that exudes passion, excitement and joy, not only to the east. In Santiago, I was struck by some similarities of a toward their individual lives but their country's culture as well. number of coastal cities along the Southeastern border of the People of all ages reflect this , be it the children, parents or United States. Tile roofs and buildings, sun-washed colors, highgrandparents. rise hotels and a profusion of wide and busy streets. Santiago, The people's energy was infectious wherever I went in like Buenos Aires, has an air of sophistication that permeates Montevideo-from the dinners and lunches in the outdoor tentthe graphic design community. Peru is located in the western restaurants to the wonderful locations selected for m y like portion of the continent and borders the South Pacific Ocean An aura of excitement stayed with me throughout events. between Chile and Ecuador. Its land mass is slightly my brief visit and the people I met were wonderful. smaller than the state of Alaska and it has a population of about 24 million. Peru is an emerging country The Chilean people are as gracious and warm as any which, in 1995, had the largest increase in economic in South America. It was such a joy to be around these growth of any country in the region. It is reducing individuals because their attitude about life began to Ler 6 lmo,ao inflation by implementing a "privatization plan" but is wear off on me. continuing to struggle with high unemployment. President My Peruvian associates became my good friends within a very Alberto Fujimori was reelected to the year 2000, consequently short time. Their concern for my well-being and their graciousthere should be less political risk if outside companies want ness in hosting and showing me the beautiful sights of Peru to establish offices or businesses. After arriving by plane in outside of Lima, left a lasting impression on me. The country, Lima, my first images were of taxi cab drivers and heavily armed its people and their culture have had a profound impact on my police. I was picked up by a "bodyguard" of the company way of thinking after returning to America. cosponsoring me and driven to my hotel. It was a rather ominous feeling. Later, I learned that Peru essentially has no Designers and Their Profession middle class. Because of this, Lima has had a high robbery Each country is at a slightly different level in its acceptance of crime rate. Also, in previous years, terrorism was a fact-of-life the use of graphic design and advertising in the communicain th e city. It was not surprising to see fairly commonlooking businesses with individual bodyguards at the gateway This page: Logo for Camara Brasileira do Livro's (Brazilian Book Forum) entrances. Many private residences had brick walls with rolled XIV Bi-Annual International Book Exhibition. Eduardo Len, art director/ wire separating the house from the sidewalk/ street area. This designer; Fabio Morelli, illustrator; LEN/Recursos Visuais (Sao Paulo), design firm. was topped off with a security guard standing outside a Right: Urban Wear product display. Suell Tsumori, art director/creative locked, heavy door-literally a "moati around the house. director; Giacomo Favretto, photographer; Ronaldo Ferreira Lima, proMen carrying their weapons under their coats, were ducer; Reflexo Pre Print/various, production companies; Art Company everywhere- in restaurants, walking to waiting cars, walking Comunica~ao Design e Merchandising Ltda. (Sao Paulo), ad agency; Cal~ados Samello, client. into downtown buildings, into grocery stores.

It wasn't until my associates in Lima took me on a tour of the city and surrounding coast that I saw what I had hoped to see, the absolutely stunning beauty and character of the country and its people, the festive dancing on almost any night, the historical buildings, the open sea with blue skies and white-capped waves.

There are many beautiful faces of Peru that match the peoples' courage and will to overcome obstacles.

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Cover of Publish's Latin American edition announcing the release of PageMaker 6.0 in Brazil. Eduardo Len, art director; Helio Mitev, designer; Publish staff/LEN staff, writers; LEN/Recursos Visuais (Sao Paulo), design firm; IDG-Computerworld do Brasil, client.

Spreads from Vogue Brasil's tribute article on famous Brazilian composer Antonio Carlos Jobim . Ruth Freihof, art director/designer/creative director; Ana Lontra Jobim, photographer; Tarik de Souza, text editor; Hiluz del Priori, producer; Revista Vogue Brasil, production company; Passaredo Projetos Graficos (Rio de Janeiro), design firm.

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SAIU HIMA FllTOH UMA NOTA s6 0UTU S NOTAS V.l.o ENTUlll ""'A USI! t UMA S6 E ITA OU TlllA tC OJllSEOO t NCIA DO OU fACAIO Df DlZER Co" o EU I OU A CON IE OOtN C IA INf VITh H Df voct 0U AHTA S UH EXISTE POlll Al 0U f FALA TANT O ( d o Oil NADA OU OUASf NADA J AMf UTILIZfl DE TODA A (SCALA ENO FINA L Nlo IOUOU NADA Nlo DEU 0 1 NADA E VOLHI PU MIH HA NOTA co .. o (U VOL TO P U voct Vou CANTAlll COM AMINHA HOTA Co"o fU SOSTO DE voct E OU£M OUU TODAS AS NOTAI Rt Ml 0. SOL LA SI 06 FICA IU.,111( SfM NUIHU"A FTOUf HUNANOTA 16

COMMUNICATION

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111

South America tion efforts of the business community. But in all these countries

had to learn h ow to better integrate and relate our cultural

the business of design is either emerging, growing or flourish ing.

heritage to our campaign's objectives. "

''All communication media are experiencing similar growth

Television rates the highest in other countries as well. Washing-

curves, " said Marcelo Sapoznik of Fontana FVS Disefi.o in

ton says, "Brazil is a very electronic country. In a big agency

Buenos Aires. "Thanks to the latest economic rule changes,

like this, normally about 40% of our efforts are geared toward

professionals of all areas are learning the codes and languages

print campaigns while 55% to 60% are geared toward televi-

of different countries. In Argentina for examp le, the estab-

sion campaigns. The aud iences of our networks are so big,

lishment of m ultinational companies h as required the adapta-

particularly global TV."

tion of graphic designers to global requirements and needs. "

Professional design organizations in South America are practi-

As a result of its more open attitudes toward foreign businesses

cally non-existent. In all but Brazil, I found very little indication

in recent years, advertising and design agencies are beginning

that such an association played a strong or vital role in its impact

to play a larger role in the South American business culture.

either on designers or the business community. One group in

Companies in a position to take advantage of the new social

Sao Paulo, called AD G, has some presence. Roberto Duailibi of

and business climates are beginning to see value in enhancing their identities an d

D uailibi, Petit, Zaragoza Propaganda in Sao Paulo said, "Their importance and

and their products in an ever-growing

power are proportional to the volume of design done in Brazil. We must work to

commercially active marketplace. Still,

make this representation grow in volume

during each of my presentations, I spent

and in the right direction to gain adequate

time discussing the need for designers

importance as have other professional

to enhance the professionalism of design

associations in the rest of the world. "

in the eyes of the business community.

I asked a number of designers how ad agencies are interacting with design firms or if design firms were becoming arms of ad agencies-like what is happening in agencies in parts of the U.S. Marcelo Sapoznik said, "Yes, in a way you could

creating quality perceptions of themselves

Designers in all five countries are battling some of the same perception problems of their American counterparts.

"The client/designer relationship in my city is becoming more respectful," said Marcelo Sapoznik. "In the last few years,

say this is true. Ad agencies in Argentina

it has been based on long-term relationships rather than one project at a time. The day-to-day business community is now starting to consider the designer a professional who solves communication problems and not as an artist who gives the client only decorative and anecdotal solutions."

As to how design is affecting the culture of South America, Washington Olivetto, principal of W/Brasil, one of the larger independent agencies in Sao Paulo, told me, "It really is quite high. In our country for example, we are very aware of the Brazilian pop culture and we use lots of real people of Brazil in our campaign ads. The music we used for certain campaigns has been reproduced on a CD by Time Warner. Over 40,000 of the CD's have already been sold in Brazil in a very short time. We now receive tons of suggested music from around the country!"

Medium expenditure breakdowns are very similar to those in America. In Montevideo , creative director Julio Franchi of J. Walter Thompson Corporacion said, "TV is our strongest medium to influence our country's culture. It represents about 65% of a typical client's budget. Still, with regionalization, we've 112

MAY /

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This page: Cristallo Chocolate packaging. Mauricio Rocha, art director; Mauricio Rocha/Rosemari Yamasaki, designers; Rocha & Yamasaki (Sao Paulo), design firm .

Right: TV commercial for Giacomo Capelettini, a children 's pasta dish .

The entire commercial shows a mom inspecting her facial mask in the bathroom and saying no to her child (off camera) pleading for Capelettini again for dinner. Finally, the child asks her, "What's an orgasm ?" The mother replies, "Which Capelettini do you want, beef or chicken?" Pablo Del Campo, creative director; Flavia Moraes, director; Qu ique Santos, producer; Contemporaneos, production company; Lautrec Nazca Saatch i & Saatchi (Buenos Aires) , ad agency.

Banco Fonte capabilities brochure. Suell Tsumori, art director/ creati ve director; Vera Luci Nonaka, writer; Sapiens, Centro de Estudos e Produ{:oes Ltda./stock, photographers; Ronaldo Ferreira Lima, producer; Reflexo Fotolito/Margraf Editora e Ind. Gratica, production company; Art Company Comunica{:ao Design e Merchandising Ltda. (Sao Paulo ), design firm .

Cia . Maritima Swimwear product catalog . Sergio Steuer, art directo r/ designer/creative director; Valerio Trabanco, photographer; Daniel Duran / Pedro Ionescu, camera assistants; Marilia Galv ao / Maria Fernanda Savoldi, producers; D-Vision (Sao Paulo), design firm ; Benny Rosset, Cia. Maritima, client.

Banco Bamerindus annual report. Hugo Kovadloff, creative direct or; Jose Roberto Campos Paulino, art director/designer; Du Ribeiro, photographer; Flag ldentidade Corporativa & Design (Sao Paulo ), design firm .

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113

Asm·ela¢es de Calo, o rei das r;orotas e prlnc1f?e do Mommbi

Fanapel ha sido de los ploneros en et pais

en la forestael6n de eucatypcus para uso lndu>tr1al. Su> 7.000 h«t~re.u lore!tadds le permlten una aJta a.utonomla de abdsteclmlcmo de ~a para la

produccl6n de celulosa.

£.I Area fort"Jt,,da ha crcddo tenldamcncc. allncada al lncremento de la proctuccloo de papel.

amro. a culttvo de eucalyp1us responde a un

programa prtt!itablecldo qu permlte mantener el allo grade> de autoabastec.lmlento de Ill planra productora de: pape. s.ln cornpromcter cl equillbllo ecoklglco de uno reglOO en la que la lndustrta. las ac.tlvlctl'd6 l\grO· lndustrlalcs y l3 gaMderk\ c.ompanen el espado desdc lempre.

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South America are employing designers to offer their clients new services they did not offer in the past. In spite of this , there are big design companies still specializing in different areas. We are starting to see the business community look more closely at designers who are not part of any ad agency so there is hope for the smaller design shops to stay independent. " I was told that designers who used to work in independent shops now prefer working free-lance for ad agencies and larger design firms . The free-lance market, however, is getting smaller and big enterprises still prefer to work with big design firms or ad agencies. It is a perception that exists in South America as well as in most American cities.

Color trends vary of course throughout the world, but in South America I did not perceive that color was a major concern.

Marcelo Sapoznik said, "There are not chromatic trends at this time. Whether that is bad or good, I do not know. It is just my opinion and as you know, color is such a subjective issue."

On the other hand, Robert Duailibi said, "Brazilian communication contains a myriad of original and creative colors, but the use of colors always follows the pattern set by the concept of the job. This is not necessarily a Brazilian specialty, this method is used by all good visual communicators."

You can't speak of Brazilian design or advertising without mentioning its creative use of sex or sensuality as a connecting theme to the intended message. Even Sao Paulo's public telephone booths, with their soft, almost sensual curves, are a good example. The booth's sides seemed to wrap around one to create almost a "back-to-the-womb" feeling. They were comfortable to be in and shielded me from outside distractions and noise. After all, shouldn't a phone booth's main objective be to block out noise , distractions and provide some privacy?

Cabriolet

All five countries have had some exposure to uncoated, colored papers. But, with the exception of Chile and, to some extent, Argentina, they are still fairly new choices in the designer's

Left: Covers and spreads from Placar (Sao Paulo), a magazine of soccer and popular culture . Lenora de Barros, art director; Ariel Cepeda / Francisco Milhoran ~ a/Adriana Nakata/Renata Zincone, designers; Marcelo Duarte/ Sergio Xavier Filho, writers; Disco del Gaiso/Klaus Mitteldorf/Eugenio Savio/Andre Schilir6, photographers; Ee (Crown) , illustrator; Marcelo Duarte/Jula Kfou ri, directors; Renato de Souza, producer.

- ------- --·-

Sedan

Fanapel Paper brochure. J. Walter Thompson Corporaci6 n (Montevideo), ad agency.

This page: Telephone directory design for Paginas Doradas, publishers of yellow pages for Telefonica de Argentina . Carlos Venancio / Marcelo Sapoznik, designers; Fontana FVS diseno (Buenos Aires), design firm .

Outdoor campaign for Peugeot's 306 series of cars. Ignacio Gonzalez, art director/illustrator; Gustavo Cortabarria, designer; Alfredo Giuria, writer/ creative director; Julio Monteghireo, photographer; Mario Candelarezzi, producer; Viceversa/Voung & Rubicam (Montevideo) , ad agency.

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South America

world. These countries are at various levels of creative sophistication and printing technology. How far designers push the envelope of creativity is directly related to the client's willingness to experiment with their products and messages.

Both are contingent upon the extent that their country's political and social structure will allow. The designers are smart. They realize, like in America, the bottom line is to get as creative and daring as possible, yet still successfully create good ideas that communicate the client's message to the targeted audience.

Often making four or five "group presentations" daily about paper and design, I found my meetings with designers, ad agencies and printers stimulating, thought-provoking and challenging. Stimulating because I saw in their faces the

This page: Summer collection logo for Richards, a men's clothing store.

Sergio Liuzzi, art director/designer/illustrator; Interface Designers (Rio de Janeiro), design firm.

Logo for Andrea Saletto's line of casual clothing. Sergio Liuzzi, art director/ designer/typography; Interface Designers (Rio de Janeiro), design firm.

Zeitgenossische Naive Malerei cover, part of a program to promote Brazilian publishers and bookstores during the 46th International Book Fair in Frankfurt. Moema Cavalcanti, art director/designer; Mirian Ines da Silva, illustrator; Premio Editorial Ltda., publisher; Moema Cavalcanti (Sao Paulo), design firm; Camara Brasileira do Livro, client.

Identity for Parador Pakalolo, a beach restaurant specializing in Bali food .

Gonzalo Berro, art director/designer; Macarena Ubios, illustrator; Gonzalo Berro Diseiio (Buenos Aires). design firm; Leo Sanchez, client.

Right: Letras Francesas book cover, part of a pocket book series for Editora Unesp. Edmundo Fran~a. art director; Edmundo Fran~a/Danilo Borges, designers; Image Bank, photography; Caso Design, Comunica~ao (Sao Paulo). design firm.

Brazilian instrumental music CD collection. Claudio Ferlauto, art director/ writer; Juliana Vasconcellos, designer; Siron Franco, illustrator; Ou4tro Design (Sao Paulo), design firm; Tom Brasil Produ~oes Musicais, client.

Three-page ad for 0 Boticario unisex fragrance. lnsensatez is Portuguese for "Nonsense." ltagiba Lages, art director; Tete Pacheco, writer; Washington Olivetto/Gabriel Zellmeister, creative directors; Miro, photographer; Edson Peter Carloni, producer; W /Brasil, ad agency.

Print ad for Avon created to coincide with Valentine's Day. Julio Mola, art director; Pedro Alcantara , writer; Jose Zaragoza, creative director; Roberto Donaire, photographer; Robson Ciaramicoli, producer; DPZ Propaganda SA (Sao Paulo), design firm.

Seagram do Brasil's Orloff Vodka promotional Christmas package. Hugo Kovadloff, creative director; Jose Roberto Campos Paulino, art director/designer; Flag ldentidade Corporativa & Design, design firm.

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Aas namorados, um beijo e um desejo.

Avon

Avon e voce.

Uma honita amizade.

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117

South America enthusiasm and willingness to absorb as much information as possible about fresh alternatives; thought-provoking because I discovered new ways of thinking about design and creativity from their perspective; and challenging because of the skeptical attitudes from some designers and printers about the chances for using such papers, either because of technical limitations or client uncertainty.

Roberto Duailibi said, "Difficulties will still exist in attempting to convince the design and printing communities that recycled, imported papers are the right choices because prices will continue to be high and the papers themselves have not really been tested enough in our printers' presses."

So besides introducing new papers, a portion of my escorts were geared toward convincing designers of the need and value that such papers co uld have for their clients and the design process itself. It is with hope that my efforts generated a sense of ~~newed interest in the knowledge that designers indeed have options, not only in paper, but in how they proceed in making the business of design a valid and effective way to communicate good ideas. •

Thank you to Lance Arrault ofSimpson Paper Company who offered me the opportunity to make this trip. Very special thanks to my associates and friends in each ofthe countries I visited Without them, I would not have survived! Fernando Esquival Simpson Paper Company, South America Region; Claudio Villela, Brasilliner, Ltda. (Fine Papers), Sao Paulo, Brazil· Bimba Feidler, Text & Cover SLR, Buenos Aires, Argentina; Adolfo Sommer and Ari Korytnicki, Fanapel Papers, Montevideo, Uruguay; Maria Olga and German Mayo, Foliografica, SA., Santiago, Chile; Luis Vtzssi and Elisa Brisigotti, Prografica SCRL, Lima, Peru.

This page: Poster promoting the 32nd exhibition of photographic art sponsored by Foto-Cine-Club de Chile. Vicente Larrea, art director; Leonardo Soto, designer; Jorge Sacaan/Luis Vergara, photographers; Claudia Salinas, producer; Larrea Diseiiadores S.A . (Santiago), design firm.

Packaging series for Aeroclassic casual menswear. Cynthia Leite Araujo/Cintia Sant' Anna/Glauco Araujo, art directors/designers; Cynthia Leite Araujo, creative director; Guido Patterno Castello, photographer; Glauco Araujo, illustrator; Zen Serigrafia/Detroit Embalagens/Packing House, producers; CLA Programai;:ao Visual (Rio de Janeiro), design firm.

Right: The Projeto Radar Web site (http://radar.dglnet.com .br) promotes the culture and nightlife of the Brazilian city of Campinas. Rafael Peixoto Ferreira, art director/creative director; Adriano Vasconcelos, marketing director; Bae Advertising/Pg&d Advertising (Sao Paulo), ad agencies.

Poster for a documentary on the Amazon River. Ruth Klotzel/Daniela Steinberg, art directors/designers/producers; Antonio Carlos D'Avila, photographer; Estudio lnfinito (Sao Paulo). design firm; Ricardo Dias, Cinematografica Superfilmes, client.

Negusa's Maldito chocolate packaging. Kitty Segami Terashima, art director; Juan Carlos Gomez de La Torre/Kitty Segami Terashima, designers; Juan Carlos Gomez de La Torre, creative director; Yolanda Hounie, photographer; Holman Ciudad, illustrator; Creativity Young & Rubicam (Lima), ad agency.

Print ad for Silueta Schwarzkopf's Konzil, a hair detangler. Kareen Angell, art director; Kareen Angell/Erick Espinoza, designers; Emilio Diaz, writer; Juan Carlos Gomez de La Torre, creative director; stock photography; Erick Espinoza, illustrator; Creativity Young & Rubicam (Lima), ad agency.

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ENJUAGUE PEINADOCIL KONZIL, DESENREDA LOS CABELLOS MAS REBELDES

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This page: Spreads from Casa Claudia, a home/living magazine in Brazil. Decio Navarro, art director; Cristina Dantas/Beth Volpi, editors/writers; Andre Fortes/Luis Gomes/Mari Queiroz, photographers.

Identity and ATM machine/kiosk design for Banco do Estado de Sao Paulo SA Banespa. Joao Carlos Cauduro, design director; various production companies; Cauduro/Martino Arquitetos Associados Ltda. (Sao Paulo), design firm.

Covers and spreads from Summa+ 3, 4, an architecture magazine. Angela Vassallo, art director/creative director; Angela Vassallo/Claudio Keller, designers; Vassallo Disefio (Buenos Aires), design firm; Donn SA, client.

Right: One book jacket from a series of John Fante titles. Claudio Ferlauto, art director; Claudio Ferlauto/Cristina Burger, designers; Cristina Burger, illustrator; Qu4tro Design (Sao Paulo), design firm; Editora Brasiliense, client.

Packaging for Linepaq, a construction budgeting software program. Cesar Albanell, art director; Nicolas Lanusse, designer; Arq. Alfredo lbafiez, writer; Juan Hiters, photographer; Ignacio Mantel, producer; Printom, production company; LineArt (Buenos Aires), design firm; Net Line, client.

Identity for Tax, a clothing store for young adults.

Cesar Albanell, art director/designer; Juan Hiters, photographer; LineArt (Buenos Aires). design firm.

Information brochure for Fundacion Ayacara, an organization trying to protect the virgin forests of southern Chile. Vicente Larrea, art director; Luis Albornoz, designer; Paulina Mallol/Pablo Sandor, writers; Pablo Sandor, photographer; Leonardo Soto/Luis Albornoz, illustrators; Larrea Disefiadores S.A . (Santiago). design firm .

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South America Left: Outdoor board for San Antonio Water, reminding consumers that the body is three parts water. Ricardo Mares/Jose Arce, art directors; Gustavo Rodriguez/Jose Arce, writers; Jose Meza/Gustavo Rodriguez, creative directors; Carlos Rojas, photographer; Tania Gonzalez, producer; Quorum Publicidad (Callao, Peru). ad agency.

Vinos de Orfila Fume Blanc wine label, a fruity, dry white wine. Carlos Avalos, designer/illustrator; Avalos & Bourse (Buenos Aires) , design firm.

Two spreads from tipoGrafica, a design magazine. Ruben Fontana, designer; Fontana FVS diseno (Buenos Aires), design firm/client.

This page: Signage for Raza (the people). a restaurant specializing in ethnic food. Gonzalo Berro, art director/designer/illustrator; Gonzalo Berro Diseno (Buenos Aires) , design firm ; Leo Sanchez, client.

Cover from Mujeres & Compania, a magazine for working women. Angela Vassallo, art director/creative director; Angela Vassallo/Walter Davenport/ Carlos Peralta, designers; Vassallo Diseno (Buenos Aires), design firm.

Shopping bag for Essencial, a men's shirt store. Irene Peixoto/Marcia Cabral, art directors/designers; Tira-Linhas Studio (Rio de Janeiro), design firm.

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Exhibit We're looking for new, outstanding, original work and want to show it to people worldwide, using the best reproduction techniques in the industry. Send samples of your most recent collateral, packaging, print ads, television and radio commercials, direct mail, shopping bags, CD covers, books, trade and museum exhibits to Exhibit, Communi-

cation Arts, 410 Sherman Avenue, Palo Alto, California 94306. Describe the purpose, background and include creative credits. Submit TV commercials on 3,4" videotape cassettes NTSC. Pieces to be returned must be accompanied by a self-addressed stamped envelope or your Federal Express number.

Left: Trade show display for Uniden America Corporation for their line of pagers. "There were two criteria for this project," said Kyle Dreier of Dreier Design. "First, the three displays had to fit physically into the existing system . Secondly, because of budgetary constraints, Uniden employees were the models for all photography.

The materials I chose contradicted the typical acrylic plastic solution.

The use of perforated aluminum acted as a low-tech backdrop for the high-tech pager products. When it came to fabrication, I did it myself in our 400-square-foot studio. Fabricating three displays , four feet across, two feet tall and two feet deep made for close quarters. " Kyle D. Dreier, art director/fabricator; Kyle D. Dreier/ Deanna Schneider, designers; Priscilla Siegel, writer; Dick Patrick, photographer.

Magazine ad for the Buell S 1 Lightning, a motorcycle with a Harley-Davidson engine, a new entry in the sport bike category. Writer Alex Mohler said, "By concentrating on the innovation of the components, as well as the exhilaration of the ride, we set the bike apart from the stale quarter-mile performance comparisons found within the industry."

John Kirchen, art director; Steve Laughlin, creative director; Jim Arndt, photographer; Laughlin/Constable, agency.

This page: Three CDs from New York-based jazz label, Postcards, Inc. "When photographer Joanne Dugan was approached to shoot some photos for this startup record company's first release, she suggested their label might have more presence with a coherent look," said designer Ann Lemon. "She also referred them to me. So the photographer actually hired the designer. We explored several different looks, which had to create a "brand" for the label, yet allow variety for many different musicians and musical styles. We used some postal elements like stamps and marks, a postcard-shaped format and visuals that create a sense of place, but each release is designed around the feel of the music and the musician. After twelve releases over three years, they're still in business. A major feat for an 'indy' jazz startup."

Alan Pasqua/Jorge Sylvester/Reggie Workman/Joshua Rosenbaum/Francis Davis, w riters; Ann Lemon/Joanne Dugan, creative directors; Ann Lemon Design, design firm .

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Exhibit This page: Macy's West, Inc. television commercial to announce the President's Day Sale by agency Citron Haligman Bedecarre. "We wanted to show that Macy's is a fun place to shop, with a great personality and sense of humor, " said Matt Haligman, executive creative director. "For that reason, the commercial doesn't take itself too seriously."

"Bill Shops" :30 SFX: Music " Hail to the Chief."

(Open on an elevator interior. We' re behind a Clinton look-alike who is flanked by two men. An elevator operator calls out each floor) SFX: Elevator bell.

Operator: Second floor. Menswear.

(Cut to menswear sales items) Anncr. (VO) : From now through Monday...

(Cut back to elevator) Anncr. (VO) : . .. Macy's is taking 20 to 50 % off storewide.

SFX: Elevator bell.

Operator: Third floor. Home furnishings.

(Cut to home furnishings sales items) Anncr. (VO) : Which means, no matter who you are ...

(Cut back to elevator) SFX: Elevator bell.

Operator: Fifth floor. Women 's lingerie.

Anncr. (VO) : .. . or what you're into .. .

(The doors open and the Clinton look-alike saunters into the lingerie department, followed by the secret service men) SFX: Music up.

Anncr. (VO) : ... you ' ll probably find it on sale. Macy's President's Day Sale. Make it special. Make it Macy's.

Chris Toland/Sakol Mongkolkasetarin, art directors; Steve Morris, writer; Matt Haligman/Kirk Citron, creative directors; Bruce Moore, director; Anne Aganon , producer; Wyoming Films, production company.

Right: Barbie Collectibles magazine ad from a print campaign directed to a mass audience. "Focus groups showed us that women had very strong memories and intense feelings about Barbie, but they viewed her as a doll for little girls," said Teresa Gammie, art director at Ogilvy & Mather, Los Angeles. "Upon seeing the collectible line, however, these same women reverted to enthusiastic, almost girlish behavior, talking about dresses , the hair and which dolls they liked most. Mattel's research department is still putting together the final numbers, but after the advertising broke, the business grew 49°/o from the previous year-in a market where sales of all collectibles grew by 10%. The ads scored in the top five in readership surveys, in the magazines in which the campaign ran. " Maggie Powers, writer; Hunter Freeman, photographer; Mattel Barbie Collectibles, client.

Magazine ad for Marcam Corporation. "Marcam sells process software systems to large corporations," said art director Lisa Hickey. "Their key competitor sells a system that is notoriously inflexible, so Marcam wanted to get the message out that their systems are flexible. We attacked the problem by asking ourselves, 'What does flexibility mean? ' and translated that word into the more active thought of 'being ready for change.' We used examples of how change begets change to produce unexpected results, which drives home the benefits of having a software system that's flexible enough to accommodate change on an ongoing basis. I did what seemed like an infinite number of layouts before I hit on the solution of running the pattern of zeros and ones as a background. It was a huge relief to come up with something that made the ad sophisticated and added shades of meaning without being distracting. As a result of this ad, 450 videos with general information on Marcam were distributed. " Bob Minihan, writer; Bob Minihan/Lisa Hickey, creative directors; Holland Mark Martin, agency.

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Exhibit Left: Cybersmith is an electronic environment where consumers can experience the latest computer technologies.

Customers can experiment with the Internet, online services, CD-ROM titles , games and more. The On Line Cafe features

drinks, snacks and light meals that can be ordered from the computer stations. "As part of development activities for their second store location, Cybersmith was seeking two creative resources: one to develop the user interface for in-store experiences and online travel, and a second to develop an in-store graphic communication system," said Shirley Rogers , spokesperson for Fitch, Inc. "Cybersmith approached Fitch with regard to the interactive work and was surprised to find that teams within the same Fitch office were doing work in both new media design-including Web sites-and retail communication systems. The repositioning of the store included a belief that Cybersmith should be a verb not a noun, not just a destination but an activity. The positioning led to a tagline-Explore, Create, Compete, Connect."

Pamela Meade/ Gideon Ansell/Ed Chung/Betty Lin/Jean -Andre Villamizar, designers; Mike Mooney, writer; Jeff Pacione/Pamela Meade, creative directors; Mark Steele photographer; Patrick Newbery/ Ed Chung, illustrators; Schwartz Silver, architect .

This page: Kirshenbaum Bond & Partners, New York-based ad agency, created a new campaign for Grand Marnier Liqueur, Schieffelin & Somerset Co. "The brand had many elusive qualities,'' said Bill Oberlander, executive creative director.

"We needed to find some relevant bridge between the brand and the lives of our consumers. What we used were the very things that are mys terious yet extremely compelling: love, the meaning of life, creativity, the night, mother nature, even politics and Wall Street. Research shows that the campaign works on a lot of different levels with different people. It has a lot of discovery entertainment value in it for readers. " Joseph Mazzaferro, art director; Karen Dunbar, writer; Abrams / Lacagn ina / Josef Astor/Brad Branson / Jerald Frampton / Lee Friedman/Hugh Hales-Tooke/ Chris Kahley/Nick Koudis/Matthew Rolston/James Wojcik, photographers; K.J. Bowen, Evergreen/Jim Fish/Marcelo Guidoll / Joseph Mazzaferro / Christian Northeast/ Istvan Ortiz, illustrators.

Montevina Winery in California-owned by the same family that owns Sutter Home Winery-created a Reserve series of traditional Italian varietals. San Francisco-based firm Michael Osborne Design developed the packaging to accentuate the uniqueness of the product line. The label's illustration captures the romance and elegance of the Italian wine tradition. This is complemented with the use of tall bottles and ceramic-based ink that is fired directly on the glass. Each has varietal-specific copy on color-coded paper neck labels.

Michael Osborne, art director; Tom Kamegai , designer/illustrator.

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Exhibit

This page: Trade ad for NEC. "The assignment was to try and entice computer resellers to sell NEC monitors over other brands by offering them a financial incentive," said writer Scott Singow of Houston Herstek Favat agency. "Considering the large amount of clutter apparent in most computer publications, we decided that clean was definitely the way to go. Kathie and I went around and around on whether to give it a large headline above the visual or a small headline below and we were in the process of showing it around the office both ways, when associate creative director, Dave Gardiner, suggested the asterisk. Bang, we had our ad."

Kathie Coe-Renner, art director/designer; Andrew Lewis, associate creative director; Larry Hampel/Dean Stephanides/Rich Herstek/ Pete Favat, creative directors; Shawn Michienzi, photographer.

SEE, HEAR AND FEEL THE DIFFERENCE."

One from a print campaign, that takes a tonguein-cheek tone, from Martin/Williams ad agency. "Peak 1

NEC "Cot S150 foremy MultlSyncXP21orXl2101011itor you sell from October 1 ID December SI, 1995. C.n'lb1iln1your eyes? Caill-800- NlC- INFO.

gear is aimed at avid outdoor enthusiasts who want premium equipment with features they will actually use," writer Tom Kelly said. "Research concluded that a large segment of consumers were dissatisfied with their product choices.

So we developed a new brand position: good quality gear with only the features you need at a moderate price. " Jon Montgomery, art director; Lyle Wedemeyer, creative director; Buck Holzemer/stock photography, photographers; Peak 1, a division of the Coleman Company, client.

If you ever . consider

buying a backpack featuring quick release ice axe holders,

11

Right: Scandia Down has 25 franchised stores

ask yourself this:

nationwide that carry the finest down comforters and linens, " said designer Allison Muench. "Originally they approached us to create an interim marketing brochure for them. They couldn't commit to a major brochure because

Do I own an ice axe?

each store carries different merchandise, speaking to a different customer base, in a range of climate zones. So we decided to do an all-type piece until further decisions could be made. A few weeks later, they asked us to produce a direct mail campaign in the form of postcards that the stores send out monthly. We suggested they combine the two projects; by printing additional postcards and by putting slots in the front and back gatefold covers they could have a much more effective piece at a minor additional cost. This

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format allows each store to tailor its brochure to its needs , as well as react to seasonal priorities. " Allison Muench / JP Williams, art directors; Mats Hakannson, designer; Laura Silverman, writer; William Abranowicz, photographer; design : M / W, design fi rm .

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Exhibit This page: Poster for The Kingdom film.

"As a film distributor, October Films is responsible for the execution of the marketing for the film, " said P.R. Brown. "As creative director, it is my duty to put a face on each film. Many times in the independent film market, a poster or one-sheet is the only form of drawing attention to a particular feature. The thinking behind The Kingdom poster was to create an image that expressed the unique qualities of the film. The plot is about a haunted hospital in Denmark. The spirit of a little girl, whose soul was never laid to rest, roams the halls causing havoc. The x-ray-thanks to a dear friend who had a collapsed lung and kept the copy of itseemed an appropriate solution that would instantly convey the idea of a hospital. The image of the girl is from the film where you find her body has been in formaldehyde after her death. Of all of the projects I have worked on, this poster has had the most people inquiring as to how they could get a copy. To me, that's the greatest compliment and truly the only way to track its effectiveness."

P.R. Brown, designer; October Films, New York, client .

United States Postal Service commemorative stamp in honor of women's suffrage and the passage of the 19th amendment. "When the Citizen's Stamp Advisory Committee (CSAC) recommended the subject of Women's Suffrage be

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included in our 1995 commemorative stamp program, the next step was to refer the project to the Design Subcommittee to determine the feasibility of visualizing the subject in the size of a stamp, " stated Elizabeth A. Altobell, United States Postal Service representative. "That committee includes leaders in the field of design. Many of the proponents for the stamp wanted something innovative and abstract and April Greiman's name was pro-

us

posed as an artist to be considered."

32

Carl Herrman, art director; April Greiman, designer/ writer/ creative director; various photographers; Greimanski Labs, Los Angeles, design firm .

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Post Tool Design Pipeline to Dreamland

BY SAM McMILLAN

ne look at Post Tool Design's work, and you realize the images they create, the on-screen events they produce and interactions they enable are pulled straight from the moments just before waking. There's a gentle surrealism at work here, a sense of visual mystery and playfulness, a graphic appropriateness that defies logic.

Roll the cursor around on screen and hummingbirds sing, an octopus disappears in a cloud of ink and you enter another world where traditional notions of interface design are left behind.

0

The associations are free form; interactive multimedia as a Rorschach test. In the pursuit of surprise, mistakes are welcomed, even built in. In many commercial software releases, there are hidden areas called "Easter Eggs. " Accessible only after hitting a highly unlikely series of key strokes, these Easter Eggs reveal a clever animation or the name of the programmer who wrote that section of the code. Post Tool Design's work is one huge Easter Egg. The more the user explores, the more these hidden gifts reveal themselves.

It is a virtuous circle in which Post Tool trains the user to do the unexpected, try the unexplored, then rewards them for doing so. In the process, Post Tool Design, led by founders Gigi Biederman and David Karam have moved to the forefront of design for interactive multimedia.

Background Karam and Biederman first met when both were third-level design students at the California College of Arts and Crafts (CCAC). Gigi, who left CCAC to practice her skills as a senior designer in the high-pressure world of corporate design for Michael Cronan Design, decided after a year she had had enough of the intense deadlines that came with that territory. Meanwhile, David Karam was discovering he was constitutionally unable to hold a steady job. ''I'd get disgusted and quit after two weeks," he says with a laugh. "But his skills were so good, he was so marketable and in such demand," Gigi chimes in, "that he never had to worry about finding work. I felt much less confident about my own work. " Together the two went out on their own three years ago. Post Tool Design, which takes its name from the Post Tool hardware store located below their 2,000-square-foot loft, combines the functionality of a workspace with a museum of Post Tool Design's obsessions. Thrift shop ceramic figurines are displayed on a battered upright piano. The walls are lined with volumes of the Young People's Science Encyclopedia 138

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found at a garage sale. Parked next to the gleaming BMWs in the lot downstairs is David's battered ' 61 Ford Falcon.

Division of Labor Karam brings to the joint venture a strong background in programming and a hacker's fearlessness when it comes to Macromind Director. David's heritage as a programmer began as a thirteen-year-old nerd when he was given a computer by his parents. "Since the computer could do nothing by itself, " he says, "I began programming things for it to do. " Programming a game on his "TRASH-80, " the obsessed Karam emerged three years later with a graphical adventure game program.

All comments are by David Karam .

Right: Interactive press kit for Gravity, a San Francisco technopop band. " We had been making interactive press kits for Warner for about a year and I was definitely developing some opinions about t he w ay they should be made. My friend Tom Bland of Gravity, who makes m usic for all of our interactive presentations (except the ones for Wa rn er), had just completed a song ' I Wonder Why' with his partner Ra ndy Webb. One of the major problems with the Warner projects is th ey always want us to cram as much as possible onto the floppy form at (at least three songs, photos of the band, liner notes, etc.). Tom, however, just chopped his one song into various pieces which I then sequenced to the image and text of my choice. The content reflects the docudrama qualities of the song-a collection of news of the week and images from the Internet." David Karam , interface designer/ Ouicktime animator; Gigi Biederman, circle drawing screen designer.

Wraparound book cover for Multimedia Graphics: The Best of Global Hyperdesign. " The publisher called us to design the cove r of this book, because we are known for making multimedia (although we are not in this particular book ). We had a week-and-a-half. Th ere were a few roughs and then straight to p roduction . It was a p ainless project and the publisher and authors are very happy wit h th e art."

David Karam , designer; David Karam / Gigi Bieder man, illustrators; Chronicle Books, client.

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Along with the ability to create a structure and navigational pathway through information, Karam deploys a post-modern visual sensibility backed by his years of design training at CCAC. It's a combination of qualities rarely found in programmers. Biederman, who prefers to work as an illustrator, brings her own sense of style, along with a quirky sense of narrative and the ability to see the big picture. "Otherwise," says Karam , "we both share all the Photoshop and typographic work." By the time their work on a project is complete, it is often impossible to tell where Biederman's creative contribution leaves off and Karam's begins.

Rock 'n' Roll Is Here to Stay Their first six months as Post Tool Design were lean ones, essentially devoted to self-promotion. Their "Sparkle Plenty" mailer, a package of eight detachable postcards, was sent to art directors around the country. Sparkle Plenty earned them their first big break when Jeri Heiden, then at Warner Bros. Records, saw their work and hired the duo to create an Interactive Press Kit (IPK) for Stone Free, the Jimi Hendrix tribute CD. Sent by Warner to record store music buyers and rock journalists around the country, the Post Tool Design promotional floppy disk features brief song snippets of each of the recording artists on the audio CD, a scrolling text tribute to Hendrix, a goofy, psychedelic section called "Trip Out" (encountered on the way to the exit) and a short Hendrix solo played by the master himself. Click on the Hendrix solo, and all the artist's names on the menu screen begin to dance.

Suddenly, Post Tool Design was rockin' . Warner Bros.

Records hired Biederman and Karam to create IPKs for their roster of alternative bands, including Lush, Bare Naked Ladies and Faith No More. The Lollapalooza Festival tapped Post Tool to design the three tents that housed their Electric Carnival. Post Tool created the graphics for the tents, came up with a graphic identity for the site and produced a video carnival barker that was projected on the walls of the tent.

On the strength of those projects , the duo was asked to contribute interactive digital video to the Rock and Roll Hall of Fame in Cleveland, Ohio.

Interactive Design You Can Dance To In many ways, rock 'n' roll proved an ideal genre for Post Tool Design's interactive multimedia work. Revolutionary, anti-authoritarian, iconoclastic, the anything-goes sensibility

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of rock makes a good fit with Post Tool's boundary-pushing design cesthetic. Demonstrating work on a promotional piece for Gravity, the band that creates the music for many of Post Tool Design's interactive presentations, Karam shows a montage of news headlines, still photos and video clips that appear in a constant on-screen assault while the song plays.

Designed to attract the attention of record company executives, the effect is MTV on the desktop.

"I just lifted things from the news on the day I was making this," Karam notes. The creator of some of the most original work in interactive multimedia jokes, "We don't have any of our own ideas."

"We're appropriaters,'' Biederman qualifies.

Neither David nor Gigi are terribly interested in prospecting for new work. Post Tool Design doesn't have a press kit, much less a sales rep. They seem happy to let wordof-mourh speak for them, or to work in alliance with larger firms like Primo Angeli, Organic Online and Colossal Pictures who rely on Post Tool Design as their graphic R&D boutique. frogdesign , known for their innovative industrial design work, brings Post Tool in on projects when their corporate clients want something truly groundbreaking. Currently in the works is an automatic teller machine interface for Citibank.

This page: Logo for Daypunch, a company creating a calendar based on old-fashioned punch boards. "We developed the company's identity as well as brochures, Web site and product graphics. This project was started three years ago-we worked for a year on it and then stopped for two. The client recently called us and asked us to complete it. It was very interesting to develop a concept and then refine it two years later; we knew exactly what needed to be done to the project when it returned." David Karam/Gigi Biederman, designers; Tony Whiteman, client.

Below: A sequence of images Post Tool uses as part of their identity program. "We created a fairy tale sequence, which started with a firecracker exploding-the introduction of Post Tool. It then moved to a dream sequence using recollaged illustrations from old text books, some of our own computer drawings and computer filters in motion."

David Karam/Gigi Biederman, designers.

Right: Post/TV project. "I was hired by 2-Headed Monster, a video production company in Hollywood, to create a system for TeleTV, an interactive television company. They rejected the directions I prepared, so we adapted the work to house our portfolio for a lecture at the AIGA conference in Seattle. The station includes a surf channel, infotainment (paid advertising disguised as programming), Web access, teleconferencing, video-on-demand and interactive education." David Karam, interface designer/3-D modeler; Gigi Biederman, typographer; David Karam/Gigi Biederman, illustrators.

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Portfolio Projects In Post Tool Design's private projects, the ones they do for their friends and colleagues, for themselves, for AIGA presentations of their particular vision, their design cesthetic is most apparent. Take, for example, their interactive television demo, TeleTV. Screen after screen displays soft, organic, unpolished images that are 180° in opposition to the hard edges and beveled surfaces found in most computer-created work.

Densely layered visual information, replete with postmodern references to kitsch and pop culture icons compete for the viewer's attention. The monitor seems to burst with a docudrama sense of immediacy. Text, incorporated as an integral design element, moves across the screen with a life of its own, blurring, fading, at times creating abstract compositional elements. Meanwhile, what looks like a live video feed rolls past in a window at the bottom of the screen.

Brave New Web Site Like every other design firm in the country, Post Tool is creating their own Web site. Hosted on Organic Online's server, Post Tool's site [http://www.atlas.organic.com] is a collaborative effort and showcases the work of a collection of photographers and illustrators Post Tool counts among their friends and colleagues. "We figured we could do one big site, instead of each trying to do our own," explains Karam. Since their home page was mentioned in a recent edition of Wired magazine, atlasmag.com has

This page: Promotional postcard for A.R.M. Around Moscow, a documentary about an American-Russian matchmaking service run by Ron Rollband. David Karam/Gigi Biederman, designers/ typographers; Jeanne Finley/Gretchen Stoeltje, directors/editors.

Disc cover for Ambulance, an interactive horror novel about a serial killer masquerading as an ambulance driver. David Karam/ Gigi Biederman, designers/photocollagers; stock photography; Jaime Levy, client.

Right: "Four Walls is an independent gallery in San Francisco that needed an identity. The client, Julie Deamer, lets me do whatever I want." David Karam, designer/illustrator/typographer.

Jimi Hendrix interactive press kit for Warner Bros. Records. "This was our first project for a corporate client. Jeri Heiden of Warner Records received our postcard mailer and called about our interactive work. We told her that we were going to be in Los Angeles and set up a meeting. That day we drove to Burbank in the morning, met with her and drove back to San Francisco that afternoon.

Three weeks later we had this job, which gave us our start." David Karam/Gigi Biederman, designers/interface designers/illustrators.

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been logging 7,000 hits a day. Those kind of numbers have inspired Organic to hire Post Tool to redesign their Web site and corporate identity.

Money Isn't Everything Karam summarizes his experience constrained by the corprate marketplace, the demand by a suit in marketing with a Masters Degree to explicitly point out features and benefits: "It sucks, " he says, succinctly. Biederman sees the corporate work Post Tool Design takes on as a trade-off, a means to an end. While the money is good, she says it is merely a token that buys them the time to work on "fun projects. " One such, currently in the proposal stage for the International Symposium of Electronic Art '96 at the Academy of Art and Design in Rotterdam, is an interactive computerized walk-through environment. Requiring eight "electronic eyes," a video camera for inputting images, two microphones, a touch-sensitive screen, two video projectors and a battery of networked comp uters , the room-sized environment will respond to the actions of visitors . Based on its perception of motion, decibel level and number of participants, the environment feeds back conversation, music, images and video of its inhabitants. The space itself becomes a giant interactive interface, a vehicle for creating visual poetry.

The project draws its inspiration, in part, from the frustration of designing projects with built-in limitations. Name the medium, be it interactive TV, floppy disk marketing or the World Wide Web, and the first thing designers mention is the constraints . "The more you work in this medium, the more you want, " Biederman sums up. It's a statement of fact, and at Post Tool, a philosophy that informs all their work. •

Th is page: The Virtual Barker video was projected on the outside of a tent called the Electric Carnival. It traveled with the Lollapalooza 2 music festival and housed hi-tech interactive art exhibits. David Karam/Gigi Biederman, animators; Gigi Biederman, logo designer; Sarah Berg, Interval Research , client.

Interactive press kit for Lush . " This was our second project for Jeri Heiden. Here we played with all the basic interface conventions: clicking had no purpose, the cursor (a caster) didn't quite follow the movements of the mouse, gravity applied, there was more to the screen than was immediately obvious." David Karam/Gigi Biederman, designers/ interface designers; v23 , logo design; Gigi Biederman, animator; Richard Caldicott, photographer; Warner Bros. Records, client. " Another portfolio-on-a-floppy for an industrial design firm . After being criticized for unclear interfaces, I decided to be as clear as possible, using the idea of a window with a scroll bar and on-screen labeling. The elements, however, were stylized so oddly that some people seemed to read them as visual elements only, not navigational-even though 12-point type constantly labeled their functionality." David Karam , designer /interface designer /typographer; Gigi Biederman, animator; Tim Kobe, Eight, Inc., client .

144

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Controlling Time and Space

BY WENDY RICHMOND

A

colleague of mine at Harvard is a regular on Inter-

camera, personal computer users can dial into videoconfer-

net Relay Chat (IRC), a text-based chat forum

ences on the Internet. The caller's screen shows variable

where people can gather in twos or threes or a lot

quality black-and-white video images of up to eight partici-

more, from all over the world. (It helps if everyone speaks the same language.) Katherine is a member of several chat

pants and lists the names of others connected (CU-SeeMe software can be downloaded from the Internet at http://

communities and is researching IRC as part of her doctoral

cuseeme.co rnell.edu)." For now, the quality is lousy. The

thesis. As a result, she spends a good portion of each day

images are jerky and you have to wait your turn to talk, like

in that real-time, text-based world. She recently gave a live

using a CB radio. But, like many technical limitations on

demonstration of IRC in action, conversing with her friends

the Internet, we can expect that higher bandwidth and better

on one of her favorite chat channels. We watched as the

software will reduce or eliminate these flaws.

text scrolled by, showing five or six conversations. One of

Many of us use the Internet to get static information. As

the most intriguing aspects was the ability to look at a "con-

programs like CU-SeeMe become more sophisticated and include electronic white boards, we'll use the Net more for

versation at a glance." There's always a screenful of text reflecting big chunks of the conversation; if you want to

real-time meetings with other people in diverse locations.

review some of the conversation or take a break, you can

We often talk about the Internet, not as a network of com-

simply scroll back and reread.

puters but as a vehicle, as transportation that allows us to

A few days after this demonstration, Katherine came over to my house to visit. We sat at the dining room table and talked, brainstorming about ideas for projects of mutual

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interest. I got up to make tea, interrupting our conversation

B illing can be one of the most frustrating parts of any job. Trying to make ense of vendor invoices and time sheets is time consuming and risky.

for a minute. When I returned, she said, "I wish I could scroll back through our conversation. There are pieces that I want to remember and refer back to."

We pictured a transparent wall of scrollable text between the dining room and kitchen, where we could both scan the last 45 minutes of discussion, recalling points that we might

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have forgotten.

Having experienced IRC with Katherine, I understood her expectation that this ability to scroll back should be part of her communication space. Because a lot of her time is spent in IRC, she almost expects her real world to share the same behaviors. As I pictured this scrollable wall, I remembered a story about a little boy who, while watching a real-time TV program with his Dad, said, "I have to pee. Would you put this on pause?" He was accustomed to watching videos and expected to have the same control of television.

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Basically, Katherine and I wanted the same thing as the little boy: We wanted to control time.

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

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147

go anywhere, to travel all over the world. Programs like CU-SeeMe will help us to control space.

Third, unlike reviewing an audio tape which is tedious and linear, there will be techniques for random access viewing

The ability to control time and space. Isn't that what we

that allow us to quickly review and find specific points in

expect from technology?

the meeting.

Recorded history, dating back to cave paintings, gives us the ability to review an object or event. By recording it, the object or event does not disappear; it can be witnessed long after its actual existence. Cave paintings were, in a sense, an effort to have greater control over time. When recorded history became more portable, recorded information could be shared over vast distances, thus allowing greater control

Much of the technology we use everyday has given us an

over space.

As programs like CU-SeeMe become mass market consumer items, I believe that we will record many of our experiences.

Perhaps we'll record important brainstorming meetings, where we want to capture our words, gestures and drawings. Or we'll save a conversation with a friend or lover (depending, of course, on the amount of control the government assumes).

First of all, it will be easy. Second, it's tempting to save stuff, just in case you need it, and you can always dump it later.

~ommunication Art~

amazing amount of control over space and time. When we talk on the phone or watch a live performance on TV, we are essentially in two places at once, exercising our control over space. When we pause or fast forward a videotape, we are exercising control over time.

The ability to record and play back reality has given us a deeper understanding of the way things work. The photographs of Eadweard Muybridge and Harold Edgerton, and techniques such as enlargement and time lapse photography, are all ways of deconstructing an original object for the purpose of greater perception. Film documentaries can give us a deeper understanding of a historical event when they send film crews to shoot in two different locations simultaneously, then splice the footage, juxtaposing the two scenes.

(Filmmaker Richard Leacock, for example, gives us insight into the tense days of desegregation in June, 1963, at the University of Alabama. We see Bobby Kennedy in Washington, on the telephone with an official who is in Alabama.

They are discussing the impending confrontation with George Wallace. The scenes of the oval office and the University of Alabama are juxtaposed and we, the audience, are in two places at once.) Technology gives us perspectives unavailable to the naked, stationary, "real time" eye.

It's not far-fetched to say that we will record and save many conversations, experiences and events. Further, this act of recording will change the way we perceive our experiences, both during the events and when we review them. This already happens on a daily basis. For example, how many times have you come home from a vacation and realized that much of what you saw was framed by the lens of a camera? Were you experiencing the trip or were you recording it so that you could experience it later? And when we recollect a moment from our childhood, we often stop and wonder if we are recalling an actual memory, or remembering a photograph or home movies.

Because many of our real-time experiences-conversations, meetings, production, leisure-will actually occur in digital form , we'll have even greater control to both deconstruct and reconstruct an object, an event, an experience. Our grow-

http://www.commarts.com

ing ability to control time and space allows us to interpret the past and manage the present. How will it affect the way we will live in the future? •

148

M A y I

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Divine INTERVENTION.

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

ADOBE PHOTOSHOP The forces of nature are capricious. The sun, the moon, light and shadow don't always cooperate. Sometimes an image could use a few small miracles. In the digital world of Adobe Photoshoi:r , photographers can achieve a level of control that's almost heavenly. Call forth unlimited effects and filters on Mac®,

r.

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 l,800,521,1976, Ext. E0265 for information and your nearest Adobe™Authorized Reseller.

~~

Adobe

IF YOU CAN dream IT, YOU CAN do IT. TM Adobe, the Adobe logo, Adobe Photoshop and the tagline, "If you can dream it, you can do it" are trademarks of Adobe ystem Incorporated or its subsidiaries which may be registered in certain jurisdictions. All other marks and trademarks are the property of their respective companies. The Adobe Photoshop package is the protected trade dre s of Adobe ystems Incorporated. © 1995 Adobe Systems Incorporated. All rights reserved.

Books ~

('t) V'J

0

~

~

(') ('t) V'J

chart, which provides a handy

Designing Web Graphics

By Lynda Weinman 272 pages, paperback, includes CD-ROM $50 Published by New Riders Publishing, a division of McMi llan Computer Publ ishing 201 West 103rd Street Indianapolis, Indiana 46290

have a book they can call their own . If you are a graphic designer with even a passing interest in computers, you are probably by now up to your armpits in reference books pur-

cations. In the true spirit of the Web, a number of online

ter full of advice, ranging from

most popular types of browsers,

resources are included which

a new-age hokey-pokey: "Hold

along with the printed results

point the reader to sites and

your left ankle with your right

of what browsers actually do

shareware where various utili-

hand. Hold the ball of your left

to common files, is worth the

ties, button effects and clip art

foot with your right hand. Close

price of the book alone . For

can be downloaded.

your eyes, put your tongue on

experienced designers, the book,

If the book has one shortcom-

the roof of your mouth and

with its color look-up tables,

safe hexadecimal colors and tables of common HTML tags will serve as a handy reference.

ing, it is a conceptual one.

breathe deeply ... " to "Don't

Weinman covers a broad range

Work Too Much. " That may

of visual effects, but fails to

well be the best advice of all as

describe the process of putting

Stigliani guides users through

all the pieces together in a single,

the proper techniques and

integrated Web page. While all

equipment designed to prevent

Designers about to begin their first home page would do well

the disparate "pieces and places"

repetitive stress injuries, eye

of Web sites are explained

strain, back-ache and burnout.

to invest in Design.ing Web

admirably, one would have liked

Graphics. In a chapter-by-chap-

to have seen a step-by-step

porting to explain the Internet

ter discussion, Weinman walks

approach to building a sample

and the World Wide Web.

readers through basic browser

Web site, from background to

Stacey's, the largest independent

and cross-platform issues that

image maps to text to hot-links.

bookstore in San Francisco,

designers are forced to consider.

The CD-ROM included with the

reports a four-fold increase in

Separate chapters are devoted

book does a better than average

The updated version of TOPAS

Internet-related titles in just two

to how to make low-memory

job of integrating the text with

Professional PC-based anima-

years . These 600-plus-page

graphics, the difference between

digital resources. Weinman

tion software from Crystal

tomes usually devote a few pages

Mac and Windows color palettes

thoughtfully includes many of

Graphics provides broadcast

Tools Animation Software

to graphic design for the Web,

(and how to accommodate it)

the resources she mentions in

quality 3-D animations. N ew

while lavishing separate chapters each on gopher, WAIS ,

and how to use hexadecimal

the text on the CD-ROM, such as

features include more than 1,400

code to indicate color in

the Photoshop document she

predefined motion paths and

telnet and other not terribly

HTML. Each of the stylistic

uses to help her pre-visualize

Animated Match Perspective, a

useful subjects.

features common to Web pages

her Web pages.

Design.ing Web Graphics, on the other hand, is written by a graphic designer expressly for graphic designers. The language is simple , authoritative and delivered with a wry humor

152

author Joan Stigliani has a chap-

checklist of features shared,

ments of sample art, browsering on the World Wide Web

Stressed?" If the answer is, "Yes!"

supported or ignored by the

across-the-board browser treatFinally, graphic designers work-

information in real world appli-

-from background patterns to transparent GIFS , from rules,

-SAM McMILLAN

tool that realistically integrates 3-D animations w ith existing video footage. When placed in

bullets and hot spots to tables

video clips, 3-D models such as

and aligned text is thoroughly

buildings or characters can

covered in a chapter all its own.

If you can post it on a Web

Briefly N oted

reflect the proper perspective, lighting and shadowing previ-

that is difficult to achieve when

page, Weinman can explain it,

discussing how to convert RGB

and provide the code it takes to

The Computer User's

color to hexadecimal equiva-

get it there. In addition to a

Survival Guide .. . by Joan

ing $100 ,000. TOPAS Profes-

lents. Designers who have

wealth of full-color illustrations,

Stigliani (Published by O ' Reilly

sional p is available for less

already posted a Web page will appreciate Weinman's clear-cut, businesslike, "been there ,

Weinman documents the line-

& Associates, Inc., 103 Morris

than $2,500. For more informa-

by-line code required to achieve

Street, Suite A, Sebastopol,

tion, call (800) TOPAS-3D.

these examples. Step-by-step

California 95472, 276 pages ,

ously available only with motion

designed that" approach. They

examples walk the reader

$21.95). After reading The Busi-

will recognize the common pit-

through the process of creating

falls that Weinman points out,

various effects. Case studies ,

and appreciate her suggestions

including Weinman's own online

for getting it right the second

resume are provided , which

ness ofMultimedia and Make Your CD-ROM Work, you might need to take up The Computer User's Survival Guide and turn

time. The browser comparison

help ground the theoretical

to Chapter 17, "Are You

MAY /

JUNE

I

9 9 6

controlled camera systems cost-

3-D 1itle Software Also available from Crys tal Graphics is Crystal Flying Fonts for Windows , an affordable,

When Your Brochure Budget Says Black & 'te, But You Want The Power Of Color...

Ask For Indigo! l ~,;_ r:~~~~,

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Meeting Material

CD Covers

Product Brochures

Color is sales power. And now you can print with magazine-quality full color in exactly the quantities you really want - faster, easier, more affordably than ever. Just ask for Indigo Digital Offset Color™.

With Indigo you print only what you need, when you need it with remarkably fast turnaround. And it's digital, so it's easy to make last-minute changes or

Business Cards

Direct Mail

Presentations

customize versions for high-impact target marketing - and still beat your competition to the market.

You'll find Indigo quality color printing service available in cities across the country. For the name of an Indigo Indigo printing source in your Twen~ Dollar area, and an opportunity to Certificate We'll give you a S20 manufacturer's rebate when you use our certificate for $20 print your first job on an Indigo. Just mail us this certificate with a request on your company letterhead, plus a paid itemized back on your first Indigo job, invoice from the Indigo press owner and an actual sample of the Indigo printing. Send them to Indigo Rebate, P.O. Box 3208, call 1-800-444-1314.

Woburn, MA 01888-2108. Only one certificate per company.

Offer expires 12/31/96.

And Ask For Indigo!

Huligo D IGITAL COLOR PRINTING ON YOUR T ERMS. Indigo, the Indigo logo and Digital Offset Color are trademarks of Indigo N.V.

~

(D V'J

0

~

easy-to-use program for creating

plain paper. Snap-in ink car-

animated 3-0 tides and logos.

tridges require no calibration

convenient way to send and view AV materials from their

In addition to a true Windows

and deliver a palette of l,024 shades. A built-in slide cutter

desktop. In addition to sending and receiving color still images

The fair hopes to provide a place

interface, Crystal Flying Fonts provides 16 predefined bevel

blade allows for finished output

over regular phone lines, users

ufacturers to connect with con-

styles plus a materials dialog

to be trimmed to precise dimen-

will be able to transmit digitized

tent providers, service providers

that allows users to choose from

sions . Automatic data recogni-

and developers of interactive

(")

more than 50 materials such as

tion means the TechJet is

(D V'J

wood, marble or gold. A morion

compatible with virtually all

TV commercials. The video information can be captured and viewed without prior down-

assignment dialog enables users

CAD software packages. For

loading or the need for special-

to visually select a predefined

more information, call (800)

motion path, then fine tune

932-1212.

ized equipment. AdcomNet plans to create a reference library

~

multimedia rides. For an application, call (540) 372-3777 or Email dmw96@illuminet.net.

Workshops

Alias software's high-end imag-

name, company, agency, producer and year. For more infor-

Thunder Lizard Productions,

ing editing software, Eclipse 2.5

mation, call (508) 651-3932.

more information, call (800) TOPAS-30.

for hardware and software man-

of classic and contemporary TV commercials, with the ability to search the database by brand

it using simple controls. For

Image editing software

Remote job transfer software

version that makes working with

LAUNCH!, new remote job

large 200MB files faster than

has been released in an enhanced

dedicated to providing intensive workshops in PageMaker, Photoshop, Illustrator, and

RIP Software

transfer software for graphics

ever. Rendering speed has been

Design studios, advertising agen-

arts and printing companies

improved up to 100%, effects

cies, color separators and service

QuarkXPress, has announced its 1996 schedule of national conferences. The PageMaker Con-

enables the customers of those

and corrections speed up to

bureaus now have a seamless

ference will take place June 12-13

companies to send print jobs,

50% and for memory intensive

path from Quark and FreeHand

in San Francisco's Sheraton

including all necessary files and

tasks like brushing, performance

XPress Conference will be held

Palace Hotel and the Quark-

job specifications, back to the

gains clock in at 30%. In addi-

to Photoshop. Epilogue software, from Total Integration

printer for final output.

rion, a licensing agreement with

Incorporated, allows Macintosh

July 29-31 at the Marriott

Although LAUNCH! is sold to

Xiner's Full Press integrated

users to directly Raster Image

Marquis in New York City. For

commercial printers, their cus-

open prepress interface promises

Process (RIP) any PostScript and Encapsulated PostScript file

221-3806.

comers are equipped with free

a righter image workflow in the

sending software. Equipped with

production environment. Full

into Adobe Photoshop. Users

a modem, customers can send

Press users can place and work

can RIP Illustrator files with

files with the click of a button;

with proxy files in standard page

placed, high resolution files and

the software automatically con-

layout programs, then substitute

use QuarkXPress to do high

figures the modem, compresses

the high-res files when it comes

resolution phorocomposition.

the file, attaches a job ticket and

time to print. For more informa-

transmits the job. For more

tion on Eclipse or other pro-

The Adobe-certified PostScript interpreter allows users to trans-

information, call (800) 856-2978

ducts, call (800) 447-2542 or fax

or Email sales@pagepath.com.

(416) 362-0630.

Color Plotter

154

and interaction will rake place June 18-21 in Berlin, Germany.

TechJer 720 from Calcomp pro-

Online Image Transmission

vides full-color plotting, sharp

AdcomNet, an online market-

360 dpi, color inkjet speed and

ing service now offers a new

the ability to produce output 36

service dedicated to full color

inches wide by as much as 50

digital video transmission and

feet long. The TechJer 720 prints

display. The service enables non-

on cut sheet, roll media and

professionals an inexpensive,

MAY / JUNE

l 9 9 6

more information, call (800)

Rochester Institute of Technology Technical and Education Centers is conducting an ongoing series of imaging workshops for professional graphic

late all types of PostScript and

artists. Courses available in the

EPS files including Quark-

spring and summer of '96

XPress, EPS files and FreeHand

include, Fundamentals of

EPS files. For more information,

Electronic Imaging (April 29-

call (708) 776-2377.

May 3), Digital Image and Video Processing (May 6-10), Phoroshop (May 22-24), Image Restoration and Retouching

Conferences

(June 10-n) and Live Picture (June 13-14). For more informa-

Digital Media World, Europe's first trade show for digital information, communication

rion, call (800) 724-2536, ext. 51 or fax (716) 264-9366. • -S.M.

Adobe PageMill 1.0

BY PAT SOBERANIS

ageMill, the new WYSIWYG Web-editing tool for Macintosh from Adobe Systems, draws raves and applause everywhere it's shown-for good reason. It gives you the ability to create fairly complex Web pages without seeing or touching a lick of HyperText Markup Language (HTML) code. For all its power and promise, though, PageMill's limitations and glitches can be frustrating for HTML novices and veterans alike.

P

If you need to build a Web site, but would rather not learn HTML, PageMill is nearly ideal. Starting with uncoded text, or by typing from scratch in PageMill, you can add HyperText links, import images and assign a background image using drag-and-drop moves. PageMill automatically converts PICT graphics to the GIF format required by the Web as you place it on the page. At any point, you can switch from the Edit to Preview mode to make sure the links work (for testing links to other Web sites, you'll need to open the file in a true browser).

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B~k to Ee:rth & Were home P.!!g~

'W«lt so~ pmcthlltool.t i• oare#lllog, it's Itani*"" look «ttltu.pagv and f-0011 ij J'OR naly ltNCl y« alllditr solllldil11g111> sit a101rRll cAe Ao1UW. Brll w.W. all}' wue ca11 1told aRlf QR}' COlllMOR ~ wlf do,J- look rAls good·dpRtf It.

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You can rearrange text and graphics on a page simply by dragging and dropping them, and specify colors for text, links and backgrounds using the Apple Color Picker.

PageMill's image view, a simple image editor, allows you to make an image's background transparent so it blends in with the page; make a GIF image interlaced so it downloads in a Web browser with a "venetian blind" effect; and add interactive hot spots to a graphical image map-users click on a hot spot and are taken to another Web page. Image maps are a popular design element for Web home pages, where a stunning graphic can function as both an attention grabber and an entry point to the rest of the site.

As for not-so-ideal aspects of PageMill for HTML novices,

Building forms is simple, too-just click on one of eight related icons to add radio buttons, check boxes, resize text boxes, pop-up menus, submit and reset buttons and so on.

a frustrating tease once you learn that these and other types of interactivity require something called Common Gateway

To customize buttons and pop-up menus, highlight the default text and type in your own.

Interface (CGI) scripts on the Web server. Since CGI scripts are a Web-based standard, Adobe doesn't provide support

And PageMill is true WYSIWYG. In either mode, headings, images , text, colors, links and layout in the PageMill window look very much like they do in a Netscape Navigator window-all HTML code is hidden. (Keep in mind, however, that your page will look slightly different in other browsers, such as Mosaic and America Online.) The Netscape emulation is no accident; with so many browsers out there, each interpreting HTML code a little differently, the developers had to select only one as their model. They chose Netscape,

since it's used by 75% of Net surfers. (Adobe bought Ceneca Software, which developed PageMill, in September 1995 as Ceneca was about to release the product; Ceneca made these decisions prior to the acquisition.)

the splendid ease of creating image maps and forms becomes

for them. Without the scripts and correct references to them in your files, your forms and image maps won't work on the Web. When users click on a hot spot or a Send button, nothing happens. The user guide suggests that you acquire programming help, but that counters the "do it yourself" appeal of PageMill.

The best advice, for HTML novices and veterans alike, is to stay within PageMill's capabilities. HTML designers can always add custom code later in a text editor. Read the conC 0 M M U N I C A T I 0 N

A R T S

157

cise user guide and complete the tutorial to get a feel for what the program can and cannot do and to catch important information such as setting up your files and preferences.

If you're an experienced Web designer, you'll welcome PageMill's ease of use, since it signals relief from some tedious tasks of HTML coding and editing. Since you aren't put off by CGI scripts, the program's graphic forms and image-map features will make your life much easier.

Rearranging existing elements on a page is a snap in PageMill.

(Within the limits of HTML-based browsers.) The multiple ways of importing GIF, JPEG and PICT images are also great time savers, and if you're not happy with the program's automatic PICT-to-GIF conversion, you can make your own in other applications before importing them as GIFS. Although PageMill doesn't support as many tags as Netscape does, it does support all HTML 2.0 tags and about a dozen of Netscape's own (called "extensions"). Among the PageMill set are lists; forms; centered text and graphics; text, link and background colors; anchor links; and image borders and dimensions. The most time-consuming task that PageMill doesn't yet support-because it's an HTML 3.0 capability-is tables. Adobe says future releases will support HTML 3.0 tags, including tables and Netscape extensions.

There's no "HTML code view" in PageMill, so you have to open the file in a text editor to see its code (you can, however, add code in PageMill in its raw HTML style). If you open an existing HTML page in PageMill, save it, and then open it in a text editor, you'll be surprised to find that the program has changed your code-it's been "reinterpreted" to maintain PageMill's WYSIWYG capability. In <img src> (image-source) tags, for example, it inserts its own attribute<naturalsizeflag>-which it uses to track images that you resize and/or copy in various pages on your site. This tag isn't read by browsers; it's used only by PageMill to ensure true WYSIWYG. It also doesn't affect the original image, nor the attributes you've given the image in your HTML code.

Since PageMill uses Netscape as a model, and Netscape doesn't recognize multiple <p> (paragraph) tags, PageMill converts each of your <p> tags to double <br><br> (linebreak) tags. The problem, of course, is that Mosaic and other browsers are the reverse, recognizing multiple <p> tags but not multiple <br> tags.

More troublesome are the glitches I came across, and that users have reported on online services. PageMill dropped 158

M A y I J u N E

I

9 9 6

New Studio, Fully Furnished.

Designer's Dream. S599.

-

~. . . . . FIWlllll~ llkM the easiest way to create and modify fonts.

This is the place. Everything you need to And featuring the all-new Macromedia create virtually anything you can imagine. xRes™2.0, the fastest editing, compositing The most powerful set of tools for graphic and painting tool for hi-res images. At arts and design. All working together $599** for the entire package, it's a price brilliantly to make creation easier. you can live with.

Four amazing 2D and 3D products for Imagine. A killer font you just designed, one low price. FreeHand~ the fastest and an incredible new 3D image, and a hi-res easiest illustration tool on the market. bitmap you created-all ready to be Extreme 3D~ the complete 3D animation brought into FreeHand and incorporated and rendering application. Fontographer; into illustrations and page layouts.

It's time to take your designs to a higher level. So make the move to the FreeHand Graphics Studio.Just call Macromedia for the name of a reseller near you, or tour a~y Studio ~~tBSe~ on our Web site. :J ~ Some people ~ ~ search a lifetime for I ~ ,. a Studio like this.You ~Q.. ~ can move in today. u

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MACROMEDIA

Tools To Power Your Ideas"

Thisad and all artwork wasaeated with FreeHand and the FreeHand Graphics Studia

' Olfei val~ mtilt U.~and Canada on~ Out~dt tl't UI.,Canada, and Europe.call Hll-212-2tmor FAX us at Hll-626'11~. ln Europe.rail +44-1344-76111 I.foreducat~n reseileri,call l-800-l26-2128." Est1mated street prKe. Relel~ pnces may vary Mace~ restMS tl't nght to substnute producn 1n tl't ltudiosat any lime freeHand GraphKs ltud~ for Windows indudes coupon for Macromedia xRes 2.0sl11p~ng Spimg '96.PrKe good through September J0, 1996.Macromedia, Footograp/le\andtl'tMacromeclialogoarerfq~teiedtradtmarksandft!rildnd,ExtremelD, Macromecliaxl!es,loolslol'owerbnkleas,lhowcast,andfretHandGraphKsltud~ aretradtmarlsolMacromedia,lncAH otheibfandorproductnames arethtJ>109e11Yolthtirrespear1tOW!lefl0 1 996Macromedia,lncAll r~htslM'led.

~ommuni~ation Art~ Discount Prices for Additional Cop ies of CA's 1995 Advertisin g and Design Annuals If you wou ld like copies for others in your firm, or gifts for clients, friends or fam ily or members of your fam ily that aren 't quite sure what you do, here's a price schedule for additional annuals .

These prices apply only to the Communication Arts 1995 Advertising and Design Annuals .

Cover Price

$24 Each

3 to

5 Annua ls

$22 Each

6 to 11 Annua ls

$20 Each

12 to 24 Annuals

$18 Each

25 to 49 Annuals

$17 Each

50 or more An nuals

$15 Each

some closing <IH2> header tags during its reinterpretation of my coded home page. As it turns out, even though it looked fine in Netscape, my nested tags did not precisely conform to the HTML 2.0 specs that PageMill goes by, so the onus was mine. Best to follow the user guide's advice and work on copies of your original files. My system also crashed every time I tried to drag a PICT graphic onto the page, until tech support told me to place my image folder no more than four layers below the desktop; online users have reported crashes as well. By the time you read this, a free version LOI will be available that will fix most of these glitches; check Adobe's online forums and its Web site

(http://www.adobe.com).

Please Send Me: _ _ CA 1995 Advertising Annuals @ $ _ _ Each _ _ CA 1995 Design Annuals @ $ _ _ Each * Ca lifornia reside nts please add 7.75 % sales tax . Canadian res idents please add 7% GST. ** For shi pping in the U.S. please add $1 per issue, al l other countries $3 per issue .

Subtotal * Sales Tax ** Shippin g Total Due

Despite the limitations, PageMill is a great tool for the right job. It's true WYSIWYG the price is right, Adobe tech support is behind you, and it's bound to improve in upcoming releases. PageMill gives HTML novices access where they had none before, and HTML experts relief from some tedious coding tasks. If you don't ask more of it than it offers, you'll find plenty of uses for its dazzling power. •

PLEASE PRINT NAME

COMPANY

ADDRESS

CITY

0

So you can expect to do some manual coding if you don't like PageMill's reinterpretations, and more troubleshooting than you're used to doing with Adobe products. (Adobe's FaxYI tech notes, available on its Web site in Acrobat's PDF format, are an excellent resource.) Those new to HTML should avoid editing existing HTML files in PageMill; instead, they should create them from scratch or start with uncoded text files.

STATE

My Check is enclosed (U .S. Funds Only)

ZIP/POSTAL CODE

COUNTRY

0 Charge my credit card 0 MC 0 Visa 0 AmE x Adobe PageMill

CARD NUMBER

EXP. DATE

SIGNATURE

TELEPHONE

To Order : Fill out th is form and mail it with payment to : Communication Arts P 0 . Box 10300 Palo Alto, CA 94303 -0807

For Faster Service Call (800) 258-9111 Monday-Friday: 8:30AM -5: 00 PM , Pacific Time

or Fax This Form to (415)326-1648 (Don 't forget to include your credit card number.)

No magazines will be sent until payment is received.

160

M A y I J u N E

I

9 9 6

Adobe Systems 1585 Charleston Road Mountain View, Ca lifornia 94039 (800) 833-6687 System requirements : Power Macintosh or Mac with 68020 processor or later; System 7 .1 or later; 16-level grayscale monitor; 3MB of application RAM for 68000-based Macs, or 4.5MB of application RAM for Power Macs ; 3.5MB hard-disk space . Suggested retail: $149 .

Genesis MP. ..

"My Link to Profits in Publishing" John Lund TeamDigital ~

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''With four PowerPC 604 processors, Genesis MP is like giving myself a 400% raise. I keep finding new ways to make more money with it! '' To John Lund, world renown digital photographer/imager and Genesis MP user, the new creative flow released by the power of Genesis MP was no surprise. But he was surprised by the new ways TeamDigital is finding to add to the bottom line. Genesis MP created so much unexpected revenue that TeamDigital earned their first four monthly lease payments in a matter of hours.

As John put it, ''Adding Genesis MP was like adding another shift at TeamDigital, except without the payroll!"

But don't just take John's word for it. Link to our Web page and get all the information you need to decide in favor of Genesis MP. Let DayStar's Genesis MP be the life preserver for your bottom line.

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.·.·.·.·.·.•.•.•.•.•.•.•.•.•.-. o I G I T A L © 1996 DayStar Digital and TeamDigital , 5556 Atlanta Hw y., Flowery Branch, GA 30542, 770-967-2077 , Fax : 770-967-3018

ERICKSON BERNSTEIN WEST

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Digital Angst BY }UDY KIRPICH

I

'm frustrated as hell, and I don't think I'm alone.

What's wrong? Computers.

machines. So if each upgrade is going to cost $300 or $400, I need $10,000 just to stay where I am.

Now the issue of whether to use computers is a total nonissue; if you want to be in the design business today, you must work on computers, period.

To demonstrate just how far this has gone, listen to this: Each year I upgrade my kids' Grolier Multimedia Encyclopedia.

Last night I got home, opened up my encyclopedia stuffit's no big deal because I've been doing this for the past three years-and I see this little note inside the box. The gist of it is, "By the way, if you don't have this kind of speed drive and this level of software this isn't going to work as well. "

What I'm frustrated over is the lack of support and communication between hardware and software vendors. Designers are caught in the middle-and I don't know about you, but it's costing me hundreds of thousands of dollars a year.

I know little about how computers work, but I've hired people who do. Several years ago we found there was no way we could operate our computers without a "techie" on board. We have people on staff who have little interest in design but live for every issue of MacWorld. In addition, we have a contractual relationship with a group that does nothing bur computer troubleshooting. So from a technical standpoint, we're covered.

Yet even with that we run into problems. Our budget for computer maintenance has gone from $5,000 a few years ago , to last year when we shelled out $40,ooo for outside work plus another $150,000 worth of non-billable hours by our system administrator. Thar's almost $200,000 a year I'm paying for computer maintenance alone, just to keep me where I am currently.

Now let's talk about getting ahead. The truth is, I think my greatest angst comes from feeling like I'm never current. As soon as I pay my bill and unwrap my new machine, I'm outdated. I never feel I've made a good purchasing decision because the minute I make a choice the platform changes or there's a new chip or new model. And I am never certain if I need all these bells and whistles to do what I'm doing.

I'm also angry that when you buy a machine, you see wonderful advertised prices, but in order to get the machine to work the way you really need it to work you have to buy tons more RAM. More dollar signs.

164

Vendors seem interested only in creating new stuff we must buy, with little or no thought for how it will work with the rest ofour computer equipment, or if it's even necessary.

I just spent $29.95 to upgrade, and it doesn't work as well as last year. So now what do I do?

I have to spend more money for an upgraded CD drive or my kids will have to work with a product that is choppy and crashes our system.

Don't forget the hidden costs of maintaining a computer system. When we had our offices networked, we were told we would never need more than a 10-base T-line.

Ar the rime, we didn't have

these thousands of megabytes of scans, but now our files have become so humongous we must install a 100-base T-line plus a fiber-optic phone line for Internet capability.

There goes another $50,ooo. We virtually end up having to take any profit and plug it back into computers.

Being in business, you have to be willing to do that. Bur what you don't want is to make all these investments, then have your expensive computer system keep crashing for months for no apparent reason. Thar's when I get really frustrated. Ir seems I am constantly paying to get my stuff fixed when it's not working right in the first place.

Then there are all the upgrades. Every rime there is a soft-

Here's what happened to us recently when we upgraded to

ware upgrade we have to get it, not because we are hotshot cowboys, bur because our clients are sending us stuff and we have to be able to give it back to them in the same program. When you upgrade only one machine, you maybe bite the bullet on a couple hundred dollars. But for a shop

PowerPCs. Initially, we were told that all our software would work on them-it would be better if we had native versions, but that was not a requirement. In spite of this , the first thing that happened when we installed our initial block of Power PCs is one of the machines started crashing.

our size even a small Quark extension becomes a major expense. Right now, my staff is telling me that I have to be prepared for the next release of QuarkXPress for our 22

We didn't know what was going on , so we got both our system administrator and our outside consultant involved. [ c 0 NT IN u ED 0 N p AG E I 6 7]

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Then we called Quark.

just appearing at AIGA conferences and selling new machin-

Now, we have probably spent close to $35,000 in the last

ery. But who shows up for these presentations? Adobe was

three years with Quark, but if you want to call their help

there. Hewlett Packard was there. Quark was not.

desk you either have to spend an additional $15,000 per

When I started my business, I nai'vely thought, ''I'll bite the

year for a service contract or you better have three or four

bullet now, get the computers installed and never worry

hours available just to sit and wait for the privilege of some-

about them again." Well, I just paid off my first set of com-

body telling you it's not their problem, it's got to be your

puters and they are dinosaurs-worth absolutely nothing.

hard drive.

It's time for this sort of thing to be rectified, but until

So, we called Apple and said, "It's crashing. Can you tell us

vendors really start thinking about their customers there's

what's wrong?" They answered, "It's probably your software.

not much hope of that happening. Designers are a

You'll have to call Quark."

phenomenal client base for Apple, Quark and Adobe,

So we called Quark again. This time they told us to take all our software off and reload it. We did that. All this time, I have a designer down, plus I'm paying the consultant $125 an hour, so it's costing me $250 an hour to be bounced back and forth between Quark and Apple. And I had to spend three hours on the phone just trying to get through to them.

After we downloaded Quark, they said, "You know, your software isn't native Quark. You need to buy a new native Quark." So we upgraded, times ten. There goes the cash register again. And it's still not working. We've spent six months being bounced back and forth between the hardware and software vendors because neither would take responsibility.

Another time, we had a major project to launch so I had my full staff come in over the weekend. Along with paying overtime to twenty people, I'm shelling out to have the heat and electricity turned on for the weekend. Then one of the guys comes in and does what he always does, nothing new, except we'd had a new optical drive installed. It had been running for a few weeks with no problem, however, when he calls up

but unfortunately we're not treated very kindly because we are not vocal with our objections . I'd like to As soon as I pay see more dialogue, more my bill and outreach to the design unwrap my new community, because I just machine, I 'm don't think there is much. outdated I never Instead, vendors seem interested only in creating new feel I've made a stuff we must buy, with good purchasing little or no thought for how it will work with the rest of decision because the minute I make our computer equipment, or if it's even necessary. a choice the platAnd we fall for it. fo rm changes or I now know what it's like there's a new chip to be inside a little boy's or new model. bathroom where everyone is saying, "Mine is bigger than yours." That's just what it's like when you get around a group of designers now-we all seem to be bragging about

SCSIProbe, our whole system crashes-absolutely everything

our new computers, not the quality of work we are doing.

at 9 a.m. on a Saturday. All my design staff is down, I'm pay-

In some ways, it's a substitute for bragging about what

ing for heat and electricity and I can't service my client.

accounts we have or what new job we landed. Let's face

On top of that, the vendor's help desk was closed for the

it, if you can brag about how much you had to spend to get

weekend. We had to wait until Monday to fix the problem.

the latest new computer toy, there is the implication that

So who is doing things right? Radius recently hosted a series

you are doing well enough to afford all this stuff. Everyone

of presentations for designers and manufacturers. Chip

is out to win this power trip.

Woerner (Radius) was behind a lot of this. His notion was

So come on, vendors, give us a break. Next time you

that designers and technology firms had better be talking,

sit down to develop a new bell or a new whistle how

and he's right on target. Radius is at least attempting to

about factoring compatibility-and your customers

engage the design community and taking a lead, instead of

-into the equation? • C 0 M M U N I C AT I 0 N

A R T S

167

Creative Disc_ipline With newspaper, the limits of the medium may be its greatest advantage.

BY ToM MoNAHAN

I

recently had the opportunity to view the CreativeWorks traveling exhibit, run by Newspaper First, a trade organization in New York devoted to excellence in

newspaper advertising. I was very impressed by the quality

We all know what a stepchild print-in general-is at

of the creative-including both current and classic

many agencies. (Does Madison Avenue even do print any

newspaper advertising.

more?) And if print is the stepchild, newspaper is the ugly

As a body of work these ads seemed smarter, cleaner and

stepchild. But does that mean this dog-eared old kid can't

quicker than most advertising being done today. It occurred

achieve outstanding results? Hardly.

to me that perhaps the restrictions of the newspaper medium

A handful of savvy advertisers, along with an equally small

-two-dimensional, black-and-white, silent, static, repro-

legion of unjaded creative people (or is that people totally

duction limitations-had challenged (or was it forced?)

jaded by other media), have used this granddaddy of com-

those who created these ads to keep them simple. And it

munication vehicles to create fresh, breakthrough work that

got me wondering about a few things.

has built successful brands and sold billions of dollars of

Are all the technical capabilities at our disposal today really

goods and services. You can find the campaigns if you look

helping us communicate and sell? And, why don't more

real hard.

people do smart, clean, quick advertising, especially in

If those players can win at this traditional old game, then

newspaper, where the characteristics of the medium beg

why can't others? Why can't the rest of us put newspaper's

for discipline and simplicity?

heritage and limitations aside, or better yet, take advantage

Now I don't want to be accused of being one of the old

of the creative disciplines those limits offer.

school, attached to how it was done in the good old days.

I've always believed that problems force people to stretch

My opinions on the need to keep the standards of excel-

and for those with the right attitudes, boundaries encourage

lence fresh have been well documented in this space ["Bill

creative resourcefulness. I've never been particularly enam-

Bernbach is Dead,'' CA, September/October 1992]. But

ored by people who color outside the lines. A monkey can

seeing this group of ads, and being struck by how quickly

color outside the lines. I'm more moved by those who pro-

and easily they communicated, really got me thinking

duce creative masterpieces within the constraints of reality.

about newspaper advertising and the fundamentals of

That's why, in a distorted sort of way, I often respect a great

ad making in general.

ad more than a masterpiece hanging in a museum, where

A subsequent audit of the awards show books proved to me that newspaper is a very under-exploited advertising medium.

the artist had none of the harsh realities of business to deal with.

Not that anyone needs more proof than a brief perusal of

Looking at this body of outstanding newspaper advertising,

most any paper in America. We're talking a lot of dreck

when juxtaposed with other print and TV, helped me see

here, with a capital D that will get ink all over your fingers.

just how far the state of the advertising art form has drifted

The next issue that doesn't have to beg very hard for an explanation is why advertising people don't get overly excited about doing newspaper ads. Let's face it, the medium

from its emphasis on concepts to an emphasis on execution.

And I'm wondering, could that be why there's so little great work being produced today, particularly for the big brands?

is not very sexy when compared to the color and reproduc-

I hear from advertising creative people all over the country

tion of magazines, and doesn't even register on the sexcitement

that clients just aren't buying great work. I hear from adver-

meter when measured against the motion, sound and

tisers that their agencies just aren't hitting the mark.

opportunity for gratuitous special effects that TV offers.

I believe there are probably hundreds of reasons for this creative slump. But could a more obvious reason be staring

(Am I tipping my hand a bit?)

168

Also, newspaper simply suffers from the same dated image as major league baseball, just by virtue of how long it's been around. The grand old medium, if you will.

M A y I

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us in the face? Have we let the candy store of executional possibilities distract us from our principal goal of communicating compelling selling concepts? Have we confused entertaining the senses with using the senses to get to the mind? Isn't that where buying decisions and brand preferences are made? Not in the ears and eyes, but between them and behind them.

We need to discipline ourselves in this bordello of executional delights. Or at least find some protection for safe sell, as it were. May I suggest newspaper as the golden shackles?

Instead of avoiding newspaper, kicking it downstairs to juniors or just knocking it out, perhaps we should embrace its boundaries and use its discipline to bring our games

Look at the layers upon layers of design and effects in most media today. Is there a concept under there? Is there a quick, clearly communicated selling point? Well, in the best work, the answers are "yes" and "yes." But that accounts for such a small fraction of what's being done.

Hey, I enjoy playing in Photoshop as much as the next kid, I mean advertising professional. And in long-form design and interactive pieces I think these tools can truly help us communicate and sustain interest. But in 30 seconds? In 8Y2" X n"? Are we cramming too much into these confined spaces?

Again, the best practitioners have worked magic using technology's possibilities to sell. But in the hands of us mere mortals they've become point-and-click finger paints for adults.

back to center.

There are other more selfish reasons for advertising people to pay more attention to newspaper. I'm talking about the lack of competition in this category at the awards shows.

Take a look for yourselves. The newspaper slice of the awards show pie is pathetically small, particularly considering its vast share of the overall media dessert tray.

(We are talking the #r medium here.)

While there's a part of me that is pretty disgusted with the screwed-up priorities awards shows have encouraged in some advertising people, for those who haven't lost sight of their primary objectives-to sell products and build brands-the same kind of creative excellence that wins at shows can be and is quite powerful at achieving these most basic of marketing goals.

HAVE YOU SEEN OUR YEARBOOK?

Years ago, my little ad agency in Providence made a name for itself at the major shows in obscure trade categories where few agencies put forth their best efforts.

To take nothing away from the quality of my agency's work, in the trade rags where our work appeared there were few ads that stood out. The playing field had just as little competition at the awards shows.

Like the limitations of newspaper, doing ads in categories such as industrial safety equipment and cryogenic valves, can actually force you to focus, as well as keep it simple and clean. And, hell, aren't those the things that make most effective ads so successful?

Many studies have shown that there's little correlation between production value and effectiveness. Some studies show an inverse relationship. Let's face it, it's pretty hard to do an expensive newspaper ad. Not that we don't give it our best shot.

PORTFOLIO CENTER The School for Art Direction, Copywriting, Graphic Design, Illustration, & Photography

1·800·255·3169 Atlanta PORTFO LI OC@AO L.COM Chris Davis, Graduate Photogropher, Cover, Pg.99

But, in the end, it all comes down to communication and, I begrudgingly admit, a little persuasion. And that, as any small-town preacher can tell yo u, has little to do with color and sound and action and reproduction quality.

Particularly when there's not a lot of competition in

<Cl 1996 Portfolio Center Poul Howkins, Student AD, CW.

the pulpit. • 170

M A y I

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BENNETT

Sue Bennett Photography Studio 520 774 2544 fax 774 5562

The Book 520 774 2544 A Quick Look http://www.primenet.com/-bennetts

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Book Reviews

Pinkus divides her analysis into five parts. In the first , she discusses the use of the body (the human form ) in "con-

Bodily Regimes: Italian Advertising Under Facism

scious strategies of the advertising industry. As for high art in the early modern period, in the modern marketplace commercial art should be studied in relation to commissions . .. it would seem irresponsible not to utilize the available

By Kare n Pinkus Publi sh ed by Un ivers ity of Minnesota Press 111 Third Aven ue South, Su ite 290 M inneapolis, M innesota 55401 $49.95 cloth/$19.95 paper

documents of corporate culture in a search for what 'lies behind' images ... " In the second, and most fascinating,

Where art history and graphic design history differ, and where historians now find themselves looking for new models

section, "Selling the Black Body: Advertising and the African

of analysis, is in the relationship between the designer/artist and the viewer/society. Because the "artwork" of graphic designers serves as conduit between client and consumer,

paigns to construct paradigms of otherness. Through the

there is a place in the chronicling of design for interpretation of the visual elements as they relate to the state and

the effects of the Italian fascist colonization of Ethiopia on advertising images, and it is enlightening, especially in view

politics of the culture. Media and cultural studies provide

of the Nazi propaganda of this same time period (she includes some discussion of anti-Semitic images also). In "The

some steps in this direction. In Bodily Regimes, Karen Pinkus has applied the tools of linguistics and psychoanalysis, along with a thorough knowledge of political events, to the use of the human figure in Italian advertisements of the 1930s. "If,

Campaigns, " Pinkus provides many examples of Fascist "camrelation with blackness, the Italian public comes to define its own productive and consumptive goals. " Pinkus examines

Fascist Body as Producer and Consumer, " the author provides "a context in which to view bodies under different conditions of labor and repose. " With "The Body and Its

as Panofsky claimed, iconography and iconology together constitute a method of research and not a judgment of taste,

Armors, " she exposes strategies of "self-containment and

why not apply them to a study of the figures of advertisingfigures imposed on the viewer for specific and ' rational'

presented here (for example, sexually ambiguous figures in an Aquasol raincoat ad), she sees "an uncanny and perhaps

purposes, but often generating meanings 'beyond the intention of their creators?"'

unconscious adaptation to the over determination of gender difference under fascism. "

protection against all forms of desire. " In the advertisements

Finally, in "The Body Disappears," the success of rayon man-

"Ourshop grows because our creative side and our business side work together.

That's why we use Clients& Profits.'' £ cces.sful ad agencies and destn studios get that way when everyone woru together. Over 800 of today's smartest shops do it with Clients &Profits, the best-selling job trackq, ~ bilq and accountq software for the Macirtosh. It's designed only for creative busines.ses, so it works just like you do.

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ufacturing in the Italian textile industry and the discovery and uses of radiation (for example, home sunlamps like the one used by Mussolini) provide a backdrop for "images of partial effacement or eclipse. " In advertising, the body figures its own disappearance or lapses in attention, almost as if it wishes to slip away from the grasp of fascist/market control.

In other words , it is not coincidental that just when the regime achieves an apotheosis of control (in the production of rayon) the body vanishes.

"This project, then , attempts neither a strict critique of fascist economic policies and markets , nor an obj ective history of design styles, but a survey of corporeal forms , suspended somewhere between these two fields. " Bodily Regimes, as well as other applications of cultural studies to graphic design, can offer new ways of viewing, recording and reacting to our visual past.

- AN G E LYN N GRANT

Designing Modernity: The Arts of Reform and Persuasion 1885-1945, Selections from the Wolfsonian Ed ited by Wendy Kaplan Publi shed by Tha mes and Hudson Inc. 500 Fifth Avenue New York, New York 1011 0 $60

Mitchell Wolfson , Jr. amassed a unique collection of decorative arts and design, [ c o N T 1 N u E D o N

174

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125

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ANN \ YERSARY

Book Reviews

seeking out those objects that showed social and political as well as aesthetic reactions to modernism. His vast holdings (70,000 items) became the foundation for the Wolfsonian Museum in Miami Beach, Florida, which is mounting its first traveling exhibition over the next two years. Desigrzing

Modernity is both the companion catalog and a compelling profile of the sociopolitical drama from the turn of the century through the end of World War II, seen through everyday artifacts.

With ten essays divided into three main sections, Desigrzing

Modernity describes the phases of reaction to modernism. In "Confronting Modernity," one sees the effects of ambivalence, and even enmity, towards industrialization by an increase in romantic nationalism, creating, as exhibit curator Wendy Kaplan shows "a variety of ways that regional design was used to help forge a national identity." Romantic nationalists were "deeply concerned about the negative consequences of modernity. This concern became manifested in a longing

horse-drawn coach and airplane), confining modernity to city life so people could always escape to the "traditions" of the countryside and neutralizing the threatening aspects of modernity by "incorporating icons of the modern into one's own personal environment" as with the 1928 toy Graf Zeppelin.

The last three essays study the final phase of reaction: the exploitation of the modern by governments for propaganda.

In "Political Things: Design in Fascist Italy," Dennis P. Doordan writes, "The club and the rifle were the instruments of oppression; design-in all its varied manifestationsserved as the instrument of persuasion."

Each piece in this inaugural exhibit, "The Arts of Reform and Persuasion" is included here and extensively documented.

Not just an excellent treatise on the history of decorative art, Desigrzing Modernity is also a beautiful book with 300 color and n7 black-and-white plates and a captivating exploration of everything from ephemera to posters, ceramics to furniture, interiors to monuments.

-A.G.

for the past, particularly for peasant cultures, which were perceived as unspoiled and as representing the continuity of ancient traditions." In Norway, the archeological excavations of Viking ships in 1880 led to a Viking revival in architecture, silver and furniture ("the dragon style"), for example an ornate armchair from 1899 decorated with carved dragon

~ommunication Arts

heads and complex interlacing patterns. "By distilling the past, romantic nationalists hoped to seize the future-not to be buffeted by overwhelming forces, but to be grounded by the essential nature of what it means to be Norwegian, Finnish, Russian, or Irish."

Sometimes this reaction to modernism caused not just the revival but the invention of traditions, as in the faux Russian folk art of the nested matrioshka dolls, created by Sergei Maliutin in l89r. As Peter Greenhalgh notes in his essay, "The English Compromise: Modern Design and National Consciousness 1870-1940" in England, "Modernism was all about rephrasing the stereotypical narratives of English life.

It was about new ways of telling old stories, or at least new ways of telling stories which had pretensions to being old."

In the second phase of reaction to the modern, one finds modernity domesticated and appropriated into everyday life.

Discussing the period 1920-40, Jeffrey L. Meikle describes three modes for this embracing of the modern: placing moder-

http://www.commarts.com

nity within the historical continuum of past, present and future (e.g., advertisements for air travel which picture both C 0 M M U N I C A T I 0 N

A R T S

177

Book Reviews

Briefly Noted: Contextual Media: Multimedia and Interpretation,

Environment" at MIT 's Media Lab) and universities (such

edited by Edward Barrett and Marie Redmond (Published by

as Janet Murray's description of her course on nonlinear and interactive narrative in "The Pedagogy of Cyberfiction") .

The MIT Press, 55 Hayward Street, Cambridge, Massachusetts

The Challenge of Multimedia," tackling the question, "What

Other applications of multimedia include "The Shakespeare Interactive Archive," featuring a comparison of the Olivier and Zeffirelli directed films of Hamlet and Walter Bender's "Salient Video Stills," with digital technology creating still images that "reflect the aggregate of the temporal changes that occur in a moving image sequence with salient

tools could the computer give us to analyze this process of

features preserved ."

sense-making, to add voices to it, to create new contexts for

Contextual Media presents detailed accounts of some of the state-of-the-art research conducted in multimedia today,

02142, $J5). "The computer is an angel of history. " Edward

Barrett, senior lecturer in The Writing Program at MIT and Marie Redmond, director of the Multimedia Centre, Trinity College, Dublin, organized a conference a few years ago at Trinity called "Culture, Technology, Interpretation:

understanding a specific action, or image, or object-to archive voices, images, thoughts that could be lost, marginalized, defeated, or could assume the status of a core?"

The thirteen essays in Contextual Media, written by some of the foremost researchers in the field, explore the use of multimedia in museum exhibits (such as Glorianna Davenport and Larry Friedlander's "Interactive Transformational

where "cyberspace is also the theater of operations for the reconstruction of the lost body of knowledge, or, perhaps more correctly, not the reconstruction, but the always primary construction of a body of knowing.

Communicating Design: Essays in Visual Communication edited by Teal Triggs (Published by B.T.

~ommuni~ation Arts The Essential Creative Resource

Batsford Ltd., distributed by Trafalgar Square, P.O. Box 257, North Pomfret, Vermont 05053, $29.95). "It is na'ive to discuss design and design history as one would discuss a piece of design in its narrow studio context. Rather, in order to ensure a thorough reading of any designed object, it is necessary to delve into the complex network of relationships pertaining to it, so as to make connections, which facilitate interpretation and understanding of the ubiquitous multiple meanings and innumerable nuances of design." So writes Joanna Close in her interesting essay, "Venereal Disease Propaganda in the Second World War." Editor Triggs has chosen the writings of fifteen historians that focus on various methodologies for analyzing visual communication. The essays cover a broad spectrum of topics, from Triggs's own "Generation Terrorists: Fanzines and Communication" to David Cook's "Redesigning Men: Arena Magazine, Image and Identity. "

http://www.commarts.com

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The essays also vary in style from the detailed history in John A. Walker's "The London Underground Diagram" to the more general overview of Victor Margolin's "American Graphic Design for Social Change, " but this may be due to the fact that some are abridged excerpts from other publications. A small book, Communicating Design contributes to the growing body of reflections on the role and impact of design in our society.

-A.G.

This Summer Capture the Spirit of the Centennial Olympics with a liook

The First

In 448 magnificent pages, the Olympic Image pays tribute to the designers, architects and artists of the Games from 1896 to the present. A veritable history of design, the book presents some 1,500 illustrations of Olympic paraphernalia, from pins and posters to pageantry and sport venues. Many of these images have not been seen since the Games for which they were designed. They have been culled from over 200,000 items in the course of 5 years of research in various archives around the world. This is the only book of its kind ever published, and is sanctioned by the International Olympic Committee for its Centennial celebrations. Available at major bookstores or order directly from Quon Editions.

~ 100 Years

Q5e9 Complied & Edited by Wei Yew

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CALL FOR

ENT RI Send in your brightest ideas and compete for $10,000 in cash prizes, $50,000 in hardware and software prizes, and exposure to 660,000 design professionals

Deadline: August 9, 1996 Entry fee: $35 per entry

First prize ("Best of Show"): $5,000 cash · 3M RainbowT" Color Proofing System (retail value c.

principally created using software that is currently

Mac), 5 l;4 -inch SyQuest cartridge (44 MB, 88

part of the Adobe product line. Entries must be

MB, or 200 MB), Zip cartridge, or CD-ROM

$20,000) • Ray Dream Studio 3-D (retail value

received by us no later than August 9, 1996. Fee is

(PC or Mac). Persuasion presentations must be in

$499) • APS Quantum 1280 Fireball external hard

$35 for each entry, paid by check or money order

Persuasion Player format. Videotapes must be in

drive (retail value $399) Second prize ("Runner-Up"): $3,000 cash · NEC 21-inch MultiSync monitor (retail value c. $2,000)

drawn in U.S. funds on a U.S. bank, payable to

VHS format . For Web sites, submit a URL and

Adobe Magazine Design Contest. An entry form

printed proof of home page, with digital file op-

must be taped securely to the back of every entry

tional for backup (if we can't access your site, we

· Kingston®Technology Corporation 16-MB and

(photocopies are OK) . Submit your entry in the

can't judge it); Web sites will be judged between

32-MB memory modules (total retail value $1,938)

form it was designed for (e.g., printed vs. on-

September 3 and 7, 1996; for large sites, please

Third prize ("Second Runner-Up"): $2,000 cash ·

screen). Circle only one category on each entry

suggest a maximum of 10 URLs . Logos must be

Dynamic Graphics Art & Training Package (see

form . An entry may be entered in more than one

ubmitted in black and white, although a color

derails at right; retail value c. $3,000) • Wacom

category, but you must submit a separate copy of

version can be included. Pieces whose context or

Technology Corporation ArtZ II 12x12 Graphics

the entry, with its own entry form and fee, for

purpose are not apparent may be accompanied by

Tablet (retail value $589)

each category entered.

a brief explanation. Please limit the elements of

Category winners: The winner in each of our 25 categories gets his or her choice of any Adobe software product with a retail value of up to $895.

an identity system to five items. For items with

All winners: All the winners will appear in our

Preparation of entries: Print entries mu t be the actual printed piece (no comps accepted), except that oversized items may be submitted as 35-mm. slides (in page-sized transparent sleeves-no loose

special Design Contest issue in December, provid-

slides please!). Digital file must be accompanied by

value." Any entry that doesn't meet all relevant

ing them exposure to more than 660,000 readers .

a printed proof; files themselves may be submitted

requirements cannot be considered. Sorry, no en-

Key rules in brief: Your submission must have been

on floppy diskette (3 1/2 or 5 1/4 inches, PC or

tries can be returned.

text not in English, please provide a translation.

Non-U.S. participants should mark each package: "Materials for contest entry. No commercial

The fine print

CAl

Eligibility: The 1996 Adobe Magazine Design Contest is a contest of skill and requires the timely submission of an original eligible design created by the participant.

The categories

You must be a registered user of an Adobe product, or have created your entry by legally using registered

7. Annual report

1996 Adobe Magazine Design Contest Entry Form (clip or photocopy)

Adobe software (such as your company's). You must be a resident of the United States or Canada. We cannot

2. Brochure

accept submissions that were category winners in previous Adobe Magazine Design Contests. Sorry, no

3. Catalog (for product, school, exhibition, etc.)

FreeHand or PhotoStyler entries accepted. See addi -

4. Book (overall design)

tional restrictions below. Altered, defaced, mutilated, illegible, or incomplete entry forms are not eligible.

5. Cover, jacket, or sleeve (for book, magazine, CD-ROM, etc.)

Judges reserve the right to forgo selecting a winner in any given category. • Prizes: One Grand Prize consisting

6. Periodical, overall design (magazine, journal, newspaper, etc.)

of SS,000 cash, the 3M Rainbow Color Proofing System (retail value c. $20,000), one copy of Ray Dream Studio 3-D illustration software (retail value $499), and an APS

7. Periodical, spread or page (magazine, journal, newspaper, etc.)

8. Information graphic/technical illustration/map

Quantum 1280 Fireball hard drive (retail value $399).

Please fill out this form and tape it to the back of your submission.

One form per submission, please. Fee is $35 per entry.

Design credits (Please be thorough and careful - these will appear in print) Names and roles (designer, illustrator, etc.):

One Runner-Up prize co nsisting of $3,000 cash, NEC 21-inch Multisync monitor (retail value c. $2,000), and Kingston Technology Corporation 16-MB and 32 -MB

9. Illustration

memory modules (total retail value $1,938). One Second Runner-Up prize consisting of $2,000 cash, the Dy-

70. Photo-illustration

namic Graphics Art & Training Package (seminar of

77. Poster

choice at Dynamic Graphics Educational Foundation, including hotel costs; annual subscription to Clipper Creative Art Service, Designer's Club, or Print Media

72. Logo

Services; annual subscriptions to Step-by-Step Graphics

73. Identity system (3 to 5 separate pieces)

and Step-by-Step Electronic Design; "The Be st of Idea Source" interactive CD; and any one Dynamic Graphics

74. Packaging

Artworks collection of clip media; total retail value c. $3,000), and Wacom Technology Corporation ArtZ II

75. Invitation/announcement

12xl 2 Graphics Tablet (retail value $S89). One winner in each category receives his or her choice of a single

76. One-color piece

Adobe software product with a retail value up to $89S.

· Restrictions and exceptions: Contest begins April 1S,

77. Two-color piece

Contact information Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Phone Fax _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

1996, and ends August 9, 1996. Residents of Connecti-

Company _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

78. Print advertisement

cut, Maryland, and Vermont need not submit any entry fee due to local law. Residents of Quebec are not eli-

79. Self-promotion

gible to participate due to restrictions under local law.

Adobe is not responsible for lost, late, or misdirected

Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

entries.· Judging: All entries will be judged by a prese-

City _ _ _ _ _ _ _ _ State _ _ _ _ _ ZIP _ _ _ __

20. Presentation or promotion (on-screen or video) 2 7. Animation/special effects 22. Broadcast television commercial 23. Interactive design 24. World-Wide Web site

lected and independent group of judges who will not be given the names or identities of the participants and whose decisions are final. The entries will be judged on aesthetic criteria including creativity, origi -

Adobe product(s) used (check as many as apply):

nality, and appropriateness. The independent judges will endeavor to be objective, but entrants must recog -

0 PageMaker

0 Photoshop

0 Illustrator

nize that judging aesthetic criteria necessarily involves some subjective reasoning and consideration. Odds of

0 Premiere

0 After Effects

0 Acrobat

0 PageMill/SiteMill

0 Persuasion

0 Other_ _ _ __

wi nning prize s are determined by the total number of qualified entries received.• Releases:The prize winners,

25. Miscellaneous

and the legal guardian of any winner under age 18, will be required to sign publicity (Tennessee residents excepted)/ liability releases and affidavits of eligibility with in 20 days of notification or forfeit the prize. Re-

Adobe product serial number (one only) :

turn of any prize or prize notification as undeliverable will result in disqualification and an alternate prize winner will be selected. By submitting an entry, partici-

1996 ADOBE MAGAZINE DESIGN CONTEST

pant (Tennes see residents excepted) agrees to allow the use of his or her entry and name and/ or likeness and /or voice in publicity or advertising, printed or electronic, related to the Adobe Magazine Design Contest without compensation.Adobe and other Contest sponsors are not liable for injury, loss, or damage of any kind

Category number (one perform): _ __

Entry fee enclosed as: 0 check

0 money order

resulting from acceptance of prizes and participation in the contest. Taxes are the sole responsibility of the winner, and the prizes are not transferable. No substitution or cash redemptions allowed by winners except at the sole discretion of Adobe. Adobe reserves the right to substitute prizes with similar or greater value. · Restrictions: The contest is open to all U.S. and Canadian residents who are 16 years or older at the time of entry except that the contest is not open to residents of Quebec. Employees of Adobe, other sponsors, and their respective affiliates, subsidiaries, promotion, and judging

I certify that the enclosed submission is entirely the original work of the creators listed, and that it was principally created using the Adobe product(s) checked above. I grant to Adobe Magazine the right to reproduce and distribute the submission in connection with the Adobe Magazine Design Contest, which includes, but is not limited

agencies, and immediate family members of such employees are not eligible to participate. Contest void where prohibited by law. All federal , state, and local

to, the right to reprint, overprint, publish, exhibit, and transmit it electronically, free of charge and with no obligation on the part of Adobe.

laws and regulations apply. For the names of the prize winners, send a self-addressed, stamped envelope to

Use by Adobe of the submission and the images contained in it will

the address on the entry form . If you have questions, call us at (206) 233-7430. • Adobe, the Adobe logo, Acrobat, Adobe Illustrator, Adobe Photoshop, Adobe Pre-

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.

miere, After Effects, PageMaker, PageMill, Persuasion, and SiteMill are trademarks of Adobe Systems Incorporated. 3M and Rainbow are registered trademarks of

Sponsored by:

3M . Ray Dream and the Ray Dream logo are trademarks of Ray Dream, Inc. MultiSync is a trademark of NEC Technologies, Inc. Kingston Technology is a registered

SEE , HEAR AND FEEL THE DIFFERENCE~

NEC

~ Technologies

trademark of Kingston Technology Corporation. Dy-

Club, Print Media Service, Step-by-Step Graphics, Step-

namic Graphics, Inc. Wacom and Artz II are registered trademarks ofWacom Co., Ltd. All other trademarks are

DVN;\MIC G~'\PHICS , INC.

Date _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

namic Graphics, Inc., Dynamic Graphics Educational Foundation, Clipper Creative Art Service, Designer's

by-Step Electronic Design, Idea Source, and Dynamic Graphics ArtWorks are regi stered trademarks of Dy-

3IVI

Signature _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

the property of their respective owners. The Contest is sponsored by Adobe Systems Incorporated, 411 First Ave. S., Seattle, WA, 98104-2871 ; 3M Printing and Publishing, 3M Center, St. Paul, MN SSl 44- 1000; Ray Dream, Inc., 1804 N. Shoreline Blvd., Mountain View, CA 94043; APS Technologies, 6131 Daramus, Kansas City, MO 64 120-0087; NEC Technologies, 12SS Michael Dr., Wood Dale, IL 60 191-1094; Kingston Technology Corporation, 17600 Newhope Street, Fountain Valley, CA 92708; Dynamic Graphics Inc., 6000 N. Fore st Park Dr., Peoria, IL 61614; and Wacom Co., Ltd., SOl SE Columbia Shores Blvd., #300, Vancouver, WA 98661.

Photograph by Jim Linna

Mail to: Adobe Magazine Design Contest,

411 First Avenue South, Seattle, WA 98104-2871 Ship to (FedEx, UPS, Airborne, etc.) : Adobe Magazine Design Contest, 83 South King Street, Suite 806, Seattle, WA 98104-2871

Materials Back Support

Digital Clip Art

The Nada Chair Back-up®is

Design Plus has added to its

a product that came to our

line of digital clip art for the

attention during a recent trade

desktop publishing commu-

show; it is part of a group of

nity, with a Sports Figures

products designed to support

font series of silhouettes acces-

the spine while a person is

sible from the keyboard. Each

seated. Actually, its principle

illustrated sport contains a

is basic: It's an 8" wide belt,

full sequence of movement

like the type people use when

which can be looped together

unaware that the little animal

they are lifting all day, with

to create a continuous flip-

that comes up on the screen

really interested me is that

padded straps that go over the

book style of animation. Sports

when you choose page options is a Dogcow. "He flips upside down or backward to show

you can search with keywords

knee and a buckle that keeps

Figures fonts are available in

your legs close together. The

Type l format for both the

result is passive muscle support

PC and Macintosh. For more

for the lower spine, using

information, call (800) 231-

reverse pressure from the knees,

3461 or (212) 477-88n.

which instantly relieves any

-SAM McMILLAN

pressure on the lower back caused by sitting for too long.

It not only forces you to sit up straight, but helps you to do it in a gentle prodding manner. My boss got one-after receiving a demonstration at

Literature For Your Files A request on your letterhead to the following companies will bring you

the trade show-I borrowed it for a couple of hours at her

the literature described. . .free unless otherwise noted. Whenever possible,

suggestion. I want one too.

fax numbers have been included

There are very few chairs, no

for convenience.

matter how expensive, that are

Computer Buzz Words with

comfortable when they are

Dick and Jane ... is a new

© Burke(Triolo Productions

you what to expect from the printed page. The Dogcow says 'Moof."' Of course the booklet is loaded with words that I, and probably most other computer users, am familiar with, like laptop, techno-weenie, hacker, floppy disk, footprint, flame war and glitch. But whether you know the words or not, it's fun to interact once again with the charming couple Dick and Jane, created by The Valentine Group, presented on ESSE paper. For a copy of Computer

Buzz WOrds- with Dick and Jane ask your friendly Gilbert distributor to give you one; if you don't have a distributor,

how to talk about food). What

that have very little to do with food: sexy, romantic nostalgic, exotic, etc. Although most keywords are food-related , users can also search by color, ingredients, portion size and ethnicity. All the images can be used for comps and layouts free of charge and a quick call to the company can provide you with a usage fee. If you buy stock images, have a Macintosh computer and a CD-ROM drive, call (310) 837-

9900 to receive your free catalog. You can also fax FoodPix at (310) 837-1341 or Email foodpix@aol.com.

being sat in for six to eight

paper promotion from Gilbert

hours per day; (this part really

featuring that effervescent

sounds like a press release) the

duo from grade school, Dick

Back-up makes every seat com-

and Jane. Along with their

fortable, including stadium

dog Spot they lead the way

tions. Associated with the well-

benches. Suggested retail for

through pages of computer

the Back-up is $49·95 and it's

tips and terms that may baffle

FoodPix .. .is the first all food catalog on CD-ROM. For

known Archiv fuer Kunst und

available by contacting Nada

those not intimately connected

order two you can save $10. By

to the world of computing. For instance, I never knew that

the way, it also comes in a

chips and salsa had a defini-

anyone who uses food photography in their work this is a very necessary tool. All 1,900 images on the CD have been shot by food photographers and all keywording was done

the Arts and History Picture

Chair at (800) 722-2587. If you

and documentary photos to

by food experts (I guess that would be people that know

and objects, thematic photos

version (the Lumbar-Jack®)

tion other than the obvious,

for people who are driving in

but they do; it "is an affection-

their cars all day, every day.

ate term referring to hardware

-SUE GARIBALDI

and software." And, I was also

182

M A y I J u N E

l

9 9 6

call (800) 445-7329 to find one close by.

AKG Photo ... just sent us a

beautifully understated catalog of their stock images which, by the way, include illustra-

Geschichte (AKG) in Berlin, Library, with offices in London and Paris, has access to more than nine million images. The images range from portrait reproductions of works of art

ext'ia-st'iorzg leads 1

won't h'ieak when you 'ie filling irz the details.

Gxt'ia-juicy

olhingfels your ideas /low beller.

ma'ike'is blend unlike any

othe'i with just the 'tight amount o/ 'Lich colo'i.

--

-

9Jze p'io/essiorzal~ choice /o'i supe'iio'i blending arid shading.

So/t, thick leads lay down

9Jze o'iigirzal double-ended

smoothe'i arid last lorzget

ma'ike'i: 4 widths c'ieale eve'iythirzg /'tom h'ioad, wet h'iush sl'iokes lo /irze lines.

Sometimes wo'ids alone can't exp'iess an idea you halJe. go'itunatefy, illismacofo'i®can.

illo~ssionaf a'it pencils, a'it ma'ike'is,G/e'iithin pencils and ~'it Stix ~ Jlo othe'i tools wo'ik togethe'i so we!/ to c'ieate the look you halJe in mind.

P R I S M A C 0 I

~...._... :!.

L 0 R"

Materials and Available Literature

and architectural pictures. I

the "Living Environments"

tration used on the folder.

because many stock firms are

don't know if all of the images

letterhead folder-complete

The second promotion, the

now showing them. Since

in their library are as engag-

with letterhead, envelopes

"Environment®Papers Print-

digitally manipulated images

ing or unique as those in their

and business cards-was illus-

ability Guide," was designed

are being used more frequently,

brochure, but if they are it's a wonderful resource. Their

trated by Philippe Lardy and

with the remainder of the line

the company has identified

designed by Copeland Hirthler

(text, cover and duplex) in

them with a computer icon

research and reproduction fees

design+ communications and

mind. It's very similar to other

with a check mark through it.

are competitive and the images

is intended to complement

printability guides, which

I looked through the catalog

will leave you thinking of pro-

the paper inside; the palette

seem to be all the rage among

and with many of the altered

jects for which you can use

of colors used in the illustra-

paper companies right now,

photographs, the icon is very

them. For a copy of their bro-

tion is the same as those in

and shows embossing, metallic

helpful. However, there was

chure, fax one of their offices

the line. The promotion is intended to demonstrate vari-

and four-color applications,

one that I surely would have

in London, (44) 171-610-61-

scoring, halftones, screen gra-

figured out all by myself: It is

25; Berlin, (49) 30-803-35-99;

ous printing techniques on

dations and type reversals on

of a lion and a lamb lying in a

or France, (33) l-44-41-99-99.

the writing grade of Environment®. The usable envelopes

different grades, weights and

field side by side and not only

colors. It is as good as any

Environment Papers .. .are

and matching letterheads are

other that I've seen. One small,

does the lamb not have a scratch on it, it doesn't even

featured in two recent promo-

unique, one envelope has an

but nice detail: It's the same

look nervous. Anyway, the

tions from Neenah. The first,

interior full-bleed of the illus

size as their swatchbooks, so

catalog is available and there

they stack nicely. To get a

are a lot of great images in it;

9

~ommunication Art~

copy of either promotion, call

to get a copy, contact Tony

the Neenah Link at (800) 338-

Stone's catalog fulfillment

6077 X200.

department at (800) 644-1658.

Tony Stone ... has a new cata-

Calibrations .. .is a new quar-

log. You'll know you've got

terly newsletter published by Schaedler Quinzel Inc. , man-

the right one when you see

http://www.commarts.com

the back of a bald guy's head

ufacturers of precision rulers.

with a bunch of signatures all

Their second issue is filled

over it. The signatures belong

with fun, but basically unim-

to a group of sixteen "inter-

portant, articles, witty sayings,

nationally recognized creative icons, " (and a Nobel Prize

reading it. The subscription

winning biophysicist) including architect I.M. Pei, fashion

price is $4 per year and $7. 50 for two years; Schaedler will

designer Nicole Farhi, anima-

send you an issue or two free

tor Oscar Grillo and designer

of charge so you can see if you

April Greiman, whose work

like it. For further information

and quotes are featured on the

on Calibrations or Schaedler's

opening page of each section.

precision rules, phone (201)

A new Science section "features highly researched and

728-8882, fax (201) 728-3574 or write Schaedler Quinzel,

accurate images of cells, viruses

Inc., P.O. Box 280, Ringwood,

and insects, " which I guess

New Jersey 07456.

are in demand these days 184

M A y I

J u N E

l

9 9 6

trivia and anecdotes. I enjoyed

-S.G.

~ommunication Art~ Magazine's Annual Juried Competition

es!

You are invired to submit work to the largest and most eminent of juried competitions in graphic design and advertising:

Communication Arts magazine's 37TH Annual

~ommunication Arts

Oesi~n Annual

Exhibition. The results

~ ---~~Jo----~~-------,

will be published in the November 1996 Design and December 1996 Advertising Annuals. Last year, less than 3% of the 26,615 submitted

entries were selected for inclusion in these two exclusive indexed annuals.

65,000 copies of the highly respected annuals

will be distributed worldwide, assuring important exposure for the creators of these outstanding projects. Work first printed, published or broadcast

No Hanging Fees No Acceptance Fees

Design Annual Categories These categories are judged by the design jury and will appear in the Design Annual, November 1996:

AudioNisual Packaging SA SB

Single record, cassette, compact disc, video, software ($25> Series of SA, limit of five C$40>

Packaging/labeling 6A 68

Single package, label , shopping bag ($25> Series of 6A, limit of five C$40>

Identity 7A

78

Trademark (place the company name and nature of the business next to the mark for the jury's information) ($25> Corporate identity program (mark, signage, identity manual, packaging, vehicles, etc.) at least five, limit of ten C$40>

Letterhead SA 88

Letterhead/ envelope/business card ($25> Company business-paper series (invoice, purchase order, label, envelope, letterhead, etc., from the same company) at least five, limit of ten C$40>

Company Literature 9A

9B

9C 90 9E 9F 9G 9H

91

Annual report (publicly traded companies) ($25> Ins ti tu cional/ facilities/ real estate booklet or brochure/annual reports for non-profit organizations ($25> Service booklet or brochure ($25> Product booklet or brochure ($25> Catalog: product ($25> Catalog: school ($25> Catalog: exhibition ($25> Miscellaneous company literature (announcement, invitation, greeting card, conference literature, etc.) ($25> Series of 9H , limit of five C$40>

Poster/Design 1 OA Poster (exhibition, institutional,

cheater, gallery, etc.) ($25> 1 OB Series of 1 OA, limit of five ($40>

Books & Jackets

Consumer Newspaper Advertising

12A Book, entire unit ($25> 128 Book, cover or jacket ($25> 12C Textbook, entire unit ($25> 120 Textbook, cover or jacket ($25> 12E Children's book ($25> 12F Children's book, cover or jacket ($25> 12G Cover/jacket series, limit of five C$40>

2A

Self-Promotion 14A Printed promotion for design firms, printers, paper companies, art schools, illustrators, photographers ($25) 148 Series of 14A, limit of five ($40> 14E Art/design clubs, communication/ promotion ($25> 14F Series of 14E, limit of five C$40>

11 B Multi-page section of 11 A C$40> 11 C Newspaper (page or spread) ($25> 110 Multi-page section of 11 C C$40> 11 E Trade magazine (cover or page or two-page spread) ($25> 11 F Multi-page section of 11 E C$40> 11 G House organ/newsletter/association (cover or page or two-page spread) ($25> 11 H Multi-page section of 11 G C$40>

Trade/Institutional Advertising (Including business-to-business advertising appearing in consumer magazines and newspapers, and corporate-sponsored public service advertising) 3A 38

Single ad, any size, including spreads ($25> Campaign, limit of five C$40>

Poster/Advertising 4A

Outdoor, 24-sheet or larger, includes painted ($25> Series of 4A, limit of five C$40> Transit (bus, subway, shelter) ($25> Series of 4C , limit of five C$40> Point of purchase ($25> Series of 4E, limit of five C$40> All ocher advertising posters ($25> Series of 4G , limit of five C$40>

Public Service

48 4C 40 4E 4F 4G 4H

(Any work produced for a non-profit organization for the purpose of the public good, including zoos, museums, orchestras, ballet companies, etc. The creative element must have been done as a donation or at cost.)

13A Direct mail , data sheets, sales kits collateral materials, etc. ($25> 138 Series of 13A, limit of five C$40>

Broadcast Graphics 17A Movie title, station or program title, music video, etc., % "videotape NTSC ($75> 178 Series of 17A, limit of three ($120)

18G Printed piece ($25> 18H Series of 18G, limit of five C$40>

Environmental Graphics (Please provide the name of the project and a brief explanacion-25 words or less-of its purpose) 19A Signage, interiors, architectural graphics, limit of ten slides C$40> 198 Display (trade show exhibit, point of purchase, etc.) limit of ten slides C$40>

Miscellaneous 20A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 9H) ($25> 208 Series of 20A, limit of five C$40 > 20C Calendar ($25> 200 Menu ($25> 20E Series of menus from the same restaurant, e.g. , lunch, wine list, breakfast, etc., limit of five C$40> 20F Anything not covered in previous categories ($25> 20G Series of 20F, limit of five C$40>

•

Editorial 11 A Consumer magazine (cover or page or two-page spread) ($25>

28

Single ad, any size, including spreads ($25> Campaign, limit of five C$40>

Advertising Annual Categories These categories are judged by the advertising jury and will appear in the Advertising Annual, December 1996:

Consumer Magazine Advertising 1A 1B

Single ad, any size, including spreads ($25> Campaign, limit of five ($40>

Sales Promotion/Advertising

Self-Promotion 14C Printed promotion for ad agencies, art directors, copywriters, suppliers ($25) 140 Series of 14C, limit of five C$40> 14G Advertising clubs, communication/ promotion ($25> 14H Series of 14G, limit of five C$40>

Television Advertising 1 SA T devision commercial, % " videotape NTSC ($75> 1 SB Series of 1 SA, limit of three ($120)

Radio Advertising 16A Radio commercial, standard audio cassette <$75> 168 Series of 16A, limit of three ($120)

Public Service (Any work produced for a non-profit organization for the purpose of the public good, including zoos, museums, orchestras, ballet companies, etc. The creative element must have been done as a donation or at cost.)

18A Magazine ad ($25> 188 Series of 18A, limit of five C$40> 18C Newspaper ad ($25> 180 Series of 18C, limit of five C$40> 18E Poster ($25> 18F Series of 18E, limit of five ($40> 181 Television commercial <$75> 18J Series of 181, limit of three ($120) 18K Radio commercial C$75> 18L Series of 18K, limit of three ($120)

Eligibility All work must have been printed, published or aired for the first time between June 23, 1995 and June 22, 1996. 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.

A Form Design &Advertising 37 THIS FORM AND THE FE E MUST ACCOMPANY 1996 ENTRIES TO COMMUNICATION ARTS , 410 SHERMAN AVE ., PALO ALTO , C A 943 06 USA

EMAI L ADOR ES

NAM E

FAX

PHON E

Preparation of Audio/Visual Entries Television commercials must be on %" videotape cassettes NTSC. Include IO seconds of black, no slates or bars. Single tape commercials must be on individual cassettes. If your 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 submitted on standard audio cassettes. Single radio commercials must be on individual audio cassettes.

Radio commercial series should be edited together on one cassette with 2 seconds of blank tape between each spot. Tape Form B to the outside of each video or audio cassette case.

C OMPANY

ADDR ESS

SINGLE ENTRIES ..

Z IP

. . . . . . $25 (U .S.) EA C H

$

· · . . . . . $40 CU.S . l EA C H

$

SINGL E T V C OMM ERC IALS . . . . .. .. . .. .. .. . $ 75 cu.s.> EAC H

$

C AMPAIGN S OR SE RI ES . . .

Preparation of Print Entries Submit ad tearsheets or proofs, UNMOUNTED and trimmed as published.

Send annual reports, brochures, folders , books, catalogs, etc., in bound form . For posters over 18"x 24': packaging, displays, signage, submit plastic or paper mounted 35mm slides. NO GLASS MOUNTS. (Slides are projected for the judges.)

STATE/ PRO V IN CE

C ITY

TV C OMM ERC IAL SE RI ES . . . .

$120 CU . S . ) EA C H

$

SIN G LE RADIO C OMM ERC IAL S . .

. $ 7 5 CU.S. ) E AC H

$

RADIO C OMMERC IAL

$120 (U .S .) EACH

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ERI ES .

NO RETURN OF ENTRIES FOR

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T O T AL FEE CHE C K THI S BOX IF YOU IN C LUD E D A SELF -A DDR ESSE D ST AMP E D E NV ELO P E TO AC KNOWL E D GE R ECE IP T O F YOUR E T RY

DATE PRO CESS ED

Preparation of Packages Send entries in flat packages only, no mailing tubes (they frequently arrive damaged). If more than one package is sent, please indicate on the outside wrapping: "Package no. _ of_ packages." If the package contains TV or radio entries, indicate on the outside wrapping: "Broadcast Entries." Please mark each package: "Materials for Contest Entry. No Commercial Value. " No provision will be made by CA for U.S. Customs or airport pickup.

Entries should be sent by post or international courier.

B Form Design &Advertising 37 T AP E T HIS

FORM OR FA CS IMIL E T O

I C A T EGORY

FOR

E RIE S

0

THIS IS

TH E BA C K O F E A C H

0

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F OR

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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 of 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 acknowledgments, enclose a self-addressed envelope and $1.00 (U.S. currency) postage with your entry fee.

Accepted Entries Only accepted entries will be notified on or before September 15, 1996.

Complete credits and any necessary material for the best possible reproduction in the Annuals will be requested at that time. Award of Excellence certificates for firms , individuals and clients will be mailed in January 1997.

• If you have any other questions, call c415> 326-6040, 8:00 a.m.-5:00 p.m.

M-F Pacific time, or fax c415> 326-1648.

• Please note: Illustration, Photography and Interactive Media categories are not included. Work in these categories should be submitted to the Illustration Annual, Photography Annual, and Interactive Design Annual separate juried competitions published in July, August and September.

S UBMITTED BY

D ESIGN FIRM OR AGEN C Y

B Form Design &Advertising 37 TAPE THIS

FORM OR FA CS IMI LE TO TH E BA C K O F E A C H

I CATEGORY

F 0 R

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THI S I S NO .

ONLY

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U S E

OF

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Mail entries to:

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(Federal Express, UPS, etc.)

Communication Arts 1996 Graphic Design and Advertising Competition 4IO Sherman Avenue Palo Alto, CA 94306 U.S.A.

THE Jo u R NAL

Qp C REATI VE ExcELLENCE

Design Annual

Advertising Annual

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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 14,799 entries with only 253 selected for inclusion.

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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 television and radio commercial scripts and a complete index are included for reference.

Last year's Annual attracted n,816 entries with only 307 selected for inclusion.

Please send me more information on MACWORLD Expo!

O Boston 0 San Francisco I am interested in: 0 Exhibiting 0 Attending

I CAT I

City/State/Zip-----------------Fax _ _ _ _ _ _ _ _ __ e-Mail _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Mail to : MHA Event Management, 1400 Providence Hwy., P.O. Box 9103 Norwood MA 02062. Or Fax to: 617-440-0357 Phone: 617-551-9800

This is not a registration application.

Clubs, Conferences, Seminars AIGA/Cincinnati will sponsor the Design Revival on May 16-18 at Pleasant Hill, a faithfully restored 18th century Shaker community in central Kentucky, just outside Lexington. The aim of the conference is to stimulate and inspire participants on a number of different levels through presentations, discussions, workshops, fellowship and new experiences. Elective afternoon workshops will put creativity into practice through activities such as: quilting, paper making, book binding, calligraphy, primitive photography and sketching. There will be time for Village tours conducted by people familiar with the Shaker way of life. In addition, the Revival includes an evening Riverboat Excursion and a concluding Hoedown Party. Registration fee includes retreat cost, Friday and Saturday lunches, continental breakfast, coffee/ snacks, events/workshops, the Riverboat

strategic planning, Melanie C. Wood, CMG, Mannington Mills, Inc., Salem, New Jersey; reelected treasurer Hall S. Dillon, II, CMG, Dorn Color, Inc., Cleveland, Ohio; reelected secretary Patrice White, CMG, Patrice White Studios, Marietta, Georgia.

For information, write CMG, 5904 Richmond Highway, Suite 408, Alexandria, Virginia 22303; call (703) 329-8500; fax

Excursion, concluding Hoedown Party and one Village admission ticket. Members: $175; student members: $105; non-members: $275; student non-members: $150. For speaker information, call Mike Zender (513) 961-1790, or Email mzender@zender.com; for registration information, call Beverly Fox at (513) 381-477 4; AIGA/Cincinnati, P.O. Box 2596, Cincinnati, Ohio 452oi.

call (215) 569-3650.

The Design Management Institute announces a new conference to be held June 5-7, in Minneapolis, Minnesota, with the theme "Design Management in the Digital Environment. " The conference chair will be Linda Keefe, member of the Institute's board of directors, and vice president, strategic marketing and design at Yamamoto Moss. The lectures and discussions will focus on the issues of design management in the digital environment and will address interactivity, multimedia, the Internet and the World Wide Web and managing digital design. For information, contact DMI, 107 South Street, Suite 502, Boston, Massachusetts 02II1; call (617) 338-6380; fax (617) 338-6570; Email dmistaff@designmgt.org.

On June 6-8 at the Arizona Biltmore Resort the Association of Professional Design Firms (APDF) presents "Phoenix '96: Debate and Create," an opportunity to share reallife business experiences and collaborate with the people who run design businesses in the United States and Canada. The meeting will consist of hands-on workshops led by APDF members who have dealt with many of the key issues facing companies today.

The focus will be on interaction and collaboration and creating new relationships and ways of doing business that create value.

For further information, contact APDF, 1 Story Street, Cambridge, Massachusetts 02138; call (617) 864-7474; fax (617) 497-6448.

Color Marketing Group elected the 1996 color leaders: president Laraine Turner, CMG, of the Jolley/Turner Group, Inc., Long Beach, California will serve the second half of her two-year term; executive vice president Sue Ross, IIDA, CMG, Monterey Carpets, Inc., Santa Ana, California; vice president, 190

M A y I J u N E

1 9 9 6

(703) 329-0155.

The Art Directors' Club of Philadelphia appointed a new slate of officers: president Lynell Wilcha, Lynell Wilcha Graphic Design; vice president Peter Lien, Lien/Nibauer Photo; second vice president Jill Margraff, Kenney Marketing & Advertising; secretary/treasurer Ron Dove, Hussian School of Art. ADCP, 2017 Walnut Street, Philadelphia, Pennsylvania 19103;

The Association of Independent Commercial Producers (AICP) elected 1996 national officers. This 23-yearold trade oganization represents companies that produce television advertising. Chairman Frank Stiefel, Stiefel Company, will serve a one-year term with vice chairman Frank Scherma, partner in the production company @radical.media. Stiefel succeeds immediate past chairman Nick Wollner, Crossroads Films. Completing the second year of two-year terms as officers are: treasurer Mark Androw, Chicago Story and secretary Stephen Steinbrecher, Steinbrecher & Ross. Founded in 1972, AICP represents the interests of United States companies that specialize in producing commercials on various kinetic media-film, video, computer-for advertisers and agencies. AICP, II East 22nd Street, 4th Floor, New York, New York 10010; call (212) 475-2600; fax (212) 475-3910.

The Broadcast Designers Association /Promax International 19th Annual Conference is scheduled for June 19-22 at the Los Angeles Convention Center. According to sponsors of the conference, "Executives in promotion, marketing, design, advertising, sales, production and management will find this conference a unique and invaluable source for the information and contacts essential to winning in today's market.

The growing list of companies represented include every major broadcast, cable and satellite television organization as well as telephone, radio, computer hardware and software companies active in growing their consumer marketing capabilities and revenues. " The Biltmore Hotel in Los Angeles will be the headquarters hotel. For an information packet, contact Lynne Grasz, BDA, 145 West 45th Street, Suite IIOO , New York, New York 10036; call (212) 376-6222; fax (212) 376-6202.

- J EAN A. COYNE Copy must be received two months prior to the publication date.

Please include a contact, phone number and address.

Reel Assets

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Directory Featured in this issue Atlanta Olympic Design Laurel Harper Harper & Associates Route 3 Box 65 Bedford, KY 40006 (502) 255-7019 (502) 255-3417 fax

Carlos Avalos Avalos & Bourse (54) 1-788-9665 fax

Eduardo Len LEN/Recursos Visua is (55) 11-814-2107 fax

Rafael Pe ixoto Ferreira BAC bacpropg@dglnet.com . br Ema il

Cesar Albanell Line Art (54) 1-815-5797 fax

Decio Navarro Casa Claudia (55) 11 -534-5277 fax Edmundo Franca Caso Design Comun icac;ao (55) 11 -820-7501 fax

Copeland Hirthler 40 Inwood Circle Atlanta , GA 30309 (404) 892-3472 (404) 876-9355 fax

Marco Rezende Cauduro/Martino (55) 11 -212-0626 fax

Favermann Design 16 Aberdeen Street Boston, MA 02215 (617) 247-1440 (617) 247-1945 fax

Cynthia Leite Araujo CLA Programac;ao Visual (55) 21-512-1791 fax

Malcolm Grear Designers 391 Eddy Street Providence, RI 02903 (401) 331-2891 (401) 331-0230 fax Jan Lorenc 724 Long Leaf Drive N. E. Atlanta, GA 30342 (404) 266-2711 (404) 261-4839 fax

Hugo Kovadloff Flag (55) 11 -211-6616 fax Marcelo Sapoznik Fontana FVS (54) 1-311 -6797 fax

Design & Advertising in South America

Sergio Liuzzi Interface Designers (55) 21-245-1900 fax

Rick Torreano Simpson Paper 989 E. Hillsdale Boulevard Suite 370 Foster City, CA 94404 (415) 358-9970 (415) 358-9376 fax

Jose Luis Aldacor J. Walter Thompson Corporac i6n (598) 2-920719 fax

Suell Tsumori Art Company (55) 11 -815-5914 fax

Laura Erobald i Lautrec Nazca Saatchi & Saatchi (54) 1-314-4225 fax

JUNE

Vicente Larrea Mangiola Larrea (56) 2-204-8585 fax

I

Cesarina Pastor Quorum (51) 14-41 -08-60 fax

Irene Peixoto/Marc ia Cabral Tira-Linhas Studio (55) 21-27 5-2192 fax

Gonzalo Berra Gonzalo Berra Garcia (54) 1-742-9544 fax

MAY /

Claudio Ferlauto Ou4tro (55) 11-258-7330 fax

Sergio Steuer D-Vision (55) 11-5584-9058 fax

308 Pine Street Burlington, VT 05401 (802) 864-5884 (802) 863-8803 fax

192

Lenora de Barros Placar (55) 11-534-5597 fax

Mauricio Rocha Rocha Yamasaki (55) 11-280-4269 fax

Ruth Klotzel Estudio Infinity (55) 11-3064-2351 fax

Jager Di Paola Kemp

Ruth Freihof Passaredo (55) 21-285-4021 fax

Holman Ciudad Creativity Young & Rubicam (51) 14-441-5803 fax

Almir Soares DPZ Propaganda SA (55) 11-853-4298 fax

Jones Worley Design Inc. 3092 Piedmont Road #150 Atlanta, GA 30305 (404) 364-9235 (404) 261-2026 fax

Moema Calvacanti (55) 11-263-7185 fax

9 9 6

Angela Vassallo Vassallo Diserio (54) 1-784-4118 fax Viceversa/Young & Rub icam (598) 2-921992 fax Washington Ol ivetto W/Brasil (55) 11-255-2993 fax

Goldberg Moser O'Neill 77 Maiden Lane San Francisco, CA 94108 (415) 677-1800 (415) 677-9385 fax

Martha Anne Booth P.O . Box 208 990 Acacia Street Montara , CA 94037 (41 5) 728-8332 phone/fa x

Eco Eva Anderson Eva Anderson Design 207 W illiams Street Providence, RI 02906 (401) 351-1211 (401) 351-5744 fa x Dan Imhoff 268 Prospect Avenue San Francisco, CA 9411 O (415) 282-8138 (41 5) 282-6934 fax Champion Paper 1 Champion Plaza Stamford, CT 06921 (800) 348-1770 (203) 358-6444 fax

Houston Herste k Favat 360 Newbury Street Boston , MA 02 115 (617 ) 375-7350 (617 ) 267-0685 fa x Kirshenbaum Bond & Partne rs 145 Avenue of t he Americas New Yo rk, NY 100 13 (212) 633-0080 (212) 463-8643 fa x Laughli n/Constab le 207 E. Mich igan Street M ilwaukee , WI 53202 (414) 272-2400 (414) 272-3056 fa x Ann Lemon Des ign 47 Maple Grove Road Mohnton , PA 19540 (61 0) 796-9342 phone/fa x

Exhibit

Martin/Wi lli ams 60 S. Sixth Street, #2800 M inneapolis, MN 55402 (612) 340-0800 (612) 342-9700 fa x

Citron Haligman Bedecarre 1160 Battery Street San Francisco , CA 94111 (415) 705-0100 (41 5) 705-1050 fa x

October Films 65 Bleec ker Street New York, NY 100 12 (212) 539-4000 (21 2) 539-4099 fax

design : M/W 149 Wooster Street #403 New York, NY 10012 (212) 982-7621 (212) 982-7630 fa x

Og ilvy & Mat her 11766 W il sh ire Bo ul evard 9th Floo r Los Ange les , CA 90025 (31 0) 996-0400 (3 10) 996-0696 fa x

Dreier Des ign 2336 Farrington Street Dallas , TX 75207 (214) 631-8474 (214) 631 -8476 fa x

M ichae l Osborne Des ign 444 DeHaro St reet, #207 San Francisco , CA 94107 (415) 255-0 125 (415) 255-1312 fa x

Fitch 10350 Olentangy River Road Worthington , OH 43085 (614) 885-3453 (614) 885-4289 fax

Nadav Kander 1-7 Britannia Row London N1 8HO ENGLAND (44) 171-359-5207 (44) 171-359-8925 fax

Greimans ki Labs 620 Moulton Avenue Suite 211 Los Angeles , CA 90031 (213) 227-1222 (213) 227-8651 fa x

Representative Stockland Martell 5 Union Square West New York, NY 10003 (212) 727-1400 (212) 727-9459 fax

Holland Mark Martin 174 Middlesex Turnp ike Burl ington , MA 01803 (617) 270-3500 (61 7) 221 -0850 fa x

Technology Featu re Post Too l Des ign 245 S. Van Ness Su ite 201 San Franc isco, CA 94 103 (415) 255-1 094 (415) 255-2208 fa x

Des ign Techno logy Wendy Richmond Wendy Richmond & Co .

457 Mou nt Aubu rn Street, #8 Camb ri dge, MA 02138 (6 17) 492-8228 (6 17) 876-8 142 fa x

~~D~~ For more information, call : <212) 673-6600 (800) 894-7469

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I need to define myself and my art, so I decided to drive. No planning, just doing. I'm so humbled by what I see. Letting go of my control seems the best thing I could've done. I'm not afraid to show these pictures anymore. I've got to take care of my art as it takes care of me. I'm just glad I have a place to show it. I want to share that feeling of collaboration with others who think and feel as I do.

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Directory No responsibility will be assumed for unsolicited editorial contributions .

Manuscripts or other material should be accompanied by a self-addressed stamped envelope adequate to return material or your Federal Express number.

Technology Reviews Pat Soberanis Soberanis@aol.com Free-Lance Maria Piscopo Creative Services Consultants 2038 Calvert Avenue Costa Mesa, CA 92626 (714) 556-8133 (714) 556-0899 fax

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Advertising Tom Monahan Before & After 4100 Main Road Tiverton, RI 02878 (401) 624-1850 (401) 624-8310 fax Design Issues Laura Shore Mohawk Paper P.O . Box 497 Cohoes, NY 12047 (518) 233-6208 (518) 233-7102 fax Opinion/Commentary Judy Kirpich Grafik Communications 1199 N. Fairfax Street #700 Alexandria, VA 22314 (703) 683-4686 (703) 683-37 40 fax How to Reach CA Communication Arts 410 Sherman Avenue Palo Alto, CA 94306 (41 5) 326-6040 (41 5) 326-1648 fax World Wide Web : http://www.commarts.com Email : ca@commarts .com editorial@commarts.com advertising@commarts.com subscription@commarts . com shows@commarts.com

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Portfol io Center

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Quon Ed iti ons Recourses

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1995 Award-winning Television Commercials

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September/October 1986

September/October 1988

March/April 1991

January/February 1994

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

Tony Schwarcz; Julie Lieberman; Franr;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

Soviet Graphic Design; Bill Westbrook; C.F. Payne; Graphic Demographics; Michele Clement; Vaughn/Wedeen Creative; Creating an Eco-Safe Office; American Package Design; Exhibit

VSA Partners; Vivienne Flesher; ViuoRobercson; Atelier de Creation Graphique; Pere McArthur; Color Predictions; Colorado Internacional Invitational Poster Exhibition; Eco; Exhibit; Index co Volume 35

January/February 1989 January/February 1987 Heinz Centennial Annual Report; Richard Hamilton Smith ; Dyer/Kahn ; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right"; Index co Volume 28

March/April 1987 Museum Design Competition; Levine, Huncley, Schmidt & Beaver; Jeffrey J .

Smith ; Barbara Bordnick; Sibley/ Peteet; Car Emblems

May/June 1991

Edelstein Associates; Myron; Joy Radio; Muller + Company; Polaroid Poster Collection; Matthew Career; John Hersey; T he Partners; Exhibit; Index co Volume 30

March/April 1989 Tom Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenci; Robert Petrick; Steven Liska; Japanese Design Adventure

May/June 1989 May/June 1987

Ammirati & Puris; Computers in the Studio; Score Morgan; Richardson or Richardson ; Exhibit; Yesterday in CA

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bach; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

July 1987

July 1989

December 1994

Concrete Design Communications; Mullen Advertising; Cathleen Toelke; Emigre; Bruce Hands; SlaughcerHanson; The Changing Demographics of Design; Color Predictions ; The City of Phoenix Logo Competition; Exhibit

August 1992

$16

$8

Lewis Moberly; William Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising $24

1987 Design Annual

$16

$8

September/October 1992

January/February 1990 Colorado Internacional Invicacional Poster Exhibition; Deutsch ; Joyce Kitchell ; Tim Bieber; Skolos, Wedell + Raynor; AIGA Conference III (San Antonio); Earthquake; Exhibit; Index co Volume 31

January/February 1988

March/April 1990

Smarr Yellow Pages; William Neill; Arc Chantry; "Design Jobs: Face and Fiction"; Kunio Hagio ; Heller Breene; Gene Hoffman ; AIGA Conference II (Sa n Francisco); Index co Volume 29

Michael Brock; Rob Day; Grear Moments in Design Tools; The Ball WCRS Partnership; Geof Kern ; Madsen & Kuester; Chiac/Day: The Book; Exhibit; Farewell co the Opulent Eighties

$8

Graphic Design in Ch ina; Phi lip Burke; Fallon McElligorc; Clients and Designers : Grand Union and Milton Glaser, Inc. ; Lonnie Duka; Oriole Park at Camden Yards; The Next Generation of London Designers; Exhibit

November 1992

$24

1992 Design Annual

May/June 1990

Robert Appleton; Vine Lawrence; Museum of Flight, Seaccle; Marcin/ Williams; Simpson 's "An American Reader"; Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

Tim Girvin; Pagano, Schenck & Kay; Aaron Jones; Wine Labels Gee Bolder; Terrelonge Design; "Design-Speak Vs. Communicating for Success"; Richard Mantel; TED2; deGraf/Wahrman; Exhibit

May/June 1988 Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel ; Nine Ways co Improve an Ad

July 1988 1988 Illustration Annual

$16

July 1990

$16

Craig Frazier; Bill Vuksanovich; Victor Papanek; Raymond Meier; Barde Bogel Hegarty; Salary Survey Results; Color Predictions; Ell is Island Immigration Museum; Exhibit; Index co Volume 32

$16

1993 Illustration Annual

August 1993 1993 Photography Annual

September/October 1995

$8

Laurie Rosenwald; David Mendelsohn; Riddell Adver~ising & Design; The New Sourh Africa; Eco; Exhibit; Interactive Design Annual l + CD-ROM

November 1995

$24

1995 Design Annual

December 1995

$24

1995 Advertising Annual

March/April 1996

Nesnadny + Schwarcz; Rafa! Olbinski; Kirshenbaum & Bond; Clients and Designers: Lomas Financial Corporation and The Richards Group; Malcolm Tarlofsky; Women in Design Roundcable; Merchandising Designers: Charl es S. Anderson , Tom Bonauro, Higashi/ Glaser, Cheryl Lewin, Michael Cronan; Exhibit

July 1993

$16

Colorado International Invitational Poster Exhibition; Sale Lake City Advertising; Color Predictions; David Gaz; Maryjane Begin; Olym_pic Images: The First 100 Years, Part 1; Eco; Exhibit; Index co Volume 37

Software Packaging Design; Mark Fredrickson; Morla Design; Color Predictions; OMON; Craig Curler; Children's Book Illustration; Srock Photography; Exhibit; Index co Volume 34

1990 Illustration Annual

January/February 1991

August 1995

January/February 1996

January/February 1993

March/April 1993 March/April 1988

May/June 1995 Aclanca Arc & Design ; Ward Schumaker; Will van Overbeek; Jung von _Macr; Great Ideas on Limited Budgets; Eco; "Creating che Future" Timeline; Exhibit

1995 Photography Annual

1992 Photography Annual

September/October 1989

$24

1994 Advertising Annual

$16

1989 Illustration Annual

1987 Illustration Annual

November 1987

November 1994 1994 Design Annual

March/April 1992

July 1992

$16

1994 Illustration Annual

1992 Illustration Annual

$16

September/October 1987

July 1994

Museum Design Competition; Mandelbaum Mooney Ashley; James Marsh; Cl ients and Designers: Joseph Abboud Apparel and designer Tyler Smith ; Johns+ Gorman Fi lms; Rick Rusing; Emery Vincent Associates; Pricing & Ethical Guidelines; Exhibit

$16

Osbert Parker; Political Posters ; Peggy Sirota; Andrea Ventura; Lucille Tenazas; Weiss, Whitten,_ Stagliano; Olympic Design, Pare u; Eco; Exhibit

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