mayjun1998

May/June 1998 Volume 40, Number 2

~ommuni~ation Art~ Cucco A Milan, Italy design consultancy producing provocative and inventive work .

By Edna Goldstaub-Dainotto

66

Peter de Seve A New York illustrator w ith old-fash ioned sensibilities and a modern touch .

By Michael Kaplan

74

Wolfgang Weingart This German designer has carried the Basel typographic tradition into the digital age .

By Noreen O' Leary

82

Hunt Adkins This Minneapolis agency won't be an underdog for long.

By Warren Berger

92

Frans Lanting A peripatetic photographer goes eye to eye with nature.

By Philip Krayna

102

Luba Lukova & James Viet ore Freedom of expression is the hallmark of two New York illustrators with disparate styles .

By Anne Telford

110

Great Ideas on Limited Budgets One- and two-color design projects from the U.S. and Canada .

By Sue Garibaldi

127

Eco Dan Imhoff eulogizes Victor Papanek and offers the f irst Eco Kudo awards .

Designed and edited by Eva Anderson

131

1998 Salary Survey The results of our survey on salaries, benefits and hourly rates .

136

Exhibit The latest and brightest work from here and abroad .

Cover: © 1998 Frans Lanting . Th is photograph f irst appeared in t he boo k Bonobo: The Forgotten Ape by Frans de Waal and Frans Lanting . "The facial muscles of great apes allow for expressions as complex as ours . Even more, apes li ke this bonobo know perfectly we ll how to feign emotions in order to su it the ir purposes . This female bonobo was fa king rage in order to attract my attention ." U.C. Press, publ isher.

tee

Editor and Designer Patrick Coyne

Technology Feature Sam McMillan assesses the vibrant Austin multimedia scene .

160

Design Technology Wendy Richmond takes an artistic pilgrimage .

162

Technology Reviews Kathleen Maher looks at DeBabelizer Pro 4.5 for Windows .

167

Technology Reviews Pat Soberanis tests a number of Photoshop plug-ins.

174

Technology Resources Books, tools, resources and educational opportunities .

c 1

Consulting Editor and Designer Stephanie Steyer-Coyne Managing Editor Anne Telford Associate Editor Sue Garibald i Associate Designer Mark Eastman Production Manager Scott Pe rry Production Ron Niewald

Design Issues Part two of DK Holland's discussion on the impact of brands on society.

46

Freelance Maria Piscopo gives advice on how to keep up with new technology.

52

TrendWatch Art directors, designers and photographers describe their best new sales opportunities .

184

Advertising Luke Sullivan warns of the dangers of focus group testing .

189

Legal Affairs Caryn R. Leland clarifies the rights of freelance artists .

196

Opinion/Commentary RitaSue Siege l discusses current economic conditions and how they affect the job market .

ep

Executive Editor Jean A. Coyne

Contributors

18

Letters to the Editor

197

Design and Advertising Call for Entries

210

Book Reviews

214

Materials, Available Literature

220

Clubs, Conferences, Seminars

222

Directory

January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October (includes Interactive Des ign Annual CD-ROM) November !Design Annual) December (Advertising Annual)

by Coyne & Blanchard. Inc .

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Editor's Column

disturbing. The top five responses in descending order were: knowledge of Internet languages, writing skills, math

BY PATRICK CoYNE

skills, knowledge of print processes and understanding workflow issues.

B

usiness is booming. And while the rapidly expanding economy has meant a tremendous amount of new work for the creative community, it has also

created a shortage of experienced designers and art directors available to handle the current economy's communication needs. This point is well documented in RitaSue Siegel's excellent Opinion/Commentary column beginning on page 196 of this issue.

The lack of an adequately qualified creative workforce can be explained for numerous reasons, one of which is a forced migration from the drawing board to the computer.

Even though the field of visual communication survived the desktop publishing/technology revolution, it's been left with some considerable weaknesses-the most significant being the lack of mentoring new talent. Much of the lowend communications projects, the "bread-and-butter" work created by entry-level and junior personnel, have been brought

The lack of Internet language skills is understandable considering that only a few years ago it wasn't even an issue.

Knowledge of print processes and, to some extent, understanding workflow has traditionally been an area that many design curricula have inadequately addressed. But the lack of math and writing skills is a direct reflection of our underperforming K-12 educational system.

The paradox, as we become more technology-driven as a profession, is that writing and math skills have become more crucial in jobs based on communicating with images and pictures.

in-house by clients seeking to reduce costs. This has made

College and university design programs are already pushed to the limit in cramming adequate training in concepting, presentation and print production skills-and now training in all the mandatory software programs-in just four years.

It would be unrealistic to insert additional academic and communication courses to compensate for the short-com-

it difficult to subsidize the apprentice system used by our

ings of the K-12 education system without extending the

industry for decades.

program into additional years.

To remain profitable during this technological revolution , which coincided with our last economic downturn, creative firms placed more responsibility on senior creatives to manage projects without the usual junior staff members. This

Is it now the responsibility of business to teach these basic skills?

increasing demand on productivity has left those qualified to mentor too busy to spend time guiding junior talent and caused a bottleneck in the necessary transfer of knowledge to the next generation of creatives.

Additional problems result from an inadequate educational system. Regardless of where the responsibility lies, the painful truth is many young people today do not have the basic skills needed to succeed in this field.

This was clearly demonstrated in the responses to our recent national salary survey (the results appear on page 131). In addition to requesting information on salaries and fees we asked employers what skills/experience they require of entrylevel candidates and what they found the most lacking. When asked what skills/ experience they require, the top five responses in descending order were: page layout software skills, image scanning skills, draw/paint software skills, concepting skills and photo software skills. This wasn't surprising since more and more of the design process is being done digitally and visual communications has become "software dependent" to stay productive and profitable.

But when we also asked what skills/experience employers find lacking in entry-level candidates, their responses were 8

Workflow, broadly defined, includes everything from ideation through output, and because of "repurposing," includes the ability to translate ideas into several mediums.

MAY /

JUNE

1998

Obviously entry-level candidates can do much to increase their attractiveness as employees. Because more creatives are working in both print and new media, it makes sense that creative-business owners need more employees with knowledge of Internet languages. These skills are immediately marketable and would most likely make entry-level candidates more valuable. This should be a call to action for anyone entering the field to get the necessary training, but young creatives are also going to have to look beyond their creative training and work at improving their writing, math and communication capabilities as a necessary part of their skill set.

The creative community, as with all sectors of business, needs to put pressure on our educational system to adequately train our youth for their future role in society. This means speaking out, donating time and money to improve education at all levels. While this issue has been frequently raised in business and political circles, it's obvious that our profession is not immune.

In addition to pushing for better academic standards throughout the educational system, design firms and advertising agencies are going to have to absorb the short-term expense of employer-sponsored training. It's a responsibility all of us need to shoulder to ensure the supply of experienced talent necessary for the long-term health of our industry. •

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Contributors Features

Eva Anderson is principal of

Edna Goldstaub-Dainotto is a writer and curator living in Milan with her husband and two children. She has written for Graphis, Domus, Print,

Cahiers d'Art and Interni and has curated design exhibitions

Providence, Rhode Island-based Eva Anderson Design, which specializes in ecologically-conscious design. She is also editor of the Eco newsletter, which addresses environmental issues faced by graphic designers and their clients.

Luke Sullivan joined Fallon McElligott in 1989 after work-

Her Web site, The Publishing

ing at The Marrin Agency in

Resource, is at www.soberanis.

Richmond, Virginia. He has

com. She tested several Photo-

won awards in every major

shop plug-ins for our Technol-

national and international show,

ogy Reviews column .

including the Communication Arts Advertising Annual, which

Columns

comments that he isn't just say-

OK Holland is the managing

ing that so CA will do a good

he says is his favorite and also

director and vice president of

review of his upcoming book.

New York-based The Pushpin

He wrote the Advertising col-

her first article for CA, she pro-

Daniel Imhoff is a San Fran-

Group and is in partnership with

umn, edited by Tom Monahan.

filed Milan-based design and

cisco-based writer who primarily

Seymour Chwast, director and

art direction consultancy

concentrates on issues of design,

president of Pushpin. She wrote

Bianco & Cucco.

the environment and agricul-

the Design Issues column, parr

ture. He wrote this issue's Eco

two of a series on branding.

by young designers in Milan. In

Michael Kaplan, a New York

newsletter insert.

journalist, writes frequently on the subject of graphic design. His

Maria Piscopo is a creative

Caryn R. Leland is an attorney in Soho, New York, who practices primarily in the area of intellectual property law, including trademark, computer and multimedia law. She is the

Technology

services consultant based in

work has appeared in a variety of magazines including Spy, GQ,

Sam McMillan is a San Fran-

the author of four videos and

Premiere, American Photo, George and Manhattan, inc. For this

cisco-based writer and producer

three books, including her new

of interactive multimedia pro-

book for graphic designers,

issue, he interviewed Brooklyn-

jects for a number of Bay Area

based illustrator Peter de Seve.

production houses. McMillan

Marketing & Promoting Your Work, published by North Light

of RitaSue Siegel Associates,

Noreen O'Leary is a New

writes frequently about topics

Books. She is a frequent contrib-

an international placement and

York-based editor-at-large at

concerning the interactive multi-

utor to the Freelance column.

executive search organization

Adweek. Her pieces about media,

media design industry. He wrote

design and architecture have also

the Technology Resources col-

Dr. Joe Webb is a nineteen-

appeared in the New York Times

umn and visited Austin, Texas

year veteran of the graphic arts

and the Wall Street journal. For

to profile its vibrant multimedia

industries. A recognized market-

this issue, O'Leary journeyed

community for this issue's Tech-

ing expert and leading industry

to Switzerland to interview

nology Feature.

figure, he has consulted with a

designer Wolfgang Weingart.

Wendy Richmond is recog-

Warren Berger is a New York-

nized internationally as an inno-

based writer specializing in

vator and commentator on

advertising. His work has

visual communication and tech-

appeared in The New York

nology. She has been involved

Times Magazine, New York magazine, Manhattan, inc. and Advertising Age's Creativity. He

with computer-based media

racked up a few more frequent

chusetts Institute ofTechnology.

flyer miles interviewing the

Southern California. Piscopo is

wide range of firms, including

3M, Agfa, International Paper,

author of Licensing Art and

Design, published by Allworrh Press. She wrote the Legal Affairs column, edited by Tad Crawford.

RitaSue Siegel is chairman

dedicated to the design professions. RitaSue is a frequent contributor to CA; in this issue she's written an Opinion/Commentary column on current job trends.

Books

Polaroid and Xerox. In 1995, Dr.

Byron Ferris has written for

Webb founded the TrendWatch

CA for over 30 years. As a for-

reports and established

mer college design instructor

TrendWatch as a new business

and creative director at McCann

in 1997 with partner James

Erickson, his interests are in

Whittington. He co-wrote the

design, advertising, letterform

TrendWatch column.

and typography.

Her column has appeared in

James R. Whittington is a

Angelynn Grant is a Boston-

principals of Minneapolis-based

Communication Arts since 1984

national small business strate-

based graphic designer, writer

advertising agency Hunt Adkins.

and her book (John Wiley &

gist and marketer with 25 years

and educator. She has taught at

experience in industry and

Rhode Island School of Design,

since 1977, beginning with research in design at Massa-

Sons) is tided Design & Tech-

Philip Krayna is a graphic

nology: Erasing the Boundaries.

designer and head of Four Eyes

14

Pat Soberanis is a San Francisco-based writer and editor.

management consulting. Prior

Studio in San Francisco . He

Kathleen Maher is a freelance

to starting his consulting firm

writes frequently about design

writer specializing in computer

in 1985, Mr. Whittington was

and the media. On the stormiest

graphics of all description. She

a marketing executive with

night of the year he drove to

is also a consulting editor for

Times Mirror's aviation publish-

Santa Cruz to interview the

ing company, Jeppesen

peripatetic photographer

Interactivity magazine and 3D Design magazine. She reviewed

Sanderson. He co-wrote the

Frans Lanting.

DeBabelizer Pro 4· 5 for Windows.

TrendWatch column .

M A y

I J u N E

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9 9 8

the Art Institute of Boston, Simmons College and MIT. Her freelance work ranges from compact discs to Web site design.

View her work on her own site at www.shore.net/ ..-agrant

and ye shall find.

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Letters to the Editor

Eco: Rounding Up Biotech Soybeans

nology is just in its infancy, low cost production promises a healthier life to

As a designer who also farms, I was

many who presently suffer.

disturbed by the luddite article attack-

The enormous challenges of our future require solutions that save energy, labor, resources and money. Genetically

ing genetically altered-Roundup Ready~-soybeans [Eco, January/ February 1998]. Tinkering with natural processes-from the domestication of animals to immunization and antibiotics-is a defining characteristic of mankind. The advancements in plant breeding during the last few decades

altered crops do just that. Harkening back to "better times" is what it has always been: an illusion.

Yours for better design and better farming.

have allowed America's farmers to astro-

DANIEL WILSON

nomically increase productivity and

ZIONSVILLE, INDIANA

thereby "feed the world."

A burgeoning worldwide population,

Dan Imhoff Replies:

coupled with enhanced wealth in the

Thanks for initiating this dialogue. I also grow a fair amount of my family s food.

Ifharvesting a ton-and-a-halfofapples counts as farming, then I guess I could say !farm too.

developing nations, will call forth an even greater demand for commodity grains and their byproducts in the near future. This will put increased pressure on our dwindling farmlands which are disappearing because of development at an alarming pace. Conservative oriented farming is America's best hope for preserving the legacy of our rich prairie soils so our nation and others may prosper. Roundup and similar herbicides allow farmers to plant and raise a crop without disturbing our precious soils. When soil remains undisturbed it maintains its natural consistency and vital nutrients and does not wash away.

It is certainly possible to farm without chemicals, that is the way people have done it since tillage was invented. But, because it is labor intensive and requires non-productive crop rotations to be sustainable, it is really a niche system to be paid for by the wealthy and not

by those who are struggling to live.

Additionally, genetically altered crops have already been developed that yield life-giving medicines. While this tech18

M A y

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Before I answer your comments directly, let me say that, ifanything, my recent article only mildly expressed my misgivings about genetically engineered crops that multinational conglomerates like Monsanto and others are rushing to the marketplace. If you think that my sincere caution about the potential impacts-such as irreversible biological pollution-classifies me as a Luddite, then I accept the accolade. I heartily admit that I am not a technological optimist such as yourself The very companies that are now enthusiastically ushering in the brave new world ofgenetically altered plants, are some ofthe very same who brought us industrial chemicals based upon ever increasing applications of nitrogen fertilizers and chemicals including lead, arsenic, cyanide, methyl bromide, DDT and all ofits cousins, and a whole range of lethal organochlorine and organophosphate products. Each successive technofix for industrial agriculture has been heavily

promoted in the farm magazines and by extension agents in the name offeeding the world with a "no problem, lets go for it!" kind ofattitude. The consequences often took ten years or more to surface. All technologies have environmental impacts and I think it is our duty to critically assess them.

You argue that without these chemicals we cannot feed the world. Certainly chemicals can improve production in the short-run.

But even government agencies have now come to the common sense view that 4· 5 billion pounds ofchemicals used as pesticides each year presents a major hazard to our air and to water safety. If the purpose ofMonsanto is really to feed the worldrather than to maximize profits by selling patented plants which are reliant on their own herbicides-then why don 't you think they just engineered plants that were more tolerant to weeds rather than greater applications ofchemicals?

In my home state of California, farmers are successfully growing cotton, rice, fruits and vegetables and dairy products on multi-thousand acre farms. They are also finding ways ofrotating crops with salable cover crops to restore soil health. Sales of organic food (free ofpesticides, herbicides, hormones and other contaminants) have grown from $I billion in I990 to $3.5 billion in I996, with a 20% annual growth rate predicted by the US.D.A. for the foreseeable future. If we put as much federal money into developing chemicalfree methods offeeding the world, rather than funding agribusinesses, I think we would see significant and welcome developments.

An interest in sustainable farming methods and healthy foods doesn't need to harken back to better times. If we point ourselves in the right direction, we could find that the better times lay ahead.

Letters to the Editor

Yours for environmentally sound forming and design.

sional affirmation to support a keen,

Color Predictions

of orange for 1999· Not for me.

Author Anne Telford's report on Color

The ineluctable fact is this: color selec-

but arbitrary, color scheme. Maybe there's some comfort in having 1,500 cohorts underwriting the same shade

Predictions in your January/February

tions established for next year must

1998 issue tested my gag reflex. I thought

have endurance. Upholstery and drapes ought to survive <Esthetically for at least five years; carpeting even longer.

Even the shade of this year's socks should be "in" until there's a hole

designers had moved beyond this sort of pap. For five years, my firm developed catalogs, packaging and advertising materials for a high-fashion U.S. knitwear company until they were driven out of business by cheap imports.

Errata On page II5 of the January/February 1998 issue, in the Clients and Creatives

article featuring Farago+ Partners Advertising and Barnes & Noble, Inc., the

through the color. Maybe that's why these perennial choices seem so indistinguishable from the previous year.

So why have them? And with fanfare?

Music Department, shown in the pho-

On page 107 of the March/April 1998 issue, in the Rodney Smith article,

describe her new color predictions for

One redeeming innovation in Ms. Telford's report is the use of numbers instead of names to designate colors.

The palette has grown so broad that it would take hours to name every hue.

Yet, I kinda miss those cutesy titles.

that year.

That's where the real creativity lay.

And every year the colors were virtually

But even using numbers can get you into trouble. I notice for example, on

Every season we prepared a presentation for dozens of their salespeople who came in from around the country, eager to see the new lines. Each time we were obliged to set aside an hour for their fashion designer, just returned from Milan, who would breathlessly

the same. Even the vocabulary was essentially unchanged. Words like "jewel-tones" and "pale pastels" were her favorites. The salespeople-and my studio colleagues-would visibly squirm. Now I learn from Ms. Telford that "Gray is the new black" according to one of her informants. What the hell

page ro8, if some designer were to specify No. 33924 they would either get "Inedible Onion Dip Blue" or "Armadillo Urine Gold."

KEN EICHENBAUM

UNICOM MILWAUKEE, WISCONSIN

does that mean? Last year brown was the new black. What happened to black?

I can understand a single industry wanting to collaborate on standardizing colors-like having all appliance makers adopt the same shade of Avocado Green or Harvest Gold or Stainless Steel-so that the consumer needn't buy all their matching appliances from a single manufacturer.

But these "predictions" are valueless unless you need some sort of profes20

historical study and discussion by groups of highly knowledgeable professionals. I think his perceptions on this matter are perhaps colored a bit by his own experiences, which apparently weren't so rosy.

M A y

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9 9 8

[Editor's note: Sorry about the number

tographs at the bottom of the page, was designed by Kiku Obata & Company.

The Graphic Expression should have been credited as the design firm for the Neiman Marcus Annual Report. We were given incorrect information.

On page 147 of the March/April issue, in the Technology feature on Pittard Sullivan, the bottom frame of The Pro Sieben images on the left was inaccurately credited. The creative credits for that image are: Juan Rosenfeldt, designer; Dale Everett, creative director; Beth Elder, producer; Ed Sullivan, executive producer. Also, on page 149, we misspelled Matthieu LeBlan's name.

error; 33924 was listed twice showing two different colors.]

Ms. Telford Replies: I disagree with Mr. Eichenbaum sassessment ofcolor predictions being ((... a keen, but arbitrary color scheme. " Color predictions, for from being ((arbitrary, "are arrived at through a great deal of research,

Address correspondence to: Letters to the Editor, 4IO Sherman Avenue, Palo Alto, California 94306 or send e-mail to: letters@commarts. com. We reserve the right to publish letters and to edit for clarity and length. Please include a signature, address and phone number. Anonymous letters will not be published.

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Letter t o the

Yours for environmentally sound forming and design.

sional affirmation to support a keen, bu

rbitrary, color scheme. Maybe

there'

Color Prediction Author Anne Telford's report on

olor

orne c mfort in h ving 1,500

cohort und rwriting the

m

of orange for I 99·

rm.

The ineluc

.his: colu1 selec-

Predictions in your January/February

..1

1998 i ue tested my gag reflex. I thought

ha

designers had moved beyond thi

orr

h d

for next year must

...:e. Upholstery and drapes

nd

Er t

ought to s rvive <Esthetically for at

On page 115 of the January/February

of pap. For five years, my firm devel-

least five

' rs; carpeting even longer.

1998 1s • e, in the Client and Creative

oped catalogs, packaging and adverti ing

Even the

de of this year's socks

article eaturin Far go+Partner Adver-

materials for a high-fa hion U.S. knit-

should be

" until there's a hole

tisi...

wear company until th y were driven

throug the <..

out of bu iness by cheap imports.

these perennial

pre ntap

pi who

1e in from round the country, e the new lines. Each time

I n, r new color predictions for th t year.

ne r de ming in

n page 107 o the March/ pril 1998

Telford's report i the u

ue in the Rodney Smith article, i n t

olor .

would take hour ton me every hue.

Neiman Marcu Annual Report. We

Yet, I kinda miss those cutesy titles.

were iven incorr ct inform tion.

the same. Even the vocabulary was es entially unchanged. Words like

page 108, if orne designer were to specify No. 33924 they would eit t "Inedible Onion Di

loU'f

er adopt the same hade of old

But th e '1- ed1c 1on '' are valuele unle

y u need orne ort of profes-

MAY/JU

I

9 98

i n hould have

be n credited a the d ign firm for the

But even using numbers can get you

m

r phi

The palette has grown o broad th t it

into trouble. I notice for example, on

izing color -like having all appliance

u Obara & Company.

tinguishabl fr m th pr "' year. th m? And wid ~- ~,~ o why h

And every year the color were virtually

wanting to collaborate on standard-

ottom of the page, w s

es ~ "'"·rn so indis-

That's where the real creativity lay.

I can understand a single indu try

dB rn

·• Maybe that's why

instead o n mes to d

20

i torical study and discussion by hzghly knowledgeable professio hzs perceptions on this matter re perhaps colored a bit b his ow e. periences, which 1parently weren t so rosy.

[Editor's note: orry about the num error; 33924 wa listed twice howin two different colors.]

~

Keeping Promises: Part 2

(/)

.......

rq

~

The Impact ofBrands on Society

BY DK HoLLAND

B

randing presents a relatively new way of working for

designers , since the focus is on the needs and desires of the consumer whose point of view drives the language, the voice an d ultimately, the design. Marc Gobe, president and executive director of the international brand consultancy Desgrippes Gobe Associates, observes, "A focus on customers and their evolving needs is a switch for many graphic designers who have traditionally perceived their role as dictating to the client about <esthetics rather than as partners for building successful brands. Designers need the selfdiscipline to submerge their voice beneath that of the brand. " Language, of all types, is the most serious issue we face today, especially in the communications business, especially in branding. The problem starts as internal confusion, in meetings and memos, spirals out to create conflicting goals among the entire team, and ends up in a pool of chaotic brand images in the marketplace. Philip Durbrow, vice chairman of the international design firm of Frankfurt Balkind Partners, recalls, "When I first started working in branding, it became obvious that there were no clear universal definitions of key words like marketing, strategy, identity, image and brand. I've developed specific definitions so that we are clear on what we are talking about. Fuzzy words yield fuzzy thinking and fuzzy brands. "

Marketing: means making it easy and motivating people

to buy your product-through product design, pricing, packaging, distribution, advertising, etc.

Brand Marketing: is pushing beyond product benefits to fulfill a strategic core promise. It means looking past the tangible to the intangible, accommodating buyers'

practical needs while resonating with their deeper feelings.

Brand Strategy: means deciding which brands are going

to be used to deliver which products and services to which customers. (This may involve usage of global brands , umbrella brands, mega-brands, sub-brands, flanker brands, brand extensions and brand families.)

Brand Equity: is the present value of the future combined

purchases that are a result of the preference created, or the premium paid, for a brand's products.

Improve Your Brand Potential The design of the label on the bottle of Amstel beer

(www.amstel.nl) is not the point of branding, it's the concept of a devil-may-care Dutch youth culture. It's letting go and having fun. It's sports . The point is a highly cultivated Amstel brand image and the very positive emotional attachment Amstel elicits that captivates and holds the attention of a substantial audience. Brands these days have much

Some Definitions

more to do with lifestyle than product lines and are much

There is very little consistency in people's understanding,

more about image than graphic design.

or usage, of brand terminology. To try to assure clarity, we

Olympic skater Tara Lipinski, tennis star Venus Williams

have outlined below, what Frankfurt Balkind means when

and golf professional Tiger Woods (www.tigerwoods.com)

we use these terms.

are all brands-in-waiting for product lines directed toward

A Product: is something that is produced to function and

the active youth market. Whereas Diesel (www2.diesel.com),

exists in reality.

Joe Boxer (www.joeboxer.com) and Phat Farm (www.vibe.

A Brand: has meaning beyond functionality and exists in

people's minds.

com/promo/docs/phatfarm) are three brands that are currently out there on product lines, developed for the active

Product Quality: has major influence on Brand Qualities.

youth culture. There is no shortage of new brand identities to stir into the consumer churn.

Brand Qualities: are the thoughts , feelings, associations

The strength of the brand can be calculated by analysis of

and expectations created by a Brand Identity.

the four major factors:

Brand Identity: is the way in which a brand is expressed

Differentiation (Is the brand unique from others of its kind?)

visually and verbally.

Relevance (Is the brand current with the times?)

Branding: is viewing every customer-related activity as

Esteem (Does the brand deliver consistently?)

part of the branding process and managing it accordingly.

Everything a company does that affects its customer, affects the value of its brand.

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Reputation (How well do consumers know the brand?) 1

All brands start by speaking to the needs and aspirations of

an audience. The aspiration is the brand identity: that's a projection of how the brand wishes to be perceived by its target audience (as opposed to the brand image, which is the way the brand is, in fact, currently perceived).

The constant process of observing and probing is an essential

Knowledge and appreciation of this core concept allows the steward of the brand to develop the mission, build and nurture the market, maintain the brand philosophy, strategy, overall look and feel of the brand and, of course, the logo. What is the audience going to be satisfied with/ disappointed by corning from the brand? What is going to help build a strong brand identity (what would weaken it)? How can the aspirations for the brand identity be reached?

boringly predictable. For instance, I can see there's trouble when I walk down the hall and see a group of MBAs in a

Reread the paragraphs above, substituting the word 'brand' with your own name or the name of a well-known product (or practically any proper noun) and you'll see just how versatile branding can be: And, in fact, you too will be able

on the same team. Bring in a physicist, for instance, if you want to really crack the subject wide open."

to identify not only the next strong brands but improve your own brand potential as well .

The engineers and producers of the software struggled with names, finally settling on Rosetta, a historical reference to

Who's Minding the Store?

The brand steward, usually senior executive from the parent company, must protect and cultivate the immutable core of the brand (about 50%) in order to ensure that the brand remains strong. The steward manages the part of the brand that must remain fluid (the remaining 50%) in order to keep the brand relevant and exciting. Typically we see a freshness and evolution in the brand's advertising and packaging, that's the part of the brand that is constantly evolving. The steward is responsible for overseeing the advertising agency's efforts to promote the brand, to develop brand segmentation internally (i.e., the sub-brands) and to direct the packaging of branded products. The overall responsibility of the brand steward is to keep the brand on course and profitable.

Name Your Brands Write down the brands you are wearing today. Write the promise the brand makes to you (i.e., Nike is athletic, cool , young; Victoria's Secret is daring and sexy) .

Write down what you think your personal image is (i.e., reliable, nice smart guy; wild, smart, sexy gal) .

Now, read the brand promises only. What do they say, objectively, about your image? Would your friends recognize you from this list? Ask a friend what your brand image is. Does it differ from what you wrote down? Do you have a point of differentiation from others? Are you relevant to your times? Are you held in high esteem? Do you have a broad reputation?

Are your brand names visible to the casual observer? Do you mind wearing a brand logo? (If no, why?) Should you develop your own brand logo and wear it?

If the brands you are wearing are your "packaging" and your image is your "product" are they a good fit? How could you improve your packaging to match your product?

Are you a strong or weak brand?

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part of Philip Durbrow's methodology in developing brands.

He says, "We take pains to develop teams with diverse orientations to avoid arriving at branding strategies that are

huddle, discussing how they're going to develop the brand.

Their strategy will be dominated by linear, logical thinking without emotional appeal or uniqueness. When building a brand it's important to remember that strong bonds and loyalty to a brand are not always rational. Often these ties are emotional ones. Mix up linear and non-linear thinkers

Durbrow tells the story of Adobe's efforts to name a product which allowed programs to be read from different platforms.

the Rosetta stone which enabled the deciphering of Egyptian hieroglyphics, not a bad choice. But then Durbrow took a crack at naming the product. His first instinct was that the name should start with an A to alliterate with Adobe to tie the parent company and product together. He arrived at the name Acrobat because, as Durbrow says, "the software performs amazing feats between platforms."

While Rosetta had a feeling of academia and antiquity it was not legally available. Acrobat suggests strong visual images, is easy for a large audience to relate to and has a strong entertainment connotation. Durbrow brought in the marketing perspective that the engineers lacked: Durbrow knew virtually nothing about the technology and perhaps the engineers knew too much.

Brand of Socks: Promise: Brand of Shoes: Promise: Brand of Underwear: Promise: Brand of Pants, Skirt or Dress: Promise: Brand of Shirt or Top: Promise: Brand of Watch: Promise: Brand of Perfume or Cologne: Promise:

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Virgin for Life

Gobe with no name, no scent, but with a will and bankroll

Companies that have broad, strong brand recognition can

to launch a fragrance. Since branding is all about the con-

diversify through their sub-brands more than narrowlyfocused companies. For instance, Brit Richard Branson, a

sumer, designers, including Gobe, had to go through a big

courageous baby-boomer, started his first business in 1968 at the age of sixteen and has cultivated companies in the enter-

branders. He says, "You have to speak the language of the

tainment area ever since under the umbrella, Virgin Group

The challenge is to make a real connection, otherwise it's

(www.virgin.corn). First came Virgin Records. Ten years later Branson branched out to form Virgin Atlantic Airways,

false and the consumer is too savvy to tolerate a fake. "

switch in their process in order to become professional target group. You have to immerse yourself in their lifestyle.

Gobe adds, "Successful brands woo the heart. Consumers then

then a year later added Virgin Holidays. Two years after

respond to their wallet. " In response to this need, Gobe devel-

that Virgin expanded to include Virgin Airship & Balloon Company, Virgin Publishing and Virgin Hotels, among others. Branson, a highly visible and consistently strong

oped a concept called SENSE that provided a philosophy for the development of fragrance brands. SENSE srands

leader, is the very essence of pioneer spirit and innovation. Consumers 'get' Virgin's abstract brand identity

helps identify a product's equities, profiles the customer, ana-

because Virgin's broad target audience identifies with Branson and all he stands for : unencumbered global vision and maverick style. He is a self-proclaimed virgin for life.

for Sensory Exploration + Need States Evaluation. SENSE lyzes the competition and develops an emotionally-charged visual vocabulary that serves as the foundation for the design process. He calls emotion the fifth dimension, the essence of branding. "Corporations are making a conscious move

Apple Computers (www.apple.corn), started by another baby-boomer, Steve Jobs, was also thought of as innovative and pioneering when it first came on the scene, in the 'yos.

impact or speak as directly to your ability to use design as a

But in marked contrast with Virgin, Apple has remained

strategic tool in solving real business problems as if you reply,

known as a manufacturer of computer hardware, creating a

'I'm a brand expert.' Of course, the first question you need

shallow universe to travel in. It's not hard to imagine that

to ask back to the client is, ' Have you a real understanding

Apple could become so much more, especially in the areas

of the commitment required to create and sustain a brand?"'

of education and technology but Apple seems to lack an expansive strategy. And its shaky leadership and financial history have kept the company from expanding.

When reliable statistics are developed about the purchasing

toward branding," Gobe says. "When they ask what you do , the reply 'I'm a graphic designer' does not have the same

Buying Loyalty

Durbrow offers this wisdom, "There is no long-term advan-

power of consumers who are loyal to a specific brand, pro-

tage to having a brand image that is greater or lesser than

grams can be designed that will help to further secure the

the brand really is. If the image is greater than the reality, people will be disappointed whenever they encounter the

consumers' loyalty. For instance, if an individual were to pur-

brand. If the image is less than the reality, the company will never benefit from all its hard work, i.e., the brand won't

that could be a total expense of over $8oo,ooo. Based on

command a premium or create a preference for the com-

$8oo,ooo makes it onto their balance sheets. For instance,

pany's branded products."

chase ten to fifteen Cadillacs in a lifetime, hypothetically, that information, Cadillac may decide how to ensure that Cadillac owners can be made to feel they are part of the family of Cadillac through premiums and special treatment.

The Brand As Asset When included on the balance sheet, the brand's equity is an intangible asset like good will, and its value brightens the parent company's fiscal picture: this is one big reason why companies are eager to develop strong brands. An enhanced financial picture allows the parent company to generate revenue, grow and expand. The brand, which is structured to be easily separated from the parent company, may be sold. The brand may be segmented to increase the market by creating sub-brands which appeal to more specific consumer needs, further increasing the value of the brand.

That locks in loyalty and repeat business.

The Vatican issues Papal Blessings to individual Catholics in exchange for a substantial donation to the Church. Such an annointment is tangible reassurance of salvation. Mafia dons flaunt their generosity to their loyal compatriots in order to reinforce the notion that they 'take care of their own' and, in turn , reinforce an obligation, a dependency, a greater love and fear of 'the family.' Both the Vatican and Mafia are, by definition, potential brands.

Now consider Ted Turner's decision to donate a billion dollars to aid the United Nations's causes, a strong public

It Takes a Big Effort to Walk the Walk

28

relations move for a man of mixed reputation. Turner's dollars

Marc Gobe is a designer and branding specialist. He started

(one-third of his total net worth) will provide handsomely to

developing the branding of fragrances in 1980, an illusive

rid war-torn countries of land mines. This doesn't make you

and challenging task. Clients would come to Desgrippes

love or fear the fabulously wealthy Turner but it does increase

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your respect for him (and, by association, his movie-star wife Jane Fonda). Turner and Fonda are themselves brands

same market. Image comes down to how many times you

and this public act of generosity protects their brand names.

the product in the store where you shop, how much of a

Since all American corporations have a clear mandate to maximize their shareholders' dividends, the act of giving can become a calculated corporate move: Philip Morris

buzz there is out there about the product.

Coca-Cola is clearly an American branding phenomena.

Todd Waterbury, a creative director of Wieden & Kennedy,

donates money to the arts because it's an important strategic move for them. The arts are a righteous cause to support

who works mainly on the agency's Coca-Cola account, gets

and donations are a way to persuade artists and arts' lovers

of Coke. Waterbury, who comes from a design perspective,

involved in the methodology of research conducted on behalf

to continue to support the tobacco giant despite Philip

has developed a respect for well-conducted, focused research:

Morris's despicable core business, supplying nicotine fixes to tobacco addicts. Pressure from companies like Philip Morris forces artists to choose between their funding and

Research that is designed to educate. He says, "Good research results in focused work. But only if the same objectives, the function of the product, is understood by both the research-

their ethics. How does that make you feel about Philip

ers and the creatives before the work begins. For example,

Morris? Or about artists who take the support?

if the research is a room in a house and the creative is the

Denny's Restaurant chain is now a sponsor of Black College

furniture for that room, it makes sense for the people think-

Football. Denny's has attempted to improve its much tar-

ing about the furniture to talk to the people building the

nished brand image after losing a 1994 class-action suit. The lawsuit listed dozens of African-Americans who claimed that they were discriminated against, by either being refused

room. Is it a bedroom or a kitchen? Who's going to live

service or being forced to pay in advance at various Denny's restaurants. But more recently Denny's waitresses have sued for sexual harassment by other employees. And Asians and Filipinos have come forward to make claims of discrimina-

here?" In the end research translates into strategy statements that allow the creative process to move forward. Waterbury says, "What is the core thought? What are we trying to say?

To ask people to do? When the core thought is expressed in a single, declarative sentence, it's actually manageable to create a commercial or a billboard which really does leave the

tion. All of these situations occurred in different cities.

No amount of goodwill gestures can right these wrongs since Denny's is failing to keep its core brand promise''All American food for all Americans."

viewer with the message you want them to be left with. Mter

Unceasing multileveled chess games are being played by

interpreted that passage or that third sentence to mean

many large American corporations in attempts to protect or

something different. Brevity is bravery! "

increase their brand's value. The more egregious the behavior of the company, the higher the stakes. Cigarettes, alcohol, fossil fuels, cosmetics, fur, gambling and weaponry obviously

In the long term, it's the brand's core message that must be honored. "The branding statement has to be honest, relevant.

head the list of product categories with big image problems.

contour bottle and Spencerian script are promises that the

Defending the Niche Since America's publicly-held corporations have a mandate to remain profitable and grow to the benefit of the shareholders, companies are always looking to increase their market share. With all things being equal in the quality of the product, it's the brand image that encroaches into the competition's territory.

Look at the cola race: two pretty average tasting beveragesCoca-Cola and Pepsi-Cola-have been going neck and neck for decades and the race is all about image.

30

see an ad on television, how big the gondola is that displays

all, 30 seconds is only 30 seconds. A single strategy statement makes it clear to the client and agency what's being presented. There's no room for someone to say that they

For example, the Coke brand is the value of constancy. The Coke you'll have in Thailand is the same as the Coke you'll have in Oakland. The challenge for us is always to find ways to make something change and stay the same. " People have a strong emotional attachment to Coca-Cola, it's something they grew up with. And Coke is a part of the history of America. Waterbury adds, "The Coca-Cola headquarters and museum in Atlanta are a testament to excellent management of a global brand: A brand that makes a personal connection for almost everyone. " All the strong brands-Coca-Cola, Nike, Calvin Klein , to name a few-give the impression of unswerving confidence,

Recently when Pepsi changed its trade dress color from red

through their billion-dollar advertising campaigns: And this

to blue because it was felt that Coke owned the color red,

is exactly the kind of motivational leadership our emotion-

the New York Times actually covered the change, noting that this was a rather brazen move since red is "the" cola color.

ally-charged culture craves. Nike's brilliant "Just Do It" cam-

If you check out the balance sheets, you'll see that Coca-

motivational, calculated 30-/ 6o-second spots that speak to

paign from Wieden & Kennedy was a series of intensely

Cola is a fourteen billion dollar company while PepsiCo is

the condition of America's sports-minded youth. Since

only a six billion dollar company yet they're vying for the

Wieden & Kennedy's strategy is to say little and speak vol-

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umes , you can and will interpret these ads in a very personal

key business tools in the middle of this century and, ulti-

way. Dan Wieden, president of Wieden & Kennedy, cites

mately, New York became America's center for corporate

Vietnamese buddhist monk Thich Nhat Hanh as saying, "Thinking by itself has no creative value. It is only when lit

identity and brand exploitation.

by understanding that thinking takes on real substance.

Sometimes understanding can be translated into thought but often thoughts are too rigid and limiting to carry much understanding. Sometimes a look or a laugh expresses understanding much better than words or thoughts." This idea is key to the strategy behind the advertising created for "Just Do It, " which is often powerful and pedagogical in tone, containing a strong ethical subtext.

Since the early part of the century, tourists have gawked with utter amazement at the garish display of consumer culture in Times Square: a virtual cathedral to capitalism. And today, more than ever, the titans in the consumer products industries line up proudly, their billboards like gigantic graphic gargoyles, reigning above Broadway's hustle and bustle. Mixed into this assemblage is an electronic billboard that ticks off the increase in the compounded federal deficit on a second-by-second basis. And the famous Zipper, an

Wieden sees the limitations of time in the 30-second spot

electronic band that surrounds the trunk of a triangular-

in advertising as an obstacle to expressing thought. He says, "If I can't use thought to educate maybe I can use thought

shaped building, One Times Square, like a tightly cinched

to stir up trouble ... maybe I can take an issue and make it so over-heated, so emotional, make this thought so confronta-

land by printing out in ticker tape fashion the hottest up-

tional that you have to deal with it. You have to put aside

belt, bringing another blast of cold reality into this fantasy to-the-second news headlines.

your preconceptions and look again at this issue." Nationally

In the early 1990s the Times Square Business Improvement

broadcast 30-second windows are excellent opportunities to effect change in that way. Wieden says, "Real learning is

District was struggling to revitalize the area and top brands were ultimately a big part of the revitalization. Roger

always subversive. Real learning attacks what it is you think

Whitehouse, an environmental designer who designed the

you believe and makes you think about it in a different way.

new flagship subway station graphics at 42nd and Broadway,

That's when learning takes place."

remarks, "We decided the subway station entrance should

However, the billions of dollars available to agencies like Wieden & Kennedy versus the zero dollar budget of our school system creates a real imbalance: it means we are "learning" much more from Dan Wieden than we are from educators. We are bombarded by advertising images that are teaching by subversion and starved for the same kind of attention from real educators.

Why Here? Why Now? Nineteenth-century New York City was a place of commerce where eighteen languages were spoken by immigrants who

express a brand identity for the New York City Subway, one

"Our shop grows because our creative side at1d our business side work togetl1er.

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all arrived here with little but a dream, ingenuity and drive to invent a new fortune for themselves. The environment in this newly democratic country provided, in general, an incubator for business in which a new visual language could grow and flourish. Because of the great mix of cultures, America became the land of innovation and ephemera.

Brands from those early days (i.e., Levi Strauss, Ivory, Nabisco, Hershey, Ford Motors) are rich with emotionally packed inspirational stories-of immigrant struggles against the odds, of perseverance in the face of disaster and, finally, hard-won and much-deserved success. Many of the early Hollywood movies were based on this American Dream.

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New York was then, and is now, the business capitol of America, and even though a corporation's headquarters might be in Grand Rapids, Kansas City or Cincinnati, when it came to corporate identity (CI), all corporate heads

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turned to New York. Brand identity and CI both became C 0 M M U N I C A T I 0 N

A R T S

33

of New York's great hidden treasures, in just the same way

Little Girls Just Love Barbie™

as Nike or Calvin Klein would do, and as is appropriate for

The concept of Barbie (www.barbie.com) originated when Ruth Handler, a founder of Martel (with her husband) observed their daughter Barbara playing with paper dolls she had made to look like grown women. She was acting out what it would be like to be an adult. After that Handler spent years convincing her designers to develop the aspirational adult female doll we now call Barbie.

Times Square." Even the city of New York is compelled to compete for attention with brand images.

The World is the Width of a Fiber Optic As brands reach sales saturation stateside, they expand into foreign markets in order to continue to grow. The media has made us all aware, minute-by-minute, of situations as they arise in Beijing, Barcelona, Bosnia or Buenos Aires: And so as we get up close and personal with a whole array of cultures, we often see our own American brands staring us in the face from halfway round the world.

Writer Veronique Vienne says, "The Cambodian priest who sips from a can of Pepsi, the Chinese toddler wearing a Joe Camel sweatshirt and the Iranian youth with Converse sneakers are deliberately trying to break away from their traditions. The right logo embossed, silk-screened or stitched on a piece of goods becomes the official stamp on a new passport that gives you permission to put your identity as 2

consumers before your national pride. " It's a reminder that freedom of choice has become a universal aspiration.

Even after Barbie was manufactured in 1959 the sales representatives were not convinced that the doll would sell. So Mattei put together a series of television advertisements to get to the consumer and Barbie became an instant hit. In 1998, some mention of Barbie, this nearly two billion dollar international brand, appears in magazines and newspapers daily.

Controversy about Barbie (the size of her breasts, her affect on the development of little girls, her endless wardrobe) never ceases. Women obsess about Barbie's unrealistic measurements. Little girls obsess too, but not at all in the same way. Barbie is their special friend and she's free to go anywhere, be anyone she wants to be. Barbie provides a Rorschach of infinite meanings for a little girl to interpret, reinterpret. The girl can dress and undress Barbie, act out with her, use her as a mirror through which to pass, with

Why Make War When You Can Shop?

Barbie, into a fantasy grown-up world.

"Jesus wouldn't have had a logo. He wasn't interested in estab-

Mattel, like any manufacturer of brand products, holds focus groups regularly. Recent studies showed that little girls (and their mothers) wanted Barbie to evolve. The last big change had been in 1988 when Barbie took on a glittery, white blonde glamour look. Now little girls and their mothers clearly want her to be updated again. The new Barbie has straighter,

lishing a brand, " observes Paula Scher, partner in Pentagram, "Paul was the marketing guy. The cross is a pretty powerful trademark but it was introduced piecemeal and took a long time to permeate public consciousness. The redesigned swastika for the Nazi party made greater headway through a massive marketing campaign that involved enforcing armies.

"If we took all our favorite logos, Nike, Sony, the Jewish star, the swastika, McDonald's, Gap, IBM, Samsung, Disney, CK, DKNY, Coke, Pepsi and the peace symbol and hung them together in Times Square they would all cancel each other out."

The Vatican's just one step away from that billboard in Times Square. The Vatican Library, according to the Wall Street journal, has given its blessing to the development of lines of luggage, bed linens, costume jewelry, watches, greeting cards and T-shirts, all bearing the Vatican's official seal. What is the core brand identity and strategy of the Catholic Church?

Does the church have a brand steward?

blended hair, smaller breasts, a wider waist and wears less make-up. The updated look will be integrated into the new line of dolls (around roo new dolls come out a year). The changes are subtle and Barbie still looks very much like Barbie to the casual observer, but to a Barbie fan, these changes are monumental. It's Martel's respectful response to the consumer's needs that allows the Barbie brand to remain relevant.

Pushpin develops the Barbie licensing program design strategy for Mattel and I am in the role of design director. As part of that plan, our Pushpin and Mattel all-girl team creates seasonal style guides to be distributed to licensees for use in producing hard goods, accessories and apparel for girls age three to seven. The intuition we inherently have as women about what little girls will respond to almost requires the team to be all female.

Scher adds, "Branding is neutral, it's the products that are good or bad." She also observes, "I like going to Europe and seeing DKNY or Calvin Klein being sold in Paris. It means employment, tax revenues and a healthy economy for the U.S." Scher concludes, "War used to be our biggest export, now it's all our brands. Why make war when you can shop?"

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Recently we wrote a story for a style guide that described Barbie walking down a beach picking up starfish to take home. Martel's legal department, which is, of course, female, informed us we had to change the starfish to a shell in the story "because Barbie would never do anything to disrupt the ecosystem." This kind of statement is always said with great affection and respect for Barbie.

"I need to show beauty in its purest form . "

•13

~ Free research always. For images and catalogs call 800 234 7880 .

TONY STONE IMAGES A PART OF GETTY IMAGES

Tarnishing the Brand Roy Rogers became a chain of restaurants (you knew and trusted Roy, so you'd eat in his restaurants). Pee Wee Herman became a line of dolls, a series of movies and a television program. Pee Wee (a.k.a. Paul Rubin) was arrested for masturbating in a porno theater. This appalling behavior didn't fit his brand image so you no longer trusted him: you no longer wished to know him and his empire collapsed. No more Pee Wee, just Paul Rubin the man who created Pee Wee. Elvis Presley's manager realized Presley's marketing potential in the 1950s so Presley became one of the first and biggest brands ever merchandised (and his fans have remained faithful despite tales of his drug use and womanizing).

Such are the ebbs and flows of Hollywood. The stars, often not the movies they star in, are the brands. Star Wars is a brand because it had emotional appeal and sequels. Harrison Ford is a brand. He consistently represents the principled, sexy, American male. Lassie is a brand, however, when the current Lassie dies, another collie will do just as well.

Mel Gibson's Braveheart had no value as a brand: it had no sequels. We know what Mel Gibson stands for: To men he's attractive, a good role model. To women, he's attractive, sexy, charming and daring. And we know about his real life (he's a family man, religious) because we read about him constantly in People magazine and other weeklies and he's on radio and television's magazine-format shows. Gibson provides both a strong fantasy and reality image which is very attractive to the public.

in 1982, when I was introduced to a 90-year-old native woman, a virgin, who had never been off the island and spoke only Ibizanco. She wore the traditional brown headdress and floor length dress of an Ibizanco matron and rarely spoke to foreigners. But she watched television and "Dallas" was her favorite show. This she told m~ through my friend who translated for her. She asked me excitedly what I thought of some of the characters on the show. Europe was two or three years behind in television, and I told her that J .R. had been shot and that Pam Ewing had been taken to a mental hospital. The bad news of Pam was very upsetting to her and she cried because Pam was very real and dear to her. It stunned me, not only because she was so captivated by this Hollywood-ized soap opera but because she empathized so strongly with Pam-a 'good' person, but someone who was, in every other way, her exact opposite.

Because brand loyalty is largely emotional, it's also inscrutable, fickle and easily bored. But it's universal that, by and large, loyalists want their heroes to be (while allowing for some minor human failings) consistently decent human beings. There will never be a Hitler Airlines, Manson Baby Food, nor a line of Nichols & McVey Fertilizer.

But then again, there is the Belgian-made Black Death Vodka, a product first imported by a distributing company in California in 1991. The following year the Bureau of Alcohol, Tobacco, and Firearms, which asserted that the liquor's name and logo created the "misleading impression of bubonic

Durbrow's firm, Frankfurt Balkind, is a leading force in the marketing and branding of movies. He says, "The flood of

plague and poison, " sought to ban Black Death's sales in

movies exported to other countries has branded America in a rich and deep way that has created American brand appeal, and other countries are clamoring for American products, culture and lifestyle. Who aspires to 'Russian' or ' Chinese'

just too absurd to argue that consumers were confused and

lifestyles? Who pirates Korean or Bosnian branded products?

Entertainment has provided us with great communicators. " In fact, this is no longer exclusively an American phenomena. Russia recently changed the value of the ruble and, to avoid hysteria, orchestrated a campaign to educate its citizens by employing the most popular Russian actors to explain the switch to the Russian population via the boob tube.

We are all fixated on glamorous public figures. We probably know more intimate details about Elizabeth Taylor, Michael Jackson, Lady Diana Spencer than perhaps we know about our own personal friends. It's easy to know about Elizabeth Taylor's tragedies: she's never going to call you on the phone and beg for your help in a crisis. And you can weep for joy in private when Michael Jackson has his second baby, if he is someone to whom you have a secret emotional attachment.

Unlike the communication you have with your friends and intimates, this is voyeuristic knowledge and you're not responsible for taking any action to intercede, whatsoever.

38

I was vacationing on Ibiza, an island off the coast of Spain,

M A y

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the U.S. On appeal, the government lost: perhaps it was thought they were buying the black plague in a bottle. Let us never lose our sense of humor, including black humor.

Branding Dead Artists Over a quarter of a million people attended "Monet in the Mediterranean," recently at the Brooklyn Museum (www. brooklynart.org/monet). Admittance to the exhibition was

an additional charge and often required reservations. With all these barriers, the show still raised a huge amont of revenue for the museum. To capitalize on Monet, the Brooklyn Museum also created a restaurant called Cafe Monet which, by itself, brought in over a million dollars in revenue as well as a gift shop with licensed product carrying Monet's images.

While the cafe was appropriately tasteful and didn't exploit Monet's image beyond the use of his signature, the gift shop was a travesty. Since the essence of Monet's work is abstract light and color, you would have anticipated seeing products using great textures, airiness and amazing pastels applied to product. The products were very poorly conceived. They were dreary in color: The image of the Doge's Palace in Venice was reduced to a gray blob on a 2" x 2" refrigerator

magnet. That a museum would allow this to happen for the sake of increasing reven ue struck me as endemic of a problem of branding. There is no brand steward protecting the differentiation, relevance , esteem and reputation of Claude Monet. He has, in a sense, fallen victim to the public domain. And so it goes for Renoir, Degas, van Gogh and many other artists whose work now indiscriminately adorn umbrellas bags and scarves for sale.

Intervention Paul MacCready (www.aerovironment.com), chairman of

powerful than government, Cohen has mobilized 400 top executives from different companies and formed an organization called Business for Social Responsibility to use collective pressure on Congress to redistribute wasted defense funds for use in under-funded social services and programs.

Powerful volunteer efforts like these need the support of designers, writers, photographers, digital artists , illustrators.

People with talent-like you. Buckminster Fuller's words of 30 years ago were never more apt: "There are no passengers on spaceship earth, only crew. "

Aero Vironment and the genius behind human, solar powered aircraft and the electric car is emphatic in his message: "The

Keeping Your Own Promise: Making Some Hard Choices

point is the fight is over. We have dominated. We have won a battle we did not realize we were fighting (and in winning

We have to believe that good wins out over evil, it's an integral part of human nature. Without that belief, we are

a battle have lost a grander war). Ten-thousand years ago,

hopeless. We want brands to reflect a high level of ethics.

before agriculture and civilization, the human portion (humans and their livestock and pets) was less than o.r% of the total integrated mass (of flesh and bones). Now the o.r% has grown to 97%, and the wild animal portion that was over 99.9% has fallen to 3%."

One example of how wildlife is dwindling is the bison slaughter on the Great Plains in Montana (www.buffalo@ wildrockies.org) where the Department of Livestock is killing bison and bison calves. The ulterior motive may well be to make space on the p lains for more cattle (www. mcdonalds.com; www.burgerking.com) since cattle and bison can't share the same land. Does the Department of

But we also want brands to reflect the state of the world in a realistically positive way. And our awareness of the brand's ethics, true or not, can motivate us to buy.

R ufus Jones, an eminent Quaker and founder of the American Friends Service Committee, once observed, "There is an underived ethical core in us, or at least, in some of us , which gives us a fixity of soul for that which ought to be. " We, each in our own way, have a need to reconcile our existence with the meaning of the universe, to work towards what "ought to be. " In the same vein, Jones says that conscience, "is that basic

Livestock understand the environmental impact of killing all

foundation of the soul which the mystics called 'synteresis,'

the bison? Or do they view the situation with blinders on?

or junction of the soul with God. It is what Kant calls the

MacCready, whose company motto is ' Doing More With Less,' has become focused on the need to change the educational system in order to alter our environmental/technological trajectory. He thinks that the ability to think about the big

categorical imperative, or the soul's fundamental assertion of a distinction between right and wrong. " The development of conscience is an affirmation that we homo sapiens are truly an evolved species .

picture gives people a basis to build reality on . He says, "My

In fact, we are starting to take personal responsibility, to

goal is a desirable, sustainable world when my children reach

demand that brands respond to the state of our environ-

my present age, not a habitable world. Environment is just one aspect. Bioengineering, the redesign of humans, is another.

ment, protect our natural resources and respond to our increasing world population. We now know that we can't

An additional aspect is information technology with benefits

leave it to the next generation to fix.

through linking the world's inhabitants ... My interest in education is that, since human minds are now the most powerful

This new focus of what "ought to be" is going to require us

force on earth, their thinking (or non-thinking) underlies all

are acceptable, what packaging is acceptable. Like letting

the challenges for the future oflife on earth ... Schools mostly reward students for learning, not thinking (with some exciting exceptions). We need revolutionaries creating a future, not sheep preserving past habits. " When we support brands that

to make different decisions in our lives like what products brands know under what conditions you will continue to support them, like who we'll work for, like who gets the use of our money. They need to hear this from you, from all of us. Because they is us. •

contribute to the destruction of the environment, we are stoking the furnace instead of putting on the brakes .

Ben Cohen (ben@benjerry.com) of Ben & Jerry's understands the urgent need for activism. And he sees a huge potential reservoir of capital in the government's defense budget. Understanding that business (e.g., brands) are more 40

M A y

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Editor 's note: Part one appeared in the March/April issue.

Notes I. "Building Strong Bra nds," D avid A. Aaker, Free Press.

2 . Veronique Vi enn e, " Brandin g: A U niquely American Pheno menon ,"

Communication Arts, Au gust Photography Annual 1997.

(

/

INSERT MIDDLE

FINGER

INSERT INDEX

/

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n a reader's survey conducted last year, and reported by

Patrick Coyne in his Editor's Column, 44% of the survey participants said their greatest business challenge was in keeping up with technological changes. It is still an

46

digital photography experts in our market, but not until after a one-year learning curve and much chest-beating!"

Brian Tremblay, Brian Tremblay Photography (Ontario, Canada), feels, "In my market, the customer is more con-

important question today. How do you keep track of new equipment and software upgrades? How do you decide what is right for you?

who tries to keep up with technology can be like trying to

First, decide if your business is client-driven or technology-

especially in the areas of digital imaging. You always have to

driven. Those freelancers that are "client" driven wait until there is an actual need, expressed by job requests, for the new technology. Those "technology" driven pursue new and developing techniques for the joy and competition of the pursuit. The choice of method reflects the freelancer's personality and their client base. There are strong feelings on

have the fastest, clearest, most up-to-date equipment. Somelatest gizmo, but not having the market to exploit it in order to earn back his investment."

both sides.

along. It is very important to stay aware of what is out

Joel Becker, Becker-Cline Digital Photography (Norfolk,

there, but only adopt what you truly need to accomplish

Virginia), says, "We decided it is inevitable, so we better get

your already created goals. It's too easy to get sucked into

the jump on the competition. We are now considered the

what the technology manufacturers tell you that you 'must

M A y

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cerned about value for their money. I think a photographer keep up with the Joneses. Technology today is a money pit;

times a photographer can fall into the trap of wanting the

Stephen Webster, photo-illustrator (Columbus, Ohio), says, "Don't jump on every whiz-bang bandwagon that comes

Buy low and sell high, they say, is the secret to success. We take care of the fi rst part. Our royalty-free stock photography disc titles offer all the quality and variety you expect from the best stock agencies, combined with unbeatable value and convenience. So when choosing stock, let the market decide. Call us for a free catalog of more than 100 titles, including our new Master and Objects Collections, or visit our web site to download images.

Orders/free catalog: 800.545.4514 Fax: 760.634.6510 Web/free comp images: www.digitalstock.com E-mail: sales@digitalstock.com ~ 1998 Corbi.s Corp. Digital Stock. the Digital Stock logo. and Garbis are trademarks or registered trademarks ofCorbi.s Corp. 760.634.6500.

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have to survive.' Talk to your peers who have worked with

with ads, making a profit. Now that my contract is up with

the technology for awhile before investing your time and

Time Warner, my site is being bid on by many big players, all

money into something that may not help you enough to

Fortune 500 companies and Time Warner is bidding too. The

justify your output." But Stephen has other reasons for

best part about all this is that it feeds everything I do for my

making new technology decisions, "On the flipside, the

photographers; I have learned first-hand what works and

communications technology has been a godsend. When I

what doesn't on the Internet by being a pioneer and playing

got into the business, fax was a novelty, then a must-have.

Along comes the Internet, which allows me to work with

with the big guys. Know clearly what you want to accomplish from your Web site-then design it around that goal.''

anyone in the world 'real time' from Columbus, Ohio. So

Here is a checklist of factors that everyone agrees are critical

for me the Internet has become part of the standard 'equip-

to keeping up with the technology times:

ment' in my studio. But once again, it works for my market and may not have any application to another photographer."

Eric Wilson, president of PuddleTown Graphics, Inc. (Gold Bar, Washington), plans ahead to keep up with new technology. "The technology that PuddleTown Graphics deals

3. Find a tech guru or two and get to know them before you need to know them!

with on a daily basis changes approximately every six months.

4 . When learning new technology, start with some longtime interest, such as music or fine art.

We are constantly reassessing new computer hardware and

5. Plan the time to explore and research , don 't wa it for it.

software that will allow us to do our work faster or gain a

6. Absolutely love what you are doing or change

competitive edge. I spend a great deal of time surfing the

directions now, before it is too late and you feel you

Web, talking to vendors, attending trade shows, reading

have invested too much to do something else.

magazines and asking questions of my peers in the 3-D

Perry Van Schelt, illustrator and designer (Salt Lake City,

industry. Through each of these avenues, I and my company

Utah), started his freelance business in 1984 as an airbrush

gain a different perspective on the advancement of technology and a perspective on the possible value of those advance-

illustrator. After five years of denying new technology he started to experiment, but discovered the computer alone

ments. I am concerned that if I didn't spend the time

doesn't make the artist. The real secret is not so much keep-

researching technological advancements in my field, one

ing up with the latest upgrade of software or hardware. It is

day I would wake up and realize that not only have I

the knowledge and skill of your art. Perry says, "I have an

missed the train, but the entire depot is gone."

Tad Crawford, publisher of New York-based Allworth Press (and CA's Legal Affairs editor), offers another approach, "One important way that we keep up with the new technology is to use consultants. We often use outside suppliers, so we benefit from the specialization and skills that they have developed. In terms of in-house expertise, we use con-

understanding of light, color, design and do know how to draw. A foundation in drawing and painting is very important and it allows me to be more of an artist as opposed to a guy that has to rely solely on the computer. Working my ideas out with a pencil and a piece of paper still proves to be the most intuitive process for me. People I know are so caught up in the technical aspects of the computer that they

sultants both to set up systems and train our staff." New

can tell me all the ins and outs of every micro chip. As an artist I am not convinced, looking at their work, that is

York representative Susan Miller says, "I find keeping up

how to produce effective creative work on the computer.

with the challenge easy because I love technology. I am so

Bottom line, if working at the computer isn't 'flowing,' you

curious about technology and love the communicative

probably need to learn more. I don't think we need to feel

aspects of the Internet. It is the most creative form of our

so threatened and inadequate if we don't read every publica-

times. I want to be in the midst of all that is new and devel-

tion that is out there. My desire to use the computer drives

oping. About two-and-one-half years ago, one of my photog-

me to learn what I need. You will learn what you need to

raphers dared me to make a mass, commercial enterprise

fulfill your creative objectives. The best musicians appear to

separate from my business, using everything I taught my

play effortlessly and their music seems to just flow. This is

photographers to do to promote their businesses. So I did!

what I am after in using the computer. " •

I now have a huge Web site on Time Warner's Pathfinder site (not about my main job, photographer's rep) that is highly successful, and approaching a million hits a month, filled 48

1. Read at least one high-tech trade magazine each month.

2 . Go to the Internet trade shows .

M A y

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© 1998 M aria Piscopo

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COLOR.

Sales Opportunities

W

hat are the best new sales

excitement over new media, print pro-

opportunities in 1998? In-

jects are still paying the bills. Collateral

also strong among agencies (44%), de-

ternet-related projects for ad

print ranks highest among art directors

signers (25% ) and photographers (46%) .

opportunity for all creatives (42%), are

agencies and designers; stock photogra-

in agencies-75% list collateral as their

Mid-sized agencies also see direct mail as

phy for commercial photographers; and

number one sales opportunity. Almost

a good opportunity (58% ), more than

direct mail, collateral print and corporate

two-thirds (62%) of designers say the

large agencies (29%) .

identity projects for all practitioners.

same. Only 19% of commercial photog-

With business start-ups remaining

Print is not dead, irrespective of what

raphers see collateral as an opportunity.

some futurists are saying. In spite of the

Direct mail projects, the number one

strong in 1998, corporate identity projects are the number two sales opportunity for designers. Small agencies see

Survey participants were asked to list the best sales opportunities for their firm in the next twelve months.

working with start-ups as an opportunity (29 % ) compared to less than 10% for mid-sized and large agencies.

Arll'atisiJJg AgcJJcics Collateral Print

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Corporate Identity

. . . . . . . . . . . . . . . . . . . . . . . . . . 49

Stock photography is considered by 52% of commercial photographers to be their number one sales opportunity. Many are investing in the digital tools needed to enter this business on their own.

Internet Web Page Creation

. . . . . . . . . . . . . . . . . . . . . . . . . 46

Art directors at agencies, along with designers , see Internet Web page cre-

Direct Mail

. . . . . . . . . . . . . . . . . . . . . . . . 44

ation projects as one of the top oppor-

Public Relations Projects

tunities (46% and 37% respectively) .

The mid-sized shops with 5-9 creatives

. . . . . . . . . . . . . . . . . . . . . . . . 44

rate this highest at 58% . With the Inter-

Gmphic lJcsigJJcn

net developing as a viable and vital communication service and sales chan-

Collateral Print

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

nel, more shops will be acquiring the necessary expertise to offer competent Internet- and Web-related services.

Corporate Identity

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Packag ing

Designers who plan to buy PCs are more

. . . . . . . . . . . . . . . . . . . . . . 40

likely (24% compared to 8%) to see

Annual Report, 10K, Corporate Brochures

database services as a sales opportuni-

. . . . . . . . . . . . . . . . . . . . . 38

ty than their Mac-buying counterparts.

They also plan to do more multimedia

Internet Web Page Creation

. . . . . . . . . . . . . . . . . . . . 37

design/creative projects than Mac buyers (59 % compared to 36%) .

I >J,o togmph en

Emerging trend: More shops indicate

Stock Photography

an interest in building virtual organiza-

. . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

tions by using outside contractors who

Direct Mail Projects

. . . . . . . . . . . . . . . . . . . . . . . . . 46

are flexible in both talent and location to better serve clients. •

Catalog Projects

. . . . . . . . . . . . . . . . . 32 Digital Photography Studio Services

. . . . . . . . . . . . . . . . . 32 TrendWatch

Book/ Magazine Projects

www.t rend-watch .com

. . . . . . . . . . . . . . . 27

partners@trend-watch .com (401) 568-9899

52

0%

10%

M A y

I J u N E

20% I

9 9 8

30%

40%

50%

60%

70%

MAKE LAS

SEE

•

Send for your complimentary PhotoDisc®Starter Kit with more than 3,200 low-res com ping images on CD-ROM (a $19.95 value). The book and CD are a great introduction to the PhotoDisc collection of more than 60,000 royaltyfree images. We'll also include our new Image Finder'M disc, with thumbnails of the 25,000+ images in our CD-ROM collection and keyword searching software. Fill out the form. Fax it back. Go wild.

Special for Communication Arts readers: To get your free copy {$19.95 value) of this stunning book and discs, simply complete this questionnaire• and fax it back to PhotoDisc at 1 206 441 4961.

Allow 4-6 weeks for delivery.

Name

Title

Company Address

Questions? Call 1 800 309 4338.

• PhotoDisc will not provide your name

City

State

Phone

Fax

ZIP

and address to other companies.

Email

Are you already a PhotoDisc customer?

Yes

No

Do you have Internet access?

Yes

No

How would you describe your industry? {please choose one only)

Design Firm

Marketing/PR/Events/Promotions

Ad Agency

Telecommunications

Finance

Education

Manufacturing

Web/Multimedia Development

Entertainment

Consumer Products

Healthcare

Publishing

If yes, please fill in your customer number: _ _ _ _ _ _ _ _ _ _ _ _ _ __

Prepress/Printing Software/Hardware/Electronics

Other: - - - - - - - - -- - - - --

How many people are in your company?

1-5

26-100

101-500

500+

In which department do you work?

Design/Creative Services

MIS

legal

Manufacturing

Public Relations Sales

Marketing/Marcom

Printing

Purchasing

Customer Service

Accounting

Web Development

Other:

16-20

20+

6-25

How many designers are in your department?

1-5

6-10

Who is your primary design audience?

In house

Clients/Prospects

How much of your photography comes from:

Selections should total 100%

11-15

Training

Both

Traditional stock (transparencies)

0%

25%

50%

75%

100%

Custom commercia l photography

0%

25%

50%

75%

100%

Royalty-free digital photography on CD-ROM or from the web

0%

25%

50%

75%

100%

other

0%

25%

50%

75%

100%

How much do you spend annually on stock photography?

$0-300

$301-1,000

$1,001-3,000

$3,001-10,000

$10,000+

What type of photographic imagery do you use most often?

Sports and Games

Business and Industry

Social Issues and Government

Abstracts

Food and Beverage

lifestyles and Culture

Medical and Healthcare

Agriculture

Nature and landscapes

Religion, Myth and Fantasy

Wildlife and Animals

Education

Science and Technology

Travel and Transportation

Other:

To get a free PhotoDisc®Starter Kit, fill out the survey above and fax it back to 1 206 441 4961.

source code: CAB

AS -11

One free Starter Kit per customer. Offer good through December 31,1998 or while supplies last, US and Canada only. Additional Starter Kits available for $19.95 plus shipping and handling. Allow 4-6 weeks for delivery.

~ PHOTODISC® \...__ A Better Way to Get the Picture ®

The r e Then

Ar e

The r e

Awards.

Ar e

Honors.

Ho n o r s Honor is attained not by accident, but by doing what few others can do. Knowing this, Beckett Papers will recognize the most talented graphic designers and printers in the world in a competition known as Beckett Honors. Entries for this semiannual competition must be received before June 5, 1998. The next judging will be he l d in Dallas and those honored will be announced in a future Beckett Papers ad. For entry forms, contact the Beckett Idea Center at 1-800-423-2259.

There are plenty of ideas out there, but only the absolute best receive Honors. \SO YEARS

Great Ideas Demand Grea t

Pap er s.

~ Bedlett Papers

Bianco & Cucco Like Wine and Water

BY EDNA GoLDSTAUB-DAINOTTO

C

oming up with a logo is the hardest thing, especially for

Bianco & Cucco's logos refuse to "behave" and stay put in the

yourself," says Susanna Cucco. With Giovanni Bianco, she

corner of a business card or stationery. Instead, their presence

runs Bianco & Cucco, one of Milan's most thriving graphic

radiates, often taking over the entire space: the Adrenalina logo

design studios. "We argued about a lo go for months and

spins in a blue field on the firm's business card and envelope;

months." One day, a friend showed them something she had

likewise, the logo for MM, a Brazilian communication associ-

scribbled: an odd-looking animal, its large, toothy jaws wide

ation, is an expanse of a biomorphic-looking membrane in red

open as it spits fire, its tail ending with an arrowhead. "We fell

and orange.

in love with it, and have never fallen out of love with it since."

At once friendly and aggressive, wild and elegant, the dog/ dragon that adorns Bianco & Cucco's stationery perfectly represents the spirit of their studio.

Bianco & Cucco's winning combination of clever, often irreverent ideas and flawless execution has much to do with the experiences and assets each of the principals brings into the partnership.

Giovanni Bianco and Susanna Cucco-both 32-years-old-make

Since it burst onto the scene in 1994, Bianco & Cucco has

an odd couple: he is Brazilian, the son of Italian immigrants,

managed to assemble an impressive portfolio, having worked

trained in fine art; she is the daughter of an Italian father and

for clients as diverse as H. Stern, the prestigious jewelers and

an English-Scottish mother, brought up in Rome and trained

Dolce & Gabbana, the spunky fashion designers. With a studio

in graphic design in London. Cucco left her position as senior

in Milan, a base in Sa6 Paolo and a new office in New York,

designer at London's Lewis Moberly design consultants and

Bianco & Cucco is fast gaining visibility on three continents.

moved to Milan in 1991. While making the rounds with her port-

The secret of their success is a combination of innovative, often

folio, she went for an interview at the studio of veteran designer

amusing concepts, unusual materials and impeccable attention

Gio Rossi. The interviewer was Giovanni Bianco. "You are too

to detail. The partners view their productions-fashion catalogs,

good, " he said to her. "Why don't you wait for me , and we will

posters, even party invitations-not as ephemeral pieces of paper,

work together. " A year later he left Rossi and the two opened a

but as objects that have a use even after their stated mission has

design consultancy, which became Bianco & Cucco in 1994·

been achieved. A catalog for Triton, a Brazilian fashion house

The partners had a stroke of luck when a friend of Bianco , who

catering to teenagers, for example, was conceived as a kit: its

was working for Dolce & Gabbana, introduced them to his

pages, when unfolded, became posters, while others turned into postcards to be detached and used. To get guests in the

employers. Consequently, the youth-culture, high-profile company became their first client.

mood for a Dolce & Gabbana party, Bianco & Cucco designed an invitation printed on an actual 45 rpm record of disco music.

Another invitation, for a D&G runway show, included a bag of bubble bath: "something fresh, a bit smelly," explains Cucco.

True to their expected roles, Bianco is mercurial, informal, his talk is accompanied by expansive gestures and punctuated with amusing sound effects. Cucco is intense, reserved and articulate. Describing their differences, Bianco observes: "My family

Even logos, those solemn corporate identity symbols, become in their hands novel and surprising. The logo for Adrenalina, a Brazilian film company, consists of a line winding nervously

has the culture of the street. My whole experience is based on that. I am intuitive, I like absurd things , colors, plastics. Susanna

around a black, pear-shaped, void. Evoking a film spool, the logo also communicates the heightened energy suggested by the company's name, and, at the same time, emanates an ineffable homespun charm. "Like everything else we do, we approach a logo as an idea, something that starts without a shape or form, and we take it from there," explains Cucco. As a result, 56

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Right: Forum Primavera Estate 97/98 catalog . Forum is the leading fashion house in Brazil with more than 130 stores and has just opened one in New York . This photo shoot took place in the Amazon. Giovanni Bianco/Susanna Cucco, art directors; Nathaniel Goldberg, photographer; Jane How, stylist; Fulvia Farolfi, makeup; James Brown, hair; Missy Rayder/Katy Braitman/Cedric, models; Tufi Duek, Forum Brasil, client.

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Not surprisingly, a Latin beat pulsates through much of Bianco & C ucco's work. Most notably, it appears in projects for their biggest client, Forum, a Brazilian fashion giant that owns 130 stores. For the Winter '95 collection, the designers conceived a book tided "Welcome to Brasil. " In a tribute to Rio de Janeiro, three young local photographers were hired to document the adventures of a couple discovering the city during Carnaval, commemorating the city's grit and allure in the process. The Latin theme was picked up again in the Summer '96l'97 Forum catalog, this time as staged portraits of professional models and Brazilian celebrities. Taken against colorful, often -~X

gaudy backdrops, the style of these glamour shots evokes the

~

tacky studio portraits of Latin American photographers. One

~

step up the tacky ladder is 24 Hours, a limited-edition book for Forum with photographs by Ellen Von Unwerth, which takes its inspiration from telenovelas-a fundamental part of Latin

comes from a completely different backgro und. She is elegant,

American popular culture. The lavish, award-winning volume

rational. Her father is a lawyer, my father was a fruit vendor.

We are like wine and water." They are repeatedly asked whether

sexy "chicks. " In a sequence of high drama, we witness a hand-

they are romantically involved. They are not. Still, their rela-

some masked gangster running with a briefcase at 5:II. At 6:37

tionship is comp lex, and often explosive . The partners con-

a yo ung woman in a minimal black dress opens the gate, pre-

stantly argue before finally agreeing on a so lution to the problem at hand. Notes Cucco, "It's a bit of a nightmare,

sumably for the getaway car. At 7:33 the gangster relaxes on an

because we constantly fight, but at the end of the day, we are left with the essence of it-the best idea always wins." More

alarming rapidity from one scene to the next, but a strong sense of plot and tension remains beyond the display of Forum's

often than not, Bianco comes up with a "wild" concept, while

seasonal offerings.

Cucco tames it with sumptuo us packaging, or exquisite cropping and layout.

relates a day in the life of a group of sleazy gangsters and their

easy chair in a garden. The protagonists change clothes with

Besides being an effective way to show a collection, telling a story is almost an ideological point for Bianco & Cucco. Narrative

One of their "classic" creations is the D&G Winter '95l '96 catalog, sandwiched between two thick layers of foam. When they were assigned the project, Bianco & Cucco were asked to use backstage shots of the collection, given to them by the client.

The photographs, vaguely evoking space age, were not easy to work with, and the designers were at a loss, trying to figure out how to integrate them into the catalog. That night, while doing the dishes , Giovanni Bianco looked at the sponge in his hand, and something clicked: "I saw these imaginary galaxies, worlds different from ours. " That's how the idea of the sponge was born. To enhance the concept of space, computer-generated illustrations resembling planets were added and a narrative component was introduced, with fictional stories about living

can give a rhythm, add mystery and transform a run-of-themill catalog into a picture book. A plot can also serve as a clever marketing tool. When they were asked by H. Stern, the distinguished jewelry chain, to produce a book commemorating the company's 50th anniversary, Bianco & Cucco commissioned a copywriter to write fiction stories accompanying the different sections of the book. "We were trying to get away from corporate writing style, the usual '150 stores around the world'," explains Cucco. "The idea was to avoid a chronological description of the company's history, and convey its values-elegance,

This page: Giovanni Bianco and Susanna Cucco.

in Cyberspace. The end product is described as a "space snack."

Later, other interpretations came forth: "It's a sandwich, it has a

Right: Packaging for I Coloniali, a line of bodycare products from Italy that

filling," remarks Cucco, complementing Bianco's intuitive

Atkinsons Unilever, client.

response with a cerebral layer: "it relates to the 'paninari cul-

Triton Autumn/Winter 97 catalog. This line is produced by Forum for the

ture ,"~an Italian phenomenon of middle-class teenagers who

youth market. The catalog is a visual record of a group of kids that hang

has become popular throughout the world . Susanna Cucco, art director;

out in a loft with a stereo and a video camera. Giovanni Bianco/Susanna

hang out at fast-food joints, and who, incidentally, make up a

Cucco, art directors; Steven Klein , photographer; Edward Enninful, stylist;

hefty slice of D&G's market.

lucia Pieroni, makeup; Gavin Harwin, hair; Triton Brasil , client.

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BIANCO & CUCCO

creativi ty, durability-th rough narrative text." T he luxu rious

someone's uncle, our cleaning lady's daughter, my boyfriend

book is prin ted in metallic inks in an improbable combination

came, too," recalls Cucco. For accessories, they used flea market

of luscio us p u rple, orange and sky blue. "The colors evoke the

finds from Cucco's collection. The catalog is a dream-like

colors of gems, " comments Bianco. The designers also wanted

visual diary of the young woman's journey home: her unex-

to avoid stand ard jewelry p h otography"-a glamorous model

pected road adventures, her romantic reunion with a lover, and

wearing a ring, bracelet or necklace. T he mo dels featured in

the way back, to ld in large , beautiful double-page spreads.

the H. Stern book d on't wear the jewels, and, for the most

As it happens, she also manages to sport twenty outfits from

part, are not glamoro us. They include a boxer, a child and an

the company's collection .

old woman, who, incidentally, runs a take-away joint across

While producing projects for their clients, Bianco & Cucco got

from Bianco and Cucco's house in Sa6 Paolo . "We didn't want

an appetite for a project they can call their own. A sponsorship

models to wear th e jewels, because they would compete, "

from Polaroid helped put the idea in gear: "Pipoca" (popcorn

Bianco remarks. "We wanted them to coexist, the beauty of

in Portuguese) is an undertaking involving 180 people's response

the jewels resonating the beauty of the h uman body, and vice

to fashion . Fashion designers, models, stylists, journalists and

versa." Through ar tful cropping, each d o u ble-page spread

regular "fas h ion victims" were given a bag of popcorn , a

b rings ou t one aspect of h u man beau ty: an eye, or a caressing

Polaroid® camera and complete freedom to express themselves.

gesture, echoed with a soft, rounded image of a jewel across

The list of Pipoca participants includes luminaries such as super

the page. It may seem surprising that a traditional company

designers Romeo Gigli, John Galliano and Isaac Mizrahi, and

like H. Stern would choose a studio known for its racy pro-

supermodels Kate Moss, Shalom Harlow and Naomi Campbell.

jects to pro duce its premium p ublication, but for Cucco, it

Bianco & Cucco are planning to publish a book with a selec-

was a natural choice: "It was one of these chemistries. They

tion of the images, and mount exhibitions in Paris and Milan.

were ready for something more innovative, and that's what

If all goes well, this will become an annual project, with the

we gave them ."

theme changing each year. Why embark on such a project when

Not all of Bianco & Cucco's clients have generous budgets, or

you are already so busy, running one of the most sought-after

exquisite products . "When we accept a project, we try to do

design studios in Milan? "We must have fun ," Giovanni Bianco

the best with what we have," says Cucco. The C 'est Commes:a

explains . And Susanna Cucco adds: "We work too hard not to

W inter '961'97 catalog is a case in point. "Their clothes are

enjoy ourselves. " •

very derivative, just like everybody else's. So we asked ourselves what we could do ." The solution was hiring Armin Linke, a photographer with a knack for documenting porno and theater shows, who had never done a fashion shoot before. They also hired two fun-loving models and let them frolic. "We laughed our heads off, " Cucco remembers. The catalog included pho-

This page: Bianco & Cucco logo. Giovanni Bianco/Susanna Cucco, art directors; Francesca Pagliarini, illustrator.

tographs that are vibrant, full of kinky energy. In the process, a dull collection was animated. Another "fun" project, the Pret

Logo for Monica Mendez, a PR company based in Sao Paolo . Giovann i Bianco, art director.

A Mixer Summer '96 catalog, was so low budget, that all it

Logo for Adrenalina Films, a young Brazilian film company based in Sao

allowed for was one model-and a rented bus. Bianco & Cucco

Paolo. Giovanni Bianco, art director/illustrator.

came up with a narrative that was wide open to possibilities-

Right: Spreads from the DSQUARED 2 Spring/Summer 98 menswear catalog. Based in Milan, the designers are two Canadians- Dan and Dean

a young woman who takes a bus trip to her childhood villageand turned the low-budget shoot into an office outing. "We asked everyone in the studio to bring their relatives. We got 60

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Caten-whose line is geared toward the gay market. Giovanni Bianco / Susanna Cucco, art directors; Betti lanucci, assistant designer; Steven Klein, photographer.

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This page: Forum Autumn/Winter 96 catalog. Images from the book 24 Hours were edited into a film frame format. The result was a large 32-page news sheet used for point-of-sale and direct mail. Giovanni Bianco/Susanna Cucco, art directors; Ellen Von Unwerth, photographer; Tufi Duek, Forum Brasil, client.

Right: H. Stern is the largest jewelry company in Brazil-if not the world. This catalog was a celebration of 50 years of being in business. Giovanni Bianco/Susanna Cucco, art directors; Micaela Perego/Eiisabetta Iannucci, assistant art directors; Joao Carrascosa/Eduardo Salemi, writers; Roberto Stern, coordinator; Willy Biondani, (people)/Thelma Vilas Boas/Fernando laszlo (product), photographers; Rui Cortes, casting; Duda Molinos, hair/makeup; Costanza Pascolato, stylist; H. Stern, client.

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64

MAY /

JUNE

1998

Bianco & Cucco

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Left: Catalog for Clements Ribeiro. This husband-and-wife team (Suzanne Clements and lnacio Ribeiro) studied together in London where they realized their talents would work well together. They established Clements Ribeiro in London in 1993. Their style is an irreverent take on traditional elegance. Giovanni Bianco/Susanna Cucco, art directors; Carter Smith, photographer; Joe Zee, stylist; Jimmy Paul, hair; Fulvia Farolfi, makeup; Clements Ribeiro, client.

This page: D&G Autumn/Winter 95/96 catalog for the second line created by Dolce & Gabbana. The catalog is a mixture of backstage shots, computer illustration and five fictional stories about living in Cyberspace. The catalog was sealed in a blister pack between two pieces of foam to convey that this " universal" clothing line is perfect anytime, anywhere. Giovanni Bianco/Susanna Cucco, art directors; Francesca Pagliarini, writer; Paolo Leone, photographer; Antonella Porfido, computer artist.

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Peter de Seve

BY MICHAEL KAPLAN

T

hat Peter de Seve is a man with old-fashioned sensibilities is evident in his studio, located on the top floor of the

chauffeur piloting around a well-to-do

Brooklyn townhouse where he and his wife live. Deeply-worn

woman on a bicycle

wooden furnishings fill his work rooms. A wall of bookcases is dominated by a set of bound Punch magazines, circa 1890s.

Another wall of shelves is crowded with antique lead toys which share a certain degree of accidental spookiness. There is not a computer in sight and the most eye-catching decorative piece is a framed and mounted front page comic by Winsor

built for two. It evolved

woman on a sled down

McCay from the long-defunct New York Herald newspaper.

a snow covered hill.

While all of these items are old, they are also timeless. And that is the overall impression that emanates from Peter de Seve's

Once his initial sketch

illustrations. Bold lines, extreme facial expressions and awkward moments all reside at the core of his print pieces, which, these days, appear primarily in the New Yorker. Though de Seve is 39, his illustrations hearken back to the magazine's early glory days, to a time when New Yorker covers stood out like red

into a more humorous take, centering around that same chauffeur driving the same

was approved by Mouly, de Seve followed his usual process: improving on the rough, redoing the enhanced rough through several layers of tracing paper and then transferring it to

beacons planted atop newsstands. "The New Yorker cover is my idea of a brass ring," says de Seve, sitting in his studio, along-

watercolor paper. "At that point I start building up the illustra-

side a drawing table where tissue papered roughs for a cover in progress are taped up all over the place.

stretch it across a board and staple it down so that it won't

Though he's worked for some of the most prized publications in existence- Time, Newsweek, Forbes, to name a few-he is

stretched canvas. I can't stand a wrinkle in the paper. It keeps

tion with pencil," he explains. "Then I soak the paper in water, buckle when I start to paint. It becomes nice and taut, like a me from getting inside the world that I am painting. I like to

increasingly drawn to projects that have longer shelf lives than

be inside that world rather than just viewing it as an object

the inside pages of a magazine. "I illustrate as many book covers as I can and I'd like to do even more," says de Seve, a trim, well-

from the outside. "

built man with a casual demeanor who has chosen to represent himself rather than work with an agent. "They can be beautifully produced and they stick around for a while."

The same, he points out, can be said for New Yorker covers, of which he's done ten in the last four years. "Last year I did only one cover and that really bugged me, " he says. "But that was partially because the style of what [the magazine's editor] Tina Brown wants has changed. The covers have become less about the any-guy in New York" -one idea that de Seve had for that previous style was to depict a subway-riding baby, looking comfortable in his stroller while everybody else is jammed onto the train-"and more about the upper echelon and glamour." Is that not de Seve's thing? "It can be my thing," he insists, "and, as a response to the change, I came up with something on winter sports in Central Park, which [cover editor] Fran<;:oise Mouly wanted me to do. " The final idea grew from hours of conversation between de Seve and Mouly, originating with an image that depicts a 66

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The time de Seve spends on a typical illustration is usually four or five days, during which he can put in as many as a dozen hours per day. In other instances, though, usually through circumstances beyond his control, the turnaround can be much briefer. From his perspective, however, time constraints make a piece different but not necessarily worse. Such was the case with an illustration he needed to rush out for New York magazine after he called his editor for an extra day of breathing room and found out that the piece was needed within three hours.

He had already done the sketching and began laying down tones , though the watercolor-which was illustrating an article on

All illustrations are done in watercolor and ink on watercolor paper unless noted otherwise.

Right: The Bear Went Over the Mountain. Book cover for Doubleday. "A satirical novel by William Kotzwinkle about a bear who finds a discarded manuscript under a tree. He travels to New York and becomes a literary sensation, but no one seems to notice he's a bear. Incidentally, the haggard fellow holding a package on the left side of the picture is a selfportrait." Amy King, art director. 10 X 13.

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Peter de Seve The Hunchback ofNotre Dame, Prince ofEgypt and A Bugs Lifo (Pixar's next project after A Toy Story) . These gigs are pure pleasure for de Seve, who has a soft spot for black-and-white sketching. "Companies like Disney and Dream Works hire me because

problems that people have in leaving their psychiatrists-was nowhere near completion. "What's interesting is that the pure terror I experienced at the need to crank out this illustration was actually great for the piece," he says, looking down at the finished work that shows a patient being overwhelmed by his shrink.

"The lines and the painting are so fresh, so aggressive. " He shakes his head in wonder. "I wish I could do that all the time. "

I come at the characters from a different perspective than their trained animators do ," he says, showing a coffee table Hunchback book that contains a full-page color illustration of his. "The tradeoff is that I rarely get to see my designs on the screen. Certain things need to be done in order to make the animation work. But I see the process as a challenge, as fun , as a chance to see what I can get past the goalie. Without adapting my work too much , I send them the stuff that I'd like to see animated. But the thing with animation is that it needs to boil down to five lines so that it can be drawn consistently over and over again. "

W h ile de Seve is clearly pleased with the way this particular piece has turned out, he acknowledges that speed painting is not exactly his style. "I build up my lines in a delicate way, and there are advantages to that. In my work, the expressions on the faces are crucial. One wrong line on a face can change the complete mood of the piece. If the tension's not there, then it's not going to work. So the lines are very important to me. "

Other recent sidelines include commercial jobs for clients that range from an animated television spot for Nike (his roughly hewn moon-jumping cow won a Cleo award) to the Broadway shows Candide and A Funny Thing Happened on the Way to the Forum. "Those are the kinds of commercial jobs I hold out for," says Peter de Seve. "The great thing was going to the opening and seeing every single person in the theater holding my cover of Playbill." He contemplates this for a second, then acknowledges that an even bigger thrill may have come from seeing his Forum and Candide advertisements dominating the Great White Way simultaneously. "Seeing my work displayed three-stories high was

Unlike many illustrators, he has never harbored ambitions to be a fine artist. Inspired by EC comics, Creepy and Eerie magazines and the work of Frank Frazetta, he grew up in Great Neck, Long Island and later attended Parson's School of Design. Following a short stint as an assistant to book designer J.C. Suares which included coloring Garry Trudeau's covers, de Seve began sending his portfolio to art directors at Manhattan-based publications. They responded favorably to his character-driven style and the assignments snowballed from black-and-white spot illustrations for computer magazines to fu ll-color illustrations for the newsweeklies.

really great. I loved it in spite of the fact that I hate musicals. " •

By the time de Seve began landing ass ignments from the New

This page: Ouasimodo & Esmeralda. "One of many drawings I will do wh ile

Yorker-starting with inside

Dame, an animated feature by Disney." Kirk Wise/Gary Trousdale, art directors. 81/2 X 11 , black-and-white pencil sketch .

exploring a character for animation . This was for The Hunchback of Notre

illustrations-he contrasted the

Right : Tales of Mystery from the Collection of the New York Public Library.

popular perception of the magazine's artists: de Seve never had

Book cover for Simon & Schuster. "Occasionally, I will find it necessary to take my own reference photographs in order to capture specific detail, in this case the library architecture and of

an interest in being a cartoonist himself. "They've asked me to do

course the lion statuary." Julie Metz/ Mary Bess Engel, art directors. 11 X 7.

cartoons, but it's not a natural

The Hunchback of Notre Dame. " My work in character development for Disney has been mostly black-and-white with the exception of this picture, and another (not shown). So much beautiful work is created by the Disney Studio artists for preproduction purposes and is never seen .

However, in recent years deluxe coffee table books have been published t o showcase the behind-the-scenes artwork . This picture was used as the frontispiece for The Art of the Hunchback, for which I was very honored." Kirk Wise / Gary Trousdale, art directors. 12112 X 133/4.

thing for me," he explains. "I don't think in gag lines. A rule for me, in my illustrations, is that I don't rely on any kind of writing. Apart from being a terrible letterer, I always feel that if I have to put in the name of something, then my illustration has failed to convey what it is .

I imagine if I ever did cartoons, they might be captionless. " The latest stage in his evolution as an illustrator has him sketching characters for animated films like 68

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~~;~~~~~~g~~=~Defending Thomas Hardy. Illustration for a

f.i

review of Thomas Hardy's biography fo r the New York Times Book Review.

Steven Heller, art director. 91/2 X 13.

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Peter de Seve

Left: And Make Our Garden Grow. "Ad campaign for the Broadway revival of Candide. A perfect assignment for me! Broad, costumed characters used in newspaper ads, posters and billboards plastered all over Times Square." Peter LeDonne, art director; Livent Inc., client . 10112 X 13.

Oh What a Day for an Auto De Fey! from a print ad campaign . "The executioner, one of many murderers/comical characters in Candide."

Peter LeDonne, art director; Livent Inc., client. 10112 X 13.

Finn McCoul. One of 150 pictures done to illustrate this Irish folktale produced on video by Rabbit Ears Productions. Paul Eliott, art director. 161/2 X 11 , watercolor and pencil on board.

This page: Rogues Gallery, Islands magazine. " Here I was asked to do a group picture of history's most notorious pirates. The only specific request by the art director was to compose it in such a way that each pirate could be used as a portrait inset throughout the article; this included the dangling feet of the unfortunate pirate whose fate it was to be hanged." Albert Chiang, art director. 103/4 X 14.

Salut, Suckers! illustration for Premiere magazine. " Hollywood goes to Paris for the ill-fated G.A .T.T. tariff and trade negotiations for film distribution where the French eventually prevailed. Jurrasic Park had just been released so the T-Rex seemed an appropriate representation of Hollywood." John Korpics, art director. 10112 X 131/2.

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Left: Bang Bang, You 're Dead. Spread for Smithsonian magazine.

One of a series for an article on dueling in America . Edgar Rich , art director. 17 X 10.

New Yorker cover, Through the Park, James. Fran~oise Mouly, cover art director. 10112 X 141/2.

Vegetables. New Yorker magazine cover. " My arrangement with the New Yorker allows me to send sketches to the art director on any given subject. I didn't expect them to choose something this macabre so I was pleasantly surprised. " Fran~oise Mouly, cover art director. 10112 X 141/2.

This page: The Underground Man, book cover for Penguin USA. " A strange, tragicomic tale of the Duke of Portland, an eccentric hypochondriac who is slowly losing his mind." Maggie Payette, art director. 9112 X 13.

The Men's Club. Illustration for an article in Boston magazine about the decline of men's clubs . "Old men in a Victorian setting, how could I resist?" Greg Klee, art director. 9112 X 12.

COMMUNICATIO

ARTS

73

Wolfgang Weingart

BY NoREEN O'LEARY

I

t's no less than Swiss design pioneer Armin Hofmann who

describes younger colleague Wolfgang Weingart as a teaching personality who carries on the "Basel typographic tradition from Jan Tschichold, through Emil Ruder into the new age ."

Hofmann, who rightfully takes his own place in that hierarchy, retired ten years ago from Basel's Kunstgewerbeschule, leaving Weingart as the last, well-known heir to the most influential design education legacy of the past half-century.

Weingart shares many of the classic values of his predecessors at Basel's School of Design. But he is more well-known, of course, for his departure from them, for radicalizing and challenging those absolutes through his singular intellectual curiosity and experimentation. Some 30 years ago he pushed the tenants of Swiss typography as he began creating highly personal, expressive work. Initially exported by early students like April Greiman and the late Dan Friedman, those ideas were widely appropriated in the '7os and '8os, becoming one of the most profound influences on American modernism.

Much of what was associated with 'Swiss Punk' or 'NewWave' typography actually began in a small school type lab near the banks of the Rhine where Weingart, working with handset letters and darkroom techniques, pursued his own restless investigations into things like the use of grids, rules, white space, letter spacing, alternate text changes and stepped type.

His was a revolutionary precursor to a digital era where such manipulations, made easy, would form a new visual vocabulary.

That technology changed everything for those who work with type-and for those who educate them. Basel's School of Design is currently reassessing its curriculum and teaching methods, with major changes to be announced as early as this summer.

Weingart, never comfortable with computers, is at a crossroads himself. Eligible for retirement in five years, the 57-year-old may take advantage of that freedom and leave the program in pursuit of guest-teaching positions at other schools.

Before he does that, he will finish a long-awaited visual memoir,

two years ago.) Weingart wanted to avoid any semblance of a glossy, coffee-table retrospective. To steer clear of what he considers that purely executional format, he relied on his own process-driven instincts as a designer. At 500 pages, Typography offers a stunning, seminal view of the thinking and unlikely influences which have affected his development, supported by type illustrations, collages, photographs and posters.

The book is the first time readers will see much of that work, with the author painstakingly recreating old projects and the contents of sketchbooks from the past 40 years. The irreverent Weingart offers an uncharacteristically personal glimpse into his life. His early pieces-a photograph he took as a thirteen-year-old in Spanish Morocco, the drawing of a Bower, a first woodcutreveal at a young age his original eye. He moves readers from his nomadic childhood, as the stepson of an archeologist in the German Diplomatic Service, to his three-year apprenticeship as a hand-typesetter in Stuttgart and then on to Basel, where in 1968 Hofmann invited him to teach in the-then new post-graduate program. Archeology, nature and landscapes are major influences in that visual evolution . Alongside examples of his work, Weingart shows photographic inspiration: A Roman temple in Lebanon, a rooftop in the old city of Jerusalem, paintings in a Maharajah palace in India. His lifelong fascination with handwriting is also apparent. ''I'd say 8oo/o of the work in the book has not been seen before," says Weingart. "When I'm asked for examples for publication , I send almost the same things every time. I couldn't have given them these other pieces because I'm not sure people will understand out of context. So I send what has made me so-called 'well-known' ."

That celebrity, provoking·ubiquitous imitation with little understanding of underlying concepts, caused Weingart's work to fall out of favor among some designers and academics. It even made him lose interest in further development of signature innovations, as he voiced disdain for those he calls "criminalistic copy monkeys. " "It was never my intention to create a commercial 'style'," he observes dryly. He cringed as he saw students leave Basel and misuse things like his stretched-out letter spacing. As a result, in the mid-'7os he overhauled his teaching approach to focus on basic problems and principles-many based on traditional Swiss typography-from which students are pushed to develop their

Typography, to be published by Lars Muller, Zurich. Weingart is in the final stages of finishing the book, which he expects will be available by late next year. It has been a delayed, time-consuming task. (The late Paul Rand wrote its introduction over 74

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This page: Weingart in the Typeshop. Basel School of Design, mid 1980s.

Right: Kunstkredit 1982/1983. Poster commissioned by the city of Basel, 1983. World Format: 355/s X 503/s

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

A R T S

75

Wolfgang Weingart own forms of expression. The Swiss approach, or International

practical exploration of available technology. Before computers,

Style, evolved from the traditions of the Bauhaus, the N ew

he originated the layering and juxtaposing of film positives to

Typography of the 1920s and '3 os and deStijl. Using right-angle emphasis, practitioners like Ruder and Hofmann combined sans

form a darkroom fusion of typography and imagery. He loves to experiment with an old black-and-white Xerox® machine insert-

serif type with photography on underlying grids. Weingart

ing color tubes of red, green and blue. Even more simply, he

accepts that as a design basis and then busts through thos e

says "I can make with an old typewriter wonderful technology."

matrixes: "I like to fight against the stiffness of Swiss typog-

H e was amo ng the first to fully embrace the notion of letters as

raphy," he says. He challenges students to do likewise . "I t's

images in their own right.

important that 'school' maintains its experimental character," he emphasizes. "We need to give students every opportunity to independently develop ideas and learn how to apply them."

"H e is one of the most creative typographers ever," says Hofmann, now living in Lucerne, Switzerland. "S ince the beginning of printing the relationship between letterforms and image has

His method of problem solving is as simple as the results are

always presented a problem. With Weingart, no longer are

visually complex. Weingart explains: "Typography is a

they painfully opposed forces. He treats them in the expression of unity."

triangular relationship between design ideas, typographic elements and printing techniques , each of which must succeed." By varying the way typographic materials are used according to the ideas and techniques

Weingart's reluctance to use computers is more of an emotional response than that of a technophobe.

"I don't like computers because I don't like

required by the problem, he aims to extend

to live simulated life," he sighs. "They're

the flexibility of how type functions while

inhuman , whether you're designing or

still retaining meaning. When done suc-

thinking. I like my scissors. I prefer

cessfully, the results push forward, free

the pain of going into the darkroom;

of trends in advertising or design.

seeing how the image develops , how

"It is type that is neutral, comparable

to get the timing just right." He

in a visual sense to pure mathematical

understands his students' need for

exercises," he says.

computer skills but it makes it more difficult to work with them. "They are

Like many highly intelligent people, Weingart is a jumble of paradoxes. The

more interested in the result, than how

foundation for his breakthrough thinking

to get to the result. The process, the typesetting, the mixing of colors-everything is

lies in the anachronistic system of lead type and the point and pica system. He has never designed a typeface and sees no need to do so. H e is

hidden in the machine. " Still, he accepts the inevitability of computers at Basel.

bemused as he recalls meeting some renowned American

He no longer insists pupils learn to set type by hand, for

typographers , calling them "fashion characters" who equate

instance. "The interesting thing about students today is that

great work to the number of fonts employed. "I don't h ave the

more and more of these people look alike. They all have the

need for many typefaces. Berthold's Akzidenz Grotesk is my

same insignias, the same tennis shoes, the same labels. It's sort

favorite because it's a little bit ugly. It has character and is

of like when you go to a military parade; every man looks the

monumental , strong and direct," he argues. "After 500 years,

same," he says. "And when they design , they all work with the

Frutiger's Univers was a revolution ... all the different weights;

same programs. That's the problem with computers-the

how you could mix things and everything lined up. It is incred-

potential for everyone's work to look alike."

ible but it's too slicky for me. " Yet, Weingart sep arates that personal view-and his classroom practices-from students' other interests in type. "Some of the Emigre faces are wonderful," he allows. "They have humor and fit very well into computer composition." He also voices a personal like for faces such as

This page: The Round Composings. Originally printed letterpress in 1963, reconstructed for color printing in 1990.

Right: Four announcements/posters for the Weingart Retrospective exhibited at the lnstitut fUr Neue Technische Form, Darmstadt, Germany, 1990.

Keedy Sans, but contends it's a tricky typeface that should

Projekte (Projects) cover design for a book documenting the typographic

only be used by its creator, Jeffery Keedy.

work of two students published by Arthur Niggli AG , 1979.

Perhaps most contradictory is reconciling Weingart's distrust of

Cover series (No . 4) for the trade magazine Typographische Monatsblatter, published by the Printing and Paper Union of Switzerland, 1970.

computers with the historical driving interests behind his work.

He's never focused on theory, preferring instead to dwell on 76

M A y

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Cover series (No . 11) for the trade magazine Typographische Monatsb/atter, published by the Printing and Paper Union of Switzerland, 1971.

Projekte.

WortZeichen

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Weingart:

Ergebnisse aus dem Typographle-Unterricht an der Kunstgewerbesc:hule Basel, Schweiz..

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Typographic Research at the School of Design Basle, Switzerland.

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A R T S

77

Wolfgang Weingart

As he walks around Basel, he is clearly dismayed by the increasing internationalism of the place; the growing number of McDonald's outlets, local embrace of Brooklyn hip-hop culture and Day-Glo®graffiti splashed on the city's historic landmarks.

One of the most poignant passages in Typography is titled: "Sometimes I wish I lived in the r8th Century." Weingart does his best to replicate it. He doesn't drive, preferring his bike or the tram instead. He and his wife live in a 400-year-old topfloor apartment, nestled between the Basel Music Academy and St. Leonhard's church. Even in mid-winter, windows are kept wide open in his book-filled rooms, infusing them with church bells and chimney scents. He shows little enthusiasm for the consumer conceits around him: One of his only indulgences are large reels of taped classical music, now nearly impossible to find . He's worn the same weathered raincoat for two decades; the chocolate suede lace-ups he favors are ten years old. Weingart's round face makes him look much younger than his years and former students can rest assured that the way they remember him is still intact: His white long-sleeved shirts swim around his wrists, cuffs unbuttoned, his bangs fall in an asymmetrical sweep across his eyes . Gone are the earlier teaching days when many of his students were closer in age and became peers who shared a beer or a meal after class. Now he is happier to go across to Germany, shopping bags stuffed into his briefcase, to the small border shopkeepers whose red wines and meats he prefers before heading home to his own kitchen, where cooking is self-described "daily therapy. " As the only child of two doctors who traveled frequently-and who later divorcedlearning to cook for himself became an early badge of independence. That trait would inform development through the rest of his life. Mter discovering Swiss typography from a friend in Stuttgart, he came to Basel in 1964 to study with Ruder and Hofmann, only to be thrown our of Ruder's class and to have Hofmann leave shortly thereafter for a teaching stint in India.

He became self-taught, a process of reinvention that continues.

Whether he stays or not at Basel, he remains supportive of the program as it grapples with its own transformation challenges.

"The basics of honest thinking are still here. The talent and commitment of the teachers remain. Even though some of the early pillars are gone, their values have been institutionalized," he pauses, reflecting one recent snowy evening, washing vegetables as twilight darkens his kitchen window. "Now we need to This page: Logo for a book title, 1996.

M Compositions. The letter M constructed as a three-dimensional object, photographically interpreted, 1965-1967 .

Right : Oriental Village. Linocut, 1961 .

What would be my favorite thing to do tomorrow.. . Hand-composed metal type and bent lead rules, printed letterpress, 1969.

Experiments with readability, photographic manipulations in film , 1976.

78

M A y

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

A R T S

79

80

MAY I

J UNE

1998

Wolfgang Weingart

create a reputation that is as strong in technology as it is in typography. We just have to find the right person to combine those efforts and when we do, it will be an accident just as it was with Ruder, Hofmann and me."

As accidents go, Weingart's arrival at the Swiss school35 years ago couldn't have been more timely for those interested in testing design conventions. Acting as a bridge between modern typographic traditions and new technology, he has influenced not only countless designers working around the world today but also generations of students to come. • Left: Sketch for poster Kunstkredit 1977/1978, 1978 .

Schreibkunst (The A rt of Writing ). Poster commissioned by the Kunstgewerbemuseum Zurich , 1981. World Format: 355/s X 503/s.

Das Schweizer Plakat (The Swiss Poster ). Poster commissioned by t he Gew erbemuseum Basel, 1983. World Format: 503/s X 355/s .

This page: New York. Collage, 1975.

Untitled. Watercolor, 1960.

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

A R T S

81

Hunt Adkins

BY W ARRE N BERGER

T

he role of underdog seems to suit

So far, Hunt Adkins has yet to land a

advertisers . "The best kind of joke is the

Hunt Adkins well. Since opening

truly "big fish;" its client roster, with the

kind that requires the person hearing the

six years ago under the banner of Hunt

exception of Northwest Airlines, is com-

joke to make a leap, " he says. Adkins'

Murray, this small advertising agency has had to compete against bigger and better-

prised of companies that are not well-

ads do sometimes make you work for the

known outside their respective industries

laugh. His campaign for Dublin Produc-

known neighbors in the Minneapolis ad community (most notably, Fallon

(a commercials production house, a

tions features long, elaborate treatises on

medical supply company, a malpractice

bizarre topics (the subject of one ad is:

McElligott and Carmichael Lynch, a

insurance firm, a paper manufacturer).

"Jokes that are only understood by tone-

couple of local legends). It has also had

And most of them do not have big ad

deaf mailmen from Grinnell, Iowa who

to contend with the loss of a flagship client, wiping out about half the agency's

budgets. But that just makes the agency's

drive '73 Pacers and are named Johnny

attention-getting advertising for these

Wackadoodle, or, A Brief History of

business in one fell swoop. And it has

clients all the more impressive. A number

Esoteric Humor. ") The ads run nearly

even had to overcome the departure of

of the agency's commercials use inexpen-

500 words long. "When I write tho se

one of its founding partners , which prompted a change in the agency's name

sive stock footage. And some of its print

ads," says Adkins , "I get to use m y

ads rely primarily just on words (a nearly-

English major background. "

just as it was gaining recognition.

forgotten weapon in the ad business

Adkins acknowledges that growing up in

These are the kinds of challenges that

these days). But the ads succeed because

the area, he was influenced early on by

can take the wind out of a young, rising agency's sails. "A couple of times, com-

they are based on strategy and strong

the clever advertising produced by Fallon

ideas. And the writing is often hilarious.

McElligott. After studying English in

petitors in the local market have written us off and said, 'That's it for those guys, "'

Take, for example, the agency's work for

college, he took a job at the Minneapolis office of Bozell. But after a taste of big

says Doug Adkins, the agency's 31-yearold creative director. But each time, Hunt

Mystic Lake Casino, a local gaming operation run by Native Americans. One ad

agency life, "I wanted to go someplace

consisted simply of a headline, written by

where the focus was on the work," h e

Adkins has proven the naysayers wrongchugging along and piling up creative awards. They may not be as well-known as Fallon or Carmichael, and they're nowhere near as big, but this agency has already developed a strong reputation among advertising's creative cognoscenti; in fact, executives from the New York ad

Adkins, that read: "Walk in a Democrat.

Walk out a Republican. " (With headlines

Captions provided by Doug Adkins, who was

like that, who says there's no truth in

also the creative director for all projects shown .

advertising?) For that same casino client,

Right : "Cheetah Valley wine is imported from

the agency created commercials featuring

South Africa, an emerging wine region . We

stock nature footage of pathetic reptilian creatures, such as the unsightly Australian

agency Kirshenbaum Bond & Partners recently dubbed Hunt Adkins "the best

frilled lizard, which runs screeching for

unknown agency in the country."

of the ad: Considering that you're not an

Adkins and his partner, the 38-year-old

its life whenever danger is near. The point Australian frilled lizard, that means "you're a lot luckier than you think."

co-founder of the agency, Patrick Hunt, appreciate the compliment (except for

The person responsible for much of the

the part about being "unknown"). They

sly humor in the agency's ads is Adkins,

also understand that in the advertising

a fresh-faced, soft-spoken Minnesotan

business, if you do good work, acclaim

with a wry sense of humor. Adkins is a

and growth will usually follow. The

firm believer that "humor is still the most

acclaim has already arrived; Hunt Adkins is one of the top award-winning agencies

effective tool in getting past people's cyni-

in the country. And the growth has

slightly absurd humor over the broad

begun, albeit modestly.

jokes and banal puns usually favored by

82

M A y I

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I 9 9 8

cism." But he favors sophisticated,

wanted to speak to the key influencers-wine aficionados, sales people and distributorswho take pride in discovering an underpriced wine ." Steve Mitchell, art director; Doug Adkins , writer ; Rafiki Wine Company, client.

"Rohol means 'crude oil' in German . It's a lot like schnapps, only not so wussy. The traditional approach in this category is ' drink this and you will have lots of sex'; however, our research showed that people buy liqueur shots for their friends as a form of 'friendly victimization .'

The greater the risk of death, the greater the appeal. We wanted to build intrigue by making Rohol an industrial product that was being churned out in giant, smoke-belching German factories and imported through a pipeline to be packaged in metal drums. We reinforced the brand in every piece of communication, right down to bartenders' badges. " Steve Mitchell, art director; Matthew Quincy Elhardt, writer; Curtis Johnson, photographer; Millenium Imports, client .

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IT'S BLACK. IT'S A LIQUID. IT'S A BLACK LIQUID. PAJtll TIPS, n~ .. sws 1£AIIIS M.IIIIXtuutr FUTtn _ , . tolltlll· Workers at the Roh61 plant are required by the Federal Bureau of People Who Can·t Get Any Other WE at the RohOllnstitute Job to wear special badges at all times . If they are exposed to excessive amounts of Roh61 durin~ IIS. IoiSS-10111111miPtlfHCT""II"'IT_IIIIli.IIITIW. want to ensure that when the course of a working day. the badge turns from grey to shocking pink. The worker must then "h1t you PURCHASE Rohol, it is as fresh as pos137. IIAU fMI IIAIII IATS Ill Of WIWII All ~lYII IIICT TAn. the showers· and scrub with a course (190) wire brush until the contamination is washed away. t ...IIU-IEJOO.IIITISIMPMTYIU.CIIrtAIIDIPF... AIIUsible. After brewing, RohOI is immediately HllfMAMDFII.-2l7SLIIISIFPIOIICUimi.UIIIIWI. AII AU pumped into large TANKERS and THERE ARE 11111 guid16nn 11m .~ .. w~~ f1Uawd wba ont IT'S ONLY ROHOL FACTORY f 339·P462/90.

TITIEIIII1111111Cltlllllllll. T. .. ITIMLitiAIILflTIIFW ..... then shipped to America where it il Ulill R1hil in I t11st. fer IUII,II. nill His Ill amsis HOOKED into BUT WE LlXE TO CALL IT HOME a~ll to propose a 11111 at a flatl'lll teaslln1 tollpllll the Rohol pipeline. :~~~:!~::S~'J,:~ ~~ 1tnt1 ttl bt fin •• rtnr"••· IRONBALL UNIT GREASE FITIING Presently , th i s 12.4 339 00.00 65 54. 009 PIPELINE only SAFETY TIP # 44 7 : If you ever happen to 1tub your b ig toe on a p iece of heavy 12.4 339 00.00 65 54. 009 goes to select taverns and machinery, there are two things you can do. 11) Ignore the problem and hope it will go away. 12) Take a 37 cc shot of RohOl and pour It directly on your boot just above the affect· PACKAGED goods stores, 12.4 339 00.00 65 54. 009 ed area (for added rellel, remove boot flrlt.) Then buff It to a sh ine with a new shop rag. can is jut net but someday, perhaps, I 2.4 339 00.00 65 54. 009 acu,Ubll in stilt when our ULTIMATE 111jor citin. So111 Farhan lqNI of Two Falll. Idaho. Htma to have taken a fancy to lncorporaling dreams are fulfilled, the pipeline will be basic toasts art: "Hen COIIH troubll."

Roh61 ana into his meticulously crafted driftwood/tinfoil sculptures. Thlt neoHOOKED into the water systems in towns "110d lack and goed· induatrial naturalitt art is quickly pining popull!rity. ao we advl .. you track everywhere. That WAY you ' ll have your bye· and "1'11 a down the artist and buy aome before he croaks and the prictl akyrocklt. choice of HOT, cold, RohOI.

:!:'.;. Jh~nrro.~ :~!~i:l•. u:. ~:.':t

~~-~ n~i-;;p ~

9/4/02

ENTHALTE. 6EWERBLICH SCHWARZ II.

THF ROHOI RrriN[RI "HEME PAt~K IS LOUdUJ I~J

EASTER ISLAND

0 0

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ED "S HOUSE 0

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0

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MADAGASCAR

HOBOKEN

~:::'•:,d C~l:.~~

won numerous deaign awarda .

Please send us a card with your idea(s) lor a POE~ . short story or tool room brochure that RELATES to Roh61. These can be FICTIONAL or real. All cards will be ELIGIBLE lor a Roh6l PRIZE drawing. Send ALL entries to, The Steet-rker·s Llte ..ry TEA club. 25 Main St. S.E. Minneapolis. ~N 55414.

THE HILLS

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I

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

A R T S

83

Hunt Adkins

says. He noticed a tiny local start-up agency, named Hunt Murray.

Hunt Murray was an outgrowth of the Hunt Consortium, the brainchild of president Patrick Hunt. In contrast to rhe low-key Adkins, Hunt is a gregarious bundle of energy, who has already covered a wide expanse of ground in his young career. He hails from Milwaukee, went to school in Minnesota and spent several years hanging around rhe ski slopes in Utah (where he also published a small alternative newspaper). Inspired by a speech about advertising given by Par Fallon during a visit to Salt Lake City, Hunt returned to Minnesota and landed a job with Fallon McElligorr in account service. Bur he eventually wanted ro strike our on his own. So he formed a consortium rhar matched up freelance advertising creative people with special projects.

One project that came along involved a new casino that needed a logo. In the fall of 1991, Hunt, working with freelance creative director Mike Murray, decided to offer Mystic Lake Casino not just a logo , but a full marketing plan. They were then hired as the casino's agency. As Hunt Murray began ro set up their agency, one of their first hires was Doug Adkins.

Adkins's writing flourished immediately at rhe small agency. By the following year, 1992, the agency was challenging rhe local creative esrablishmen t at The Show, the prestigious Minneapolis award competition. Hunt Murray finished second only ro Carmichael Lynch, winning eleven medals-and ten of those awards had Adkins's name on them.

(The following year, Hunt Murray unseated Carmichael Lynch as the champion ofThe Show, winning 34 awards.)

84

MAY /

JUNE

1998

c

g Q)

z

~ ~ co

(J) (J)

----.~~------------------------~~~~----~--~~~--~,~~~~ @ During those early days, the flagship account, and the beneficiary of some of the agency's best work, was Mystic Lake Casino. The campaign was not only critically acclaimed, but highly effective, pushing the casino's awareness levels ro 98% and fueling rapid growth. Bur in advertising, decisions are sometimes made that have little to do with logic. In 1994, Mystic Lake Casino went through a management upheaval, and brought in a new marketing executive from Las Vegas, who wanted ro do more conventionalstyle casino marketing. "After our campaign had been so successful, we said ro the client, 'We can't in good conscience change what we're doing,"' said Adkins.

Faced with a critical decision, Hunt consulted with people at the agency, and even spoke ro his banker. The consensus, he said, was that "it was more important for us to hold onto our integrity than any one account." The agency ended up resigning the account, which accounted for about half of its total business.

The agency survived the loss admirably, without laying off a single employee,

and gradually built its billings back up.

But another potential setback followed a year later, when creative director Murray resigned. The split had been coming for some rime, because Hunt and Murray

This page: Shown left to right : Patrick Hunt, Russ Freeman, Judy MacManus, Doug Adkins, Steve Mitchell, Julie Berke.

Right: "We did a series of billboards to announce that Geraldo was coming to tape his show in L.A. Geraldo's producers wanted us to treat the show with great reverence and position it as a legitimate news program. Somehow we felt that might not be believable. In the end, we presented a campaign with a slightly different strategy: 'Make fun of Geraldo.' Geraldo approved everything." Steve Mitchell, art director; Doug Adkins, writer; KCBS (los Angeles), client.

"After a strong initial roll-out, Pig's Eye had seen a steep sales decline due to a lack of promotional support. Our first thought was to change the hideous packaging; however, subsequent research showed that people liked the brand precisely because it wasn't slick-it was an honest, unpretentious beer. Three months after this campaign's introduction sales were up 37%."

Steve Mitchell/Mike Fetrow, art directors; Doug Adkins/Kristine larsen, writers .

Pioneer Press Ratings Guide. "This would've

been better if we could've used profanity." Steve Mitchell, art director; Doug Adkins, writer.

KEEPING PSYCHOTIC CRIMINALS OFF THE STREETS. (AND PUTTING THEM IN NICE, COZY CHAIRS.)

The cartila e in our nose never sto s row1n .

I

A BRUTALLY HONEST BEER.

Parents love our ratings guide, gosh darn it.

Check our simple, easy-to-use movie guide. PIONEER PRESS C 0 M M U N I C A T I 0 N

A R T S

85

Hunt Adkins

couldn't see eye-to-eye on the running of the company. ''I'm not sure it was about any one thing," says Hunt.

"It was just a series of disagreements on a lot of things . Finally, we had a discussion, and I said, 'One of us has to go, so let's figure this out between us. "' Only the two men know how the final decision was hammered out, but it was Murray who left-which probably made the most sense, from a practical standpoint. With Adkins having established himself as a creative star at the agency, there was a successor ready to step in for Murray immediately. "I knew that Doug was ready, because his thumbprint was on 90% of the work we were doing, " says Hunt.

When Murray left, "not that much changed," says Adkins, who ass umed the role of creative director, while naming Steve Mitchell associate creative director. One thing that did change was the agency's name, in January 1996. While the loss of Murray and the name change set local tongues wagging once again, anyone expecting Hunt Adkins to falter was disap-

STILL LOOI/11 for YOIR DIEAM 101'!

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pointed. In fact, the agency has performed better than ever in the last two years . Last year, the agency took home nine Clios, more than any other Minneapolis agency. And in a recent issue of Creativity magazine, Hunt Adkins made the top-ten list of agencies performing best at the major award shows-placing it in an elite group that included Goodby, Silverstein & Partners, Wieden & Kennedy, BBDO, Fallon McElligott and other creative heavyweights.

But more importantly, the agency's business has also been growing-not spectacularly, but steadily. Its billings have climbed to $24 million , up about 50% from a couple of years ago, mostly through small accounts as well as piecemeal projects from bigger clients such as VH 1 and Northwest Airlines. The agency's staff has swelled to 25, necessitating a move to a larger office this year. "I think we're emerging now, " says Hunt, who noted that the agency is beginning to be called by larger national clients looking for a dark horse agency. Hunt feels it's only a matter of time before a big client gives the agency a shot. "We will get a break, " he says with confidence.

If and when that happens, Hunt Adkins's quirky work will be seen by a wider audience. "I feel a responsibility to get a bigger forum for Doug and Steve and the other creative people at this agency," Hunt says. "Otherwise, it's almost as if we're wasting their talents. " •

86

M A y I

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and Juliet zvalked into the tomb to find Romeo, lying cold and still on the stone . .. Wha(~ here? .. she asked knozving all too zvell the anszver. Carefully. she bent and kissed her lover, then picked up his dagger and prepared to plunge it into her own heart. And at that moment Romeo awoke. looked at Juliet and said ..Oh this darn narcolepsy. I fell asleep again. didn't I? ..

And Juliet put dozvn the dagger and they ran out to discover that their families had reconciled and zvere playing volleyball and lazvn dart.<.; together and had bought the happy couple a brand nez{; utility vehicle.

The ll1d

EVERYTHING

TURNS

OUT

BETTER

ON

DOMTAR

PAPER .

When Cannon Valley needed to hire 100 people, they called on Ray Brunswick,

MAIU/1

of counting things.

Left: Pioneer Press Classifieds. " This is not the surgeon you want doing your quadruple bypass." Brock Davis, art director; Doug Adkins, writer. " Everyone in this category is hammering features, features, features . It occurred to us that there might actually be an interesting way to talk about paper. And besides, who hasn 't wanted to rewrite the ending to Old

Yeller?" Steve Mitchell, art director; Doug Adkins, writer; Joe Lampi, photographer; Domtar Papers, client .

This page: "Cannon Valley Woodwork manufacturers unfinished cabinets. Our initial assignment for Cannon Valley was to help them with some significant hiring problems. They were about to open a plant in El Dorado, Kansas-a city with virtually zero unemployment and another major manufacturing plant that offers a higher wage . Our strategy was to compete with personality, to make Cannon Valley a fun alternative to the Dickensian factory environment. After running the ads just once, they had four times as many applicants as they had jobs and had to pull the ads." Brock Davis, art director; Beth Kinney/Doug Adkins, writers.

"Our task was to announce the arrival of the Minnesota Moose, a new semi-professional hockey team. Our idea was to create fake companies that would put up billboards to welcome the Moose to town . Who, we wondered, will rhanks ta R1y, we won 't •cctdentally htre 474,000,000 people. Because the moment we re~ch 100 htres,

be most excited about the return of hockey to Minnesota?

Ray w1JI unfurl h1s brow, stagger to b1s !tel and say, "It is done. • If you 'd hlfe to be among the counted

It turns out, however, that there really is a Minnesota Artificial Leg and Arm Inc. They weren 't amused ." Mike

(and also earn higher wages, lull benefits and wor• m a clean environment}, fill out an application today.

Fetrow, art director; Doug Adkins, writer; The Minnesota Moose, client.

I

I

CAN N0 N VAllEY

I

let's all bu ild cab inets totelher.

We support Moose Hockey!!!

Minnesota Artificial Leg and Arm Inc.

Thanks Moose Hockey, FroiD Your# 1 Fans!

Surgical Bandage and Gauze Compan)J © Family owned since 1910

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

A R T S

87

TheSfftlul

.,,,., ,.,,,., GREAT SPOKESPERSONS

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lfyouoskagroupolyou111jthrldrentodaywflat they wJnt to grow up to be, many of them wsll enthustuhcalty answer. ·A mortK:Janl• Surprismgty

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AN I MATION HISTOR'

thss was not always the use In 1963, an extreme

.,., '''"''' ,, ,,,, ,, ,., '''''''''e ,,,, .. '' tte ,.,, . . .

talked about tho porksol the JOb ·Lonlly? Want to

be the center of attenhon? A!l you need art a ftw corpses and 1 httle tfnao•natton Stan by 11r1ngmg 1

professionhadlostlt'Sallure

lew st•tfs Into your own lfnJe lei J)lrty. or perhlps somet~lng

"''h a hot tub and a Cotrbbeln therno

Bener yet. recrute your own hUie Sadie Ha.,idns

Mr Gurney, Marty remtnded the dllldrtn or tht

d~e . w•lhyouulblmostpoputarstudent.un&ftCI

world that a monie.an's hit ts Idled With danger,

mryone's 1dmuu~ eyts p.~opped open and slJnng

romance. kltltgue and embalmn'IQ flutd Ctnted by

at you. HO'«hlf. MWr lose track of hme or a funeral

the Morttcians and Tango Dancers Assocrauon of

Amtnca. this chansmaUc ambassador of corpses flfSI

J U

andlgnor~

In eprsodt 11 , •Rrgor MortyGots Sutured: Morty

up In morgues across the country Somehow the To the rescue ame an animated corpse by lttt

MAY /

and'necroph l ha .

traffic laws durlng funeral processtons

shOrtaoe of mortu.ary scienusts hJd bodses p1bng

name ot Rrgor MO<ty Rrdrng atop his farthlut stetd,

88

hyde.''putrtflct•on

\Jedicnl • I'TI'ices

party m•ght burst tnto rind Ulal you've arranoect an elaborate corpse cucus. complete 'W'tlh onndpa

appeared'" an afler~school soecsal called ·The funeral Home PQyhouse.· · sure. as an astronltlt you rrught get to libel to the moon ." Morty told an enraptured

stamng u the human pretzel and you as Lord

aud,ence ·aut mortw:•ans get to inject chemtals Wlto deid people, learn b•O SQenbfic words I•U 'formlldt·

are as many morhdans as there art murdtrtrs In our

Reynaldo . Muter of the H1gh·W•re • Tod.ly, asaresuftolthtSNtklbngbht:zitllg there

hnecountry-amppycotncKiencelndlld

Hunt Adkins Left: Print ads for The Saint Paul Medical Services. "You would not believe how many ads in this category have a picture of a courtroom and the headline, 'This is no place to operate.' Our research showed that physicians do not want to settle out of court. They want an insurance company that is going to protect their reputations all the way to the Supreme Court, no matter how frivolous the lawsuit. All we had to do was leverage SPMS's outstanding litigation record ." Brock Davis, art director; Doug Adkins, writer.

Print ad for the animation studio Reelworks. "Kids just need a nudge in the right direction. " Brock Davis, art director; Doug Adkins, writer.

This page left: TV commercial for St. Paul Pioneer Press.

"Another spot in this campaign involved a chimpanzee and a barbecued pig . The chimp had to ride a unicycle past the pig on cue, which seemed simple enough . It turns out, however, that in the wild warthogs are sworn enemies of chimps; consequently, the chimp was scared to death of the pig and would freak out whenever he saw it. By comparison, we didn't feel too bad about making this guy dance funny. " " Interpretive Dance" :30 (Open on our spokesman sitting at a desk) Spokesman: Our society is changing. To help you better understand what this means to you, your family and your community, I' ve put together the following interpretive dance.

(He stands up. Along with his suit coat he is wearing a white leotard . As some disturbing, avant-garde music begins to play, he attempts to explain all of society's problems through the magic of dance) VO: There's a simpler way to understand today's rapidly changing world . Read the Pioneer Press.

(Cut to the newspaper) Steve Mitchell, art director; Doug Adkins, writer; Christine Braasch, producer; Rick Dublin, director; Dublin Productions, production company.

Right: Television commercial for VH1. "Our assignment was to create on-air entertainment that added a different dimension to VH1 's personality. We created seven spots that detail the life of a pathetic, washed-up ' 70s rock star, Johnny Amsterdamn. Any resemblance to Steve Mitchell is purely coincidental."

"Birthday Party" :30 (Open on the title screen . Johnny plays his signature riff as the words spiral out of his guitar. Cut to Johnny and his band backstage) Johnny: This is it. This is going to be big. Bigger than Woodstock! How's my cape look? Big, I tell you! This is war!

Take no prisoners! Hide the women and children! OK, boys, let's make some history!

(Cut to a tranquil outdoors scene. Johnny's gig is a kid's birthday party in a suburban backyard. Somewhere a lawnmower drones. Little kids and their moms look on .

Flashpots explode and when the smoke clears Johnny has appeared. Flames leap from Johnny's platform shoes, lighting a dog on fire) Johnny: Hello Jimmy's party! Are you ready to rock?! This one's called "Kinky Nun!" (Cut to flaming logo) Steve Mitchell, art director; Doug Adkins, writer; Mitch Sondreaal, illustrator; Pixel Farms, production company; Wow and Flutter, music.

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

A R T S

89

I JUST TELEPORTED IN FROM CHICAGO AND BOY ARE MY MOLECULES OSCILLATING or HUMOR OF THE FUTURE .

The evolution of human-

dance on hot plates in their

kind is now moving forward at such an alarming rare that

horrific duck nightclubs.

"LOST I

within 4-6 weeks we will all h ave evolved into gia nt brains suspended in jars of

PROPHETIC

ectop lasm ic fluid . This will

Soon after you finish reading this you will be approached

pose some unique problems for comedians. Pratfalls will

by two m ys terious figures (unremarkable ave for their

invariably result in broken jars, le avi ng brains to flop about helplessly on side-

Dubli11 mirroskyscrapers, the size ofe/ectro11s, will house thousa11ds ofshro11kl!11 employees.

sil ver spandex jumpsuits) members of the elite Dublin

walks. Brain ven-

Time-Traveling Conquistador.

triloquists will forever have to

They will ask yo u a series of questions about thi piece

deal with hecklers

and then go back in time 1 to

ye llin g, "Hey, I

make any necessary changes

can see you r speec h neurons

to it according to yo ur feed-

firing." On the

For yea rs it was thought that jerry Pope was stea ling his humor. This photo seems to implica te jerry as he receives a knock-knock joke from galaxy G-58. But late r in court, j erry wou ld stun the jury by demonstrating that the Zuboniumritron cou ld not be o perated by his tin y, doll-like hands.

back, re pea ti ng thiS proce s until it has achieved perfection.

other hand , repla cing a

2023 : Humorless rich people will pay

per on's brain fluid with tapioca while they're

handsomely to have the humorous

By the way, this is the 45,674th time you have read this.

sleepin g, and lines suc h as, "Is that a

parts of poor people's brains grafted onto their own. 2040: A laugh epidemic

Now is the moment in the time-loop

malignant brain tumor or are you just

will wipe out one-third of the world's

where you call us

happy to see me?" are humori c oppor-

population when laughter suddenly

at 612-332-8864 (M i n n e ap 0 I i ),

tunities we can only dream about today.

becomes contagious. People with the

Satumion jokes will become somewhat less populorojlff they vaporize the Earth.

disease will laugh incessantly while

213-960-3322 (Los Angeles) or

blood shoots from the tops of their

Q;t:¥-~nQ- f<)oo.L,n (Pluto) and beg us to

After yea rs of conducting complex

h eads in a huge geyser. This wil l be nature's way of telling us, "It's all fun

(in response, we invariably laugh demoni-

scientific experiments and reading lots

and games until your head erupts in a

cally while imitating your pathetic pleas).

A HUMORTRON IN EVERY HOME

of supermarket tabloids, we have compi led the following predictions

-~

·

for the future: 2015: Comedian cloning will be all the rage. On any given night there wi ll be as many as 10,000 Buddy Hacketts performing at separate dinner

bloody geyser." 2102: Nipsey Ru ssell will be thawed from his cryogenic chamber and then flown

The developm1!11t of thr J<:an1IO[!,rapher m•i/1 prruent the rmbmrassmmt of losingyourrmi during lime tmvel.

to Neptune where his unique brand of rhyming humor will make him a demi-god among the Neptunians. 3999: We will evolve

theaters, each every bit as hilarious

into pure energy; fan jokes will make a

as the next. Im agine all the neon signs

bi g co meback. 4697: Duck s will take over the Earth and immedi atel y outlaw

on the Las Vegas s trip announcing, "Yes, we have a Buddy Hackett!"

90

SPACE"

-EERILY

M A y

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all hum a n humor while forcing us to

release you from this time imprisonment

I A hrain -w re n..:hin g conundrum: If you r fu ture se lf were: to travel into the past and encounter your present self, and you told yo ur future se lf a jokco that he obv iously already kne\\, wou ld yo ur future se lf give you a courtesy laugh? And if you then killed you r future se lf with a crowbar, stole the time machine . travt:led into the future and heckled your fuwrc se lf du rin !!; hi s comedy cluh rou tine, thus prompting your future se lf to kill you with a Crnwbar-3000. would this h<: funn y or would the travcling-into-the-fuwre-co- heckle-yourf u tu rc-scl f-a nd-thcn-ha vc-you r-sk ul l-crushcd- b) -your-ownhand rominc have been done to death >

Hunt Adkins

Left: " Every new piece of business for Dublin over the last two years has referenced the campaign. It directly led to Mr. Dublin shooting a commercial with the largest production budget of any locally-produced spot." Steve Mitchell, art director; Doug Adkins, writer; Dublin Productions, client.

This page: Two ads from a print ad campaign for Northwest Airlines. " We wanted to demonstrate that using an electronic ticket is much simpler than using the prehistoric, paper version. In response to this ad we received a letter from one Confetti the Clown, which read i n part: 'Anyone can put on makeup and a costume and call themselves a Clown, but in actuality Clowning comes from the heart. We real Clowns would appreciate not being put into the same class as an evil person, dressing up as a Clown and bringing harm to others."' Steve Mitchell, art director; Doug Adkins, writer. " The alliance between Northwest Airlines and KLM makes it much easier to get to more places where you can't find the bathroom ."

Brock Davis, art director; Beth Kinney, writer.

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

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91

Frans Lanting

BY PHILIP KRAYNA

F

or the past two decades, photographer Frans Lanting has dedicated his life to documenting wildlife and our relation-

exposure, composition and to visualize how an image will look

ship with nature. His unforgettable images capture a moment of communion with the animal realm , but despite the underlying intensity of his work, Lanting is notoriously reluctant to discuss his experiences in the field. Some have described this evasiveness as superstition, others as spiritual. "When I'm in the field taking photographs, " says Lanting, "everything else

what my colleagues do in fashion, annual reports or commercial

drops away and the only thing that exists is my encounter."

in print. "My subject matter doesn't separate me from work," he explains. "I go out with certain images in mind-very much like a commercial photographer." Rather than shooting in a controlled studio environment, Lanting must work with the unpredictable backdrop of nature. "There's always serendipity," he says. "Luck always takes over."

In the field Lanting prefers to work independently, although

In his new book, Eye to Eye, Lanting shares the most memorable of these encounters, from the shorebirds and elephant seals

he calls in help for more demanding assignments. In an isolated

that inhabit the coast near his home in Northern California to orangutans in the remote rain forests of Borneo. "There's something so fundamental and universal about connecting with faces, even the faces of other creatures," Lanting reflects.

"In Eye to Eye, I didn't want anything to take away from that experience." Lanting's solution was sparse

world, for example, he may hire an entire team of assistants. While

simplicity; he relegated text to the back of the book and let the photographs roam freely across two-page spreads.

Lanting is not only a professional photographer, but also a professional nomad. In his office on the coastside mountains

location that requires a base camp and supply lines to the outer photographing emperor penguins in Antarctica for National

Geographic, shifting ice made it too dangerous to work alone.

"But even there, I walked out into flocks of penguins until there was nothing but white."

Lanting was born in Rotterdam , Holland in 1951. As a child he was profoundly influenced by Nobel Prize-winning Swedish writer Selma Lagerlof's The Wonderful Adventures ofNils. In this children's book, a young boy is shrunk by a magician and is accepted into the animal world by a

north of Santa Cruz, he is preparing for a month-long excursion. This trip will include

This page: Self-portrait of Frans Lanting, ©1998

a workshop in Florida, a reception for his

Captions are taken from Frans Lanting's career retrospective book, Eye to Eye, Intimate Encounters With the Animal World, edited by Christine Eckstrom, produced by Terra Editions in association with Benedikt Taschen Verlag, <e>1997. Lanting's photographs were produced over a period of twenty years in locations around the world, from the jungles of the Congo Basin to the Antarctic ice.

Many of the images were made on assignments for National Geographic, which has supported Lanting's fieldwork for more than fifteen years.

Other images resulted from personal projects and from work commissioned by many publications both national and international, including GEO, LIFE, Audubon and International Wildlife.

exhibit in Hamburg, Germany, a brief television appearance in Holland, followed by shoots at the Royal Botanical Gardens in England and the Paris Museum of Natural History. From Europe, he travels to "the field," to Madagascar where he will photograph a newly-discovered species of lemur and document a national park that is being ravaged by mining. Despite this impending whirlwind of activity, Lanting seems outwardly calm as he talks about his work.

His confidence originates with the meticulous research that precedes each project. In addition to scouting locations and gathering information about his subject, Lanting often plans a shoot with storyboards and sketches before departure.

On location, he may use Polaroids® to test 92

M A y

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Right: Eastern lowland gorilla, Congo. "Making contact with a lowland gorilla silverback is a humbling experience. Gorilla custom requires meekly bowing your head as a submissive pose when you are challenged by a 400-pound male rather than fleeing as instinct tells you. This colossal ape lived on the slopes of Mount Kahuzi in eastern Congo.

I spent a day with him, acutely aware of the political upheaval that has brought hundreds of thousands of refugees within a few miles of his home."

OMMU

!CATION

ARTS

93

Frans Lanting

flock of migrating geese. During his adventures the boy witnesses hunting and the destruction of animal habitat. When he is restored to his former size, the leader of the geese implores him to remember the human role in their plight.

At the age of 21, Lanting made his first journey into the photographic realm when he spent a vacation in the United States hiking and taking pictures in national parks. Disappointed with the results, Lanting purchased a better camera when he returned to Rotterdam, and began learning the nuances of photography. After completing a Master's degree in environmental economics at Erasmus University in 1977, he enrolled at the University of · California at Santa Cruz to study environmental planning. Inspired by the diversity of life inhabiting the nearby coastline, he made the transition from academia to nature photography.

For his first subject, Lanting focused on the sanderlings that foraged on the California seashore. He spent weeks observing the b irds , until they became accustomed to his presence .

"Animals are no different than people, " he says. "You become

"Working with great editors, I've learned over the years how important it is to come up with the right context, and to align words and images as a team." For his newest book, Eye to

Eye, Lanting and writer Christine Eckstrom teamed up with designer Jenny Barry, and together, they packaged the book for publisher Benedikt Taschen. "We were given complete control over the book, from initial concept to final design," says Lanting, "and that's very unusual in publishing." He ci res the close photo editor-photographer relationship with National Geographic as invaluable, and a rare exception in the magazine world. His 1990 photo essay on the 8,500 square mile Okavango Delta in Botswana is the longest wildlife story published in the magazine's roo-year history. Lanting expanded this essay into the book Okavango: Africa's Last Eden, and had the opportunity to collaborate with designer Lucille Terrazas . "She found a beautiful form, a typography that calls out like poetry, " he says.

Although Lanting's work draws him to the far reaches of the planet, he always returns to his California home for sanctuary. "I like it here, " he smiles. "I can be on the phone with someone in New York, and I can see bobcats walk through the field outside. " •

sensitive, non-threatening and you get into a state of synchronicity with your subject. And that pays off." The patience and diligence required by that first shoot continue to guide his work.

Lanting has received numerous awards, including top honors from World Press Photo, and his photographs have been exhibited in museums throughout the world. In addition to producing many books on nature, Lanting reaches new audiences by licensing stock images and through other publishing ventures. More importantly, Lanting has said that, like the child in Lagerlof's fictitious tale, he has become a reallife intermediary between humans and other species.

He now balances his time between assignments for publications including GEO, Stern and National Geographic, and personal projects which offer him the advantage of greater control. "It's difficult for designers without specific knowledge about the animals to know what I represent in my images," he says. For this reason, many of his books are produced in-house at his studio, where Lanting can supervise the design process.

94

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This page: Lookdown fish . " Face it head on, and there is not mu ch to a lookdown fish . It is razor thin . But as a side profile, it presents a face as alien as any I have encountered."

Right : Leopards, Kenya. "Most leopards are rarely seen by day, but th is female and her young was easy to find during the cub's first months of life, when the mother returned regularly to nurture it near a gorge w here she hid the cub while she hunted. After a year or so, when the youn g leopard becomes independent, both will melt away into the bush."

This photograph of gray-headed albatrosses, South Georgia Island w as the cover of Forgotten Edens: Exploring the World's Wild Places by Frans Lanting and Christine Eckstrom . "The northern tip of South Georgia is th e perfect place for a gray-headed albatross to raise offspring . It faces t he nutrient-rich currents sweeping past Cape Horn that make the w aters around the island among the most productive seas on earth ." National Geographic Society, publisher.

Cover of Confetti magazine. " Looking straight into the eyes of a male lion as he is getting up to hunt at twil ight can be a chilling expe rience. The white fur trimming under his eyes is believed to act like a reflector t o help with night vision ."

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

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95

Frans Lanting

This page: "A polar bear pads off into the blue twilight of a Canadian winter evening ." This was the closing image for Eye to Eye and was shot specifically for the book This photograph first appeared in a National

Geographic cover story on emperor penguins in Antarctica . "At the edge of a creche, an emperor penguin is listening for the sound of her offspring, which she recognizes by voice rather than by sight."

Hippopotamus photographed on location in Zaire.

"I played a game of hide-and-seek with this hippo in a river near the Sudanese border. When he submerged, I moved in; but when he surfaced with a snort-1 held my breath ."

Right: This photograph of a plains zebra first appeared in a National Geographic cover story on the Okavango Delta in Africa. "Trophy hunters who have just felled a zebra in the Kalahari Desert are reflected in its eye." Kate Glassner, designer.

96

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left: leatherback turtle, Surinam . This image has been very popular and has appeared on postcards and in books and calendars. " Running for cover, a newly hatched leatherback runs the gauntlet of frigate birds and vultures on a mangrove-lined beach in Surinam before returning many years later as a 1,000-pound behemoth ."

Roseate spoonbill, Brazil. This first appeared in an Audubon cover story on Pantanal. "Sweltering in a canvas blind set up at the edge of a backwater in the Pantanal, I took sweaty pleasure in watching this spoonbill indulge in a bath, oblivious of the piranhas that riddle these waters." Suzanne Morin, art director.

This photograph first appeared in a GEO Germany story on emperor penguins. " Huddling together enables emperor penguins to survive the brutal weather conditions of an Antarctic blizzard. It got so cold that evening that my fingertips froze and I wished that I could have been inside one of their huddles."

This page: "leopards are symbols of stealth, and black leopards seem to embody that elusive quality even more. The black coat is a color variety that occurs especially among leopards that live in dense forest. With selective lighting, I wanted to show the cat peering out of the dark, highlighting only the eyes and whiskers." This was the opening image for Eye to Eye. "Compared with its testier cousin, the black rhino, the white rhinoceros is relatively mild-tempered. This enabled me to ease up to this adult female, nurtured for a captive breeding program, and focus on one staring eye encased in her massive head."

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Left: Cougar, Belize, is the cover of Lanting's book Eye to Eye. "The American cat called cougar is also known as mountain lion, puma, or panther. It has the greatest distribution of any large feline, yet it is rarely seen wherever it lives. I have seen cougar prints right outside my home in coastal California, but I have never glimpsed one in the wild-yet.

Enthralled, I spent hours eye to eye with a captive male in Belize, until he relaxed to a dreamy pose."

Chinstrap penguins, shot on assignment in Antarctica. "While on an icebreaker cruise to Antarctica, our party came upon a magnificent iceberg the size of a cathedral. its contours sculptured by the eroding effect of waves that have created a haul-out for a flock of chinstrap penguins."

This page: Hawaiian Monk Seal. shot on location in the Hawaiian Leeward islands. "Whale Skate Island is a remote speck of land in the Leeward chain that serves as a sanctuary for the last Hawaiian monk seals, whose entire population numbers less than 1,000. On this treeless islet, I found a monk seal that had flipped sand on its head in a futile attempt to create shade."

"Superbly adapted to their desert environment, two oryxes, or gemsboks, are plodding through southern Africa's Namibia Desert. Whenever they dipped below the crest of a dune, I would scramble closer, making sure, however, that I stayed far enough away not to interrupt their casual progress through this immense sea of sand."

"On an oxbow lake along a remote jungle river of the upper Amazon basin, I came quite close to this black caiman, South America's largest, rarest, and most dangerous crocodilian. Although this adult female was placid around me, it was implicated a few months later when a swimmer disappeared from the lake."

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Luba Lukova Freedom ofExpression is the Hallmark ofThese Two Designer/Illustrators

Jatnes Victore

BY ANNE TELFORD

O

n the face of it it might seem that two people with such

informed by the police that she would have to leave the capital.

disparate backgrounds would be unlikely to share common

Like many blacklisted by the Communists she took work in

interests. Yet both Luba Lukova-whose <esthetics were forged

Blagoevgrad, a small town near the Yugoslavian border. There

in Soviet-occupied Bulgaria, a country where the government

she found a chamber opera, a puppet theater and an opportu-

quashed creative expression-and James Victore-who comes

nity to more freely express her creativity, "I was the only graphic

from a country where free speech is a much-vaunted right, and

designer there so I became really busy! "

who revels in pushing the boundaries of free expression-use the

In Eastern Europe, the poster was a potent medium for spread-

poster as their primary medium. Both label themselves illustra-

ing ideas-many countries had national publishing houses for

tors/graphic designers. Both are concerned with ideas and graph-

posters and artists were assigned topics to illustrate, to express

ically expressing those ideas in the most immediate and evocative

the Communist party line. All factories and plants would receive

way. Both are masters of visual puns and double entendres.

a bundle of posters from the publishing houses every month

However, while their subject matter deals with many important

and most had a full-time person responsible for propaganda.

and controversial aspects of modern society, their styles are

Ironically, while being trained to convey the message of the

quite different. In addition to the quick sketch style he often

state, some students like Luba created the most powerful images

employs, James Victore sometimes uses collage, or draws over

against that very message.

an existing photo while Lukova paints in a bold, graphic style

Every month there was a meeting of the board at the Bulgarian

or combines painting with three-dimensional objects. A frequent element in Victore's work is a disembodied head or skull, often including an impudently stuck out tongue to get across his point. Luba Lukova's work is boldly colorful, employs a

Right: Not in My Name, 1995. "This poster promotes the living Theatre play against the death penalty. The image came while watching a choreography rehearsal. I was so excited that I did the poster in one night and

vibrant but limited palette of emotionally-laden colors (red is a

on the next day showed it to the company. That's how my first poster in

favorite because of its striking appeal against black-and-white)

America was approved to print." Judith Malina/Hanan Reznikov, artistic

and exhibits a classical fluidity of line. She uses the human form, bending figures into tortured or sensual shapes to under-

directors; luba lukova, designer/illustrator. 27 X 39, silk-screen.

"Hate, is from a series called 'Four letter Words' for the Anti-Defamation league. The other posters in the series are titled Talk, Grow and Help. The

score her messages.

posters are distributed to grade schools along with a teacher's guide to

Luba Lukova was born in Plovdiv, Bulgaria, and came of age

ticated colorful images that would engage a child's intellect and not

conduct a class on each of the ideas presented. We tried to create sophis-

under a repressive Comm!lnist state . Her grandfather, a former French counsel, was sent to a concentration camp and her grandmother (for whom she is named) was forced to give up much

spoon-feed information or condescend to them." James Victore, designer/ illustrator. 20 X 281/z, offset.

Romeo & Juliet poster for The Shakespeare Project, New York . An ongoing series of posters for free outdoor productions of Shakespeare 's

of the family's wealth and property. "This affected mainly my

plays. Scott Cargle, art director; James Victore, designer/illustrator.

parents and I think that their generation, people in their 6os,

20 X 281/z, offset.

suffered the most because their working life was under Com-

Poster for the 1997 Immigrant Theatre Festival at Manhattan's lower East

munism. But it affected me as well, because when I graduated

Side theater. "I was looking for an image which speaks in a simple way

in 1986 it was still under the same regime." Within two days of her graduation from the Academy of Art in Sofia, she was 1 02

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about the positive aspects of immigration. I depicted the immigrant as a growing grafted person, not an alien." Marcy Arlin, artistic director; luba lukova, designer/illustrator. 27 X 39, silk-screen .

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Luba Lukova & James Victore

national poster house; ten people from the central committee of the party and five from the poster house would evaluate the <esthetic of each poster submitted. Approval to print was a necessity. Many questions were asked about artists' meaning and motive and often Luba's posters were rejected, although she says, "I always felt like a winner even though I was declined. " Her mother asked, "Did you pass the board?" when Lukova had her first illustration printed in the New York Times.

However she learned discipline and respect for art, as well as honing her drawing skills while at the academy. ''I'm extremely grateful to my teachers, Alexander Popli lov and Asen Stareishinsky. They gave the green light to a lot of my projects .

All my influences [were] from Bulgaria, now I'm influenced by everything, " she says, with a laugh .

Despite the strictures it imposed on other rights , Communism created an egalitarian society with regard to the sexes. "I was the only girl in my class in Bulgaria," she says, then adds, "if

One of her first assignments was to illustrate book reviews for The New York Times Book Review. Her poster designs for offBroadway productions have received numerous awards and recently she has gone from off-Broadway to Broadway, illustrating the poster for the Barry Manilow vehicle, H armony. The play tells the true story of the Comedian Harmonists, a group of six young musicians in 1920s Germany who rose from street musicians to world-famous entertainers. (In one of those strange instances of real life imitating art, the Bulgarian musician in the group was deported home and became the favorite singer of Luba's grandparents .)

"I feel that the advertisements on Broadway need to be refreshed.

You don't see posters from Broadway in poster competitions.

They have really big money and look what they produce. " As she always does before creating a poster, she read the script and listened carefully to the music. "I didn't know who Barry Manilow was but they gave me a huge file with articles on him ," she says with evident amusement.

we have to speak about these feminist issues. In Bulgaria, a professional woman is really respected as a professional. People don't

The soft-spoken Bulgarian artist, who fought to express herself

say 'she's a working woman.' The whole idea behind Communist

at home and who has struggled with a different and often d iffi-

education is that only the very best will be allowed to study.

cult set of circumstances in America since her arrival in 1991,

Maybe the confidence I have in myself is that I have always been treated as a professional. I never ever thought about it; here you feel it differently. They always try to put you in a special category. " In Sofia, a government-sponsored union for Bulgarian artists routinely entered work to various competitions, often without the artists' knowledge. Luba's work was among that sent. At the time of the Soviet Union's collapse, Luba received a passport and was allowed to travel out of the country. She was invited to Colorado where several of her posters had been accepted to the

Right: Virgil, 1997 . "A poster for a production at the Theat er for t he New City, New York . This is the story of a Vietnam veteran who looks at his past through the eyes of his Chinese-American wife." Mark Hammond, artistic director; Luba Lukova, designer/ illustrator. 27 X 39, silk-scree n.

Harmony, 1998. "A poster for the Broadway premiere of Barry Manilow's

new musical. It tells the true story of the Comedian Harmonists, a group of six young musicians (three Jews, two Germans and one Bulgari an) .

They rose from street musicians to wo rld-famous ent ertainers in 1920s Germany. Besides the real facts, this play is about the ab ility of six different people to create a harmony in turbulent ti mes." Luba Luk ova,

Colorado International Invitational Poster Exhibition, the only

designer/ illustrator. Offset.

international poster competition held in the U .S.A. Afterwards

Poster for the Portfolio Center in Atlanta , Georgia . "Th is is a fai rly straightforwa rd poster. When asked by my favorite cl ient to create a poster to

she decided to stop over in New York. She never returned home.

Instead, she began the process of establishing herself in America.

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announce a portfolio review, I had to ask, 'Are they good books?'" Jam es Victore, designer/illustrator. 301/2 X 24, silk-screen .

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Luba Lukova & James Victore

will soon become a U.S. citizen. Although she began by illustrating posters, increasingly she is doing more editorial work to which she applies the same methodology as her poster design: reduce an idea to a single powerful expression, with an emphasis on emotional impact. Clients include the New York Times, Discover magazine, the Village

Voice and Sony Music. She is currently illustrating a book about gypsies and plans to produce a magazine on the arts and literature in the near future. Preferring to speak with images rather th an words, she explains that her goal is to touch people with her art. "They say what comes from the heart, goes to the heart. If it's really honest and personal it will reach other persons. If my images can work this way it will mean that I am successful. " James Victore, too , prefers to keep the presentation of his ideas uncluttered and feels they pack more power precisely because of their simplicity. ''All of the interesting and powerful stuff goes on in your mind," he states . But he's always [ fREE ]

This page: Poster for The Shakespeare Project. " My j ob designing for The Shakespear e Project, or any client for that matter, is to see sim plicity in complexity. In plays like Twelfth Night or The Winter's Tale there is a modicum of mistaken identities, cross-dressing, people turned to stone, abandoned babies, adandoned morals and a few man eating bears. In the translation to ink on paper, these ideas go through a process not unlike sausage making. The end result (hopefully) is a seductive, quirky and memorable image chock full (hopefully) of layered readings, illogical ideas and bad typography. All in black-and-white, no less." James Victore, designer/ illustrator. Silk-screen .

No Deaths for the Songs, 1987, a poster for Drama Theatre Blagoevgrad, Bulgaria . " The play was based on Federico Garcia Lorca 's poetry.

I wanted to create an expressive image without drawing people, so I made the guitar bleeding. The poster is now a part of the permanent collection of the Museum of Modern Art, New York ." Luba Lukova, art director/designer/ illustrator. 27 X 39, silk-screen .

Right: " This is a limited-edition poster for my exhibition at the Theater Row Theater, a collection of 23 posters originating both in the United States and Bulgaria. I wanted the image to be graphically simple and personal. As a child, I loved the circus act when the trainer put her head into the lion's mouth . I thought she must be very brave to do that; somehow she became connected with the beast. So, I drew this image for my poster." Luba Lukova, designer/ illustrator. 23 X 35, 2-color, silk-screen .

Chisciotte (Quixote), 1998. " A poster for a co-production of the New York-based Living Theatre and Casa Degli Alfieri from Turin , Italy. This contemporary play is a mix of Cervantes's classical story and the challenging experimental ideas of the Living Theatre." Luciano Nattino/ Judith Malina, artistic directors; Luba Lukova, designer/illustrator. 27 X 39, silk-screen .

Coriolanus, poster for The Shakespeare Project. James Victore, designer/ illustrator. 20 X 281/2, offset.

Post No Bills, an exhibition of 40 posters by James Victore at the DOD Gallery, Osaka, Japan, held in the fall of 1997 . 20 X 28, silk-scr een .

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curious whether people get the joke. ''I'm trying to make

another day, in the middle of one play some guy had a run-in

images that people get without getting."

with his own pit bull," Victore remembers.

Victore lives and works out of a SoHo loft. Posters by Henryk

Victore's imagery is often crude and direct, like a child's angry

Tomaszewski, and other Eastern European poster artists hang

drawing after a scolding, well suited to the hard topics he

in an impressive row above a long work table. His influences

addresses for clients such as the Anti-Defamation League (a series

stem from the European poster tradition and include French

of four posters, ro,ooo each, were sent to schools around the

designer Pierre Bernard. His first projects were for a playwright

country, as educational tools) , Amnesty International, Coalition

with whom he formed an alliance when he moved to Manhattan.

for the Homeless and the National Association for the Advance-

"I used to do her posters when I was a kid; they're really ugly and

ment of Colored People. On the more commercial side, he

I don't show them to anyone," he says with a grin. "[It's the]

counts Viacom, Warner Classics International, the New Yo rk

hardest thing to do, theater in New York, the only harder thing

Times, Elektra Entertainment and Farrar, Strauss and Giroux

is to be a standup comedian, and there posters won't help you!"

as clients. His work has received many awards , including the

Since 1993, Victore has been associated with The Shakespeare Project: outdoor theater performed in parks, homeless shelters and other unorthodox venues throughout New York-theater for the people. Scott Cargle, Julie Sheehan and Victore formed the original group. Although there now are five people on the

Grand Prix at the Design Biennale in the Czech Republic for his poster depicting the horror of racism and the ICOGRADA Excellence prize at the Festival D 'Affiches [posters] in Chaumont, France, for a poster which offered another view of the 2oorh anniversary of Columbus's discovery.

board-including a lawyer-and the budget has grown from $300

In Europe, poster kiosks and wall boards on the sides of build-

to $70,000, "It's still real kitchen-sink theater. I think Shakespeare

ings offer a forum for political messages and the posting of

would really dig what we're doing; it's real brass tacks," Victore

theater productions and art exhibitions. They are a part of the

says. "We take Shakespeare to people who wouldn't pay the

landscape of cities like Paris, Prague and Warsaw. In the U.S. ,

money at some theater. I try to seduce them with visuals."

where huge billboards often overshadow this older, subtler form

Each poster has two different runs: an offset run of about r,ooo

of communication, there is less exposure for this viral medium.

that are mounted around town to publicize each play and 200-

Luba Lukova and James Victore are helping to keep the poster

300 silk-screen, which in Christo-like fashion are sold at fund-

tradition alive in America, each bringing their personal passion

raising events to generate money for the project.

to this medium of immediacy, creating art that is challenging,

"Shakespeare's work is intelligent and bawdy, his characters are

thought-provoking and sometimes, simply beautiful. •

ruthless and divine. It's a cherished opportunity to design for such content," Victore says. "It's not important that every person in New York City see these posters, only that those who do are

Right: "This was my second poster for the NAACP (National Association

moved enough to sit for a few moments or a few hours and let

for the Advancement of Colored People) Legal Defense Fund to deal with

Shakespeare entertain them."

Victore cites Polish circus posters as inspiring The Shakespeare

capital punishment. These posters were sent out to lawyers, lobbyists, educators-anyone who has anything to do with the death penalty. Our objective was to present simple information-that the U.S. is the only industrialized nation in the world to employ the death penalty-in a

Project style. "The marketing people said, 'We really like what

slightly more memorable format." James Victore, designer/illustrator.

you're doing here, we really like the black-and-white, keep this

26 X 38, offset.

hand-drawn stuff and don't put the dates and actor's names on

Bus stop shelter poster. "The School of Visual Arts asked ten artists and

it. Leave a banner at the bottom for that information."

designers to create posters commemorating their 50th anniversary. The

There's an ad hoc flavor to theater groups like The Shakespeare

deliver is that art is within the everyday and commonplace. We shouldn't

Project which, like backyard theaters, are at the mercy of impromptu additions from the audience and the environment.

For example, during Romeo and juliet which was performed on the docks at 23rd Street water-skiers added their own the-

assignment was to visually express 'Art is ...' The idea that I wanted to have to visit the sanitary sanctuary of galleries and museums, art should visit us." James Victore, designer/illustrator. 46 X 67 .

Mann 1st Mann, 1987 [Man is Man]. "This is a poster for a production of Bertolt Brecht's play at Drama Theatre Blagoevgrad. The idea of the script was how the society deforms the person. The budget was very limited and I printed the entire edition on a thin craft paper. The poster won

atrical touch. At a different performance, "A couple of guys

Grand Prix at the International Biennale of Theatre Poster in Sofia in

with bongo drums were trying to compete with the actors;

1988.'' Luba Lukova, art director/designer/illustrator. 39 X 27; silk-screen.

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series of articles showcasing design projects that use no more than two colors, this feature has become popular because it effectively and persuasively shows that strong ideas, and not big budgets, produce projects that leave a lasting impression. We contacted 35 design firms requesting low-budget projects-ironic during a year when the economy is booming, very few people are out of work and money appears to be no object.

on CD-ROM, inexpensive typeface collections and stock photography for purchase on the Web. While computers made the elements of design more accessible, the Internet has placed the components at the fingertips of designers and it appears that they are taking advantage of the technology.

When colors are limited, printing expenses are lower, so designers are stretching their palettes with inventive solutions. The use of duotones, gradations of color and screen tints are popular ways of using one color without making a piece look like it 's

This year, low-budget projects came in a number of guises: some are for clients who didn't have a lot of money to spend; others were the result of chosen design <Esthetics; and still others were

just one color. There is also an increase in the overlapping of two colors to make a third, thanks to WYSIWYG software that

done pro bono for non-profit clients trying to obtain professional design services (and greater impact) at as little cost as possible.

ing them to the printer.

While there is the argument that firms offer their services to non-profit organizations as a way of designing projects without creative limitations for their portfolios, it is also an opportunity for designers to give something back to their communities. And, while it's simple enough to offer pro bono design services, it is more difficult to create a project that doesn't cost a fortune to produce. Some printers are willing to offer services at little or no cost and paper companies are frequently agreeable to donating their product, but when they're not, designers have to come up with ways to get ideas across and keep costs down. One design firm created condom packaging at virtually no production cost for a long list of safe sex organizations in the community-the packages were intentionally left blank and each organization affixed a sticker-by using stock photography and ganging the project on the unused portion of a form.

Aesthetics can also determine costs for projects. A project created for Disney, used black-and-white imagery with alternating background colors to create a nostalgic feel; ease of printing and lower costs were simply side benefits of design choices. Still another project, where budget wasn't ultimately a concern, used only two colors and spent the money saved on printing for paper stock and bindery.

The greatest number of projects we received were done for clients who didn't have a lot of money to spend. Many had large press runs; design solutions were varied.

Background patterns , created by the repetition of a prominent image were popular as a means of creating dimension in onecolor projects as were the use of copyright-free images available 110

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allows designers to view their projects in real color before send-

Not every project can be solved with a low-budget solution, but it's nice to know that designers are using creativity and innovation to create truly memorable projects when money is in short supply. • Right: Condom packaging. "This is an interesting (well, to us anyway) tale of working with clients, vendors and short deadlines to do some good to prevent the spread of AIDS," says creative director Russ Haan of After Hours Creative in Phoenix, Arizona . "We have donated a lot of work over the past several years for AIDS prevention and education related causes.

Several of the organizations we worked with needed condom packaging that could also contain instructions on proper use and the announcement of safe sex workshops and discussion groups. When one of our software clients had several packages come up for printing, we asked Pierce Arrow, our printer, if they would help absorb the cost of film if our client would approve the use of the empty parts of their press sheets. We finally struck a deal. Since we were given very short notice, we turned to stock photography, added some fun headlines and ended up with packaging that really connected with a variety of audiences. All at no cost to the non-profit groups, no added cost to our client (who received public recognition for their contribution) and minimal expense to our printer." PhotoDisc, stock photography.

Mailer for the Chicken Soup Brigade. Every year Hogue Cellars holds an auction to benefit this nonprofit organization which offers assistance to people living with HIV and AIDS. The project was done pro bono, but Cyclone Design of Seattle didn't want it to appear that way. The designers exploited two colors every way (which included manipulation on press) to attain depth, dignity and an awareness of the good cause and the winery's efforts. Traci Daberko/Dennis Clouse, designers/illustrators.

Mike's Hard Lemonade packaging. "The client had identified lemonade as the flavor but after that, anything was open," said writer Peter Woods. With a minimal advertising budget, the package design had to break through shelf-clutter at the supermarkets and sell the product. The result: a highcontrast, yellow-on-black, closed, four-pack which ensured that Mike's Hard Lemonade would capture customer interest and a copy-intensive packaging designed to create a folk hero with which consumers could identify. Peter Woods, designer/illustrator; Don Chisholm, creative director; M5 Design Group Inc. (Vancouver, Canada), design firm; Mark Anthony Group, Mike's Hard Lemonade, client.

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Great Ideas on Limited Budgets

Left: Brochure for Legal Beagle, a start-up messenger service specifically for lawyers. Budget restrictions only allowed for two-color printing but extra money "was squeezed out of the client" for full-bleed debossing on the coverfor added texture and dimension. Since there was no money for illustration or photography, the logo was showcased and parts of it were used to create a background pattern. Jennifer Hansen, art director/designer; Hansen Design (Philadelphia), design firm .

Internal poster series for Canadian Imperial Bank of Commerce (CIBC) . The purpose of the campaign was to raise employee awareness of new banking systems. Eight posters were designed as 'puzzle pieces' (albeit rectangular ones) to be displayed sequentially at CIBC with one added every week until all eight were shown together. Terry Lau, designer; James Wilson/Jay Wilson, creative directors; Overdrive Design Limited (Toronto, Canada), design firm.

This page : Packaging for Lustra, a skin fade cream aimed at the 35+ female market. The idea behind the design was to give distinction to an otherwise lifeless prescription product which frequently stays hidden inside the medicine cabinet. "Our goal was to make the user feel comfortable enough to place such a necessary product among their everyday cosmetic items," says co-designer Christine Ray. "The gradual fade we incorporated into the design was an extremely important aspect of our concept; it's reflective both of the quality of the product and the smoothness of its process.

Since the packaging was flexo-printed , we stayed in constant contact with the printer to ensure that the quality of the printing remained true to the product's standards." An additional obstacle was to maintain the concept and quality of the design while keeping within FDA standards whose requirements can frequently change. Christine Ray/Joe Ray, art directors; Joe Ray/Leslie Link, designers; Bob Carey Photography, photographer; Estudio Ray (Scottsdale, AZ), design firm; Medicis Pharmaceutical Corp., client.

Theater poster for Private Lives created for Seattle's lntiman Theatre. The poster illustrates the classic balcony scene of Elyot and Amanda, a divorced couple unable to live together or apart, who encounter one another while honeymooning with their new, safe (more boring) spouses. The main objective was to emphasize a feeling of wealth and elegance which was achieved by overprinting two colors to create the desired richness, simplicity, depth and striking contrast . Dennis Clouse/Traci Daberko, designers/illustrators; Cyclone Design (Seattle), design firm .

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This page: fundtalk, an internal publication for Fidelity Investments fund managers. Clifford Stoltze, art director; Dina Radeka/Ciifford Stoltze, designers; Stoltze Design (Boston, MA), design firm. to ur sh rJ Fund m.,..- ~ Mtttft- ~ham his vmon of thtnew,llltnnlum

Right: Brochure for The Joint Program in Neonatology at Harvard Medical School; Harvard and affiliated local hospitals are focused on clinical care, research and teaching in newborn medicine. Duotones were used to suggest the blue lights that premature infants (who are often born jaundiced) are placed under to help prevent liver damage. Photographer Kent Dayton used a photojournalistic style to tell the story of a typical day to give prospective applicants a feeling for the program . Fritz Klaetke, art director/designer; Visual Dialogue (Boston, MA), design firm .

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114

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Rot1t1011s 11 Children's Hosp1t1l provtde exper1ence 1n transport lnd 1n the co-menapment ot SUrllclipatlents,whtreasBethlvaellndBr•lhlmlndWomen'shosp•talsprovrdeexpertence rnpertnatalmeneaementanddehwryroomcare Tl'ltsec:ondandth•rdyearsemphasllelpt'Oif'lminreseerchtre•nlnlwllhlnestabhshed mentor,endprepaflt!onOflfllnd!Ytdualfetlowsh!plfllnlfliiJitlt. In ldd•t•on.electiYeSIJft olferedmcMdtoiOtrf,permatotoc,and ECMOdurtnlthesecondandth~rdyears.

Numerousteac hml conlerences,toornalclubs,andluest lectureslreavatllbleFetlows conduct many of the teechm1 conferences wtth feculty supeN•s•on. Fellows 1re encOtJrapd to preHnllhtitrtHarchandattendsponsorednat•onalconferences. Aclty·wldeennuaiNewborn Me<ltcineReseatehSymposlumsponsore<lbytheJPN!)f"ovtdtsthefetlow tntrl•nlnlw•th

<

opportun•t•estomeetcolleaeuesatsim•lerstapsoltraln•neinothertnst•t uhons,andtoshare

8

Fottowin1 successful completton of the three-year fellowshtp, trainees 1ft encourl&ed to cont•nuetl'ltlrresearch tre•ntnlwlth the!festabhshe<lmentorsforapenodoltwoyearsHan attendtnl neonatoloe•st w1th a Hll"'nn'd Me<l tcel Sc!M)ol fiCulty eppotntment This phase of researchmetutattonfiC!IIIItesasuccesstultraMtltontolhestatusoftndependentmvestllllor ThlstratninlcumculumrellectsthephilosophythatluturesuccessiSaniCademteneonatoloI•SlreQutresanucetlentchntealfoundattonandeprocreutve,tnd!V!dUaltzedresearchtralntna

Thechn•cllcareotnewbornsh•slreattytmprovedoverthepu.t lOyears.lncraiSinl knowladll tnmanyf•eldshasbeenelf•c•entlytranslatedlntonewepproacheslorthecareol newborns,w•thsteldytmprovementmneonatllmorb•d•tyandmortahty TheJPNSec:ltontnChn•cell nveslllal•onprov•des theluturaclin•cal •nvesttlllotWtlhstratq•es toevalu1tethe letestldvancesmena•neer~nl, molecularbtcKotrY. cell b•oloo. and pharmacal· OIY, IndapplytttemtothemtenSI\"tCareenvttonment FeltOWJwllldevelopstratq•nbOth w1thtn the llborltoryaswellas lnlhenawborn ICUwhtchwttl preparethltra•nte:IO!mprove clin•ca clfetnthelteiSofd•alnosttcs,theraptultcs.and•nlormattOnmenarement OniQU'CPfOJoKtsandchn•c•ltr~alstnvolve mantorslnJPNISwellasalfthlte<llaboratOftH '"

the Harvardmed•c•lcomplel,lndlll threeJPN NICUs Current pro,.cts•nclude • •

Chn•caltflllsofrec:ombmlntCytolunes; Auessmentofnewbornresp~ratorymechantesendcontrolofbreathml;

•

TherapeuiiCiflalsolnewpharmacoiQiiCaefil"'lsforspectflcneonataltnfecl!ousd•seiSH;

•

Cllnlultflllsof newtht!rap•esfOfpars•stent pulmonaryhypertens.onofthe newborn;

•

Non-lnvulve assessment of cerebral metaboliSm us1n1 near-1nfrlfad spectroscopy;_

•

Trialsofnewmoleculardtagnosllcsandtnformattonsystems Tlleseacttvtttnprov•dethetralneew•thopportunlltestocollabofatewtthcollealues fnothtt HaNard lile<ltcelaraadepartmentsanddv•sions .. ncludmlcardtoiOty,IHiroenteroiOty.lnlectlousdlselses,nephro•O&Y.~urolotY.PIInoloo,pulmonery,lndobstetttcsandJYnecoiOIJ'.

ResearchtntheJPNSecttontnNeonataEp • demtO~IndHe~lthPohcytSdlftc.te<lattssues

surrOtJnd•nltnfantmortelttyin ttte Untte<IStat.s, •ntqrat .nlpopulat!Onlndclontcal parspec:ttvesSpec•ftcareasoftnterest•nctude •

R•skiiCtorsforldverseprqnancyoutcome.especta tly thosecontr•butmltoriCtlldtspanttes;

•

RISk fectors for spec1hc comphcat•ons of ttte newt>orn penod. such IS perststent pulmonary

•

Assessmentoltheroleofpermataland neonataltechnoloaythrOUihtvaluat•onofchn•cal •nterventtonsandpractices. ttterelat•onolldmlsstonseventytoresourceuH,end•nter· mst•tuflonalvarlltlon lnoutcomesandcost;

• •

Charactenzettonoftheootcomesofh,lh·flsk•nlantslndpost·d+sct'tarse•ntervent•ons; lmPKI of fmlnctal health care pohcy on the care of mothers 1nd newborns Tl'ltsecl!onencouragestellowstoseekaplduatereselfChdqreeorequrv•Jentv.pet~ence•t

the HarvardSchOOiofPubl!cHealth. Thesectton atsomatnta•nscomP\Itlnlresources and databasesavll labletofellows.lnlddtlton.thetrltneecanp•rt•ctpa:e tnl heJPN-• nttllte<l HarvardiMtltuteforReproctuct•YeandChtldHealth.a mu tt HnsttluttonllproeramwhiCnseeks tOIUoeSSind ·mprovematernalandchildhealthcarepohc•es

COMMUNICATION

ARTS

115

Great Ideas on Limited Budgets

This page: Outlook (October 1995 issue), a newsletter for the faculty, staff and students of the Goldman School of Dental Medicine at Boston University, is designed to be light, open and inviting to read. Due to a tight budget, one color is chosen for each issue and only the cover story has assigned photography. "Big Cheese" dingbats are used as icons for continuing departments. Fritz Klaetke, art director/ designer; Dorene Dzuiba, editor; Vivienne Blake, writer/ manager; Kent Dayton (cover storyi/Bruce Spector (others), photographers; Visual Dialogue, (Boston, MAl, design firm.

Right: "Creating in Crisis: Making Art in the Age of AIDS" gallery catalog. The brochure was intentionally produced inexpensively-newsprint, two-colors, saddlestitchingbecause of the nature of the topic in the hope that its raw appearance would inspire immediacy. The second color (red) was used only once on the cover to give the title

Hat's Off To...

Profile: Dr. Dulong

The pediatric dental clinic at Boston City Hospital

impact but was later used at the show opening where a

Quick Speak

red X was painted on the windows of the gallery. Kirk

has been open for fifteen minutes. Every seat in the

The Year 2000

waiting room is taken , and people are lined up

Honors for Oppenheim

against the windows that run the length of the room.

What's Up

Dr. R..ichard Allard, director of the advanced educa-

Richard Smith/Micheal Milligan, art directors; Kirk Richard Smith/Terry Rohrbach, designers; Susan R. Channing/

Thoughts from the Ed itor

Micheal Milligan/Wendell Ricketts, writers; Will Shively, photographer; Kirk Richard Smith, illustrator; Firehouse 101 Art+ Design (Columbus, OH), design firm ; Spaces Gallery (Cleveland, OH), client.

coordinating th e chedule of patients with the four pediatric residents. examining x-rays, reviewing treatment plans, and making his patients laugh .

care :::l r-t

younN

JUIIhedAlumnusof

Human Services. Thrsb

5rrice to tiM commoNty.

Q

Dr. Steven Morgano ~ Dr.St~nMorg;ano,;assocJ:atcclnn­

hissubstantlalconlribu-

thefourthye:r.rthedenal

C

researchandpntctice.

ol pro(es.wr o ( rntor..ntve sc•enct.'5,

brmp 3 ~alth of upcncncc: 10

~.ano-

. dentalcducatiOn . Morganowlll

ciuedeanforadminisua-

"Then

the!M.immerlnstiwtefor Women in Hilhef Edua-

postdoctoral program 10 mulndtsci-

don Administration It

d•~ordcrencomp;a~:arc::a\ofden ­

nstry, such as prosdlOdontiC\and onhodontle\, as well as arc;a~ of

m y of ch ildren ( see are

month-klnawortu.hopof

dcnCcnter,WIIIJcvclopa phnarymmagementofrMJ.Th•s

piuJ,scsscntla1duc rothe e,adv-.anccdsbt.eJOfdcnul

honoredatlheAmerian

fundinafromtheDcpa.n-

oa :~.::l~~~:~~:r ~:::,·~ (~~~~~~~~~~in the

~~

cruedinial profusor,has

recefved$246,0001n HIY

;r,n~lmeetin&inHayfor

_

dt~c»e. :~nd h<hav1oral problems.

~mod-

acede:r.nforcllnkalatwrs,

mentofEndodonua.wa.s AcademyofEndodonucs

=:J leach postdocloral pmsthodonuo;

The loc;mo n of the dcnul dinic

~.

ch:r.lrm:r.noftheOep:r.rt·

...

n

~n when~ they a re r~nuhar:·

tion program in pediatric dentistry, weaves in and out of the individual examining rooms talking to parents,

BrynHawt"Cdleceln Pennsylv:r.ni:r.. TM:Summet" lnstiwteseekstolmpt'0¥1J the saws of women in the middle and executive

MorK'Ino h::~s worked full ume for

I proccdurc5. U lcr

I

alsohurece!Vedacrant of$ 11 <4,76-41nceneraJ

UJl,...-r y or the.· ).."t'ncral practice 1"6i-

u:hoo l '~cxternsh •pp~nrnat 1hc

dentistry from the

V.-'1. M edlc:IIC:cn termlkd(ord.

Department of Health and

Massachu~tt\ for de nul ~mdenu

HumanServices. Frtedman

thcpcd!31r1Cpaucnumoro:dTt:c-

from Uoston Umvt:f'liltyand ll:arv:ard

l1Vdy by l'Silbhshmga cliniC ~pcc•fi­

(rom IIJN710thcpn.'5Cnt. M OI)."lllO h::~sscrvt:dasdm:ctorofthe posl -

aflC!Qc klb!lh:lcs;b:Cin•l. cHre<:toroftheAdvanced

School alumnus toreceM

fundsthnxr-"a~n~nt

dlrsaward.Perlm:r.nwlflbe

fromtheRyanWhiteH IV/

honof-edat a receptiOnln

AIDS Dena! Reimburu·

Ottobo<.

mentProcrvn. This proar~mushuacc~rted

dena! schools and postdoctonldeoalproa:nms inrneednauncornpensued COSUifljH'O\'idin&onl helktlcare topatienu w1th HIVinfection.TM denalschoolpro'lides thesep:r.tienuwithcomprehensivedent:r.lcare throuJhreferralsfrom •nctesinctudinaC..mbfid&eCaresAboutAIOS, C1cyofBostonHIV Ombu<bmanfTocn~m,;r,nd

theNewEnJiandAIOS andEducationCentu. ~,I.U!Iant

Eduadon in General Den-

deanforpredoc(onl

doctornlprosthodonucsprognmat

tistryprocram, willcOOI'"·

;r,dmisstonsandnudenl

sccmNfi ftc cnwtwentyp:lllcnn

HarVlrdUmvt•nuy;mdconlmu'""'o

dirr:r.teroationsofthe

aff:r.tn,tw beenformahy

who m:ay c:~c h ~peak :1 d1fTcrent bn~~~a~C' "Thcre 1s a wtdc vuu:ty of

tc:achthen-oncWya wcc-k . He has

AEGDresidenuinsome

honoredforherouut:r.nd-

M' rvedon lh,·faculry ofthc-dcnul

in&workwtthstuderru.

culturdandb;~ckNrounds''AIInd

'IChool at the:- Umvcn11y o f Ml·d•cmc

ofthe8ost0flareanei&f\bof'hoodhellthcenten,

TheAlph;r,Omepfratu-

ob~erv~.·d. ":md I :1m unprd.Sc."J by

:mdl>enustryo(Ncw jcm-ya.\a n

sue:hasCodm:r.nSq111re

nicyre<:endyprnented

tin- \t'rv•cc~ the hospital ~trlVl-<i to

:assmJrHchnrcalprof~orofpo\t

and the Oimmock Corn-

herwrthapiaquetocom·

provide the patlcllls." One dut • ~

1-\nduJtcfixcdprosthodunua:at

muf'lltyHe:r.khCerrter.

mernoratel'le:rdediated

\ludcnt\ w1ll gel unpar:alldcd cxpe-

(requcntly med IS the approxun;ady

Tufbi Unrvcrsny School of De-nul

ru:ncc." B e~m mn~ wnh lh t• K1d~

IWellty five (ul\-tune IIHl' rpn.•lc"

MediCnleas:aclmicalmstructorm

w1th ATilCi p~r:un lllltlatlve. 1he

\ummoucd by 1he pawn~-: ~ystc m

fixed pnxthodonuc~; and at Loyola

clnw: h:a~ c'volvt•d 1n the lan year

"Tht· firs1 ruk uf bch:wmr mana~ote-

Unwenrty Schooln( l>cnlrstry 1~ a

11110 an exclu\IVc prov1der ofpc:d1-

111e111 1~ tht· ab1hty to LUiliiHU nH:alc"

cl•mcalmstructormremoVJblt.·

atricdcuul c::are mlht• hos pna l,

.-'l.ll:ardtuntmued . " I cou ld \cc om•

prcl'lthodontan

undcrKorm~ 1he pnctiuhty 11(

paucnt who spoke V1c tn:alll t"\t', the

c01nbuung the rcwurcn of tht•

nex1 wtllspt·ak Creole. and the

A diplornJtcofthc .-'l.nu:nc:an UoJrd of Pro-.thndunuo. Mortt:ano\

mcd1ca l ccmer :and Um1011 C1ty

patH~ Ill ;afier that w11l ~pt·a k Sp;m-

ac:dcnu:al~ mcludc:1 b:~c hdnr nfarts

1sh." .-'l.nd wuh that statcmenl ~po-

d~·v;rel" m h•olot-.'Y from Ml• rrun~ck

t'OIIH\Iunny. Ongmally, pt'diJin<"

kt"n over h1~ shuuldcr as he was

Collc:-gc;md adoL to rnfdcn u lm'-·d-

pat1cnt~ who rt·qunt·d denul wnrl.

c~ llcd 1010 Jnnt hc r cXJIIHillllg

ll' IIWdc~ ree fmmTufts . YouLan

were s.ccn {'lther 111 1he tJnt onl

room, he nm urmt•d on h1s m1U10n

fl"lCh hm1 :lt6jK-5<f.l')Of 6jK- <t7<47

9 98

He1sthefirstGoldman

schoolhasrece~.,edthue

"fY of the paucnts :md nur studcnu make tim an cxcdlclll m:atch. The

H usp•ul h> dchv'"·r ht':alth care to the

I Ju N E

lstration.Or. friednun

k' rvc thccommumtybutto"t"rVl'

Allard ~pend~ 1 typ~e:~l aftcrnnon

M A y

thc Veteran~ .-'l.dnmustnuon M cd • c~ l C:eniCf'li ~lllCC' !')MO. :md ha~ \C'JVed

as the prunary prcct<plor forthcde"ncyclin!CS. Albrduw thc rwcd to

ullyfurthl·m

116

l~sofeducation;admin-

BoUOfiUn......-.Jtyforhis

llck!sROCJllbr:J:s aubant prvfeuor of restOn.tiwsclflKes.,has been;a'NU'dedthel995 .AJuhulerFamilyfeltowship, which provides a stipendtoa,nduatinJfelJowinprr~trkdentistry.

Dr. Paut:r. friedman. IUOCi· atedunilllddirectorol theproznrn.:r.ndDr. j(.tsun.AJtshuler,dtnical profenot"ofdUJnostic:sctences;r,ndp:r.dentserrices.

..-.

presentedtheawtord.

~ tantclinicalprofessorof &:r.,nosticsc:iflK.esillld

~tient1ervkes.received

.... ..,...Om<pOen<>l Educator Award from the8eaEpsiklnchapwoftheAlphaOmep fraternity.

emine ntly quo table ,.T hose who forget the past are condemned to repeat it; but those who anticipate the future are empowered to creacc tt' ' Franci~ Kinsman

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

A R T S

117

t0 :

•••

••

Take left side YaeArthur Exit Yake a left en Karket Rit;,-ht en 1lst Street

118

M A y

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I

9 98

Great Ideas on Limited Budgets Left: Postcard for Palm + Asil. This pro bono mailer was produced for Palm, a ceramic-ware artist and Asil, a glass furniture designer, for their annual Christmas sale. Both artists create work with a heavy Middle Eastern flair so embellishments from Islamic art and bellydancing themes were included in the design of the piece. Amy Franceschini, designer; Futurefarmers (San Francisco), design firm.

Identity program for The Gifted Gardener. The high-end garden shop located in St. Louis approached local design firm Phoenix Creative for assistance with a complete identity program. The shop, which sells gardening equipment, statuary, fountains and gift items, needed an identity that was upscale and versatile enough to be utilized in a wide variety of applications. The identity makes use of a variety of archived, engraved illustrations to create the feelings of heritage and culture that are associated with traditional English gardening societies. The entire system-which included a complete business papers program, external and internal signage, point-of-purchase materials, packaging elements, customer sales incentive materials, print advertising and a series of direct mail pieces-was produced in two colors to control production costs. Ed Mantels-Seeker, art director/designer.

ADCC Burn Your Bad Art Bonfire and Chili Cook-Off postcard/invitation was used to launch the new year for the Art Directors Club of Cincinnati. The mailer was designed to illustrate igniting a warm, glowing bonfire with bad art from the past year (represented by multiple layers of type), while art directors burn their > (])

0

5i

taste buds at the chili cook-off. Lisa J. Scheuerle, art director/ designer; Guildhaus Photographics, photographer; Plankton

@

Design (Covington, KY), design firm .

This page: Disney Cruise Line guest amenities. The ships of the Disney Cruise Line evoke the golden age of travel-by-sea during the early part of the century. Packaging graphics for the shampoos, soaps and other stateroom amenities, were inspired by the cosmetics and toiletries packaging of the Art Deco era. Two flat colors were used on each piece as the best reproduction method for the hand-rendered gradations. The complementary color palette (as opposed to a matching one) was initially an aesthetic decision but proved to be advantageous in production when specialty vendors, in Hong Kong , Toronto and Michigan, were selected to work simultaneously on different items. Thomas Scott, designer; Vernon Whitaker, writer; Jeffrey Morris/Renee Schneider, creative directors; Michael Mojher/Jeremy Vanhoozer, illustrators; Disney Design Group (lake Buena Vista, FL), design firm; Disney Cruise Line, client.

Moriyama + Teshima Architects mailer announcing the appointment of three new associates to the firm . The design-two folding and interlocking pieces-symbolizes the creative and architectural processes and references the Japanese tradition of origami. (Of course, by complete coincidence, Raymond Moriyama is Japanese.)

The money that was saved on printing this piece 2/0 went into stock and bindery. James Wilson, art director; Jay Wilson, designer; Patrick Fordham, photographer; Overdrive Design Limited (Toronto, Canada), design firm .

COMMUNICATION

ARTS

119

NATIONAL AUDUBON SOCIETY

SADLY FOR US, EX-ARIZONA GOVERNOR ROSE

MOFFORD IS STILL AUVE AND

WELL,

WHICH MEANS SHE HAS FULL

POSSESSION

OF

HER

REMARKABLE

COIFFURE. FORTUNATELY FOR YOU, THE HUNDREDS OF OTHER DISPLAYS AT THE ARIZONA HISTORICAL SOCIETY MUSEUM ARE

EVEN

MORE

WORTHY

OF

YOUR

ATTENTION . So WHILE WE'RE WAmNG FOR ROSE'S CURLS, YOU CAN DISCOVER

c

SOME PRETTY HAIR-RAISING FACTS ABOUT

.. c

ARIZONA'S COLORFUL PAST.

IF

DEAD HAIR

120

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Great Ideas on Limited Budgets Left: Arizona Historical Society Museum print ad. "History from A(to)Z was created to promote a museum of Arizona history, not a topic tons of people automatically find interesting," says creative director Russ Haan of After Hours Creative in Phoenix, Arizona . "While developing the creative, the more we learned, the more fascinating we found the museum to be. We kept asking ourselves, 'How do we make this interesting? How do we make the past seem exciting, fun and current?'

That's when we thought of our ex-governor, Rose Mofford. Everyone (in Arizona) knows her and her amazing hairdo, but she's not quite history yet. That's when the idea hit us. If she were dead, she would be history. So we put that idea into an ad and brought it before the museum's board of directors who instantly expressed horror and said, 'No way!' So we went directly to the governor for her response. She approved the ad and sent us off with the words, ' If you don't have a sense of humor, then you shouldn't live in Arizona .' We took her comments and support back to the board who finally approved the ad and its companions." Tim Lanterman/ Art Holeman, photographers.

Composting brochure for a National Audubon Society conference on recycling. Meant to explain the importance of regional composting in maintaining productive soil for agriculture, the drawing illustrates the interaction of organisms in the food chain. Susan Hochbaum, designer; Suzanne Morin, creative director; Bill Russell, illustrator; Susan Hochbaum Design (Montclair, NJ). design firm .

This page: Why magazine, an internal publication for Fidelity Investments geared toward the largest group of employees (aged 25-35) working in the Retail Communications Group. Because each issue is thematic, the design (fonts and grid structure) changes accordingly.

Clifford Stoltze, art director; Dina Radeka/Ciifford Stoltze, designers; Stoltze Design (Boston, MA), design firm .

Retirement: the road to tomorrow began yesterday

by Pt!tr Costa lfyouareatypicalruderoftht.Smlrl.me,c:hancuarcyouarca financial rcprucntauvc, younccrthan 'l7, and hnebccn at

fiddiry for •hchtly more than 1 year. And although you may apt:nd a tl("dicant pan of your day uplaimnr ret•rcmcnt •nveftmcnt

advanUoge of 10-u\led ·window· inctntivct -

bcncfiu paid by 1he company un1ilagc 65 when Medica re luW 1n1

workleu world. Lke your countCrJH'rt& outaldt:" Fidduy, you may

having the comP'nycred1t t he employee with an additional hve

'l'lew rellremcnt 11 a futc ofun gncc: that other pe:ople cntu,

yunoftervlce;andha,ingthecompanymakeuplhedlfference

tomcone else, tomcone ·old.· Not you, not yet

unullheurlyreureeildl('bleforSoclaiSecurny.

More tha n

10.000 tomorrow. ftand between you and .JOUr cold watch. You

lave ~d wort In the pru.ured p~nt and have dtfficulry 1magm •nc a umc when you WJI!au '"a roclmc cha1r on .orne fron1 porc.h wuhablanketwnpped&I"Dundyourler Well, yourna:1on of~un:.mcnt, although

of 144 p r1,.te tedor employee• by Charles D. Spencer &

II percent reureocage6sand'Z percentreunbeca1.11eof d.aabiln iu at •ny A(l! · Cens1.11 Bu reau .fl.atiA1a show • maJO r demographic sh aft. In 1970. lhere we~ 70 mr.lbon ch1ldren under the •ge of 18 and SO miJlio n adulu over

ar 50 . By lhe year 2010. t.he over-So

re neration will total 97 millio n while t here...; IJ be only 63 m ilhon ~ ildre n under ll(e 18. The moil nptd incrf'aJe wiiJ occu r be-tween t.he yea n 2010 • nd 2030 whe.n b.by boo me n turn age 65.

And not o nly a re people reti ringatyoungerage.a but they •~ bvmg lon~r tn their retirement. Stud1u Jhow lhat m 1940 the probab1bty lhat aomeone age 65 would bve. to go wu only 7 ~n::ent; by 1980 t.he odd. were 24 percent. rrttreme.nt, they en..Uion lh11 mc~ old

The avenge peraon age 50 can now e.ped to thn~ for 29 more

couple walhng down lhe Mach hand-an-h•nd in front of a beau

yean ofhfe. Confirming thu trend i1 that the futUI:-growmg ug·

ufuJ 1unxt. In l'l'allty, t.he pldu~ 11 quue ditTr:~nt. Whr:n we help

mentofthepopulationutheolddtofourold thosewho•re8S

people plan relll'l'me.nt, what we an rully ta!Lng about u be.tter po.niorunc lhe.m to m.b: the life choices lhey want, when they

Reurement today h .. fewofthe.fllcm•a ofycfieryear. People m

want. So. whethe.r that's • second c.aree.r, whether they ~ooae to

theu 40s and 501 uy they look forwa.rd to reu r mg •nd punutng

getoutoftheworltforce fora whale •nd then open up• bed and

a8:a¥1l1Uand lafe.flylufree from theconfinmuof• rcgularn.ed

trying to m•lt.e lhcar co•ls become reality ... Nlld Kalhy HopltmJ, EaecuuYeVicePreJidentofMa r kunc.

workd•y. And more and more people know they ha"e to RYe tO be able todo.o. Pe r cap1ta mcome IS highe.flwhcn people are m the 1r50aand 601. h ile.fl1mated that people plan n ing to retire

Evc.n among trad1t1onal, oldu ~~~~es. retircmf'nt U hardly seden

ha¥e more than S1 trillion 1n invefiable UJeU. A ~ce_ n t repon by

ury. Recent .flud1es of people -ccd 65 to 75 ahow that reu~u taU

the New York ~«arch firm f'INDIIVP reYeaiJ that app rodmatdy

7.6 tnpa per year and tn~l more than 100 m1les from lheu homes

16percentofhouuholdswlthahouteholdu55to74yeanold

on uch one; 16 ~runt play golf rqul•rly, II percent e.njoy work-

ha~ net wonh• ofS-zso.ooo o r more, and more than 'Z7 per cent

lrl( an thetr prde.ru; and 10 percent tra¥'\".1 Cllteraa~ly. A.y longer

ofho~.~~eholdenw1th • hoU~C.holder55to 74h.,cnetwonh.Jof

andapendmo~ont.heu....uuorulhanyoungerpeoplew1thgrow·

between Stoo,ooo and h+g.ggg. Accordmg to lhe Ceruu•

•Oj:dtr.ldrc.nandttme-demandln(tai'H.n

Buruu, home equny accounu for more than 40 pe_n::ent of the netwonhofmaturchnU«holdJ.

Jotnlnct.huoldercroup•~hund~d.ofthow.andsofynunrer

ret1l'l'es tn t.hc1r 501, manr of whom euher Jumped or were pushed anto early reurement by corporate down1bmg1. Others took

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brukfafl, or are adual}y luc.kyenough to really retire, Fidduy iJ

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

A R T S

121

-

T O COM PLETE THE CONFIGURE T ELEPHONY SERVICES DIALOGUE BOX :

11

I . Select the service type (TAPI or TSAPI) .

2. In the Telephony Driver field, select your telephony driver.

3 . If you ore using TSAPI, complete the User Information and choose OK to close the d io k>g ue box. PhoneMax starts.

4. Even if you entered the wrong 10 or password, the PhoneMax window appears. To r~ nter your I0 and sta rt telephone service, from the Telephone menu, choose Start Telephony Service .

5. If you are using TAP!, you con configure your telephony driver by choosing the Configure button.

T o START P HONEMAx FROM W INDOWS P ROGRAM MANAGER :

I. Open the PhoneMax program group.

2. Double-click the PhoneMox icon.

Phone Max consists of o main window and three secondary windows T he Contact List window contains infor mation you enter

about personal contacts . When o con tact in the list calls you, inf o rma t ion about the contact appears a utoma tica lly.

july 16- august 30, 1997 aurt: Kevin Ancell , Leo Benamina, Marti Bryce, Jeffrey Thomae Doonan in anoc.Mttton wtth calamare productioM , Ken f andetl, Muk.e Dunne.

Marpret K•tQ•I ..n. Ell.t.abeth Pepin. St.wfboanta ancf wchhtu from Kavln Ancell , P t Judah, Xavle<l..oniet, O'Neill USA, SF Surf Shol), WIM Surfboards.

•: DOVKI Franldin, Tommy GuerNf'O, O.rlo Johlonson, TObin Yelland, Sunde Whit . Sutebo- ..,d •"'""'" from a.rtatlan Cooper. Bryce Kanlghto, R. .l Skateboards. video c:ompllatlone by <0e«g1na Conine and " - "'-"'>. Including

::'T~a"::...~'~~~N':..n.~s~tor~

HardiSson, Brad Johnson, JD Peteraon, Stephen SpaJcting, Yelland. Sound design by Kadel Kuhne and Ellae Ba

n

Swltc:hStanc:e- page e www.-uun.com/alw

by JD Peteraon andlvrfot Franc:eac:hlnl.

e

• I ..- .. -·-·- -- ~

7 -OUR

~CTIVITIES

Q _ OUR WCRAPHIC IDENTITY

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p~·orz:iwe

w<i a col!llll.i t:cent

tv ""'e:"'Vlce - not ju......~,. \:hat it. l.:;, , but \:hat l"t. a ..,pl . .:-e ""'

to be . " I'JOU~unr.-l'W-•T

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122

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The Tele phone window shows incoming and connected coils.

Using the menu or tool bo r commands, you easily control these calls.

The Coli Log window shows completed calls, including infor-

mation you con copy to o Contact Ust You con edit, save, and creote new coli logs

Great Ideas on Limited Budgets Left: Documentation booklet for PhoneMax, part of a complete brand/identity developed for a computer telephone product.

PhoneMax, call control software, allows users to see incoming calls and handle them in real time. The software runs across the LAN (Intranet) and interfaces through Windows with a TAPI or TSAPI phone line. Since the information can be technical and somewhat intimidating to anyone except " early technology adapters," designer David Lemley decided to make relaying the information, fun . David Lemley/Tawnya Lemley, art directors; David Lemley Design (Seattle) design firm ; Active Voice, PhoneMax, client.

Postcard mailer for the San Francisco Arts Commission Gallery.

This two-color card was a pro bono commission for a surf/skateboard show. Designer Amy Franceschini was commissioned to create a logo to represent the show and apply it to a two-color printed piece. The logotype "S" was inspired by the wave and half pipe shapes in both sports. Georgina Corzine/lobin Yelland, photographers; Futurefarmers (San Francisco), design firm .

I atomic I TM

Big Brothers Big Sisters of Greater St. Louis 1996 Annual Report.

The not-for-profit organization didn't have a lot of money to spend on their annual report but needed a vehicle that would highlight the past year and communicate the intent of the agency to serve children in the community. Since this piece was intended to be used as a future fundraising piece and a message to current supporters, it needed to be strong and speak to both audiences. Mark Katzman of Ferguson & Katzman graciously agreed to donate the photography which was used as a focal point to reinforce the one-on-one interaction and positive influence adult mentors have on young lives. Deborah Finkelstein, designer/creative director; Carol McCorkle/Becky James, Big Brothers Big Sisters of Greater St. Louis, writers; Phoenix Creative (St. Louis), design firm .

This page: Atomic Ironworks catalog. The designer and manufacturer of hand-crafted, welded steel hat and coat racks needed a flexible catalog to which products could be added or eliminated as the business grew. The linear quality of the products was wellsuited to simple line drawing representation . Susan Hochbaum, designer; Rolla Herman, illustrator; Susan Hochbaum Design (Montclair, NJ), design firm .

•

•

bra nch

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

A R T S

123

Writing

·

Cash in on your wa • with words-apply for one of Coc's wriring scholarships ranging upward from 1,500 per •car.

Just submit a wriring portfolio--includ ing at lea. t three different wriring am pies and a pcrsonol bio describing )'OUr background and interest in writing- nud your completed application for admission to Coc by February 15, 199 . Then watch your mailbox for an award norificarion.

,

Fine Arts

Cor a flair for music, rhcarer or rhe \'isualans.' .\ lake your ralenr wo rk fo r rou--compcre for renewable award ranging upwards from

I ,500 per year.

Art. To compere for a rcncw:tblc art scholarship, )'OU must submit a portfolio of fil'c to eight worls and ha1•c an on-campu inren ie" "irh rhc arc faculty.

Music. In addirion ro general music cholarships starting ar I, ·oo per year ( aw:~rd cd tO both music nud non-music majors) the Coc .\ lusic Department offers renewable full -tuitio n chol•r hip To compere lor a full-ruiri on scholarship, rou must ha1e • 3.0 high school GP.\ ond plan ro pursue • Bachelor of .\ lusic (B..\ I.) degree at Coc.

Theatre. The oe Theatre Department awards scholarship in rhe areas of acting, directing, and technical direction and design on rhc basis of an on- ampu audition and . or inten iew (a portfolio is optional lor students interested in technical direction and/ or design ).

To compere for any of these scholar hips, send • umplctcd application for dmi ion u11d register for the on-campo Fine and Performing .\ m comperiri ns by feb ruary I. 199 . Then . hoi\ up ro show oO' on Fchruary 13- 14, IQ<l • \\'inncrs 1\ ill be notified b mail.

124

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Great Ideas on Limited Budgets

Left: Peace postcard. Part of a collection of postcards which together make up a holiday greeting booklet titled "Tidings/Good Thoughts. " The intent was to visually interpret inspirational thoughts in a way which would encourage the recipient to actually use the postcards and send them to someone they love.

The words on each postcard are open to individual interpretation : Peace. Hope.

Change. Compassion. Vision . Faith . Family. Harmony. Prosperity. Warmth.

Wisdom. Several different press runs achieved an eclectic look for the project.

The Peace card is a sumi brush drawing of a dove flying through the word; two colors are overprinted to achieve a third. David Lemley, art director/illustrator; David Lemley/Christopher Elliott, designers; David Lemley Design (Seattle), design firm ; Overlake Press, client.

Direct marketing piece for Coe College, Department of Admissions. This piece is part of a campaign that the college uses to recruit new students. Many of the pieces in the campaign are more lavishly produced 6-color pieces but for budget reasons, gaps in the mailing cycle are filled with less expensive 1- or 2color brochures. The less costly pieces make it easier for Coe to experiment with timing of the mailings. In addition, many of these 2-color brochures include specific event information and dates, so they tend to be revised more often than the 6-color pieces. Bill Basler/Drew Davies/Bill Bollman, designers; Cate Drew, writer; Patty Sherman, production coordinator; Basler Design Group (Cedar Rapids, lA), design firm.

This page: Theater poster. The Group Theatre's Voices of Christmas is a perennial performance designed from the personal stories and holiday memories of a multicultural cast of eight. Director Ruben Sierra's vision of "giving and receiving" was illustrated as a nondenominational tree. Only two colors were used, PREVIEWS· NOV 26 & 29 TICKETS· 441 1299

TTY• 1 800 833 6388

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THE GROUP THEATRE

but were overprinted to create others. Traci Daberko/Dennis Clouse, designers/ illustrators; Cyclone Design (Seattle), design firm .

John Cale concert poster for a rare club tour promoting his latest recording "Walking On Locusts. " The event, featuring the noted Welsh musician and founding member of The Velvet Underground, was commemorated with a low budget mix of promotional photos, old engravings, equally eccentric typog raphy and was screen printed in two colors . Thomas Scott, designer; Eye Noise (Orlando, FL), design firm ; Figurehead Promotions, client.

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Great Ideas on Limited Budgets

Promotional poster for Eskimoka Joe, an ice cream-coffee drink made at The Coffee Plantation, a well-known, well-loved series of coffee houses in the Phoenix, Arizona area. Coffee is shipped into the United States in large burlap bags from all over the world and the bags frequently have country or plantation insignia. "The poster was designed to reflect this aspect of the store's identity (the image is of then-owner, Joe Johnston)." says co-designer Leslie Link. "After exploring various avenues we decided to print the poster on the used burlap bags and although we had never used the medium, we felt strongly that it would be the best way to emphasize the character and originality of the store. Finding enough bags to print on became an obstacle as did searching for a printer willing to print on burlap. Our printer, Custom Screenprint, allowed us to experiment on press to make sure that everything read well and ink coverage remained consistent ." Christine Ray/Joe Ray, art directors; Christine Ray, designer; Frank Ybarra, illustrator; Estudio Ray (Scottsdale, AZ) design firm.

Promotional poster for Legacy 1997 a tri-annual month-long event, celebrating Women's History Month in Grand Rapids, Michigan, during which various organizations and institutions join together to present a citywide celebration that honors women, past and present. Despite the fact that the production budget for this project was extremely small, it was important that the poster (and all other parts of the campaign) appeal to as many ages and races of women as possible. Designer Leslie Black wanted art that would reproduce well at 600 dpi so it would look good when photocopied or printed conventionally; she also wanted a piece that was flexible and reproduced well in one color so it would be easier to obtain coverage in the local press. The theme "building a lasting legacy" was already established and because there were so many events going on throughout the city, the calendar became a focal point. Illustrator Yolanda Gonzalez depicted different women in each of the squares and handlettering was used to make the piece feel grass roots. A local paper merchant, Central Michigan Paper Company of Grand Rapids, donated all the paper and printing was done at cost by Commercial Printing; 20,000 copies of the poster were printed and placed in various establishments around town and at participating organizations. Leslie Black, art director; Leslie Black Design (Grand Rapids, Ml). design firm.

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ll\' THE ~10\lE Titanic, T il E 11\'TE:\'SE .\l0,\1El\'T AT \V1 11Cll YOU K..' .:O\\' TilE .\1A..\L\110TH SHIP

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ICEBERG LH- r A..'\' 1:\'DELIBLE L\tPRESSIO:\' 0~ .\ 1Y ..\1IND. I COULD RELATE. I SEE

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As I write this, sheltered in my office from yet another El Niiio storm front, a young

SPEEDI:\'G ALOl\'G AS WELL, E:\'RAPTCRED 1:\' OUR LUXURIES,

Arkansas woman is spending her one hundred-forty-second consecutive day high up in a

BLISSFULLY IG.l\'ORING T i lE

Humboldt County redwood tree. Unfortunately for Julie Butterfly (a pseudonym), her

RESULTS OF OUR ACTIONS,

record setting tree-sit has taken place throughout one of California's wettest winters.

PRETEJ\'Dll\'G ALL IS V.'ELL. ll\' THIS ISSUE, \\'E HOl\'OR TilE

During that time, nearly all the old-growth trees on the steep slope around her have been

OUTSTA.l\'Dil\'G PEOPLE WIIO

cut and hauled out by helicopter, leaving her vulnerable to high winds and cold, driving

ARE TR\1:\'G TO SLO\\' THE SIIIP

rains. The grove is part of the 60,000 acre ancient Headwaters Forest- the largest

DO\\'.!\' E:\'OUGII TO MAKE TIIAT

remaining old-growth redwood ecosystem in California- that activists are trying to protect

CRCCIAL TUR.l\' TO AVOID

:\'

F:\TIR0:\'.\1E:\'T:\L CRASH.

from Charles Hurwitz and the Maxxam Corporation.

BE \\'ELL. !A Eva Anderson, Editor

or effort involved in reducing environwenty-four year old Julie mental impacts. And some designers Butterfly's courage prompts found that it definitely took longer to me to question: are activism research suppliers and monitor their and design compatible? At the beginning of the decade performances, at least in the short-term. it seemed they were.

Still, a number of companies, Unbleached kraft was hip, as were organizations and studios reusable package designs. New continued to combine materials, like organic cotton and environmental activism non-wood fibers seemed to sige • with design by seeking nal systemic changes in pro• out niche clients and developing an duct design. Profits were often tithed to environmental expertise. In 0 t>J organizations through causesupport of them, related-marketing programs. we've introduced E ECO Kudo awards. 0fSurveys showed American fconsumers considered the Not all of us < ::E environment a top priority, have the courage or as long as the additional costs passion or even the weren't unduly out of reach. means to let our By the mid-nineties, how~ activist sides guide our ~ ~~~ lives. After all, what ever, the movement began to appear dated and faddish. Conprinted piece could begin to sumers were raising eyebrows about approach the statement made by higher costs and questioning corporate risking one's life, sitting one-hundredmotives. Environmental product design and-eighty feet up in the last tree on was seen by some as too serious or an entire hillside, as electric horns are pedantic. Without huge consumer supblasted to prevent you from sleeping port, only the truly committed stayed and people bringing in provisions are in the game. It became harder to conbarred from approaching? But looking vince clients to justify the extra expense out over the design landscape, I can't

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think of a guild of professionals better suited to adopt environmental ethics as an influential and creative force in everyday living.

In late 1997, the Patagonia board of direcPatagonia tors issued Ventura, California an ultimatum for its employees to produce its semi-annual one millionplus-circulation catalog on tree-free papers. Patagonia's internal working group, which called themselves the Headwaters Task Force, came back

LEADERSHIP

As long as today's designers dismiss environGloria Kondrup mental practices Art Center College of Design as antithetical Pasadena, California to common business sense, it will be up to future generations to do more with less, and learn to design toxic and unnecessary elements out of everyday things. For her students at the Art Center, Gloria Kondrup wrote and printed a small booklet entitled "A

EDUCATION

arguing that the tree••••••••··~~ free ultima tum was too limiting. Converting Patagonia's paper needs to environmentally-sound products would require "fiber diversity," taking into account issues of sustainable agriculture, trans porta cion, processing and recyclability.

Setting such a bold parameter has sparked an s soon to be Patagonia's cata1og ' enormous amount of creative . ted on tree-tree 'Paller, 'Prm momentum within the company, and the . ental issues . highlight envlronm result could be a radical new look for its Created by Gloria K d mail order catalogs and printed communion rup for her students th . b cation pieces. Two years earlier, the board challenged ' Is ooklet serves as f employees to convert their existing ten million dollar line a undamental guide of cotton sportswear to 100% organic fiber. Since then, Sustainable Process." . for assessin th g e environmental After succinctly they have found organic cotton to be not only a better consequences of design. describing a number environmental source of fibers, but better for their bottom of the core ecological line as well. problems facing us today, she offers a checklist of questions What role does that place the individual projects students are conceptualizing J OURNALISM advertising play within an environmental and social context. Providing such a framework helps students "understand the systems" in which m environmenAd Busters Magazine tal degradation, industrial and graphic design projects are produced.

Vancouver, British Columbia, globalization Canada of culture and One printer to PRINTING weather the conspicuous consumption? AdBusters editor and founder storm of Calle Lasn has made it his mission to deconstruct the PCW100 environmental messages of commercial culture and comment on how they Port Washington, New York entrepreneuraffect our societies. Without doubt, AdBusters's most creative ship in the 1990s is Greg Barber, founder of PCW1 00. As the efforts go into producing spoofs of advertising titans, such name implies, Barber's company has earned a reputation as Nike, Calvin Klein and Camel. In addition to arguing for for 100% recycled grades, low-VOC vegetable-based inks and more relevant information about history-less products that other low-impact printing practices. Without this commitwill supposedly enter our lives and make everything all right, ment to 100% recycled papers, Barber believes he wouldn't they also organize "Buy Nothing Day," on the Friday have been able to carve out a successful niche among the following Thanksgiving- traditionally the initiation of the hardcore faithful. PCW100's clients include the U.S. EnvironChristmas shopping frenzy.

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mental Protection Agency, Co-op America, the United Nations Environmental Program and the Nathan Cummings Foundation, among others. The company's Web site (pcwlOO.com) also offers a number of helpful ideas on paper_s and printing.

•

It took some COLLATERAL DESIGN extra effort, but Studio eg proStudio eg duced an ecoOakland, California designer's dream stationery system and promotional material for their line of 98% recycled, tres chic, yet highly functional, modular office furniture. Not only did they consider minimal ink coverage, but Studio eg printed their business cards on the blank sides of printers' cast-offs and makereadies (recycled content, of course).

Studio ag's promotional To fully support the material, such as this piece character of their product, they printed printed on recycled their letterhead, ch about chipboard, says mu envelope and brothe natura of the materials chure on reused used in their products. bluelines collected from local architectural and space planning firms. Surprisingly, the bluelines compete only minimally with the photographs and add an interesting design element, resulting in a resourceful and sophisticated image. Among Studio eg's many clients are MTV, attorney] erry Brown's "We the People" headquarters and Imagine Publishing.

For more than 15 years, San Fran cisco-based Public Media Center non-profit San Francisco, California communications agency Public Media Center has been producing hardhitting ads and masterminding public relations campaigns that garner maximum visibility for important social and environmental organizations. Over the years, PMC has placed creatively conceived, full-page ads in the nation's top newspapers and magazines, carefully outlining a wide range of issues, from the plight of farm workers, to the environmental impacts of monolithic development projects, to the consequences of clandestine global trade agreements. Their most recent analy-

ACTIVISM

sis of the Multilateral Agreement on Investment-which could threaten the sovereignty of governments and communities around the world- brought mainstream attention to the ever increasing domination of global economic forces.

For anyone interested in knowing the Wendy Brawer environmental Modern World Design destinations New York City, New York of a given city, New York designer Wendy Brawer has set the process in motion. Brawer created Green Maps, an adaptable framework of more than 100 icons that mapmakers can use to chart a city's environmentally significant places: outstanding beauty, solar sites, organic food stores, ecologically designed buildings- even toxic hot spots.

After completing the Green Apple

CONNECTIONS

Wendy Brawer' 6 s reen Map uses a system of over 100 . zcons to guide travelers to environmental dest · . znatzons.

map for her home city and publishing it on the World Wide Web, Brawer then made her environmental mapping language available to other volunteer organizations across the globe, accessible through greenmap.com. As of late 1997, 69 teams are involved in the project, in 20 countries and on 6 continents. Brawer was also instrumental in establishing the U .S. chapter of the European-born eco-design organization 02.

One of the pnmary objections to Dancing Tree Paper timber-free Berkeley, California papers is cost and availability. Developing affordable, mainstream, postconsumer papers has been one of the primary objectives of founder Joshua Grossman. A tenacious businessman, Gro~sman recently introduced a coated, 100% recycled paper that contains 75% post-consumer waste and is processed without chlorine. The Amicus Journal, a quarterly publication of the Natural Resources Defense Council, is among Dancing Tree's clientele- the cost was 3¢ more per issue for the paper and they will use 16 tractor trailer loads in 1998.

ENTREPRENEUR

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Victor Papanek BY

The only thing important about design is how it relates to people," the late Victor Papanek once said. The Austrian-born designer, activist, author and professor- recognized by many as the person who introduced the notion that environmental and social responsibility should be the driving forces behind architecture and industrial design in the early 1960s- passed away at the age of 72 on January 10.

Perhaps Papanek's most enduring legacy to the design world will be his vision and inspiration. Considered a heretic by many of his peers, Papanek argued that design had to go beyond stimulating consumption by improving convemence and ere ating a sense of "good taste."

A designer's or archi teet's primary responsi hili ty, Papanek believed, is to society and the environment, rather than to a client's bottom line. In a world of increasing specialization, he encouraged students and professionals to develop an interdisciplinary approach to their work, finding ways to help the disadvantaged and to conceive products that lessened environmental impacts.

His 1970 book, Design for the Real World, is perhaps the most widely-read design book in the world, published in 23 languages. In it, Papanek cast an existential light on the forces driving

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DA

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the design professions. "In a world brought nearly to its knees by the abject want, a preoccupation with 'making things pretty' is a crime against humanity."

As much a critic as an optimist, Papanek wrote, "In an environment that is screwed up visually, physically and chemically, the best and simplest thing that architects, industrial designers, planners, etc. could do for humanity would be to stop working entirely ... But. .. it seems to me that we can go beyond not working at all and work positively."

An interdisciplinary scholar who IN HIS RADICAL BOOK Design for the

Real World, ONE OF HIS EARLIEST WORKS , PAPANEK CHALLENGED DESIGNERS TO GO BEYOND "MAKING THINGS PRETTY."

studied architecture and design at Cooper Union and the Massachusetts Institute of Technology, Papanek worked for 3 5 years in developing countries for the United Nations International Development Organization, United Nations Education, Social and Cultural Organization and World Health Organization.

Phil White, an industrial designer for ZIBA Design in Portland, Oregon, studied with Papanek at the Kansas City Art Institute. He remembers being intimidated by the professor's vast knowledge and experience in anthropology.

"He stimulated and challenged us to find ways to adapt this new kind of thinking to the real world." Inspired by his professor's radical thinking, White went

on to become an environmental designer at Philips in the Netherlands, incorporating principles of design for disassembly, appropriate materials and comparative environmental impacts into this engineering work.

Papanek was the author of eight books on design and taught at five different universities and institutes.

Ed Van White, a Dutch designer, remembers Papanek's 1989 trip to Holland to address the IKEA Foundation, which had asked him to present a lecture. To Papanek's surprise, he received an IKEA award for "design in the service of mankind."

Later someone asked what he thought of the award. "I haven't looked yet," he replied, "my jacket is upstairs." When he did, he was shocked to find $50,000!

In exploring the potential of design, Papanek left these haunting questions to transcend good taste and achieve real beauty: What are the optimal conditions for human society on earth? What are the parameters of the global and ethnological systems? What are the limits of resources? What are the basic housekeeping rules for human life on the planet? And finally, what don't we know?

Vision, insight, optimism, idealism, example. These are Papanek's great gifts.

CREDITS

Editor/Designer: EvA

DERSO t

Contributing Writer: D A

I MHOFF

Contributing Illustrator: MATT C ASTILIEGO, (401) 75 1-4555 , PR OVIDE

CE, RI

Recycled Paper donated by: PL AI

WELL P APER C OMPA

Y,

P LA I NWELL, MI

This newsletter is printed on Plainwell Kashmir Natural80 lb. matte, a 50 % recycled paper with 10 % postconsumer content.

Communication A rts/Creative Access

1998 Salary Survey H

ow does your salary compare to others in your same

discipline, the same geographic region, the same years of experience? What do you charge for creative services? We

Average Salary By Job Title $125,000

surveyed one-thousand creative professionals from around the country to find our the answers to these and other questions.

To get an accurate picture of the entire industry, we partnered with Chicago-based Creative Access, a database marketing, research and sales support comAverage Salary By Gender

pany that maintains a database of more than 250,000 practitioners in the creative and print production markers. Our sampling was selected to deliver a geographic distribution of the overall database.

Five principal job positions were surveyed: designers , art directors, creative directors, commercial photographers and illustrators. The survey questionnaire was mailed in January I998 and responses were tabulated in February I998. A total

ducted by Statistical Management, Inc. of Lincoln, Rhode Island. The data analysis was completed jointly by TrendWatch partners, Dr. Webb and Mr. James Whittington, CMC. The averages presented in the charts are weighted mean averages, which were considered the most appropriate for this survey.

Age/Gender

pany that monitors trends in the graphic arts and publishing

Almost half (48%) of all respondents are under the age of 40.

Sixty-three percent of graphic des igners are under 40 and represent the youngest category in this survey. Of the I5% of respondents who are under 30, half are located in the South Central United States followed by one-third located in the

industries, directed the research. Data tabulation was con-

North Central United States. Of the I6% who are over 55, more

of 333 surveys were answered and returned generating a 33% response rare.

Dr. Joseph Webb, a partner in TrendWarch, a research com-

Average Salary By Region $100,000

$75,000

$50,000

$25,000

Pacific

Mountain

AK.CA. HI. OR . WA

AZ. CO. ID. MT, NV. NM. UT. WY

West North Central

West South Central

East North Central

East South Central

South Atlantic

MidAtlantic

New England

lA. KS . MN. MO. ND. NE. SD

AR, LA. OK. TX

IL. IN, MI. OH . WI

AL. KY. M S. TN

DE . DC, FL. GA. M D. NC. SC,

NJ. NY. PA

CT. ME. MA. NH. Rl . VT

VA. WV

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1998 Salary Survey

Average Salary By Years of Experience $100,000

than one-fourth (26%) are located in the Middle Atlantic region , followed by 17% in New England. Men occupy 59% of the creative titles . Over half of the graphic designers (51%) are women, more than Percentage of Salary As Bonus any other group.

There are more women in smaller businesses than midsized ones. In shops with 3-4 creatives, 49 % are female compared to only 30% or

respondents, only 19% said that they earn less than $35,000 in

less in shops with

annual salary.

50-499 creatives. For shops with more than

The Pacific region tops the list where 36% of respondents say

500 creatives, 43% are women.

region where 29% reported making this amount. In contrast the

they make more than $75,000. Next is the Middle Atlantic West North Central region has only 9% of the respondents earning more than $75,000.

Type of Business Well over half of the respondents who work in a design firm or as a freelancer are in one- and two-person shops (6ro/o) with

Who pays the most? Agencies and design firms with billings of $1-5 million.

one-third being one-person shops. Slightly more than onefifth (2ro/o) work in design firms or freelance design, and r6o/o

Benefits Offered By Employer Oo/o

worked in corporate/in-house creative departments. Over half of the art directors worked for agencies (53%) while almost

25%

50%

75%

88%

health insurance

one-fourth (23%) worked for publishers. Thirty-nine percent of all respondents worked in organizations with four or less creatives.

vacation

dental care insurance

Education

84%

64%

Respondents have a higher degree of educational attainment than the general population, with twice as many who report hav-

life insurance

57%

personal day off

56%

ing college degrees. This is an indication of why salaries among our respondents are higher than in the general population as well. Unemployment rates for college-educated people are about half of the national unemployment rate. This is why "finding qualified employees" is such a difficult challenge for creative

401 K (employee and employer contribute)

decision makers. This data suggests it is well worth the effort for creative shop owners and managers to hire only qualified

vision care insurance

employees who are both well-educated and experienced. retirement plan (non-401K)

Salary Levels Creative directors and photographers make the most money.

travel perks

Forty-eight percent of creative director respondents and 37% of photographer respondents make more than $IOo,ooo in annual

stock options

salary. Thirteen percent of creative director respondents reported that they earn more than $20o,ooo.

Designers make the least money with almost one-third (32%) reporting that they earn less than $35,000 in annual salary. Of all 132

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401 K (employee only contributes)

52%

Average Salary By Region Graphic Designer $175,000 $150,000 $125,000 $100,000 $75,000 $50,000 $25,000

Art Director $175,000 $ 150,000 $125,000 $100,000 $75,000 $50,000 $25,000

Creative Director $175,000 $ 150,000 $125,000 $100,000 $75,000 $50,000 $25,000

Photographer $175,000 $150,000 $125,000

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$50,000 $25,000 Pacifi c

Mountain

AK. CA. HI. OR . WA

AZ. CO . ID. MT. NV. NM. UT. WY

West North Central

West South Central

East North Central

East South Central

South Atlantic

MidAtlantic

New England

lA. KS. MN. MO. ND. NE. SD

AR . LA. OK, TX

IL. IN . MI . OH . WI

AL. KY. MS. TN

DE. DC. FL. GA. MD. NC. SC. VA. WV

NJ . NY. PA

CT. ME, MA. NH. Rl . VT

The responses from the West North Central, East South Central, West South Central and Mountain were lower compared to those in the five other reg ions and may account for averages that don't make sense when compared to those other regions .

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Outside Vendor Mark-up

1998 Salary Survey

0%

5%

Mark-up 25% or more

10%

15%

20%

11%

While all respondents receive an average bonus of less than ro% of their reported salary amounts, creative directors receive the highest percentage of their salary as bonus (2o%). Graphic designer respondents reported receiving the least percent of their salary as bonus which makes sense since they earn the

21-25%

16-20%

21%

least and are the youngest group in terms of experience.

11-15%

19%

Employee Benefits Almost all respondents report their company provides health insurance (92%) and vacation benefits (87%). This is a very high percentage compared to other industries possibly because insurance benefits Average Hourly Rate By Job Title packages are required to attract and keep this highly-educated

6 - 10%

1-5%

El

0% We do not usually charge mark-ups

17%

0% Client typically pays vendor directly

17%

employee base.

Over half of all creative shops provide employer 401K contribu-

charge more than $!00 per hour. Almost half of the designer respondents (46%) said their position bills between $51 and $!00 per hour. For art director respondents this shifted to 49 %

tions (53%) probably because the

who said their positions bill at between $76 and $125 per hour.

owner has a 401K and must allow

wider range than other positions; 76% said their rates were

Creative director respondents report their positions billed at a between $51 and $150 per hour, 22% were $!0!-$!25 and 31%

employees to participate. Fifty-five

were over $!25 per hour.

percent of agen-

Almost half of photographers (46%) report they do not charge

cies provide 401K plans; design firms,

quarter (23%) charge more than $200 per hour. Most photogra-

hourly fees. Of those who do charge hourly rates, almost one-

24%; corporate in-house design departments, 8r%-not surprising because

phers, however, charged only or mostly a flat fee (6r %) . This was usually their "day rate. "

their "host" companies are usually quite big.

Over one-quarter of the illustrators charge $51-$75 per hour and

Over half reported that their companies provide dental care, life

20% charge $76-$!00 per hour. Eighty-five percent of illustra-

insurance, and personal days off benefits in addition to health care and vacations. One quarter of respondents said that their

tors charge only or mostly a flat fee for their work.

companies provided travel perks.

Outside Vendor Mark-up

Corporate/in-house and manufacturing type businesses offer the

Among our respondents, more agencies and design firms marked-

richest benefits packages with design firms providing the least.

Agencies offer the next best benefits packages to their employees.

were next among businesses who mark-up services. Over one-third

Firms with 50-99 creatives offer the richest benefits packages.

up outside services than other types of businesses. Photo studios (34%) did not charge for or mark up outside vendor charges probably because of market dynamics (clients negotiating away

Hourly Rates and Fees

outside mark-ups and paying creatives outside expenses) and

Most firms charge either "mostly a flat fee" (29%) or "flat and

long-term client relationships.

hourly equally" fee (30%) on projects. Only 17% charged mostly hourly fees for projects. One-quarter of the firms where

As market conditions continue to increase demand for creative

respondents work charge project or day rates for their services.

salaries will most likely rise faster than average. We hope to show

Just over one-quarter of the firms where respondents work

salary trends over time in future surveys. •

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services (and experienced talent continues to be in short supply),

Average Hourly Rate By Region Graphic Designer $225 $200 $175 $150 $125 $100 $75 $50 $25

Art Director $225 $200 $175 $ 150 $125 $100 $75 $50 $25

Creative Director $225 $200 $175 $150 $125 $ 100 $75 $50 $25

Photographer $225 $200 $175 $150

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$125 $100

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$50

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$25 Pacific

Mountain

AK.CA, HI. OR, WA

AZ, CO, ID, MT, NV, NM , UT, WY

West North Central

West South Central

East North Central

East South Central

South Atlantic

MidAtlantic

New England

lA, KS, MN , MO. ND, NE , SD

AR, LA. OK. TX

IL, IN, MI. OH , WI

AL, KY. MS. TN

DE. DC, FL. GA. MD, NC, SC,

NJ, NY, PA

CT. ME, MA, NH. Rl . VT

VA. WV

The responses from the West North Central, East South Central, West South Central and Mountain were lower compared to those in the five other regions and may account for averages that don't make sense when compared to those other regions .

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COM

u design, and implementation firms. For more than 20 years, RPA has d~oped and implemented retail environments and new-media concepts. In the f.m growing telecommunicatJoru retailing industry, RJ>A has created concepts in both the United States and abroad. In each~. RPA attained a complete understanding of the consumer group of our clients. and devdop«< and produced reta•l c

rh rwould

sucussful in each marketplace. ound the world, consumers are rushing to keep up with advanc

in technology

and communication. Th~ people are searching for rools tha t keep d)em on r leading edge of technology. The products and services that they :1~ buyin

Ut

usro

for business and personal communication. As more and more consumers arc shopping fo r these producu, rerail smres are the way to reach them.

Lead ing telecommunications and cellular communication companies are using RPA to develop retail operations that offer customers the best produCt to mttt their business and personal nerds. Th~ companies are discovering thou it is not enough to create an office atmosphere where products are sold. They are bemg successful by using retail conapts that help consumers select the products and services that fit their li fesry le.

ot on ly does this satisfy the customer's basic needs, it also helps ~11

more producu, accessories, and ~rvices to that same cus10mer.

Within the retail store, technology is allowing new-media communications via touch screens, passive and interactive devices, and s<nellite networlu . Combining strategic, design, and implementation expcrti.se in all aspects of the ret<~il environment with New Media cpabilities, RPA offers a complete range of St'rvices. For the world's leading companies, this valuable combinarion is a powe rful, competitive tool.

OVA ~r of choices and messages. In a cluttered m:arketplacc, consumers S« a st rong

bn.nd as an insurance policy against a wasted purcha~ . For commodity products such as shampoo and toothpaste, the intrinsic qualiry of the product drives mon of wh:u makes up the brand arou nd the company that manufacturers a given product.

For "l ifesryle" oriented merchandise, like cars and clothes, consumers use brand as

an identifier to locate and secure products that fit their lifesryle.

Bra nd is not limited to the logo itself, bm is a val ue judgc:mcm resu lti ng from a customer's past experiences, current mindset , and exp«t;;uions. Brand is developed instantly, but also over time.

Fo r rcrail OJXr:nions, the store iuelf is the brand. Everything the consumer sees, h~rs . and touches defi nes thei r perception of the sto re's "brand". Consumers arc

increasi ngly looking 10 .. branded " retai lers to provid e ~rviccs rhey need. Retail offers customers a feeling of service, convenience and cusmmiz.arion that may not

lx: perceived in an "office" type environment. For telecommunications , customers desire a retail environment forth~ reasons. An exciting envi ronment, clear communications, and effective product placement and merchandising all define an effective presentation.

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fat Ar$ KQ"C$ I ffiCiD !npJc tbn:gbyrrer

Exhibit The Exhibit section of CAs regular issues Uanuary/February, March/April May/june and September/October) features a selection of innovative work in the various fields of creative communication.

We're looking for new, outstanding, high-quality, original work. Send samples to Exhibit, Communication Arts, 410 Sherman Avenue, Palo Alto, California 94306.

Describe the purpose, background and include creative credits. Submit TV commercials on %" videotape cassettes NTSC . Pieces to be returned must be accompanied by a self-addressed stamped envelope or your Federal Express number.

Left: Spreads from Retail Planning Associates

(RPA) brochure. Each spread of the brochure featured an anyttuna retevant to you, an .n one P'aCf, Updated automaucatly. trs the free Internet seMCe thars as pei'SOI'\8! as your Sl.,ature \I/

what e )( cite s you?

example of RPA's retail strategy, design and implementation for an existing client relating to the telecommuni-

my . exclte . com

cations world.

Kirk Richard Smith, art director/creative director; Terry Rohrbach, designer/ digital collage; John Bradford, writer; Firehouse 101 Art+ Design (Columbus, OH), design firm .

This page: Excite, Inc. print ad. "The company

was trying to reposition itself from the crowded 'sea rch engine' category," said writer Tyler Hampton. "The market was moving toward personalized information services. One of the more interesting things about the service was that anyone could personalize it. We figured people would be interested in celebrity signatures and Bill Clinton seemed like a good (and free) place to start.

The ad was produced before the latest brouhaha."

Paul Foulkes, art director; Tyler Hampton, writer; Jeff Odiorne/ Michael Wilde, creative directors; Odiorne Wilde Narraway & Partners (San Francisco), ad agency.

One ad from a campaign for VELUX America sky-

lights and roof windows. "Earlier advertising was very technical and focused on the product's design superiority," said art director Jim Mountjoy. "We thought an emotional approach would be more appeal ing to the consumer and decided to focus on the benefits skylights could offer that ordinary windows could not-air, a unique view of the sky and 30% more light-how they make you feel, how romantic they can be and how nice it is to have an unobstructed window of the world right over your head. " Curtis Smith, writer; Jim Mountjoy, creative director; stock photography; Loeffler Ketchum Mountjoy (Charlotte, NC), ad agency.

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~· No MATI(R lAY COlOR YO~R SKIN IS~ ake this little test. great pitchers 11ke Leroy Name the five all-time '· atchel"' Paige. greatest hitters in the · Actually. if anything, it history of baseball. was even harder to hit a Done? Okal\o now let"s home run in the Negro check your answers: Leagues. You see, while the Did Josh Gibson or Roy rules in the Negro Leagues Campenella make the cut? were the same · as in the · Unfortunately, many of majors, they weren't exactly baseball's best players are strictl y enforced. Pitchers often overlooked when it could throw pretty much comes to Ll1e "greatest" anything they wanted. li I . The reason_is simple. pithalls, emery balls, even

than a few out of the park.

Buck o· eil. John Henry Lloyd. Oscar Charleston, and Cumberland "Cum'' Posey could rip the hide 9~ a ball as well as any of the white legends. (Okay. Babe Ruth aside.)

Of course, speaking of Babe RuLI1. that brings us to Josh Gibson ·- the "black Babe RuLI1." In 1930. at only the age of 19. Gibson hit 65 home

T

They all played in the egro Leagues.

But the fact is. it was no ' easier to smack a ball over the center field wall in the . e~ro Leat,JtJes than it was

~

"What is the matter with baseball? The answer is plain prejudice, that's all."

those dreaded shineballs.

They would cover the ball in Crisco if they thought they could 1;e1 away with it.

As Roy Campanella once said. "I ne\'er kne~

-TbeCioicagollelondet,l938

~ runs. In 193L he had 72 hom run . Many believe his lifetime horne run tally may e1•en have reached 1,000. In fact. Josh Gibson smashed the Ionge I home runs ever in Cincinnati's Crosley Field.

Pittsburgh's Forbes Field, and even in ''The House That Ruth Built.'' Yankee tadium.

:;,aj~~~~~~;~ar.~\!nr!~: ;;·';~,'t~e";!~c;::~~dh~~;r~~e

great pitchear lik e Dizzy But, despite it all, the the egro great Negro Lea!,'Ue hitters Dean. In Leagues. they had to face . still managed to knock m?re

lt's hard to imagine what major league

square-foot facility is filled with video

~i~~':1;;;~~~t,~~~~:':~ ;t,i~''fi~;cl -~~,:~~;;;,~i,~·~s.• nid 1 ~;,:~~v~bii;ahir.~rr: But (or the better part of a century, the )2,600 African-Americans who tlmt's exactly the way it wa . 1 o Ken played in the Negro Leagues.

Griffey., Jr. No Barry Bonds. N . o o For more information. please • call {816) 221-1920. The egro Frank Thomas. p until the 1950's, even tl1e most power- · .

Leagues Baseball Museum. ful swing co~ld not break • -~ · located at 18th St. and Vine. th rough the color barrier. · . is open Tuesday through The Neb'l'O Leagues Baseball Saturday, 9:00 am to 6:00 pm. and unday. noon to 6:00 pm. You Museum is dedicated to preserving and illuminating the history of black can also visit our new Web ite at baseball in America. Our new 10,000 www.negroleaguesmuseum.com.

SEPARATE·BUT EQUAL? OR ~SEPARATE BUT BETTER?~ egro League. players had to face inequalities everywhere tbey went.

In Ll1e South, as well as in UIC ortl1, black ballplayers were denied

access- to

restaurants,

than 400 exhibition games, Negro League teams won over 300. ow, we're not implying that the egro League players were three times better than white players. There were great white ball clubs. There were great black ball clubs. But the truth is. black

"We were trying to prove to the world that we were as good or better."

- Buck O'N'eil were just a lot more motivated.

For the white players, these gan1es were just anot her way to pick up• a paycheck. For · the Negro League players, they were a great deal more than that. These games were their only chance to prove to the world that they were serious players. ·n,at Ll1ey could not only

In the Negro Leagues. pitchets had to play a full game. every !,'llllle.

As Riley tewnrt said. ''\Ve didn't have no relicT pitcher. You go out there, you go for nine.

'111at's it. You were paid for nine and tlmt's tl1e way they Wanted you to pitch. inc innings.'' o

swea t

for

Satchel Paige. He'd Lhrow nine innings on

F'riday, then do it again on aturda y and unday. The more games he played, the more money he made.

And if there's one thing Satchel loved as much as winning. it was the Almighty Dollar.

Of course; Satchel on the mound for nine innings was not exactly

Leruy "Satchel" Paige earned more than almost et>ery whiJe major League piJcJ.er.

Satchel Paige than atchel Paige.

For in tanci,, Hack Wilson, one of the ational League's be 1 home run hitters. once said ... ( atchel's fastball) starts out as a baseball, bu t when it gets to the plate it looks like a marble...

"Inever threw an megal pitch. Trouble is, once in a wh~e

:~7~~ m~~;,e!: ·---· ~;;,~f~;tr,~~~~g~:,~~ stand on teams, but they meant nine painfully long innings of Itoss one that ain't been seen

hotels. even gas station rest rooms.

1l1ere was one place, however,

Negro ],.eaguers ~-au ld equal ground. The baseball 6eld.

While white and black players weren't allowed to play each other in the same league, they still managed to get together in the offseason for exhibition games.

The final tally? ·or the more

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could beat them Lime and again.

Of course, after more than 300 victories, you could certainly say they proyed their point.

trying to hit Satchel Paige' jump ball. trouble ball, bee-ball, hesitation pitch, Long Tom, Little Tom, midnight rider, and four-day creeper. • Both dosh Gibson and Dizzy Dean called atchel the greatest pitcher ever. But no one spoke more highl y of

by His generation."

_______-_Salcllel hict

Upon hearing that comment. Satchel. the shamele s self-promoter, said, "You must be talking about my slowball. My fastball looks like a fish egg."

.,

--

The Glasgow Royal Concert Hall ...

Exhibit

...

Left: Poster for The Negro Leagues Baseball Museum in Kansas City, Missouri. "Roughly a year ago , we called the Museum to see if they might be interested in working with us on a pro bono basis," said writer

Chris Jacobs . "Turns out, we called at the perfect time.

They were getting ready to host a gala dinner and wanted to promote it, as well as the museum. They were in negotiations for full-page newspaper space and TV time on local stations. All we had to do was come up with print ads and TV spots.

I 30.01.98 Kirov Orchestra Booking 01 4 1 287 5511 Info 0141 353 4 137

Conduc ted by Valery Gergiev _ _ __.JI

L

03.02.98 Jean-Yves Thibaudet in Recital

Conducted by Alexander Lazarev - - - - 19.02.98 Royal Scottish National Orchestra Conductedby lngoMetzmacl1er

Conducted by Lorin Maazell

20.02.98 Alfred Brendel in Recital

"We used old newspaper-style design for two reasons: There are so many interesting stories and characters that just a headline and short copy didn't seem to do them justice; and black-owned newspapers were an integral part of Negro Leagues. In the end, this wasn't the easiest executional route to take. For starters, every ad is like three ads in one which meant coming up with three headlines for each ad. What's more , the layouts are like a puzzle of different shapes so the long copy had to be rewritten ten times to get it to fit.

04.03.98 Evgeny Kissin in Recital

29.03.98 Bamberg Symphony Orchestra %8.04.98 Bavarian Radio Symphony Orchestra

"The Museum was thrilled with the work-their gala dinner was sold out and they had requests for copies of the posters. Hall-of-Farner Buck Leonard even autographed posters for a few of us at the agency. " Christopher Gyorgy, art director; Hal Tench, creative director; The Martin Agency (Richmond, VA ), ad agency.

This page: Poster to promote a series of diverse inter-

national artists appearing at the Glasgow Royal Concert Hall. The campaign included posters , flyers and a brochure that symbolizes the international perspective of the concert-goer and reflects the strategic positioning of the Hall as a world-class venue.

Alistair Bell, designer; loco foco limited (Glasgow, Scotland), design firm .

Magazine ad for Pyramid Ales. "This is a branding

campaign designed to give Pyramid a distinct voice in the oversaturated craft-beer market, " said Bill Karow, Seattle-based Cole & Weber art director. "Many craftbeers run ads about their history, the family recipe or where their hops comes from . Research told us that, although people care about a beer's legitimacy, they don't really want to hear about it. They want to be able to taste it. Our approach was to create a campaign with major appetite appeal and messages focusing on trial and tasteusing a voice that doesn't take itself too seriously, but wasn't too broad like the big bad breweries. " Steve Howard, writer; Bill Karow/Kevin Jones, creative directors; Daniel Proctor, photographer.

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

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Exhibit This page: Cellular One television commercial from a campaign by GS D &M ad

agency in Austin, Texas. "The concep t behind the spots is to leverage Cellular One's legacy of being among the first providers of cellular phone service," said creative director Brent Ladd. "The executions play off the exaggerated idea that while Cellular One was among the first to do this, just thi nk how the course of history could have been changed if they had been able to introduce it sooner. The campaign was shot by director Henry Holtzman, who added an incredible amount of energy and great ideas. The spots have been extremely well received in their marke ts and are generating lots of excitement." " Revere " :30 SFX: Crickets chirping. Fife and drum music throughout.

(Open on a church steeple. A single lantern can be seen . The camera pulls back to reveal Paul Revere below the steeple standing by his horse. As the light shines through the window, Revere reaches into his saddle bag, takes out his cell phone and begins dialing . Holding the phone to his ear he moves to a table outside the Green Dragon Tavern and sits down) Revere : Hi, it's Paul Revere . The British are coming .

Anncr. (VOl: For reliable nationwide coverage, get Cellular One. (He crosses the name off the list and continues making calls) .

Revere: Hi, it's Paul. The British are coming .

Anncr. (VO) : We led the way in wireless phone service from the start. But just think if we'd gotten it to you sooner.

SFX: Phone ringing, answering machine picking up.

Adams (VOl: Hi, it's John Adams. I' m not here, so please leave a message.

SFX: Beep of answering machine.

Revere: (Irritated) John, it's Paul. Pick up ... it's important.

Super: Cellular One. The Wireless Phone Company.

Doug Lyon, art director; Peter Berta, writer; Brent Ladd/Brian Brooker, creative directors; Dottie Martin, agency producer; Industrial Artists, production company.

Right: Magazine ad for Brooks Sports by Portland, Oregon-based BP&N. "The

athletic footwear business has become more about fashion and entertainment than sports and fitness," said account manager Michael Hoffman. "Nike and Reebok have spent millions on endorsers and hundreds of millions on media advertising and hype. Brooks doesn't pay endorsers and doesn't engage in hype, it simply produces the best running gear that money can buy at an affordable price. We took a playful shot at the two biggest brands to make our po int. The ads just started running in February, but the client, its sales force and retailers are all effusive in their praise of this pos itioning of the brand. Sales, not coincidentally, are soaring. " Tia Doar, art director; Jim Haven/Troy Asplund, writers; Terry Schneider, creative director; Steve Bonini (main image)/Mark Hooper (product shot) .

Magazine ad for Quantum. "This line of high-end, high-performance fishing rods and

reels are designed for the use of avid, experienced and professional level fishermen ," said writer Kerry Graham . "Our client was looking for a way to revitalize the brand in a year when there weren't any new products to introduce. And they wanted to do it in a way that would set the tone and direction for the brand during the next decade. While looking at the fishing category, there were a couple of things we noticed: first of all, it is exploding in popularity; second, it's no longer the territory of Bubbas out for a little beer drinkin' R&R. Thus an opportunity to depict the fisherman with dignity and skill as a sportsman, to tap into the intensity of his passion for fishing and to exploit the unique ability of Quantum products to put a fisherman in contact with more of those peak moments of adrenaline and the thrill of the hunt that are at the root of his obsession with the sport."

Mike Weed, art director; Mike Weidner, writer; Kerry Graham/Mike Weed, creative directors; Andy Anderson, photographer; The Buntin Group (Nashville), ad agency.

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Tsunami Some runners are lor display only

Fortunately for them, so are some

shoes

But not the Tsunami

The lightweight running shoe

with great cushioning and support

Because at Brooks , we invest

in products , not hype

Available in April

~ROOKS.

COMMU

!CATION

ARTS

141

•

G UIDE

M ODEL

GORE-TEX

CHEST

H IGHS

ftd/urmg a 1/I'W S[...ll)tr.. l11mmJU jrt'm U I (;.,,, & { UC(IQ/tJ, Int., tf.tJrtlrt tbr rmm Jwrablt, '"'"' ptmttwtt· rtsut.,nt,

most tttb,CJICJguo~tl, • aJwmuJ l>rrwthablt WtJJtn_\'CW tllPI purr&m. Stcptr-1'-'wgb o~nl am"'<'"&h ltghtwt',gl:t, thn11 kup_\ct~ Jr\ tmJ tornfort.Jblt ali ill\ il'rtg. Tbr rbo1u "I proftlliCJPialfilhm&gudo tbt woriJ awr: Sunph f141,tht lot}t

The most durable. bcstdes1gned best flttmgbrealhable waders rna® · featunng 5Layer"'lanunatefromthetlugh down co-developed bySl.mmsand WL Gore& Asaoclates. lrc • Gore-Tex" imlllPfSIOO• Techr.oiogy fatxx:prevents

water from gPtung Ill yet tS vetY lxeathal:*! • tough M1cro Flber"' outer fabriC' • Sunms Blackbot"'swclungbx made wnh h~gh denSity. anllbaaeual uwted neoprene • new k>ftlnght stockmg1oot demgn JXQYides aupenor tn • new htghly

adJustabk>TsuapsuspendersalbwwaderstobeeastlycxxlveJtedtowaJSlhM;Jhs • fupoutcheslpocket · t'Ml~

wauanty on materials and workmanship • eve~y pall manutactwed and hydJOdynanucalty tested m Bozeman. Mon!ana · relci to cha.Jtlor swng mbrmauon Sugguted Retail : $341 . 15

Color

Perforated neoprene upper drams water qmckly. keepmg your feet cool

Sage Green

pwrtu1c reststant lootbed features a pmuc

lllSOie foe sutfness and support • doubles as a hghtWf'!Qhl wading or tlodt tube &hoi· • toUgh non mariung tug 90ie

prOYJdesexceiJt.ntproteCUoo • gus&E>tedSldP.·ZlPPf'f "'OOSUUCUOOhrruts andarcumulduun

Color Sterllnq

Suggested Retail : $54 . 95

•

G RAVEL

GUARD

GAITERS

Great lookiJlO wadmg boot leatur~ sued!.> leather uppers wtth wate~ 11..-pei ··nt brush • hiQh. padded ankle cuff for support

Our Crawl GuarJ Garttn kttplanJ a11J r,•,b.frwn~ttflll,& rrrtc_\"{'ttr

and comfort · suOOeleatherenhaooescontooreddeslgn · cushyneoprenehmno • doubleandUtplPstncheduppersfor:

waJ,g ~'CtJ 1111J numr.g \"Cur .Ia, fbn hr/p prrwtrl nlril WtilriltrJ llar('ll

addeddurabthty • tough mesh

wurwiiJtrl,atrJarralscgrtill)i'rw5tltiSilltw.JttriNIJI/rcru

nguPprovtdesqmctdramage · dramholt-sconutbutetoraptdwat.etexpuislon · speed

lacmg system • spaaous toe box · PVC welt and EVA rrud sole prOYrde maXImum p!'OleCUOO from sharp rocks · rockP.f

Easy on. easy >ff · essenualforkePpng rave! out lfyowwadmgboo'-5

sole IS easily re!elted • narrow boot last makes thiS a great chotce f01 womo<m S i zes

! wom e n 1) 6 11

· fullfashiOil<!dv.lcroWiap · madeWithtoogh-· strongboolhooksfastf>fl .;r;lyttalltypesolw-ddmgboots · exCEltent

( m e n 117 13

Sugguted Retail : $99.15

Color Sterlmg Brown

I

fa saltwater use Suggested Retail : $24 . 15

G UARD

SOCKS~

Owr CuarJ ~ub_f;,/J J,lWP, L'W"r \CUr w.1Jmg boob)•'raJJrJ protutrNIIrl "'"

fish~rrg SIIN41Mn. H0· 'rt .Jtalf,,rw/1 waJm6

R EPLACEMENT

LACES

Tbm tc11gh,Jtmblt rtplaumfllt lam art maJtt).prmhj.•riiJt wuh waJ,,~~tJ

Made Wllh 2 5 mm MOprene • sewn and taped 8f."3ms lot exua sttengtll

anddurablhty • strongboothooksla::;tensecurelytoaUtypesofwadlng boots · comfmtableroomyconsuucuon

Sugguted Retail : $1.95

142

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Exhibit

Left: Simms Fishing Products catalog spreads designed by Riddell Advertising & Design in Jackson Hole, Wyoming. Simms makes waders, wading boots, vests and a wide variety of clothing for fly fishing. "This catalog serves as the primary source of information for sales reps, dealers and consumers," said writer Jim Hagar. "The two main goals were to convey technical information about the products and to present Simms as a company that understands the needs and mentality of the serious angler. Our challenge was to get the product story across without losing the classic feeling that's inherent to the sport of fly fishing."

Julie Martin / Jeff Martin, designers; Jim Hagar, creative director; Andy Anderson/ R. Valentine Atkinson / Dec Hogan (location)/Leslie Allen (product), photographers.

This page: The Kentucky Derby Festival poster designed and

illustrated by San Anselmo, California-based Michael Schwab. In an unconventional arrangement, the commission of Michael Schwab to create the 1998 poster was generated by Louisville-based representative firm Jett & Associates. Aware of Schwab's success with other poster commissions, Clare Jerr and partner Michele Fischer spearheaded the Festival Productions assignment. The image has received accolades from the Louisville community.

C 0 M M U N I CAT I 0 N

ARTS

143

144

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Exhibit Left: Vignelli Associates signage project for the Guggenheim Museum in Bilbao, Spain, in collaboration with Frank 0. Gehry & Associates . Working closely with the architect and museum , New York-based

"Holy Names College contacted Winkler

Vignelli Associates developed a signage program that emphasized clarity and simplic-

people finishing degrees started years ago, etc.)," said writer Cordell Jeffries. "The

ity. The understated nature of the program gives visitors direction without overwhelm-

advertising campaign, including print and radio, demonstrates that Holy Names College fits into the realities of the real world and positions it as a place where students can 'change the course' of their lives. "

ing them with information. The signs in the program are unique in that they consist of a single piece of sheet stainless steel, bent to create a functional flange attachment . The sign panels were printed in Massimo Vignelli/J . Graham Hanson, designers; luminosos Regui SA, production company.

Anncr.: This is Gina .

Gina: Hi.

Event Sale," said writer Mark Mendelis .

Gina 's Parents : Hello .

Anncr.: These are David 's parents. They are very nice.

David's Parents: (Pause) Hi .

Anncr. : At the age of nineteen, David and Gina

to do a straightforward retail campaign.

were married.

Instead, they wanted spots that would be

David and Gina: I do.

Anncr. : As a wedding present, David's parents

entertaining, honest and done with typical

gave the happy couple an electric skillet.

IKEA irreverence. The experience of the

David and Gina: Wow, thanks .

Anncr. : While Gina 's parents gave them a

relate to-the horror of learning a little too much about a date's heal th and hygiene.

completely-furnished four-bedroom house with an olympic-size pool.

David and Gina: Wow, thanks!!!!!

Anncr. : Three years later, Gina shocked David with

What better way to sell medicine

this piece of news.

cabinets? "

Gina : David, I'm pregnant .. .

David : Oh honey, that's great !

" Cabinet " :15 Male (VO) : First door on your left.

(Open on a woman entering a man 's bathroom and fixing her hair at the mirror. The bathroom door is open slightly so we hear her date's voice) Male (VOl : You know. I don't know .. .This may sound weird ...

(She looks away from her reflection, while he is talking, and is horrified to see an array of products on his sink-anti-fungal creams, jock itch sprays, ringworm prescriptions) Male (VOl : You and me, here together tonight ...lt's working, right?

Super: Medicine cabinets from $29 Anncr. (VOl: Medicine cabinets and everything else for your bed and bath. At IKEA's Bedroom Event.

(Cut to IKEA logo and tag)

THE BEDROOM EVENT. GOING ON NOW.

Anncr.: These are Gina 's parents. They are very wealthy.

"Despite a limited budget, they didn't want

young heroine was one everyone co uld

$29

SFX: " love American Style" music under.

Anncr.: This is David.

David: Hi.

"IKEA needed to advertise the ir Bedroom

fro

"Marry Rich " :60 radio

Basque, Spanish and English.

This page: IKEA TV commercial.

lclae calalnets

Advertising in San Francisco looking for a solution to the ongoing problem of declining enrollment among non-traditional students (adult students, working mothers,

Gina: ... with the pool boy's baby.

David : Oh. Anncr.: Shortly thereafter David and Gina were divorced and David was very sad that he signed a prenuptual agreement that left him with nothing .

David : (Sobbing) Anncr.: But there is hope for David.

David: (Sob) There is?

Anncr.: Holy Names College.

David: Holy what?

Anncr.: Holy Names College. High in the hills of Oakland. With over 40 graduate and undergraduate programs, David can get a degree and get on with his life instead of ...

David: (Sob) I'll never swim again .

Anncr.: Call 1-888-811-HOLY and change course .

Because even if you marry rich, the divorce rate is

Todd Gallentine, art director; Cheryl Van Ooyen,

still 50%.

writer; Kathy Delaney, creative director; Cheri Anderson, agency producer; Chris Hooper, di.r ector; Tool of North America, production

Cordell Jeffries, associate creative director; Pat Marcoccia, creative director; Andy Lerner,

company; Deutsch (New York) , ad agency.

producer; RITN , production company.

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

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Exhibit Olivet olive oil package. "An artistic watercolor

impression of olives and a hand-lettered script logo are among the details I used to convey the artisan quality of Olivet, an extra virgin California olive oil, " said designer Louisa Sugar of Louisa Sugar Design in San Francisco.

"Small areas of watercolor are repeated in the top border stripes and subtle accents of gold reinforce the label's premium look. " Louisa Sugar, art director/creative director; Beth O'Rourke, illustrator; Donald Churchfield, hand-lettering .

LeRoy Jewelers ad created by JayRay Ads & PR in

Seattle. "The client wanted to generate as much word-ofmouth as possible with a local media buy," said writer Alec Lawson. "Sadly, most people today are happy to buy their jewelry at the mall. LeRoy, known for one-of-akind, hand-crafted pieces, had a chance to differentiate itself in the minds of those willing to spend a little more for something special." Steph Farber, co-owner and custom jewelry maker, said the ads reflect his store's individuality and original merchandise and increased sales 20%.

Kong Lu , art director; Alec Lawson , creative director; Mel Curtis/ Joe Felzman , photographers.

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KliK where tale11t is

MEAD

COATED

PAPERS

AND

AMERIC A

{LI VE

EXTRA

LARGE. }

Multimedia in Austin, Texas What Kind of Cowboys A re These?

BY SAM McMILLAN

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ustin is a city in transition; busy inventing the future

gospel of multimedia to "at risk" kids, the economically

while honoring the past. Next to the earliest build-

d isenfranchised and the technologically deprived. The siren

ings in town, hewn of honest granite and native limestone,

song of VC money, and the profit motive seems not to have

skyscrapers have sprung up in the downtown district. Outside the building where frogdesign's new media group does busi-

been a tune Dewey is listening to.

ness , a historical marker commemorates the location of the

Austin, Dewey Winburne has the distinction of being the

In addition to being present at the birth of multimedia in

first steam laundry west of the Mississippi. It must have been

sole person I spoke with the entire time I was in Austin who

a big deal at the time. Walk around with Melli Price, director

was native to the city. Currently principal of Interactive

of Internet development at Human Code, and she points out

Architex, an educational software and consulting services

the glass and steel high-rise office buildings where she adjusts

company, Winb urne partners with banks, universities and

microwave transmitters for Internet Webcasts. One-hundred years from now, perhaps the old downtown buildings will feature plaques honoring frogdesign, Human Code, Digital

schools, trying to facilitate their understanding of new media at "this technical moment in the curve. We're trying to help them understand it is a communication medium. "

Anvil and the dozens of visionary companies that contribute to the vibrant multimedia environment in Austin.

Dewey first encountered computers, specifically the Apple II-e and the TRS-8o, while a classroom educator working

It is an environment that thrives on human capital, and the fabled "quality of life" that attracts young people with an entrepreneurial mindser. This is a highly mobile culture of young educated elites. Almost everyone I met in the Austin multimedia industry is from somewhere else. These are the "knowledge workers" of the 21st century, and they are

with disadvantaged youth at the American Institute for Learning. AIL had received donations from IBM and Apple, and Dewey was anointed the network manager. "I thought, 'I used to put together a 289 Mustang in my garage when I was r8, I can damn well figure this out.' Next thing I knew, I was running a Novell network, man! "

attracted to Austin for a variety of reasons.

These range from comparatively inexpensive housing to good weather-winter in Austin is relatively mild-that supports an outdoor culture of bike riding, canoeing and fishing. Add proximity to one of the better state universities in the country, where the school of Composition and Rhetoric requires that freshman English is taught in HTML. And there's Austin's music scene that rocks from the down & dirty honky ronks on the East Side to the dozens of sanitized clubs on Sixth

With his newfound computer skills and a population of atrisk kids, Dewey was soon approached to make laser disc tides on the order of "Budgeting for Young Adults.'' A believer in John Dewey's pragmatic philosophy of learning by doing, Winburne began teaching his students how to put together a multimedia title. At the time, he claims, "I was never into multimedia as an end to itself; I was only interested in a way to get these kids to sit down long enough to write something:'

Street. Throw in an adequate source of caffeine, a dose of

They sat down long enough to make a CD-ROM called

venture capital and access to some of the bigger names in

"Addiction and Its Processes, " which won a Best of Show at

computing-Compaq, Texas Instruments, AMD, Dell,

the New Media InVision awards in 1994. Suddenly Dewey

SEMATECH (the semiconductor consortium)-that com-

was Mr. Multimedia. He and his students received the award

prise an institutional client base, and you have a recipe for a

from the mayor of Atlanta. He traveled to Comdex and

thriving multimedia environment with an international reach.

served as president of the International Interactive Communications Society. "I mean, I had seen the light! " Along

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The Godfather of Multimedia

with Hugh Forrest, he convinced the producers of South

It helps to have someone like Dewey Winburne looking out

By Southwest, Austin's citywide festival of film and music

for the industry. The 40-ish Dewey is only half-jokingly called the "godfather of multimedia" in Austin. He's widely

its fourth year, SXSW attracts hundreds of attendees from

respected here for his pioneering work using multimedia in

across the country to a long weekend of panel discussions ,

education. With evangelical fervor, Dewey has brought the

digital show-and-tell and awards competitions.

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to include an Interactive Multimedia component. Now in

This page: The TechPianner is an effort by the Texas A&M Research Foundation and the Southwest Educational Development Laboratory (SEDL) to prepare school adminstrators on the strategic and technical planning necessary to equip and design a public school for the information age. Interactive Architex was engaged to design the information architecture as well as the graphic and authoring production. Mark Mitchell, designer; Dewey Winburne, producer; Scott Thompson , programmer; Debbie Jolly, SEDL, subject matter expert; Texas A&M Research Foundation, funding .

The AMD K6 demo is designed to simulate a futuristic video mail interface. This interface is used to deliver various messages from associates recently impressed by the K6 processor. The GUI uses a futuristic visual style to playback video, audio and text messages. AMD uses this demo to position the K6 as the ideal multi media processor. The AMD K6 demo interface is designed to convey the performance of the K6 pro cessor with a constant stream of sound, video and text. frogdesign, creative team .

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frogdesign Swallows Virtual Studio Frogdesign is a 30-year old international company with a heritage of innovative product design for the likes of Apple, Logitech and Acer. So what are they doing in Austin?

A year-and-a-half ago, frogdesign entered the Austin multimedia scene with the acquisition ofVirtual Studio, the company owned by vice president Colin Cole and creative director Mark Rolston. Then an eight-person shop, frogdesign today numbers 23 employees, housed in a 15,000 square foot office that is about to double in scope.

The offices are quintessential multimedia-raw loft space built out in a high-tech, low-cost fiberboard look. Mountain bikes are shoved everywhere, and a fully digital audio studio is crammed with racks of keyboards, 24-track mixing boards and an isolation booth used for recording voice-over talent.

The AV studio boasts two Media 100 editing suites with 6o gigs of storage. In the back room a Sony Playstation 64 is hooked up to a monitor left over from frogdesign's work on the Lufthansa terminal in Frankfurt, Germany.

Colin and Mark began Virtual Studio in 1990 as a new media design firm, when, according to Mark, "just being able to animate a design was a gift." They've worked together so long that, like an old married couple, they complete each other's sentences. The Virtual Studio relationship with frogdesign began with software product design for frog on a contract basis. Mark says, "We became good friends and decided to get together. Initially frog wanted us to come to Sunnyvale, but we insisted on staying in Austin. There are regional advantages to being located here. We have a great pool of talent, educated people and the high-tech industry. Plus there's the quality of life-it's a young town and there's plenty to do outdoors. "

At 28 and 34, Mark and Colin are the eldest of the 23 employees at frogdesign Austin. They have no bias against hiring young. "If someone comes to us," says Mark, "and claims they've got five years of Web experience, you know they 154

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are lying. Our employees have the attention span to stay with the changes in technology. They're not phased as software moves to 'Rev 5.1.' Older designers don't move as fast as the kids."

Colin explains the advantages of youth. "They'll stay up all night in order to learn the new version, and they do it because they think it's fun. Another reason we like to hire young talent, is that those employees tend to not be influenced by older, more conventional ways of thinking and doing things. At frog we're trying to produce versions of software and interface design that aren't 15% better. We're looking for innovation on the order of 300%. " Mark laughs, "Design sobriety is not a prerequisite to getting hired here."

"Although," Colin is quick to add, "Frog is a 30-year-old company, and the attitude they bring to new media is grounded and stable. It's a solid place to start from. " At frogdesign's new media group, their business breaks out about 50% user interface design for leading-edge products such as WebTV browsers, 25% CD-ROM development mostly for traditional business-to-business marketing communication clients and 25% Web development.

Typical of the groundbreaking work they produce is their interface project for German stereo equipment maker Dual.

The new Dual home stereo system combines frogdesign's traditional strength in product design with new media software design. "Our goal, " notes Mark, "was to make as many of the knobs disappear entirely and control their functions through software. " The result in an interactive widget that blends the traditional functions of radio dials , equalizer adjustments, audio CD controls and tape drive into a simple breakaway panel that functions as a remote control unit for the stereo. The interface screen replaces the traditional radio dial.

Claims Mark Rolston, "We do work that's next generation, not a tweak of their current product. "

"We're working on a strategic level, as opposed to market-

positions itself to move fluidly as the medium develops and

ing," explains Colin.

matures over time. "Our art form is interactivity," says Lloyd,

Mark interjects, "We're responsible for our client's success ."

"not specifically CD-ROM or the Web. We focus on client

Colin quickly clarifies, "We share in their success."

That success has worked to mutual benefit in terms of their relationship with parent company, frogdesign. Mark notes, "It used to be that people came to frogdesign for product design and were then sold the breadth of frog's capabilities including new media. Now clients are coming directly to us for new media and we are selling frog's

needs as they move into multimedia."

Walker divides the marketplace where Human Code competes into three main arenas: b usiness-to-business marketing, shrink-wrapped titles for the consumer market, and the education market. "What we've been able to do is shift production teams from one business operation to another as the demand shifts throughout the year. We've never had layoffs in our history," Lloyd notes.

heritage in product design."

When the entire CD-ROM industry fell off the table in I994, As Colin happily points out, "The phone is always ringing."

Human Code Down Congress Street a few short blocks is the headquarters of Human Code, one of the older and larger production companies on the Austin scene . Twenty-five thousand square feet of office space on three floors house 8o employees.

It is their third building in four years, testament to their

Human Code kept working, thanks in part to "quarterly strategic planning meetings that let us see around the corner," according to Lloyd. Savvy planning also pays off in other ways. "We overbook all our business by twen ty percent .

So when a project cancels, we can maintain the production pipeline without a crisis."

Currently much of their work is being driven by the explo-

rapid growth.

Executive vice president Lloyd Walker is employee number six at the company whose principal founders all share a background in industrial design. Walker explains that Human Code divides the company among three main divisions, Human Code Japan, which concentrates on developing work for the Japanese marketplace; Human Codeworks, which creates advanced technology; and Austin Studios, which develops Hollywood-style productions, including a proto-

Left: (Closeup) The Compaq C-series demo uses a highly detailed 3-D model as the focal point for the user. The user is free to rotate the product and selectively zoom in on various features and qualities on -screen with the mouse or via a touch-screen interface. (Right) The demo avoids using traditional buttons in favor of getting the user to interact directly with the product on-screen. In this example the user rolls the mouse over the internal modem and a brief animation describes its features . frogdesign, creative team.

This page: " Lost Civilizations," created for ages fourteen -throughadult, is based on Time-Life's Emmy award-winning documentary television series, and the Time-Life Book series of the same name. The

ROMS and the Web are just delivery mechanisms, stepping

CD-ROM provides a sampling of the series as it covers the ancient civilizations of China, the Inca, the Maya, Africa , Egypt, Rome, the Aegean , Mesopotamia, Tibet and Greece. Inspired by the elegance of the series, Human Code designed an interactive experience in which words, images and sound meet in an environment that pro vokes research and exploration. The title also includes 90 articles with 8-10 topics per civilization . Jacquie Moss, creative director/interface designer; Chris Mead, interface designer/animator; Joel Stearns, sound effects/editor; Joe Delia/Skip Sorelle, music composition;

stones on the march to the interactive future. Human Code

Time-Life Video & Television, client .

type of a 3-D animated Saturday morning cartoon.

"All three operations are focused on the long cycle of interactive media as we move away from the broadcast model," Walker explains. In that long view, the rise and fall of certain delivery platforms such as interactive video disks, CD-

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sion of interest in Intranets. As Walker points out, "Competition is increasing, cycle times are reduced to as little as six months and corporations can't train their sales forces fast enough to keep pace with the changes being driven by their engineering departments. People can't adapt as fast as Moore's Law is changing products."

Enter Human Code and the corporate Intranet. Human Code builds Intranets to train employees, to get product announcements in the hands of sales people, to equip people with the corporate DNA they need to function

be assembled on the fly with drag-and-drop technology, as well as functions that allow instructors to create their own

effectively. And all of that business is being driven by the

content by typing in their own ideas. A note-taking feature

high degree of corporate recognition of the return on invest-

enables students to copy and paste content into their own notes and term papers. A Shockwave-based testing engine

ment in their Intranets.

The consumer wing of Human Code currently has produced about twenty titles including "The Cartoon History of the

allows teachers to track students' mastery of the material.

The revolution in education may be a long time in coming.

Universe," "Nile," "Passage to Egypt, " "Wishbone and the

Human Code is ready to take the long view. "In this busi-

Amazing Odyssey" and "School House Rock: America Rock, "

ness ," Lloyd Walker says, "What we've discovered is that

and several of the Jump Start early learning series for

technology is the easy part; it's the educational process that's

Knowledge Adventure. These are tides characterized as edu-

difficult to change."

tainment, a combination of education presented in the guise of entertaining adventure games . Over the years they've racked up dozens of awards.

At Human Code, "the sleeping giant" is the education

Newcomers Energize the Multimedia Scene Two years ago, Eric Gould, one of the most thoughtful , provocative interface and interaction designers working in the field, came to Austin from San Francisco in search of a

marketplace . Currently, Human Code sees twenty percent

lifestyle that would allow him to slow down. "I haven't

of its revenue coming from the education arena, but, says,

found it yet," he says with a laugh.

Lloyd, "over the long haul we expect it to predominate . We see an enormous opportunity for 'baseline' education.

College-level remedial math classes are the low-hanging fruit that will drive the business. " Accordingly, Human Code is busy building, piece by piece, the components that will become the classroom of the future. As Melli Price, director of Internet development, says, "We're altering an industry. "

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includes syllabus-driven classroom experiences, class calendars scheduled by instructors, testing modules, content that can

Gould divides his time teaching at the University ofTexas at Austin and running his own small business, MONKEYmedia, which counts Interval Research as a long-term client. At UT, Gould is Research Fellow in New Media Design in the school of Radio, Television and Film, where New Media is seen as a natural extension of the College of Communications. Gould put together a curriculum along with Sandy

The virtual classroom experience as designed by Human

Stone, director of the Advanced Communications Tech-

Code will deliver a total turnkey classroom on the Net. That

nology Laboratory. "Yo u can now get a BS , an MA or a

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'WATERJrictlon_1

'w'ATERJrictlon...2 'WATERJr iotion_4

~

L.:..L---L:'w':.::AT:.;:E:::RJ:.:_r.::_ ict:_:lon:::;....5::__ __ _~ ·

~ ~ ~

Left: lchat Tower. The virtual online city of ltropolis merges chat functionality with high-resolution graphics to create a navigable, virtual community. lchat's corporate nerve center provides access to demos, tech support and a press room.

Lloyd Walker, producer; Kyle Anderson/Chuck Furlong/Chris Mead, 3-0 developers; Human Code, design firm.

This page: XtraOrdinary Interactions (XOI-pronounced choi) is the first commercially available release of technology from the MONKEVmedia interface toolkit . It's a set of cross-platform tools that plug into Macromedia Director to assist multimedia authors and developers with implementing custom interpretations of user input devices. It supports more flexible, creative and communicative interaction and interface designs in games, virtual environments, online and other interactive information spaces. By moving timing-critical user-interaction routines from Lingo into C++, XtraOrdinary Interactions facilitates a tight feedback loop between the participant and the content. Eric Justin Gould, creative director; Janna Buckmaster, project coordinator; Paulus Trisnadi , interface designer; Tina Chia Ho/Paulus Trisnadi/Todd Wilkens, engineers; MONKEYmedia , design and development/publisher. " The Austin Children 's Museum came to us a year ago with a rough sketch of a three-story playscape that would give young children a sense of Austin's history while playing games and having fun," said creative director, Eric Gould. " Our goal was to make the network ubiquitous and embed the i/o in the playscape so that the electronic media could be smoothly integrated with the rest of their primarily kinesthetic experience. Upon entering the TimeTower, children crawl through the inland sea and make the ir way between life-size mammoth bones to get to the capture tunnel, where a full body image of each child is routed to the other computers in the tower. On the first floor tunnel there's a fissure in the wall and bamboo binoculars focus on scenes containing prehistoric beasts in size proportion with visiting children . A 52" billboard display broadcasts the scenes inside over the rest of the museum gallery." Paulus Trisnadi, graphics; University of Texas RTF Students, research; Janna Buckmaster, project coordinator; Brian Cook/Joshua Kerr, engineers; MONKEVmedia, design and development; Austin Children 's Museum, client .

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Ph.D. in the School of Radio , Television and Film with a focus on New Media Design," he notes proudly.

Gould is a challenging classroom teacher. His goal is to teach interface and interaction as a communications medium, not a design problem. He breaks a lot of preconceptions in the process. "When the ground falls out from underneath you, sometimes you discover something even more solid. " In Advanced Interaction Design, his students create projects that require "interaction take place between at least two people who have a relationship. Oh, and by the way, you can't use a mouse, keyboard or a monitor. But there is the Internet.

hyper-linked topics. All are one in this three-dimensional space mapped to the computer screen. Utilizing proprietary interaction techniques , participants can zoom in to or between specific topics or media elements. The interaction is so seamless you are unaware of divergent paths.

MONKEYmedia has developed their intellectual property

"Once you take out the graphics and strip off the text, get rid of all the media," Gould elaborates, "you are left with two things: the information architecture and what the user is doing with their body. The reason I teach in this way is

with XOI, a kind of widget factory that productizes the fertile fields of Gould's imagination. For example, Gould asks, "What happens to navigation when you leave the cursor behind?" The answer is, "The monitor space becomes infinite. The cursor doesn't stop at the edges of the screen. The kinesthetic qualities of the real world are brought into multi-

to bring the medium to a more mature stage, where all the levels of communication should be working together-it's not just about content. "

media. " One result is MONKEYmedia's Virtual Force Feedback, a piece of software code that rewrites the behavior of the mouse cursor depending on the context it finds on screen.

The Austin Children's Museum recently came to MONKEYmedia to design a kiosk showing a history of Austin in time, dating back to the era when dinosaurs roamed the earth. "We said, 'Naaah , we don't really like kiosks. "'

Imagine a scene that depicts a beach-front parking lot. You've got three or four environments to navigate: water where waves are crashing into shore, a sandy beach, an asphalt parking lot, partially covered with an oil slick on the pavement.

Roll your mouse over each area and it behaves differently, spinning wildly off the oil slick, and bogging down in the sand. Says Gould, "It forces the user to alter their behavior based on their experience. It actually changes the relationship of the user to the computer. If you want to navigate successfully over the oil slick pavement you have to slow down and proceed carefully."

Instead Eric and his partners at MONKEYmedia designed a TimeTower that invites the kids at the museum to crawl through a series of cave-like tunnels where they discover bones and fossils embedded in the earth. Along the way a computer-controlled motion sensor detects their presence, captures a video of them, digitizes it and composites their image to scale along with an illustration of the dinosaurs and saber toothed tigers that roamed Austin long before Willie Nelson strode the earth. "We've embedded the exhibit in the museum," says Gould.

"At MONKEYmedia the projects take shape along two distinct pathways," Gould explains. "One is where we actually produce work for ourselves, under the name XrraOrdinary Interactions (XOI), or for our clients, and the second is engaged in developing intellectual property and acquiring the rights to that. " For the last four years, MONKEYmedia has worked with Interval Research, the Palo Alto-based think tank that some are calling the Xerox Pare of the '9os, bankrolled by zillionaire Paul Allen, co-founder of Microsoft. "We're working on techniques for organizing and browsing large amounts of video information. We're not worried about platforms, we're looking ten years out and getting the techniques right. " The work is unlike any you are likely to see coming from the cable companies who not too long ago promised a future 158

of 500 channels. MONKEYmedia designed an interface for what Gould calls "Interactive Media Verite," based on a model that integrates media types , tables of contents and

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World Building on the Outskirts of Town Almost two decades ago , Seth Mendelsohn cut his teeth playing the first "Ultima" game on an Apple II. Built by Origin co-founder Richard Garriott, "Ultima" practically defined the game-playing industry as we know it, going on to sell more than two million units. Today, Seth's a designer at Origin, a company that employs more than 250 kids who never grew up. Located in their own office complex in the rolling hill country a few miles outside of Austin, the folks at Origin produce military flight simulations like th e AH-64D Longbow, and the wildly successful takeoff on Star Wars, "Wing Commander."

Four-and-a-half months into the job, Seth is leading a team of twenty in the development of the forthcoming "Ultima Ascension," the ninth in the series of "Ultima" C D-ROM games from Origin. Seth draws a parallel between his work m aking a 3-D role-playing adventure game and the more prosaic activity of building a house. "In the real world, you've got

an architect, a builder and an interior designer.

On our team we've got designers, programmers and computer artists. As a designer, I work on the story, the text and the layout and building of the worlds that are essential to that storyline.

A world begins with a sketch of a continent, then we design cities. Within each city we decide what buildings we need, and because this is a 3-D world, and the player can enter the buildings, we decide on the rooms, and the items found within each room.

"My work begins with the land, building out the area with basic terrain, then moving on to landscape, structures and finally, rooms. When the buildings are finished I use a proprietary 3-D editing tool to hand place them within the environment. " The final result comes from the interplay between teams of designers and teams of engineers, between art and functionality. "There's lots of sketching, discussion, notes taken on whiteboards, " Seth says. The result is a to-do list of thousands of items that must be created to build a believable, immersive 3-D navigable world. "The best games in the world, " Seth notes , "result when design and engineering get in a room and butt heads. "

Meanwhile, Back at the Ranch ...

What does the future hold for multimedia in Austin?

According to Dewey Winburne, "Right now the job market in Austin is like a hose, sucking up anyone who can get trained to work in this industry. The new economy in Austin isn't about oil, or cotton or cattle, it's going to be about skilled workers in the information age."

Austin multimedia is entering a mature phase. The city is paying attention, and supportive. SXSW is garnering regional and national attention for the vibrant multimedia scene. And the economic forces that are driving small production shops to seek the embrace of venture capital and larger partners are also in evidence. That's a trend that will be balanced by spinoffs and breakups, as larger companies experience layoffs, or dissatisfied employees leave to start their own companies . A steady supply of entrepreneurial talent graduating from the University of Texas business school, combined with the creative energy spinning out of the new media program, ensures that young, hungry, adventurous startups will continue to look for loft space and a good latte downtown. •

This page: The newest chapter in Richard Garriott's legendary " Ultima " series reinvents fantasy action -adventure games with "Ultima : Ascension." Using the latest innovative technologies, "Ultima : Ascension " blurs the boundaries of reality and fantasy in a simpleto-play environment and incorporates a brand new, ground-breaking 3-0 engine that renders a richly-detailed, visual world set in the fictional land of Ultima . "Ultima : Ascension " also features social interaction, magical spell effects, fantastic sounds and spectacular visuals that weave a fun and compelling storyline of exciting quests, exotic locations and intriguing adventures . The game is currently being designed and developed by a twenty-person team at Origin Systems, Inc. in Austin , Texas .

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Pilgrimage

BY WENDY RICHMOND

arly last fall I read about an environmental sculpture

Sure, I'm grateful that I get to see more than I could other-

exhibit in a small town outside of Boston. I had

wise. And I'm glad that a lot of people will see the same

seen a photograph of one artist's work, Bill Botzow,

things that I see. What bothers me is my own myopia; I

and I wanted to see it in person. The show had a long sched-

forget that the content is tailored to be widely desirable and

ule: autumn and early winter. It was months before I found

accessible. It is part of a system that requires a guarantee

the time to go and a car to borrow. I hate to drive, and

that a lot of people will listen, read, attend and/or buy.

E

naturally I got lost. I finally found the site, but I couldn't find a map or directions to the actual piece. I only had its tide, "Wedge." Again I got lost, this time on foot, and had to retrace my steps. Just before I gave up, I saw the sculpture, stuck firmly between the rocks: impossible to miss because it stood out so clearly, yet absolutely in the family of its surroundings. I stayed with the piece for a while, feeling this great mixture of pride and a close connection to the work.

I was reminded of my visit to Botzow's sculpture recently when I read the article "No Substitute for the Real Thing,"

by Michael Kimmelman (New York Times, February 22, 1998).

Kimmelman's article is about making a "pilgrimage" to see a work of art. His subject was the Grunewald Isenheim altarpiece in the Colmar Museum in France. Those who make a special trip to this town are, in all likelihood, going specifically to see this particular work of art. Kimmelman discusses the idea that as more art comes to us-for example in large traveling exhibits-we miss the powerful experience that results from going out of our way to see a single specific work.

I heard about a gallery owner who asks her regular customers to look at new art work before she decides whether or not to include it in her gallery. If they say they'll buy it, then she exhibits the work. If not, she doesn't. What does this mean?

It means that there is no room for that which is not guaranteed, for that which is risky. It is market-driven art. (Basically, this is focus group testing, something that designers know all too well, especially in terms of inhibiting new ideas.)

Kimmelman's article was also about seeing a single piece of work in isolation. As I thought back to Botzow's sculpture in the woods, I realized that part of my connection to it was not just the piece's isolation, but mine as well. Not only was the art out of the normal art-viewing context, I was also out of my context. I went only to visit with this piece, and nothing else in this strange and unfamiliar town. When you choose to go out of your way, you create a stronger connection to whatever you went out of your way for. You actually need something back; you need the gain to be equal to what you spent, to what you exerted.

This made me think about the ways in which I receive my intellectual and cultural nourishment. Besides people (which are the best source), most of it comes to me through some

lation. I didn't go very far out of my way, and the isolation

distribution system. Books, magazines, TV, movies, Inter-

was minimal. However, compared to the usual context of

net, radio and newspapers are all delivered to me, either at

cultural content, the difference was striking. There was no

my home, studio or within a few blocks. The content is mass

distribution system with guaranteed visibility for this piece.

produced, or at least made in such a way that it will achieve

Most of what we see is part of a system that requires a guar-

maximum distribution. I also get my nourishment from

anteed audience. If you want that guarantee, you have to

events: lectures, exhibits, theater and other performances.

know in advance that a lot of people will like whatever it is

Even these are often part of a distribution system of some

you're showing. To get a guarantee like that, you have to

sort, such as shows that travel to various cities, or galleries

avoid risks. The events and works whose goal is not high

in a busy area with a heavy volume of foot traffic.

distribution or attendance-the lectures, plays, exhibits,

So, for the most part, I don't go out of my way to get this

magazines or Web sites that we have to go out of our way to

content; it comes to me. The sources of my cultural and

find or see-might, in the end, be the most valuable. •

intellectual information are part of a system of mass pro-

© 1998 W. Richmond

duction. Even if the subject is unique (i.e., an original) it is still part of a distribution system that ensures that many people will see it.

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My little pilgrimage is a very small example of choice and iso-

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change yo_U[ world view._ n

(this is stock?)

ye_s_._

call for a free catalogue 1 800 . 392. 9181 505. 986. 0883

WiB/ian

stock

DeBabelizer Pro 4.5

BY KATHLEEN MAHER

D

uring the dark days of the platform wars, graphic artists unequivocally chose Macintoshes because the

products they absolutely had to have were developed for Macintosh and Macintosh only. One of the most important of these programs was Equilibrium's DeBabelizer~ a toolbox program that did a bunch of amazing things that no one was quite sure they wanted to do, and some very important things such as file conversions, and color reduction that almost everyone has to do.

Thanks to the Internet, the rest of the world has caught up with DeBabelizer, and Equilibrium has even come to grips with the reality that there are an increasing number of graphics professionals on Windows. The end result is Equilibrium's newest release of their flagship product for Windows, DeBabelizer Pro 4·5· Written for Windows users and optimized for Intel's MMX graphics handling functions, at its most basic level, DeBabelizer has an edge in its ability to handle just about every file format known to humankind.

That's one virtue that comes with the product's age. All the venerable old file formats are there such as Windows reo

files, Amiga IFF, Ventura Publisher's IMG and WordPerfect's WPG, but it also supports new formats such as Kodak's FLASHPIX and PNG (Portable Network Graphics).

Also, DeBabelizer has enhanced support for EPSF (Encapsulated PostScript).

Age has its drawbacks as well. DeBabelizer has been famous for its quirkiness, and the program shows its age. In other words, it doesn't always behave as expected, and it's not easy to pick up and start without help. Luckily, a quick run-through of the manual's tutorials is enough to get started and the manuals are clearly written and organized. It's fair to say the program is polite. Upon installation it asks users if they'd like the program to be the registered program for all supported files. People who use a variety of graphics tools should say no to this one, because it can be tiresome to have DeBabelizer automatically open every time an image is selected.

DeBabelizer performs basic functions such as resizing images, reducing colors and file conversions, functions that graphics professionals perform regularly. Admittedly these are functions managed by a wide variety of PC products developed for Windows and most of them are considerably cheaper than DeBabelizer Pro's $595 list price. In fact, the slow immigration of DeBabelizer Pro to the PC has allowed anumber of products such as Hijaak Pro (Quarterdeck) and the Photoshop plug-in HVS Color (Digital Frontiers) to flourish.

In contrast, Equilibrium has dominated the Macintosh platform and there are few competitors. However, DeBabelizer has a couple of features that ensure its value and these features revolve around its abilities to work in batch processes.

For instance, DeBabelizer can help Web developers create good-looking, fast Web pages by using "SuperPalettes. " SuperPalettes are 7-bit (128-colors) custom palettes automatically created by the program from a batch list of images.

Equilibrium says SuperPalettes deliver better results by working with the images' own range of colors rather than forcing images into preset palettes such as the Netscape palette.

The product automates tedious processes such as conversions or scaling by letting users create scripts and apply them to batch lists which might be a whole directory of files, selected files or an animation. DeBabelizer even has a script wizard to automate common functions such as remapping selected files to the Netscape 216-color palette or to a SuperPalette.

Equilibrium has additional PreScripts available on their Web site. These new scripts can automatically create GIF, JPEG or thumbnail Web files with optimized color palettes.

The scripting process is simple and straightforward and relies on DeBabelizer's log function. Anything that can be

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done in DeBabelizer can be automated. Users can perform a series of functions on one image, then they can open up the log, copy the list of functions just performed, paste it into the script utility and then apply that script to a batch list.

DeBabelizer Pro also has a "watch me" feature which lets users record a series of processes to add to or create a script.

DeBabelizer Pro's facility with batch processes makes it a natural for working with video and animations. Users can work with animations and videos as files (Avr, FLIIFLc, RLA, Animated GIF, Progressive JPEG and more) or as individual

frames. The program simply breaks animations down into their component frames letting users work on them individually. DeBabelizer Pro has a shave and outline and compositing features for blue screen removal. Also, animated text can be applied to frames. A new feature lets users shift the pixels in an image and then wrap them to create a scrolling background much like the ancient cartoons we all loved ("Hercules" was a personal favorite). And, when it's time to put it all back together, animations can be created from batch lists. The amazing thing is that the program can accommodate batch lists containing a variety of different file formats. It will convert them as necessary and even do the color optimization.

DeBabelizer's long list of features no longer seems arcane.

Now, the Internet with its voracious appetite and stingy resources has created a need for tiny animations, optimized images and lots of them. As a result graphic professionals need the whole bag of tricks and batch processing is a way of life. However, there are things DeBabelizer just does not do. The product is not intended to be an all-purpose image processing tool and most people will continue to use it in conjunction with Photoshop. (As a bonus, the product works with most Photoshop plug-ins.) It doesn't output CMYK files. And, like we said, the product does have a little bit of an attitude. However, once people learn to do things DeBabelizer's way, it's likely they won't be able to imagine life without it. •

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Photoshop Plug-ins

BY PAT SoBERANIS

I

n this issue, we're rounding up a slew of new Photoshop plug-ins and upgrades that have been released in recent

months. Tackling color correction, masking and special effects, the eight plug-ins reviewed by category are: Chroma Graphics's Chromatica and MagicMask; Extensis's Intellihance, Mask Pro and PhotoTools; RDG Tools's Ditherbox; MetaCreations's KPT Actions; and Vivid Details's Test Strip.

All eight are designed to improve on Photoshop's methods to save time and enhance productivity.

Color Correction: lntellihance, Test Strip Extensis's $99·95 Intellihance and Vivid Details's $I49 Test Strip both aim to automate color correction-or at least make it as painless as possible. They incorporate settings from Photoshop's inscrutable Curves and Levels commands and make them verbally (in the case of Intellihance) or visually (in the case of Test Strip) understandable.

Figure 1: The original image (top left) has a green cast, which was effectively removed by Photoshop's Variations command (top right), lntellihance (bottom left) and Test Strip, though with subtle differences.

command. Since Intellihance and Test Strip handle much more complex color problems, though, they're well worth the modest investment.

Extensis lntellihance 3.0 Extensis Corporation 1800 S.W . First Avenue, Suite 500 Portland, Oregon 97201 (800) 796-9798 (503) 274-2020 fax

Since they are similarly priced, do a good job of color correction and perform well (Test Strip 2.0 corrects the slowness of version I), the one you choose will depend on how you work. Both have selections for brightness, saturation and contrast, as well as batch processing via Photoshop 4.o's Actions feature, and both allow you to save your settings.

Intellihance adds descreening, sharpness and despeckle settings, while Test Strip emphasizes color balance and

www.extensis.com

individual color adjustments. Although Test Strip includes an editing feature for color experts, it's not very intuitive (you edit a "task list" -the individual changes you've made

Test Strip 2.0

to the image). With Intellihance, by contrast, you can adjust sliders for virtually every setting, though you can't type in specific numbers. Both include densitometers for reading color values.

The biggest difference is in the interface: Intellihance uses pop-up menus for each selection in the Preferences dialog box (the one for nonexperts), while Test Strip is highly visual. It divides the image into segments that show what the effects of a percentage change in a setting will be. Like the Variations command in Photoshop, you just click on the segment you want and it's applied to the Current segment.

Although Intellihance's menus are intuitive, yo u still need to know what saturation, brightness and contrast mean at least; with Test Strip, you see what they mean, right onscreen.

On the other hand, Intellihance builds in descreening and

System requirements : Macintosh- or Power Macintosh-compatible computer with Mac OS 7.5 or later, floating point unit. Adobe Photoshop 3.0.4 or later and a 640 x 480-resolution monitor; or PC with Windows 95 or Windows NT 4.0, Adobe Photoshop 3.0.5 or later and a 640 x 480-resolution monitor. Suggested retail : $99.95 .

Vivid Details 8228 Sulphur Mountain Road Ojai , California 93023 (805) 646-0217 (805) 646-0021 fax

www. vividdetails.com System requirements : Power Macintosh-compatible computer with System 7.1 or later, 1MB available RAM and Adobe Photoshop 3.0 .5. Suggested retail : $149.

Masking: MagicMask, Mask Pro Another time-consuming task in Photoshop is making masks. Before Photoshop's Quick Mask feature, you had to use the dreaded channels. But the task is tedious even with Quick Mask.

in Figure I that the two programs removed the cast and

Enter Chroma Graphics's MagicMask and Extensis's Mask Pro. Essentially, both allow you to make mask selections based on color-not unlike Photoshop's Color Range command, which is unavailable in Quick Mask mode. And each has its own method for quickly identifying the element's edges, which can be fantastic time savers .

gave similar results-but so did Photoshop's Variations

Mask Pro's $299·95 price is steep-three times MagicMask's

sharpness, so you can skip even more steps in Photoshop.

In a simple test on an image with a green cast, you can see

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

A R T S

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$99 ·9 5· Both use a paintbrush metaphor for adding pixels to and removing them from your mask, and you can adjust the size and softness of the brush. The preview windows are generous and the programs feature lasso tools and save op tions, plus tools of their own.

For identifying an element's edges-the Holy Grail of masking-Mask Pro's method is more of a sure shot, but only if the colors at the element's edges are distinctly different from those of the portion you want to mask out. It's a bit clunky but it works . For each broad area of color-the skin tones of a face, say-you drag the Keep eyedropper over the area and Mask Pro identifies the average color. You do the same with the Drop eyedropper, thus creating sets of colors you want to keep and those you want to drop. Then, using the brush tool, you drag across the edge, and voila! a clean edge, even over wispy edges (see Figure 2). Where the colors are too similar, though, the clunkiness can be a bit much.

MagicMask's approach doesn't work quite as well with hairlike edges, but it's almost as quick where edge colors are distinct, and it's quicker where colors are similar. Where they are different, you drag a magic brush or the density mask tool across a broad area of color to include or exclude similar colors. Where they are similar, you paint with one of the regular add or subtract brushes. Simple.

MagicMask Chroma Graph ics 577 Airport Boulevard , Su ite 730 Burl ingame, California 94010 (888) 824-7662 (650) 375-11 00 (650) 375-1118 fa x www.chromagraphics.com System requirements : 68040-based Macintosh or later w ith System 7.1 or later, 16MB of avai lable RAM (more fo r very large images) and 1MB hard disk space ; or PC with Windows 95 or W indows NT 3.5 or later, 32MB of ava ilable RAM (more for very large images) and 1MB hard disk space . Suggested retail : $99 .95.

Extensis Mask Pro 1.0 Extensis Corporation System requ irements : Power Macintosh-compatible compute r with Mac OS 7.5 .1 or later and Adobe Photos hop 3.0.5 or later; or Pentium-based PC with Windows 95 or W indows NT 4.0, 32MB of RAM and Adobe Photos hop 3.0.5 or later. Suggested retail : $299 .95 .

Special Effects: Chromatica, Ditherbox, KPT Actions, PhotoTools Each of these four plug-ins-and "special effects" is used loosely here-performs a very different function, so they can't be compared. As with the others, though , they strive to save you time.

Chroma Graphics's Chromatica is really two plug-ins in one: ChromaColor, which aims to simplify masking and color changes, and ChromaPalette, which allows you to swap the image's color palette for that of another. Let's dismiss 168

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Figure 2: Mask Pro finds even hairlike edges quickly when edge colors are distinct, as in this image, but you still have to paint manually when the edge colors are too similar.

ChromaPalette right off. Other than for special effects, there's no reason you'd want to switch color palettes. And even for special effects, it's too slow in showing the unpredictable results-you're better off sticking with other Photoshop filters.

ChromaColor's ChromaMask module is fine for simple masks-a balloon with a unique color, say-but it's not the full-fledged mask utility that MagicMask is. As with MagicMask, you select samples of the colors you w ant to mask, but it's difficult to add or subtract manually-there are only two tools to work with, selection and eraser, and they work clumsily.

Once you make your mask, you move to the ChromaColor module, which is like a beefed-up version of Photoshop's Replace Color command. With sliders for hue, saturation and value, as well as tolerance sliders for each, you can fine-tune your replacement color and get better coverage than you can with Replace Color. But it doesn't give you any more color choices than Replace Color does: For example, you cannot make a yellow rose look like a red rose-at least, not a red found in nature.

RDG Tools's Ditherbox, on the other hand, is a great tool for Web designers, at a great price, $29·95· By converting any RG B color to a 2-color, 4-pixel pattern similar in tone to the original, it opens up the 216-color "Web-safe" spectrum to millions of possibilities while keeping your GI F fil e sizes to a minimum.

The interface is simple and powerful. Open any artwork with flat color in it, select an area with the magic wand tool, use the eyedropper tool to specify the area's color and op en Ditherbox. Click the arrow button and the program creates the pattern. Click Fill and Ditherbox tiles the pattern inside your selection. Because the pattern is tiled in four-pi xel increments, it's imperceptible to the naked eye. And because the pattern is created using Web-safe colors, you're assured

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of accurate color regardless of which platform your site's visitor is using. You can customize the patterns, save them and share them with others in your workgroup. Ditherbox may

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be a one-trick pony, but it performs that trick very, very well.

Another one-trick pony that works well is MetaCreations's KPT Actions , which makes Kai's Power Tools 3.0 accessible to Photoshop 4.o's Actions feature. That means you can record your steps while in any module of KPT 3.0 and play them back at will. The $49·95 KPT Actions comes on a CD-ROM chock full of dozens of Action presets with MetaCreations's inimitable stamp on their names, like Banana Cream and Mr. Green Beam. The presets have some restrictions-yo u must start with black text for the text presets, for instance-but the actions work like magic: KPT 3.0 doesn't even open on screen. KPT Actions makes repetitive special effects fast and smooth. It's a great fit if you are a big Kai's Power Tools fan .

Last, but hardly least, is Extensis's PhotoTools, a collection of special effects filters that make chores like drop shadows and bevels quick and easy. The collection includes PhotoBevel, PhotoButton, PhotoCastShadow, PhotoEmboss, PhotoGlow and PhotoText, plus PhotoBars for customizing your own toolbars.

PhotoText alone is worth the $129.95 price of admission, since it breaks free from Photoshop's text prison. With PhotoText, you can work with text freely, adding multiple

IPrtvM-wscrHn .

Figure 3: Photo Tools consists of many t ime-saving modules, such as PhotoCastShadow shown here. The car's cast shadow was creat ed in one step using a preset, which can be custom ized .

Ditherbox 1.0 RDG Too ls 500 Benjam in Franklin Court San Mateo, Cal iforn ia 94401 (800) 451-3353 (650) 344-2506 fa x www.ditherbox.com System requ irements : 68030-based Macintosh or later or Power Macintosh-compatible compute r w ith Adobe Photos hop 3.0 or later. Suggested reta il: $29 .95 .

text boxes; tracking and kerning; changing font , point size

Chromatica

and character width-all at the character level.

Chroma Graphics System requi rements : Macintosh-compati ble co mputer w it h 1MB of ava ilable RAM , 1.4MB hard disk space, Ad obe Photoshop 2.5 or later and a CD-ROM drive ; or PC with W indow s 95 or W indows NT, 1MB of availab le RAM , 1.4MB hard disk space, Adobe Photoshop 3.0.5 or later and a CD-ROM drive.

Suggested retail : $99 .95 .

PhotoBevel, PhotoCastShadow, PhotoEmboss and PhotoGlow have similar interfaces, with presets plus precision sliders and menus for customizing settings and a large preview window. Most of the presets are useful ones, too-not just some simple samples , but the kind of complex, subtle shadows and such that you use every day (or will use, now that they're created with push-button ease). Best of all, they get you out of Photoshop's channels.

PhotoButton is handy for building Web site navigation buttons-if you don't mind standard-looking buttons. But, as with the other PhotoTools filters, there are so many settings to play with that you'll likely find something usable before long. PhotoBars is another great time saver, especially the PhotoTools and the default toolbars; you never need to reach for Photoshop's key menus again. You can also make your own, adding pop-up menus, folders, even files to your toolbar.

Most of the plug-ins reviewed here work well together, too.

It was fun using PhotoBars to zip into MagicMask to select the red car and then jump into PhotoCastShadow to create the car's shadow (see Figure 3), using the PhotoBars to get around. It makes you want to try more effects rather than wanting to avoid them. That's exactly the idea of all of these plug-ins: to relieve you of the tedium so you can focus on design . • 170

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Extensis PhotoTools 2.0 Extensis Corporation System requ irements : 68040-based Maci ntos h or late r (25 MHz or faster), Power Macintosh or Mac OS-com pati ble computer, w ith Mac OS 7.5 or later and Adobe Phot os hop 3.0.4 or lat er; or PC w ith Windows 95 or W indows NT 4.0 and Adobe Phot os hop 3.0 .5 or later. Suggested reta il : $129 .95 .

KPT Actions MetaCreations 6303 Carpenteria Avenue Carpenteria , Cal iforn ia 93013 (800) 472-9025, (805) 566-6200 (805) 566-6385 fa x www.metacreations.com System requ irements : Power Macintosh-com pat ibl e compute r w ith System 7.5 or later, 16MB of RAM , 5MB hard disk space, 16- or 24-bit video and a CD-ROM dri ve ; or Pentium- or 486DXbased PC w ith W indows 95 or W indows NT, 5MB hard disk space (plug-in shares Photoshop 's RAM ), 16- or 24-bit video and a CD-ROM drive . Suggested retail : $49 .95 .

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Ex!ensiS, Ihe ExlensiS logo and OX· Tools are regostered kademarks and OX-Effects and Prellighl Designer arelra<lemarks ol Ex!ensis Corporation. Quark and OuariXPress are trademarks ol Quark Incorporated Macintosh IS a regJslered trademark and Mac IS kademark ol.ljlp~ Compulef, Inc. All other kademarks are property ol lheir respecltve oWM<s

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174

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the nuts-and-bolts of produc-

most of these stories end with a

tion-the site maps, the Gannt

producer saying "We stayed up till four a.m. working on four

easy to understand and enjoy-

pages of changes, launched the

able to read.

site one hour before Bill Gates

charts, the production specs-

-SAM McMILLA

arrived, and the client was delighted with the project. " Read between the lines, and you'll learn that Web site pro-

Briefly Noted:

duction is virtually unmanage-

Web sites. These case studies of fifteen Web sites and the com-

know the magic words are

know better, but it seems like

able by neophytes and experienced hands alike, that produc-

The Interactive Book (Published by Macmillan Technical

tion teams commonly work

Publishing, 201 W. 103rd Street,

6o-hour weeks, and no one is

Indianapolis, Indiana 46290,

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586 pages, paperback, $39·99),

challenges that regularly bring

by Celia Pearce. At 586 pages ,

production to a screeching halt.

If that sounds exci ring, the

Celia Pearce's The Interactive Book is a big book, both physi-

second half of Siegel's book will

cally and intellectually. Pearce

equip you with the management expertise you'll need to survive

tecture as narrative in which

ranges from discussions of archi-

in Web production. You'll learn

architecture arranges time, not

how to respond to an RFP, how

space, to information entropy,

to develop and maintain a rela-

in which information grows,

tionship with clients and how to budget and bid on a Web site

expands and becomes increas-

project in a way that protects

often expressed as Pearce's own

ingly complex. These ideas are

your bottom line. Perhaps the

"laws," for example, the Second

most useful section in the entire

Law oflnformational Entropy

book is the chapter devoted to

which states, ''As the information

what Siegel calls "The Project

infrastructure grows, content

Site." This is a password-pro-

multiplies to fill the space avail-

tected "extranet" that only the

able." Eventually, Pearce turns

production team and clients are

her attention to the genre com-

privy to. It enables clients and

monly known as interactive

agencies to work remotely and

multimedia, describing the

collaboratively in a "what you see is what you get" environ-

park immersive environments,

ment, establishing site architec-

failures and successes of theme CD-ROM storytelling like "Myst"

ture, navigation and visual treat-

and "Freakshow" and virtual real-

ments in HTML, before the site

ity. Pearce writes from an insid-

ever goes live.

Siegel delivers this information

er's perspective, drawing on her own professional contributions

in an almost informal manner,

to some of the most adventurous

either relying on his and Studio

projects in the industry, and her

Verso, his production agency's

life, (CONTINUED ON PAGE 179)

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publishes a monthly report

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load. For more information, call (8oo) 528-3472 or browse the Web site at www.photodisc.com Stock Photo Deskbook is on the World Wide Web, with a

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Washington conference and

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lists government, businesses,

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180

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~

Research: Be afraid. Be very afraid.

(l

~

BY LuKE SuLLIVAN

~

Following is an excerpt from Luke Sullivan s book Hey Whipple,

shown them should be force-fed into the nearest shredder

Squeeze This. A Guide to Creating Great Advertising,

fast enough to choke the chopping blades.

,..... . (/) ,..... . aq

published by john Wiley & Sons. Available in bookstores or by calling (Boo) 225-5945.

R

esearch isn't science. Here's how advertising works: You toil for weeks to come up with a perfect solution to your client's problem. Then your campaign is

taken to an anonymous building on the outskirts of town

and shown to a "focus group"-people who've been stopped on the street the previous week, identified as target customers and paid a small amount of money for their opinion.

Mter a long day working at their jobs, these tired pedestri-

Yet, who can blame them? They've been watching TV since they were kids and have been bored by a hundred-thousand hours of very, very bad commercials. Now it's pay-back time, Mr. Madison Avenue Suspenders Man. And because they're seeing mere storyboards they think, wow, we get to kill the beast and crush its eggs.

Meanwhile, in the room behind the mirror, the client turns to you and says, "Looks like you're workin' the weekend, idea boy. " Welcome to advertising.

ans arrive at the research facility and are led into a small

A committee, it has been said, is a cul-de-sac down which

room without windows or hope. In this barren, forlorn little box, they are shown your work in its embryonic, half-formed

ideas are lured and quietly strangled. The same can be said for the committee's cousin, the focus group. But this research pro-

state while you and the client watch through a one-way mirror.

cess, however wildly capricious and unscientific, is here to stay.

Here's the amazing part. These people all turn out to be

Clients are used to testing. They test their products. They

advertising experts with piercing insights on why every ad

test locations for their stores. They test the new flavor, the packaging, and the name on the top. And much of this testing pays off. So don't think they're going to spend a couple of million dollars airing a commercial based solely on your sage advice: "Hey, business dudes, I think this spot rocks. " Used correctly, research is great. What better way is there to get inside the customer's head? To be what Marshall McLuhan called the "frog men of the mind" and find out what people like and don't like, to understand how they live. There is no better way. Most of the good research isn't done in little buildings outside of town either, but right downtown in the bars, asking drinkers about their favorite booze; asking shoppers how they choose a product; eavesdropping on real people as they talk about a category or a brand.

The thing is, the best people in the business use research to generate ideas, not to judge them. They use it at the beginning of the whole advertising process to find out what to say. When it's used to determine how to say it, great ideas suffer horribly.

Should your work suffer at the hands of a focus group, and it will, there isn't much you can do except appeal to the better angels of your client's nature.

What follows are some arguments against the reading of sheep entrails. Or the subjective science of copy testing.

99°/o of Creative People Agree: Testing Storyboards Doesn't Work.

Testing, by its very nature, looks for what is wrong with a 184

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commercial, not what is right. Look hard enough for something wrong and you'll sure enough find it. (I could stare at a picture of Miss November and in a half-hour I'd start to notice, is that some broccoli in her teeth? Look, right there between the lateral incisor and left canine, see?)

handy someday, especially if you have a client who likes the commercial you propose, but has to defend poor test scores to a management committee.

Extensive Research Has Proven That Extensive Research is Often Wrong .

Testing assumes people react intellectually to commercials,

From a book called Radio Advertising by Bob Schul berg, I

that people watching TV in their living rooms dissect and

bring this research study to your attention:

analyze these interruptions to their sitcoms. ("Honey, come

in here. I think these TV people are forwarding an argument that doesn 't track logically. Bring a pen and paper.") In reality, you and I both know their reactions are visceral and instantaneous.

Testing is inaccurate because storyboards don't have the magic

J. Walter Thompson did recall studies on commercials that ran during a heavily-viewed mini-series, "The Winds of War. " The survey showed that 19 percent of the respondents recalled Volkswagen commercials; 32 percent, Kodak; 32 percent, Prudential; 28 percent American Express; and

of finished commercials. Would a focus group approve this copy? "You ain't nuthin' but a hound dog. You ain't nuthin' but a hound dog. You ain't never caught a rabbit. And you ain't no friend of mine. " Probably not. (I can just see a group member putting down his donut to protest. "Why are you calling me a dog? Do I smell?") But sung by Elvis, people just like the ones in focus groups bought copies of "Hound Dog" by the millions.

Testing rewards commercials that are vague and fuzzy because vague-and-fuzzy doesn't challenge the viewer.

Testing rewards commercials that are derivative because commercials that have a familiar feel score better than commercials that are unique, strange, odd, or new. The very qualities that can lift a finished commercial above the television clutter.

If tone is important to a client, testing is inaccurate because twelve colored pictures pasted to a board will never communicate tone like actual film footage, voice over, and music.

Testing, no matter how well-disguised, asks consumers to be advertising experts. And invariably they feel obligated to prove it.

Finally, testing assumes we really know what makes a commer-

big mistake. Seagram's and

cial work and that it can be quantifiably analyzed. You can't.

California Cooler had it locked up. Then Riney began

Not in my opinion. It's impossible to measure a live snake.

running his Bartles & Jaymes commercials and a year later his client had the #r-selling wine cooler in America.

Bill Bernbach said, "We are so busy measuring public opinion, we forget we can mold it. We are so busy listening to statis-

186

r6 percent Mobil Oil. The catch is that none of these A committee, it has been said, is a companies advertised on "The Winds of War." cul-de-sac down In the mid-'8os, research told which ideas are management of the CocaCola company that younger lured and quietly people preferred a sweeter, strangled. The more Pepsi-like taste. Oversame can be said looking fierce customer for the commitloyalty to this century-old battleship of a brand, they tees cousin, the reformulated Coca-Cola into focus group. But New Coke, and in the prothis research cess packed about one billion dollars down a rat hole. process, however wildly capricious "We forget we can mold it."

Research people told writer and unscientific, Hal Riney that entering the is here to stay. wine cooler category was a

"We forget we can mold it. "

tics that we forget we can create them. " This simple truth

Research people told writer Cliff Freeman when he was

about advertising is lost the minute a focus group sits down

working on Wendy's hamburgers, "Under absolutely no cir-

to do its business. In those small rooms, the power of adver-

cumstances run 'Where's The Beef?"' After it ran, sales shot

tising to effect behavior is not only subverted, it's reversed.

The dynamic of a commercial coming out of the television

up 25% for the year and Wendy's moved from 5th to 3rd place in fast food sales. The 20,000 newspaper articles laud-

to consumers is replaced with consumers telling the commer-

ing the commercial didn't hurt either.

cial what to say.

"We forget we can mold it."

I say, big deal if a group says your storyboard doesn't reflect

And what some call the greatest campaign of the 2oth cen-

their opinions. With a good director and a couple of

tury, Volkswagen-none of it was subjected to pretesting.

airings on the right programs, their opinions may reflect

The man who helped produce that Volkswagen campaign

your commercial's.

had a saying: "We are so busy measuring public opinion, we

These arguments, for what they are worth, might come in

forget we can mold it." •

M A y

I Ju N E

I

9 9 8

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Looking Ahead Controlling Commercially Valuable Future Uses

BY CARYN

R. LELAND

W

en accepting an assignment for work it seems many artists rely on the assumption that the reared work will be used only for the immediate purpose for which it is sought. Such reliance easily can result in the loss of future income and control over the work's commercial exploitation, especially if usage rights broader than those intended actually were granted. For instance, this assumption quickly is dispelled when one discovers that a publisher has interpreted "first rights" to use an illustration in a magazine to include electronic versions of the magazine, or, when a design sold for use as a book jacket cover finds its way onto the Internet as a component of someone's Web site.

Two recent Federal court cases highlight this issue. In Tasini v. The New York Times Co., a case involving the application of copyright law to online technology, a District Court judge ruled that newspaper and magazine publishers can place their periodicals in electronic form without having to secure the permission of, or pay additional fees to, freelancers whose works appear in the publications. The lawsuit was brought by six freelance writers who claimed their copyrights in articles sold to the New York Times, Newsday and Sports Illustrated were infringed when the periodicals scanned images

right first to publish the Story in the Magazine" and "the non-exclusive right to license the republication" of the story.

Section 20I (c) of the Copyright Act governs contributions of text or art to magazines, newspapers and other collective works. Under this section, a publisher is entitled to hold the copyright in the collective work as a whole but the individual contributor retains the copyright in the particular contribution. Publishers also have the privilege to reproduce and distribute the individual contribution as part of the collective work in its present form and in any later revisions of the collective work.

The writers forwarded several arguments in support of their case. They claimed the publishers exceeded this privilege because the electronic version did not constitute a permissible revision as the contribution no longer was part of a "collective" work for the reason that each separate contribution could be exploited individually by making them each available for full text searches and downloads. They also

of the articles and sold them to various third parties for inclusion in assorted electronic data bases like LEXIS/NEXIS and on CD-ROMS. These later sales produced a windfall of fees for the publishers, but not for the writers. The lawsuit could have been brought by freelance artists as well, as the law involved applies to visual works which could be digitally scanned for online retrieval.

Writers for the Times typically had no written agreements.

They and their editors would agree verbally as to the subject, length and fee, but apparently not negotiate for additi-

You've built a great portfolio but you don't know who is hiring ...

onal rights other than the presumed right to be the first and one-time user of the work-customarily known as "first rights. " Like the Times, Newsday solicited freelance contributions in much the same manner; however, Newsday included an endorsement on the checks it paid to the writers which read in part: "This check accepted as full payment for firsttime publication rights (or all rights, if agreement is for all rights) to material described on face of check in all editions published by Newsday and for the right to include such material in electronic library archives." Sports Illustrated had a formal written agreement with its freelancers which provided, among other things, that the magazine had "the exclusive C 0 M M U N I C A T I 0 N

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maintained the publisher's privilege to make revisions could not be transferred to others. Relying on other provisions of the Copyright Act, the writers argued that the Sports Illustrated "first publication" rights contract language and that in the restrictive check endorsements were insufficient under law to constitute transfers of the electronic rights in their articles.

The Court disagreed with the freelancer's reading of Section 201 (c). The Judge concluded the publishers did not exceed

the scope of their rights by selling the articles for electronic reproduction under the copyright law since the electronic versions were permissible "revisions" of the printed newspaper and magazines and that the privileges accorded publishers by this section were transferable to others. The only limitation placed on publishers was that a contribution could not be revised and published independently; each contribution had to be part of a total collective whole.

Concerning the freelancers' other two major arguments, the court found the writers had not expressly transferred rights to their articles through the check endorsements and that granting a publisher the right of "first publication" did not grant the publisher the right to be first to publish the work in different media. Small comfort; but comfort nonetheless.

Mindful that the decision deprived authors of the benefits associated with their creations-primarily the right to sell their work to fee-rich electronic retrieval systems-the judge took pains to point out that the decision was not the result of any misapplication of the law but rather the consequence of modern technological changes blunting the intended purposes of the existing Copyright Act. If a more equitable outcome were desired it would be up to Congress to amend the statute to provide that electronic versions did not constitute "revisions" under Section 201 (c). It does not seem likely Congress will embark on such legislation any time soon.

In the interim, to avoid the Tasini result, freelance artists can protect themselves by entering into written agreements prior to undertaking any assignment. It is important to pay particular attention to provisions which would have the artist transfer rights in the work to anyone , including a publisher or an advertising agency on behalf of its client. It is, of course, best not to sign any contract which contains language which is not understood. Neither is it advisable to rely alone on phrases such as "first rights" or similar words to protect the work. It is recognized that "first rights" when applied to art usually means the right to be the first user of the art for one-time use. However, it is always better to specifically set forth precisely what usage rights are being sold or transferred. Thus, for example, if the rights to first 190

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WHO PRINTS

WE DO .

• •• ••• •••• ••••• •••••• ••••••• •••• •••• ••• •••

CONTACT US IF WE CAN HELP YOU.

Anderson Lithograph

HEADQUARTERS 3217 SouTH GARFIELD AvENUE Los ANGELES, CA 90040 800-727-5846 I EXT.359 213-722-2328 FAX BosToN /CoNNECTICUT 860-767-3158 8 60-7 6 7-3 I 59 FAX

CHICAGO 847-913-9239 847-913-8956 FAX

SAN FRANCISCO 6 50-348-0446 6 50- 34 8 - 0 4 59 FAX

DETROIT 248-646-2202 248-646-2986 FAX

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212-880-6440 2I2-880-644I FAX

"WW"W". andli tho. con1

publish the work in a magazine is desired, consider using this language: "First publication print magazine rights only.

All other rights and uses, including and without limitation, all electronic or on-line rights, are reserved to the Artist."

If greater rights are sought by a client and the artist wants to sell them, be sure to negotiate a separate fee as compensation for the additional uses. Note that while Tasini was being litigated, some editorial magazine photographers were able to negotiate and obtain separate fees for the additional electronic uses of their images.

right is embodied, accordingly, the physical painting was sold and the copyright remained with the artist.) Mter the Museum received the painting, it requested and obtained from the artist a non-exclusive license to reproduce and sell the work as posters. It was one of these posters which the television production company used as part of the set design for a television program. The poster (sometimes the entire poster, other times only a portion; sometimes in focus , other times not) appeared in nine sequences for a total of 26. 7 seconds of the show; the show itself was broadcast several times.

To the extent Tasini is a setback for freelancers, another recent

The artist sued claiming copyright and related unfair com-

case, Ringgold v. Black Entertainment Television Inc. affirmed the right of an artist to control when and how a reserved right is exploited commercially. The case focused on the claim that a copyright in a visual work was infringed by including the copyrighted work within another visual work.

petition infringements and violations of the New York State artist authorship laws. The production company defended maintaining they were not liable for the infringement primarily because the use of the work was de minimis, that is, inconsequential (a defense derived from the legal maxim "de minimis curat lex"-sometimes rendered "the law does not concern itself with trifles") or a fair use (a statutory defense which excuses that which would otherwise be an infringement). When determining whether a use is a "fair use" a court must analyze the relevant statutory factors: (r) the purpose and character of the use; (2) the nature of

The subject artwork, a silk-screen painting with text printed on a fabric quilt, was sold by the artist to collectors who subsequently gave the work to the High Museum in Atlanta.

The artist had retained all the copyrights in the work at the time of the initial sale. (Keep in mind that under the copyright law, ownership of a copyright is distinct and separate from ownership of any material object in which the copy-

the copyrighted work; (3) the amount and substantiality of the portion used in relation to the entire work and (4) the effect of the use on the potential market. The lower court agreed with the defendant and dismissed the artist's lawsuit.

She appealed.

The Court of Appeals reversed. It ruled that the television company's use had crossed the de minimis threshold of minor use and reversed the lower court's determination that the use was fair under the circumstances. The Appeals Court stated that the artist had the right to be compensated for the use and had the right to control who exploited the work and how. The Court recognized that the Copyright Act "grants certain exclusive rights to the owner of a copyright ... including the right to make and display copies and derivative works based on the copyrighted work publicly ...

In the absence of defenses, these exclusive rights normally give a copyright owner the right to seek from others who wish to use the copyrighted work royalties. " The Appeals Court returned the case to the lower District Court to allow for further development of the record. It is expected that the parties are likely to settle the lawsuit rather than incur continued legal fees and expenses. No matter the outcome of ultimate factual findings by the Court, Ringgold is a significant clarification of artist's rights. As a result of this case, it is less likely that an art director or a production chief will use an artist's work with impunity without considering the need to pay the artist for the additional use. • © 1998 Caryn R. Leland

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In Search of Trends

BY RITA5UE SIEGEL

N

ineteen-ninety-seven was a great year to be a designer. An extraordinary demand for good graphic designers, far exceeding the supply, was

the most significant trend. Will the accelerated demand continue? The only thing I can predict about the future is

• In the U.S., in 1997, 320,000 non-farm jobs on average were created each month; 370,000 were created in December 1997.

6

• 53% of these jobs were in the service sector. (Graphic design is a service. )?

that there will be one.

Convergence Creates Demand As we speed towards the end of one century and the beginning of another, three interrelated phenomena are converging:

Remarkable Macroeconomic Factors The budget is almost balanced, there's no inflation; productivity and wages are up and the banks are sound. 8 The potential exports slow-down in the U.S. has been countered by a

1. The Booming Economy

Federal Reserve interest rate increase. But, there will always

The continuous unprecedented expansion of the U.S. econ-

be surprises.

omy over the past seven years has driven job creation. Profits rose, productivity improved, business investment went up 1

and new capacity was created. The major technological, cul-

What's Behind the Demand?

Driving the need for well-defined and well-managed brands

tural and social shifts during this time translated into busi-

are deregulation, corporate restructuring, strategic mergers

ness momentum that was reflected by a surging stock market.

and acquisitions, joint ventures and strategic alliances, along

2. Interactive Media Explosion

with ever-increasing multiples being paid for by companies with strong franchises. The result is an explosion in the

An explosion of technology enabled one of the fastest-grow-

worldwide market for communications, identity and design

ing industries and created the possibility of making the world

services. In the U.S. alone, there were 1,625 company name

visible and understandable to every person on the planet.

changes in 1997, 9 25,261 new packaged goods products intro-

Multimedia applications vividly illustrate the concept of

duced, 10 and $I trillion in mergers, a 50% higher dollar

continuous evolution. Although in a Wright Brothers stage

11

value than in 1996. Every change requires a design response.

of development, the multimedia sector is creating jobs at record speed.

No End To the Skills Gap in Sight

3. Recognition and Acceptance

Visualize the letter 'V' with the top expanding infinitely-

Design has more visibility than you ever dreamed of. In the

this is demand. Now, overlay it with a capital T-for supply.

1990s, it became an integrated business resource, like mar-

The scarcity of experienced graphic designers who can do

keting, that few dare to compete without. How? Thank

work that requires creativity, brain power and social skills

BusinessWeek magazine. Its yearly issue featuring Industrial

threatens the growth of design-focused companies because

Design Excellence Awards competition winners, seen by

they can't respond to the increase in demand for their services.

eight million people in the U.S., has ensured design's acceptance as a legitimate business activity. Design is now deeply imbedded in all manners of business and in every aspect of

The following anecdotes speak to the crippling effect of short supply:

culture. Design is a part of every transaction. As the recog-

• The design director of a 30-person design office in a

nition of design as a vital strategic business function spreads,

small Midwest city said, "We used to get 50% of the

the demand for graphic designers increases.

projects we bid on. Now we are getting roo % . Our growth is limited by the fact that we cannot find enough

It's the Economy, Stupid The Facts

qualified people to do the job. What do we have to pay

• In 1997 the U.S. unemployment rate was 4.6%, the 2 lowest in 24 years. (The rate is 12-4% in France and

or more to come here? Whatever it takes , we'll pay it."

about the same in Germany. 3) • The rate was 2. 7% among professionals, salespeople and other white collar workers. 4 • For managers, it was r. 7%.

196

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5

to get a person with fifteen to twenty years of experience

• The owner of a POP design-build company in San Jose, California, said, "This year, I have been offered the largest, most important contracts in the history of my company, and I can't take them because I have no one tO do the Work. "

(CONTINUED ON PAGE 201]

Design Annual Categories These categories are judged by the design jury and will appear in the Design Annual, November 1998:

AudioNisual Packaging 5A 58

Single record, cassette, compact disc, video, software ($25> Series of 5A, limit of five <$40>

Packaging/Labeling 6A 68

Single package, label, shopping bag ($25) Series of 6A, limit of five ($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 pieces, limit of ten ($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 pieces, limit of ten ($40>

Company Literature 9A 9B

9C 90 9E 9F 9G 9H

91

Annual report (publicly traded companies) ($25> lnsti tutionall 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 <$40>

Poster/Design 1 OA Poster (exhibition, institutional, theater, 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 <$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 <$40>

Broadcast Graphics 17A Movie tide, station or program tide, music video, etc. , 3,4 "videotape NTSC ($75> 178 Series of 17A, limit of three ($120)

11 B 11 C 11 0 11 E

Multi-page section of 11 A <$40> Newspaper (page or spread) ($25> Multi-page section of 11 C <$40> Trade magazine (cover or page or two-page spread) ($25> 11 F Multi-page section of 11 E ($40> 11 G House organ/newsletter/association (cover or page or two-page spread) ($25> 11 H Multi-page section of 11 G ($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 ($40>

Poster/Advertising 4A 48 4C 40 4E 4F 4G 4H

Outdoor, 24-sheet or larger, includes painted ($25 > Series of 4A, limit of five <$40 > Transit (bus, subway, shelter) ($25> Series of 4C , limit of fi ve <$40 > Point of purchase ($25 > Series of 4E , limit of five <$40> All other advertising posters ($25 > Series of 4G , limit of five <$40 >

Public Service

Sales Promotion/Advertising

(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 sheers, sales kits collateral materials, etc. ($25 > 138 Series of 13A, limit of five ($40>

18G Printed piece ($25> 18H Series of 18G, limit of five <$40>

14C Printed promotion for ad agencies, art directors, copywriters, suppliers, service bureaus, art schools ($25 > 140 Series of 14C, limit of five ($40> 14G Advertising clubs, communication/ promotion ($25> 14H Series of 14G, limit of five ($40>

Environmental Graphics (Please provide the name of the project and a brief explanation-25 words or less-of its purpose) 19A Signage, interiors, architectural graphics, limit of ten slides ($40> 198 Display (trade show exhibit, point of purchase, etc.) limit of ten slides ($40>

Miscellaneous/Design 20A Greeting card/birth announcement/ invitation (company announcements and invitations belong in 9H) ($25> 208 Series of 20A, limit of five ($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 ($40> 20F Anything not covered in previous categories ($25> 20G Series of 20F, limit of five <$40 >

Self-Promotion

Television Advertising 1 5A Television commercial, 3,4" videotape NTSC ($75> 158 Series of 15A, 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.)

These categories are judged by the advertising jury and will appear in the Advertising Annual, December 1998:

18A Magazine ad ($25> 188 Series of 18A, limit of five <$40> 18C Newspaper ad ($25> 180 Series of 18C, limit of five <$40 > 18E Poster ($25> 18F Series of 18E, limit of five ($40> 181 Television commercial <S75> 18J Series of 18 1, limit of three ($120) 18K Radio commercial <S75> 18L Series of 18K, limit of three ($120)

Consumer Magazine Advertising

Miscellaneous/Advertising

1A

21 A Anything not covered in previous categories ($25 > 21 B Series of 21 A , limit of five ($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 ($40>

Advertising Annual Categories

1B

Single ad, any size, including spreads ($25) Campaign, limit of five <$40>

Eligibility All work must have been printed, published or aired for the first time between June 23, 1997 and June 15, 1998. 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 1998 THIS FORM AND THE FEE MUST ACCOMPANY 1998 ENTRIES TO COMMUNICATION ARTS, 410 SHERMAN AVE., PALO ALTO, CA 94306 USA

NAME

E-MAIL ADDRESS

Preparation of Audio/Visual Entries Television commercials must be on 3,4" 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 Fo RM: B to the outside of each video or audio cassette case.

FAX

PHONE

COMPANY

ADDRESS

CITY

STATE/PROVINCE

ZIP

. $25 (U .S. ) EACH $ _ __

SINGLE PRINT ENTRIES .. . . . . .. .

. . . $40 (U.S .) EACH

PRINT CAMPAIGNS OR SERIES.

$ _ __

.$75 (U.S.) EACH $ _ __

SINGLE TV COMMERCIALS.

. $120 (U.S. ) EACH

TV COMMERCIAL SERIES.

$ _ __

Preparation of Print Entries

SINGLE RADIO COMMERCIALS.

. . . $75 (U.S .) EACH $ _ __

Submit ad tearsheets or proofs, UNMOUNTED and trimmed as they appeared.

Do NOT TAPE SERIES TOGETHER. 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.)

RADIO COMMERCIAL SERIES.

. . $120 (U.S.) EACH $ _ __

NO RETURN OF ENTRIES FOR

CA

J

USE

[ DATE PROCESSED

Preparation of Packages Send entries in flat packages only, no mailing tubes (they frequently arrive damaged). If more than one package is sent, please indicate on the outside wrapping: "Package no. _of_ packages ." If the package contains TV or radio entries, indicate on the outside wrapping: "Broadcast Entries."

Non-United States contestants should mark each package: "Materials for Contest Entry. No Commercial Value." No provision will be made by Communication Arts for U.S. Customs or airport pickup. Entries should be sent by post or international courier.

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, 1998.

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 1999.

• If you have any other questions, call 650-326-6040, 8 a.m.-5 p.m.

Monday-Friday Pacific time, or fax 650-326-1648.

• 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.

D

TOTAL FEE CHECK THIS BOX IF YOU INCLUDED A SELF-ADDRESSED STAMPED ENVELOPE TO ACKNOWLEDGE RECEIPT OF YOUR ENTRY

B Form Design & Advertising 1998 TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

I CATEGORY I

FOR

SERIES

ONLY

FOR

CAUSE

THIS IS NO. _ _ OF _ _

SUBMITTED BY

DESIGN FIRM OR AGENCY

B Form Design & Advertising 1998 TAPE THIS FORM OR FACSIMILE TO THE BACK OF EACH PIECE

I CATEGORY

FOR

SERIES

THIS IS NO.

ONLY

FOR

CAUSE

OF

SUBMITTED BY

DESIGN FIRM OR AGENCY

(THE FORMS ABOVE MAY BE COPIED)

Mail entries to:

Delivery Service:

(U.S. Mail) Communication Arts 1998 Graphie Design and Advertising Competition P.O. Box w3oo Palo Alto, CA 94303 U.S.A.

(Federal Express, UPS, etc.)

Communication Arts 1998 Graphic Design and Advertising Competition 4IO Sherman Avenue Palo Alto, CA 94306 U.S.A.

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Design Annual

Advertising Annual

Juried by nine top design professionals and attracting

Juried by nine leading creative directors, art directors

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 15,308 entries with only 246 selected for inclusion.

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 12,787 entries with only 286 selected for inclusion.

Printed on Champion Pageantry 80 lb. Brilliant White Book

• A partner in a 25-person Chicago design office wailed about having the worst annual report season ever because he could not find and hire accomplished senior designers with the required experience.

• In order to get a "Yes!" from a senior designer (not a manager) with several offers, the director of human resources of an $8 billion company in Dallas upped the sign-on bonus from $5,000 to $2o,ooo, on top of a $90,000 base salary which could not be raised (salary ranges were in the process of being reevaluated). The candidate accepted.

• The owner of a four-person design studio in Portland, Oregon, told me that if he could clone himself or could find two to three more excellent designers, he could accept work being offered to him and double his billings to $1 million. One of his clients offered to eliminate the company's in-house design department if he would take on the work. He can't.

We Are Not Alone Graphic design is not the only specialty without enough talent to go around-even at any price. The scarcity of programmers gets more publicity because the numbers are so astonishing. BusinessWeek's "Forget the Huddled Masses: Send Nerds" reports 190,000 open jobs in high tech-mostly for programmers. IBM needs 15,000, EDS IO,ooo. Andersen Consulting will try to recruit 3,500 from colleges and an additional 6,500 from elsewhere. Mind boggling.

them. One reason is that what is taught in most architecture schools is so profoundly disconnected from realworld demands.

Multimedia, especially the Internet, present entirely new ways of doing business and delivering information and entertainment. As with horseless carriages, candles and outhouses, there is no turning back. Without good graphic designers, the Web would not have escaped from the academic and governmental sectors to the public sector. In order to grow and to improve profitability, the multimedia industry requires visual intelligence, which makes navigation transparent, clearly conveys messages, captures attention and enables commercial transactions. Are graphic designers the only ones with this intelligence? While good graphic designers are well positioned to take over the territory, film and video people, animators and hackers are waiting to fill the void.

Only a small number of graphic designers working in multimedia know the processes, protocols and resources to create conduits of consistent quality. The multimedia industry attracts people with a passion to design for it, often without skills in interface, interaction and information design, and without the sensitivity to the elements of time and motion.

The number of URLs not worth looking at speak to the abundance of designers in multimedia with technical skills,

12

The co-founder of a Silicon Valley start-up, developing software for Internet publishing, was quoted in a front page New York Times article, "It was a choice of lowering our standards or waiting, and we chose to wait. But it's tough to see time slipping by and things not moving ahead because of a lack of horsepower. " 13 Sound familiar?

You want to

Rewards Of A Seller's Market Workers in information technology-computing and telecommunications-earn 73% higher salaries than average in the overall private sector. 14 Designers proficient in new technology, especially software, have always commanded a premium salary until others catch up. First, it was Video Text (long gone), then PageMaker and Illustrator. Now that Quark, Photoshop and Director are standard requirements, knowing HTML and Java delivers premiums.

see what's hot before starting your next assignment ...

'

Creative

Multimedia's Growing Pains Whose Territory Is It? Design magazines feature examples of micro trends in type, photography, illustration and color, in all media, as well as the design of information beneath these surface characteristics. The latter is the area in which graphics will either find a new identity and reason for being or graphic designers will become like architects-there will be less necessity to hire C 0 M M U N I C AT I 0 N

A R T S

201

but without what is currently considered good design skills.

It also speaks to the number of "traditional" graphic designers who have left the "print-on-paper" world and are attempting to learn these new skills on the job.

grams. mG (About fifteen years ago, I counted approximately

Great Design Is Not A Commodity

becoming two-tiered. On the one hand, there are "name

Design is not a democratic activity. The ability to do it well is not equally distributed. The population of design wannabees is growing. Rather than contribute to the supply of people with needed skills, it operates in a parallel universe of "computer-literate-but-design-ignorant" 15 individuals.

400.) Others estimate that current programs graduate 50, 000

students a year.

Higher education, in design as well as other subjects , is brand" schools with small classes, high prices and well-paid faculty and with considerable expenses spent on buildings and facilities. And, on the other, colleges that behave like businesses, responding to the new demographics of students (older, lower-income, many academically ill prepared, many working full time) referred to as "customers. " They are prac-

Before you scream, "Elitist," consider that the ability to skate as well as Michelle Kwan , the ability to develop financial instruments like Michael Milken and the ability to design like Ken Cato are also not equally distributed. Many people enjoy skating and become quite good at it, without achieving world-class status.

There are job opportunities in the field of graphic design that do not require Olympian-level or even near Olympianlevel performance, although I admit that I do not know much about them (I am in the business of finding stars). A Chicagobased catalog distribution company has 30 computer operators in their graphics department, each with a degree in graphic design. The vice president of advertising and promotion , himself a graphic designer, told me, "None of them are graphic designers. " Although this sounds like a put-down, it is more a reflection of our inadequate vocabulary to describe people who call themselves graphic designers who work in that parallel universe.

I agree with. (There are a few successful design programs with open enrollment that demand performance to quality standards, not just attendance, to qualify for a certificate or diploma.) Diligence can sometimes uncover gifts or overcome deficiencies of nature.

Courses and programs of dubious practical and or intellectual value muddy the waters both for the individuals they graduate as well as their future customers.

Market Realities Spur Evolution in Hiring Behavior By the time most companies contact a recruiter, they have tried to find a designer by word of mouth and advertising.

They need someone yesterday. In the last eighteen months, searches have often stretched to six months and more before the right person is found. By then, not only are the people in the company angry, we [recruiters] are frustrated and

Why do so many people think they can do graphic design?

Amazing tools! The computer is the most important influence

demoralized. Meanwhile, they get the work done by extend-

on graphic design since the printing press and it makes it look oh, so easy.

hiring people they would not have otherwise considered.

Educating For the Future Or False Promises?

Keep in touch: Employers can protect themselves from

A senior designer from one of the top five corporate identity firms in New York told me that his (and all the company's other designers) work day is from 8 to 8. Last June, in an attempt to reduce individual workload, the company hired a

reasonable surges in demand by recruiting on an on-going

few designers right out of a "good" school. The result? The more senior people's work day was elongated even further.

They had to closely supervise the new graduates and to redo the work because of errors due to insufficient training and lack of experience. The junior positions were eliminated.

A continuing education industry in and out of academia

202

ticing "inclusiveness not exclusiveness," 17 which theoretically

ing the workday, working weekends, using freelancers or

How do you find good designers?

basis. Once good designers with whom they are compatible are found , employers should maintain a relationship until they need to hire them. This will put them a bit ahead of the curve. (Good designers can do the same by m aintaining contacts with companies they want to work for. ) Acquire: The Coleman Group recently hired the entire industrial design department from The Deskey Group. Interbrand acquired Gerstman & Meyers.

Throw money at them: Microsoft often buys small companies

enables people to keep up with advances in hardware and software. Over the past ten years, colleges and other organizations have responded to the increased demand for courses, certificates and degrees in graphic design or "computer graphics. " Ric Grefe, executive director of the American Institute of Graphic Artists, estimates that 2,6oo educational programs

An offer of an enormous salary increase is known to have

in the U.S. describe themselves as "graphic design pro-

influenced some designers to change jobs. The strategy only

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to get their people. It also offers free training companies in II European countries with r8 million unemployed and is pushing curricula into 350 schools and colleges around the world to produce more programmers . 18

~ you to the precise colors for which you've searched long and hard . In fact, we give you color so realistic , it can satisfy not only your expectations , but more important, your client's demands. And while our color systems compete with reality, they also help you deal with it.

When connected to a ColorPASS Controller, the CLC 900 Series has fast printing and copying speeds of 7 pages per minute. It also delivers consistent color quality print after print. Because the last thing you need to think about when you 're on your final revision is another "off-color" comment by the client.

And with Automatic Duplexing, the CLC 950 also makes it easy to print or copy on both sides of the page.

Giving you the precise color you want is precisely the reason we've been number one in laser color in the U.S. for the past 10 years ~ • G To find out more, call 1-800-0K-CANON anytime. Or visit us on the Web at www.usa.canon.com . And get color that stands out in light of any situation .

CLC 950

Canon Laser Color. Its only competition is reality.

*Source: Dataquest. A Gartner Group Company.

© 1998 Canon U.S.A., Inc.

Canon

works in situations where everyone in the hiring organiza-

Existing educational alternatives, with few exceptions, will

tion earns a premium over its competitors.

not provide solutions to the current imbalance between supply and demand for designers and the lack of standards

Develop A Close Relationship With A Recruiter Or Two. How to attract and keep the best people? Take a lesson from

for graphic design education. Formal internship programs and work-study partnerships with companies are some ways

companies that people like to work for. The U.S. economy

to begin to alleviate the shortage. Sponsored projects, interdisciplinary/ department problem solving teams and using

was transformed over 50 years from machine power to brain

multimedia are others. Implementing any of them requires

power. As this was happening, managers running compa-

alterations to the school calendar, to teaching schedules,

nies and entrepreneurs building them became increasingly

and so on-no t easy to accomplish. The only quick fix is

aware of the need to attract and keep good people . In

to import people.

Fortune's "roo Best Companies to Work For," (January 12, 1998) the favorite companies are those offering "inspiring

Unbiased Opinion

leadership, knock out facilities and a sense of purpose. " Well,

The following observations and recommendations were devel-

small design companies may not be able to offer physical

oped for us in confidence by the Failure Institute of America. 19

facilities, like on-site child care or a gym, but they can offer

We asked them to examine clients' current recruiting pro-

inspired leadership, a sense of purpose and interesting work.

cesses vis-a-vis the scarcity of good designers. The Institute

To be competitive, even small design companies are giving designers the opportunity to increase their earnings with performance bonuses. Clear definitions of expectations and requirements replace arbitrary ones. In large and small public companies, and new media companies, designers are often eligible for stock options . Some design companies offer the opportunity to buy or earn equity to designers who prove

reported that they can guarantee failure when we send the best designer first to our clients because clients follow this antiquated rule: Never, ever, select the first candidate RitaSue Siegel Resources sends to you . The Institute advised us to hire a full-time generic employee to go to all first interviews to increase the success rate. The Institute supports its analysis of clients' genetic behavior to not hire the first candidate, by the following:

their value .

A. Inherent (American) Optim ism

i.e. , "If this candidate is good, imagine how much better the next one will be. " B. The Law of Comparison

i.e., "You can't tell how good candidate A is until you interview candidate B." C . The Absolute Incongruity of Reality

i.e., "If this person is as good as they seem, they would

You need to

already have a job."

find that award-

The suggested behavior is: If you like the first person you

winning location photographer now ...

see, do not look for others to compare him/her with. There may not be any. In the time it takes for you to interview others to reach this conclusion, the candidate you originally liked will have accepted another offer, changed his/her mind about moving, received a promotion and increase in compensation which you cannot match or the designer or partner

CA Magazine

will have gotten pregnant and will not leave her obstetrician.

Some Things Never Change ...

Most position descriptions for graphic designers include characteristics employers have always wanted: • The talent and intellectual capacity to understand the needs of diverse organizations.

• The ability to develop appropriate responses to them using research and analysis of marketing information and human behavior.

204

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As this oil painting which hangs in the lobby area of the Screen Actors Guild headquarters shows, professional actors come in all sizes, shapes, colors and abilities. Titled Union, Arsen Roje's work is a celebration of diversity.

SAG itself is a celebration of diversity with 90,000 members nationwide representing every age, ethnicity and physical ability you can imagine.

Why not bring greater life and texture to your commercials by casting the full range of experienced, available SAG talent?

One call to the Guild's Affirmative Action Office ca put you /

in touch with hundreds of actors you mi&bt rtot know, but should.

212.827.1433 In Los Angeles, call 21 3.549.6644 In New York, call

• Verbal skills and writing ability.

NoTES

• Intuition and unique design sensibility.

I.

Norton, Rob, "Why Asia's Collapse Won't Kill the Economy," Fortune, February 2, 1998.

2.

Norris, Floyd, "A Greenspan Refrain: That Was Then ," the New York Times, December 9, 1997.

3·

Whitney, Craig R., "French Jobless Siege Unemployment Offices to Press for $500 Bonus," the New York Times , December 30, 1997.

• Knowledge of typography for all media: print, on screen, still and motion.

• The ability to work well with other specialists and to lead teams of them as required.

4·

Labor Column , Wall Street journal, January 13 , 1998.

• Dedication and desire for excellence.

5·

Ibid.

• Employers also want technical specialists with the

6.

Norris, Floyd, "A Greenspan Refrain: That Was Then," the New York Times, December 9, 1998.

7·

Cooper, James C. and Kathleen Madigan, "Is it Time for the Market to do a Double Take?" Business Outlook in BusinessWeek, December 22, 1997·

8.

Liscio , John, "The Bottom Line, Fasten Your Seatbelts," New York magazine , November IO, 1997.

9·

Advertising Column, the New York Times, January 7, 1998.

IO.

Business Bulletin, Wall Street journal, January 15, 1998.

II.

Wayne, Leslie, "Wave of Mergers is recasting Face of Business in U.S.," the New York Times, January 19, 1998.

knowledge, talent and intellectual capacity to ensure timely, cost-effective implementation of design.

But Some Things Do! Here are some trendlets growing: r. Male Caucasians do not dominate the workplace as they

once did.

2. Good designers over 50 are not threatened because of age.

3· Immigrants who are good designers, have at least three

years of experience and are fluent in English, get work 20

visas. (In 1997, one in ten Americans was born abroad. ) Twenty-three percent of the residents of Silicon Valley, 2

drawn by high-tech jobs, are foreign born. '

12. BusinessWeek, July 21, 1997.

13. Harmon , Amy, "With Boom in High Technology, Software Jobs Go Begging," the New York Times, January J7, 1998.

14. Lohr, Steve, "Information Tehcnology Field is Rated Largest U.S. Industry, " the New York Times, November r8, 1997.

15. "Annual Forecast," Graphic Design: USA, January 1998.

Other Interesting Tidbits

16. Ibid.

r. Two-career families/relationships inhibit moving.

17. " The New U: A tough market is reshaping colleges, " BusinessWeek, December 22, 1997.

2. People actually enjoy their work.

18. "Forget the Huddled Masses: Send Nerds," BusinessWeek, July 21, 1997.

3· People have longer work days.

4· The Internet, until further notice, establishes English as the world language.

19 . The report was written by Stanley Resnicoff who invented Failure Institute of America to amuse us , not knowing that a real one existed.

20. "From the Desk of Alexei Bayer," Voices Column, the New York Times, November 30, 1997.

22

5· In Asia, corporate names are more important than

21.

Markoff, John, "Internet Helps to Keep Silicon Valley in a Boom," the New York Times, January 12, 1998.

22.

Although simultaneous translation of all sites could soon be a reality, how will increased fluency in English affect translation in general and for packaging in particular?

23

product brand names. Designers are an integral part of implementing the strategies.

6. Companies move to more desirable locations 24 and create multiple ones. San Francisco and New York remain cities of choice, especially for designers in multimedia. 25

History Surprises 26

I kept a January 1990 issue of a magazine containing "50 Leading Creative and Production Professionals Forecast the 90's," to compare with the next time I was asked about trends. Although there were still a few skeptics, most participants (including me) wrote about how the computer will revolutionize the way design work is done and how clients would become more aware of the value of design as a business tool. One predicted, "If computers are going to improve the speed at which we do our work, we will have to hire many salesmen to bring in more work to keep our people busy." When last heard from he was decoding the work of David Carson. • 206

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23. According to a senior marketing executive of a European automobile company, people say, in English, "McDonald's, Coca-Cola and Jeep," regardless of their first language. That a product comes from Sony is often more important than the Trinitron brand. Procter and Gamble, having learned the value of the corporate name on consumer purchasing decisions in Asian markets is re-thinking its strategy in the West, which currently promotes the brand-Head and Shoulders, for example-over the corporate name.

24. Adjacency Brand New Media moved from Wisconsin to San Francisco, for example.

25. Large and small design companies have multiple offices, either to provide day-to-day service to important clients, to provide special expertise to an important client or to accommodate the lifestyle of a principal or a valued employee.

26. Graphic Design: USA, January 1990.

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Book Reviews Henry Dreyfuss, Industrial Designer The Man In The Brown Suit

By Rus sell Fli nch um 222 pag es, hard cover, $50 Publi sh ed by Rizzol i Internat ional Publications, Inc. 300 Pa rk Avenue New York, New York 10010

A man of great integrity, Henry

HENRY DREYFUSS

;"'""""' 'JJ,.,_,

Dreyfuss designed many of the workaday products of our time: Big

•

~ \ j

TH ~

Ben clocks, Hoover vacuum cleaners, Singer sewing machines, John Deere tractors, Bell telephones and even the ubiquitous Honeywell thermostat ("The Round"). Always dressed in a

~1A"' IN Tnr 811.o..,.·N SutT

brown suit, he was a businessman and a "classic overachiever, " demanding of himself and others, but at heart an artist, whose "five points" of design were safety and utility, ease of

limit the number of projects in the firm at any given time to the amount he could personally oversee.

"Dreyfuss prided himself on mastering the skills needed to operate the equipment he designed": learning to sew a shirt, how to type and how to drive a tank and a tractor. As Henry Dreyfuss, Industrial Designer repeatedly makes clear, "you were not hiring an industrial designer so much as you were hiring the man and his sense of integrity. " Dreyfuss had written that industrial design was dedicated "to take what is good today and make it better for more people tomorrow, because making anything better is the only road to human happiness. " After his wife and partner of over 40 years, Doris Marks, became too ill with liver cancer, the two committed suicide in 1972. George Nelson eulogized, "I realized the absolutely extraordinary thing about this man was that he was all of one piece. " Henry Dreyfuss, Industrial Designer is enjoyable in equal parts because it is so well written and because of its subject. As the author notes, Henry Dreyfuss was uniquely suited to the challenge of making "the necessary invisible, and, when visible, attractive. "

maintenance, cost, quality and appearance.

-ANGELYNN GRANT

Henry Dreyfuss, Industrial Designer is the companion book to last spring's major exhibit at the Cooper-Hewitt National Design Museum. Author Russell Flinchum spent seven

Stock Photography Business Forms

years culling through the extensive records of Henry Dreyfuss

By M ichal Heron 128 pag es, paperba ck, $18.95 Allworth Pre ss 10 E. 23rd Street, Su it e 400 New York, New Yo rk 100 10

Associates and talking with Dreyfuss's colleagues, clients and friends. He begins in the 1920s with what little is known of Dreyfuss's early years: his poor beginnings, his schooling at the Society for Ethical Culture in New York and his early

I first became aware of stock photos

work as a stage designer and apprentice for Norman Bel

in the late 1930s when art director

Geddes, the latter training influencing much of his later work.

Dean Pollock found just the right photo among the tiny black and white printings of his single stock photo catalog. He was delighted with the photo of a manly fellow facing a

The next three decades found Dreyfuss established in the limelight. He designed the 2oth Century Limited train in 1938 and 48: interior, exterior, brochures, logo and even a signature red carpet rolled out onto the platform. He said, "We feel that if we are designing a product any detail related to that product in the way of cartons, display, lettering, etc. , is part of the job. " His firm worked on military contracts during WWII, out of which developed the field of anthro-

"A man needs a good blade when he faces a sizzling roast or a steaming turkey at table, " were a sales promotion suc-

pometries and The Measure ofMan. Before his retirement,

cess. In 1939, the release print of the manly fellow cost $22.50.

they also worked on prefabricated housing, the Convair Car (half car, half airplane), Polaroid® cameras (including "The Swinger") and the Symbol Sourcebook.

Dreyfuss instituted a round-table approach to design, both with clients and within his own studio. What set him apart from the rest of the " Big Four" (Bel Geddes , Walter Darwin Teague and Raymond Loewy) was his demand for tight <esthetic control over his designs. He would turn down work when he could not have ultimate control of the design process. Flinchum notes that he went so far as to 210

roast turkey and turned it into a theme picture for Gerber Legendary Blades, carving knives which he had designed and are now "modern classics. " His ads,

M A y

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Now the stock photo business is huge with available photos from around the world. It's a giant industry and many of my commercial photographer friends expand their incomes by shooting creative images in their off times to list with the stock houses.

The photography business itself is complicated enough and shooting stock makes it more so. The legal work and the stock records can drive a creative photographer bald, but here's help. Michal Heron has pulled 38 processing forms into one book, just about everything you'll need to keep

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Book Reviews your work organized. Her understanding of some eighteen areas of business make this collection of job forms, schedules, research records , releases , marketing, tax and estate planning an indispensable business plan textbook for both assignment photography and stock. And the forms are binding perforated so you can tear them out and copy them or use them as a base to print them with your own masthead. They can keep you legally safe and organized for profitability.

-BYRON FERRIS

Ruskin's theories and opinions seem timely despite their age.

Delivered in 1870 while he was at Oxford, these lectures ponder the role of the spiritual and moral in art, and they affected many artists and writers of the time , including Oscar Wilde and Marcel Proust. The complications of modern society made Ruskin question the character of contemporary artists: "Thus there is no serious question with any of us as to the personal character of Dante and Giotto, of Shakespeare and Holbein; but we pause timidly in the attempt to analyse the moral laws of the art skill in recent poets, novelists, and painters. " The publishers have included a biography of Ruskin and reproductions of several artworks he refers to in his lectures. Although his style of

Briefly Noted: Deco Espana: Graphic Design of the Twenties and Thirties (Published by Chronicle Books, 275 Fifth Street,

San Francisco, California 94103, 150 pages, paperback, $17.95),

by Steven Heller and Louise Pili. Chronicle's enjoyable and informative Art Deco series turns the spotlight on Spain, where Deco Espana connected the Spanish Republic to the rest of the industrialized world through a shared visual vocabulary. As authors Heller and Pili point out, Deco Espana was an evolution from Modernisme (an extension of Art Nouveau and Secessionism) and Noucentisme (comparable to Italy's Novocento movement). They note how Art Deco rejected the excessive ornamentation of Art Nouveau, while not embracing the stark purism of Modernism. By allowing geometric patterns and streamlined references to Mayan, Egyptian and Asian art, Deco could remain "true to bourgeois <.esthetic preferences for pleasing decoration ... a symbol of

speech has the musty verbosity of an old sermon, many connections can be found to current theories in art and cultural studies. The reader is helped in making these connections by series editor, artist and semiotics professor Bill Beckley's whirling introduction.

-A. G. Seeing Jazz: Artists and Writers in Jazz (Published

by Chronicle Books, 85 Second Street, San Francisco, California 94105, 144 pages, paperback, $22.95), introduction by Robert O'Meally. Published to coordinate with an exhibition organized by the Smithsonian, Seeing jazz presents old and new artwork in various media, inspired by and created in the same spirit as the great American music form, jazz. In the introduction, O 'Meally writes that the title refers both to any visual manifestation of jazz and to the state of being "hip" to it. He defines three enduring aspects

both progress and decadence. " In the 1936 Spanish Civil War, both the Right and the Left appropriated Deco motifs in their posters. In Deco Espana's strong first chapter, the deep reds and browns of the forceful war posters are striking, with silhouetted soldiers, weapons and airplanes. The remaining chapters, "cultura, " "moda, " "farmacia y perfuma"

of jazz: the complexity of rhythm, the magic of improvisation and the conversation of call and response , and these organize the over roo reproductions and excerpts. Under

and others, show how much Spain's commercial art shared with that of other countries. Magazine covers, film posters, trademarks, bottle caps, razor blade packages and advertisements are rendered with the colorful, stylized vernacular of

(collage, 1974) and a standout syncopation of fedoras and fence posts in bassist Milt Hinton's "Cozy Cole, Danny

Deco. Here, one can detect the scalloped trim of a Spanish dress in the edge of an ad or the highlight of a letterform.

Deco Espana is a welcome addition to this series.

Stuart Davis's "Pad no. 4" (silk-screen, 1947) and excerpts from Toni Morrison, Miles Davis and Sartre. "Call and

-A. G.

"Rhythm," one finds writings by Ralph Ellison and clarinetist Sidney Bechet, Lee Friedlander's "Sweet Emma Barrett" (photograph, 1958), Romare Bearden's "New Orleans Farewell"

Barker, and Shad Collins, New Orleans" (photograph, 1941).

"Improvisation" includes Man Ray's "Jazz" (tempera, 1919),

Response" offers poet Reuben Jackson's "for duke ellington" (1991), Ishmael Reed's "I am a Cowboy in the Boat of Ra" (1977) and Norman Lewis's "Harlem Jazz Jamboree" (oil,

Lectures on Art (Published by Allworth Press, ro E. 23rd

Street, Suite 400, New York, New York rooro, 224 pages, paperback, $18.95), by John Ruskin. As part of Allworth Press's Aesthetics Today series, Lectures on Art makes a reappearance on the bookshelves at just the right time to make 212

M A y I

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1943). Jazz fans will be delighted by rarely seen pictures of Johnny Hodges, the Farmer brothers, Billie Holiday and even Louis Armstrong's horn case. And all lovers of art will enjoy hearing the music that pulses from Seeing]azz.

-A. G.

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best $3 (for postage and handling)

a series of scannable clip art col-

you've ever spent. Nanette Wright,

lections in book form. Together,

ofWright Communications in

the three books contain about

New York, who also wrote On

ro ,ooo images and although I

Press for Success, explains "all

don't foresee a lot of people need-

there is to know in order to under-

ing the obscure objects shown in

stand, review and approve a

this book, it sure is nice to know

blueline proof" in this ten-page

they're accessible in case the need

booklet. For many, reviewing

arises. The press note that came

bluelines is a tedious and time-

with the book reads, "This series

consuming task and the time it

continues to enjoy considerable

takes to look at proofs is often

success. It has become one of the

shaved, which can result in cost

most successful clip art books ever

risks when errors are overlooked.

published. " Doesn't surprise me.

In Blueline Guideline, Wright

Call me outdated, but I think clip

tackles basic and not-so-basic

art in book form is a heck of a lot

Photo District News presents June 17-20

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REGISTER BEFORE MAY 15, 1998+ AND+ ADMISSION TO THE EXHIBIT HALL IS FREE Produced by Billcom Exposition & Conference Group Web Site http://www.pdn-pix.com/photoplusexpo

PHOTO: oESIGN:

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Materials and Available Literature

Board is the result of a joint effort

easier and more fun to use than computer clip art collections-

between Crescent, Crane & Com-

some things are better left alone.

pany (fine cotton paper makers) and Buckeye Technologies (a raw

The one problem I have with clip art in books, in general, is that all

material supplier) and is made

of the art in them looks nostalgic

from 100% cotton linter pulp. A byproduct of cottonseed oil manufacturing, cotton linters are the

and there never seems to be anything that was created after the

basic material for making many cellulose products and are defined

turn of the century. (I suppose all the new art is on CD-ROM.) At any

by the EPA as "recovered materials," which means if they weren't

rate, John Mendenhall has compiled another useful book for

used in papermaking they would enter the waste stream. So, not

design libraries. Scan This Book,

Three is available, for $16.95, from

only are 100% cotton pulp pro-

any store where books of this type

ducts a viable environmental

are sold or by calling the pub-

choice (it also requires less chemical processing than wood pulp),

lisher, Art Direction Book Company, at (203) 353-1441.

they are made from the cleanest, purest, most consistent and durable pulp in the industry-

Literature for Your Files

cotton pulp products have a soft, smooth texture and will not yellow or deteriorate over time. OK,

A request on your letterhead to the following companies will bring you the literature described...free unless otherwise noted. Whenever possible, fox numbers, e-mail addresses and URLs have been included for convemence.

enough with sounding like a press release, here's the deal: this board is beautiful; each sheet is white glove inspected and "guaranteed to be the cleanest most speck-free museum board available anywhere." It's available in introduc-

Designing with Day-Gio Color .. .by Day-Glo® Color Corp.

tory colors (six additional colors

is subtitled The Official Fluorescent

will be available soon) of Bright

Color Design Guide. Honestly, I

White, Soft White, Antique White

have never seen, nor heard of an

and Cream, in 2-, 4- and 8-ply sheets, in sizes up to 6o X 104 and

unofficial version of this guide so

I don't foresee any confusion with any other fluorescent color design guides, but thought I'd mention it. This booklet is a little hard on the eyes-put on some sunglasses before flipping through it-but filled with valuable infor-

history and trademark informa-

is sold directly from the manufacturing site in Massachusetts which

tion; how to use these colors in

or by faxing (216) 391-7751. If none of these options work

your designs; and how to mix

for you, visit their Web site

Day-Glo colors with conventional

www.dayglo.co m

is ten sheets and special quotes are available for institutional

if you do have to rest your eyes

Crescent Preservation

orders over 500 sheets and for spe-

mation for using the Day-Glo

after each chapter. Get a copy.

Products ... a new division of

cial, non-standard cut sizes. For a

color palette, and definitely

Designing with Day-Glo Color is

Crescent Cardboard Company, is

brochure or a 5 X 7 box of samples,

worth reading. It includes Pantone

available at no charge to design-

dedicated to the development,

color specifier cards; the use of

ers, printers and all other color-

manufacture and distribution of

call (8oo) 727-3749 or e-mail jnpres@aol.com. They also have a

Day-Glo pigments in plastics, on

specifiers by writing Day-Glo

museum-grade preservation

new Web site www.crespres.com

surface coatings and for textile

Color Corp., 4515 Sr. Clair

products designed exclusively for

printing; generating film for pro-

Avenue, Cleveland, Ohio 44103,

the fine arts industry. Crescent

The Printing Plant .. .contains

duction and color proofs; Day-Glo

by calling (216) 391-7070

Preservation Museum Mounting

"All the news that's fit to print

216

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colors. This is a great guide even

makes prices competitive and ordering easy. The minimum order

Doer TG in llisud cidSSes ldUIJIJIIJg e: Des;IJII_.

Linda ~ ~erts like: Joh emman Gon n Maeda P,=l I g Szeto uU Haeb and j~ ert;

'"Ore!

Being a Web Professional Requires Some Remarkable Skills It takes your entire team working together. To stay on top, you need solid training from the best minds in the business. From the fundamentals of site usability to cutting-edge programming techniques, Web Design & Development '98 sets the standard for giving web professionals what they need to succeed. Web '98 provides practical training from the leading experts in information design; dynamic HTML vs. Java; XML; privacy; meta-data; browser hell and more. Visionary keynotes. Peer networking and brainstorming. And an exhibition of powerful tools from the hottest companies around. Join us for the most intense gathering of web brilliance the West Coast has even seen. Because when you're serious about your job, there's only one place to go.

Feeling nostalgic? Contact us by phone at 800-441-8826 or by e-mail at web98@mfi.com.

SAN FRANCISCO

Materials and Available Literature

ing soyink@soyink.com. Or, stop

about soy ink," which actually makes sense because this news-

by their Web site www.soyink

letter is produced by the National

.com where visitors can down-

Soy Ink Information Center

load a SoySeal user agreement and

(printing and distribution are

order brochures, posters and

funded by the Iowa Soybean Pro-

pocket cards.

motion Board and the Nebraska Soybean Board) an Iowa-based

French Revolution . .. "turning

resource center for soy ink users

the notion of plain white paper

and manufacturers. At any rate,

on its head" is the complete name

The Printing Plant is produced

of a wonderful paper promotion

quarterly and provides readers

for French Paper Company.

with mini-articles about compa-

Charles S. Anderson Design Co.

nies regularly using soy ink for

of Minneapolis has been creating

projects, what a SoySeal trade-

promos for French for quite some

mark is and how it should be used

time and after looking at this piece

and printers who specialize in

I can understand why the paper

printing with soy inks. This news-

company uses this firm, time,

letter is available to people who

after time, after time. They have

are interested in receiving it by

outdone themselves; the promo

calling (8oo) 747-4275 or e-mail-

touts the various uncoated white

Advertise in CA and reach the 83% of subscribers who use Macintosh computers

For information on advertising in Communication Arts contact: Michael Krigel General Manager (650) 326-6040 x26 advertising@commarts.com

papers in the French line. ("To free

designers, proves that no matter

you from the oppressive blandness

how small it gets, people still do

of the rypical white sheet, French

things differently. Just a couple of

Paper offers an army of subtle

things you will learn from looking

variations on white, from Speckle-

at the samples: South Africa has

tone~ Dur-o-tone®and construc-

very few envelope converting

tion lines. ") As nice as the paper

facilities, which makes it difficult

is, it's hard to ignore page after

to obtain matching envelopes, so

page of photos of collectible plastic

most South African designers don't

toys (from CSA Archive's

include them in stationery pro-

Plastock® collection-a compre-

grams; what designers frequently

hensive series of photographed

include (in addition to business

plastic objects) and witty com-

cards) are "compliment cards,"

ments, written by Lisa Pemrick,

used as thank you notes or page

also from Minneapolis. French

markers; the designers frequently

Paper Company has been family-

use 70 lb. text with a linen finish

owned and operated since 1871

and no watermark because it is

and they've been making great

considered sophisticated. The bot-

paper since they started. Call

tom line is this, Beckett Paper has

them at (6r6) 683-noo for a copy

a sheet for just about any applica-

of French Revolution, you won't

tion in any part of the world and

be disappointed in any part; it's

this promo proves it. For a copy

proof that printing on white

of Letters from South Africa or

paper doesn't have to be boring.

Letters from South Africa .. .is

the first in a series of reprints of international work created on

~ommunication

Beckett Papers. The world gets smaller every day but this collection of award-winning stationery systems, created by South African

218

M A y

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paper samples, call the Beckett Idea Center at (8oo) 423-2259.

I

9 9 8

-SuE GARIBALDI

~ommuni~ation Art~ 1997 Television Commercials P.O. Box 10300, Palo Alto, CA 94303-0807

e-mail: subscription@commarts.com

0 Please send me_1997 TV Commercial Videotapes@ $215 each 0 Also send me_1996 TV Commercial Videotapes@ $145 each

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Format: 0 3/4" NTSC (U .S.l 0 3/4" PAL 0 VHS NTSC (U .S.l 0 VHS PAL 0 What the heck. send me_1997 CA Advertising Annuals@ $24 each as well

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Day Phone

Clubs, Conferences, Seminars AlGA/Cincinnati sponsors the T hird Design Revival on May 14-16 at Pleasant Hill, a faithfully restored 18th century Shaker community in central Kentucky, just outside Lexington. The 3,700 acre historic village is rich with Shaker design simplicity and perfection. A safe and educational environment for families and small children, it is a perfect setting to examine the roots of design . The theme of this year's conference, "Reflecting on Craft," will explore ideas of craft as related to design today. Announced speakers include John V. Clarke, University of Illinois, Urbana, Illinois; Steven Doyle, Doyle Partners, New York; Kit Hinrichs, Pentagram Design, San Francisco; Diti Katona, Concrete Design Communications, Toronto, Canada; Ronnie Peters, Time Warner Electronic Media, New York; Jim Sherraden, Hatch Show Print, Nashville, Tennessee; and Kiwon Wang, AARO Studio, New York. AlGA members: $I6o; student members: $100; non-members : $26o; student non-members: $150. Fees include retreat cost, Friday and Saturday lunches, continental breakfast, coffee/snacks, a riverboat excursion and concluding party. Room charges and additional meals are paid separately. For information, call chair Fred Niles at (937) 229-3220; write AlGA/Cincinnati Chapter, P.O . Box 2596, Cincinnati, Ohio 45201; e-mail AIGACinci@aol.com or visit the Web site www.aigacincinnati.org An International Symposium "Between Art and the Ad" will be introduced June 25-26 during the official inauguration of the 18th International Biennale in Brno, Czech Republic, from June 24 to September 27. Local and foreign experts will present contributions dealing with the relationships between art and advertising accompanied by slides and videos translated simultaneously into four languages. The two-day symposium takes place in the great hall of the Governor's Palace. For information and registration, contact Miroslava Pluhackova, secretary of Brno Biennale, Moravian Gallery, Husova 18, CZ-662 26, Brno, Czech Republic; call

(420) 5-422-n464; fax (420) 5-422-15758; e-mail m-gal@ brno.ics.muni.cz.

The Association of Medical Illustrators annual

meeting is scheduled for July 23-27 in Toronto, Canada.

For information and registration materials, contact AMI Headquarters, 1819 Peachtree Street N.E., Suite 620, Atlanta, Georgia 30309; call (404) 350-7900; fax (404) 351-3348; e-mail assnhq@mindspring.com; or browse the Web at www.medical-illustrators.org The Industrial Designers Society of America plan-

ned the National Conference for September 23-26 in San Diego, California. For more information, write IDSA, II42 Walker Road, Great Falls, Virginia 22066; call (703) 759-0100; 220

M A y

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fax (703) 759-7679; e-mail idsa@erols.com; or visit the Web site www.idsa.org Legacy of Letters 1998 Tour of Rome is a seven-day guided tour October 4-II with a special focus on letterforms.

Now in its second year, designers and calligraphers have the opportunity to experience Rome through this perspective guided by veteran lettering pilgrims, Garrett Boge and Paul Shaw. The tour will introduce the heritage of Roman inscriptions along with the art, architecture and culture that has defined Western civilization. In addition to the well-known sites ofTrajan's Column and the Forum, tour participants will be guided through many of the city's important buildings and outdoor sites, make brief visits to some of its manuscript collections, including the Vatican Library and will have the opportunity to make their own keepsake rubbing of a classical inscription. The cost is $1,540 for daily breakfast, two picnic lunches, all admission fees, guided tours, city transportation and double occupancy in a three-star hotel in central Rome. For more information, visit the Web site at www.letterspace.com; call (8oo) 929-1951; fax (2o6) 467-7275; e-mail info@letterspace.com.

The Design Management Institute 23rd International

Design Management Conference convenes October 18-22 at its traditional venue, The Chatham Bars Inn, in the Cape Cod seaside town of Chatham. The conference attracts senior design executives, managers and designers, as well as internationally-known speakers. In order to maintain the intimacy and close interaction, attendance will be limited. For information, contact DMI, 29 Temple Place, 2nd Floor, Boston, Massachusetts 02III; call (617) 338-6380; fax (617) 338-6570; e-mail dmistaff@dmi.org. Conference information is also available on the Web site www. d mi. org The Association of Independent Commercial Producers (AICP) established limits of two consecutive terms

for national officers of the association and reelected the current slate for 1998 at its recent meeting in Los Angeles. Chairman Frank Scherma of @radical.media will serve a second one-year term as chairman with vice chairman Alex Blum, a partner in Headquarters. Other officers are: president Matt Miller; Frank Stiefel, immediate past chairman; treasurer Mark Androw, Chicago Story; secretary Stephen Steinbrecher, Steinbrecher & Ross, legal counsel [an appointed office].

For information, visit the Web site at www.aicp.com or write to AICP, II E. 22nd Street, 4th Floor, New York, New York 10010; phone (212) 475-26oo; fax (212) 475-3910.

-JEAN A. CoYNE

Copy must be received three months prior to the publication date.

Please include a contact, phone number and address.

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Directory Featured in this issue Bianco & Cucco Via Lanzone, 22 20123 M ilano Italy (39) 2-805-7710 (39) 2-7200-0590 fa x bc@planet.it

Basler Design Group 112 14th Street S. E. Cedar Rapids, lA 52403 (319) 364-1519 (319) 364-2462 fax

Phoenix Creative 611 N. Tenth, Seventh Floor Saint Louis, MO 63101 (314) 421 -0805 (314) 421 -5647 fax

Jett & Associates, Inc. 7118 Upper River Road Prospect, KY 40059 (502) 228-9427 (502) 228-8857 fax

Leslie Black Design 60 Lakeview Drive S.E. Grand Rapids, Ml 49506 (616) 949-2904 (616) 949-7098 fax

Plankton Design 319 Garrard Street Covington, KY 41011 (513) 345-3444 (513) 241-7818 fax

Cyc lone 1517 12th Avenue Seattle, WA 98122 (206) 323-7357 (206) 325-7886 fax cyclone@seanet.com

Stoltze Design 49 Melcher Street Boston, MA 02210 (617) 350-7109 (617) 482-11 71 fax

loco foco limited 29 Otago Street Glasgow, Scotland G12 BJJ United Kingdom (44) 141-341-0303 (44) 141-341-0304 fax

Disney Design Group Post Office Box 10,000 Lake Buena Vista, FL 32830 (407) 828-2682 (407) 934-7591 fax

Peter de Seve 25 Park Place Brooklyn, NY 11217 (718) 398-8099 (718) 622-0121 fax

Estudio Ray 2320 N. 58th Street Scottsdale, AZ 85257 (602) 945-1299 (602) 945-1998 fax

Wolfgang Weingart Postfach 2235 CH 4001 Basel Switzerland (41) 61-261-02-53 (41) 61-261-02-63 fax

Hunt Adkins

Eye Noise, Inc. 3300 Renlee Place Orlando, FL 32803 (407) 894-3550 phone/fax eyenoise@bellsouth .net

311 First Avenue N., #200 Minneapolis, MN 55401 (612) 339-8003 (612) 339-8104 fax hunt@huntadkins.com

Firehouse 101 Art & Design 641 N. High Street, Suite 106 Columbus, OH 43215 (614) 464-0928 (614) 464-0200 fax Futurefarmers 1201 B Howard Street San Francisco, CA 941 03 (415) 552-2124 (41 5) 552-6328 fa x www.futurefarmers.com

Frans Lanting 1985 Smith Grade Santa Cruz, CA 95060 (408) 429-1331 (408) 423-8324 fax www.info@lanting.com For fine prints, books or posters by Frans Lanting contact Terra Editions, a division of Frans Lanting, Inc. (408) 429-1331 .

Susan Hochbaum Design 31 Fairfield Street Montclair, NJ 07042 (201) 655-1205 (201) 746-9149 fax

Luba Lukova & James Victore Luba Lukova Studio 315 W . 14th Street New York, NY 10014 (21 2) 645-1485 (212) 352-0219 fax

David Lemley Design 1904 Third Avenue Seattle, WA 98101 (206) 682-9480 (206) 682-9495 fax

Victore Design Works 64 Grand Street New York, NY 10013 (212) 925-6862 (212) 334-371 5 fax victore@interport.net

M5 Design Group [305] 611 Alexander Street Vancouver, B.C. V6A 1 E1 Canada (604) 255-2077 (604) 255-2097 fax

Great Ideas on Limited Budgets

Overdrive Design 37 Hanna Avenue, Suite 224 Toronto, Ontario M6K 1W9 Canada (416) 537-2803 (416) 537-7941 fax www.overdrivedesign .com

After Hours 1201 E. Jefferson Street Suite B100 Phoenix, AZ 85034 (602) 256-2648 (602) 256-6422 fax

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Hansen Design 314 Brown Street Ph iladelphia, PA 19123 (215) 627-6606 (215) 627-4683 fax

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Visual Dialogue 429 Columbus Avenue, #1 Boston, MA 02116 (617) 247-3658 phone/fax fritz@visualdialogue. com www.visualdialogue.com

Eco Eva Anderson Design 207 Williams Street Providence, Rl 02906 (401) 351-1211 (401) 351-5744 fax evaeco@bbsnet.com Dan Imhoff www.simplelife.com Plainwell Paper Company 200 Allegan Street Plainwell, Ml 49080 (888) 752-4693

Exhibit BP&N 222 S.W. Yamhill Portland, OR 97204 (503) 227-2506 (503) 227-482 7 fax The Buntin Group 1001 Hawkins Street Nashville, TN 37203 (615) 244-5720 (615) 256-9092 fax Cole & Weber 308 Occidental Avenue S. Seattle, WA 98104 (206) 447-9595 (206) 623-9832 fax Deutsch Inc. 215 Park Avenue South New York, NY 10003 (212) 955-7500 (212 353-9659 fax Firehouse 101 Art & Design 641 N. High Street, Suite 106 Columbus, OH 43215 (614) 464-0928 (614) 464-0200 fax GSD&M 828 W. 6th Street Austin , TX 78703 (512) 427-4736 (512) 427-4700 fax JayRay Ads & PR 911 Western Avenue, Suite 202 Seattle, WA 98104 (206) 622-8 108 (206) 622-8388 fa x

Loeffler Ketchum Mountjoy 2101 Rexford Road, Suite 200 E. Charlotte, NC 28211 (704) 364-8969 (704) 364-8470 fax The Martin Agency One Shockoe Plaza Richmond, VA 23219 (804) 698-8000 (804) 698-8801 fax www.martinagency.com Odiorne Wilde Narraway & Partners 1045 Sansome Street, Suite 304 San Francisco, CA 9411 1 (415) 658-2800 (415) 658-2815 fax Riddell Advertising & Design 255 Buffalo Way P. 0. Box 2962 Jackson Hole, WY 83001 (307) 733-5353 (307) 733-5351 fax Michael Schwab Studio 108 Tamalpais Avenue San Anselmo, CA 94960 (415) 257-5792 (415) 257-5793 fax Lou isa Sugar Design 1650 Jackson Street, Suite 307 San Francisco, CA 94 109 (415) 931 -1 535 (41 5) 67 4-1113 fax Vignelli Associates 475 Tenth Avenue New York, NY 10018 (212) 244-1919 (212) 967-4961 fax Winkler Advertising 301 Howard Street San Francisco, CA 941 05 (415) 957-0242 (41 5) 495-7118 fax www.winklerad.com

Technology Multimedia in Austin frogdesign 804 Congress Avenue, 5th Floor Austin, TX 78701 (512) 477-3764 (512) 477-3792 fax Human Code, Inc. 319 Congress Avenue, #1 00 Austin, TX 78701 (512) 477-5455 (512) 4 77-5456 fax www.humancode.com

Interactive Architex 3925 W . Braker Lane Austin , TX 78759 (512 ) 305-0750 (512 ) 305-0009 fax www.interarc.com MONKEYmed ia 611 S. Congress Avenue, Suite 310 Austin, TX 78704 (512) 440-8000 (512) 440-1050 fax info2@monkey.com Ori gin Systems 59 18 W . Courtyard Drive Austin, TX 78730 (512) 434-4263 (512) 794-8959 fa x www.ea.com/origin.html

Design Technology Wendy Richmond Wendy Richmond & Co. 457 Mount Auburn Street, #8 Ca m bridge, MA 02138 (617) 492-8228 (617) 876-8 142 fa x wrichmond@aol. com

Technology Reviews Kathleen Maher kmaher@mfi. com Pat Soberanis Soberan is@aol. com

Columns Design Issues OK Holland Pushpin 18 E. 16th Street. 7th Floor New York, NY 10003 (212) 255-6456 (212) 727-2150 fa x dk_hol land@pushpininc.com

Freelance Maria Piscopo Creative Services Consultants 3603 Aspen Village Way, #E Santa Ana , CA 92704 (714) 556-8133 phone/fax Mpiscopo@aol. com

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Pre press Consultex 260 Sheridan Ave ., #1 01 Palo Alto, CA 94306 (650) 322-3999 (650) 322-3998 fa x output@consultex. com

Index to Advertisers Adobe Image Library 6 Anderson Lithograph 191 Beckett Paper Co. 55 Bennett, Sue 208 Canon 203 Champion Benefit 5 Champion Preference 193 Cl ients & Profits 33 Cohen, Stewart Charles 34 Comstock 9 Consolidated Papers, Inc. 165 Corbis Media 169 Corporate Image 162 Crown Vantage 187 CTI Papers 21 Digital Stock 47 DuPont Color Proofing 16 E.B. Eddy Paper 147 Epson 49 Erickson Productions back cover Extensis Portfolio 13 Extensis Quark Suite 185 French Paper Co . 175 FUSE98 207 Georgia-Pacific Papers 31 Graphic Artists Guild 184 Image Bank 15, 181 KliK! 149 Macworld Expo 213 Masterfile 172 Mead Coated Papers 150 Mendelsohn, David 194 Miami Ad School 46 Morgan, Scott 161 Neenah Paper 10 Pantone Hexwrench 27 Photo Plus Show 215 PhotoDisc 53 Plainwell Paper 163 Portfolio 171 Portfolio Center 164 Publ ish 211 Screen Actors Guild 205 Silicon Graphics 29 SoundVision 25 Stock Market 45 Tony Stone Images 37 United Lithograph 39 VCU Adcenter 174 Web Design & Developer 217 Weyerhaeuser Company 41 Williams, Jimmy 182 Xerox 19

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January/February 1987

March/ April 1989

March/April1992

May/June 1995

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn ; Wieden & Kennedy; Charleen Kinser Designs; Twenry-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right;" Index to Volume 28

Tom Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Ex hibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti ; Robert Petrick; Steven Liska; Japanese Design Adventure

Concrete Design Communications; Mullen Advertising; Cathleen Toelke; Emigre; Bruce Hands; SlaughterHanson; The Changing Demographics of Design; Color Predictions; The Ciry of Phoenix Logo Competition; Exhibit

Atlanta Art & Design; Ward Schumaker; Will van Overbeek; J ung von _Matt; Great Ideas on Limited Budgets; Eco; "Creating the Future" Timeline; Exhibit

May/June 1989

July 1992

September/October 1995

March/April1987 Museum Design Competition; Levine, Huntley, Schmidt & Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Co lor Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses

November 1987

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$24

$8

Smart Yellow Pages; William Neill; Art Chantry; " Design Jobs: Fact and Fiction;" Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference 11 (San Francisco); Index to Volume 29

March/April1988

July 1990

Edelstein Associates; Myron; Joy Radio ; Muller + Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhibit; Index to Volume 30

$16

January/February 1991

$8

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Museum Design Competition; Mandelbaum Mooney Ashley; James Marsh ; Clients and Designers: Joseph Abbo ud Apparel and designer Tyler Smith; Johns + Gorman Films; Rick Rusing; Emery Vincent Associates; Prici ng & Ethical Guidelines; Exhibit

December 1996

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$24

1996 Advertising Annual

January/February 1997

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$16

1993 Illustration Arrnual

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Alexander Gelman; RJ Muna; Roche M aca ulay & Partners; Janet Woolley; Color Predictions; Great Ideas on Limited Budgets; Eco; Exhi b it; Index to Volume 38

March/April1997

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Mary Ellen Mark; Big Bang Idea Engineering; Specialry Beer Label Design; Rene Milot; Clients & Designers: Des Moines Metropolita!J Waste Authoriry and Pattee Design; Eco; Exhibit; German Advertising

July 1997

$16

1997 Illustration Annual

August 1997 $8

VSA Partners; Vivienne Flesher; VitroRobertson; Atelier de Creation Graphique; Pete McArthur; Color Predictions; Colorado International Invitational Poster Exhibition; Eco; Exhibit; Index to Volume 35

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1997 Photography Arrnual

November 1997

$24

1997 Design Arrnual

December 1997

$24

1997 Advertising Annual

Soviet Graphic Design; Bill Westbrook; C.F. Payne; Graphic Demographics; Michele Clement; Vaughn/Wedeen Creative; Creating an Eco-Safe Office; American Package Design ; Exhibit

May/June 1991 s8

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Nesnadny + Schwartz; Rafal Olbinski ; Kirshenbaum & Bond; Clients and Designers: Lomas Financial Corporation and The Richards Group; Malcolm Tarlofsky; Women in Design Roundtable; Merchandising Designers: Charles S. Anderson, Tom Bonauro, Higashi/ Glaser, Cheryl Lewin, Michael Cronan; Exhibit

January/February 1994

March/April1991

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August 1996

Software Packaging Design; Mark Fredrickson; Moria Design ; Color Predictions; OMON; Craig Cutler; Children's Book Il lustration ; Stock Photography; Exhibit; Index to Volume 34

$16

1996 Illustration Annual

1996 Photography Annual

July 1993

Craig Frazier; Bill Vuksanovich; Victor Papanek; Raymond Meier; Bartle Bogel Hegarry; Salary Survey Results; Color Predictions ; Ellis Island Immigration Museum; Exhibit; Index to Volume 32

July 1996

1992 Design Arrnual

March/April1993 $8

1990 Illustration Annual

Tony Schwartz; Julie Lieberman ; Frans;ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

January/February 1989

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Michael Brock; Rob Day; Great Moments in Design Tools; The Ball WCRS Partnership; Geof Kern; Madsen & Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

O sbert Parker; Political Posters; Peggy irota; Andrea Ventura; Lucille Tenazas; Weiss, Whitten ,_Stagliano; Olympic Design , Part u; Eco; Exhibit

November 1992

January/February 1993

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Laurie Rosenwald ; David Mendelsohn; Riddell Adver~ising & Design; The ew South Africa; Eco; Exhibit; Interactive Design Arrnual 1 + CD-ROM

March/April1996 s8

Graphic Design in China; Philip Burke; Fallon McElligott; Clients and Designers: Grand Union and Milton Glaser, Inc.; Lonnie Duka; Oriole Park at Camden Yards; The Next Generation of London Designers; Exhibit

Colorado International Invitational Poster Exhibition; Deutsch ; Joyce Kitchell ; Tim Bieber; Skolos, Wedell + Raynor; AlGA Conference HI (San Antonio) ; Earthquake; Exhibit; Index to Vol ume 31

May/June 1990

$16

1992 Photography Annual

September/October 1992

$8

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

September/October 1988

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Tim Girvin; Pagano, Schenck & Kay; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; "Design-Speak Vs. Communicating for Success;" Richard Mantel; TED2; deGraf/Wah rman; Exhibit

Robert Appleton ; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson 's "An American Reader;" Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

May/June 1988

September/October 1989

March/ April 1990

1987 Design Annual

January/February 1988

August 1992

January/February 1990

Colorado International Invitational Poster Exhibition; United Way Campaign; Carbone Smolan Associates; Wil liam Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising

$16

1992 Illustration Annual

Ammirati & Puris; Computers in the Studio; Scott Morgan ; Richardson or Richardson; Exhibit; Yesterday inCA

Lewis Moberly; William Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit

May/June 1987

September/October 1987

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July 1994

$16

March/April1998

1994 Illustration Annual

November 1994 $8

$24

1994 Design Annual

December 1994 1994 Advertising Annual

$24

Grafik Communications Ltd.; Joe Sorren; Butler, Shine & Stern; KDSP Design Group; _Rodney Smith; Typographic Voices; Eco; The Richard and Jean Coyne Family Foundation; Exhibit

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