mayjun2000

May/June 2000 Volume 42, Number 2

Lommuni~ation Art~ fea

Baer Design Associates A Los Angeles design firm with a refined cesthetic.

By Ellen Shapiro

68

Raymond Meeks This Montana-based photographer embodies the spirit of the Ameri can west.

By Anne Telford

78

Wong Doody The most important success strategy of this Seattle agency is their employees.

By Julie Prendiville Roux

88

Wendell Minor The work of this Connecticut illustrator has graced 25 years of book covers.

By Michael Kaplan

98

Ralli Culver Two women create design their way in the evolving market of Athens, Greece .

By Rebecca Bedrossian

106

Pioneers A look at the career of illustrator/educator Robert Weaver.

110

Exhibit The latest and brightest work from here and abroad.

By Jean A. Coyne

121

Eco Photographer Christine Armstrong goes green and embraces digital photography, and Jim Egan makes his photo studio ecologically sound .

Designed and edited by Eva Anderson

125

Great Ideas on Limited Budgets A range of projects from the U.S . and Canada prove a small budget is no impediment to great design solutions .

By Rebecca Bedrossian

Cover © 2000 Raymond Meeks. "Photograph of a political prisoner who is deprived of literature, to illustrate a fictional story titled 'Escapes.' by Richard Powers." Robert Priest, art director; Esquire, client.

Editor and Designer Patrick Coyne

Technology Feature Sam McMilla n prof iles Mi nneapolis-based Duffy Design & Interactive .

158

Design Technology Wendy Richmond asks us to examine our definition and measu rement of success .

160

Managing Editor Anne Telford Associate Editor Rebecca Bedrossian Associate Designer Mark Eastman

Technology Review Barry Haynes eva luates digita l printers for fina l art and commercia l output (part two in a th ree-part series) .

176

Executive Editor Jean A. Coyn e

Technology Resources Books, too ls, resources an d educational opportunities .

Production Manager Scott Perry Production Ron Niewald Technology Director Jeff Stafford

2:'1

Interactive Media Art Director Bonnie Smetts

Design Issues Carolyn Mccarron examines First Things First 2000, a manifesto on designers' soc ial responsibi lity.

34

Freelance Maria Piscopo discusses othe r clients for freelance work.

39

Legal Affairs Negotiating e-licenses by Tad Crawford.

44

Opinion/Commentary Michael Krigel demystif ies stock photography mergers .

52

Advertising Tom Monahan chides t hose who would t urn a good ad into a mediocre campaign.

10

Editor's Column

12

Contributors

14

Letters

nts

Interactive Media Associate Designer Tricia Seibold Interactive Media Editor Sue Garibaldi Interactive Media Developer Gary Wium Interactive Media Production Assistant Khader Yanni Information Systems Manager Michael Hoyt Web Administrator Nancy Hagemann General Manager Advertising/Circulation Michael Krigel Circulation Director Perr.y Fotos Retail Sales Manager Gloria Rosario

184

Book Reviews

Subscriptions Priscilla Brooks

186

Materials, Available Literature

Office Manager Nina Kitching

190

Clubs, Conferences, Seminars

Administration Darcie Niewald

192

Directory

Controller Ronald Auger, CPA Assistant Controller Gayle Gregorius

Volume 42. Number 2 www .comma rts .com COMMUN ICATIO N ARTS. (ISSN 0010-35 19) is pu bl ished eight times a year !January/ February, March/April, May/June, July Illustration Annual, August Photography Annual, September/ October, November Design Annua l and December Adver tising Annua l) by Coyne & Blanchard , Inc .. 110 Cons titu tion Drive.

Menlo Park, CA 94025-1107

Periodi cal s postage paid at Menlo Park, CA and at additional mailing offices .

Copyright 2000 by Coyne & Blanchard , Inc. All pieces repro duced in this issue are under prior copyright by the creators or by the contractual arrangements wi th their clients . Nothing shown may be reproduced in any form wi thout obtaining the permission of the creators and any other person or company who may have copyright ownership .

Traffic Manager Wil Talton SU BSCR IBER SERVI CES : Subscription : 1 year. $53; in Cana da, $70; All other countries, $110 . All payment in U.S. dollars, Canadian GST: 127848620 . Direct all inquiries. address changes, subscription ord ers, etc., to: COMMUNICATION ARTS P.O. Box 51785 , Boulder, CO. 80322-1785 . Via phone : 800-6881971 ; 303-678-847 5; fax : 303-6611181 or e-mail : subscriptio n@ commarts .com . Please allow six weeks for changes. For back issues, please contact the edi torial and business office .

EDITORIAL AND BUSINESS OFFICE : 11 0 Constitution Drive, Menlo Park, CA 94025 -1107.

Phone : 650-326-6040 Fax : 650-326-1648 E-ma il : ca@commarts .com POSTMASTER : Send changes of address to : COMMUNICATION ARTS P.O. Box 51785 Bou lder. CO 80328-1785

~ABC

Contributing Editors Tad Crawford, Legal Affairs; Barbara Gordon/Maria Piscopo, Freelance; DK Holland, Design Issues; Sam McMillan , Techno logy Resources; Tom Monahan , Advertising ; Wendy Richmond , Design Technology Founder Richard Coyne (1926-1990)

CRAIG FRAZIER REPRESENTED BY JAN COLLIER (415)383-9026 WWW.COLLIERREPS.COM

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Business as usual? Not with Adobe"' software for the Web. Go. See for yourself.

Inspiration becomes reality.

Editor's Column

existing digital versions of Univers italic are at n° because the phototypesetting grids from which the digital versions were based, only supported II~ The new Univers also uses the

BY PATRICK COYNE

ampersand character [& J from the original Frutiger design.

A

In addition to above mentioned refinements, the new

s part of our 1995 redesign of the magazine, we adopted Adobe Garamond and a version of Univers (digitized by Adobe from licensed Linotype Laserfont data) as our font families of choice. Designed more than 40 years ago by Adrian Frutiger, the Univers family of fonts is considered to be one of the most innovative type creations of the 2o'h Century. All 21 original weights of Univers had the same x-height and ascender/descender lengths so they could be mixed in a variety of ways.

When we heard that the Univers family had been redesigned in a joint project between Frutiger and Linotype, we were eager to update our version and have now incorporated the revised fonts beginning with this issue.

In 1954, as a student in Zurich, Switzerland, Frutiger began work on Univers, which would take him three years to complete. Released in 1957 by the Deberny & Peignot Foundry in Paris, the design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width and slope.

Frutiger, now 72, was not satisfied with any of the current versions of Univers available on the market and took on the task-despite recuperating from heart bypass surgery-to redesign his creation the way he thought it should look today.

"We first started by returning to the existing Univers weights and tried to fix a few outline errors-hoping that we could come out with an easily revised version," said Otmar Hoefer, Linotype's marketing director. "But after half a year of work, we found that this would not bring the consistency of a whole new type family. So we started from scratch. " Unlike most pre-computer type designers , Frutiger is not a calligrapher and does not use a brush or nib. Instead, he took printouts of the individual letterforms and cut them into parts with scissors and then reassembled the elements.

Linotype staff members, under the direction of Professor Reinhard Haus, then created the digital letterforms.

While at first glance the modifications appear quite subtle, we've found that there is greater differentiation between horizontal and vertical strokes in the heavier weights, which are also slightly wider in width (and line length) than the previous version. This increases readability particularly in smaller sizes like our captions. Standard kerning is also vastly improved over the previous versions. Obliques are now named "Italic" and have a stronger angle making them more prominent in text than the previous version. Like the original hot metal release made at Deberny & Peignot, the new Linotype Univers features italics at an 18° angle. The 10

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Linotype Univers has been expanded to include a total of 59 individual weights, making it one of the most unique

font families in the type industry.

In Memorium In last issue's Editor's Column, I neglected to mention two significant creative practitioners who passed away in 1999· Gene Federico, a graphic designer and advertising creative director who helped introduce expressive typography to American advertising, died last September. He was 8r.

Federico began his career doing ads for Bamberger's Department Store in Jersey City. He then switched fields to become a designer for Fortune magazine and Architectural Forum.

In 1948, he took a job as an art director at Grey Advertising.

There he met Bill Bernbach, a founder of Doyle Dane Bernbach, the agency credited with the innovative concept of forming copywriter/art director creative teams. Federico worked as an art director for Doyle Dane for five years before becoming executive art director and creative director for various Madison Avenue agencies, including Douglas D. Simon Advertising, Benton & Bowles and Warwick & Legler, before co-founding Lord, Geller, Federico, Einstein Inc. in 1967. We were privileged to have Gene as a judge twice for

our Design and Advertising Annuals, once in 1972, then again in 1982.

Rick Eiber, founder of Rick Eiber Design (RED) in Preston, Washington, died in July 1999· A specialist in corporate identity, Eiber created the new logo when Boeing merged with McDonnell Douglas. He also did work for Microsoft, Providence Health System and Virginia Mason Medical Center.

His two-volume book, Wo rld Trademarks: IOO Yea rs, became a "must-have" in the graphic-design world. And its publication helped earn him a membership in the prestigious Alliance Graphique Internationale.

Eiber received a bachelor's degree in architecture and visual communications in 1968 at Ohio State University, then earned a master's degree from the University of Wisconsin in the interdisciplinary areas of urban planning and visual communication. After moving to Chicago, he was project director at the Center for Advanced Research in Design and then was vice president and design director of RVI Corp. In 1977 he moved to Seattle, where he spent four years as an

associate professor at the University of Washington before starting his own design consultancy. Rick judged our Illustration Annual in 1992. •

Contributors

Sam McMillan is associate

behind the TrendWatch brand

creative director for USWeb/

and their reports on the creative

CKS in San Francisco,

and Internet markets.

California. McMillan writes

Features

Providence, Rhode Island. His

frequently about topics con-

Julie Prendiville Roux is

three Mac G4's now help him in digital capture, color correc-

cerning the interactive multi-

tion and image retouching. He and his family live in a country

wrote this issue's Technology

owner and creative director of Radioville, a creative and producrion services company located in Los Angeles, California. Julie has spent her career in advertising and is a 1999/2000 board member of American Women in Radio and

house built in 1726, and his current fascination is camera obscura. He describes his shift to an ecologically-sound darkroom in this issue's Eco.

media design industry. He Resources column and profiled Minneapolis, Minnesota-based Duffy Design & Interactive for the Technology Feature.

Columns

Christine Armstrong and

to CA since 1987. For this Washington, to profile

her partner, Jess Armstrong, graduated from the Art Institute of Pittsburgh in 1980,

WONG DOODY.

and later moved to the

employed at Houghton Mifflin

Baltimore area to work in the

Company in the school divi-

Michael Kaplan, a New York

professional photographic

sion's design department. She

journalist, writes frequently on

community. In 1988, she

received her B.F.A. from Rhode

the subject of graphic design.

launched Armstrong Studio,

Island School of Design and

His work has appeared in a

which provides quality product

M.A. from Syracuse University.

variety of magazines including

photography to a growing list

She wrote the Design Issues

Spy, GQ Premiere, American Photo, George and Manhattan, inc. He interviewed Connecticut

of design firms and in-house

column, edited by DK Holland.

Carolyn Mccarron is a

Boston-based graphic designer and writer. She is currently

marketing departments . For

Eco, she wrote on her studio's

illustrator Wendell Minor in

transition to digital

this issue.

photography.

Tom Monahan was a found-

ing partner of Leonard.Monahan of Providence, Rhode Island.

He is the president of Before &

Ellen Shapiro, a Los Angeles

Technology

After creativity training and

native and graduate of UCLA's College of Fine Arcs, has headed

Wendy Richmond is recog-

Island. He has won numerous

her own New York design firm

nized internationally as an innovator and commentator on

creative awards and was featured

has contributed the twice-yearly

visual communication and tech-

ative leaders ad series. He has

"Clients and Designers" (now

nology. She has been involved

written and edited our Adver-

"Clients and Creatives") feature

with computer-based media

rising column since 1990.

to CA. Ellen profiled Los Angeles-based Kim Baer Design

since 1977. Wendy is a NEA grant recipient and currently

Associates for this issue.

teaches at Harvard University.

since 1976. For seven years, she

in the Wall Street journal's ere-

Eva Anderson Design, which

Erasing the Boundaries.

techniques to print, show and

addresses environmental issues

sell his photography. Barry also

faced by graphic designers and their clients. Eva received a 1991 grant from the NEA and a 1992 EPA Environmental Merit Award for her work with Eco.

teaches digital print making workshops and does digital image consulting. His book,

Photoshop 5 Artistry: A Master Class for Photographers, Artists, and Production Artists, is avail-

Visual Artist; Business and Legal Forms for Graphic Designers; Business and Legal Forms for Illustrators; Business and Legal Forms for Photographers; and The Secret Life ofMoney, he has been a CA columnist since 1983 .

teaches the "Managing Creative Services" class for Dynamic Graphics Educational Foundation and "Selling Yourself (&Your Work)" class at the Art Center College of Design in Pasadena, California.

Piscopo is the author of four videos and three books, she is a frequent contributor to the Freelance column.

Michael Krigel is general

manager of Communication Arts, overseeing the company's adverrising and circulation. In the ten plus years he's been at CA, he's probably talked with more stock agencies than almost anyone in the bu iness. For this issue, he wrote his first article for the magazine, an Opinion/ Commentary column on how

Book Reviews Angelynn Grant is a Boston-

based graphic designer, writer and educator. She has taught at Rhode Island School of Design , the Art Institute of Boston, Simmons College and MIT. Her freelance work ranges from

founding partner ofTrendWarch

design. In addition , she is the

and a business strategist and

host of a jazz program on MIT

marketer. With his 25 years of

radio, WMBR.

able in bookstores around

industry and market experience,

the world.

he has been the driving force

2000

Southern California. She

compact discs to Web site

location photographer from JUNE

Maria Piscopo is a creative

services consultant based in

James R. Whittington is a

Jim Egan is a studio and

MAY /

business in 1997 with partner

affect what you buy.

CA since 1984 and her book is tided Design & Technology:

conscious design. She is also

and established it as a new

author and publisher for New

Providence, Rhode Island-based

editor of Eco newsletter, which

industry figure, he founded the TrendWatch reports in 1995

Tad Crawford is an attorney,

York-based Allworrh Press.

Barry Haynes uses digital

marketing expert and leading

all the recent stock mergers will

Author of Legal Guide for the

specializes in ecologically-

12

consulting in Tiverton, Rhode

Her column has appeared in Eva Anderson is principal of

plus year veteran of the graphic arts industries. A recognized

James Whittington.

Television. She has contributed issue, she traveled to Seattle,

Dr. Joe Webb is a twenty-

Get the monkeys off your back!

We know how it is: you've got deadlines. But every time you get the creative ~ow going, wham!

Someone needs something. The sales rep in Sedona needs a logo, the CEO needs a two-year-old PowerPoint TM presentation, and your distributor in London wants a catalog of photos by the end of the day. It's enough to drive you bananas.

It could take hours to find those files. But with Portfolio 5 - the award winning digital asset manager from Extensis - it takes minutes. It's easy to create a catalog of the most popular files logos, ads, presentations, audio, movies and much more. Then everyone can easily get the files they need themselves - no matter where they're located, even over the internet So get Portfolio 5 because it's a jungle out there!

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Letters to the Editor

Advertising's Overdue Revolution

tions experts, we have so much power to make a difference. We mustn't waste

term economic profit) for short-term

It was great to see CA run a story like ''Advertising's Overdue Revolution, "

our potential. We must help save

economic profit. That is neither clever

our planet.

[Opinion/Commentary, December 1999, page 228) it's a subject we creatives talk a lot about. I believe many young creative people, especially the

ERIC GUTIERREZ FJCANDN SALT LAKE CITY, UTAH

and professional lives. That article raises some long overdue questions as well as offers a good place to start. I personally know that my children are far more valuable as potential "good citizens" as opposed to potential "good consumers."

As we address these issues that David "Jelly" Helm raises, we also must remember that we can and should use our powers for good not evil. Promoting human growth should be as important to us as winning awards, and I

nor creative. It's plain dumb. I would hope that those in your professional circles heed David Helm's advice.

Revise your industry's code of ethics.

Emphasize the "dedication to expres-

ones starting a family, struggle with how to keep balance in our personal

long-term sustainability (read long-

sing the truth." You might make more While I don't agree with everything in Jelly Helm's article on advertising's role in the propagation of consumption, I am glad you ran it. Our industry is a very powerful one and impacts society in both positive and negative ways. It's not popular to talk about, but I believe it is the truth. I hope this dialogue expands over time and that your magazine continues to be a forum for the discussion.

DAVID BALDWIN McKINNEY & SILVER RALEIGH, NORTH CAROLINA

applaud your inclusion of this type of

money than you think.

Most importantly, take David Helm's advice and ban all broadcast advertising to children under twelve. Just stop it. I am the father of a young child. It is a full-time job to counteract the negative results of his exposure to broadcast advertising. Its effects are dehumanizing, destructive and banal. It is not a sacrifice if you get back more than you give up.

GARY ANDERSON THE FOREST SCHOOL CONSTANTINE, KENTUCKY

story in your magazine. I always knew David Helm's thoughtful critique is right on the mark.

CA had a heart.

LouIE MosEs , CREATIVE DI RECTO Rf PRESIDE NT MOSES ANSHELL PHOENIX, ARIZONA

I'd like to take this opportunity to comment on "Advertising's Overdue Revolution," Jelly Helm's discourse on over-consumption and advertising's role in it. I believe, like Mr. Helm, that we have an opportunity and responsibility to move forward in creating an ethical backbone for our industry with regard to these urgent

14

Here at The Forest School, we are dedicated to the sustainable use of natural resources, and to the development of a more sustainable food supply. We depend upon sales of our products to pay our bills. We depend upon honest advertising to reach our customers. Our system of production creates jobs (we have four to six times the economic multipliers of conven-

Your 1999 Advertising Annual contains an essay which discusses, among other things, advertising's effect on mass consumerism. I am writing to express my support of both the article and of CA for featuring it.

I believe Jelly Helm has hit on something copywriters and art directors everywhere have experienced. That occasional queasy feeling in the pits of our guts that's trying to tell us we've

tional systems), and it increases spending power. We know that "s ustainability"

swallowed something whole, without

actually means greater economic opportunity, not less.

the edges.

noticing it was green and fuzzy around

Considering the fact that so many of

global issues.

But, we see a huge difference between

us are frustrated writers and artists,

Please, please, please continue the

responsible advertising and the vast

people with (God help us) creative

conversation. Make it a regular part

majority of advertising that bombards

temperaments, it's in our nature to

of your magazine. As communica-

us daily. Our culture is sacrificing

loathe consumerism and greed. This is

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How to find a prima donna without working with one.

-~~~~~~

© Lew Long cu-049-w2313 © 2000 The Stock Market

The Stock Market. Visually driven. 800.999.0800

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Letters to the Editor

something we rarely talk about. Our reluctance to do so is for many reasons, not the least of which is our fear of sounding disloyal to an industry that has provided for us so generously.

But we need to air these things out, as well as other related concerns that

widely used outside a sci-ft context, particularly for youth-oriented advertising (from fashion to cigarettes). Due to the limited space, I chose to show a few less familiar typeface examples illustrating some ofthe distinctly different type characteristics that fit within this genre.

So, I thank you for opening this dialogue to the public, and encourage you to feature more essays that look at all aspects of our business. We work in a great field, but like any other, it can be improved, and discussion is surely the beginning.

Air Lines was incorrectly identified as

reprint half the forms so some copies

being created by Walter Landor. The

show the logo while others do not. Our

original mark was designed by Jerry P.

apologies to Mauk Design.

Huff, and was published in our 1960

years with Japan Air Lines as one of

movies, or those of the "Babylon 5" program, is only half an article. What a surprise they were not included.

the major accounts and my prime creative responsibility. They invited us

different logos and were about to launch their Jet Inaugural program.

The agency decided I should tackle it.

From the start, I felt it should be uniquely Japanese rather than a contemporary 'speed bird.' I ran across a

PALO ALTO , CALIFORNIA

section of ancient family crests, one of which was a stylized crane. The crane,

There were many other fonts I wish I had been able to include. It was difficult to narrow my selections down to a few examples that show a range ofdistinctly different styles in this area. As I wrote in the article, the examples shown are a fraction of what is currently available.

The typeface you mentioned that's used for the popular "Babylon 5 " TV series, Serpentine'" (desigrzed by Dick Jenson in I972 for Visual Graphics Corporation), was on my list. This is a unique design..

You may have noticed this font has become 16

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On page 190 of the March/April 2000 issue, the telephone number for the Aspen Design Conference in Aspen was listed incorrectly. The correct number for IDCA is (9 7 0 ) 925-225 7 .

Our apologies.

to create a completely new corporate identity. They had been using three

DAVID IRVING

Mark Eastman responds:

specifications for the file from custom to CMYK. We spotted the error in the

Gardner in San Francisco for twelve

and used on the "Star Trek" series and

of the same article, the logo for Exodus

middle of bindery and managed to

director at Botsford, Constantine &

even a mention of the fonts designed

of files from RGB to CMYK. On page 86

[On page II? of the January/February

ATLANTA, GEORGIA

(January/February 2000, p. 33] without

during our batch processing conversion

2000 issue, the trademark for Japan

CATHY CARLIS!

An article about futuristic fonts

shifts. These images were corrupted

we neglected to convert the color

Errata

CA Annual on page 152. Hasashi Tani did the finished art.] "I was creative

Type in the Future Tense

for Mauk Design show unusual color

Communications was omitted when

industry pubs rarely have the dangling male bits to publish.

On pages 79 and 82 of the March/April 2000 issue, several images in the article

or Tsuru , was revered in Japan as a symbol of strength, wisdom, patience and loyalty. The crest was no longer claimed because the family line no longer existed. I modernized the design and the account supervisor, Mike Sloan, and I sold it to the president of Japan Air Lines and now, some 40 years later, it is second [in recognition] only to the Continental logo according to a Boeing survey of ten years ago. The only change is the type style. " JERRY HUFF VANCOUVER, B.C. , CANADA

Address correspondence to: Letters to the Editor, no Constitution Drive, M enlo Park, California 94025 or e-mail letters@commarts.com. We reserve the right to publish letters and to edit for clarity and length. Please include a sigrzature, address and phone number.

Anonymous letters will not be p ublished

Your best shot. ·· 1888 374 4624 I www.fpg.com

What's Hot, What's Not BY ]AMES R. WHITTINGTON, CMC, AND DR. JOSEPH w. WEBB, TRENDWATCH PARTNERS

W

e're often asked about what's hot and what's not in agencies and design shops. And also about how commercial photographers are faring these days. In this past year, we've all seen some hard-hitting changes in the creative markets and in the issues shop owners are facing. We've chosen a few of the hotter areas that we think will capture your imagination as you consider the constellation of services needed to meet the increasing demands of your customers.

One of the hot areas for agencies is magazine publication design and creative. Even with the Internet, we've seen many new magazines hit newsstands as publishers and advertisers look to find new niches and audiences. Also, because of the Web, existing magazines are going to agencies for a "make over" to stay or get in step with changing markets and readers' tastes. Publishers are busy presenting an integrated approach to their audience that includes print, Web and other interactive media.

Hot investment categories for agencies include almost everything for the desktop-Macs (especially the new G4), scanners, color printer/proofers and photo software (such as Photoshop~ Many shops are now offering on-demand color printing for their clients, which is one opportunity driving growth on the desktop. Another is clients' desire for one-stop shopping: Let's just call our agency or design firm and have them make us a few prints-we know they will be right!

Advances in desktop publishing software, printers/ copiers and computer processor power make this opportunity possible.

For many shops, it is a way they can add markup on an "inside service. " For designers, implementing PDF workflow in their shops is a hot issue. PDF is fast becoming an industry standard and already used by two out of three shops. We think PDF workflow is the way of the future. Watch for more proofing standards to be developed as this technology continues to improve.

18

tivity and bottom-line profits while offering more services to new and existing clients.

Now on to the other question, what's not hot? On-demand design and creative is cooling off. Many shops have learned how to do this or have decided it's not for them. Agencies and designers no longer think their clients will compete with them by doing their own desktop publishing. This change speaks to the maturing of desktop publishing and to how clients' needs have changed to include many more Webbased services. While clients do produce some jobs themselves, they are usually not with professional sophistication, complexity and turnaround.

Remote proofing is in the what's not category. This is an idea that really never developed as expected and is now being replaced in many cases by PDF proofs, often sent as e-mail attachments. While we know many of you will shudder at this, we do see a trend toward color proofing on the desktop. The increasing use of good-enough color combined with the convenience and costs of desktop proofing far outweigh more traditional proofing media for these types of projects. Also proofing on the desktop is an in-house service shops can mark up-we all like the idea of more profits. Printer and copier manufacturers will like this news since many shops plan to buy color printers and copiers to capitalize on this opportunity.

Finally, some good news for photographers-the use of stock images is cooling off a bit (maybe clients have run out of shelf space for all those cos). This market has forced many photographers to re-invent their businesses and find new ways to replace revenue lost to stock images. This has led to photographers offering Photoshop services and even design and creative work for their clients. As the business of design has moved toward the Web, photographers represent a significant knowledge base of understanding how to manage and maintain color through the process from concept to pre-

Hot investment categories for designers this year include color copiers for comping, proofing and short-run color output for clients, digital cameras for production work, color scanners, Mac G4s, desktop color printers/proofers and larger color monitors. These things come as no surprise, especially since more design and production work is done on the desktop. Today's advancing technology makes it profitable for shops to sell digital color output to their clients.

press to the press.

In case you haven't picked up on the pattern here, what's hot in creative shops is all things related to increasing produc-

complete solutions for your

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One final thought. What's especially hot, we think, is opportunities for creative professionals to grab a bigger piece of their clients' business through alliances, partnerships and even acquisitions. Clearly the Internet is redefining how business is being conducted and, if you have clients, the rewards are big. •

TrendWatch

www.trendwatch.com partners@trendwatch .com (401) 568-9899

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First Things First: A Second Look

BY CAROLYN McCARRON

T

he tear gas has dissipated, the shattered glass has been swept and Seattle's chief of police has resigned.

Yet, the concerns of peaceful protesters at the

his design colleagues to rake more responsibility for their work's impact on their surrounding culture.

To reach an international audience, the authors of First

World Trade Organization (WTO) meeting in Seattle are

Things First 2000 convinced six additional publications world-

still resonating, not only throughout business and commerce, bur in advertising and design as well. As businesses and the WTO are being lobbied to open their doors to the public and make information on trade accessible, the adver-

wide to publish the manifesto: Emigre and The American Institute of Graphic Arts (AIGA) journal in the United States;

Blueprint and Eye in London, United Kingdom; Items in Amsterdam, The Netherlands; and Form in Frankfurt,

tising and design professions are being urged to accept more social responsibility in promoting corporations via visual communications.

A History of First Things First

Despite unprecedented economic growth and low unem-

Just as the protests on the streets of Seattle bring back

Germany.

ployment rates, citizens are becoming concerned about the

memories of the 1960s, the language of First Things First

increasing size and power of international corporations.

Pulitzer Prize-winning journalist Haynes Johnson, who has written several books about American culture and politics,

2000 revives the spirit of dissension that is the hallmark

of that time. In fact, the language is from the '6os. The wording was adopted from a manifesto also titled First

states: "This ought to be, objectively, the best time for

Things First, written in 1964 by British designer and

Americans in history. But not everyone is sharing in the

educator Ken Garland. As he wrote of the '6os twenty

bounty, and many are uneasy about a general loss of trust in institutions." 1

years later: "Manifestos were in, okay? It was, after all, a

With this concern in mind, Adbusters, the anti-advertising

Alongside the political and cultural revolutions taking place around the world during the '6os, the Creative Revolution

magazine published by the Adbusters Media Foundation in Canada, issued a direct challenge to the international design community by publishing First Things First 2000 and recruiting 33 world-renowned designers to sign the manifesto.

The entire issue of Adbusters (No. 27, Autumn 1999) is written and designed around First Things First, which advocates for a "reversal of priorities" from branding and commercial product promotion to "more useful, lasting and democratic forms of communication." The publication opens with Nike's infamous swoosh juxtaposed with the question, "Isn't this what design is all about?," highlighting an issue that Tibor Kalman, founder of New York design studio M&Co., raised shortly before he died last year. "Isn't that what most

rime to conjure up a cause, be self-righteous, rake a stand." 3

was raking place within the advertising industry in New York and London. Bill Bernbach, founder of Doyle Dane Bernbach (DDB), was one of the instigators of this new direction-exemplified in his early work for Volkswagenin which visual execution played a critical role in creating a successful campaign. Many artists, inspired by Bernbach and other up-and-coming successful advertising creatives, began to join the glamorous world of advertising, which was also becoming a well-paid line of work. Garland confirms, "Far more money was being hurled at the 'creative' side of the advertising biz. Almost overnight the agencies had twigged that graphic design was a good thing after all, and had begun to offer all manner of temptations to tal-

design is about-making something different from what it truly is?, " he asked. "Thar's the point at which I begin to

ented young hopefuls. Was this flattering attention itself a

worry about what we designers, who are very skillful and

good thing or bad thing? The sixties had become the scene

have powerful tools at our disposal, are doing in the worldwhar role we are playing-making the filthy oil company look 'clean,' making the car brochure higher-quality than the

of such a hectic, exuberant, optimistic, burgeoning economy that it seemed ungenerous and churlish to question the priorities involved in spending several kings' ransoms on the

grandma, making the junky condo look hip. Is all that okay,

marketing and promotion of so many superfluous products ...

However, I did." 4 Thus, the original First Things First mani-

or just the level to which design and many other professions

festo was born.

car, making the spaghetti sauce look like it's been put up by

2

have sunk? " In his career, Mr. Kalman used M&Co. as a

Garland wrote First Things First in December 1963 while

platform to promote various sociopolitical issues, and urged

listening to speakers at a meeting of the Society of Industrial C 0 M M U N I C A T I 0 N

A R T S

21

Arts (SIA) persuade potential members to join their pro-

published in the spirit of the original, and the original had

fessional organization. "I was, I thought, composing an

named supporters, including Ken Garland. "

argument against joining a society that was myopic and misdirected," he states. His insult to the SIA, however,

While he did not help write the recent manifesto , Garland remains a signatory. He writes, "Looking back now, the First

turned out to be a statement of what Garland thought the profession should become. At the end of the meeting, he

Things First manifesto I published in 1964 and co-signed with 21 other designers and photographers reads a little self-

read it to the audience. He remembers: "As I warmed to the

righteously, but I still stand by every single word of it and I still say our priorities are completely crazy. Whether earnest manifestos are the way to tackle the problem is quite another matter; First Things First doesn't appear to have had much

task I found I wasn't so much reading it as declaiming it; it had become, we all realized simultaneously, that totally unfashionable device, a manifesto. Towards the end it seemed to have acquired the ringing, rhetorical pitch of the preAgincourt pep talk from Henry the Fifth." 5

signed it that night. Many periodicals reproduced and

nearer our objectives today than we were in 1964 but we have actually moved backwards." 7 Poynor echoed this

debated it, and it was translated into other languages and

sentiment, saying, "It was important to Adbusters and some

distributed throughout Europe. Garland was even invited

of the signatories to reaffirm the continuing relevance of the original and the fact that its challenge has never been adequately addressed. If anything, the situation is much more serious now. We took strength from connecting the new manifesto to an explicit tradition of dissent. "

Nevertheless, the audience cheered. Twenty-two people

to a television news program to discuss First Things First.

Garland's manifesto was reprinted in Adbusters in 1998.

According to Chris Dixon, Adbusters's art director, the idea to "update" the 1964 manifesto and collect new signatures of contemporary designers was born when he and Kalle Lasn,

A New Generation of Designers

founder and editor of Adbusters, met Tibor Kalman in 1998

Continuing in the spirit of dissent from the ' 6os, the pub-

at AIGA's branding conference in New York. After glancing

lishers, while targeting a broad, international design audi-

over a publication the pair had brought to show him (which contained the 1964 manifesto), Mr. Kalman suggested that

ence, took extra care to reach design students by sending posters of the manifesto to design schools around the world.

perhaps the time was right to relaunch First Things First.

Coincidentally, many of the signatories are educators. Lasn

Joined by Rick Poynor, a design critic and former editor of

confirms: "It's time to give students a new perspective on

Eye magazine, they redrafted the original manifesto, bring-

what they are doing. If we can communicate some of the

ing the language "up to date while trying to retain the

excitement of working on something that actually means

original spirir." 6 After being contacted by Poynor, Garland

something beyond just marketing another product, if we

gave his approval to the revival of his 35-year-old treatise.

can communicate that to the next generation of designers,

After drafting the 2000 version, Dixon, Poynor, and the current editor of Eye magazine, Nick Bell, began approach-

then I think the whole industry will heave. Once the teachers and students in the design schools realize that, then they

ing designers to endorse the manifesto. In an interview,

will change the world. That's how revolutions begin. "8

Poynor confirms: ''Adbusters approached roughly half the names on the list. I approached most of the others. We

Poynor supports this position: ''Attitudes can change dramatically from one generation to the next. Adbusters's initiative

contacted people we thought would be sympathetic. Even

stands the most chance, perhaps, of influencing young design-

so, some said no."

ers ... I hope the manifesto will be used as a discussion point in design schools ."

When asked why not just publish the manifesto and allow

22

effect in spite of the stir it caused at the time, does it? ... Ah no, it didn't get us very far, I admit. Not only are we no

an open signing as Garland did that December evening in

Poynor invited Kalle Lasn and Chris Dixon to speak at the

1963, Poynor answers: "The names were a way of helping to get the manifesto noticed in the countries where it was

Royal College of Art in 1999, where Dixon presented an early draft of the manifesto and a lively debate ensued. On the other

published-in America, Britain and The Netherlands. An

side of the Atlantic, at schools such as the University of North

anonymous text is unlikely to have generated the same

Carolina and the California Institute of Arts, students are

degree of attention. This is an issue of personal conviction

debating the issues and are even developing class projects

and it was important for readers to see the names of real

around the manifesto. Some of these projects will be pub-

people who believe these things. Also, the manifesto was

lished in a future issue of Adbusters. [ c o NT I

M A y

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2000

uE o

o

P AGE

26)

FIRST THIN GS FIRST MANIFESTO 2000 We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles.

Jonathan Barnbrook

Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic

Andrew Blauvelt

Nick Bell

designers do. This, in turn, is how the world perceives design. The profession's time and energy is used up manufacturing demand for things that are inessential at best.

Hans Bockting

Many of us have grown increasingly uncomfortable with this view

Sian Cook

of design . Designers who devote their efforts primarily to advertising, marketing and brand development are supporting,

Linda van Deursen

Irma Boom Sheila Levrant de Bretteville Max Bruinsma

and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizenconsumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.

Chris Dixon William Drenttel Gert Dumbar Simon Esterson Vince Frost Ken Garland Milton Glaser

There are pursuits more worthy of our problem-solving skills.

Unprecedented environmental, social and cultural crises demand

Jessica Helfand

our attention. Many cultural interventions, social marketing

Andrew Howard

campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other

Jeffery Keedy

information design projects urgently require our expertise

Zuzana Licko

and help .

Ellen Lupton

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication-a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is

Armand Mevis

shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part,

Erik Spiekermann

Steven Heller Tibor Kalman

Katherine McCoy

through the visual languages and resources of design.

J. Abbott Miller Rick Poynor Lucienne Roberts Jan van Toorn Teal Triggs Rudy VanderLans

In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more

Bob Wilkinson

urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.

For more information on the First Things First Manifesto 2000, go to www.adbusters.org

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

A R T S

23

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Culture Jamming with Adbusters

due to its inherent potential, but rather lent it by the pow-

The First Things First 2000 manifesto is merely one component of a larger campaign by Adbusters against the culture of consumerism and capitalism. Adbusters uses the tactics of advertising itself to create "uncommercials" and spoof ads.

erful machinations of advertising and marketing. The definition of design will never be changed by individuals turning

In addition to publishing their quarterly magazine that fea-

It is our belief that only by injecting milligrams of what we hold at heart into the very mainstream of popular culture is there any real hope of changing it into something else."

tures these parodies, they promote their cause by creating and advertising events such as "Buy Nothing Day, " in which Adbusters's staff and other advocates stood outside department stores on Black Friday, November 28, and advo-

negotiations they enter into when creating commercial art.

Nancy Skolos, an educator at Rhode Island School of Design and a design principal of Skolos/Wedell, believes in includ-

cated for shoppers to "go home." In an effort to recruit advocates to travel to Seattle and protest against the WTO

ing advertising and business courses in design programs so

meeting, Adbusters launched an extensive international campaign titled "The Big Question" that included print ads,

commerce: "I don't think we can change the world just by

billboards, radio and television spots that aired on CNN. (The "Big Question" was: "Is Economic 'Progress' Killing the Planet?")

that designers can start assuming a greater leadership role in deciding that we're not going to design ads anymore. It's a mistake that design schools don't teach advertising, because maybe if we understood it better, we could participate in a more constructive way. The only way to have an effect is to

Adbusters also posted a billboard in Las Vegas, timed to coin-

somehow be part of the system rather than to say it's not

cide with the annual AIGA design conference. Designed

working and we're not going to participate. "

by Jonathan Barnbrook, the billboard featured a quote by Tibor Kalman: "Designers ... Stay away from corporations that want you to lie for them."

Some advertising creatives took offense at First Things First 2000. Stavros Cosmopulos, one of the founding partners of

Hill, Holliday, Connors, Cosmopulos, Inc. in Boston, feels

A description of Lasn's book Culture jam: The Uncooling of America reads, "The brands, products, fashions and enter-

economy. In an interview, he stated, "Advertising is an essen-

tainments-the spectacles that surround the production of

tial element of commerce. Many people hate advertising

that his work contributes to the health of the American

culture-are our culture now. Only by 'uncooling' these

because it's everywhere. Yet for many retailers, if they don't

icons and symbols, by organizing resistance against the

run an ad, there's no business that weekend. Besides, how

power trust that manages the brands, can America reassert itself." Enter designers and advertisers into Lasn's crusade: who better to "uncool" the brands they create via design?

would you restrict advertising? You could put whole com-

A Wide-reaching Reaction First Things First 2000 struck a chord among students and practicing designers alike in the United States, Canada and Europe. To the surprise of some of the signatories, letters

26

away from the discipline, but rather by the choices and

panies, whole industries, whole towns out of business. " He comments on Adbusters's campaign strategy: "Adbusters wants to stop advertising, yet they're using advertising to announce their particular perspective and make fun of advertising. But advertising is strong enough to be ridiculed.

Advertising will survive because it's an important element of our society."

have been pouring in to the editors of all seven magazines.

Some are passionately in favor of the manifesto and others

John Calvelli, director of the department of graphic design

are scathingly against it, calling it everything from "elitist"

at the Museum of Modern Art in New York, posted the

to "crap." A small group of designers in England even went

manifesto for his staff. He acknowledges, however, that

so far as to write a manifesto against all future manifestos in

even in less commercial projects it is not always possible to

the field, titled A Call to Arms Against Future Retro-Manifestos

ignore advertising and marketing: "I think the poster-size

From the Disillusioned. 9 They write, "Design is encased in capitalism, and even though there are many brownie points

copy I made is a good reminder for the designers here of why some of them might have chosen to work here. How-

to be won for the individual through the creation of coffee-

ever, I must also say that our work for the museum is hardly

table books, high-brow exhibitions and niche magazines ,

untouched by the need to use effective marketing tools,

this link will persist." They remind us that ultimately, not much will be changed by the creative industry turning its

advertising and business strategy to help achieve the museum's objectives. "

back on advertising: "The omnipresence of design is not

Aside from economic issues and democratic rights, some

M A y

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2 0 0 0

responses are questioning the historical basis of the First

analyze it. A very sharp editing pencil would have made a

Things First 2000 manifesto. The group in England that issued

big difference to its credibility."

the anti-manifesto writes: "Back in 1964 when the original

Conceding that it was not an organized forum in which the

First Things First manifesto was launched, the argument that

signatories debated the issues before signing, some of them

the public was being fooled by the relatively new mass media

acknowledged the flaws in First Things First 2000.

of advertising had some merit. To make the same argument today implies a sadly low opinion of the public's intelligence and inflates the influence of designers by m ystifying their power to beguile. Far from duping the public, the advertising industry is now paranoid about being ignored by media-savvy cons umers."

Erik Spiekermann, founder of MetaDesign, comments, "I did write my reservations down, but I don't think they ever got published. I think the manifesto is a little bit na·ive , because the world isn't as simple as that anymore. It's not a question of people like us refusing to work for 'evil advertising,' then everything will be better. There's another

Others question how updating a historical document reflects

question here, the question of what we do with the people

on the profession itself. Loretta Staples, a professor at

who look to us , the people who work with us, and how we

University of Michigan's School of Art & Design, wrote to Adbusters: "Despite the earnest, well-intentioned renewal of

provide them with a decent environment and make a living.

the manifesto-an attempt to kick-start design in the new

not enough noncommercial work to go around: "We employ

millennium-I remain skeptical. The redeclaration itself

25 0

signifies how little design's self-image has changed." Staples

our work would fit into that category of not exactly advanc-

also questioned the maturity of both the manifesto and

ing mankind. But we have to bring in the money to provide

ultimately the profession: "A significant portion of the

a paycheck and decent work environment for staff. If we

But it's time we said some of this. " He warns that there is people at MetaDesign worldwide. More than half of

design profession continues to prove, year-in and year-out,

only did those sort of jobs [noncommercial work], I wouldn't

its apparent inability to engage in complex critical topics-an

employ 250 people. I would employ maybe ten people. "

inability displayed in the lack of self-critique that charac-

Sheila Levrant de Bretteville, professor and director of

terizes the very profession and all its official organs ... For all

studies in graphic design at Yale University School of Art,

the talk about design's ubiquitous power, design profession-

adds her concerns, "I believe in a 'bottom-up' way of things

als remain strikingly uninformed and self-absorbed." 10

happening. The 'top-down' way does not feel good to me,

DK Holland, a partner at The Pushpin Group and the editor

because it feels like this group of people is telling other

of this column, agrees that the manifesto's position lacks

people they should be doing something. And that's part of

maturity: "Branding bad; design good. This anti-marketing

what's problematic about manifestos. They have a big

message is a very simplistic representation of a very complex

'should' about them. It feels authoritarian, which runs

subject, not a well-constructed thesis. For instance, this mani-

counter to the essential spirit of asking questions. "

festo states that 'the profession's time and energy have been

Despite their concerns over the flaws in the manifesto , sig-

used up manufacturing demand for things that are inessen-

natories that were interviewed had the same objectives in

tial at best.' We need soap, toothpaste, detergent. We need

signing it-to launch a long-overdue debate about ethics in

choice . Branding is not the bad guy here, greed is. "

design practice and to encourage new directions in the fields

Michael Bieru t, a partner at Pentagram, adds, "I like that

of graphic design and advertising.

First Things First 2000 encourages designers to think about

De Bretteville states that she signed in the spirit of initiating

why they do what they do. I dislike that it implies an arti-

the call to answer unmet needs in society that today's design-

ficial scale of clients from worthy to unworthy. Can't every

ers are no longer answering. "I heard in the manifesto an

one of our projects get our very best efforts? Don't purchasers

asking of people to think again about what they want to use

of dog biscuits deserve wit, intelligence and ingenuity in

their energy for, and that's what I got caught on ... The

their lives?"

manifesto came at a time when it's almost a wake-up call.

That's what I responded to, because there hasn't been a lot

The Signatories

of political activity where people are paying attention to

Holland wonders , "Did the designers ever get together

the [needs and problems] of society. What issues are not

and talk about the manifesto before they signed it? The

being addressed? What needs could design meet that haven't

flaws in the manifesto fly out at you when you start to

been met? " [CONT IN UED ON PAGE 30] C 0 M M U N I C A T I 0 N

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27

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Steven Heller, the art director of the New York Times Book Review and chairman of the School of Visual Ans's graduate

have become more important to design practice, and of

design program, considers himself a supporter of the

As a teacher, I've noticed that students seem to be more

document even though he doesn't agree with every point: "There has been little discussed about the responsibility of

with the whole commercialized aspect of design practice. I

designers to society, culture and the world. Signing the manifesto didn't necessarily mean that I agreed with every point,

plugged in to the commercial realities and are comfortable think, 'What are the shared values of the profession, of this group of people who do graphic design? ' It seems in the

but I agreed in principle that we, as designers, should be addressing these issues. This is not something that I feel one needs to take sides on. It's a piece of material that one

signed on to this-because I had been noticing that things

can ponder on and debate over, and whether you come out

seem to be getting very commercial."

on one side or the other, as far as I'm concerned, is not as important as the conversation that arises. So, my point of view is really that of a supporter, and one who wants to see the debate continue. " He reminds us to consider the nature of manifestos. "All manifestos tend to be idealistic tracts.

They tend to be things that are meant to incite and pro-

past decade that more and more of it is influenced by commercial aspects more than cultural aspects. So that's why I

Andrew Blauvelt, the design director at the Walker Art Center in Minneapolis, feels that the issue is bigger than ethical issues in design practice. "For me it's not so much about specific moral issues in design ('Should I design for tobacco merchants? ') as it is about the transformations in

voke, and they are not rational in presentation."

the larger world of communications and the rights of consumer-citizens. ('What happens to our ideas of privacy and

William Drenttel, a partner in the design consultancy Jessica

public life when companies can track all of our preferences

Helfand/William Drenttel, echoes Heller's statement. "The

online, or when our cities are reduced to gigantic corporate messages? ') Of course, these are larger than design. How-

manifesto, by definition, is about an idea. This is not some program where we can say these are ten things you shouldn't do as a designer. I don't think anyone signed it as some

ever, design is central to how much of this debate will be played out in the future. "

'high-falutin' statement." For Mr. Drenttel, the question is

Milton Glaser, founder of Milton Glaser, Inc., strives to

not about the elimination of advertising, but rather the

alter the status quo by raising a greater awareness of social

degree to which it affects our culture. He acknowledges,

issues and the fact that the practice of design has conse-

"We live in a commercial world. Advertising is communica-

quences that go beyond selling goods. "Design has a social role; it has an effect on people, and people in this practice

tion. It's unrealistic to think there will be no advertising. I think there should be limits, though. I'm opposed to there being so much marketing and advertising and design in

should think seriously of the ideas that they are transmitting to others. " He reminds us , "The reconciliation of the

every aspect of our life. The cumulative effect of that is you

spiritual and the material is one of the great problems of

have stuff in your face all the time, and I think it's terrible.

life. It is a constant ethical dilemma: How do you do what

I don't think it treats people with respect. " He asserts why he signed the manifesto: "I thought that the manifesto accu-

you think is right and still put bread on the table? Every once in a while things get worse, where the overriding

rately raised the issue that, in fact, there is an awful lot of

materialism of a moment produces terrible effects on people.

marketing and design and promotion that I don't know that

So the problem is, what can you do? How can things change?"

any of us need." Jessica Helfand states, "It is not only pos-

He asserts, 'Tm very suspicious of all those who have easy formulas, who say you must do this , you must do that,

sible but imperative that designers start advising their clients when they're wrong and suggest changes, adjustments and improvements-even ones that don't initially have to do with design." She challenges practicing designers to consider this question in their work: "How can you reconsider the roles and responsibilities of designers in light of the technological, cultural and economical parameters of the way the world is working now?"

Jeffery Keedy, an educator at the California Institute of Arts, signed the manifesto to initiate a discussion about ethics, as he is concerned with the overall image the design

because I don't think that's where answers reside. I think the first thing that happens is the consciousness of what it is that you are doing to maintain an existing condition."

The last word goes to Emigre editor Rudy VanderLans. He writes, "The manifesto's aim is not to hold designers culpable for the world's social and economic problems. On the contrary, it sees designers as having real potential to help cure its ills and make this world a better place ... You can ridicule the language of the manifesto, or make yourself feel better

profession projects. "I am concerned with a broader notion

by saying that design and advertising have limited powers and shift the responsibility to your marketing departments,

of values of the whole design field and how those come

or you can dismiss the whole effort simply as a cheap way

across; what the collective mentality is and how designers

for [magazines] to get some attention. But those tactics, it seems to me, evade the question at the heart of the mani-

represent themselves. In my experience, commercial values 30

course that's concurrent with the economy being so good.

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festo: 'What are you doing, in your professional life, to make this world a better place for all?' Obviously, there are no simple answers. True, the manifesto only suggests in broad, ambiguous terms what can be done to put our talents to better use. But much can be done, there is ample room for improvement, and it's up to each of us to figure out how to best accomplish this."

Organizing the Debate Both signatories and non-signatories alike want to debate the issues First Things First 2000 raises. Poynor challenges, "What would be interesting would be to engage the issues raised by First Things First 2000. What are the political, economic and cultural realities? How does First Things First 2000 relate to the emergence of a new protest movement against the dominance and values of global capitalism, as we saw so clearly in Seattle?"

Although First Things First 2000 targets creative professionals in both the advertising and design fields, it is graphic designers and design educators who are advocating this debatenot professionals from advertising or marketing. Perhaps this is because the manifesto was printed only in design journals and not advertising or marketing publications.

Despite the interest in this debate among graphic design professionals, the commercial environment and the

Along with organizing the debate First Things First 2000 raises , designers should be aware of the economic, political, cultural and social issues that affect advertising and design.

This fundamental knowledge enables constructive debate.

To promote understanding of these issues, the debate arena should be expanded to include representatives from advertising, marketing, business, cultural and social institutions.

Opening the forum to other professions ensures that alternative perspectives are heard and the debate does not become exclusive and partisan .

Even with the organization and expansion of this debate , an unanswered question remains: To what end? While debate is healthy and may be-as the signatories put it-"long overdue," the First Things First 2000 manifesto and the subsequent debate will not "revolutionize" or "heave" the profession, as Kalle Lasn hopes. Criticizing and parodying advertising and marketing tactics is easy; implementing the ideas of First Things First 2000 and affecting social change is not. At best, the debate may inform creative professionals of various economic and cultural issues, and raise an individual's awareness of ethical and social issues in advertising and graphic design. Yet, maybe this is where change begins.

At the end of our interview, Bierut hinted, "Wouldn't our next [national] conference in Washington, DC, be a good place to continue this debate?" •

billboard promoting First Things First 2000 at the AIGA design conference in Las Vegas did not generate discussion.

Veronique Vienne wrote in a recent article, "No one talked about what was happening in Seattle ... There had been practically no references to the social or environmental responsibility of designers. " 11 Michael Bierut, president of the AIGA, adds, "I was expecting more of an anti-commercialism backlash at the conference, provoked by the excess

Editor's Note: Both Carolyn McCarron 's article and Vironique Vienne 's (in the March/April issue of Communication Arts) have helped frame the debate about design's role in promoting rampant consumerism.

In the next issue, David Sterling will discuss how designers and other creative people have redirected their energy by contributing to the benefit ofsociety.

-DK HOLLA

of Vegas. It didn't materialize to the extent I secretly hoped. " While the First Things First 2000 billboard was designed in the spirit and voice of Tibor Kalman and, in doing so, reflects

NOTES: I.

Postman , D avid and additional Seattle Times staff reporters. The Seattle Times, "Why the WTO United So Many Foes." D ecember

a desire to carry on his memory and life's work, it is key to keep the debate focused. Without this focus, the manifesto will not effect any more change than it did in the 'Gos. 1 DK Holland reminds us , 'Tibor was a brilliant agitator. He

3.

loved to stir up trouble, get people thinking. But it was not

4. Garland , Ken. Some Thoughts, 1982.

his style to focus the debate. That was left to someone else.

5. G arland, Ken . A Word in Your Eye, 1996.

And, if no one takes on that role with the manifesto, then

6. Dixon , C hris. Adbusters (Iss ue N o. 27), Autumn 1999, p. 53.

chaos is sure to continue to breed more chaos. " If the

7. Garland, Ken. Some Thoughts, 1982 .

graphic design profession is to have this debate-and if

8. Emigre magazin e (Iss ue no. 49), "An Interview wi th Adbusters's ed ito r Kall e Las n ," Winter 199 9, p. 16.

First Things First 2000 is to have any long-term effect-the debate must be an organized and informed one.

It is logical, therefore , to have this discussion in an organized forum , hosted by a national, professional organization. At the time this article went to press, the New York chapter of the AIGA had plans for such a moderated debate in early April.

32

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6, 1999, p. AL 2. C asey, Allen. Adbusters (Iss ue No. 23), "Tibor Kalm an : A n Interview

by Allan C asey," Autumn 1998, p. 25.

Garland, Ken. A Word in Your Eye, U niversity of Read in g, 1996.

9. Even W esrvang, M edienoperaroere, O slo; Tom Elsner & H illa eske, Artificial Environments, London. Emigre magazine (Issue no. 52), "The Readers Reply to First Things First Manifesto 2000," Fall 1999, p. 3.

IO. www.adbusters.org

u . Vienne, Veronique. "Con fess ions of a Closet Si tuation is t," Communication Arts, March/Ap ril 2000. © 2000 Carolyn Mccarron

stone

WWW.TONYSTONE.COM

Other Clients for Freelance Work

BY M AR I A PISCOPO

W

hen you think of a client for your freelance work, the traditional ones usually come to mind.

These typical clients and the freelance marketplace they represent are under siege right now. It is a time of change and of redefining what and how freelancers will find clients and make money (see March/April 2000 column).

Before you start your research in this, or any publishing market, organize your own work and your interests by subject category, so you'll recognize when you have what they need.

For example, here are some of the typical subject categories:

While you are dealing with this transition, it is also a good idea to explore other markets for your design, illustration and photography services. If you are full-time freelance, you'll look to these clients for that "more creative" work you want in your portfolio. If you are part-time freelance, these are good clients to consider for that "extra work" you have been looking for.

• C h ildren, juvenile, social issues, environmental issues, multicultural and religious

The client category of paper product publishers includes calendars, greeting cards, posters and other novelty or gift items. The Internet has not killed or even maimed the mar-

For your research, start with Writer's Digest, one of the best-established publishers of information on the paper products market. They have three different editions; The

ket for printed products. Year 2000 is the biggest ever for printed greeting cards and calendars, even with their Internet counterparts growing every day. The photo greeting card market is especially strong for photographers and designers.

Photographer's Market 2000, The Children's Writer's and Illustrator's Market 2000 and The Artist's and Graphic Designer's Market 2000, all available from Writer's Digest Books

• Travel, sports, adventure, outdoor and nature

• Science, technology, historical and vintage • Food, natural health and healing • Music and entertainment • Wildlife and domestic animals

(www.writersdigest.com). They do not try to be a com-

~ Creatives

EVERYBODY NEEDS CLIENTS AND PROFITS

Accounting

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In the battle of the business side vs. the creative side, call a truce with Clients & Profits. It's the only software your shop needs to track clients, jobs, time, costs, billings, and profits. It's software for the business of being creative. For Mac and Windows.

(800) 272-4488 get a free tri al demo at www.clientsandprof'its.com Softwa ~ for the busme'5 of bein& crut1ve o a ~&1>l!l!d l11demarl of Clonts & Profits. Inc. All n&hts l!seMd 01999 Cl.,,b & Profits. Inc

34

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TRADITIONAL LICENSING

I

ROYALTY-FREE

The creative director wants something fresh, something edgy.

The account executive wants something royalty-free.

The client wants something Monday.

ro em.

More than 25 million images . 1.5 million online. Contemporary, historical, celebrity, fine art. 1-800-260-0444.

u· 1l tl • c o r h i: r 111 11 g c s . c o nz

($'/ C o r b i s· © 1999 Corbis Corpora rio n. Co rbis and rhe Corbis logo are rrademarks or regisrered rrademarks of Corbis Corporarion in rhe Unired Scares and orher cou nrries. Phoro: Roya lry-Free/CGE0039.

plete directory of all publishers. The books carry only the listings of those publishers actively seeking submissions.

Personally, these would be the first clients I would want to talk with. It is true the books tend to focus on the smaller and more alternative publishers, but they are the ones looking for you! The bigger publishing houses often do not need this kind of publicity because they are flooded with submissions. Since the listings change considerably each year, be sure you are using the current year books.

cing for print and electronic use of your package des ign,

Follow the submission guidelines very carefully and exactly.

• Computer and electronics

Each listing tells you: subject specialty of the publisher,

• Sports and fitness

current needs, submission specifications and payment terms.

Another place to look for freelance prospects is at the consumer level in the retail stores and catalogs. You are looking

For research, start with the obvious. What are the kinds of clients in this market? They are quite diverse!

For example: • Healthcare and pharmaceuticals • Food products and beverages

• Music and entertainment • Apparel and accessories

for the publishers that you want to sell your work to and

• Personal care and cosmetics

that are not listed in the Writer's Digest directories.

To look specifically for these clients to approach, try these

Then, visit the publisher's Web sites and check on their submission specifications. Many of these publishers work years

directories and resources. I like the Workbook Directory (Scott & Daughters publishers) for their section on "Design

ahead! Smaller publishers are more open to your submission.

Studios" that show those specializing in package work.

Again, follow the guidelines carefully and be sure to always

Check carefully for the "s:" line or specialty line in the

protect your copyright. You do own what you create, but

Workbook Directory and look for the key words "packaging,

you must further protect it by always using your copyright

merchandising, point-of-purchase. " The Design, Firm

notice (©date name) on all comps, sketches and final work.

Directory (Wefler & Associates publishers) is also very good

In addition, you can go ahead and register your copyright, if you have a sense what you are creating is unique and proprietary to you. Since you cannot protect ideas, do yo ur best to protect your creations.

The key to making money in this market is repeat business built on a good relationship with the publishers. Whether yo u submit for greeting cards, calendars, coffee mugs or T-shirts, it should be a submission of work that yo u have a passion for and the publisher has a need for.

Second, take a look at the freelance client for package design.

There is something here for everyone. Designers, illustrators and photographers all contribute to this important clientmarketing tool. Because it has become so highly valued by clients, it takes a greater level of investment of your time, energy and attention to pursue this market. Package design is more important than ever in the design field, for several reasons. As shelves become more crowded and packaging is forced into an even more important and diverse role for a client's marketing plan, clients need better visuals and more

for listing the firm's type of work. Freelance designers can pick up specialty or overflow work from these design firms.

Freelance illustrators and photographers can save a lot of time in selling because they are not cold calling. They are targeting design firms that buy photography or illustration for the packaging.

For Internet research, check out the trade publications.

The two I found helpful are Target Marketing magazine (www.targetonline.com) and Packaging, Printing & Converting (www.packageprinting.com). For more background information on package design, I found two books for yo u to read. Check out The Marketer's Guide to Successful Package Design by Herbert M. Meyers and Murray J. Lubliner (N tc Business Books publishers) and The Total

Package: The Secret History and Hidden Meanings ofBoxes, Bottles, Cans, and Other Persuasive Containers by Thomas Hine (Back Bay Books publishers). Both of these titles are available from www.amazon.com As always, be sure to review the Communication Arts Design, Annuals for the creative award winners in each of these

creative solutions to capture and retain the attention of their

alternative freelance client areas. •

customers. Even on the Internet, that package appears on

© 2000 Maria Piscopo

the consumer's screen and helps make the sale. Actually, with so many products sold electronically, you have an even greater challenge to plan for both the creative and the pri36

illustration and photography.

M A

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Amy keeps her clients happy by using a print shop with a Heidelberg Quickmaster DI. The Quickmaster DI is a fourcolor digital offset press that provides high-quality materials in record time. With all the performance characteristics of conventional offset lithography, it alSO Offers: • High quality, fast turnaround for print runs between 200 and 20, 000 • Direct imaging on press that eliminates time-consuming, costly prepress procedures • Produces ink on paper on a wide range of stocks • Chemical-free, environmentally-friendly printing • Flexible sizing for jobs ranging from postcards to posters p The Quickmaster DI uses Presstek's patented PEARL"" imaging technology and PEARLdry plates.

To find a Quickmaster DI printer near you, please visit www.heidelberg.com/di, or call 800-850-2307, x461 .

+15 1D5 LB5 RGA dec ision for qual ity.

Printed on a Quickmaster DI, four process colors.

•

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Negotiating E-Licenses

BY TAD CRAWFORD

T

he upsurge of electronic commerce continually reinforces the value of content such as designs,

illustrations, photographs and writing. Both creators and users of content must be capable of negotiating licenses

The Right Stuff In this article we have referred to "licensing" e-rights, not "selling" e-rights. Intellectual property is usually licensed, which means that rights of usage are divided up into smal-

that meet their respective needs. This article will elaborate

ler and smaller pieces . The licensee, in this case the Web

some of the issues that arise when a Web site seeks rights to

site, will indicate what usage rights it has to acquire and a

use content. Conceptually, of course, the same types of considerations would apply to other e-licenses, such as a license

negotiation will ensue involving rights and compensation

to use content on a CD-ROM or in an e-book.

(since the more rights acquired, the greater the compensation should be).

Is It Worth the Trouble?

These negotiations will find the confluence of many related

No definitive answer can be given as to what the fee should

issues. For example, will the Web site be the only site allowed

be for licensing e-rights. However, the attitude of some Web

to use the content? This would mean that the Web site

site proprietors that content should be available free or

acquired exclusive rights, but only with respect to the

almost free runs completely counter to the widespread

Internet. The licensor would retain non-Internet e-rights,

belief that content is a paramount concern for any Web site. Significant fees are being paid for content, so there is

such as the right to license the content to an e-book. Will

certainly no reason to license any rights to a site offering

the content in foreign language versions of its Web site?

scant remuneration. Is it worth the trouble to negotiate

Will the licensee have the right to license the content to

might be the first question a potential licensor should ask.

other Web sites? This would make no sense if the licensor

the licensee have the right to translate the content or use

If the fee offered won't even compensate for the time to be expended in the negotiation, the deal should probably be rejected. Exceptions might be if tremendous, positive publicity would result or if the licensor would be able to sell products or services because of the Web site's dissemination of the content. Vague promises about the benefits of exposure, however, shouldn't deter licensors from receiving reasonable payment.

What is reasonable? This depends on the nature of the work, whether it already exists and is being repurposed or will have to be created, the nature of the Web site and the type of usage to be made. The more rights licensed, the greater the compensation should be. For example, all rights in all media would require the highest compensation . Exclusive Internet rights would require a lower level of compensation.

Nonexclusive Internet rights would require lesser compensation than exclusive rights, because if only nonexclusive rights are granted the work can be sold repeatedly to different Web sites. If the Web site has a huge number of visitors and successfully sells products or hosts advertising, these would be reasons for the fee to be set higher. While each case will have unique characteristics, the traditional criteria for establishing fees should help in reaching fair and mutually acceptable compensation . Helpful resources are

Pricing and Ethical Guidelines (Graphic Artists Guild www.gag.org) and Pricing Photography (Allworth Press www.allworthpress.com).

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

A R T S

39

has only granted a nonexclusive license, since the licensor

still belong to the licensor. One implication of this reser-

would presumably want to enter into such licenses with

vation is that additional fees will be paid if the licensee

other Web sites. Even if the license is exclusive, however,

wishes to obtain rights not originally licensed.

there is a difference between being the only Web site with authority to use the work or, additionally, having the right to license the work to other Web sites.

Fees and rights are the most important issues, but other

This question becomes trickier when we consider the possi-

points must also be resolved. For example, what credit will

bility that one Web site may want to license itself to another Web site, or be incorporated in some impermanent way

the licensor receive when his or her content appears on the

into the frame of another Web site. Is the Web site that acquired content for use on its site free to enter into an

Web site? Will copyright notice appear in the licensor's name? If the licensor has a related product or service to sell, will there be a hot link from the content to a place where

arrangement under which it is, for at least some purposes,

the product or service can be purchased? If the licensor sells

incorporated into another site? This has to be resolved by

the product or service, will the link go to the licensor or to

the licensing agreement.

a different retailer?

The starting date for the license and the duration of the

Is it acceptable for the Web site to alter the work being

license must be agreed to. Also, the territorial extent of the

licensed? If so, in what way? What safeguards might the

license, which in the case of the Internet is likely to be at

licensor want with respect to the correctness of any changes

least "the world" and may expand to science fiction parameters such as "the universe." Because the Internet so easily

and the harmonization of such changes with other parts of

crosses national boundaries, it would be almost impossible

This leads more generally to the question of warranties and

to have a site that could be limited by territory. On the other hand, of course, rights can be restricted with respect

other about the nature of the work and how it will be used?

to language (so that exclusive Internet rights might be for

Is the licensor giving a warranty that the licensor has the

the English language only, leaving the licensor able to sell

right to license the work, no lawsuits are pending with

French or Chinese rights).

respect to the work, the work is protected by copyright and

Another issue would be whether the Web site will only have

doesn't violate rights of privacy, and usage of the work will

the right to display the content, or whether the content

in no other way be unlawful? Is the licensee giving a war-

may be downloaded by visitors. If the content can be downloaded and is sold, a related issue would be whether the

if these warranties are breached, what will be the respon-

licensor would derive a royalty beyond the licensing fee

sibilities of the parties with respect to costs , damages and

from such sales.

attorney's fees?

Another interesting issue that might arise is whether the

The ownership of copyrights, trademarks and other intellec-

work, if it is subdividable, can only be used in pieces or can

tual property rights will have to be spelled out. Presumably

be used as an entire work. For example, if a book of illustra-

the licensor retains ownership of the copyright in the con-

tions is licensed, may the Web site offer the illustrations individually or may the site offer the entire book? Must it

wishes to protect. The parties may agree to keep the terms

do one or the other? The licensor might have preferences as

of their agreement confidential and also to arbitrate disputes

the work?

indemnities. What promises are the parties making to each

ranty that usage on the Web site will not be unlawful? And,

tent, but the licensee may have trademarks for its site that it

to this depending on the nature of the information. A pub-

that arise under the agreement.

lisher might prefer that a book not be offered in its entirety, so that the information available from the Web site doesn't

If both licensor and licensee are competent to protect their

replace the book (or an e-book). Instead, that information

intellectual property and e-commerce) , the result will be a

would be accessed through a search engine on the Web site

success for both sides. A helpful form with instructions for

and each bit of information might be linked to a site where

licensing electronic rights can be found in Business and

the physical book would be sold.

Legal Forms for Photographers and Business and Legal Forms fo r Illustrators. Such a form may undergo many evolutions in the course of a negotiation, but it can be the starting point for a mutually rewarding agreement. •

Certainly the licensor should include a provision reserving all rights not expressly transferred. This means that the licensee obtains rights clearly granted, but all other rights 40

Other Issues

MAY /

JUNE

2000

rights (often with the help of an attorney specializing in

Search multiple collections.

gettyone.com™ Allsport Concepts The Bridgeman Art library Eye Wire Hulton Getty Illustration Works The Image Bank Photo Disc Stone

There's no such thing as road rage when you commute in your slippers. As an independent professional, you can work the way you want. Whether you're a creative director, web developer, or anything in between, you're a guru. And now you have a home on the web. A steady stream of projects, resources like health insurance and tax tips, and a place to connect with other gurus just like you.

~ guru.com

.

Power for the independent professional

Getty vs. Gates?

The Consolidation of the Stock Image Industry

BY MICHAEL K RIGEL News flash-Coming on the day that Getty Images, Inc., completed its $220 million takeover ofthe Visual Communications Group, Corbis announced its own blockbuster acquisition. The Bill Gates-owned company purchased The Stock Market, one of the leading independent stock agencies in the world, just weeks after buying news photo giant Saba Press Photos.

K

eeping track of stock companies has become as complex as deciphering royal family trees , and nearly as intriguing. For a while, it seemed most

were headed over to Getty or to VCG , whose brands included the venerable FPG International in the U.S. and Canada, Telegraph Colour Library in the United Kingdom, Pix/Giraudon in France and Bavaria Bildagentur in Germany. But then, earlier this year, VCG was itself sold to Getty, joining Tony Stone Images, The Image Bank and others as part of the Getty lineup.

Now it appears that Corbis has awakened from its slumber to cut some major deals of its own. For Corbis, The Stock Market and Saba purchases allow it to keep pace with

Image Ideas 1999

Getty and diversify from its base of fine art to more commercial photography.

Buyouts by the larger companies have given them greater selections and the potential to squeeze smaller companies

Light Sources Stock 1998 PhotoBank 1998 Stock Imagery 1998

out of the market. Is that necessarily bad? If you're still able to find what you want, will consolidation mean better access to images, at a cheaper price?

The Picture Cube 1998

Interestingly, most stock companies I've spoken with, both big and small, don't see this consolidation as a bad thing.

"It takes a ton of capital investment to stay competitive now," says Steve Pigeon, president of Masterfile . "A lot of small, closely-held companies don't have it. For many of them , this consolidation has been good. How would they get out otherwise?"

But the Web isn't the only force behind consolidation. Many customers are requiring that stock agencies provide comprehensive model releases for any image used and "indemnify" the customer if there's a problem. Some of the agencies won't be able to deal with the legal liability.

Digitized photos. Electronic delivery. Keyword searches online. "What everyone is doing is creating strong Web hubs that satisfy all the customer's image needs ," says Ian Gunn , president of Images.com, which used to be Stock Illustration Source until late last year. Which brings us to ...

44

MAY /

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2000

Southern Stock 1 995 Profiles West 1995

Telephoto 1992 T~%£:0§~Lrce 1988

(formed in 1994, acquired in 2000)

VG C by Getty

Space Frontiers 2000

Definitivedrr~~9dbn 1997

Newsmm's

FPG International 1997

Bavaria Bildagentur 1996

Planet Earth Pictures 1995

Online USA 1999

PIX {~oSo~ific 1991

Eye\V.IL\g

Telegraph Colour Library 1987

Art.com

A"l::.Y'Arts 1999

1999

PhotoDlsc 1998

•nr.r:k 1999 Artville 1 9~8 g Sw an stock 1 97 Archive Film/Photo 1997 Petrified Film 1994

• • ~ L1a1son encv

99T

Allsport 1998

EnerlJ

Film. LI ary

Stone

19

(Tony Stone lm!P!f)

1995

H'lltoJ\sch 1g_jf -Oairy Express 1983

Dan Merkel Collection 1999

lmageways 1998 Fabulous Footage 1996

London Evening Standard 1983 Picture Post 1958

The Stock Market 2000

Saba Press Photos 2000 Sy Westlight 1998

ter Turnley Archive_ (photojournal ism) 1896 Starlight Collection/ Roger Ressmeyer 1995

Bettmann Archive (historical) 1995

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

A R T S

45

Prognostication #1: Expect more mergers as companies try

''see" things in your request and automatically find related images.

to get a better return on their technology investment.

"Visual association" is already present in most of the larger

"I feel 80%-90% of all libraries will become digitized and available on the Web within two years," says Henry Scanlon, founder of Comstock. Robin Reiners, director of corporate marketing for VCG, adds, "When you can offer the same

Web sites, giving you the option of clicking on "related"

technology and take your core collection through all your brands, you get economies to scale."

images. But as VCG 's Reiners says, it will only get better.

"Artificial intelligence will be the next big jump in search engines," she claims.

The biggest "hub," is gettyone, the family of stock image libraries that began with the aforementioned Tony Stone

The bidders for VCG were rumored to include Getty, Corbis

Images, which, by the way, is now just called "stone" with a

and a group headed up by former VCG executives. Corbis, certainly, was attracted to VCG because of its worldwide

lowercase "s" and an italicized "o," and at least 30 other

presence. "They have a great distribution channel in some of the biggest markets," says Leslie Hughes, the new president of Corbis Images.

The Web, certainly, has made searching for and receiving an image easier. All the stock companies have sites that

brands. Unlike Corbis, for example, which bought Digital Stock and then dropped the name after about a year (and will probably do the same with The Srock Market), Getty has kept and promoted each of the libraries it has purchased.

"Our customers identify with the brands, " says Mark Getty, the company's executive chairman. According to Getty,

make it simple to look up images by keywords, and all that sell both rights-protected licensed and royalty-free stock let

what the high-end consumer wants is a Web site with lots

you begin your search by having you choose which option you want.

already know Liaison and Hulton; for sports photography,

Prognostication #2: Look for all the companies to pitch their new and improved search engines, building on the ability to

of images across all sorts of categories. Editorial customers there's Allsport; for cutting-edge, there's stone. "We have lots of different suppliers, from a stable, single Web provider," he explains.

But even Mark Getty says that customers will soon be dealing with gettyone customer service representatives, rather than ones from Tony Stone. Which leads us to ...

Prognostication #3: Look for a Getty backlash.

"Our experience is that customers very quickly see through paper walls and want transparency between brands," says Stephen Harvey-Franklin, chief operating officer for the Pieter Group, which brands as Uniphoto in the U.S. (though that is changing to Pieter, too). Getty's Image Bank, Tony Stone and PPG brands "do not offer a significantly different offering at the moment, so without true brand differentiation, this will be a source of frustration for customers and an opportunity for Pieter."

Others echo Harvey-Franklin, as they position their companies as "nimble" and their work as more "creative" than the larger ones. Says Gary Elsner, president and chief executive officer of SuperStock: "I believe these mergers will lead to a resurgence of interest in the niche and middle-range agencies that will remain fiercely independent. " However, if you think all this technology will lead to better prices, think again: This quote irfiwn an CJ.W)' on huu>the ad indust~J' might be improi•ed.frrnn a series jponsorcd /~r l"irginia Commo11wra/th T .:nii:ersil)· Ada11ta. l'CC :ldrr11tn proi'ides rra/-1corld gmdu111t: educalion.for.ft1t1m adi>rrtising !codas, qjfering a maj/cr'.r drg1e; in iommunir-ations in ar/ direction. ro/J_,vwriti11g, aaount planning or account ma11agemmt. ]u mid !he romp/etc eS5a)' orgrt more infurmatiu11 about the sdiun/. chrrk U'ir'l.t:.adrmtrurn.rdu ur rail J-/I00-3JI-3311.

Prognostication #4: Go "offline" to get your best deal for a licensed image.

"The average price on a Web sale for rights-protected stock 46

M A y

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Thoroughly crisp and delicious!

Welcome to the world of P ETE M c AR T H U R , the still-life specialist serving up bold concepts with inte lli gence and wit. LI E SEO TOCK offers rights-protected, high-concept signature imagery ava il ab le onl ine. ASSIG MENT work delivers deluxe custom concepts on commission . Combine and coordinate if you like, and if you have a question, pick up the phone and speak to the man himself.

( 310 ) 815-1951.

pete mcarthur.com focus on an idea

is five percent higher than if someone talks directly to a sales person," says Mark Getty. "People are willing to trade off the higher price for the convenience of finding images online and the time it saves."

Think of it as haggling for a car. As Bahar Guidwani, CEO of Index Stock explains, "If you have the time, you go in and negotiate off the sticker price. The high-end stock market expects more service and more price flexibility. " The Web will certainly expose more people to more images.

There's now a consumer and small business market that markets images for five and ten dollars a photo. Getty, Index Stock and others have entire product lines devoted to these markets and those prices should remain fairly constant.

Prognostication #5: Differentiation will occur through

content, service and other means as well.

Niche players will have to be creative in their strategies for reaching their market. The independently-owned Bridgeman Art Library, for instance, struck a deal to supply the gettyone Web site with 3,000 of its most popular images. Ed Whitley, New York manager for the Bridgeman Art Library, says Getty gives his company a way to stay technologically current, without having to sell off the company. "We have a more captive audience due to the uniqueness of our images, some of which cannot be obtained from any other source, " he says.

Look for boutique agencies to emerge with the expressed purpose of presenting work that's out of the mainstream like Photonica and NonStock claim to be. "Art Directors are going to ask, 'What's new in the art? ' " says Index Stock's Guidwani. "Will they find it at the large agencies?"

Dave Anderson, The Stock Market's marketing manager, says, "The goal isn't to be louder, but better:' The Stock Market has long rewarded its customers with its SharperStock program, its points system that gives you miles with American Airlines, and credits toward purchases with Amazon.com and The Sharper Image. "It's our way of saying thanks to our customers and encouraging loyalty to our brand," he says. For now, the program will continue under Corbis , but might be something other companies pick up on should it get dropped.

One thing apparent by its omission in an article like this is an examination of the effects consolidation will have on the photographer, the supplier behind the image. Will they get squeezed in an effort to maximize profits? What kinds of contracts are they being asked to sign? Will there be a revived interest in assignment work to differentiate from a generic "stock" look? We' ll look at the industry from the photographer's perspective in the Communication Arts August Photography Annual. • 48

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3IVI Innovation

~ When an Ad is Not a Campaign ~

1--t

M

Ii--& • (/) Ii--& •

~

aq

BY ToM MONAHAN

contrive an entire campaign from something that was only meant to be a single ad?

bona fide brand-building concepts that live iteration upon iteration for years on end. In fact, usually those ideas come out of the gate as campaign ideas.

So frequently, particularly on TV, I see very good commer-

And, don't get me wrong, I'm not saying good campaign

cials try to come back in ineffective sequel after ineffective

ideas are rarer than getting a direct answer from Bill Clinton.

sequel. The advertiser or agency is obviously desperately

The list of these ongoing campaigns is impressive indeed.

A

re good ideas in advertising so rare that we need to

trying to capture the magic that made a singular spot so

In fact if you look at the Advertising Hall of Fame, you'll

wonderful and leverage it across a medley of lesser commer-

see a greater ratio of campaigns among the top advertising

cials ad nauseam, so to speak.

of all time than you'll see in real life.

Some ideas are ad ideas, period. They're not campaign ideas, they're ad ideas. Sorry. And when we try to turn them into

In 1990 when we, then board members of The One Club, took it upon ourselves to judge the "Best of the ' 8o 's"

campaign ideas, we miss. And, more than that, we drag

(sounds so long ago), I recall that the vast majority of the

down our batting average with the consumer for the entire

70-some award winners were complete campaigns or ads

campaign. (Do consumers really keep score? If not, what

that were part of long-running campaigns. The vast majority.

the hell is it we're tracking in all this research?)

Ir's been that way since the beginning of ad rime, and will

Oh, there are some ideas that are certainly broad enough and have the legs to become campaigns. And not just for the mandatory rwo or three executions to make them "enterable"

probably be that way until commercials are only seen in

in that additional award show category. There are certainly

museums on dusty old boxes called televisions.

So, please know, I believe there are many ideas that are strong enough to hold their own over time. And I think I know them when I see them.

That's what troubles me with these one-offs that are forceformed into campaigns. Can't the people involved recognize that the advertisements were conceived as single ads and shouldn't even be humiliated into a multi-execution state?

The example that got my goat fairly recently was that Stewart kid with the weird red hair for Ameritrade. Couldn't they have stopped with the first execution? You know, the spot with this punked-out office boy showing his pudgy middle-aged boss "the wave of the future, my man, " as he turned he-of-the-less-daring-generation on to the world of online trading.

The commercial was sweet, innocent, unexpected. Ir almost looked like a happy accident of casting and talent direction , as much as planned brilliance.

Then when it became a calculated "let's blow this baby out into a campaign" execution, it became contrived, painful to watch and oh so predictable.

I know it's tempting to try to replicate the kind of success that a commercial like the original "Stewart" must have achieved. Like in golf, when you make a great shot, it's so

Portfolio Center The School for Art Directio11, Wri ting Design & ew Media, //lustratio11 & Pho tography 125 Bennett St. Atl anta, GA 30309 1.800.255.3 169 www.po rr fo li ocenrer.co m

52

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tempting to lay down another ball and attempt to replicate that swing all over again.

Well, even at the range, where you can replicate a golf shot, seconds later with virtually all the same conditions, anyone

who has ever tried to recreate magic knows it's very hard to

just the typical either/or process creatives go through choos-

do. Even for the pros.

ing which way to take an ad.

But in advertising when we try to awkwardly extend a singleexecution idea into a campaign, by definition, it is absolutely

So, if it isn't a campaign, then during conception don't try to delude yourself into thinking that it can be a campaign later.

impossible to recreate the major thing that made the com-

A while back in this space in a piece titled "Ruined by

mercial so successful in the first place-surprise. Because,

success" (CA December 1998, p. 242), I argued against people who get attached to an ad-making style that they've

no matter how hard you try, it just ain't unexpected the second or third time around.

Isn't what we're talking about here the difference between

had great success with and try to apply it to every client's marketing problem that comes along thereafter. Is this ad

having a family, the good old-fashioned natural way, and

cloning an even worse form of self-plagiarism? Are we that

cloning?

desperate? Are we that fearful of failure? Or is it just too damn tempting and easy to pull off, that we can't help trying to get away with it?

A few years ago one of the light beer marketers learned (or didn't learn) the dangers of cloning. (Look at me, I can't remember which beer it was. Just like those people you hate in focus groups.) Remember when "Yes, I am" went from a

But aren't we really talking about the magical side of advertising here? (I just lost the MBAs, if I ever had them.) Isn't

wonderfully goofy first ad to a number of embarrassing follow ups? In the same category around the same time, we had another classic example of failed ad cloning. (Same brand? Sorry can't recall.) Again, we had "I love you man" surprise us the first time, only to have most of its sequels fall flat on their faces-Charlton Heston and multimillion dollar budgets notwithstanding.

The first clue should be if it started out life as a single execution, it probably is, in fact, a single execution. Now, yes, these singularly wonderful ads often start out life as part of larger campaigns. But then when they outperform the other

Don't get me wrong, I'm not saying good campaign ideas are rarer than getting a direct answer from Bill Clinton.

Thesaurus great?) "Yes, John Sebastian and the Lovin'

Spoonful, I believe in magic."

When everything just comes together, like ziiiiiing!

Ziiiiiing! Just like the best music, and the best literature, and the best automobiles, and just about the best of every-

executions in the original campaign, someone with very little imagination says, "Hey, that was a great ad, let's turn

thing else ever created by human minds and hands. Magic.

it into a campaign." (Why do I get the feeling it usually

Go ahead, try to explain it. Or harder yet, try to replicate it.

comes from the client side? Generalization and a cheap shot acknowledged.)

Have you ever hosted an absolutely great party? I mean an event where you don't have to pay the electric bill for three

But, I'm sorry kids. Sometimes it's just not a campaign idea.

So don't even try.

months after the bash, because there was so much residual energy in the room?

Or, what the hey, go ahead and try. Because, it can and does

Then, because it was so wonderful, you hold the exact same party the following year? Bomb city, right?

happen-that single ads give birth to campaigns. Just be smart enough to recognize it in storyboard phase, whether the damn idea has any real legs or not.

And if it's a forced play, go for something else.

There's a difference between a campaign concept and an ad concept. Yes, sometimes it's hard to explain the difference.

But most ad pros with any experience can usually feel it more than prove it with an intellectual argument. And the

Some things just can't be duplicated.

I can tell yo u what I did when I learned that party lesson. I held a totally different party the following year. And, the amazing thing was, the totally different party had the same result as the first great party even though it was "totally" different. Same three-month holiday from the electric bill.

Great ads. Great parties. Get it?

proof is usually in the first few scribbles. Are the different

Go buy a few cases of beer and tell the boss you're doing

ads different executions to illustrate the same point, or are

some creative development. •

they different ways of doing the same idea? There's a difference there. The former is a campaign, the latter is probably 54

the best advertising almost magic, enchantment, wizardry, sorcery, voodoo? (Isn't instant

M A y

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Tak<' a NPw Look I Fraser Papers

8 TEXT, Covrn & WRJTI:\TG GRADES

C1·11t'-,i". \laJ!llll <.aria. \l1i-,aic. 0111hack. Pa-,..,port. Pt'!!<l'-ll". ~~ 1H'r!!~ COMMERC IAL PRI. TL G GRADE

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THINGS THAT MATTER TO DESIGNERS . AND ONLY DESIGNERS .

WWW . DOL . COM

design . . nhne

Kirn Baer Design Associates

BY ELLEN SHAPIRO

I

r's five p.m. on the last day of January 2000. Across much of the country-much of the world-there's a wind-chill of fourteen below and people are digging their cars out of snowbanks.

At Kim Baer Design Associates in Santa Monica, California, however, a dozen designers and three office dogs are up on the deck, digging the sunset. Here, two stories above the motley corner of Lincoln and Navy, a fiery glow envelops the rooflines of the surrounding beach cottages and apartment houses. Palms and eucalyptus trees are silhouetted against the balmy, orange-streaked sky. Roses, gardenias and impatiens bloom in terra-cotta planters.

Ah, the design scene in La-La-Land. Except everyone is going back to work in five minutes. There are 30 projects on the job list. Right now, a presentation to the CEO of a software company must be readied for tomorrow's meeting. Comps of marketing materials for a new Seattle dot-com business must be packed up and rushed to FedEx™. The final touches are needed on an ad campaign and an invitation to an Internet strategy firm's launch parry. Inside the firm's two adjoining modernist buildings, the lights burn late. Six black-and-white and color printers are spitting out pages generated by fifteen Mac workstations.

The principal and ten of the twelve staff members are women, but from the way this office looks, feels and functions, one might finally be able to drop any preconceived notions about what women-owned businesses are supposed to be like. This is nor a "boutique" firm. The projects are for big-rime clients in high-stakes industries. The competition is tough.

Kim Baer could be described as a pioneer, an entrepreneur. After all, since 1982, she's nurtured a loyal, growing client list, built an impressive office, attracted an experienced, talented staff, refined a methodology and an cesrheric. With a degree in printmaking from University of California at Santa Cruz, Baer worked her way through school by freelancing and raking summer jobs at local studios. "I was always doing letterpress, setting hot type, " she says. "My background was in artists' books. " After graduation she spent two years in New York working with Les Siegel at Corporate Annual Reports on entirely different kinds of books, for Union Carbide and Black & Decker. "It was like graduate school," she says. "I learned a lot, especially how to set up systems for efficiently running giant projects. " Baer says she loved the energy of New York, bur returned to Southern California for the same reason many people do: life-style. "I needed a back yard and a dog. " Her first office, in Pasadena, was done up with thrift-store furniture, and the projects included the inevitable letterheads for friends of friends as well as annual 58

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reports. The workload kept growing. So did the reputation, list of awards and referrals to increasingly visible clients.

KBDA staff members come here nor only for the opportunity to do outstanding work, bur also to join Baer in enjoying what she finds important in life: friendship , nice people, good food , dogs, attractive surroundings. "Everyone who works here is part of Kim's extended family," says designer Maggie van Oppen, an Oris-Parsons graduate who's been at KBDA for eight years.

"I've practically grown up with her as a designer. She gives us a lot of freedom and all the credit we deserve. " Native Californians as well as transplants from the Midwest and East Coast, KBDA staffers bring diverse experience in corporate identity, annual reports , signage and packaging from such design offices as siegelgale, Adams/Morioka and Selbert Perkins Design. And all of them seem to truly enjoy spending their days together in a cool gray and ochre beach house that's "calm" and "civilized, " yet buzzing with creativity, brainstorming and research sessions, multiple conference calls, impromptu client meetings. "This is such a great group to work with, it's inspiring," enthuses studio manager Stephanie Andrews.

Is there a shared KBDA cesrheric? To some studio members, the firm's best work "feels Japanese. " There is always the careful, studied, harmonious arrangement of elements. Baer says that when she traveled in Japan, "Something just clicked. " In the center of the custom-designed maple conference table is a Japanese pottery dish in which oval stones are arranged. The design work is a bit like that, too. The phrases that keep coming up include "disciplined," "careful distillation," "classic typography," "lots of white space. " All of which is married to visual imagery-from paintings to cartoons to photographic abstractions-that tries to push the edge of corporate communications.

Project director/writer Michael Lejeune attributes much of rhe firm's success to its ability to present a range of solurions-"from Kim Baer is art director for all projects shown . Michael Lejeune provided captions .

Right: UCLA Theater brochure. "The UCLA Theater program is among the best in the nation, and competes fiercely to recruit top students to the campus. This brochure is a key element in raising the department' s profile. We interviewed students and faculty to gain a better understanding of the life of a theater student, and then used their stories to recreate this vibrantly charged creative atmosphere in the book. The voices of both teacher and student find a place in the brochure. Though it fulfills all the necessary functions, such as relating the breadth of the faculty's experience and the depth of course offerings, the piece is most successful in painting the life of students as they learn their craft.''

Maggie van Oppen, designer; Steve Moore, writer; Craig Schwartz (color)/Walter Urie (black-and-white), photographers.

UCLA

Theater

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

A R T S

59

Kim Baer Design Associates those that are in the comfort zone to those that will make the client feel challenged," and then to demonstrate how one of the less-safe visual concepts can best accomplish the client's goals. "We do a huge amount of research," he explains. "We pay a lot of attention to the message. We're the design firm that reads. We read stacks and stacks of stuff. Then we push the

0 0 0 N

imagery to the limit. " Lejeune, a former client, says that the

©

~u

goal is to broaden the latitude of what's acceptable in formerly

---~ ~

conservative industries, like health care and financial services.

"On one hand, clients these days grew up in the MTV genera-

>

.s::i Q)

tion and anything should go. On the other hand, it's hard to

~

0

break people out of the mold of what an annual report for an

u 0

]a_

HMO should be like," he says. "We demonstrate how innovation in imagery can make them look innovative." Baer adds, "We try at all costs to avoid doing something that looks like

until you walk a mile in his shoes." This logo expresses empa-

every other book in a client's industry."

thy and connectivity-in a high-tech way. KBDA has played a

Everything this firm does is incredibly well printed. It's evident

broader role in the business plans of Atticus than "just a graphic

that a whole lot of thought and effort goes into paper selection

designer, " providing strategic and marketing consultation that

and production supervision. "We really push and push and

helped shape a consistent message during the startup period in

push," explains project manager Jim Baehr. "We'll go on press

which the company's revenues increased by 700%. KBDA has

for a two-color mailing label to make sure the color is right. If

also had a hand in guiding the marketing strategies of DMX,

we don't take that kind of care, everything we did that led up

the digital music provider. "Kim and her group are not just

to that point could be out the window and the integrity of the

concerned about being creative, " comments Kenya Barber,

whole identity system w.o uld be compromised."

DMX marketing manager for commercial sales. "They come in

The firm is noted for its work in corporate identity. Its logos for Pump Records and the Anderson School of Management at UCLA are well known, but the mark for the Skirball Cultural Center up on Mulholland Drive stands out as a singularly bril-

and ask the right probing questions to get a solid grasp of what's going on in your business and your industry and then they come back with compelling creative solutions."

Environmental and packaging design are other KBDA special-

liant solution to a difficult problem. In it, one can see an oil

ties. For Pasta Bene, a restaurant in the Century City Market-

lamp, a dove, a nurturing hand-all the "Jewish" symbols that

place, the firm has moved from logo design to consultation

have been done to kingdom come, but never like this. The broad

on color and lighting.

ink brushsrrokes look like they could have been drawn in the

What's next for KBDA? More dot-com stuff, that's for sure.

days of the Babylonian Talmud, yet the mark meets the "con-

Launches and Web sites. Marketing materials designed to

temporary, " "forward-looking" image criteria every modern

showcase how e-business plans will survive and prosper. More

institution needs. "It's become the beacon above the freeway,"

annual reports. Lots of them for Silicon Valley companies, as

comments Stuart Karren, the industrial designer who "three-

well as L.A. More packaging. More education work for institu-

dimensionalized" it into a twelve-by-nine-foot, stainless-steel

tions like UCLA. Pro bono jobs for organizations like Advocates

sculpture that's integrated into the Moishe Safdie complex.

for Children. More responsibility, earlier on in the project.

Karren, who regularly collaborates with KBDA, praises the

Especially if clients like Cynthia Challie, director of develop-

firm's "great ability to understand clients and focus them on

ment communications at UCLA and longtime client at other

how design can be used to enhance their businesses."

organizations, have anything to say about it. "There's no point

In a completely different stylistic mood, the logo for Atticus,

in working on a project unless you get the big picture, and Kim

consultants for information technology systems, wittily joins

and her staff are just brilliant at that, " maintains Challie. "Kim

the two r's with little circuit-board connectors. The client, an

and her team have really become partners with me in creating

old friend of Michael Lejeune's, came to KBDA with "only a

communications plans, fleshing out the message and the

name," based on the character of Atticus Finch, the noble lawyer

strategy, then creating the visuals to support that strategy. With

in To Kill a Mockingbird who said, "You cannot know a man

that kind of foundation, success just follows. " •

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10

11

Left: KBDA studio members: 1. Barbara Cooper; 2. Helen Duval; 3 . Liz Roberts; 4 . Maggie van Oppen; 5. Jamie Diersing, Jamie Cavanaugh; 6 . Kim Baer, Michael Lejeune; 7. Halley; 8. Stephanie Andrews; 9. Kate Rivi nus; 10. Jim Baehr; 11 . Lisa Packard .

This page: "Italian trattorias in Southern California are fast becoming a cliche . We struggled to fashion a visual identity for Pasta Bene that felt as fresh as the food . The tomato, a staple of simple Italian cooking, became central to our logo, along with hand lettering that feels something like home cooking . The signage and lighting that we designed for the restaurant are simple and clean, a point of distinction in the crowded food court where the cookery is located. The illustrated panels add a fresh flavor and reference the kitchen's emphasis on quality ingredients." Maggie van Oppen/Stuart Karten Design (industrial design), designers; Steven Salerno, hand lettering/illustration; Fred Licht, photography.

"Each year The Getty Conservation Institute hosts distinguished visitors from all over the world. And each receives gift books, printed material and other Getty memorabilia . The Institute asked us to create a container that was colorful, beautiful and strong enough to hold oversized books with ease. The chosen solution shows off the Getty's original mark and adds four jewel tones . We finished the design with a practical tuck-in handle for strength and a wood enclosure that adds a touch of handcrafted elegance. " Barbara Cooper, designer.

"The founder of this technology consulting firm named his company Atticus because it represented the integrity and simple focus embodied in To Kill A Mockingbird's Atticus Finch .

We started by branding the company with the tagline, 'Technology, Honestly.' The mark embodies that simplicity and adds an element of connectivity central to the company's mission . The Atticus brochure makes use of illustration and plainspoken language to distinguish the firm from the competition and win over technology skeptics. " Liz Roberts, designer; Michael Lejeune, writer; Tim Grajek, illustrator.

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Equity Marketing, Inc .

An nual Report

••••

To Oull SHARtHO LPEllS )

In many ways, 1998 was the mott d1fftcull year

formers but were not drivlnq meanlnq lul sales traffic into 1ton!'1. The11e lacton con1rtbu1ed to

performance fell 1t9nlflcantly 1hort of expecta1ion1 and our five-year record of qrowth WH We rHponded with a number of

performance of our retail llne of NASCAR lapel

lncludlnq

Inventory write-down1. concenlon1 and dl1-

pins. which we launched late In the )'<ar and

k:ou n t1 to retallen and lncrea1es In provt1tons

IOld p rimarily through di rect re1ponte - a new

accompanytnq Annual Report on form 10-X. 1he

for bad deb!. and prompted u1 to dtteontl nue

d l1trlbu tlon channel for u1

company potted a net lots of approximately

nearly all or our llcenaed product llnet

haw decided to exit the retall lapel pin bus!. -

$6 0 million. or 80 98 per share

1tep1 de1lgned to redefine our 1tra1eqy. realign

Also In 1998. we were dlaappoln ted with thf

these 1998 charqe1 , which are detailed in the

or •l.SS per dtluted share, In 1997

tn Equity Markettncf1 h1atory •• ou.r ftnanct&l

interrupted

approximately $S 7 mtlllon. or •0.90 pe r diluted share. compared to net Income or 89 6 million.

In llqh t of our 1998 experience, we are no lonqer

our organb.atlon and set u1 back on a path of

Alt houg h our consu mer product• busln e11 rep-

pur1ulnq new rvent movie licenses for ou r con -

growth and p rofltabUlty

1998 was Indeed a

resented only 27 percent of 1998'1 net revenues.

lsumer p roduct• b u1ine11 WhUe 11cented p rop -

watenhed year - a Uy turnlnq point 1n the

ii accounted fo r nearly all of the 1998 earnlnqs

Consequently. we

nea, howrver. we wtll continue to UK our NASCAR rtlatlon1hlp to drvelop t rafflc -qen eratlnq p romottonal p roq ram1 for cllen11

~rtles rted to major motion pictures will contin-

To simplify and more clearly define our 1harp-

evolution of our company - and I am confident

decline. This wa1 due primarily to softer - tha n -

ue to play a central role tn ou r p romotions

en ed con1umer productl focus , we decided at

that we have eme rged as a more focused , dl.ct-

expected 1alu of our toy lines based on

acttvltles. our con1umer product• rocu1 will be

the end of 1998 to consolidate our former Equity

pllned and enugtzed orqantzation. rn cowr

Columbia/TrlStar·1 Godzflfa

and Universal

on untque, niche produc11 that are baH:d on

Toys. Equity Sports and Equity Collectibles bwl-

our pla.ns for the future In more detaU later

Studios' Babf Pig t" rhc City - two movie• that

brands thal we own or on licensed -everqreen -

ness untt1 Into one dJvl1ton . Equity Consumer

F'lrst , a look back to 1998

received tremendous pre- release pu blicity but

p ropertle1 with enduring consumer a ppeal. ruch

did not meet their box office expectations and .

as Scooby-Doo"" Our Headliner-. brand of col-

therefore. Impacted our toy 1a.les

RtVlEWINO

1998 )

Durinq the

lectible ftguri n H . which we added In 1998 u

Total revenue. for 1998 reached a record high of

year. our con1umer p roducll business also wu

pan of our acqulsltton of Corinthian Markettng .

f159 l mllllon . representinq an 8 8 percent

affected by Inventory cut backs by mass- market

Inc , and ou r Tub Tf"ts. ch tldren '1 ba th coloring

increase over 1997

Excluding the Impact of

retallen. which contributed to lower saJes of

line. which we alto acqulred In 1998. are good

certain reatructurtnq and other charqe1, !he

va.rtou1 Equity toy lines th at were 1teady per-

exa mple1 of the type• of bra nded produc11 that

company would have repon ed nel Income of

Our ot her dtvl1ton. Equity Promotio:u. which represented 73 percen t of the year·• net revenues, w .. a 1teady performer tn 1998

In fact .

tn the fourth quarter of the )'<ar. we recorded promotion• reven ue• ol 858 4- million - our belt qua rter ever.

representing

a 29 pe rcent

will be part of our 1trategy movlnq forward

•

Equity Promotfons h'u tarrttd an nctlltnr ~putat!on for cnatfng lmagl"attw. high-Impact promotional solutions lhar dlffermrlarc our clft"ts' bra"ds, motfllatc rh~r cwtomas and dcUwr measuNbl• lmprowmenrs In th~r flna"ctal pafonnanct. Th• majority of our~sourctsar.dtdlcattdtoth1growtho(thlscor.busl"tss.

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Kim Baer Design Associates

Conlellb

Lebrto SMNllolderl

Colporate Dllta

Corporate Strategy

Left: Skirball logo. "Creating this mark to launch the

Flnudals

newly-built Skirball Cultural Center was a wonderful collaborative challenge. Our client wanted to touch on Jewish heritage, but we wanted to avoid any visual cliches. Our solution is a calligraphic form , painted by hand. The key visual elements are the light of a menorah (to symbolize knowledge) and a dove (in the Noah's Ark story, the first living thing seen after the flood , and symbolizing hope) . The project' s architect later commissioned KBDA to create a three-dimensional sculpture of the mark for the Center's campanile ." Benjamin Cziller, designer.

"Equity Marketing is a leading provider of custom promotional programs and branded products. In the past eight seasons, our annuals have consistently featured images of their products. For the 1998 book, we used illustration to convey the company's targeted marketing Why did the Internet

into a global marketplace seemingly

overnight? Two reaso

: wiivenal access and a smfer-friendly entity

strategies and creative capabilities . The approach proved a refreshing departure from the past year's photographic

called the Web. Now, with the e-Commerce explosion, competition

solutions, while still preserving Equity's sense of whimsy

can be anywhere customers point their browsers. Suddenly "mass

and echoing their unique market position." Maggie van Oppen, designer; Sheree Aronson, writer; Chip Sheehan, illustrator.

This page: "KBDA has worked with 3Com for six years.

In each of our last three annual reports for the technology company, we have also designed companion Web

Tiie ... .._,Martel Close·up

The JCom Advllltqe

Internet Commerce

High-speed onramps

forelectronlccommera Online bu iness acti vity is exploding. From $1.3 billion in 1996, business-

.........._

to-business Internet commerce worldwide is expected to reach $617.1

Creating wealth at

sites. The linked sites are housed within 3Com's extensive corporate site. In the 1998 site, we employed vibrant color and bold typography to explain a series of technology trends. Each of these industry shifts is coupled with

billion by 2002 .

netspeed

a 3Com case study and a customer testimonial. The

Source: /D C Internet Commerce Market

WMt 11My'l9 Saytns

result is a 'white paper' that is readable and engaging,

Model V5.0. April 1999

3Com's partnership with Microsoft

• .._..a-..p Internet commerce

2002

(J t

96 ~

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but also successful in positioning 3Com as a knowledgeable player in the future of networking and handheld personal computing ." Jamie Diersing, designer; Ethan Place, writer; David High, illustrator.

Atticus logo. "The mark for Atticus reflects the straightforward simplicity that is the hallmark of the computer technology company. We chose an informal typeface, and the idea of connectivity is expressed through the connecting strokes of the T's." Liz Roberts, designer.

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

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Kim Baer Design Associates thansc.lws~sclf-suffiaau.,

N- Custorttel'1 Me knowledguble.. ""\

This page : " Vantive, a company that creates relationship management and supply chain software, was midway through a major shift in their marketing and distribution plan . We were given a new tagline and a sense of an upcoming advertising campaign, and asked to integrate our annual report into this new messaging . Using the tagline, we refined a story about 'the new e-customer.' introducing the face (and hands, and feet, and heart) of this Web-savvy consumer to the investment community.

The gatefold composite of this customer helped us to integrate several messages about Vantive and its product line, leading the reader to the conclusion that the company is uniquely poised to help clients capture this fastgrowing market." Jamie Diersing, designer; Michael

thtst:CUSlomuswarutouse

l0eydtmand1nformauonand1hey

ttt:hnology8utthryabonttd

knowwhat tht:ywant Thanksto

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tothtNtwCustomcr, btcauscsht tshstm1ng1otht:m She: wants ptrsonahttd,11t.en11vest1V1Ce

Hhoursadly,n't.rydlyofthe ytarW\thVantlw,rompames btuersc~tht:ircustomcrsby

ht:anngwhatthq'rt:.saying,and

Lejeune, writer; Mitch Tobias, photographer.

givmg tht:m prttist.ly what they want,wht:nthcywant1t

Right: "CKE Restaurants has been an annual report client for ten years . Our challenge is to find a new visual vocabulary to tell their investor audience the news of the year.

For the 1998 book, we wanted to capture the company's rapidly expanding geographic presence. A group brainstorm resulted in the 'Road Trip' theme. Working with Tom Garrett, who created wonderfully humorous illustrations that included a cast of 'characters.' we assembled a book that took the reader on a trip across the country, highlighting the company's three restaurant groups. The chart and map spread illustrate one of our basic annual report goals, which is to find graphic ways to capture a company's footprint. This book is also an example of a dream collaboration: a client with a clear vision for what an annual report can do, and the ability to write clever and engaging copy that dovetails beautifully with a visual theme." Liz Roberts, designer; Suzi Brown, writer; Tom Garrett, illustrator.

lnfact,withthelntenV:1,mlllions ofpotent11!NewCustomt:rs1ffJust 1chck1wayCompan1CSnttd10 nun1~1hosc:m1lhonsone:vtS&1orat

1t11me,ordse1he:opponun11yis IOSt Tbe.Van1111rEnterprue,wuh 1tssupenor1rchit«turc,5call1b1h1y andmdustry-stmcbrd~lopmt:n1

1ools,l1llowsVanuvt1ndparuvr consultants1ocrca1.eapersona1 rxpt:nenceforV.nuvtust:ts

AtthehHrtoftlMN-Custo-r

1S1hccksuT:tobcWMkntoodasan mc:bV\dualAndatththa.nof~ry

busmds lS the abtb1y to kttp lhcx custOtnlrsaxrungt.ck.Va.nt:Mlm comparucsSttthe:trCU:Romtnas

people_ noc numbers Our cmt:r· pnKsoltw.1rthe.lpstumCU5lomt:r rntcrxtl0'15lnl0powufulbrand

prr.fcrr:nas Btt:aust: wt know that an muma1e understanding o( ach

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

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65

THE MACERICH

PU II P

COMPANY

COIL

RECORDS

AVIU.Cil 104ttf SAl[S ' 0 ~QLUI JOOT

Tbt Siiia produnivtf] of tht pDrtfo/10 nmtn.ua

,.,,,,,,....,,,..,,.,,,., ,,,,s1oof1"SfU6nfoo< bntclmu"*m1997.

.. lntr1ratlon or development skills, mana1emrnt, leasing, martrting, and property ownership all under the same roof to achieve m&Xlmum opertitlng dk.iendes. As an adlve operat.in1 businns

with hl&h capital lnvtstment requirements, public malt REITs will continue to partidpatt heavily In the consolldatlonofthemalllndustryaslon1aseachcompanycanmalntaln itsvlslonandsatisfy lts

shareholders' expectations.

The Macerlch Company Is a transformer of re1lonal malls. For 26 years our sole approach to the mall

business has bttn toMSY.Lrt dominant malls with a franchise based upon size. productivity, orlouition, andtosubsequentlytrln.1f2!mthose propertlesthroughredevelopmtnt, ltasln1. mana1emen1, 1nd

UPO • s in . '•ooucT1v1n.

marketing Into even more dominant malls. This has translated Into lnueaslng returns for our shareholders and partners.

We went public In March t994 and have since maintained our singular focus of acquiring and redewloplna dominant malls into even more profitable properties.

Given the strensth or our acquisitions team, our revitalized operations team, and our redevelopment skills, we are conftdent that we an continue this sin1ular 1pproach to the m.1111 buslnns for the

Based upon changing opportunities, emphasis wilt chanae from one year to the nut between acqulsl· lions, operations, or redevelopment projects, and the combination of these skills has our Comp1ny well poised to obtain max.lmum results from our properties and from the opportunities that we can mate.

Although we have kept our niche focus. our Company has transformed Itself Into a si1nlfic.1nt national owner/oper1tor with Its foundation In acquisitions and nedevelopment. Bv malntainln1 our vfslon and enhandnaouroperatlngskUls,weareconvlncedthatourlnwstorswlllentrustuswiththelraplUil, enabling Macerlch to capitalize on a wealth of acquisition and redevelopment opportunities In the fulune.

Consolidation has occ.urred not only In the ownership of n!&lonal malls but also among the ~llers and department stores thatanchortht-$t malls. That consolidation has led to an Improved occupancy outlook and a shifting of supply and demand factors In many dominant resion1t malts. Beine opportunistic, value·

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Left: "Pump Records was one of the first street rap labels in Los Angeles . Our solution for their mark was straightforward and bold; it's proved to be one of the most popular and successful logos we've created ." Liz Roberts, designer.

"Our client was a designer who left Max Studio to launch her own line of knitwear, now carried at stores such as Neiman Marcus. The mark they chose has a delicacy and artistry that felt right for the clothing she created. " Susan Landesman, designer; Erin Ferro, typography; Coil Knitwear, client. '"No shopping bags!' Such a clear directive from The Macerich Company, which owns shopping malls across the country, was a challenge we relished . Macerich is known within the mall REIT world as a company that buys strategically-sound properties and then transforms them into the best centers in their geographic areas. After many hours of interviews and research that revealed the operating philosophy that sets Macerich apart from competitors, we built an annual report around the theme of transformation. We communicated this distinction with exquisite images that paired a valuable raw asset with its transformative result. For example, we coupled a caterpillar and a butterfly, and a broken egg and a souffle. Inherent in the imagery is a sense of quality, taste and success, all of which are hallmarks of the company." Maggie van Oppen, designer; Michael Lejeune/Art Coppola, writers; Mark Laita, photographer.

This page: "Public companies have good years and bad, and each and every one is marked by a report that captures the health of the company in an annual snapshot. Our second annual report for Physicians Clinical Laboratory was produced following a year of financial losses and job cuts . To the company's credit, they chose to communicate this bad news not just in buried text, but rather in the central messaging and imagery of the report. We paired intriguing

Bcgmnmg earlier 1h1s decade. 1hc Company cmbarhd uponanaggr«s1'<cgrow1hs1ra1cgy1oc;iip11a\1zcupon1M opponun111cs 1n a consohdaung mdusuy. Durmg 1hu 11me, we acqu1rN more 1han 1wo dozcn labora1or1es 1n uansac· 11ons1oi;11l1ngmorc1hanSllJm1ll1onandnowhavc;1 51gmfinn1prcl(nccmCal1form;11.

In addmon, we have m;iidc noicable mv«tmcnis m our tnfruuucturc 10 generate mtcrn;11I grow1h. \l'c recognize 1ha1 1he dyn;1m1C1 of our mdus1ry arc changing. While consol1duion will conunuc, 1M

photo collages with a loose, handwritten messaging style that felt something like a prescription. The imagery carried the company's medical heritage and built on it to capture the company's history for the year. To wit, the need for costcutting and tighter budgets is felt in a spread which fea tures scissors and a squeezed dollar bill. Another spread builds upon this message to communicate the company's prospects in new medical testing frontiers, including DNA testing . Our client was pleased to offer shareholders and other constituents a book that sidestepped stuffy medical imagery and clinical design ." Jennifer Miller, designer/illustrator.

cra o f1n1cnl(acqu1smon;1c11Y11y1sbchmdus.ln1hcfururc,grow1hw1llcomc1hroughour;1b1luy10 1mpro'<c margms by conuolhng cosrs and ralung marker share from 1he compcuuon . flctors such H managcd care ;iind dcclm1ng rc1mburwmcnr 1hu hue dramaucally changed o ur mdusuy 1n 1hc pas1 rwo ycau will co n1mue 10 prtsen1 challenges 10 1M Company 1n 1hc fu1urc-1hc mosr 1mponant being the comrol of cosrs.

Dunng 1hc pas! year, we havc made s1gn1ficam progress 1n rcurrJCtunng the Company roaddre11rhere.almes o f1hcfu1urc Onp1re s1gmf1un1 growth m volume, ,.C' havt rcductd our workforce by approi111ma1tly

31 pcrcen1 . Add111on;illv. 1n urh1 f1su1 1996. we dow-d our Frrsno huh lahoramry. consol1du1ng ns o pcra11on11nro o urSacramcmof.aul11Y To cnhan..:e .:.uh flow, ""C' ha\C' alS-O 1mpltmcmtd a crnrralizcd h1lhng opcr.auo n and cnhJn..:td d.na prt"K:eumg Sllift'ms ;11nd tie1d Jummarmn ..:ap;ilu1mts .nso..:iared wuh our h1lhng and colleuion JCllvmes. Thtl( 1n111amu JrC' rhc resuh of fot dara convrrunns, mcludmg 1he 1mplcmcn· unon o f co mmon softwart JI all PCL fac1l111es.

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Raymond Meeks Lost Ho rse Productions

BY ANNE TELFORD

T

he wilds of Montana and photographer Raymond Meeks are a perfect marriage of man and geography. It makes sense that an individualist like Meeks would choose a location that reflects the openness of the west. The allure of a still largelyundeveloped place brought the 36-year-old Meeks and his family from their

hometown of Columbus, Ohio last year, to western Montana, at the foot of the Bitterroot Mountains.

Meeks always imagined living in the West. From eighth grade on, he visited the western states, camping with his family in national parks and dreaming of one day living amid such beauty. The majority of his assignments require going on location, but when he's not on the road working on editorial or advertising assignments, he can revel in the beauty close at hand. Although when he has down time, he gives himself assignments.

He has a 12 x 20 inch view camera he'd love to put to work creating portraits of his neighbors such as those made by Mike Disfarmer in Heber Springs , Arkansas, from 1939-1946. Disfarmer mostly photographed on Saturdays when people would dress up; he charged 50 cents for a portrait, and his subjects walked away with a contact print. Meeks, who describes Disfarmer's work as "honest, straightforward and so telling," says, "It's the romantic in me. I see these people in town, and I think, wouldn't it be great to make pictures of them!"

Although Meeks is a practitioner who is completely passionate about photography and the roots of photography, he had no exposure to the art form as a child.

Growing up he attended conservative Catholic schools , where there was not much creativity, he says.

His first photography project was family-oriented. "My grandmother was getting up in age, " he explains. "She was the last of nine brothers and sisters and there weren't any good pictures of her. " Using a Canon 35mm camera and one lens, he made portraits of his grandmother, and taught himself how to print and process film out of books.

The journey to a career in photography, and to moving westward, was one of both distance and time. Meeks read about the odds of how many people want to pursue photography and how many can actually make a living out of their vocation .

More important than research, was tenacity and desire. He refused to let the odds stop him.

"Because I could," he responds with a laugh, when asked what finally prompted his move from Ohio to Montana in June 1999· He spent the first four months Right: Maryellen and Scarecrow. " In-camera, double exposure of my w ife used as a dust jacket photograph to illustrate The Daughters of Simon Lamoreaux." John Font ana , art direct or; Scribner, client.

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Raymond Meeks

designing and building his studio, located across a small stream behind his house. When he eventually emerged into the untrammeled beauty of the place, he was staggered by his good fortune and the physical impact of his new environment, the feeling of what he terms entering into the food chain. Black bear have been sighted close to his studio, elk frequently pass by and he has encountered bull moose on a fishing trip.

Clients ranging from Outside, Esquire and the New York Times Sunday Magazine on the editorial side, to Publicis & Hal Riney; Goodby, Silverstein & Partners; Wieden & Kennedy; and Crispin, Porter & Bogusky on the advertising side, come to Meeks for his fine art approach. "I don't know what art directors are hiring me for to be honest, " Meeks says, with a note of puzzlement in his voice. "I don't want to assume what they want from me. For the most part, they don't want 'advertising' pictures, they want soulful, editorial-looking photos. " Meeks says he is trying to perceive his place in the advertising arena, but the aforementioned list underscores the effect his beautiful and often elegiac photographs have on book covers and campaigns for Belvedere Vodka, e-toys and the American Indian College Fund, among others.

He is not a photographer who enjoys the trappings of elaborate sets or large production crews. "I have a hard time concentrating on making the picture, " he says. Meeks is looking for a new model of working with art directors, one that is more "organic." His mission is just to get real.

He needs to be more involved with the process. To that end he likes to scout locations, help cast the shoot and advocates a move away from an archetypal look for models.

Meeks prefers to work from a narrative and feels, "The location drives the story-that's the model. " He's a visual

This page: Rose Medicine Elk. Portrait of Rose Medicine Elk made at the Victory Dance celebration for Ben "Nighthorse" Campbell in Lame Deer, Montana. Matthew Drace, art director; Men's Journal, client.

Sunny Walker, Shawl Dancer. One from a print ad campaign for the American Indian College Fund, photographed in the Badlands of South Dakota. Tim Hanrahan, art director; Wieden & Kennedy, ad agency.

Right: Mike Marshall, Buffalo Hunter. Photographed on the Cheyenne River Indian Reservation in South Dakota. Tim Hanrahan, art director; Wieden & Kennedy, ad agency; American Indian College Fund, client.

Yassur Volcano, Tana, Vanuatu. Photo essay on the John Prum "culture cult" natives on the island of Vanuatu, located off the east coast of Australia in the Coral Sea. Mark Danzig, art director; Men's Journal, client.

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Raymond Meeks storyteller who creates a mood with his compelling and sensual photographs. Bobbi Wendt of Parallel Universe, his licensing agent (for existing images) and marketing consultant, comments that with the vast majority of advertising assignments, "Agencies end up with photography by the pound that's been foc us-gro uped and technically well produced. With Ray, you get a story to tell with an emotional component to it." He is fortunate to have two agents who support his work philosophy, and in fact encourage him to reject assignments that compromise his cesthetics or personal ethics. His assignment agent, Candace Gelman of Candace Gelman & Associates/Chicago, adds, "Advertising needs to be real so people can identify with it. This is where Ray comes in. He is able to capture a feeling through his images; people remember the images, because they come from his heart and soul."

He quotes Montana photographer K~rt Markus, his mentor, who posed this question at a workshop he was teaching: "When do you start caring about the image? Where does the connection begin?" For Meeks, it starts with the first exploratory phone call an art director makes to him.

"As a photographer, if it's going to be your picture and you're going to care about it, you need to have better control of the elements." Meeks explains, "It's like saying to a musician, 'You go ahead and write your song, but it's going to have a snare drum, a bass and you'll need an organ.'"

As open-minded as he is to developing a fluid visual storyline for a project, he is a rigorous perfectionist when it comes to prod ucing the final prints. "The black-and-white work I care about so much, no one else touches it," he says.

"I develop it, print it, p ut the corners on the prints . I have to fill o ut the FedExn.• form ." Indeed, when clients Left: Jesse Sedler, Horselogger. Personal work as part of a collaboration with writer Rick Bass, photographed in the Yaak Valley of Montana in 1998.

Abbey with Greg. " Savane Fashion picture made in Ketchum , Idaho, with my daughter in 1999." Robert Lin, art director; McGarrah Jesse, ad agency.

A Witness and His Attorney. A former prisoner serves as a witness to the fatal beating of an inmate by prison guards and, upon his release, prepares to testify against the prison staff. Oklahoma City, 1997. Ka ren Frank/Tyler Pappas, art directors; GO, client.

Unpublished outtake to illustrate Patrick McGrath 's novel, Asylum.

Random House, client.

This page: Adam with Butterfly. " Personal photograph taken upon the release of six other butterflies on our land in Montana in the summer of 1999."

John Smith, Cabinet Maker. "Fashion essay on workers set in my home state of Ohio." Sefano Tonchi , art director; Esquire, client.

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Raymond Meeks

receive a package from Meeks, the presentation is elegant and the unveiling has all the attendant excitement of Christmas morning.

John Doyle, creative director of Publicis & Hal Riney, began working with Ray in 1991 on an Amnesty International project. "He's a great printer and a real student of photography," Doyle says. "A lot of commercial art directors may not consider Ray because he is such a fine art photographer and a purist. You have to find a way to use him to tap into those skills.

"I know that he wants to give me something that I came to him for," Doyle says. "He wants to meet his own standards.

Collectively he wants both of us to walk away with something we haven't done before.

"He is very focused on the -assignment he is working on. He's not thinking about the job he's just come off of or the one he's about to go onto. That means a lot to me. I can feel when a photographer is lost in the assignment."

Wendt adds, "This man has soul in his work and he has the courage to go out and do something totally out of the ordinary. He has trust in his instincts. He's someone other photographers look up to."

As for this new approach to work he is struggling to achieve, Meeks offers, "I can't be a part of the circus. The lunch will still come at noon probably. But when they're ready to begin, I'm already shooting." • Left: Kudzu, Vicksburg, Mississippi. Personal work shot in Mississippi.

Pagoda, Burma . Photo essay on Burma, 1995. Matthew Drace, art director; Travel & Leisure, client.

Siblings, Ireland 1997. Photo essay on Ireland 's western coast. David Armario, art director; Men's Journal, client.

This page: Aileen at Chaco Canyon . One from a series of photographs made at the Anasazi ruin sites in New Mexico, near the Four Corners, where Utah , Colorado, Arizona and New Mexico meet, in the Southwestern Un ited States . Dirk Barnett, art director; Travel & Leisure Golf, client.

Belvedere Vodka, from a print ad campaign. Worker at the vodka factory loading coal for a distillery furnace, Poland, 1997 . Sharon Azula, art director; Clarity Coverdale Fury, ad agency.

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Raymond Meeks This page: "Petrochemical Factory, Louisiana, 1996, shot for the photo essay, 'Cancer Alley,' in Outside magazine about the stretch of the Mississippi River that runs between Baton Rouge and New Orleans, and through to the Gulf of Mexico." Susan Casey, art director.

Gator Boy from the photo essay, "Cancer Alley." Susan Casey, art director; Outside, client.

Sunday Service, Lafayette, Louisiana, 1996. Susan Casey, art director; Outside, client.

Roy Williams Sr. With His Sons; Vicksburg, Mississippi, 1997.

Personal work as a follow-up to the 'Cancer Alley' story, set on the Mississippi River.

Right: Abigail's Baptismal Dress, Ohio 1998. Personal work that was selected as a dust jacket cover by Carol Devine Carson at Alfred A. Knopf to illustrate The Tiny One, a novel by Eliza Minot.

Simms Flyfishing. Flyfishing on the Hoh River in Washington State. Dan Bryant, art director; Riddell Advertising & Design, ad agency.

Unpublished picture of k.d. lang for her Drag recording; Los Angeles, 1997. Linda Cobb, art director; Warner Bros., client.

Pears. Canton, Mississippi, 1997. Personal work.

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BY JuuE PRENDIVILLE Roux

B

esides knowing every word to 27 different Cool Whip commercials, Pat Doody has a particular talent. He has

On a recent, remarkably sunny day in the Seattle office, Doody was talking

an eye for people. Specifically, people who would make great people to work with.

party was scheduled for that evening.

Account person Kari Connor, mother of

His track record is impressive. Five and one-half years ago, when Seattle-based

a newborn and a toddler, was leaving the agency to work three days a week for one of the agency's clients, nonprofit organization Mothers Against Violence in America (MAVIA). Although Doody

advertising agency WONGDOODY was just starting up, he had lunch with Ben Wiener, a recent college graduate of the University of Chicago. Pat offered him a position as an unpaid intern-answering phones, watering the plants, keeping the supply cabinet filled. Today, 27-year-old Wiener is managing partner and running the Los Angeles WONGDOODY office, which he started with just one other employee. And although Wiener manages clients, recruits new hires and oversees the day-to-day workings of the West Hollywood office, he's also done a fair amount of the agency's writing, earning him awards from: the Addy's, the Art Directors Club, Communication Arts, Graphis and The One Club, among others. That's a pretty good hire.

Ben said, "I was the fourth person to join WONGDOODY. At the time I had a couple of paying job offers. I spent a couple of nights tossing and turning. But the minute I walked in and met Pat and Tracy, I knew there was something magical about the place. I knew I would regret taking the safe path if I did not take this wonderful opportunity." He stopped and smiled, adding, "To work for free."

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about another staffer, whose good-bye

offered her the same schedule, she chose to work for the organization's cause. She wrote in an agency-wide e-mail: "This decision was fueled partly by the surging, high-octane estrogen that has been ignited by a long-surpressed desire toexcuse the cliche-make a difference." He was visibly sad about her departure, but he was also proud. "You can't feel too bad

Livingston + Company/Seattle. The agency had been looking for a creative director to fill the top post for a few months. Doody remembered, "I had no idea Tracy was the man until fifteen minutes before I met him. I had never heard of Tracy, which shows how connected I was. At that point, he had won a zillion awards. Anyone in the creative area certainly knew him. So I met Tracy and I see that he has a ponytail. And I think, 'Uh-oh. What's a guy with a ponytail gonna think about meeting Tim Conway?'

I saw his reel that day and I was quite surprised at how much I enjoyed his work. And I was thrilled to have acreative director after two or three months of no creative director. But I was a little worried about the Mutt-and-Jeff thing-

about losing someone to that, " Pat said.

In his own gruff, joking-around style, Doody, 50, president and founding partner of the agency, borders on mushy when talking about WONGDOODY staffers. But he insists it's not sentimentality. He said, "Our most important strategy to our success is our employees.

It's not a breakthrough idea. It's not genius. It's just a smart way to run a business. Our priorities are like this: First, employees. Second, client relationships.

Third, the work."

And yet the most pivotal union was one he had nothing to do with. "Tracy Wong and I had a shotgun marriage, " he said.

In 1992, Pat was general manager at

Right: "An ad to promote Alaska Airlines's allinclusive vacation packages to their golf destinations. The hardest thing about presenting this concept was figuring out what the 'runway guy with those orange plastic flashlight thingies' was actually called. We're still not sure," said writer Dean Saling. Jason Black, art director; Dean Saling/Michael McCullough, writers; Tracy Wong, creative director; Randy Allbritton, photographer.

"This was a teaser ad, which ran a couple months before the game hit the shelves," said writer Dean Saling. "We wanted to find an intriguing way to hint at what Rollerball was all about to kids who were too young to remember the movie (the futuristic rollerderby-meets-guerrilla-warfare saga, starring James Caan as iconic superstar Jonathan E).

Finding a convincing severed arm is not as easy as you might think." Michael Ivan Boychuk, art director; Tracy Wong, creative director; Randy Allbritton, photographer; MGM Interactive, client.

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he was ten years younger than me, he had a ponytail, I was wearing three-piece suits, he was coming out of Goodby, and I was from packaged goods."

Before Livingston, Pat had spent thirteen years at D 'Arcy Masius Benton & Bowles/ New York working on accounts such as Procter & Gamble, Kraft/General Foods, Jell-0 and Cool Whip. Tracy, on the other hand, had cut his creative teeth at shops like Goldsmith/Jeffrey in New York and Goodby, Berlin & Silverstein in San Francisco. Tracy said, "He and I are total opposites. That's why we have this yin and yang thing. On the surface we're opposites. Value systems-same. But we're looking at each other and going, we're supposed to be married? So I cut my ponytail and he stopped wearing suits."

Wong was serving as senior art director at Goodby, when he got the call from Roger Livingston at Livingston + Company. He had won national attention at Goodby by developing campaigns for Chevys Mexican Restaurants and The National Basketball Association (NBA).

"Steve Simpson and I had done some work for Chevys. The One Club board voted for the best campaigns of the decade and Chevys was one of the TV campaigns.

That's a pretty big deal! " he said with a laugh. "And after that I thought well, I could do some more work or I'd like to have my own agency. I had thought about that for a couple of years. I didn't think I'd have the chance to move into upper management-there really was no upper management. Rich and Jeff were still really young; they weren't going anywhere. There was not room for me to have my own group and to be totally responsible for my successes and failures."

So he took the job in Seattle, which gave him the chance to truly run a creative department. In 1993, after one year of working together at Livingston as senior vice president/creative director and gen80

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eral manager, Tracy and Pat decided to form their own agency. "We went out to dinner one night after work," Doody recalled, "and I was saying how it's my theory that anyone who is any good in advertising thinks that they can start their own agency. It's the easiest business in the world to start because it takes no capital. So in talking about this we realized we had each come to Seattle as a stepping stone to starting our own place. It wasn't

This page: WONGDOODY staff photo collage

by Pam Fujimoto © 2000. Top (left to right): Michael McCullough, Jason Black, John Schofield, Pam Fujimoto, Dean Saling, Pat Doody, Matt McCain, Mark Watson (in plant), Jason Black, (Buttercup). Middle: John Schofield, Pat Doody, Dean Saling, Mark Watson, Tor Myhren, (John Wooden), Michael Ivan Boychuk, Don McKinney, Ben Wiener.

Bottom: Michael Ivan Boychuk, Eric Goldstein, Tracy Wong, Tor Myhren, John Figone.

Right: "Kozmo.com delivers movies, games, magazines, books, CDs and snacks to your door in under an hour. Our first .com account in Seattle; it was our job to bring that propo-

even on the agenda to talk about that.

sition to life through newspaper, wearing

It just kind of happened. "

only a nightie, of course," said Tracy Wong.

A few talks later, they agreed to each put $5,000 down to start their business. "We said, we've got seven months to pay ourselves back and if we can't, we start looking for jobs," Tracy remembered. "So Pat resigned to Roger and he was very confused. Then I resigned to Roger and he was very confused. Pat left and I agreed to stay and help Roger through the transition. We had a tiny, ro' x 12' conference room in Pat's friend's real estate office.

The first week it was just Pat by himself.

We had all the press releases written and the first day I called him at noon and said, 'Doody? How's it going? Do we have any business yet?' He said, 'Well, it's taken me half the day to figure out the fax machine.' I said, ' Doody, we're screwed!'

Here's a man who's always had assistants and secretaries and never had to fax one document. " Their first client came accidentally.

Marketing director Bonnie Crail of K2

Mark Watson, art director; John Schofield/ Tracy Wong, creative directors; Matt McCain, writer; lridio, photographer.

Magazine ad for K2 shoes. "The challenge here was to find a way to convince snowboarders to buy shoes which actually had nothing at all to do with snowboarding . Our solution was to portray the shoes as an integral part of the snowboarding life-style," said writer Dean Saling. Michael Ivan Boychuk, art director; Tracy Wong, creative director; Ian Logan, photographer.

"The first ad we ever did (sniff, sniff). K2 and Grateful Dead Merchandising produced limited-edition skis with artwork by artist Stanley Mouse, the profits of which would go to the Rainforest Action Network," creative director/ writer Tracy Wong said. "Taking our cue from the Dead, we employed skulls as a way to stand out in the ski books against all of the Ken and Barbies swooshing through perfect powder. The copy is actually the fable by which the Grateful Dead got their name .

This ad ran in January. The skis sold out in February." Tracy Wong/Debbie White, art directors; Randy Allbritton, photographer; K2, client.

' "' ' Investigate muffled cnes coming from barn, weanng only a nightie.

1 :H Loe~ w1

1 :21 Scream

is delivered .

Movies. games. magazines. books, CDs and snacks to your door 1n under an hour At no extra charae . Don't move . We 'll be ri&ht over

*

kozm

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that a weary traveler once came upon a cadre of men pulling a cart wfrh a corpse in it. ~The gr·ou p, it seems, refusrd to bury the man as he had not paid his debts. ~With his last pe.n ny, the traveler paid

the dead man's debt, thus allowing for a proper and decent burial. ~

Later th at

night, the traveler came to rest under a large tree, seeking shelter from a passing thunderstorm. ~Suddenly, a shadowy figure seized the r.il~~~~~~~~~i traveler and hurled

him out from under · the mighty oak just

..- . J:s a bolt oflighming struck it down • ~The figure revealed himself to be "~he grateful dead"· the very corpse the traveler had rescued earlier ~hat day.~ Lege~~· ho~~r, offers no cxplana ti on for the ~h.· ~:t,:;~·:d~:;o-~~Q. ,it,~:::·~;~ byS1 1n lcyMou1t. A portiono(1hc

. ski pictured at right • Sorry. ~~~f;:dN .b1'.;.',~'.u.f.~,·~;r;;;1 ,1,

1

nnru1yo1i1,call l· I00. 971.•oo.

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Skis had worked with Tracy on a freelance basis when he was at Goodby. She called around and tracked h im down to Livingston in Seattle, which, as fate would have it, was right across the Sound from K2's headquarters on Vashon Island . The day she called him in for another round of freelance she though t he was still at Livingston. Instead he reported to the meeting with Pat in tow. Tracy said, "She left the meeting for a minute to go get someone to sit in on the presentation.

Pat turned to me and said, 'Does she know? Does she know we have a place?'

And I'm saying, 'no!' Talk about the Three Stooges. So she came back and we spilled the beans. We did the presentation. We got the account. And we had them for two years."

Their client roster grew to include both national and regional accounts like Alaska Airlines, the Seattle SuperSonics, Fox Sports Net, MGM Home Entertainment, Virginia Mason Medical Center, Foxy Lettuce and the Dodgers . Agency billings are now close to $75 million. The Seattle office has gradually grown to 32 staffersthey moved from the conference room into their own space long ago. They're still there, but they've taken over additional space three times since. There are 34 WongDoodiens in Los Angeles, most of them new hires in the last year.

Wong, 40, attended the University of Oregon, at first as a graphic design major.

"It was all about colors and shapes, " he said, "and not as much about thinking.

Conceptual thinking was kind of lost in the colors-shapes-leading-and-fonto' -the-day. So someone convinced me to move to the journalism school to be an advertising major, which required that I had to take a lot of liberal arts. I did a lot of writing, took a lot of arts and letters and philosophy. I've found that the more you know the better for advertising. When you look for creatives, it's always nice to [ CONT I UED ON PAGE 86] 82

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This page: TV spot for Seattle Supersonics. " What started out as a simple TV assignment announcing home games were moving from pay-per-view to free TV turned into one of the most copied sportsmarketing campaigns in recent memory," said creative director Tracy Wong and writer Dean Saling. "Real people plus real athletes plus total spontaneity equals potential catastrophe . We think Nate left with something like a $1,500 order. " " Nate" :60 Title card: The Sonics are coming to your home.

(Open on Nate McMillan entering a living room.

Women scream) Nate: I heard there was a Tupperware party going on here!

Tupperware Lady: There is a Tupperware party!

Nate: My name is Nate McMillan and my favorite piece of Tupperware is the Cake Taker. I love making cakes.

(Cut to Tupperware lady demonstrating the patented lid " burping " technique for Nate) Tupperware Lady: And you push and you ' ll hear a burp. (Cut to Nate raising his hand) Tupperware Lady: Yes? Nate: Can you wash those in the dishwasher?

Tupperware Lady: Yes you can . Thank you for asking . And what's really great about the Remark-aBowl is that the outside of it is rubberized . It feels like a basketball.

(Cut to Nate feeling his basketball. Cut to Nate and women enjoying some refreshments) Nate: Mmm ...That's pretty good!

(Cut to woman asking Nate questions) Woman: And you play quarterback, right?

Nate: (Surprised) I play q .. . what?

Title card : See them in your home.

(Cut to Nate leaving, loaded with Tupperware) Nate (VO) : I appreciate you having me.

(Nate starts dropping pieces of Tupperware) Nate (VO) : Do you have a box or something?

Title card : 56 games on free TV. (Cut to Tupperware Lady holding Sonics logo) Tupperware Lady: Go Sonics!

Frank Clark, art director; Tony Ober, director; Joyce Schmidtbauer (agency)/Brad Lenz, producers; OberLenz Films, production company; Jeff Kesler, Rocket Pictures, editor; Vince Werner, Clatter & Din, sound design.

Right: Magazine spread for Proflex bicycles. " Our mission was to create a brand personality from scratch - while explaining the bike's benefit in plain English - all in one ad," said creative director/art director Tracy Wong . Craig Hoit , writer; Steve Bonini, photographer.

Ad for Psygnosis games. " Anyone who 's worked in the 'fire-fire-fire, maim-maim-maim, kill-kill-kill' video game category knows how hard it is to stand out from the hundreds of ads featuring blooddrenched screen shots," explained Tracy Wong , creative d irector/art director. " So we hired DC Comics and the studios of Jimmy Palm iatti, former artist for Spiderman and co-creator of Ash , to bring the game to life." Craig Hoit, writer; DC Comics/ Atomic Studios, illustrators.

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WONGDOODY This page: TV spot for Del Taco. "For years, Del

Right: TV commercial for MGM lnteractive's War

Taco had no real brand, no real message and no

Games. "Just another video game involving

real personality," said Mark Watson, art director

global warfare, machines of mass destruction

and Dean Saling, writer. "Overnight we sought to

and lots and lots of explosions . Yawn. What ' s

correct that with 'The Legend of Del Taco,' where

an agency to do but turn to legendary West Coast

we created a hero whose mission was to 'Bring

car salesman Cal Worthington," said art director

Better Mexican Food to the People.' Del waged

Michael Ivan Boychuk and writer Dean Saling.

war against the evil, oppressive Commandante,

"We paid homage to his trademark shtik - with

a vague reference to the taco chain's leading

a little Patton thrown in for good measure. One

competitor."

of the most popular spots on the agency reel , despite the fact that Pat wants it off."

"Body Double" :60 (Open on the exterior of a run-down hotel in a

" Liberty Bill" :45

small Mexican village. Villagers scatter as the

Music: "The Ride of the Valkyries" played on a

Commandante and his henchmen stomp toward

banjo, in and under.

the entrance. Cut to a nervous front desk clerk,

(Open on crappy video of a used car dealer type,

eating a taco . Cut to the Commandante and his

with a slight military air, cavorting with a pig)

men bursting through the door)

Anncr (VO): Here's Liberty Bill and one of his

Super: The Legend of Del Taco.

grunts!

(Cut to clerk looking up from his taco, alarmed.

(Cut to Liberty Bill superimposed over a used car

Cut to the Commandante and his men. The

lot, full of military vehicles)

Commandante grabs the taco out of the clerk's

SFX: Explosions throughout.

hand and crushes it)

Super: Liberty Bill's Military Hardware Mart.

Commandante: Where is Del Taco, old man?

Bill : Howdy folks! Liberty Bill here and guess

Clerk: D-D-Del who?

what I got for you this week?! A whole shipment

(The Commandante slams the taco remains

of slightly pre-owned military assault vehicles!

down)

(Cut to bad handheld drive-by of tank)

Commandante: Never mind, we'll find him

Super: Various supers like " no money down!" and

ourselves. Vamanos!

" no credit? no problem!" appear.

(The Commandante turns toward the stairs. Cut

Bill: Lookie here! An M1 tank! Guaranteed to turn

to the clerk. Cut to Del Taco in his room)

heads from Bosnia to Beirut!

(Cut to drive-by of helicopter)

SFX: A stair creaks.

(Del glances up from his book. Cut to the

Bill : And here's a cobra gunship! No money down,

Commandante's boots hitting the stairs. Cut to

just $999,995 a month! Credit is not a problem!

Del, drawing his knife. Cut between scenes of the

(Cut to drive-by of armored personnel carrier)

Commandante and his men climbing the stairs

Bill : And look here! An APC - fully loaded! One

and Del at a cutting board speedily chopping

owner, thousands of kills!

fresh vegetables. Cut to the Commandante and

(Liberty Bill springs into frame)

his men, now outside Del's door; he knocks on

Bill : Why keep up with the Joneses when you can

the door with the butt of his gun)

blow ' em to kingdom come?!

Commandante: Housekeeping!

(Cut to gameplay footage)

(Cut to interior shot of the door to the room. The

Anncr 2 (VO) : Getti ng into a vehicle of mass

Commandante kicks in the door and he and his

destruction has never been easier. WarGames.

men storm into the room. Cut to a man-sized

(Cut back to Liberty Bill holding the pig . Now,

lump on the bed under a blanket, with Del's hat

more explosions are happening all around him)

and boots at either end)

Bill: Hurry on down! These babies are going fast!

Commandante: (Evil snicker)

Supers: WarGames and PlayStation logos.

(Sword in hand, the Commandante throws back

Tracy Wong, creative director; Tony Ober,

the blanket, revealing a giant macho combo

director; Joyce Schmidtbauer (agency)/ Brad Lenz,

burrito)

producers; OberLenz Films, production company;

Commandante: A macho combo burrito?!

Jeff Kesler, Rocket Pictures, editor; Vince Werner,

(Cut to product shot)

Clatter & Din, sound design; Zach Paul, Modern

Anncr (VO): More than most hombres can handle,

Digital, special effects.

it's the macho combo burrito.

(Cut to the henchmen devouring the burrito) Commandante: After him, you fools!

(Cut to view through the window of a hatless and bootless Del on the street below. Smiling, he salutes the Commandante, then walks off) Super: Del Taco logo.

" Believe it or not, Kurt and Rob Widmer are two brothers who still painstakingly brew every batch of beer by hand. In an effort to brand the Portlandbased brewery, we created a mysterious third brother named Russell ," creative director John Schofield explained . " We set out to find him with the postulate - If two brothers can make a beer

Tracy Wong, creative director; Richard Sears,

th is good, imagine how good it would be with

director; Craig Potter (agency), producer; HKM,

three." John Schofield/Tracy Wong, creative

production company; Chan Hatcher, Cosmo

directors; Jason Black, art director; John

Street, editor; Vince Werner, Clatter & Din, sound

Schofield, writer; lridio, photographer; Larry

design .

Jost/Robert Keding, illustrators.

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,

i

., .· ,

\

'

~

'Gimme three steps' as much as the next guy. But we have rules."

The tinny, long distance phone NICE RUG

call was the final step for Kurt

Apparently Russell didn 't buy into the life-style completely.

This faJa monk's wig was found under his bed after he was asked to leave.

and Rob Widmer in chasing down a promising lead in the search for their rumored third brother, Russell . It began when a

sashes. He called them "action

rash of Russell sightings began to trickle in from Europe. Diisseldorf.

Baden Baden. Geneva. Lucerne.

The trail eventually led to a

nH: MESSAGE IS CLEAR

monastery high in the Swiss Alps

Found in the monastery's arts and crafts

the monastery PA. He was leading

and to a group of cloistered monks

=~u':i(;i::;~7~;::~:e;.":f::.::.s

some of his fellow brothers in what

known as " Brotherhood of the

message of peace, luue and beer.

he called the "Monkarena" when

Blessed Hops." These monks are noteworthy because

he was caught and abruptly asked to leave. Think

along with their strict

of'.it. Russell is out there somewhere with centuries

diet of muesli and daily

of the monks' brewing secrets locked away in his

prayei; they brewed beer.

frontal lobe. It's stories like this that fire the

FORBIDDEN PLEASURES

Russell was reprimanded on two occasions for bringing corn nuts and Widmer Hefeweizen to evening chant. imaginations of Kurt and Rob Widmer.

It boggles the mind when you think of what

to keep hope alive. If you have any information about this mysterious third brother, contact us at thirdbrother.com.

Until then, keep your eyes open and your Hefeweizen cold. nH: MOTHER Of lNVENnON

Mounting delicious Hefeweizen to his head with this apparatus freed Russell's hands to play the "air guitar." Critically important during the guitar solo in "Freebird."

VIS DA LIZE ~~;RUSS Ell third brother.com C 0 M M U N I C A T I 0 N

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find an English major who's been wander-

on a project, but if you have the chance

ad they say, 'Hey did you see that ad?' It

ing around awhile getting experience rather than someone straight out of the chute from ad school."

he wants you to make an award-winning table tent. He's like a nuclear power plant.

becomes a form of entertainment. So we

He's not hard on you. But he expects you

Ogilvy wrote a whole book on creative

He then went to Art Center College of

to do well. I loved the craziness."

philosophy. Pat said we didn't have enough

Design in Pasadena, graduating in 1984.

He remembers, "While I was at college,

Tracy's approach to work is simple. It's work. "It's tough on a personal life," he said. "But you just don't stop. The work is never done. You have deadlines so you have to present, but you keep going. It drives Pat and the clients crazy. We keep changing the script, changing the edit, changing everything until the last minute because we know it's like art, it's never perfect. You have to keep moving, trying to make it better or come up with better ideas . We'll push deadlines to the max.

It can be an infuriating process, but that's how we work."

time so we have three words that Pat came

everybody said, go to Art Center, go to Art Center-I got sick of hearing it. I figured if I didn't get in, I'd be screwed.

I got in on the second try."

After Art Center, Wong headed east where he landed a job at Ogilvy & Mather New York. "They were about ten on my list," he said. "My first day there I knew I was in trouble. I was there for rhree-anda-half years and I learned my hardest lessons there. Creatives who have worked only at creative agencies-good agenciesrheir whole career don't understand how awful it is out there. How tough it can be."

Employee number three, senior art director Mike Boychuk, moved to Los Angeles two years ago to open WONGDOODY with Wiener. He knew what it was like to work at an agency in its infancy.

"There were three or four of us in the office and we're all working over each other and ducking under each other and you've got three hours to do three days' work. Tracy and I went through periods in Seattle where we would work all night at least once a week. To Tracy, a table tent is as important as a national TV campaign, it's no exaggeration. Sometimes the deadline dictates how long you work 86

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Senior writer Dean Saling added, "Tracy's got this really strong philosophy that everybody's opinion is important. Everybody's view of the work should be taken into consideration. With just about every assignment, he'll say, ' Did you show this to Laurie the bookkeeper? Have you run this by anyone?' If we're in an editing suite, he'll want to show people in other suites working on other stuff. Or there will be a guy walking by and Tracy will tell us to grab him and show him the work. It's great because sometimes you get tunnel vision or you get so focused on what you think it should be. " The creative director asserted, "People hate advertising. They hate it by nature because it is intrusive. They do not ask for it.

They do not want it. But if you do a good

try to adhere to that principle. David

up with: relevant, likable and unexpected.

Most advertising is relevant, relevant, relevant. It has to be likable, too. If I see a commercial for Tide that's very funny, I'll walk down the aisle and I'll buy it. The last thing is unexpected. Because you can have an ad that's relevant and likable, but they can still forget it. Ir's like eating fast food. You have to turn things on their head. Some of the better stuff on our reel has that."

Whatever the rules at WONGDOODY are, they seem to be working. One of them is low overhead. Doody explained, "We abhor overhead. We think that having a fancy office is a waste of time. In every year of WONGDOODY's existence, we have given Christmas bonuses to every employee. In the last two years, we've matched 401(k) contributions 100%. We don't want to have a marble lobby. We want each employee to get their Christmas bonus. " So again it comes down to people. Doody said, 'Tm the designated sap. I feel like I won the Tracy Wong lottery." •

This is still too low to hide your gun.

Left: Outdoor board. "When adidas opened a

Assistant: Spiritual renewal?

retail store in Seattle, we noticed they weren't

Trainer: Not now.

doing any advertising to support it," writer Dean

(He tosses off that one and motions for another)

Saling said . " We comped up this idea and were

Assistant : The Desire to Win?

preparing to approach them about running it, when the client called Pat Doody to say they

Trainer: Perfect!

(The trainer sets the tiny plastic figure in front of

really needed some advertising to promote their

the wheezing runner's face. It speaks)

new Seattle store. Quite possibly the quickest

Wooden (VO) : The courageous struggle for a

turnaround in ad history." Tracy Wong, creative

noble cause should be considered success in

director; Pam Fujimoto, art director/illustrator.

itself.

This page: TV commercial for adidas. "Adidas had just won the license to provide all team apparel

the pit, splashing the two trainers as he sprints

(With that, the runner is revived and leaps out of

and footwear for UCLA. Our mission was to

off and catches up to the pack)

connect adidas with the University's longstanding

Trainer: Powerful stuff.

heritage of winning across a myriad of sports,"

Title: The spirit of greatness. The spirit of UCLA.

said Tracy Wong, creative director. "This was no

Super: adidas logo.

small task considering those sports range from

Michael Ivan Boychuk, art director; Tor Myhren/

water polo to concrete canoe building . To simplify

Don McKinney/Tracy Wong, writers; Hank

things, we chose the legendary John Wooden, former men 's basketball coach, as the supreme

Chantal Houle, producers; Hungry Man, produc-

symbol of what it means to be a Bruin . His Obi-

tion company.

Wan Kenobi-like spirit permeates everything that is UCLA. Coach Wooden's sayings, which address all aspects of life, are gospel on campus. His 'Pyramid of Success,' though written decades ago, still hangs in freshman dorm rooms. The first wave of adidas/UCLA apparel sold out in less than two months."

Perlman/Young Kim, directors; Brian O'Rourke/

Mothers Against Violence in America outdoor board. "MAVIA (Mothers Against Violence In America) deals with issues of violence and how they relate to children. This billboard was in reaction to an NRA convention taking place in Seattle. MAVIA's communication goal was not about gun control, but about making trigger locks

"Steeple Chase":30

mandatory for all handguns. The message was

(Open on a steeple chase race at a track meet.

when children are around, no gun is safe in a

We close in on a UCLA runner in the middle of

home," said creative director Tracy Wong. Blake

the pack who appears to be at the point of

Firstman, art director; Jeanne Ivy, writer.

exhaustion and is rapidly losing ground to runners around him. As he jumps atop the hurdle just in front of the water pit, he collapses and falls into the water as the rest of the runners pass over him. As he lays there half-submerged in the water, a crusty old trainer and his young assistant run over to him) Assistant: Should I get the oxygen?

Trainer: No. (The trainer waves his hand in front of the runner's glazed-over eyes) Trainer: We need Coach Wooden .

(The young assistant trainer opens his equipment bag to reveal a dozen tiny Wooden figurines inside. The trainer turns to the assistant and holds his hand out) Assistant: Family values?

Trainer: Something stronger.

(He motions for another)

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

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A

dorning the walls of Wendell Minor's studio, in the rural town

of Washington, Connecticut, are paintings and prints depicting the Grand Canyon, the Florida Everglades and Alaska's sled dog country. They're all souvenirs of book jackets and pages that he has recently illustrated. The pieces provide an <Esthetically appealing entry into Wendell's world, which, illustrationwise, is dominated by projects from major book publishers-ranging from David McCullough's lauded biography of President Truman to ti des by Jean Craighead George who specializes in lushly-drawn, nature-oriented books for kids. On a wall near his computer (he uses it mostly for

Wendell Minor

BY MICHAEL KAPLAN

scanning and touching up black-andwhite and color sketches for presentation, as well as designing the layouts for his covers and children's picture books) hangs a poster for his book Art For the Written Word: Twenty-five Years of Cover Art.

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turn a well-written book into a moneymaking entity. "Covers are obviously important for selling books because publishers spend so much time worrying about them," says Minor. "And covers are as important in the prepublication process as they are after publication.

You can't take a stack of manuscript

Speaking in an accent that retains a hint of his Midwestern upbringing, wearing jeans and cowboy boots, lean and energetic Wendell Minor, who thinks of himself as both a problem solver and an

a cover today is like running through a gauntlet lined with 30 people: Can you make it to the end?" Despite the above

artist, refers to his artist's statement in Art For the Written Word to explain his philosophy of the picture as narrative. It is " ... an image frozen in time that sets the stage for the action that follows; a

acknowledgment, way more often than not, Minor makes it.

Minor's personal road to the world of

picture that invites the viewer into it and

pin turns. Raised in the Midwest and

offers up a sense of mystery.... A good picture, like a good story, is timeless."

educated at Ringling School of Art and Design in Sarasota, Florida, he began his

book illustration was filled with a fair number of stumbling blocks and hair-

Minor explains the fundamental prin-

career as a greeting card illustrator and

ciples he feels are essential for a good narrative picture: "Style should not

later, in 1968, when he was 24 years old, became a book cover designer. "Back

exceed concept for the sake of trends; elements in the composition should be kept to a minimum; the visual message

then I didn't think I had what it took to do book illustration," he now says. As a

should be ambiguous enough to allow the reader to participate with his or her own imagination; the image should honor the story, honor the written word!"

ing frustrating. He longed to illustrate.

his books become bestsellers only bolsters the case for using him-so much M A y

And Minor does not underestimate the role that a good cover plays in helping to

pages around to book buyers. You sell books based on the cover, that is its icon.

Barnes & Noble and the major chains have input on the covers. I've had covers rejected because somebody at a major chain didn't like it. Let's face it, doing

In the book business, Minor is known as the man to turn to when a tide requires a prestigious look that retains a certain narrative edge. The fact that many of

88

so that McCullough has a contractual clause for Minor to do his book jackets and Pat Conroy routinely requests that a Minor illustration adorn his titles. Why is Wendell Minor's work so appealing to these prestigious authors? "The narrative art form communicates to masses of people," explains the illustrator. "It is not elitist art. People connect with it. "

designer he did as many as 172 covers in a single year, but the work was becom-

Right: "Cardinal is one of a series of three pieces for Natural Wonders's annual Christmas CD, and was used as the cover. The other two images used were a sleeping fox and a white tail deer resting under a snowladen hemlock. Scott Kellner, the art director, created a very elegant design for the series.''

Scott Kellner, Sugo Music, art director. 71/4 X 101/4, watercolor on cold-pressed paper.

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~

Wendell Minor

t

"The seminal moment happened for me

the book Sierra-is a subtle thing, "

in 1974 when I went to Santa Fe and spent an entire summer painting landscapes, " remembers Minor who now works with

explains Minor who recently wrote and

pencils, gouache and acrylics (often in that order, as the drafts approach a final).

"I came back to New York City [where

illustrated. "For the Grand Canyon

illustrated a book called Pumpkin Heads, the second book he has written as well as book" -titled Grand Canyon: Exploring a Natural Wonder-which represents his

Minor lived at the time] with a whole new

debut as a full-blown author, "I went

feeling for painting. I decided to focus on

and did the illustrations right there on

illustration, my income initially dropped

the spot. Hopefully people can tell from

like a rock and I began building it up."

the work that I was there, but just hav-

The Santa Fe experience was so impor-

ing been on-site does make me feel more

tant to Minor that he still makes a prac-

comfortable. "

tice of taking time off, leaving the studio

In a world where book jackets, often

behind and painting outdoors. "Observ-

high-concept efforts created on comput-

ing nature is the best way for me to learn,"

ers, function largely as point-of-purchase

he says. "It's like practicing scales on a

advertisements and have little to do with

piano. People who paint only from pho-

the actual content of the book, Wendell

tographs tend to know less about light

Minor is a bit of an anomaly. But that's

and natural colors. "

OK, for he feels that he is carrying on

Obviously this approach to art works

an important tradition. "My heroes are

well for Minor. Not only is he a star in

the great narrative illustrators from

the world of book cover illustration, but

Howard Pyle to N. C. Wyeth to Maynard Dixon," marvels Minor, who himself is

he is also making a name for himself as one who does detailed illustrations for

represented by two galleries and has 300

nonfiction books aimed at the juvenile

pieces in private collections. "My early

market. This is evident in the stunning

art education consisted of checking out

job he did on a recent reprint of Call of

Saturday Evening Post covers at the local

the Wild. "Next, for Scribner's Classic Series, I will be doing Red Badge of Courage," Minor says with no small

American history-oriented, and that has

amount of pride. "I am working with a

large degree illustration has evolved into

Civil War reenactor in Gettysburg. I will

being decorative or caricature. But everyone loves a good story, and I believe that

get everything I need from going down there and watching a battle being reenacted. " For Everglades, a book on the Florida Everglades, he spent two weeks there doing research and reporting. And the model for a book he's illustrating on Abraham Lincoln is an actor who often portrays the 16th president. "For me, going to the place-I hiked, photographed and sketched the Sierra Mountains for 90

M A

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drugstore. Now I do things that are very not been so popular in recent years. To a

every picture needs to tell one. " •

Right: Paperback cover for To Kill a Mockingbird by Harper Lee. "Jackie Meyer called me one day and asked if I would consider repackaging Warner's paperback edition of this great American classic. Their current cover at that time resembled a miniature box of laundry detergent: a bright yellow background with an orange starburst proclaiming 'over 13 million sold.' Creating a new image for a longestablished classic was a challenge. The visual metaphors that I used create a picture that sets a tone and a sense of mystery for the viewer. Only by reading the story can one add the 'missing' pieces of the puzzle to the cover image. I'm happy to say this cover has been in print for thirteen years, and is one of my mostrecognized images to date." Jackie Meyer, art director; Warner Books, Inc., publisher. 7 x 7, acrylic on Masonite41> panel.

"Spitz is one of fourteen interior illustrations for Scribner's new edition of The Call of the Wild. I was given complete freedom to interpret the story as I saw fit, and spent a great deal of time studying the period of the Yukon Gold Rush of 1897. Establishing a strong sense of time and place is seminal to my work. My first ride on a dogsled in Barrow at 40-below zero certainly gave me an inkling as to Buck's hardships." Ann Bobco, art director; Caitlyn Dlouhy, editor. 71/2 X 101/2, watercolor on cold-pressed paper.

"Whale Camp, interior spread for the book Arctic Son, the story of author Jean Craighead George's grandson who lives with his family among the lnupiat Eskimos in Barrow, Alaska.

Little Luke learns all about the lnupiat culture from one of the village elders and spends a day at whale camp to witness the harvest of a Bowhead whale . Jean took me to Barrow so that I could see and experience the great frozen tundra firsthand." Ellen Friedman, art director; Katherine Tegen, editor; Hyperion Books for Children, publisher. 181/2 X 111/2, watercolor on cold-pressed paper.

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92

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Wendell Minor Left: Farmer on 4020, interior spread for the book Heartland by Diane Siebert. "While I was working on the paintings for Mojave , I asked my editor if Diane Siebert would be interested in writing a poem about the rural Midwest. Siebert immediately responded with Heartland. This book represents my family ' s farming history in Illinois . I returned home with a sketch book and trusty Nikon• to gather inspiration by traveling throughout the countryside. This trip proved to be so successful that I have continued the practice with every book project since." Al Cetta, art director; Pam Hastings, editor; HarperCollins, publisher. 321/4 X 201/2, acrylic on Masonite• panel.

One (formerly titled Lily Pads), interior spread for the book A Lucky Thing. "This image is one in a series for fourteen witty poems by Alice Schertle. All the poems deal with the creative process of writing and observing the natural world. The book opens with an image of a girl writing a poem in a barn loft. A sheet of paper drifts out the window. In each subsequent image the sheet of paper appears and visually ties the poems together." Michael Farmer, art director; Linda Zuckerman, editor; Browndeer Press/Harcourt, publisher. 18 X 103/4, watercolor on cold-pressed paper.

This page: Flag Barn. "Yankee magazine used this image for their July issue cover. It is a detail from a painting originally done for the cover of Heartland. I repainted the detail as a larger original for Yankee ' s use. This image has subsequently been used on a coffee mug, greeting card, mousepad, T-shirt, etc., and has become one of my signature paintings." J. Porter, art director. 9 X 12, acrylic on Masonite panel.

Limited-edition poster for Springdale Graphics. " Martha's Vineyard represents one of a series of three personal paintings produced as limited-edition posters. I'm fascinated by the abstract shapes of man-made objects and their relationship to the environment. I find Charles Sheeler and Edward Hopper very inspirational to that end ."

Janine Mayhew, art director. 23 X 131/2, acrylic on Masonite panel.

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

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Wendell Minor

Left: Book jacket and paperback cover for Truman. "David McCullough requested that I do a portrait of our 33rd president for his best-selling biography. The publisher wanted to use a black-and-white photograph, but David felt that Truman's life required a cover image with a narrative.

Grant Wood and Thomas Hart Benton came immediately to mind when discussing the cover concept with the author. Truman's journey from 19th century rural Missouri to the 20th century, and the White House was incorporated to create a timeline. Truman's profile growing out of the landscape gives the viewer the impression that he was a man with solid grass roots; a man of character and common sense." Frank Metz, art director; Simon & Schuster, Inc., publisher. 93/4 X 141/2; acrylic on Masonite panel.

The Snowy, interior for Atlantic Monthly magazine. "In a poem about a captive snowy owl in a small dark cage, the poet muses about this wild creature in its confinement, and wonders whether the snowy is aware of its loss of freedom. I chose to do a close-up portrait of the very white bird, with a stark and neutral background contrasting and highlighting the beauty of the snowy's eyes." Judy Garlan, art director. 12 X 11112, acrylic on Masonite panel.

Nanuq, interior spread for the book Snow Bear by Jean Craighead George. "After completing Arctic Son, Jean Craighead George decided that it might be a good idea to do an adventure story about a little girl in the Arctic. Nanuq is one of a series of sixteen images depicting Bessie's exploits with a polar bear cub out on the frozen tundra."

Anne Diebel, art director; Katherine Tegen, editor; Hyperion Books for Children, publisher. 151/4 X 91/4, watercolor on cold-pressed paper.

This page: Book jacket for The Call of the Wild by Jack London. "I wanted to set the tone for the cover of this new edition by creating an image of the dog Buck, transcending his pampered domestic life in California. The ghosted image of the howling wolf superimposed over the tranquil profile of Buck is meant to capture the sense of the journey that takes Buck from California to the cruel reality of the Yukon, and finally to his discovery of his primitive origins. The Call of the Wild has been illustrated in color only twice before in its nearly 100-year history: the 1903 edition was illustrated by Philip R. Goodwin and Charles Livingston Bull; the 1912 edition was illustrated by Paul Bransom. My 1999 edition is the first addition to the Scribner Illustrated Classics line in 59 years." Ann Bobco, art director; Caitlyn Dlouhy, editor; Scribner, publisher. 10 X 81/2, watercolor on cold-pressed paper.

Pan Am Flying Boat, cover for Pan Am Clipper magazine. "Pan Am's brief rebirth as an airline gave rise to its first in-flight magazine since the airline's previous incarnation . This painting was originally used for the cover of a biography of Juan Tripp, the founder of Pan American Airways. The image depicts a Boeing B-314 Flying Boat over the Pacific in Pan Am's glory days of aviation. I regret that the painting for the cover of the new in-flight magazine didn't bring Pan Am better luck."

Kim Miller Franz, art director. 113/4 X 16, acrylic on Masonite panel.

Mojave Hills, interior for the book Mojave by Diane Siebert. Al Cetta, art director; Pam Hastings, editor; HarperCollins, publisher. 24 X 201/2, acrylic on Masonite panel.

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Wendell Minor Left: Book jacket for Family Planning by Michael Z. Lewin, a murder mystery. Sarah Delson, art director; St. Martin's Press, publisher.

9 X 121/4, acrylic on Masonite panel.

This page: Book jacket for We are Still Married by Garrison Keillor; Harcourt also used this image on a poster to promote Minor's retrospective book, Wendell Minor: Art for the Written Word (Twenty-Five

Years of Book Cover Art), 1995, from which this quote by Keillor is excerpted: "I 've been a fan of Wendell Minor's work for years without being aware of it, admiring his book covers and never quite remembering the name. Then he did a cover for me and suddenly he became unforgettable. The book was a collection of pieces called We Are Still Married, not an easy assignment for an artist, what with the pieces being about everything and its cousin. But Wendell plowed through the manuscript and lit on a story called ' Stinson Beach' about a place I used to know north of San Francisco ... My impulse on seeing the picture was to step forward, pick up the typewriter, haul it down to the house, and ask if they were missing one. The book's editor, Kathryn Court, and I looked at the picture, accepted it in an instant as is, and that was that. " Neil Stuart, art director; Penguin USA (Viking), publisher.

101/2 X 131/2, acrylic on Masonite panel.

Cactus Mouse, interior for the book Mojave by Diane Siebert. "Mojave was my first foray into the world of children's picture books." Pam Hastings, editor; HarperCollins, publisher. 24 X 201/2, acrylic on Masonite panel.

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

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zines not to mention the countless periodicals on everything from families, motorcycles and men to DVDs, tourism and cell phone technology.

The bottom line is money and large agencies have seen design as a bother since the profit is marginal. But within recent years, quality design has risen to the surface and people, their clients, now recognize and appreciate it. With the support of the European Union, the acceptance of the Euro and the surge of business expected from the Olympic games, the future of Greek design looks bright.

Neither Ralli nor Culver journeyed directly to a career in design. Ralli's path began almost unconsciously while in high school in Athens, through a class workbook. "This slowly evolved

Ralli Culver

BY REBECCA BEDROSSIAN

W

ith a tumultuous history that provided the framework for Western Civilization, Athens, Greece, is now a bustling metropolis built up around classical ruins scattered throughout this city of seven hills. It can be surprisingly chaotic to the non-native, and intense traffic in the crowded city produces heavy pollution which is deteriorating the national

treasures, the most well-known being the Parthenon from 5th century B.C. The upcoming 2004 Olympic summer games has been the catalyst for change in the host city-a matter of national pride-one of the results, a new metro system that not only rivals the London Underground and Paris Metro in efficiency, but surpasses them in beauty and elegance. During the construc-

into quite an elaborate and colorful typographical book as my friend and I exchanged messages, and the names of songs and boyfriends took on mythological proportions," said Ralli. But coming from a long line of Athenian politicians and lawyers counteracted any thoughts of art as a profession. Years later, during her last semester at Boston University where she was earning a B.S. in mass communications, Ralli took a required print media and editing class. "Suddenly, I found myself staying up all night doing logos and booklets, enjoying it immensely!"

A major turning point. She then spent two years studying and compiling a portfolio of graphic design and photography at The New England School of Art and Design, returning to Boston University to get her M.F.A. in graphic design. Today, Ralli's greatest enjoyment in her work, stemming from the school workbook, is creating thumbnails. "I love to let myself succumb to the mysterious process by which mind and soul arrive at solutions. " Her partner in design came from just the opposite background.

Culver was born in Kansas City, Missouri, where she remained until age twelve, the result of her Greek mother's education at

tion, constant delays occurred due to archeological discoveries and now a number of those treasures-urns , plates, vases-are displayed in marble behind glass at the stations.

the Kansas City Art Institute where she met Victoria's father.

"My mother is an artist, a sculptor, and this instilled in me the need to stay as far away from art as I could. I always drew, but

With its roots firmly planted in Western society, Athens remains at the crossroads of the East and West. Somewhere along the line, it fell behind the West in terms of technological and social progress. It is in this environment, still very much dominated by men, that two women educated in the U.S. started the design

because I have a very controlled personality, my drawings were always meticulous and I would draw and redraw, never feeling I got things 'right.' I always felt I needed a purpose to draw, a reason and a subject," Culver remarked. This intentional steer away from art led her to major in education at Western Washington University in Bellingham, Washington. During her second year, Culver realized she'd been taking classes in

firm of Ralli Culver.

Ioanna Ralli and Victoria Culver founded Ralli Culver in 1989.

Not an easy business to break into since "up until ten years ago there were few design houses and all print design was done by ad agencies. While this is still true to a large extent, the market is shifting and beginning to realize the differences between the two [design and advertising], " Ralli and Culver said. And the market is quite small, compared to the West. Though Greece has a population of only ten million, most intriguing are the numerous magazines and ad agencies that exist. The market is inundated with at least nine TV guides, a dozen fashion maga98

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illustration and design, forgetting education altogether. She then transferred and immersed herself in the University of Washington's school of design, and "after a hellish first year, Captions provided by loanna Ralli and Victoria Culver.

Right: Career newsletter. "This company was created by a group of enterprising economic students. They saw that the only group not covered by the magazines in existence was the student market. They began using students as writers, photographers and sales people. It is distributed free throughout campuses all over Greece and is paid for by advertising." Victoria Culver, designer; stock illustration; +RG, client.

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

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99

Ralli Culver during which we were pared down to 25 students, I found my life's work, " said Culver.

It was in 1988 that Culver returned to Greece, maintaining both Greek and American citizenship, and within the next year, the "small" design house of Ralli Culver came to be. Small only in the sense that they have one full-time secretary and call upon freelancers as they are needed.

Working closely, these two designers focus on print design, from logos to annual reports, and share jobs equally. "We take the job from concept to completion, although we often have no control over the printing, which depends upon the client's preferences," said Culver. They intentionally stay as far away from advertising as they can. "I feel that there is an immense chasm between persuasive design and information design ," she continued. "We try to take on projects that we believe in and where we feel we can make a difference," Ralli added. And this belief often leads them to doing work for educational institutions, galleries and foundations.

The philosophy Ralli Culver adheres to is creating design that is clear and direct as well as interesting. "As our eyes are so often bombarded by hideously vulgar and loud things-whose sole aim is to create a need that everybody would be better off without," they remarked, "we try to concentrate on design that is minimal, clean, straightforward and subtle, and that hopefully raises, rather than lowers, the cesthetic sensibility of the viewer. " They start each project together after an initial client meeting.

"We always begin with a brainstorming session, generally writing down anything and everything-even the most idioticthat occurs to us ," both Ralli and Culver said. "We strongly believe that this is where the concepts arise, which in turn lead to new, interesting and worthwhile solutions. " After extensive research, the two women split up to create individual thumbnails. They meet again to divide the thumbnails between them, each taking anything that sparks an interest, not caring whose idea it was originally. Roughs are next and it's only after a subsequent meeting with the client, that they head to the computerdividing up the roughs-and refine their concepts down to three solutions. "Of course, [this] only works when the deadline is reasonable and not when the client is hysterical and demands a finished project in two days. When this happens-

devour anything we can lay our hands on:' While they do miss the professionalism in U.S. business relations, and the security of stronger legal protection, "the human factor plays a more important role, often leading to quite warm and mutually fulfilling relationships and a sense of teamwork," they said.

In Greece, another design challenge is language. Since the market is small, most jobs are bilingual. "First and foremost , Greek is spoken by only ten million people in the world, which means that anything that needs to be communicated to others-and this is often the case-needs to be in English," Ralli and Culver agreed. This affects the overall cesthetics of many projects since the Greek alphabet is exceedingly different from the Latin. "When we have to do bilingual projects, we are presented with quite a few interesting problems to solve, the most important of which is uniformity." Not to mention the lack of well-designed Greek fonts.

Despite the burgeoning design industry in Greece and the promise of the Internet, Ralli Culver intends to stay small.

They enjoy the freedom of working with freelancers and choosing interesting jobs. "Finding a partner like Ioanna early on was truly a stroke of luck. We communicate so well that there has never been a problem that we have not been able to solve together," said Victoria. "We are able to recognize the strengths and weaknesses in each other's work and to profit from them."

Working in an ancient city bathed in intense, beautiful light and surrounded by the serene blue waters of the Mediterranean,

often enough to give you nightmares-one of us takes it and doesn't sleep until it is done. "

the future looks bright indeed. •

The West cannot help but influence the work of Ralli Culver.

Since they were educated in the United States, they feel a part

This page: Victoria Culver (left) and loanna Ralli.

of it. Though both admitted, "There is no doubt that design in the more developed countries is a lot more advanced, and we 100

M A y

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2 0 0 0

Right: "This is a company profile for Sportsman, a group of clothing companies, in order to prepare the company for its entrance into the stock market." Victoria Culver/Epiphania (graphs and charts), designers; Epiphania S.A., client.

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TAEMEYONTAIME THN NOMICOS LINES

TRA YELLING WITH NOMICOS LINES

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Ralli Culver IOANNA

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Left: A brochure to acquaint customers with Nomicos Lines. loanna RalliNictoria Culver, designers/illustrators; Nomicos archives/photostock-studio Kontos, photography.

This page: Front cover of a book of photographs by loanna Ralli. "This book was published as a portfolio to accompany an exhibition of my photographs. As the subject matter was rather t1t66ocu; cpc.noxQpoc; • cp<o>toypocp11r:6c; KUKXoc;

diverse and no title could bring it together, I decided to name the book out of the number of photographs included. This gave me a very good opportunity to play with numbers as a graphic element-something I have always liked. The black squares evolved out of looking at so many negatives. I wanted the book to be bilingual but, on the cover, this posed a problem as it got too crowded. I solved the problem by making the front cover Greek and the back English. Also by reversing the English I avoided repeating the exact same thing and was also true to the photographic process." loanna Ralli, designer/photographer/client.

"We undertook the complete redesign of the Deree College catalog and attempted to create a user-friendly format, having in mind our days as students. All titles and programs are located in the outside margin allowing the student to quickly locate anything they might need. This is a very conservative client." loanna RalliNictoria Culver, designers; American College of Greece, client.

Logo for Farmakidis Architects . "This is an architectural office that designs mostly houses. Their philosophy is very minimal, functional and straightforward, without any decorative or frilly elements. The shapes used are geometric. The idea for the logo evolved out of a house they were designing at the time which has a blind front fac;ade with the only opening being the front door. The steps leading to it were used both as an architectural element as well as leading the eye to the main element." loanna Ralli, designer.

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

A R T S

103

Ralli Culver This page and right: "The client is Epiphania S.A., a mass communications company. This was a redesign of the inside pages of an existing magazine, Members Magazine . It is an expensive magazine whose target market is wealthy jet setters. For this reason, it is sold in very select locations and distributed to the better hotels and by subscription ." Victoria Culver, designer.

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

A R T S

105

PIONEERS

Robert Weaver B

om in Pittsburgh, Pennsylvania, in 1924, Robert Weaver studied at Carnegie Institute, the Art Students League

in New York and the Academia Delle Belle Arti in Venice.

After two years in Italy, he returned to New York in 1952.

"I prepared a book of mural sketches and showed these to anyone who had an empty wall-restaurant owners, hotel managers. I would introduce myself as the muralist. Nobody wanted any murals, so I had to rethink the whole business of how to make a living in New York. I took the same sketches to Town & Country magazine thinking I could get a job as a color consultant. Tony Mazzola was intrigued by this strange, non-commercial style of work. He gave me some manuscripts and I was launched into the career of illustration."

According to Steven Heller, of the New York Times, "Compared to the avant-garde, American illustration [at that time] was a reactionary art form. Weaver recognized the need to fundamentally change the methodology and perception of illustration, and so his rejection of literalism and emphasis on pure form, cut with irony. Weaver was the godfather of the new illustration."

From the late 1950s through the 1970s, Weaver's work appeared in such magazines as Esquire, Fortune, Life, Look, Playboy,

Seventeen, Sports Illustrated and TV Guide. In addition, his illustrations were used in the promotion and graphics of record jackets and featured in books. One of America's most respected illustrators, Weaver received many honors, including Gold Medals from The Society of Illustrators and medals from the Art Director's Clubs of Philadelphia and New York.

As an illustration instructor at the School of Visual Arts for over 30 years and a visiting faculty member at Syracuse University, Weaver passed his concepts on to his students,

This page: Self portrait with shipwreck, 1987. Acrylic on canvas.

Construction workers. 20 X 24, acrylic on board.

Right: Subway poster for the School of Visual Arts. When You Risk Becoming an Artist, You Risk Taking Your Talent Seriously, 1983.

Silas Rhodes, art director; Bill Kobasz, designer. 26 X 40, acrylic on board.

Court Jam-up, 1971. "The painting had to make a statement about the disproportionate number of untried prison inmates to number of judges. I used wooden bars and cloth to heighten the illusion." Neil Shakery, art director; Look, client. 20 X 30, acrylic on wood .

Uncommissioned Men Carrying Glass, 1965. A thin panel of wood, raised several inches in front of the surface, is held in place with highly visible screws and painted green around the edges to resemble plate glass. "This was meant to intensify the illusion of transparent glass being carried by two men simultaneously reminding the viewer that it is, after all, only a piece of wood; that art is an illusion made up of paint and lines." 30 X 20, acrylic on wood.

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PIONEERS

Robert Weaver

urging them to go out into the world and draw real art from real life.

"There is drama in the most ordinary things, if you just pay close attention, " he said. His philosophy of teaching had a tremendous impact on younger artists and on the illustration of recent decades. His development of multiple-image serial illustration continues to have an effect on the way illustration is practiced today.

"You develop your own vision by looking at and admiring certain characteristics in other people's work. For me, it is the work of certain painters.

Degas, for example-the way he composes. This helps me when thinking about a montage. The key is to keep the number of images very limited. I don't like to overstate things. The minute

~o

you do that, a certain part of the mind clicks off. I was one of the first people, I think, to use two or more ideas within the same frame, to violate the sense of natural relationships.

The thing is to find something surprising and different in each assignment. There are some people who always surprise you, and that's why you continue to look at their work."

As a result of several cataract operations and glaucoma, Weaver struggled with fading vision in his later years, but he continued to work every day and adapted to his physical constraints by

wearing industrial-strength magnifying goggles.

Weaver died in 1994· An exhibition at the Norman Rockwell Museum in 1997, "Seeing is Not Believing: The Art ofRobert Weaver," contained original paintings, collages, three-dimensional boxes, drawing books and tear sheets representing the broad range of Weaver's commercial work. Stephanie Plunkett, co-curator with Marshall Arisman of the exhibit, said of Weaver, "Robert Weaver brought a clarity of vision and a depth of emotion to all that he created, whether it was a personal or commissioned work. His commitment to the turning page and his refusal to distinguish between applied and fine art has inspired many, making new forms of expression in illustration possible." •

This page: Cop, 1966, for New York, supplement of the World

Journal Tribune. Weaver spent twelve hours at the 24th Precinct, New York Police Department, making on-the-spot sketches.

Some were published as sketches, others were reference for paintings. Peter Palazzo, art director. 14 X 14, acrylic on board.

Right: Woody Allen, 1973. "The thought here is that the subject won't stay still." Cover for the New York Times Magazine. Ruth Ansell, art director. 20 X 30, acrylic on board.

Uncommissioned People in Caged Box, 1965. 58 X 58, acrylic on canvas.

Dugout Drawing, 1962, pencil on paper. One of the many sketches done for a spring training article commissioned by art director Richard Gangel for Sports Illustrated.

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SE PH ORA

b eaut y is h o w y ou see it

Jrag rancts • COS mttics

b eauty is how yo u see it

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Exhibit The Exhibit section appears in the January/ February, March/April, May/]une and September/ October issues of Communication Arts and features a selection ofinnovative work in the various fields of creative communication.

We're looking for new, outstanding, original work. Send samples of your most recent collateral, packaging, print ads, television and radio commercials, direct mail, shopping bags, CD covers, books, trade and museum exhibits to Jean Coyne, Exhibit, Communication Arts, no Constitution Drive, Menlo Park, California 94025-no7. 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: Two print ads for Sephora created by DDB New

York. "The assignment was to launch a relatively unknown European beauty retailer in the U.S.," said writer Kate Murphy.

"Sephora allows the consumer to create their own ideal of beauty. It's an open, inviting place where color is the first and most lasting impression. The words that best describe the experience are mystery, discovery and knowledge, the experience of personal interpretation. The ' inkblot' seemed the perfect fit. We've learned that people not only understood what the brand message of Sephora was, the idea of personal freedom and interpretation, but they appreciated the deviation from more traditional beauty advertising. " Di Walker, art director/illustrator; Steven Landsberg, creative director; Steven Landsberg/David Nathanson, co-chief creative officers.

This page: BBDO/Guerrero Ortega posters from

Makati, Philippines. "It all started two years ago when an organization that aids battered women asked for a campaign to address domestic violence, " said creative director David Guerrero. ''A year later, I moved agencies but they managed to track me down and started the development of a new campaign. This stemmed from a personal experience of knowing several women, one of whom is my sister, who used make-up to conceal bruises and other marks caused by beatings. The campaign started out as posters only. Eventually, we were able to have printed ads, and now we are in the final stages of producing TV. The Department of Health is integrating it in their Woman's Health and Safe Motherhood Program."

Cynthia 8auzon, art director; Ompong Remigio, writer; Ph ilip Esc udero, photographer; Tonio Ramirez, illustrator/digital artist; 88DO/Guerrero Ortega, ad agency; Kalakasan , client.

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Exhibit This page: Old Spice Aftershave poster created by

ad agency Saatchi & Saatchi in San Francisco, California. "In an effort to rid Old Spice of its grandfather baggage and gain appeal with a younger consumer, we developed a strategy that could be executed within a target-relevant medium that was low cost and would run during Christmas," said writer Russ Lamoureux. "A large amount of industry interest was created due to the strategy turnaround and the stylistic way in which it was executed. The purchaser's response was very enthusiastic. Initial data indicates, although Old Spice hasn't achieved a new image, the target audience appreciated the tone of the ads and were beginning to see the brand in a new light.

Kevin Samuels, art director; Steve Silver/Curtis Melville, creative directors; Procter & Gamble, client.

KEG-a-QUE P.O.P. and poster from an ad campaign. "How

do you market a little-known portable grill to your largely male, sports-minded target audience?" asked Sean Mullen, associate creative director at Nelson & Schmidt in Milwaukee, Wisconsin. "The solution: Appeal to the most primal masculine instinct-the urge to party. Our creative team crafted a unique campaign that places primary emphasis on the product's role as an essential element in the traditional masculine ritual of tailgating, while also highlighting the convenience and sturdy construction that are the hallmark of KEG-a-QUE grills." Retailer interest in the product has increased with the availability of in-store promotional materials. According to the client, the posters created quite a stir this year at the "Super Show" in Atlanta, the biggest licensed sport goods show in the world and orders were up from the previous year.

Brian Marconnet, art director; Steve Yoder, writer; Mark Gale, creative director; Ricco Photography, photographer; Vicki Sell, digital imaging; Keg Products, Inc., client.

Right: Chicago Mercantile Exchange interest rate calendar cover and spreads. All photography was created by San Francisco, California-based photographer Pierre-Yves Goavec without the aid of Photoshop~ "This is our yearly communications promotional piece," said Melissa Gattuso art director/designer at the Chicago Mercantile Exchange.

"I wanted it to be playful and attractive, while keeping the functionality of offering trading data. " "I worked with Melissa about ten years ago on the company's annual report," said Goavec. ''At that time, I was working in a very different photo style. The new project came after she saw a promo book showing some of my new work. I am finding, more and more, that many designers who have hired me in the past for my first photo style are rehiring me for the new look."

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COMMUNICATION

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Exhibit This page: Public service TV

Alon Shoval, writer; Brent Ladd/Daniel Russ,

announcement. The Peace Council's

creative directors; Peter Darley Miller,

mission is to raise awareness and influence opinion about issues of public concern.

director; Doug Walker/Angelo Valencia, Filmcore, editors; Stiefle & Co., production company; Jais Perez, 525 Studios, colorist;

"It's easy to point out obvious occu-

Jacob Perez, Digital Domain, sound; Ron

rrences of racial and religious discrim-

treatment; GSD&M (Austin, TX), ad agency.

Pippin, Matchframe Post Production, logo

ination," said art director Brent Ladd.

"But there are some thoughts and behav-

Right: Peet's Coffee and Tea pack-

iors that are so common we might not

aging designed by SBG Enterprise in San

even notice that we've acted with prej-

Francisco, California. W ith steaming

udice toward another person. This spot

competition in the retail coffee business,

was produced to enco urage many of us

Peer's Coffee and Tea of Berkeley, Cali-

to reexamine and reassess our everyday

forn ia, is moving into new markets with

actions. The more we talked to people,

a new look. "A few of th e Peer's brand

the more this seemed to be something a

equities were the dark brown colors and

lot of us do-without really thinking

the indigenous patterns," said creative

about it. We knew this spot would res-

director Mark Bergman. "We created a

onate with people. It's an act any of us are capable of doing even if we chink we

new background pattern for chem that has become part of the identity for their

aren't prejudiced. By not identifying the

line of coffees. It is sophisticated, but

driver, the spot suggests chat prejudice

still retains the eclectic feeling chat Peer's

is colorblind. The driver could be a white

has always had. For the teas, we created

mom, a Hispanic teen, an Asian father

five patterns and color combinations, one

or another African-American. We sim-

for each line. Peer's has had very positive

plified, simplified, simplified. Originally

feedback from their regular customers

we had several cuts, music on in the car,

while acquiring new ones as well. "

more sound effects, then we just kept stripping everything back. We didn't want anything to get in the way of the moment the power lock hies. In fact, we went back to the studio one last time after we finished the spot to pump up the sound effect of the power lock going down-if the viewer missed chat, they missed the idea and message of the spot."

"Power Lock " :30 (Open on a shot of an unseen driver pulling up to a traffic light. Looking out through the car window we see various people walk by. A young African-American man approaches the crosswalk . He stops to wait for the light to change so he can cross . At that moment the power lock in the car slams down with a thud) SFX: Loud power lock click.

(The sound is loud enough for the AfricanAmerican man to hear. He's obviously upset.

Dissolve to black) Super: The sound of prejudice.

(Dissolve to the Peace Council logo and tag line) Super: Keep the peace.

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Philip Ting/Carrie Binney, designers.

e-Falcon poster from a series created

by Big Bang Idea Engineering in Del Mar, California. "We were hired co launch the e-Falcon brand and maintain a comprehensive online and offline branding initiative, " creative director Wade Koniakowsky said. "Credit card fraud is a growing problem for e-merchants. It needed a look chat was fitting with the Internet culture and online shopping-upbeat and colorful. In chis context, we delivered the message about the importance of protecting business against e-fraudscers. We cast real people from local bars and got interesting-looking models. The campaign has met and exceeded goals for leads and awareness. " Wade Koniakowsky, art director; Myles McGuiness, designer; Max Godsil/Sheena Brady, writers; Marshall Harrington , photographer.

HE BOUGHT 20 POLKA CDs ONLINE. HIS TASTE MAY BE QUESTIONABLE. BUT ARE

HIS ETHICS?

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COMMUNICATION

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Exhibit

BILL& MELINDA GATES fou n da t i on WILD HAllE

This page: Bill & Meli.nda Gates Foundation identity

logo by Phinney/Bischoff Design House in Seattle, Washington.

"The project came about with the coming together of two foundations-The William H. Gates Fo undation and the Gates Learning Foundation," said designer Dean Hart. "The Bill & Melinda Gates Foundation is different from other, similar foundations in that its founders and benefactors are living. They are well-known personalities with a reputation for strategic vision and achievement. Because of their name recognition, an understated and sophisticated typographic solution was developed.

During the process of developing the identity, the Foundation grew from an endowment of approximately $2 billion in late 1997, to its present size of approximately $2!.8 billion, to become the largest foundation in the world. The identity has received enthusiastic and positive responses and represents the Foundation in a clear and recognizable manner. " Leslie Phinney, creative director.

Logo for the Wild Hare restaurant in Menlo Park,

California, created by design firm Anvil, based in Redwood City, California. "The restaurant has a theatrical ambiance and the signature dishes consist of wild game," said the firm's spokesperson Alan Ratliff. "Anvil worked with chef Joey Altman and his partner Greg Eaton to produce a logo that exemplified a persona of a mischievous character enjoying the good life. " Laura Bauer, art director/creative director; Gary Wong, designer/ illustrator.

Right: American Cyanamid trade ad created by the WestWayne ad agency in Atlanta, Georgia. ''American Cyanamid wants farmers to treat nematodes like the dirt the pests live in," said Alison Bounds, agency spokesperson. "New print and outdoor ads for CounterTM insecticide provide humorous straight-talk about killing pests and deliver eye-catching, vengeful sentiments that piques the interest of farmers." "This ad was reviewed in phone interviews with 225 farmers and three 116

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focus groups in three different locations, for a total of nine one-hour focus groups," said writer Mike Lear. "Then, four weeks of legal copy clearance, not to mention many, many client meetings. It was brutal, but the ad lived. We think farmers will consider the implications of not battling nematodes and add Counter to their insect management program, but we won't know the full success until after the spring purchasing season has ended."

Kelley Conner Lear, art director/associate creative director; Luke Sullivan, creative director; Shawn Michienzi/Joe Paczkowski, Ripsaw, Inc. (headline)/Greg Slater (product), photographers.

Packaging for Zellers's newest truly products. The introduction of the truly private brand in 1999 was an integral part of the overall effort of Zellers, Canada's leading chain of mass merchandise department stores, with over 300 locations in communities from coast to coast, to revamp its approach to brand strategy while keeping price competitiveness as its top priority. Paula Zivot, Zellers's brand manager, said, "The cookies are not depicted as heroic and the image offers a sense of familiarity and accessibility. With the cookies in a cookie jar, consumers can easily identify with the product. For the execution, a cookie jar had to be handmade with colorless glass and parallel sides to avoid optical illusions or distortion of the product during photography. The packaging concept for the shampoo and foam bath transforms the product and creates a bright presence on the store shelves. Innovative factors include the introduction of the perception of depth through the use of inserts. In order to stabilize the insert inks, we melted the image between two wafers of plastic. In addition to the inserts, the bright colors and high-resolution in-house photography made the truly line of beauty products the third best-selling beauty products during their first month on the Zellers shelves."

Cookie packaging: Marty Rudman , art director/designer; Pat Lacroix, photographer; Dollery Rudman Freibauer (Toronto, Canada), design firm.

Beauty products packaging : Darrin Kirby, designer; Canadian Naturals Inc. (Brampton, Canada) photographer/design firm.

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Exhibit Left: Woodwind & Brasswind music store design by the Schafer Team in

Oak Park, Illinois. "The flagship music store, in South Bend, Indiana, was created to be an international destination for musicians, orchestras and bands from around the world," said Mary Beth Velzy, director of marketing and new business development. "The graphic-driven space is cost-effective, flexible, provides brand recognition, celebrates the cultural nature of music and creates a strong personality that can be leveraged in the catalog. Other unique features include: high-tech tryout rooms, humidity and temperature controlled room (protects valuable wood instruments from damage caused by changes in humidity, as well as assuring the accuracy of set-ups and adjustments), coffee bar and state-of-the art warehousing that allows for quick and efficient handling of mail orders."

C HAPTER ONE - "Wit" is the Belgian word for "white and describes the beer's cloudy

This page: Great Lakes Brewing Company small space newspaper ad

appearance that comes from the "wheat" malts.

from a campaign. "Great Lakes takes great pride in their brews-their beers have

C HAPTER TWO - Perfect for summer

won many a world beer championship-and with their advertising they wanted to express that pride by giving the consumer a taste of the history, brewing process, food complements and culture that goes into their beers," said writer Erin Pollock. "As the tag line states, they wanted to give the consumer an 'education in fine beer.' Don't they deserve to know that a Dortmunder has more body and less hops than a Pilsner, and less malt and more hops than a

enjoyment, this light brew delights with its fruit and spice undertones.

PoP Q U 1z - Holy Moses is perfect for drinking when, why, what, where?

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G reat Lakes. An Education !!! Fine Beer. www.areatlaketbrewina .com

Munich style Lager? Their seasonal beers-Christmas Ale and Irish Ale-actually sold-out in stores. In the spirit of the campaign, we set out to create an educational yet fun (it is beer, after all) ad designed to tell the story of Holy Moses, our Belgian-style Wit. What we found during our research was that 'Wit' means 'White,' and it's a wheat beer-the 'What' was our 'Witty' addition to the factual headline. Beer sales are up, a reported 17% increase in sales over the previous year."

Steve McKeown, art director; Greg Thomas, creative director; Kevin Brown, illustrator; Bill Brokaw Advertis ing (Cleveland, OH), ad agency.

One from the Ikea print campaign created by New York City-based ad agency

Deutsch. "We decided people needed to be inspired to update their homes, in the same way they update their clothing or hairstyles, " said associate creative directors Scott Bassen and David Rosen. "Thanks to government-regulated expiration dates, you know when to throw out dairy products. But how do you know when to toss out a sofa? We wanted to make it just as obvious to people that their furniture may have 'turned.' We had seen the green chair at a thrift store and fell in love with it. The next morning the photographer's assistants went to buy it, but the store manager had thrown it away. The assistants actually went into the dumpster behind the store and fished it out. They even went back to the store manager and offered him money; he refused, saying the chair was 'garbage:" Scott Bassen, art director; David Rosen , writer; Cheryl Van Ooyen, group creative director; Kathy Delaney, partner/executive creative director; Mark La ita, photographer.

COMMUNICATION

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Exhibit This page: Favorite Books poster designed by

Loeffier Ketchum Mountjoy in Charlotte, North Carolina.

"Favorite Books is a small, independent bookstore known for its diverse selection and customer service, " said creative director Jim M ountjoy. "But with the general decline in reading, their business has suffered while the video store's has increased. Few people realize that the source for many movies is books. Unfortunately, the beauty of the book version often seems to get lost when it's transferred to film.

Invariably, the plots and characters that filled the printed pages are far better than what Hollywood turns them into.

All we wanted to do was remind people that sometimes you just can't beat the original."

Doug Pedersen, art director; Curtis Smith, writer.

The American Whistle Corporation unveiled its first-

ever branding work from Milwaukee, Wisconsin-based ad agency BVK/McDonald. According to creative director Gary Mueller, the direct mail and P.O.P. campaign centers around the whistle's heritage in American culture. "We met the client on a shoot for Mount Carmel Healthcare which featured little-known fac ts about Columbus, Ohio," Mueller said.

"One of those facts was that the only maker of metal whistles in the United States is in Columbus. While filming in their plant, we got to know the owner and talked to him about the importance of branding. Six months later, we launched the American Whistle's first branding campaign. The whistle has such a great American heritage. It was as much a fabric of our youth as blue jeans and peanut butter sandwiches.

We wanted to build on that heritage and recapture some of the fun and simplicity that the whistle still holds. " Brent Goral, art director/designer; Jeff Ericksen, writer; Nancy Yuenkel , photographer.

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NEVER JUDGE ABOOK BYITS MOVIE.

OH, THE QUAGMIRE OF ASSESSING ENVIRONMENTAL IMPACTS!

Assessing Photography

PHOTOGRAPHER CHRISTINE ARMSTRONG TELLS A TALE OF GOING FROM FILM TO DIGITAL

Part 1: Going digital

BY CHRISTINE ARMSTRONG

PHOTOGRAPHY. HARDCORE FACTS ARE BURIED DEEP, AND

This is one commercial photographer's journey into the never-never land of digital LIFECYCLE ANALYSIS COMPARISO SARE YET TO BE FOUND. STAY TUNED . .. OUR

EXT ISSUE

WILL EXPLORE THE BE EFITS

photography. I am not going to impress you with my fine system knowledge, technical geek-speak language or software tricks. But, I assure you it will provoke a conversation ... or two.

AND DRAWBACKS OF BOTH. MEANWHILE, PHOTOGRAPHER JIM EGAN SHARES HIS ADVE TURES I

GREEN! G HIS DARK-

ROOM, THANKS TO CITY HALL.

BE WELL. ~ Eva Anderson, Editor

have worked as a commercial photographer in Baltimore since 1981, but have been shooting since I was 12.

I started my career shooting weddings and portraits for my hometown studio before moving here to assist an interiors and architecture photographer. Eventually, I ended up as a staff photographer for a large well-established "visual communications" company that has since morphed into an agency, and that is where I like to tell people I grew up as a photographer. I was responsjble for shooting a wide variety of assignments and often worked as part of a photo team, but soon developed a knack for the tedium of small products: jewelry, silver, textiles and still lifes.

Six and a half years later, I set out on my own. After seven years of selfemployment, the last five of which my husband Jess and I worked together, we decided-after much deliberation-to venture into the vortex of digital photography.

Up to that point I was still working on a Mac SE and quite happy with it.

I had loudly announced my misgivings about sitting in front of a computer to take pictures and had a great deal of trouble envisioning "digital files" -

pictures that didn't seem to exist anywhere but on a computer monitor. I was never really drawn to the equipment anyway. The pure physical aspects of photographylenses, light meters, prints in trays of developer, spools of film, 4 x 5 transparencies-were what had always held my interest. But what finally turned my mind around was the seeming "green-ness" of digital photography.

I needed only to think about a single session with our largest client (who was in the studio 17 times a year) . After each 3-day session of shooting, I filled a 30-gallon trash can with discarded non-recyclable film packaging and Polaroid® waste. I also processed 30 or 40 rolls of medium format film ... then there were the final transparencies, the need to edit and messenger them around, put them through the scanning process and create at least one round of film proofs for color approval. At every step, I saw energy and chemical waste, and could see ways to conserve with digital photography.

I realized that, -though I couldn't undo all the damage I may have done to the environment in the pursuit of the perfect frame, the perfect print or the perfect exposure, I could at least begin C 0 MM UN I CAT I 0 N

ARTS

121

again, on an apparently less toxic path.

Then there were benefits that the digital technology offered to my clients: faster turnaround time, ease of product clean up and the ability to copy files without compromising image quality.

Being careful planners, Jess and I decided we could not venture into the technological jungle without a prepress partner. In 1994, while researching the camera equipment and lighting needed for our particular type of work, we explored the possibility of a relationship with an established service bureau to provide the system management and file handling. We felt strongly that most photographers (ourselves included) were not experienced enough to provide clients with dependable color separations. Moreover, the learning curve involved -on top of making such a large investment-was not appealing.

Plus, we didn't want our clients to suffer as we were practicing on their jobs.

A partnership was soon established with a prepress specialist, and within a year, our largest digital client more than doubled their project load. We added staff and soon there were six of us working full time.

Other clients soon realized that digital files were not to be feared. Our color management services exceeded their expectations and we felt we might actually have a shot at helping set some of the new trends in the digital work flow. We were introduced to issues like "Why can't you give me your RGB files and let me do the conversion myself in Photoshop?" and "What do you mean I need to know how big I plan to use it before you shoot?" and 122

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15.6 million dollars spent on traditional cameras in 1997 16.4 million dollars spent on traditional cameras in 1998 .................+5% 0.89 million dollars spent on digital cameras in 1997 • 1.10 million dollars spent on digital cameras in 1998 • +24% U.S.

STATISTICS

SOURCE:

PHOTO

MARKETING

ASSOCIATION

170 million professional color negative films/sheets used per year (declining 3-6% due to digital) 45 million professional color reversal films/sheets used per year (declining more than 6% due to digital) 95 million Square feet of film processed in C-41 (color negative) chemistry per year 20+million dollars spent on C-41 film chemistry 30 million Square feet of film processed in E-6 (color reversal) chemistry per year 1o+million dollars spent on E-6 film chemistry 1.8 billion Square feet of professional color negative photographic paper used per year 68 million dollars spent on professional color paper chemistry 1999 U.S. STATISTICS

SOURCE : DON

"All you have to do to get rid of the background is click a button! Right?"

Without our partnership with Gamma Graphix, our venture into digital photography would not have been possible. They are experienced prepress professionals with superior color management skills and exist on the bleeding edge of prepress technology. Their company has evolved side by side with Armstrong Studio since April 1995 when we put in our first digital camera, a Phase One PhotoPhase, capable of producing a 103MB file. They made it possible for us to consistently provide our clients with superior color on press.

Words of Wisdom: If you are an individual photographer and you plan to provide prepress service to your clients, beware. Camera manufacturers would have you believe that separations are no big deal. Seek

FRANZ,

PHOTOFINISHING

NEWS,

INC.

professional guidance, unless you're sure your clients don't intend to make you responsible for mistakes on press.

If you opt not to seek help, prepare yourself for a lot of work, learning about prepress and digesting tons of technical information . .

If I could whip out a crystal ball and predict what will happen in the next five years, the most significant thing I see is a blurring of the line between prepress and photography.

Color management is also going to become a key ingredient to all successful projects. For most of us, it is very easy to define what is photography, but it's much harder to define what is prepress. There is a trend in the economy to merge, and that includes everything in our industry as well. Services are being brought in-house by the marketing departments of large corporations and manufacturers, and it is no longer unusual for a printer to provide design, photography, prepress, printing and distribution all under one roof. This is all possible today because of the "digital revolution."

The basic problem with these advances is that we are experiencing a move towards mediocrity in segments of our industry. Many are more enthralled by what the technology can do (the "gee whiz" factor) than are concerned

about the finer points in the quality that are being forfeited. Remember: the better a technology is utilized, the more invisible it should become. Prepress is taking the biggest hit right now because of the gee-whiz factor, just as photography did a few years ago. Both will continue to move in a commodity-driven direction and, I fear, we haven't seen the end of mediocrity.

However, I am just beginning to see glimmers of the gee-whizness of the technology wearing off. Art directors and designers who review our portfolio are once again focusing on our images and not the technology we use to create those images. This returning swing of the pendulum is welcome and, from many conversations I have recently had with my peers, multitudes of creative types are beginning to rebel against their computers. The consensus: it's okay to go back to being a creative professional and stop being a computer technician. Plus, there is a fresh generation of people who actually like computers, are good at what they do and aren't really all that interested in shooting or designing. They are coming along just in the nick of time, too, since non-techies need their support.

So relax ... once you start using digital photography you'll wonder why any one would ever want to shoot film again.

Still, I have been told that my grasp of the technology is quite good compared to a lot of my peers, and I will say that I am pleased to be a part of the digital photography revolution. I made the transition because I felt it was a better environmental choice. Big business happens to reap the rewards by default.

One last word on film, however.

Film is still going to be around for a long time. It is sometimes the superior choice for certain jobs and has one distinct advantage over electronic images: your eyes will never become an obsolete tool for reading film. It is a storage medium that is efficient and stable in ways that electronic media are not and its place in fine art circles as a creative medium will likely remain strong

Confessions from My Darkroom

BY JIM EGAN

I've been practicing silver recovery of my fixer for years. I always mix used developer and stop bath to neutralize, then dilute solutions before discharging.

And I've been told by the manufacturer that silver in its photographic compound form was not harmful to biological life. Besides, I only make about

250 8 x 10 black-and-white prints a year.

I can't be that awful a polluter.

But one day, out of the blue, the Narragansett Bay Commission walked into my commercial photography studio and demanded I get a wastewater discharge permit for my darkroom. Besides the $250 annual permit fee, I'd have to install a large holding tank to dilute my chemicals prior to discharge. I'd also need to test it quarterly at an outside lab to insure that it didn't exceed the local limit of .43 parts per million of silver.

I sent my rinse water out to get tested. I was proud (continued next page)

for a long time to come.

But, as long as we work in advertising, we should strive to minimize the waste and pollution we generate, and improve our tools and our attitudes about those tools for the greater good of the world around us.

So, unless you've figured out a way to move to the wilderness and grow

organic herbs to support yourself, strive to integrate the new technologies where you can. I assure you, future generations will certainly wonder what all the fuss was about. Just remember that everything you do impacts at least the next seven generations. Except maybe advertising itself, which affects the next seven seconds!

"My darkroom? Polluting the Bay? Killing quahogs?"

I didn't think so. It never occurred to me.

curious paper collection This issue of ECO is printed on LightSpeck, the world's first white-flecked paper. All sheets are acid-free and made from 75% recycled content with 40% post-consumer waste in an elemental chlorine-free process.

Part of the Curious Paper Collection, LightSpeck offers the look and feel of handmade paper with all the advantages of a mass-produced sheet-excellent print performance and the practical economies of large runs. Eight colors and two basis weights, 70 lb. Text and 80 lb. Cover are available.

LightSpeck is manufactured under strict European environmental standards.

Consideration of environmental issues and the prevention of pollution are an integral part of the process, and the selection of raw materials for the manufacture of LightSpeck take into account their environmental impact.

For samples and details, call Appleton Coated customer service at 888.488.6742.

C 0 M M U N I CA T I 0 N

A R T S

123

of the results: only .02 parts per million of silver-way below the limit.

"Wastewater is wastewater," they declared, "regardless of its parts per million content. You still need the permit -and testing-and then you will be allowed to discharge your rinse water."

I was feeling more like a criminal polluter every day, even though I had been told that the wastewater treatment plant is designed to handle these low dilutions of chemicals.

I talked to other photographers. One had closed his darkroom permanently.

It became a storage room, and now he sends all his printing to the lab. Another had installed the holding tank and gotten the permit, but one time his lab results came back a hundredth or so too much.

They made him do a rigorous series of tests to assure he was back in tune.

I called Kodak, Ilford, Sprint, Calumet.

They all felt the Bay Commission was being too severe, and that I should argue against them. "Fight City Hall? On the side of pollution? That's not me," I retorted.

For several weeks, I was lost in an avalanche of calls about silver recovery, ion discharge, even evaporation units.

I finally reanalyzed. First, I'm not a lab - I only do my own prints because it's frustrating to try to get exactly what I want from a lab. Second, I don't print that much ... only a couple of prints once a week. I send my negatives out because it's faster. Third, with digital photography on the rise, my darkroom could be obsolete in several years. After a negative is scanned into the computer, I can digitally perform all the darkroom tricks to it: burning, dodging, altering brightness and contrast, retouching and much more. Then the lab makes prints 124

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for me that are exactly how I like them.

I put down the pipe wrench and called them back. "Look," I contended, My solution: ship it all out. I now have four 30-gallon drums sitting in "I'll put a permanent partition in my my darkroom. One for developer, one sink making a big dry area for my trays, but I need the drain and a small wet for fixer, two for rinsewater. It costs area as a place to run hot and cold water me about $12 5 each to dispose of them (only $90 for fixer) and I expect the to balance it to 68° prior to mixing up drums to last a year. (I think my prices my processing chemicals." They relented.

I put the pipe wrench away. just went up!) I've contracted a chemical waste recovery company to supply me The inspector came the next day with the drums, then haul them away, and reviewed the detailed explanation of recover anything harmful and end up my new procedures taped to the wall. with "water cleaner My "Processing A chemical waste recovery than a trout stream."

Area" and wet "No To cut down Chemicals Area" company hauls away my on the rinsewater, I were labeled, and lab chemicals, recovers any- above it all, a proud sign declaring it a "Pollution-free thing harmful and ends Darkroom." up with "water cleaner than "You don't even need a permit now," a trout stream." she declared. I smiled. And I knew threw out my somewhere in the Bay, a quahog was smiling too.

1 old inefficient rinsing tank and Despite their annoying persistence, now use a 5-tray I appreciate that the Bay Commission rinse sequence. pressed me to a more ecologically-sound (I bought a rack darkroom. One pure darkroom is not that stacks three going to have a major impact on the of the trays to · earth. But there are a million darkrooms in America. If they'd all clean up, that save sink space.

And I discovwould be significant. But first, give me a ered that resin-coated paper is very well chance to buy some stock in my chemiwashed if agitated for one minute in cal waste recovery company! one inch of water in each tray.) All used black-and-white film processing chemCREDITS istry goes into the drums as well.

Editor/Designer: EVA A DERSO I called the Commission to have Contributing Writers: CHRISTI E them inspect my "no rinsewater down the drain procedure." They said, "Fine, we'll need to see that your sink is not connected to the sewer system at all.

You've got to show us that you've 'closed the loop'."

"No drain? Okay, okay. You've got it," I agreed.

As I took a pipe wrench to my drain, I was really perturbed. "I told them I would not send water down the drain. At some point they have to trust my word.

What's to stop me from flushing it down the toilet or the bathroom sink?"

ARMSTRONG AND ]IM EGA

Contributing Photographers: CHRISTI ARMSTRO

G 410.488.5603 A D

]IM EGAN 401.331.6220

Recycled Paper donated by: APPLETO COATED/CURIOUS PAPER COLLECTIO KIMBERLY, WI

This newsletter is printed on LightSpeck, Haze, 70 lb. Text, a 75% recycled paper with 40 % post-consumer content in an elemental chlorine-free process.

E

ON LIMITED BUDGETS

BY REBECCA BEDROSSIAN

D

esign educates, informs, sells, rewards, packages, delights, satisfies- the possibilities are endless. It's everywhere: in our homes, on the street, at our jobs, on the Net and in

the mail. All signs in today's design community point to a very healthy marketplacestrong business for the coming year-and, for this seventh article in the series, we've concluded the same thing. We contacted 50 design firms from across the United States and Canada to send us their recently completed limited-budget projects. The only criteria for the submissions were that they use no more than r- or 2-colors and were completed for a client. Surprisingly, even though we increased the number of design firms invited to participate from last year, half of them responded that they did not have any work that fit our criteria. A remarkable jump from the year before. While this was cause to worry-momentarily, until the projects came rolling in-for our particular article, it's good news for designers: business is good. A recent TrendWatch report supports this noting that new opportunities are being created in this booming design economy, especially with the Internet and new media activities which offer continuous possibilities.

A wide variety of projects were submitted this yearholiday cards, invitations , annual reports, advertisements, brochures, packaging, letterhead, direct mail, etc-proving once again that creativity does not need a lavish budget or extensive palette to solve design problems and make an impression. Just a clever Uniuer•ll.Y Mu•leal Soelrf.)I and

arrangement of design elements.

Sr.I llneoln -Mrreur,y

Social, environmental and art-related issues and events

P"'•rnr

dominated the types of projects submitted, making it

ALatfahU

clear that these nonprofit organizations work within

tearurins

l••'IU.U.....,.,

tight financial constraints.

This year little photography was used in most of the projects, but when used, it was creatively applied to annual reports. Use of 2-colors and duotones on the black-and-white [C ON T IN UE D ON P AGE 12 8] This page : "The University Musical Society asked us to design a special hand -out program for an upcoming concert by iCubanismo!, a Latin big band," said designer Mike Savitski of Ann Arbor, Michigan-based Savitski Design . " They were looking for something unique to reflect the festive tone of the evening and the fiery nature of the music. And it couldn 't cost much and had to be done in less than two weeks. We designed the program using standard 81/2 X 11 sheets of fluorescent paper run out on a Xerox® Docutech machine, folded at an angle, and saddle-stitched. Turned out the folding machine couldn't fold the angle consistently, so they were done by hand, but the quantity was so low it didn't affect cost. " C 0 M M U N I C A T I 0 N

A R T S

125

designated trout stream in Burnsville? It is one of the few in the metropolitan area. One Mile Creek is located near Blackdog Lake in the NorthEast corner of Burnsville and is fed by

Valley, Burnsville, and Eagan have created ...

Awards for Reduction

I tues.

Parks/Natu ral Resources Commission Meeting 7:00pm

' Waste -aprogram designed to .-.cogni?.< local businesses that

7 mon.

City Council Meeting 7:00pm

make environmentally friendly choices in managing their

9wed.

Black Dog Water Management Commission 4:00pm (BursvillcCityHall)

material resources.

F-or more information

on the ARROW program please

IOthurs.

contact Sue Bast at J

(61 2) 895-4559.

A N U A R Y

Beach Opens 14 mon.

Planning Commission Meeting 7:00pm 15 tues.

City Council Worksession 7:00pm

126

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21 mon.

City Council Meeting 7:00pm

I Ju N E

2 0 0 0

Kids of Summer Begins 24 thu rs.

Burnsvillt/Eagan Telecomm. Commission Meeting 7:00pm (BurnsvilleCityllall)

28mon.

Planning C.Ommission Meeting 7:00pm 29tues.

City Council Worksession 7:00pm

Great Ideas on Limited Budgets Left: "I was asked to create a calendar," said designer Scott Shore. "The concept was to have the audience rethink their position relative to the environment and recycling . Each month

30 days

is unique in design and calendar layout." Scott Shore, art director/photographer; Lure Design (Minneapolis, MN), design firm.

This page: 30 Days film poster. "We were contacted by producer Arielle Tepper to produce a street poster for the premiere of 30 Days at the Toronto Film Festival," said designer Kevin Brainard of New York, New York-based Spot Design.

"Many film posters work hard to distinguish their specific movie with busy Photoshop® collages. Ironically, when displayed side-by-side, they lose their individuality. This poster carries a simple, intimate design . The title urges the viewer closer to consider the question, revealed in teasingly small type, 'How long does it take to change your life?'" Drew Hodges, art director/creative director; Tom Greenwald, writer; Spotco, ad agency; Arielle Tepper Productions, client.

"The People with AIDS/Leadership Training lnstitute's mission is to educate people living with the AIDS disease, empower them to take action and to help each other. We were asked to help create an identity system," said New York, New Yorkbased Two Twelve Associates. "Our first step was to design a logo. We condensed the long title into an acronym, PWA/LTI. We incorporated the idea of the organization's yin yang to symbolize balance and harmony. The circle represents people coming together and bonding for a common cause." Lisa Mooney, art director; Patricia Kelleher, designer; John Hatchett, PWA/LTI, writer; Gloria Baker, photographer; Jean Tuttle, illustrator; Ann Harakawa, director; Alexia Kasko, producer.

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

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127

Great Ideas on Limited Budgets images helped to indicate where the funds of the company went-thro ugh photographs of people-right back to the community.

Working with 2-colors does not always mean that economics are the name of the game. The end result, the cesthetics, dictate the design choices . This was just the case for a Broadway play's preview launch ad. Intended to be used in newspapers, a low-res design destination, the designer chose to work with illustration and typography to create a memorable image that is also an intriguing metaphor for the play's theme of transformation.

Depth, texture or subtle changes to color on press can be accomplished thro ugh paper selection, adding ingred ients to the overall design without adding too much to the cost. This can also be applied thro ugh the use of metallic ink on colored paper, weaving two colors of type thro ugh out a simple page of text, an abstract or unusual cut of paper, the repetition of mo tifs-solutions that do not require additional color.

The purpose of this ongoing series is to show design that is solved with different applications and little expense. W hether paper, typography, archival photography, or use of folding, embossing, metallic inks, the projects show-

e,,,. It ·r V\rnuH't't'r Mtr 1997 /98 Annual Report

cased here prove, once again , that to make an impression, or deliver a message-getting down to the basics is not such a bad idea. •

This page: " Emdoubleyu Design has been working with the Greater Vancouver Mental Health Service Society (GVMHS) since 1991," said art director Matthew Warburton of the Vancouver, British Columbia-based firm . " The client was very happy to see her timeline concept come to fruition and, for me, it was an interesting experiment in organiz ing information and typography."

Ri ght : " A friend asked us to design a hol iday card ," said designer Terri Wolfe, "that featured the client 's two small children . We wanted a sweet shot in the i r favorite costumes and a simple holiday greeting , but when I looked through the contact sheets, th e re was a great shot of the li~tle boy pulling the little girl' s costume tail." Terri Wolfe , art director/writer/ creative director; Karen Meyers, photographer; Wolfe Design (Pittsburgh , PA), design firm ; Chait Family, client. " This was a pro bono project on a shoestring budget," said art director Danell DeYoung Murdock. " We sent a packet of 'alien seeds ' (small candies) inside of the invitation so the re c ipient would have candy for the sc reening . Th ere was a full house for the scree ning and over $10,000 was donated to t he Motion Picture and Television Fund. " Shawn Hansen/Joe Esquibel, designers ;

Dual Dla1no1l1 Prosram Adolescent O utreach W orker.

Richmond School

Pro1..am.

EutsldeRehabllltatlon Pro1ram.

Brld1ln1 Team denl· oped In conjunction with Riverview Hospital.

Employee Assistance Pro1ramln1tltuted.

Alexlslntarmlnlsterlal P'roaram (Richmond).

A ,.tStudlosopened Its doon:.

Clo1ert0Homefund1.

Assertive Community

Team.

Children & Adolescenu

Response Team.

Hyperactivity Disorder

ParentProaram.

Early lnterYentlon

Community lndependencef'ro1ram In Richmond.

Community Transition Team.

Geriatric Rehablllta· tlon f'ro1ram Tit• 8rf11tc Spoc opened.

lncentive Fundln1 received from Vancouver/ Richmond Health Board .

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Reed Thorpe , writ er; Vince Lodato/Danell DeYoung-Murdock, creative directors; Design of Today (Sa lt Lake City, UT), design firm .

128

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First aborl1lnal worker appointed (one year project).

GV M HIANN U ALltlP O lt T l 9 9 8

WISH INC

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NEW

YE AR

F I LLED

W 1 TH

LAU CH TE R ,

HAPPINESS ,

and a /itt/~

miuhi~f.

Barbara , Je rr y, Ben , and Hanna Chait

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

A R T S

129

MCC THEATEB MEMBEBSHIP

_

All THEATER, All THE TIME (1 tidtt to al/J pl4yl)

$50.00 x _

I of passes=

$_ _

(tligihk to pure/Jag°"' llliditifmal tic• tt to tach p/4yfor tht disanmudprier ofSzo.oo)

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WHAT I WANT, WHEN I WANT IT (/atrr on, /Ny your tidtt for $ 10.00 to tach p/lly)

$25.00 x_

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PHONE COAX\

EVE

I would like to make a tax deductible donation to the MCC Theater of $50/$100/$250or $ _ _

TOTAL$ _ _

C RED IT CARD IN FO

Offergood thru V.c 19, 1999

HOW TO BOOK ATICKET: Mail order form to 120 WEST 28TH ST NEW YORK , NY 100 01

OPTIONS 130

M A y

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Fax order form 212 727 7780 or CallMCCTheaterboxoffic1212 727 7765 www.mcctlleater.com

Makt cbtclu payahk to MCC Tbtaur

Great Ideas on Limited Budgets

Left: "This project was brought to Spot Design by Bernie Telsey of MCC Theater. MCC was looking for the best way to create a season brochure highlighting their upcoming plays, that would give each show its own identity, while relating to each other," said agency designer Kevin Brainard. "The solution was to use three different people to create the artwork for each show, but keep the type consistent. The brochure had to be a self-mailer with postcards that could be used as discount coupons. When all of the postcards are ripped off, the remaining piece is a small book to remind you of the shows and the dates. One interesting thing that happened during the execution of this piece was that the original MCC logo needed to be redesigned to work with the piece. We were apprehensive about suggesting it, but MCC embraced the idea and got a new identity in the bargain. The response has been excellent on all sides. MCC is thrilled with the end result and the shows have sold very well." Drew Hodges, art director; Rex Bonomelli, designer; Tom Greenwald, writer; Juniper Pierce, photographer; Paul Sahre/Jonathan Lezinsky, illustrators; Spotco (New York, NY), ad agency.

This page: "Director of The lion King, Julie Taymor, approached the agency with this job," said designer Bridget de Socio. "This creation of a bird out of a feather using the quill for a beak is also evocative of the fantastical nature of a unique 18th century Italian play about characters who possess magical powers. The use of the feather in the manner of old engraving is true to the science and mythology of this creative endeavor. However, strict blackand-white would have been too serious. Green obviously signifies much, not just because of the title-growth and transformation."

Bridget de Socio, creation/digital illustration; Jim Miller, typography; Serino Coyne Inc. (New York, NY), ad agency.

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no~

· · Who should ~tt•nd ?

Spring Recycling Forum brochure. "For the Recycling Association of Minnesota, I wanted to create movement and interaction based on a circling 'recycle symbol' motif," said art director/designer Scott Shore of Minneapolis, Minnesota-based Lure Design .

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

A RT S

131

Great Ideas on Limited Budgets This page: "I had done a few freelance projects for Greenpeace Canada over the years and, after reading a book by Terry Glavin on the pathetic.state of the Pacific West Coast fishery, I immediately called Catherine Stewart and volunteered my services for any upcoming projects they had . It also helped that I was no longer working for the design firm that did MacMillan Bloedel's annual report! " said art director/designer Matthew Warburton.

"Greenpeace has a very good identity system and guidelines (developed by Arlene Cotter) that no one ever uses. I wanted to bring a level of sophistication to both of these reports as they contained a lot of very revealing data, that had taken a long time to get a hold of. Reports in the past had been designed and produced by their writers or student designers who didn't have a clue. I was in this to increase Greenpeace's credibility, not stroke my own ego, so I used Arlene's guidelines. The rewrites were endless, and as we tried to create tables and graphs that could be compared easily from one page to another, it became obvious that there were some major holes and discrepancies in Department of Fisheries and Oceans's data. The response was very positive . In conjunction with the press releases, the reports provoked a lot of controversy and raised

of the Great Bear Rainforest

a lot of questions . I can now flush the toilet without feeling guilty; even though incremental, salmon stream rejuvenation/ restoration projects are happening more and more all over British Columbia. " Various writers ; various photographers; Emdoubleyu Design (Vancouver, BC), design firm .

Right: "This invitation is for New York Peer AIDS Education Coalition's (NYPAEC) annual fund -raising art auction and raffle," said art director/designer Jennifer Olsen. " NYPAEC provides care and funding for young people living with AIDS in New York. The invite consists of a series of 'flashcards' that utilizes the letters of ' NYPAEC' as the common link between words that reinforce their mission. The last card is perforated to use as a reply card , and carries the word 'chance' to symbolize the art raffle they had at the event, and the idea of helping these young people living with AIDS. The response to this year's invitation was great. The turnout was tremendous and the event got a lot of press." Jennifer Olsen/Hal Goldberg, writers; Stone Yamashita (San Francisco, CA), design firm .

Western Forest

" Murder Inc., an interactive advertising agency (sister to Odiorne, Narraway, Wilde+ Partners) , approached us to design their promotional brochure," said Elise Thompson, account man ager. "The brief stated that it had to be produced in -house on a laser printer and very easy to update. The name Murder Inc. came from a 1930's group of hit men that was responsible for the deaths of 100 people in the U .S. The current Murder Inc. took the idea of a Mafia ' hit' and replaced it with a Web 'hit' .

They wanted an unconventional, deliberately low-tech brochure that exploited their idea. We created a police file that contains mug shots and rap sheets of employees, as well as mock intelligence reports and old newspaper clippings. We discovered that soaking a folder in tea was the best way to age it 70 years in one day. New cl ients are dying to work with Murder Inc. (sorry) ." David Turner/Bruce Duckworth, art directors ; Allen Rau let/Anthony Biles, designers; Anthony Biles/ Elise Thompson, photographers; Turner Duckworth (San Francisco, CA), design firm .

Products Logging Practices 6

The Forest Stewardship Council's Principles I Criteria:

Thlsreportwuwntt1n1nd r.....- 11y: Rick Ztmm•lo, Ph.D. Head. SEE ME Consui111nt1 Lid (SustalnableEcologyandEvolutlonofMontaneEcosystems)

Blll81rc11y, GreenpeaeelntematlonaJ

Tlm1ra Stut . GreenpeaceVancouver Phll Aikman. Consultant to Greenpeace

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DEVELO PASSION

The New York Peer AIDS Education Coalition fights !he spread of HIV/AtDS among street-oriented New York City youth up to age 24

who are at greatest risk. We work collectively to create a safe, nurturing environment that promotes self-determination and community. In their outreach, our Peer Educators distribute safer-sex supplies and encourage, teach and empower other al -risk youth to save their own lives.

NYPAEC is committed to the crucial work of reaching out to our communities with dignity.

Brigitte Alexander M.O., Brian Berk, LaOedra Brown , Lourdes Follins, Maya Iwata, Samuel Johnson Ill. Carena Jones , Chatina Jones, Oes'ree McGraw, Shelia Mullan , Randy Sell.

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JANUARY 1998 -

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sun from the Duma on Nevslt.y Prospect

PORTALS

The original Watergate, a torrent of stairs connecting the Lincoln Memorial with the Potomac, was designed to become the ceremonial entrance to our Nation's Capitol. Like the more modest watergates at Seaside, it defines two worlds and joins them together by celebrating the transition from down here on the water to up there in the town.

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Great Ideas on Limited Budgets

Left: "Ray Gindroz, architect, urban designer, artist and founding partner of Urban Design Associates, has for many years created wonderful little sketches and observations while traveling and working domestically and abroad," said creative director Terri Wolfe . "We were hired to design a special little book that would showcase the sketches and accompanying observations of the artist/author. The format needed to be quiet, so as not to compete with the sketches. The typeface Caslon was chosen because it embodies the classic form with quirky eccentricities.

In my opinion, a lot of the design we see today is too complex.

The message gets lost, or it is hard to focus on exactly what the message is. These sketches go right to the heart of beautiful, classic design-and as designers, how we see and observe. In this piece, it's the marriage of image and type that communicates the message. And, sometimes it's just that simple. The response has been overwhelming. I have more requests for this piece than any other." Terri Wolfe, art director/designer; Ray Gindroz, writer/illustrator; Wolfe Design (Pittsburgh, PA), design firm; Urban Design Associates, client.

This page: "The Real Thing is a drama about love," said designer Bridget de Socio. "Using the letter 'R' we evoked Tom's exquisite and precise use of language. Red is a signifier of the R ratingadult content, sexually explicit. We were able to get a very important photographer approved for this art which was a great hit for Broadway. The artwork has appeared in photographer Tony Ward's new coffee table book, Obsessions, and love is, after all, the greatest of obsessions. The response has been so great that there is now a book cover and many Valentine Day spinoffs because of the kiss and the selective use of the color red." Bridget de Socio, art director/creative director; Tony Ward, photographer; Serino Coyne, ad agency.

"We were approached by The Spark Factory to design various stationery pieces. The pieces were to tie in to the existing logo and use a specific color palette," said designer Antony Neely.

"The brief was to portray a classic factory-type feel, while keeping the pieces clean. We came up with the basic concept and then decided on various 'motifs' that we felt met the brief.

These motifs were then modified to focus more tightly on the particular look required. We then met with the client to eliminate certain motifs and the remaining ones were inserted into the basic concept. Modifications were then made to bring the pieces in on budget for printing (for example, originally we were hoping for full-bleed). The response from The Spark Factory has been extremely positive and has led to an ongoing working rela tionship. The Spark Factory has in turn had a good response

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from its clients and has built up a highly visual corporate identity." Tracy Veal, art director; Tim Street/Gail Gillman, creative directors; Tracy Veal Design (Santa Monica, CA), design firm.

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Left: " For the annual report, we were asked to communicate the mission of the YMCA, which is principally to Build Strong Children, Strong Families and Strong Communities," said v ice president/general manager Jeff William. "We combined the required financials with creative that captured the emotional appeal of the YMCA as it relates to the family and the community. The report is used at the annual meeting, as well as a major fund -raising tool, since the Y does not have a local 'corporate' brochure . The project required some imagination and much manipulating, since we are generally limited to using snapshots provided by the Y." Matt Garrepy, art director; J .K. Lee, writer; Matt Garrepy/J .K. Lee, creative directors; Marc USA (Orlando, FL), design firm .

This page: "Good Works " refers to Herman Miller' s corporate giving efforts. Feature stories highlighting philanthropic activities by the company and its employees were posted on their intranet. These posters were designed to draw attention to the quarterly feature story and the Good Works intranet s ite. Kevin Budelmann, art director/designer; Kelly J . Schwartz, designer/i llustrator; International Aid Archives, photography; BBK Studio (Grand Rapids, MO), design firm. " McKenzie River Corporation asked us to design the brand identity and packaging for a new kind of beverage - a frozen soft drink," said account manager Elise Thompson . " This product is aimed at kids, so we designed packs that we would buy ourselves. The idea was to make the packs look dangerously cold . We made the name (zero degrees is the freezing point in Celsius) and a series of icons designed to look like an unholy mix of snowflakes, warning signs and Ninja throwing stars. The packages had to be printed in 2-color flexo on foil , which can produce great colors, but lousy halftones. So the simplicity of the design really makes the most of the process. Results from the test markets are strong, look for it nationwide!" David Turner/Bruce Duckworth, art directors; Anthony Biles, designer; Turner Duckworth (San Francisco, CA), design firm .

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Great Ideas on Limited Budgets .iJJ !.J.iJ .i.J.!J !J

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didn't even have to order a magazine," said Christy Anderson.

"The concept of a sweepstakes fit a Call for Entries just right, given the 'interesting' (OK, we've all called them icky) entries that are mysteriously able to appear in some award annuals.

(Though never in CA, of course .) The inclusion of local designers added to the interest and appeal; several recipients have sent in extra entries just so they too can get the status equivalent to Dave Malone's 750il. The sweepstakes theme translated nicely into the awards certificates (scratch off to reveal the prize) and the video for the banquet-a parody of the AIGA Prize Patrol van and staff visiting the lucky potential winners." Derek George/Scott Arrowood, designers; Christy Anderson/Amy Cohen, writers; Scott Arrowood/Douglas Dearden, creative directors; AND (Salt Lake City, UT), design firm; AIGA Salt Lake City Chapter, client.

Right: "This book was designed to accompany the traveling

. . . . .__ . . . . . . . . . . --.__ . -----a..--.. . . . ,

Eames exhibit. Written by Keith Yamashita, it consists of things that we can all learn from Charles and Ray Eames,"

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said designer Jennifer Olsen. "Half of the books printed carried Ray Eames on the cover, and half carried Charles on the cover." Keith Yamashita, art director/designer; Eames Archive Photographs, photography; Anne Bodel, print man agement; Stone Yamashita (San Francisco, CA), design firm; The Eames Office, client.

AKlA W.UIO.....,d YOUR WOR K thecNncetober~•oneof UTAH ' S TOP 1 00 viau91~p!Kftof19i9!

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THE DESIGNING DUO

'lb be admired: longevity, perseverance, joy in the design

of commonplace things, finding fuel in the process of discovery, believing that design is a worthy profession that can bring good to people's lives, and being part of any design partnership (let alone relationship) that stretches for this long.

315

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Great Ideas on Limited Budgets

19 ·:: 99

symmetricom annual report

This page: "Symmetricom 's annual report budget had been reduced in 1999 and we needed to find a low-cost solution," said San Francisco, California-based Howry Design Associates . " Symmetricom provides synchronization, timing and location solutions for the telecommunications, Internet and wireless markets. Our design solution includes simple 'timing ' elements and symbolic images to help define how the company's synchronization technology will grow in tandem with the telecommunications and Internet marketplace. Throughout the annual report process, we helped Symmetricom define its message thus it was an evolving process . Knowing this in advance, we chose a simple and flexible design format. The company has had a difficult time in the past defining their complex business, so this was our main goal. The response was good .

After the initial maili ng, our client called to tell us that the report was a success and the ' people are finally understanding Symmetricom."' Jill Howry, art director; Todd Richards, designer; Tim Peters, writer; stock photography.

VO Ice,

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G) Preference® Gloss Preference® Dull @ Savvy® Gloss Savvy® Matte @ Influence® Gloss Influence® Soft-Gloss™ Influence® Matte Influence® Gravure Velocity® Gloss

Champion Web.'" :<t_:J, Champion

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CREATE NEW IDEAS

Shirley Hahn Product Development Chemist, Crayola

Imation, its logo and Matchprint are trademarlc:s of Imation Corp.

Crayola is a trademark of Binney·& Smith Inc. ©1999 Imation Corp. All rights~ -

WHEN YOU'RE RESPONSIBLE

FOR INSPIRING A MILLION RAINBOWS

+

YOU TEND TO TREAT COLOR WITH KID GLOVES.

Color is serious business, whether it's the periwinkle blue crayon in your hand, or the cyan in your presentation comp. Just as Crayola™ is the crayon kids trust for true color,

graphic arts professionals know that if a proof has the Imation MatchprintTMwatermark on the back, the color on the front is as accurate as humanly possible. Now, Imation introduces three new Matchprint systems, to help you get consistently accurate color from concept to press check. In the creative department, our new Imation Matchprint Inkjet and Matchprint Color Laser Systems bring affordable color proofing early into the creative process. In the pressroom, the industry standard Imation Match print proof has

+

been joined by Imation Matchprint Laser Proof, bringing halftone proofing quality to fully digital workflows. Now, the color you had in your head is the color that ends up

in your hands. For more information call 1-877-MATCHPRINT (1-877-628-2477 ) or visit IMATION.COM. We're not talking kid stuff here.

CONS I STENT

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l~TION MATCHPRINT™

•• • [8J

Duffy Design & Interactive

BY SAM McMILLAN

S

ixteen years ago Joe Duffy began his eponymous design agency with the goal of creating great design and illustration that would, in his words, "win in the marketplace" without compromising his creative credentials. At just about the same time, Pat Fallon, a former housemate from their days in college, was heading upstart Fallon McElligott Rice and winning every advertising award show in sight.

Fallon's advertising clients were asking for advice on design, demanding Fallon extend its advertising services into annual reports, corporate literature and packaging. "Clients weren't getting their needs met. Their work wasn't speaking the same message in the same voice," Duffy remembers. "Eventually, Fallon realized I was the right person to lead a design firm associated with the Fallon McElligot Rice agency.

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"At the time, our goal was to create a company in its own right. To achieve the same level of creativity, and eventually go out and get our own clients ," he says. Duffy became known for a house style that was "nostalgic," handcrafted, dependent on an illustrative execution. The approach sprang from Duffy's desire "to actually do as much of the finished piece as possible-a fine art approach."

This was great for Classico pasta sauce, but perhaps not for all clients. However, in Duffy's words, "It did a hell of a job establishing Duffy Design, especially with the people we wanted to attract."

It wasn't long before Duffy attracted the attention of the Michael Peters Group, a London-based design consortium.

In 1989, the Peters Group offered to buy Duffy as part of their strategy of global expansion. Within a year, the Peters Group went bankrupt, a victim of too much growth too soon and a rising debt burden. The business was liquidated.

In 1990, Duffy started from scratch. Again.

As Joe Duffy Design, he still maintained a relationship with his old friend, Pat Fallon. "Our claim to fame," Duffy explains, "was that we really understood advertising. We could work with any of the creative shops-Fallon, Chiat/Day, Ogilvy.

We grew fast, and got large quickly." In 1992, the firm was bought lock, stock and barrel by Fallon. Duffy Design moved in to the Fallon offices in the Minneapolis warehouse district.

Recently, Fallon McElligott and Duffy Design were acquired-again-this time by the French advertising giant, Publicis. When asked what the new ownership means for his company, Duffy smiles the smile of a man who has seen acquisitions come and go, and somehow continues to concentrate on the work at hand. "They've promised complete creative freedom," he says, and lets it go at that.

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Designing the ultimate Web experience Five years ago, Duffy says, "It didn't take a genius to realize what was happening on the Web. We had to get involved."

When Fallon's flagship client BMW said they needed a Web site and told Duffy to "push it out there, we want to be at the forefront of the space," Duffy recognized a huge opportunity.

To lead the charge into the brave new world of the Internet, Duffy recalls, "We had to do two things. We had to bring in some young blood. People familiar with the Internet space.

And secondly, we had to convert the old guard, to get them familiar with the Web, and then connect the two. We look outside for inspiration and educate on the inside."

Today, Duffy Design is ensconced on the 30th floor of the AT&T building in downtown Minneapolis. "One thing about working in AT&T's building," jokes senior designer Kevin Flatt, "we get great Internet service." Duffy will Captions provided by Deborah Dachis Gold.

This page: The Duffy Design & Interactive team in their Minneapolis, Minnesota offices.

Right: "M eowmix.com was designed to entertain and convey the key sentiment that this brand adds variety and flavor to your cat's life.

Duffy created Tango and Mop, two original characters that act as the cornerstone for this brand outline. They then leveraged these unique assets by featuring them in games and a frequently updated comic series to promote repeat visits." Craig Duffney, art director; Dan Olson, design director; Deborah Dachis Gold, writer; Joe Duffy, creative director; Craig Duffney/Morgan Williams, illustrators; Mark Sandau/Leslie Fandrich, animators; Joe Corbett/Shelley Malmquist/ Margaret Bossen, programmers; Meow Mix, client.

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COM MU NICATION

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149

need it. The company, which now numbers close to 80 employees, is increasingly setting their sites on interactive Web design, Internet branding and e-commerce design projects for clients such as EDS, Timex, Nikon, Qualcomm and Purina, in addition to stalwart BMW

--

Learning the language of Web design The interactive design offices at Duffy are littered with flow charts, initial navigation maps and pencil-sketched design comps, all evidence of a rigorous production process. For design director Dan O lson, understanding the process of Web design was like learning a foreign language. A self-described traditional designer, Olson entered the new trajectory of Web design three years ago.

"You can bui ld an entire vocabulary of terms a traditional designer has to learn," he says.

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Olson looks back on those three years and marvels at how the Web has changed design, widening the roles and responsibilities of a traditional designer. "Content was a new word for me. How to navigate, learning about functionality, storage, retrieval, save. Now we have to communicate the depth and breadth of the product and fit that into a larger whole. We have to deliver a message that's understood across the entire experience. " Olson stresses that kind of 360° communication can only happen with a sound process . "Web design is about concept-the thought behind an idea. We start with paper; we start with pencil. If a designer uses Photoshop® too soon, the work becomes decoration instead of structure, " he says.

"It is really important for the writer and designer to organize the information together-to create a clear vision of what the site will accomplish. You have to map, plan and organize.''

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It takes a team to make a Web site For the BMW Web site, that means teamwork. "Working in a group means people come at it from all sorts of different view points, " Duffy says approvingly. On the BMW account, interactive teams are composed of an interactive creative director, a senior graphic designer, two interactive designers, at least one interactive writer project manager, multimedia designers , a cadre of programmers and-depending on how complex the launch-one to four account service people.

And then there's support in traffic and accounting.

The rapidly-growing multimedia group, run by Mark Sandau, comprises a group of fifteen multimedia designers, HTML and JavaScript® coders, as well as motion graphics designers who work in Flash®, Shockwave~ QuickTime~ After Effects® and TypeWorks~ With the resources of Fallon scattered over the various floors of the AT&T building, Sandau can tap sound designers , and a full-service television editing studio.

"The complete roster of production services in-house is like having your own assembly line," Sandau says.

They all meet on a regular basis with the ad campaign people-the agency copywriters, art directors and photog150

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The Pronu S hu interch•noub ... high-qu•lly". l.X,Nlckot litnses. so you puloutthe eo.180mmzoom .. ns to 9•11 doHr took . You debm b...,.•n p109,.mmed, shutter or •P•rture priorly. The sun s bright. You 90 wlh 1peftu1e.

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Left: " Duffy demonstrated its strength in communicating across different media with this Nikon campaign. In print ads and on the Web, the strong yellow and black Nikon colors, in addition to thin rules reminiscent of viewfinder marks, were used to communicate the precision and innovation of the Nikon brand ." Todd Bartz, art director; Dan Olson, design director; Todd Bartz/Sida Pungjiam, designers; Deborah Dachis Gold, writer; Joe Duffy, creative director; Mark LaFavor, photographer; Leslie Fandrich, animator; Ariana French/Margaret Bossen, programmers; Nikon, client.

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This page: " EDS asked Duffy to develop a strategic and graphic-branding approach for the Web site that complements and extends the new brand positioning. The redesign was approached in phases, and began with the addition of clientfocused content that supported the brand launch. Prospective clients were directed to the Web site, making the site a core demonstration of what the EDS brand represents that also creates a method of continuing the dialogue with the customer base." Dan Olson, design director; Dan Olson/Todd Bartz/Paul Malmstrom/Mark Sandau, designers; Linus Karlsson/Chuck Carlson/Deborah Dachis Gold/John Jarvis, writers; Joe Duffy, creative director; Stephanie Rau, photographer; Mark Sandau, animator; Gwen Williams/Ariana French/Christine Tlougan, programmers; Jennifer Bremer/Kore Peterson/Adam Kmiec, producers.

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151

raphers-to share ideas and assets. "We're trying to be efficient," Duffy points out, "but more importantly, we're trying to be cons is tent."

"We meet continually with BMW and Fallon to talk about how we launch," says Flatt. Writers of print and television ads will often write for the Web, so that the BMW voice is shaped by the agency as a whole. "We communicate interactively, team up with print and TV. Sometimes they lead, sometimes we have to be there first. It's all run through the same filter."

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Nurturing the brand: home on the Web Short-term, teamwork makes for a smoother production process. Over the long haul, the effects are more profound.

"You have a team of people who have worked together for years, growing and nurturing the brand." That means, Flatt says, "You are not getting just one little piece-you've got to work on a piece that fits into a huge picture."

"What the Web does for the brand is that it gives it a home," says Olson . "All the diversity that one ad campaign can't do, all the design services, financial services-the Web gives it a place to live as a bigger branded message. We're talking about sites that are 200 pages. Plus it provides the ability to adapt quickly. To change strategy or push news, customize information. Consumers will help create the Web site if you give them an opportunity to tell you what they are most interested in. The brand creates the assets ."

"We're all about taking into consideration the audience and then interacting with the brand at every point-leaving an impression," adds Duffy.

"If the brand wants a relationship with me," Olson continues, "and wants to nurture that relationship, it will have to allow me to customize my needs and what I want from that brand. " Case in point: the Model Overview area of the BMW site which lets visitors build their own BMW Here Web surfers can examine the entire line of BMW autos, creating their own BMW based on personal preferences for pampered luxury or adrenaline pumping Teutonic performance by choosing options from a variety of packages. Behind the scenes, a built-in financing calculator displays the purchase price of the car along with the monthly leasing fee. Eventually, Duffy Design wants to extend the contact with the customer to include e-mail notifications for oil changes, scheduled maintenance and the like.

Driving the information autobahn Faster connections, fatter pipes and streaming QuickTime video and technologies like Flash that enable sophisticated motion on a Web page means the Web experience is closer to the language of film than it is the language of print. On the BMW site, Duffy is using QuickTime VR, animation and video clips to move from print to motion and sound.

For Olson that means, "the whole experience will be more engaging, will use less words, and become more visual, more emotional, and captivate you for longer periods of 152

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time. All of your senses will be taken into account, will hit on all cylinders-and the sites will become much more rewarding for consumers.

"We can explain something much quicker with animation or video. On the Web that means a shorter time to distill content and learning," predicts Olson. Duffy is a believer. Duffy is finally taking delivery of a new X5-BMW's new SAY all-wheeldrive vehicle. My guess is he spent more time kicking the tires on the Web site than he did on the showroom floor. •

Ctlt:br.1te the l.1unoh of

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FREE 1999 Pet Calendar

feat made easy by our culture. We are one team that puts creative quality, and

For n k»ng n we've bt•n in exis tence , we've surrounded ouru..-u wlh the .1nlmall we out for .1nd long to better unders~nd . When l oomes to our dogs .1nd o.1ts , I sums trying to md w•ys to"""• thtm 1.. 1.. good .. thty """• us fttl · to retum even .1 fr.1ction of the .1ffeotion .1nd oof11).1nlonship they offer us just by bei'lg who they .1re .

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the client success that follows from it, above all else." Tom Riddle, art director;

Wtktome to Purin.1. We hopt you'I find us th• single most import.1nt resourc>1 on tht web when I comes to ~mg for your~• or dog.

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Dan Olson, design director; Tom Riddle/ Todd Bartz, designers; Chuck Carlson,

Wt w..nt to sh.1rt everything we'n lumtd over the yurs .1bout theif hulh, nutrlion ind wel-belng. Wt w.1nt you to turn to us for information ind nsur1not in muoh tht umt: w1y th1t your pet tums t o you. And Male uoh of our lndiwidu1l pets "'" untque, comforting to hur M1t others ire thl*in ads 1bout thtis . Th1rs wh we'vt CfUted I mt•ting p Wt hopt you'I rttum

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Ariana French/Christine Tlougan/Gwen Waite, animators.

This page: " The Purina Web site was designed to create an online community

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by and about pet lovers that establishes Tr.1lnlno.1nd8ehnlo1 Hulth.1ndOroomlno Puppies PuppyC.11eKit Ouutlons ind Answers Oro1niutlons Joi n Our Community

Purina as an authority on pet nutrition and as a partner in caring for the pets people love. The copy, design, illustrations and animation work together to create a warmth and understanding of the

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emotions people feel toward their pets."

Dan Olson, art director/design director; Ho other 1nim.ll h.n th• c.1p.1cly to o•• so much •nd dt:rNnd so littte In return. Does 9irrtt:usun.,tekting,uncondlion1llon.1ndd...-otionforth• ir •ntir•••bme friend, they1-..yssumtobt:thut:whenyounudtht:mmort.

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Dan Olson/Nhan Nguyen/Nathan Hinz, designers; Deborah Dachis Gold, writer; Joe Duffy, creative director; Greg Clarke, illustrator; Mark Sandau/Leslie Frandrich, animators; Margaret Bossen/Kore Peterson/Matt Jannusch/Colin Schaub/ Brad Olson, programmers.

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This page and right, top: "BMW of North America represents one of our first integrated clients, involving advertising, print and interactive design, Web hosting and public relations. Befitting BMW cars, bmwusa.com is a technologically advanced site. The Build Your BMW feature allows customers to configure a BMW, price it, save it for future recall and editing, apply for credit online and transmit their saved selections to their preferred BMW center." Kevin Flatt, art director; Dan Olson, design director; Kevin Flatt/Nhan Nguyen/Jason Strong/ Paul Bastyr/Ken Sakurai/Brooke Posard, designers; Chuck Carlson/Deborah Dachis Gold/Riley Kane/Tom Rosen/Russ Stark/ Andrew Ault, writers; Joe Duffy, creative director; Mark LaFavor, photographer; Mark Sandau/Leslie Fandrich/Tom Kunau/ Christian Erickson, animators; John Keller/ Karen Donahue/Bob Carlson/Ben Garciam/ Dave Thompson, programmers.

Right, bottom : "The BMW motorcycle site mirrors the distinctively smooth ride of a BMW machine. The site was created for riders who thrive on performance, agility and the inherent benefits of advanced technology, on the road and on the Web. Prominent black-and-white tones strategically integrate the advertising. A white backdrop cleanly displays beautiful machines, and convenient navigation quickly points users to detailed informa tion, while providing a sense of discovery often encountered on the road." Kevin Flatt, art director; Dan Olson, design director; Kevin Flatt/Paul Bastyr, designers; Russ Stark, writer; Joe Duffy, creative director; Mark Sandau, animator; Heather Gowdy/John Keller, programmers; BMW of North America, client.

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Go Wide.

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The (Mis)Measure of Success

BY WENDY RICHMOND

I

n a recent newspaper article about the super-rich, a mil-

4. You're a niche expert.

lionaire who had accumulated his wealth in the 1980s

It's the dotcom companies whose stocks have been perform-

discussed his sense of failure. Although he is worth $890

ing so wildly, and they desperately need designers. CEOs

million, he was apologizing for his paltry earnings compared

who never thought about graphic design are now arguing

to those of the young new billionaires. Interviews with

that it is crucial to their Web site and, therefore , to the

others in similar positions echoed his feelings.

success of their company. So, like many designers, you may

It does seem absurd that these people could feel frustration

have decided to focus only on Web design.

when they've achieved such prosperity. But it's easy to lose

Because this focus on screen-based design requires constant

perspective at any level when you are faced with a constant

updating of skills, it leaves little time for anything else. So

barrage of success stories that you believe could have, and

it's not surprising that many designers have abandoned all

should have, been your own. As a matter of fact, this disap-

other areas of design. Former success models like Charles

pointment-this upset in the success/failure equation-is

and Ray Eames, who thrived on the greatest range of design

widely evident among graphic designers. We are so heavily

possible, are being replaced by studios whose sole output

influenced by the record-breaking surges in the stock market,

lies flat on a 19 screen.

11

particularly in Internet stocks, that we are redefining the meaning and measure of success . Here are some of the

5. Your goal is early retirement.

reasons why.

The prosperity that comes with designing for the Internet is won mostly by long hours and hard work. But it's the reports

1. There's a new measurement of wealth.

of overnight fortunes that stick in our brains. Under that

In the article mentioned above, specific dollar amounts define

influence, when a designer maps out a career path, he or

the "merely rich" (they earn $1 million to $10 million a

she is likely to concentrate on ways to make it short. I know

year, with assets of $10 to $100 million) versus the "super-

a woman who made more money in one week of online

rich" (they have a yearly income of at least $10 million and

trading than her entire year's salary at a high-level job. Such

assets of $100 million or more). Who came up with these

a bonanza requires luck, timing, research and having enough

definitions and cut off points? If you buy in to this ludicrous

money to invest in the first place. But my single (unrealistic)

labeling, then the next step is to find your own place. You

response was "so how soon could you retire? "

may be making more money than you ever have in your

Depending on your own goals, experience and point in your

life, but you get slapped with the label of, say, "merely

career, there are different conclusions to draw from this

comfortable." Deflate your balloon much?

column. You may say it supports your decision to buy stock or join a start-up. Or it may advocate your belief that the

2. You were ''this close."

road to riches requires too much of an investment of time

Our expectations are out of whack, primarily because of

and/ or money for something so risky. Or you may say that I

what we have witnessed in the stock market. Easy and fast

am only adding to your stress, another writer telling you that

wealth seems to be within reach. People just like you, maybe

others are making more money than you. Or, by the time

even people you know, have made a killing by working for a

this issue hits the stands, we may be experiencing the biggest

company that went public, or investing in a dotcom stock.

crash in history, and you can use this column for kindling.

You've known about Netscape, AOL, Amazon.com, Yahoo!

My intention is to ask you to look again at yo ur definition

(etc., etc.) for a long time. If only you had ...

and measurement of success. It is a very personal assessment, but it is easily stolen and replaced by someone else's. News-

158

3. You do have stock options, but you are vesting.

papers and television shows and Web sites and magazines

Perhaps you have options at a company that just went public.

and stories of friends of friends have an out-of-proportion

The stock is doing great, but you cannot cash in for at least

influence on our professional goals. Perhaps by being aware

two years. (Typically even longer.) Nor can you leave if you

of this influence we can reduce its weight. And then, when

want to retain the options. Your job may no longer be right

we place it on the scale with our own notions of accomp-

for you, but it's hard to leave when staying holds such mone-

lishment, we can regain our equilibrium. •

tary potential-even though there's no guarantee.

© 2000 W. Richmond

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Ask Angela A revolutionary photo search engine at www.comstock.com that thinks visually, the way you do .

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Digital Printers for Final Art and Commercial Output

BY BARRY HAYNES

I

'm sitting on the deck having continental breakfast look-

prints. At a street price of $400 or less, the 1200 is a great

ing at the palm trees swaying in the light breeze and

printer. The Epson inks for the 1200, when printed on Epson

glistening with the morning sun. South Beach Miami is

Photo Paper, have had a color permanence of about two

a great place to spend a day or two reflecting on the amazing

years when displayed in normal indoor display conditions.

time I just had at the FotoFusion conference for photogra-

This means that if you hang one

phers and digital artists. Being one of the 50 speakers at this

of these prints on the wall, in

conference, held at the Palm Beach Photographic Center in Delray Beach, Florida, was an honor for me . It was espe-

your home or a gallery situa-

cially exciting that two of the most well-known landscape

have its color noticeably change

photographers, David and Mark Muench, are now using a

after a period of two years.

digital darkroom to create their new books and digital LightJet prints for their final artwork. Almost everyone at the FotoFusion conference could see that the digital process, especially for digital darkroom work and printing is now a complete reality for photographers. We can do far more in the digital darkroom than in the traditional one and also get higher quality and more color-permanent digital prints than the traditional darkroom could produce. All this comes without the exposure to the dangerous chemicals that traditional Ilfochromen.' printing from transparencies requires.

tion, a print that is lit daily may

There are some third-party ink

~

companies, notably Lyson and MIS Associates, that produce more

Epson 1270

permanent inks and papers for the 1200, 3000 and other Epson printers. These have color permanence in the range from 4 to 120 years depending on the ink/paper combination. The use of third-party inks may or may not cause problems with the functionality of the printers, like clogging the jets, and Epson will sometimes void your warranty, for the print heads only, if you use third-party inks. The color gamut

In this article, we will review some of the best digital printers now available for producing final artwork and also for proofing artwork for final output to other devices. The printers we will look at are the Epson Stylus Photo 1270, 870, 875DC and 1200; the HP Deskjet l220C and 970Cse; PhotoSmart Prnoo and Pnoo; the Fuji 3000 and 4000 Pictrography Printers; and the Symbolic Sciences LightJet 5000. This is the second in a series of articles resulting from initial research into topics for my upcoming book, Making the

Digital Print. As background information for this article, you should read my first article in the January/February issue of CA, p.154 (also online at www.maxart.com and www.commarts.com).

can print, is often less than the gamut of the Epson inks on the Epson papers. When you change ink cartridges on an Epson printer, you continue to use the same inkjets, which are built into their printers, so if third-party inks cause the Epson jets to clog, this can be an expensive repair problem.

With the HP inkjet printers, changing the ink cartridge also changes the inkjets, since they are built into the cartridge.

Clogged jets are a less expensive problem with HP printers since you just get a new cartridge. The moral to this story is

rn make sure any third-party inks you try have been tested and blessed within the industry. Some places to look for information: The Adobe User Forums, where many people use Epson and other printers with various inks and papers,

The Epson Stylus Photo 1270, 1200, 870 and 875DC

can be reached at: www.adobe.com/support/forums/main.

I've had the Epson Stylus Photo

html; the Leben Epson List has been recommended to me

1200 since it first came out last

by several Epson users and is at www.leben.com/lists/

year and have found it a very

epson-inkjet; you can also go to http://support.epson.com

exciting printer for producing

for downloads of the latest Epson software for your printer.

high-quality photographic

At the time this article was written, Epson had not given

11

11

prints of up to 13 x 44 in size.

official blessing to any third-party inks. You need to realize,

Epson continues to be the leader ~

to keep this matter in perspective, that most of the inkjet

in creating desktop printers that

printer companies (Epson, HP, etc.) make their largest profit

can produce quality photographic 160

of these third-party inks, which is the range of colors they

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2000

Epson 875DC

on this type of printer from selling inks and paper.

Knowing what's real is no walk in the park. Take white paper. Most people think it's all the same. Until they put ink on it. Until they contrast it with color. But Appleton Coated is altering people's perceptions right before their very eyes. With Utopia, what you see is what you see. The honest-to-goodness unveiling of blue, balanced and warm/ivory shades in gloss, dull or matte. This is reality. The stuff that imagination is made of.

Utopia ... a VL'ry human concL'pt. .. a great sheet of paper.

I

UtopiaOne

j

A PPLETON~

100# Text Blue White Dull For further information call 1-888-4-Utopia (1-888-488-6742).

To help solve the ink permanence problem with Epson inks, this February Epson introduced a new line of printers and their new inks. The Epson Stylus Photo 870 ($299), 875DC ($399) and 1270 ($499) all use the new Epson 6-Color Photolnk cartridges that contain more color-permanent inks.

These new inks, which are not offered with the older printers like the 1200, have considerably more color permanence.

With Epson Photo Paper and the new inks, a print will now last six to seven years versus two with the Epson 1200 inks.

To make things even better, there are now two new Epson papers, Premium Glossy Photo Paper and Matte Paper Heavyweight, that allow for a color longevity of 9-10 years and 24-26 years respectively, when printed with these new Epson inks. These color longevity times are comparable to those for traditional printing on typical color negative papers, like you get at the local film processor, and they are also similar to those for the much more expensive Fuji Pictrography printers. In my opinion, correctly printed Premium Glossy Photo Paper prints from the Epson 1270 can look just as good as Fuji Pictrography or Lightjet 5000 prints.

The Epson 1200 and 1270 allow you to print on the super 11

11

BlA3 paper having a size of 13 x 19 and a maximum print area of about 12.76 x 18.76. Using the Epson panoramic paper, you can actually produce a print of up to 13 x 44 in size having a print area of 12.76 x 43.76. The Epson 870 and 875DC offer the same quality and 4 picoliter ink droplet technology as the 1270, along with the new more color-permanent Epson 6-Color Photolnks. All three new Epson printers use a 11

11

and the 875DC has USB only. Check to be sure that your version of the Mac or Windows OS and your hardware connectors are compatible. The Epson 1270 is much quieter than its predecessor, the 1200, but not as quiet as the HP 970Cse or the HP PhotoSmart printers. All three new Epson printers now have bi-directional printing-the head can print in both directions. This allows faster printing than the Epson 1200 and earlier models. The 1200 and 1270 have, or will have, optional Adobe PressReady®drivers. (See more info on PressReady later in this article.) These printers can print on a number of papers from Epson and other sources ranging in thickness from regular inkjet paper up to Arches and Somerset heavy art papers and even canvas.

To make great prints on the Epson printers without making a custom color profile, in the main print dialog set the Media Type to the paper you are using, set Space to 210=6 2:!(= IIJ flHll~!ill l~IH ~ E~=-------_,• PSON :...:1= Coples: I Letter

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Ii! Prtnter Color Mlln•gement In the main Epson print dialog, set Space to ColorMatch RGB, Media Type to the paper you are using then choose Custom and Advanced to set the rest of your options.

dot size 33% smaller than the 1200. The largest paper size for 11

these 870 and 875DC printers is 8Yi'' x 44 offering an image area of 8.26 x 43.76. The 875DC is the same printer as the 870 with the additional ability to print from all three of the standard digital camera memory card formats, CompactFlash~ Smart Media®and Sony Memory Stick~ Unlike the HP, PhotoSmart noo, which can make prints from CompactFlash and Smart Media memory cards without a computer connected, the 875DC does require a computer to make prints from the memory cards. You can also use the card readers on the 875DC as input devices to read digital files into Photoshop and other applications running on your Mac or PC. The Epson 870, 875DC and 1270 printers have roll paper holders that allow you to use 4'; 8.25 and 13 (1270 only) wide rolls of Premium Glossy Photo Paper. This, along with the 875DC and Epson software on your computer, will allow you to easily make your own prints from all, or selected, 11

11

images taken with a digital camera. All three of the new Epson printers work with both Mac and Windows. The 1270 and 870 have both IEEE 1284 parallel and USB connectors

ColorMatch RGB and leave Printer Color Management turned on. In the Advanced print dialog, set Media Type to the paper you are using, Print Quality to Photo-1,440 dpi, leave High Quality Halftoning on and set Color Management to Color Controls-Automatic. Click on Save Settings to give these settings a name. You can then choose them from the regular print dialog. I find that you get a more vibrant range of colors and more pleasing contrast when Space in the Print dialog is set to ColorMatch RGB. I have tried these same settings on the Epson 1200 with the only difference being that Space is set to Adobe RGB and this tends to make the file less contrasty and the colors too flat. With all my Epson prints, I set the dpi of my files to 360, using Image/ lmageSize in Photoshop. This is an even multiple of the 720 and 1,440 dpi settings you end up using in the printer dialogs.

For the absolute best results from these new Epson printers, use 1,440 dpi in the printer dialogs as the printer's output dpi. You may find though, that for many images the 720 dpi setting works quite well and the 720 dpi setting uses less ink C 0 M M U N I C A T I 0 N

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In the Advanced Epson dialog, set the Media Type for the paper you are using, Print Quality to Photo-1440 dpi, Halftoning to High Quality Halftoning, uncheck High Spped, set Color Management to Color Controls - Automatic then choose Save Settings to save these settings for later selection from the reqular print dialog.

and prints quite a bit faster. When you have a lot of very fine detail, or subtle gradation changes, l,440 dpi will give better results. The printout is the same with the above settings if I leave the image in Lab mode or if I do a profile-to-profile conversion from Lab to ColorMatch RGB or Lab to Adobe RGB before I print the file. The issue that seems to affect the printout quality with these settings most, is what Space is set to in the Print dialog. Leaving it set to ColorMatch RGB gives the best results.

The HP Deskjet 970Cse, 1220C, PhotoSmart P1000 and P1100 The HP Deskjet 970Cse ($399), l220C ($499) and PhotoSmart Puoo ($499) and Prooo ($399), which can also produce photo-quality prints, share a new software technology which allows them to print at 2,400 x l,200 dpi. The hardware technology in these machines is similar to that of rhe previous Deskjet ll20C and 895C HP models, but the newer software technology allows the higher printing resolutions when using the new HP Premium Plus Photo Papers. The 970Cse and l220C, having IEEE 1284 and USB interfaces, work with both the Mac and Windows platforms, but the PhotoSmart Prooo and Puoo only work with Windows. I was told by an HP marketing representative that Mac drivers for the PhotoSmart printers would be available in the fall. The main difference between the Prooo and Puoo is that the Puoo prints a little faster, does automatic one-pass two-sided printing and is network compatible if you purchase the optional HP JetDirect print server. These HP 164

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PhotoSmart 970C se

To get the best photographic quality from these HP printers, HP recommends their new Premium Plus Photo Paper and Premium Plus Photo Paper Matte.

The color permanence of the HP prints on the new HP Premium Plus Photo Paper Glossy is four to five years according to the information published at Wilhelm Phot oSm art 11 0 0 lmaging's Web site, www.wilhelmresearch.com. The permanence information in this article relating to Epson, Lyson, as well as other inks and papers also comes from the Wilhelm Imaging site which is the industry standard for discovering the color permanance of traditional and digital photographic papers. Wilhelm Imaging also mentions that the HP Premium Plus Photo Paper Glossy is not recommended for long-term home use or professional applications due to having poor humidity fastness. The HP matte paper is not rated at Wilhelm's sire.

There are some other signs that these HP desktop printers may not meet the needs of photographers as well as the new Epson models do. Besides the lack of Mac drivers on their PhotoSmart models and the Wilhelm concern about humidity fastness, HP was unable to tell me how to turn off the color management for their 970Cse or Puoo models. One needs to do this to make custom ICC profiles for a printer. I'm making ICC profiles for all rhe printers being tested so I can compare their color gamuts as part of my next article on calibration. Knowing the color gamut of a printer/ink/paper combination is another way to compare it to other printers, inks and papers and also decide if it will be a good proofing device for other output, like for the LightJet 5000.

Do these new HP printers, with their 2,{00 dpi output, produce higher-quality prints than the new Epson printers , which are still at l,440 dpi? The answer to this question, in a nutshell, is no. The HP printers themselves, using their lower-resolution Best setting, usually do just as good a job

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In the print dialog set the Paper Type to the paper you are using and set the Print Quality to either Best or High Res Photo, which gives you 2,400 dpi. I found that Best was less likely to show the grid patt ern of the printer dots than the 2,400 dpi setting although the 2,400 setting has smaller dots.

as with their 2>400 dpi setting-even better with some photographs. The dots appear a bit bigger with the Best setting but they seem to blend together better on some images than with the 2>400 dpi setting. The Epson printers, both the 1200 and the 1270, as well as the smaller 870 and 875DC models, still produce the highest-quality photographic prints. The prints from the HP printers are also quite beautiful; the difference between the two is that the Epson prints, especially on the Epson Premium Glossy Photo Paper, look, and are, photographic quality with every image I've tested. The HP prints, using their highest-quality Premium Plus Photo Paper, are photographic quality for many images, but not for all. Images that have large solid color areas or subtle gradations sometimes allow you to see the grid pattern of the digital printer and are also sometimes unable to make subtle color transitions as smoothly as you might want. At a distance of two feet away from the print many people would not notice the difference on most images, but when you hold the print about three inches from your eye, this is where differences often show up. These differences may be due to the 4-color HP process versus the 6color process used with the Epson printers. Some of the older Epson printers, like the 3000, with an Epson 4-color process, can also have problems printing large flat color areas and subtle gradients smoothly. The HP prints have a strong chemical smell, especially when fresh off the printer.

According to the HP marketing representative I talked to, "The chemical smell of the printouts is due to the wet ink and should fade as the ink dries. The inks have been rigorously tested by HP and are definitely non-toxic. " Both the new Epson and HP printers make beautiful prints, but these HP printers, in my opinion, are not always there when it M A y

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Unless you have made a custom ColorSync profile for your printer, leave the Color setting at HP Color Matching. It was not obvious how to print a test target to make a custom ICC profile for th is printer since the manual, and the folks at HP, couldn 't tell me how to turn off the color management when printing . This needs to be done whan making a profile.

comes to looking as good as a high-quality photograph.

The new Epson 1270, 875DC and 870 printers, with the new Epson papers and inks have reached that lofty position.

To make the best looking prints on these HP printers without creating a custom profile, here are the settings I have found that work. In the 970Cse Mac Print dialog, under Paper Type and Quality, set the Paper Type to either HP Premium Plus Photo Paper, Glossy or HP Premium Plus Photo Paper, Matte. If you set the Quality to the Best setting, the print will come out much faster than with the High Res Photo setting. The High Res Photo setting, 2>400 dpi from the printer, takes longer to print and usually doesn't look much better. The High Res Photo setting does have slightly smaller dots, which you may prefer for fine detail, but I'm not sure the smaller dots always blend as well as the dots produced with the Best setting. I printed files whose dpi was set to 300, 360 and even 600 and didn't notice a big difference in the printed results. The Color setting seemed to work the best when set to HP Color Matching.

The Fujix Pictrography 3000 and 4000 Printers Although considerably more expensive, the Fujix Pictrography 3000 and 4000 printers print directly onto photographic paper. That paper is processed within the printer using a special almost-dry technique that only requires about rmm of distilled water per print. The prints from these printers look exactly like high-quality photographs on photo paper.

They actually are, they're just exposed using a digital process. Another nice thing about Fujix printers is that they are self-calibrating. Each printer comes with a built-in scanner on the top which is set up to scan a standard test sheet that

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prints every time the printer's ink and paper cartridges are changed.

After scanning this test sheet, the printer self adjusts to make itself consistent with the last set of inks and paper. I believe this printer has a wider color gamut than the Epson printers, the HP printers and the LightJet 5000. I'll confirm this in my next calibration article but, assuming it is so, that makes the Fujix great to use for making proofs, or smaller brother photographic prints, for that larger very color-permanent LightJet. The smaller 3000 model of the Fujix printers cos ts about $7,695 and will make prints with an image area up to 8.58" x lr.77'' inches.

The larger 4000 model costs abo ut $20,600 and will make 12 x 18 image area prints . There are glossy, matte and transparency papers available for this printer, but you must print on their papers since the emulsion is on the paper, as with real photographic paper. The Fujix printers may be better then the Epsons for making proofs of Light} et prints, since they also print on photographic paper and actually have a larger color gamut than the LightJet. The Fujix printers will also print high-quality photographs faster than the Epson or HP printers. I just haven't had an extra $7,695 to $20,600 to shell out on a Fujix yet, but I'd sure like one! Maybe their prices will come down now that these new Epson printers have higher quality and more color permanence.

11

11

The LightJet 5000 One of my favorite digital printers for producing art is the Symbolic Sciences LightJet 5000. Its laser exposes 50" wide rolls of photographic paper at up to 400 dpi. There are different companies that make photographic paper for this printer, but the one many art photographers use is Fuji Crystal Archive Matte or Glossy. These papers have been tested by Wilhelm Imaging to have a color permanence of 60 years.

That is significantly more permanent than the popular

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sent out to a service bureau. What I have been doing is using the Epson 1200 to make proofs of my prints, then I send them off to the Light] et once I'm happy with those proofs.

With the new Epson 1270, inks and Premium Glossy/Matte Photo Paper, I can now sell the Epson prints directly. For larger prints, or for buyers who want to spend more and get 60 years of color permanence, instead of 9-26, I'll probably continue to use the LightJet. It seems to be the current standard in the photographic industry for creating colorpermanent photographic prints.

Both the Fujix Pictrography printers and the LightJet use RGB information to directly expose the color-sensitive dyes within their photographic papers. Therefore, RGB files work best with these printers. The Epson and HP inkjet printers actually use CMYK inks, CMYK +d+m{ for the Epson 6-color cartridge. The Epson and HP software is optimized to take RGB files then convert them automatically to CMYK when printing so don't do the CMYK conversion in Photoshop before printing.

Adobe PressReady for Postscript Inkjet Output

Ilfochrome (formerly Cibachrome) process, 29 years, and also more permanent than traditional type C prints from color negatives. This makes LightJet 5000 prints on Crystal Archive paper a great choice for photographers and artists, who like

Another issue to consider when evaluating these printers is the availability of Adobe PressReady. Adobe PressReady,

the look of photographic paper, and want to frame and sell

3 software PostScript®support. PressReady also makes yo ur

their artwork. The only problem with the LightJet is that it costs over $200,000. For most of us, these prints need to be

inkjet text look better, more accurate kerning, text size, etc.

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$249, is a new product that can give inkjet printers, level

For Wendy and me as authors, especially with Wendy's

upcoming Photoshop, Painter, Illustrator Side-by-Side book, PostScript output is important. It has a lot of graphic illustrations that require PostScript and accurate kerning. Another thing that Adobe PressReady gives you is the possibility to get better soft proofs from your desktop inkjet printer, if you are trying to use it as a proofing device for an actual printing press. Adobe PressReady does not work with all inkjet printers.

For PressReady to function on a particular printer, a special driver needs to be created for that printer. PressReady ships with some drivers included, then Adobe posts new drivers for free download on their Web site in the PressReady area at www.adobe.com/ products/ pressready/ printers.html.

There is a PressReady driver available for the Epson 1200 and there will soon be one for the 1270. Drivers are also available for the HP Deskjet 895C, ll20C and 2000C as well as the Epson 800, 850, 900, 1520 and 3000. If you are a photographer making mostly photographic prints, then PostScript output may not be that important to you.

Conclusions I prefer to have my own printer and be able to make prints directly within my digital darkroom. These Epson and HP printers in the under $500 price range allow one to work in that self-contained environment without spending a lot of money up front. If you are just getting into digital imaging, I would suggest that you try one of these printers first as you learn the process. Using your own digital printer allows you the digital equivalence of having your own traditional darkroom. You color correct your image within Photoshop then make a print when you feel you have it right. After looking at that first print, you tweak the color, crop and sharp-

Green Trees, printed on the Epson 1270 using Epson Premium Glossy Photo Paper, and scanned from the print.

ness a bit then make a second print. This is an iterative process where you can tweak, make a print and tweak again until

print dialog settings. Buying a lot of ink cartridges from

you get a final print you are happy with. Sending prints out

the same production batch can help assure that consistency.

to a LightJet 5000 or Iris service bureau makes the entire process more complicated and adds a much larger margin for error. You have to wait several days or longer to get your

If your main goal is producing 13" wide or smaller prints in

print so the creative iterative process that happens all within one working session gets interrupted. The service bureau has many different employees that deal with your images, their paper, their printer and also their film processor. I have yet to find a LightJet service bureau that is always consistent with color, especially when printing images that are close to neutral in color. The labs usually blame the difficulty on controlling the temperature and replenishment of the film processor for the Fuji Crystal Archive paper. On the flip side, I have found the Epson printers and inks fairly consistent when you always use the same paper, type of ink and 170

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your own digital darkroom that you can sell as photographs , then the Epson 1270 printer is a great choice at $499· With the available Adobe PressReady driver, ability to hook up to the Mac and PC, optional roll paper attachment and network access, this is a very versatile printer. For a printer to make 8Yi'' wide and smaller prints, or if you have a digital camera and want to use your printer for family photos, then get the Epson 870 or 875DC (DC for digital camera). At $199, the Epson 870 is a great deal, but you'll have to access your digital camera files through your computer. For $399 you can access digital files directly through the printer with the Epson 875DC or the HP PhotoSmart Prnoo. If your main focus is having a printer that you can use for business projects, on

plain and photographic paper, chat prints very quietly and also prints one pass on both sides of the page, you should check out the HP 970Cse or PhocoSmart noo . For printers chat expose an image onto a more traditional photographic paper, then process chat image with a photographic emulsion process, the Fujix Piccrography 3000/ 4000 at $7, 695/ $20,600 may be affordable for an in-house printer and the LightJet 5000 is certainly the premium choice with its 60year color permanent Fuji Crystal Archive paper.

If you need to print photographs chat are wider than 13" and want an in-house inkjet, look into the Epson 9000.

This printer can print up to 44" wide and uses 6-color inks with a variety of papers. The Epson 9000 costs about $9 ,000, but with it you can make really large, commercial and artquality prints. HP also makes some larger-format printers,

Companies mentioned in this article Epson America, Inc. (800) GO-E PSON (800) 463-7766 www.epson.com Hewlett Packard Corporation (800) 552-8500 www.hp.com www.photosmart.com Fuji Photo Film, USA (800) 800-FUJI www.fujifilm.com

Sales information on printers Keeble & Shuchat Photography (Palo Alto, CA) (650) 327-85 11 www.kspphoto.com

the DesignJet 2500 and 3500. Using HP pigmented UV inks on certain papers with these bigger printers gives you a color permanence of over roo years . I have not yet tested

(fo r t he Lig htJet 5000 ) Symbolic Sciences (Bellingham, WA) (3 60) 756-4000

these larger Epson and HP printers or some of the other

Labs with Light]et 5000 printers

alternative inks. I plan to test chem soon!

I've been working with digital imaging and digital prints for over ten years now and things continue to get more exciting all the time. The quality of the digital prints you can make today is several orders of magnitude better than what was available ten years ago , and at a fraction of the cost. Now is a good time to get involved in chis process as things will only get better, and cheaper too. To get the latest and best information on the color permanence of digital prints made with various types of digital printers, inksets and papers, go to www.wilhelm-research.com which is the Web site for Henry Wilhelm and Wilhelm Imaging Research.

I will be adding the results of my further work and tests with digital printers, inks and papers to www.maxart.com as I work on my upcoming book: Making the Digital Print. In my next article for Communication Arts, I will discuss workflows as well as software and hardware products for calibrating the above-referenced printers, and others. The calibration products we will cover may include Monaco EZ

Calypso Imaging (Santa Clara, CA) (408) 727-231 8 www.calypsoinc.com Palmer's Digital (M ou ntain View, CA) (800) 735-1950 Robyn Color Lab (San Francisco, CA) (4 15) 777-0580 www.robyncolor.com CMYK (Ph oenix AZ) (602) 629-1000 cmyk@digitalcmyk .com www.digitalcmyk.com

Color calibration consultants Bruce Bayne (Tigard, OR) Alder Technology (503) 603-0998 (888) 318-8230 (503) 443-4609 fax bruceb@a ldertech .com Robin Myers (Pleasanton. CA) (Robin invented ColorSync. he has a very helpfu l Web si te) (925) 484-1065 myers@rmphoto .com www.rmphoto.com

Colo r Monaco Proof, Praxisoft WiziWYG and WiziWYG Delux, ColorBlind Matchbox, Provelt and ColorMatic for

Third-party printer ink suppliers

making profiles, the X-Rite DPP-41 spectrophotometer, Color Vision PhotoCal and Optical for hardware monitor calibration and, at the high end, Greytag Macbeth's ProfileMaker

Lyson Inc, (El k Grove Village, IL) (847) 690-1060 www.lyson.com

3.0 software and their Spectrolino spectophotometer with the Spectroscan's xy table, Color Savvy Systems Color Control Station and SMPKit Software as well as Lino's Print Open, ScanOpen and ViewOpen. • 172

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MIS Associates Inc (La ke Orion, Ml ) (800) 445-8296 www.missupply.com

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Finally, a program that restores an essential element to a designer's career.

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That is why Sappi created a program to support design for the public good. Ideas That Matter awards monetary grants to designers throughout the world to help them create and implement projects that serve the causes closest to their hearts. In other words , your favorite cause , your favorite charity, your favorite foundation.

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The Art of Balance

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www.corel. com/draw9 Copyright C> 2000 Corel Corporation. All rights reserved . Corel, CorelDRAW, Corel PHOTO-PAI NT, the Go further logo and the Corel balloon logo are trademarks or registered trademarks of Corel Corporation or Corel Corporation Limited. OuickTlme and the OuickTime logo are trademarks used under license. QuickTime is registered in the U.S. and other countries. Canlo and Cumulus are registered trademarks of Canto Software, Inc. All other Pfoduct, font and company names and logos are trademarks or registered trademarks of their respective corporations

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Quark extension Redefine Style Sheet from Xpedient quickly and simply automates the process of updating QuarkXPress Style Sheets to match local formatting. Created for graphic designers, typesetters, page production artists and prepress technicians, Redefine Style Sheets allows users to apply identical settings from one document to another. Visitors to www.xpedient.com can down-

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Education

Desktop proofs PowerRIP 2000™from iProof™ Systems enables artists, printers and magazine publishers to make low-cost, accurate proofs on their desktop inkjet printers that emulate the conditions and limitations of color on printing presses. PowerRIP

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Process Calibration and Con-

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visit www.powerrip 2 000. com

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I Ju N E

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(800) 724-2536, ext.33.

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M A y

Color Printing, June 5-7; Digital

Digital Photo 2000, a national

lation techniques and color

in Photoshop, Illustrator or

York, include Visualizing Color, June 1-2; Orientation to Digital

correction seminars will take

BeatWare's ePicture 2.0 is an

try at Rochester Institute of Technology in Rochester, New

rendering technology to accu-

Animation application

178

Script or EPS file directly to

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than four students at a time)

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Books Emotional Digital: A Sourcebook of Contemporary Typographies Ed ited by Alexan der Branczyk, Jutta Nachtwey, Heike Neh l, Sibylle Sch laich and Jurgen Siebert 312 pages, hard -bound , $50 Publ ished by Thames & Hudson, Inc. 500 Fifth Avenu e New York, New York 10110 www.thamesandhudson.com

"Every day new fonts and foundries spring up from the soil like mushrooms. " Many may sympathize with the authors when they say their Web browser's bookmark menu overflows with Web sites dedicated to type design. As "typographical artists" themselves, they have sifted through the vast quantity of new typefaces and compiled an overview of the international type scene. They invited 50 companies whose work they feel most strongly influenced the industry in the past decade to tell a little of their history and show off their type specimens, brochures and other promotional materials.

•

The companies range from the larger and well-known like Adobe, Bitstream and Emigre to individual creators like Rian Hughes of Device (with hip typefaces like Foonky and Amorpheus) and Ian Swift ("Swifry") of Command (Z) (with the handprint font Hand Job and the retro/cutout design Dolce Vita). No matter how old or new the company, the emphasis here is on showing off recent fonts. Most purchasers of type are familiar with Emigre's catalog which includes pajamas and the intricate and elegant Hypnop~dia patterns.

Emotional Digital also shows the creative "extras" from other type houses, for example, a lively and colorful type collage from Erik van Blokland and Just van Rossum's LettError.

There are screenshots from digital font catalogs, like Kathy Warinner and Bob Aufuldish's fun, interactive display for fontBoy's faces like Viscosity and Baufy.

The promotions are as creative as the typefaces. There's a periodic chart of the dingbat font Chippies designed by Chip Wass for [T-26]. And, these days, buying a font can be like getting a box of cereal with a toy inside. For example, House Industries packages five fonts with names like Poorhouse and Housearrest along with a T-shirt with an appropriately distressed image in its "Bad Neighborhood in a Box. " There are essays by some of the type designers. Erik Spiekermann reflects on the history of font advertising: from broadsheets in the 16th century to T-shirts today. The brilliant and prolific Zuzana Licko discusses in detail the evolution and enduring validity of bitmap fonts, and some of the technical issues involved in designing them. In 182

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"Typo-matic," Swift expresses a contemporary mood in font design: 'Tm not about to spend the next ten years designing one font when I could do at least one a week or one a day." He finds inspiration for new fonts in obscure sourcesrusty signs or old, discarded ticket stubs.

Emotional Digital features companies from the U.S., England, Europe and Russia. Each has complete contact information including URLs listed in the back. And there are indices of all the designers and typefaces that are in the book, making it a nifty reference to some of the best in what's current and cutting-edge in type.

-ANGELYNN GRANT

The Art of National Geographic: A Century of Illustration

By Al ice A . Carter 240 pages, paperback, $50 Published by National Geograph ic Soci ety 1145 17th Street N .W. Washington, DC 10036 (800) NGS-LINE www.nationalgeographic.com

Although this is technically a paperback, The Art ofNational Geographic is a beautiful book worthy of the coffee-table as well as the library.

The illustrations of National Geographic have explained the previously unexplainable for the last century, helping us to visualize science, evolution, world conflicts, the environment, aniTHE ART OF

N ATIONAL GEOGRAPHIC

mals, history and world cultures. And while certainly reading educates, combined with these incredible visuals, the information becomes even more memorable. The 156 illustrations in this book, including such widely-known artists as N.C. Wyeth, James Gurney, Syd Mead and Jerry Pinkney, are just a small sample of the approximately 12,000 drawings and paintings in the National Geographic Society Image Collection.

Author Alice A. (Bunny) Carter, an award-winning illustrator herself, gives us insightful background information on how these artists created these illustrations, including the science and research, that help shaped the way we think of our world. Each illustration is accompanied by its title, artist, date and the article in which it was originally published. Carter introduces each chapter with an overview of how illustration, over the course of the last roo years, has changed due to new research and discoveries.

In the first chapter, "Paleontology and Anthropology,'' Carter uses the Doppler effect as a metaphor for the early artists who undertook the task of reawakening our distant past for National Geographic. "The world they recreated was remarkably serene and operated at a very low pitch. " These

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are the illustrations of huge, harmless dinosaurs grazing peacefully amongst the abundant vegetation . Recent discoveries have reversed " ... the Doppler effect, they now reveal a past that assaults us with intensity so magnificent that, in comparison, the future seems subdued." Gone are the days of dinosaur harmony, we now understand it was more like

Jurassic Park.

One of the most fascinating and diverse chapters, "Natural History," begins with two illustrations of sea life from the 1930s by Else Bostelmann. Carter explains that Bostelmann went on oceanographic expeditions off the waters of Bermuda with William Beebe from 1929-1934. "In order to assure the accuracy of her illustrations, Bostelmann was known to don a copper diving helmet and paint in oils at a depth of fourteen feet." (The two illustrations included in the book depict deep sea life, and as Bostelmann was not able to work from life, she worked instead from Beebe's description of his descent in his Bathysphere.)

Subsequent chapters cover "Exploration and Discovery," "Conflict and Chaos," "Universe" and "World Cultures." The illustrations in each category vary from precise, technical renderings to expressive, painterly interpretations. With a foreword, "The Joy and Necessity of Illustration" by Stephen Jay Gould, afterward, "The Art of Adventure-Behind the Scenes at National Geographic, " by Christopher P. Sloan, a biographical index providing brief summaries on the artists, and everything visual in between, The Art ofNational Geographic is a worthwhile book for illustrators, art, history and science lovers-and armchair explorers.

-REBECCA BEDROSSIAN

Briefly N oted: Western Amerykanski: Polish Poster Art & the Western , edited by Kevin Mulroy (Published by University

of Washington Press, P.O. Box 50096, Seattle, Washington 98145, 240 pages, soft-cover, $40). Outside the U.S., the Wild West and the cowboy represent an essence of what it is to be American: the brash gunslinger in the black tengallon hat or the stoic hero on the white horse. These mythical archetypes did not spread all over the world without public relations. Doc Carver's "Wild America" show traveled to Russia in the 1890s, where the czar risked his life to attend in the unfriendly climate of prerevolution St. Petersburg. But it was the movie Western and its stars that made the cowboy the universal icon of defender of everything good and moral. In particular, these symbols had resonance in Poland in the last half of the 20th century.

For example, the image of Gary Cooper from High Noon 184

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was used on an election poster in 1989 as a symbol of "Solidarnosc." Even when a poster was simply promoting a Western movie, the striking illustrations were often the only way artists could freely express themselves. Where posters from Western European countries faithfully represented the plot of the film, those from behind the Iron Curtain revealed more sinister meanings, with "Polish posters showing cowboys mutilated, at the gates of hell, or crawling headfirst down giant gun barrels. " The Autry Museum of Western Heritage has the largest collection of these posters outside of Poland and Western Amerykanski beautifully reproduces over 150 and accompanies them with incisive and fascinating essays on the effect of the Western and its myths worldwide as well as in Poland. This book is highly recommended to anyone who ever proudly sported a fringed jacket or a tin badge, as well as all lovers of history and design.

-A.G. Art Director Confesses: ··1 Sold Sex! Drugs & Rock'n'Roll .. (Published by RotoVision , RotoVision SA,

Rue du Bugnon 7 CH-1299, Crans-Pres-Celiny, Switzerland, e-mail: sales@rotovision.com, 156 pages, paperback, $39·95) by Mike Salisbury. OK, I confess, the title grabbed my attention, but it was the chance to read in his own words the history of one of design and advertising's most colorful characters that kept me flipping pages and getting sidetracked when I should have been proofreading this issue. Salisbury offers trenchant advice such as "Save those rejects. You never know ... " claiming that "Like a scary drug, a good idea should have a long, vivid half life. You can use the flashbacks forever." Unlike the president, this is a guy who clearly inhaled, and enjoyed every minute of it! In person, Mike is just as edgy, smart and humorous as his offbeat work. Here's a guy who has walked the walk with everyone from Hugh Hefner and Francis Coppola to rock stars and surf gods, who writes, in his modest way, "With a glittery white glove, I created a look for Michael Jackson. I made 'Rolling Stone' look like a real magazine instead of something you rolled joints with. I gave the world's biggest toy company an identity.

I have helped sell over 300 movies and I put L.A. pop culture on the map. " Of course Salisbury Communications designed the book with lots of underlined words, exclamation points and starbursts, varying type sizes and lots of photographs to make his points like "Sex sells" and "Be prolific.

Be fast. Or don't do movie work." Salisbury's book is a fun read, and undoubtedly laced with good advice for both designers and art directors. I especially liked the section showing a selection of his photographs. The guy definitely has an eye-not to mention an attitude.

-ANNE TELFORD

Materials Space-the final frontier?

heat) , Ourerspace"™ (think Hal),

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our of this world. The kit includes

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cg~GrspacGTM

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will forever be the final frontier,

8 fonts (5 contain alternate faces) ,

to go where no one has gone

99 dingbats, 6 stereograph pat-

8Pl=IC61=1Gff" LIGHT l=ILPHl=I

terns, as well as the crew uniform

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before and, sometimes, that's not such a good thing. But when it comes to new fonts , space provides infinite possibilities.

Wilmington, Delaware-based House lndustries's explorations in space have wielded unprecedented results in the field of space-age

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aaua rn=imm~ 1~cBGU:mnuw1

pleasure, House lndusrries's deep

SPJ:IC6J:IG6 BOLO J:ILPHJ:I ~8CD8PGHI 88CDBPGHi 1284 BBoa GAmmA mceGl!:mnuwJ

space probing unearthed a multisession CD-ROM containing font data plus seven Peter Thomas remix tracks from Dauerfish , Stereolab, Yoshinori , Sunahara, John McEntire , Ronnie And

fonts in the form of the House

Clyde, Coldcur and Peter Thomas

3009 font kit. In the tradition of

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SPACEAGe HEAU!t ALPHA AHCDEFGHlaecoeFGHi12a~

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SPACEAGE BLACH ALPHA ABCDEFGHIBBCDBFGHi129q Belia samma (AcesmnuwJ

SPBCBPDRT"' RBBCDDEBFGH/i 123'1

~ #5 ~.JI "fl: ~':f: * fJ

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Now. Actually Get Inspired

By Shopping Online Start or renew your subscription to Communication Arts Magazine Change your mailing address Check your expiration date Order back issues

[I( Purchase the CA 1999 Television Commercials Videotape

www.commarts.com 186

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call for entries

Lommunication Art~

Design & Advertising 2000

Lommunication Art~

ou ARE INVITED TO SUBMIT work to the largest and most

Y

eminent of juried competitions in graphic design and advertising: Communication Arts magazine's 41st Annual Competition. The results will be published in the November

2000 Design and December 2000 Advertising Annuals. Last year, less

41stAnnual Juried Competition Work first printed, published or broadcast between June 16, 1999 and June 15, 2000 is eligible. Deadline for submitting entries is June 15, 2000.

The November Design Annual will show entries chosen by a distinguished jury of designers. The December Advertising Annual will show entries

assuring important exposure for the

selected by an equally distinguished jury of writers, art directors and creative directors. Both annuals incorporate special reproduction techniques with everything reproduced at a size that allows the copy to be read. Award of Excellence certificates will also be

Download Call For Entry forms from

creators of these outstanding projects.

given to clients, individuals and firms.

the CA Web site:

No Hanging Fees • No Acceptance Fees

www.commarts.com

Deadline: June 15, 2000

than 2% of the 29,705 submitted entries were selected for inclusion in these two exclusive indexed annuals.

72,000 copies of the highly-respected annuals will be distributed worldwide,

Materials

One-hundred fortyseven new colors and then some!

fax numbers, e-mail addresses and URLs have been included for convenience.

Pantone's newest version of PANTONE Graphics Color Systems

The Newspaper

for the graphic design and print

Association of America ... has

industries was launched earlier

updated their Color Ink Book,

this year. Major improvements

Vol. 9, designed to show the color

have been made to the PANTONE

palette available in newspaper

MATCHING SYSTEM®: expanded

printing. Revamped every five

color palette, new paper stocks

years, Color Ink demonstrates how

and a new presentation. There are

specific colors will reproduce in

147 new colors in the yellow,

newsprint by showing proper screen percentages to achieve

orange, red, purple, blue, green, brown and gray families. Attuned

colors and a correct gray scale.

to the need and concerns of

Volume 9 includes 50 colors (up

designers, who expressed an

from 41 in the last volume) and

interest in environmental issues,

the format has been modernized

Pantone responded by increasing

as well: it is now a 10 x 2, spiral-

their earthtone palette. To give

bound book with vinyl slipcase

colors true representation, a brighter, matte coated paper stock has been created. Pantone found that designers commonly use whiter matte stock for annual reports and corporate projects where a more sophisticated presentation is preferred. The first and biggest change to the PANTONE MATCHING SYSTEM®

that allows the color pages to fan out. Color chips that can be cut out and distributed as samples might hinder the fanning capabilities of this book, but we must think of the priorities of printing correct colors on newsprint over keeping cool. The NAA Color Ink Book, Vol. 9 is available for $25 ro

NAA members; $35 for non-members; and volume discounts are

that will be noticed by all is its

available. To order, call the NAA

new look, a new identity.

at (800) 651-4NAA and reference

Designed by Daniel Weil of

item #10080 or log on www.naa.

Pentagram, brightly colored linen

org/products

now covers the book which stands as the industry "ency-

theispot.showcase"' ... is rhe

clopedia" of color. The minimal,

result of a marriage, of sorts,

subdued style emits a sense of authority, and combined with

between rhe two leading illustration Internet sires, theispot.com

vibrant color, a modern effect is

and showcase.com (nor unlike

achieved. For more information,

the recent nuptials of Lucky's and

call (888) PANTONE or check out

Alberrson's). These two combined

www.pantone.com

organizations will allow arr buyers to browse portfolios free of charge

188

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(artists and reps pay a modest annual fee) and make the entire

Literature for Your Files

search process quick and easy,

A request on your letterhead to the

theispot.showcase, buyers search

virtually painless. To use

following companies will bring you

by using keywords that reference

the literature described. ..free unless

style, subject and medium, or by

otherwise noted. Whenever possible,

selecting portfolios of specific

Corbis Image's .. .Red, their lat-

the print catalog and then some.

est catalog, beckoned to me from

To order your copy of this sump-

the start. Besides being my favorite

tuous catalog, call (800) 260-0444;

color, this stock photography cata-

fax (425) 746-1618; or check out

log, with its dreamy red cover, is

www.corbis.com

crammed full of images that are

Reflections on Time

illustrators. At that point, buyers

Consolidated Papers's ...

then contact the artist or rep

release of their promotion Reflec-

directly via phone, fax or e-mail

com, e-mail info@theispot.com

tions on Time could not have been more timely as we begin this new millennium. The question it centers around is "Just whose millennium is it? " Jennifer Sterling of San Francisco, California-based Sterling Design used metaphorical text and images on this booklet that presents the global struggle to create a single calendar. While the topic is historical, Reflections on Time is anything but. Full-page bleeds of creams, greens, blues and cranberry saturate Consolidated's line of Reflections®Silk Cover, Text and Gloss Text papers, and create an ethereal quality when combined with the work of Bay Area photographer John Casado , due in part to the subtle blue-white shading of Reflections.

Writer David Ewing Duncan researched the quest for a common calendar that was only realized in 1949· The effect of holding a calendar while reading about its history is achieved by text that runs sideways on the page. A number of different printing processes are used throughout to showcase Reflections's printability for designers . To get yo ur copy of Reflections on Time, fax your request to (800) 892-9242, Attention: Reflections on Time, or for more information on Consolidated Papers, check out www. consolidatedpapers.com or call

or call (888) 834-7768.

(800) 322-7377 ext. n77 .

to discuss and assign the job-elementary my dear Watson, elemen-

tary. The site itself is divided up into the following categories: About (self-explanatory); Portfolios (search page where yo u can hunt by category, artist, reps, keywords of subjects, styles and mediums); Art Talk (allows yo u to register and participate in a Web conference on a variety of industry-related topics); Srock (theispot's Srock Sub-Site that simplifies the buying and selling of stock illustrations); and What's New (i ntroduces the ten newest members to the Web site every seven to ten days as well as listing some of the more well-known members of theispot.showcase site). One of the great benefits for the illustrators themselves is the Art Talk category where they can communicate with other artists or reps on mutual topics such as Computer Illustration; Difficult Client Regisuy; The Stock Exchange; Suggestion Box; The Rovi ng i; What's Up; Rep Relations; The Illustration Conference follow-up; and Classified Ad (with two subcategories of Art Supplies/Professional Services and Buy/Sell/Swap). For more information, visit www.theispot.

just plain fun to see. The first 60

International Paper ... has

pages consist of the Gallery, a

launched a Web site for Coated

greatest hits section featuring

web [no pun intended] Papers.

these categories: Corbis Outline

The graphic arts and publishing

(snaps of famous faces including

communities will find www.

Edward Burns, Anne Heche and

ipcoated.com a good resource

Kevin Spacey) ; Fine Art (from

for finding detailed product and

the Venus de Willendorf and an

stocking information for IP coated

Egyptian sphinx to the paintings

papers plus industry-related news

of Giovanni Bellini and Amedeo

and events, a glossary of terms,

Modigliani); Ansel Adams's

paper math help and topical bul-

photographs; Corbis Sygma (inter-

letin boards discussing produc-

national newsworthy images); the

tion-related issues . Paper samples

Turnley Collection; and 360°

and the latest promotional mate-

panoramics. The enclosed co-

rials will also be available online.

ROM includes all of the images in

-REBECCA B EDROSSlAN

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

A R T S

189

Clubs, Conferences, Seminars The Direct Marketing Association (DMA) is intro-

The Broadcast Designers Association/Promax

ducing a new two-day conference, the DMA E-Commerce Customer Care Conference, "The Digital Sandbox." The first one is scheduled for May 16-17 in New York City at the New York Information Technology Center. Questions?

International Conference is slated for June 14-17 at the Ernest N. Morial Convention Center in New Orleans ,

E-mail Lisa Ferrara lferrara@the-dma.org; write DMA, n20 Avenue of the Americas, New York, New York 10036;

(310) 712-0040; fax (310) 712-0039; or visit the Web at www.bdaonline.org

Louisiana. For information, contact BDA, 2029 Century Park East, Suite 555, Los Angeles, California 90067; call

call (212) 768-7277; fax (212) 302-6714; or visit the Web at www.the-dma.org

The Santa Fe Photographic Workshops celebrates

eleven years of excellence in craft, vision and inspiration.

The Association of Professional Design Firms

The summer workshops take place from June 18 through

(APDF) has planned its fourteenth annual meeting for May 18-21 in Napa Valley, California. Bob Brunner, Pentagram; Bob Frisch, Andersen Consulting; Adrienne Duffy, The

August l2 and fall workshops run from September 17

Strategic Coach; and David Maister, Maister Associates, will be making presentations. This year's conference theme

Arnold, Gary Braasch, Keith Carter, Adam Eidelberg, Jill Enfield, Nancy Foley, Peter Freed, Michael Grecco, Sean

addresses "Succeeding in the New World." For information, visit the Web site at www.apdf.org; contact APDF, P.O.

Kernan, Bob Krist, Bobbi Lane, Douglas Merriam, Arthur Meyerson, Arno Minkkinen, Richard Newman, Steve Northrup, Tony O'Brien, Charles O 'Rear, Chris Rainier,

Box 29166, San Francisco, California 94129; call (415) 5612733; fax (415) 561-2734; or e-mail apdf@lexitech.com.

The Charles Schulz and Peanuts 50th Anniversary

Seth Resnick and Allen Rokach, among others. For additional information, write to Santa Fe Workshops, P.O. Box 9916, Santa Fe, New Mexico 87504; call (505) 983-

Celebration will open on May 23 and run through October 29 at the Cartoon Art Museum. Gallery hours are: Tuesday-Friday, II a.m.-5 p.m.; Saturday, IO a.m.-5 p.m.;

1400; fax (505) 989-8604; e-mail sfworkshop@aol.com; or visit www.sfworkshop.com

and Sunday, l p.m.-5 p.m .. Admission prices: adults, $5; students and seniors, $3; children 6-12, $2; children under

The American Institute of Graphic Arts (AIGA) will

five are free. The Museum is located at 814 Mission Street, Second Floor, San Francisco, California 94103. For additional information, call (415) 227-8666, fax (415) 243-8666; or check out www.cartoonart.org

Conference, October 6-8 at the Yerba Buena Gardens for

Sappi Fine Paper North America has launched "Ideas

That Matter," a program providing grants between $5,000 and $50,ooo to enable graphic designers to create and implement projects for nonprofit organizations. "Designers have an interest in working with charitable organizations to improve the quality of life in their communities," explains Monte R. Haymon, president and CEO of Sappi. "They donate their talent, creativity and energy to support causes they care about, but they often do not have the funding to produce the materials. Our intent is to help them bring their ideas to life through the power of the printed image. " Open to individuals, design firms, agencies, in-house design departments and design students, the proposed project must use print as the communication medium (direct mail, posters, etc.) and must be received no later than May 31, 2000. For further information, call, fax or access the Web site: (800) 882-IDEA; fax (617) 423-5491; www.warren-idea-exchange.com 190

through October 14. Digital workshops are offered yearround. Photographers/instructors include Sam Abell, David

M

Ay I J u N E 2 0 0 0

hold its fourth Biennial National Design and Business the Arts in San Francisco, California. The conference will explore the ways in which investment in powerful design solutions nets rewards. The advisory committee is cochaired by Kit Hinrichs and Robert Brunner, both of Pentagram Design, Inc., San Francisco. The schedule of presentations will be interspersed with informal events, business breakfasts and studio tours. Conference attendees will stay at W hotel, www.whotels.com. Attendance is limited to 800. Rates before June l, members $575• nonmembers $750, student members $300. After June l, members $725, nonmembers $900, student members $350.

AIGA, 164 Fifth Avenue, New York, New York rooro; call (212) 807-1990; fax (212) 807-1799. For more information, visit the Web at www.aiga.org -JEAN A. CoY E

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Directory Featured in this issue Kim Baer Design Associates 807 Navy Street Santa Monica, CA 90405 (310) 399-3295 michael@kbda.com www.kbda.com

Raymond Meeks 2045 Silver Ridge Hamilton, MT 59840 (406) 363-2773 (406) 363-0104 fax meeksfam@aol.com www.raymondmeeks.com

Emdoubleyu Design 4597 Belmont Avenue Vancouver, BC V6R 1C5 Canada (604) 224-3124 (604) 224-3125 fax

Tracy Veal Design 710 Wilsh ire Boulevard, Suite 415 Santa Monica, CA 90401 (310) 458-2522 (310) 458-2524 fax

Howry Design Associates 354 Pine Street, 6th Floor San Francisco, CA 94104 (415) 433-2035 (415) 433-0816 fax www.howry.com

Exhibit

Lure Design 420 N. 5th Street. Suite 950 Minneapolis, MN 55401 (612) 339-0010 (612) 333-4823 fax

Represented by Candace Gelman Candace Gelman Associates 400 E. Randolph, #3103 Chicago, IL 60601 (312) 540-0086

Marc USA Orlando Jeff William, vice president (407) 649-4899 (407) 649-8532 fax jwilliam@marc-usa.com Carlos Romaguera, senior art director cromaguera@marc-usa .com

WONG DOODY

Savitski Design 102 Nickels Arcade Ann Arbor, Ml 48104 (734) 662-3905 (734) 662-0485 fax

216 First Avenue S., Suite 480 Seattle, WA 98104 (206) 624-5325 (206) 624-2369 fax www.wongdoody.com

Serino Coyne, Inc. 1515 Broadway, 36th Floor New York, NY 10036 (212) 626-2700 (212) 626-2799 fax

Wendell Minor 15 Old North Road P.O. Box 1135 Wa shington, CT 06793 (860) 868-9101 (860) 868-9512 fax wendell @minorart.com www.minorart.com

Spot Design 1600 Broadway, Suite 904 New York, NY 10019 (212) 262-3355 (212) 262-2930 fax Bridget de Socio of Socio X 55 W. 13th Street Center for Education & Technology New York, NY 10013 (212) 888-2002 superstar1@aol.com

Ralli Culver loanna Ralli ralli@otenet.gr Victoria Culver culver@ath.forthnet.gr

Stone Yamashita 355 Bryant Street, #408 San Francisco, CA 94107 (415) 536-6600 (415) 536-6601 fax

Great Ideas on Limited Budgets AND 645 E. South Temple Salt Lake City, UT 84102 (801) 328-3898 (801) 328-3857 fax www..andworks.com Contact: Christy Anderson christy@andworks.com

Anvil 2611 Broadway Redwood City, CA 94063 (650) 261-6090 (650) 261-6094 fax www.hitanvil.com BBDO/Guerrero Ortega 24 Floor 6750 Bu ilding Ayala Avenue, Makati City Philippin es 1266 +63 (0) 2892-0701 +63 (0) 2892-7501 fax Big Bang Idea Engineering 2002 Jimmy Durante Boulevard, Suite 315 Del Mar, CA 92014 (858) 259-2000 (858) 259-1800 fax Bill Brokaw Advertising 425 Lakeside Avenue Cleveland, OH 44113 (216) 241 -8003 (216) 241-8033 fax BVK/McDonald 250 W. Coventry Court Milwaukee, WI 53217 (414) 228-1990 (414) 228-7561 fax DOB New York 437 Madison Avenue New York, NY 10022 (212) 415-2879 (212) 415-3592 fax Deutsch Inc. 111 Eighth Avenue New York, NY 10011 (212) 981-7600 (212) 981-7525 fax Pierre-Yves Goavec 340 Harriet Street San Francisco, CA 94103 (415) 552-7331 (415) 552-2384 fax

Turner Duckworth 164 Townsend Street, Suite 8 San Francisco, CA 94107 (415) 495-8691 (415) 495-8692 fax www.turnerduckworth.com

GSD&M 828 W. 6th Street Austin, TX 78703 (512) 427-4736 (512) 427-4700 fax

BBK Studio 5242 Plainfield Avenue NE Grand Rapids, Ml 49525 (616) 447-1460 (616) 447 -1461 fax

Two Twelve Associates 90 West Street, Floor 23 New York, NY 10006 (212) 233-3535 (212) 233-3536 fax

Loeffler Ketchum Mountjoy 2101 Rexford Road, Suite 200 East Charlotte, NC 28211 (704) 364-8969 (704) 364-84 70 fax

Design of Today 3475 S. Highland Drive, Suite B Salt Lake City, UT 84106 (801) 487-2673 (801) 487-2739 fax dot@a ros .net

Wolfe Design The Gulf Tower, 31st Floor Pittsburgh, PA 15219 (412) 258-3600 (412) 258-3601 fax wolfedsn@fyi.net

Nelson & Schmidt 111 E. Wisconsin Avenue Milwaukee, WI 53202 (414) 224-0210 (414) 224-9463 fax

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Phinney/Bischoff Design House 614 Boylston Avenue E. Seattle, WA 98102 (206) 322-3484 (206) 322-3590 fax Saatchi & Saatchi 735 Battery Street, Suite 400 San Francisco, CA 94111 (415) 296-6000 (415) 391 -8209 fax SBG Enterprise 1725 Montgomery San Francisco, CA 94111 (415) 391-9070 (415) 391-4080 fax www.sbg.com Schafer 830 N. Boulevard Oak Park, IL 60301 (708) 848-5500 (708) 848-5505 fax www.schaferdesign .com WestWayne, Inc. 110 Peachtree Street, NE, Suite 1800 Atlanta, GA 30309 (404) 347-8700 www.westwayne .com Zellars Paula Zivot, Truly brand manager 8925 Torbram Road Brampton, ON L6T 4G 1 Canada (905)792-4763

Eco Eva Anderson Eva Anderson Design 207 Williams Street Providence, RI 02906 (401) 351-1211 (404) 351-5744 fax evaeco@mindspring.com Christine Armstrong Armstrong Studio Associates 4701 Belair Road Baltimore, MD 21206 (410) 488-5603 (410) 488-5605 info@a rmstrongstudios .com www.armstrongstudios.com Jim Egan Jim Egan Digital/Photography 150 Chestnut Street Providence, RI 02903 (401) 331-6220 (401) 331-6278 fax megamac@ids.net

Technology Technology Feature Duffy Design & Interactive 901 Marquette Avenu e S.. Suite 3000 Minneapolis, MN 55402 (612) 321 -2333 (612) 321-2334 info@duffy.com www.duffy.com

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Advertiser's Index Adobe 8 AIGA Conference 183 Anderson Lithograph 179 Appleton Papers 161 Canon 180 Champion Paper 141 Cli ents & Profits 34 Cohen, Stewart back cover Comstock 159 Corbis Images 35 Corel 177 Crane & Co. 31 Creative Group 169 CTI Paper 49 Design Online 57 Epson Graphic Inkjet 24 Extensis Portfolio 13 Extensis Suitcase 145 FPG International 17 Fraser Papers 55 Frazier, Craig 5 Getty Images, Inc. 41 Guru .com 42 Heffernan, Terry 6 HP DeskJet 1220C 156 Image Bank 11 Imation 146 McArthur, Pete 47 Masterfile 53 Nikon Electronic Images 165 Pantone 171 PlanetPoint 48 Portfolio Center 52 Presstek 37 Sap pi Fine Paper 17 4 Siggraph 185 The Stock Market 15 stone 33 Strathmore Papers 28 SuperStock 173 3M Commercial Graphics 50 Uniphoto/Pictor lnt'I 167 VCU Adcenter 46 Wausau Papers 19

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January/February 2000

Illustration () Gary Ba seman

Photograph CC> Lee Crum

December 1999 Advertising Annual

November 1999 Design Annual

September/October 1999 lllustrauon c::i Cathie Bleck

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March/April 1999 40th Anniversary Issue

December 1998 Advertising Annual

November 1998 Design Annual

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August 1996

VSA Partners; Vivienne Flesher; VicroRobertson; Atelier de Creation Graphique; Pere McArthur; Color Predictions; Colorado lnrernarional lnviracional Poster Exhibition; Eco; Exhibit; Index to Volume 35; Technology Feature: ACD Conference on Mu ltimedia

1996 Photography Annual; Technology Feature: Photographer's Web Sites

December 1996

s16

$24

1996 Advertising Annual; Technology Feature: Kampah Visions

$16

1994 lllusrrarion Annual; Technology Feature: MicroColor

May/June 1995

s8

Atlanta Arc & Design; Ward Schumaker; Will van Overbeek; Jung von Marr; Grear Ideas on Limited Budgets; Eco; "C reating rhe Future" Timeline; Exhibit; Technology Feature: Plunkett+ Kuhr are HocWired

September/October 1995

s8

Laurie Rosenwald; David Mendelsohn; Riddell Advertising & Design; The New South Africa; Eco; Exhibit; lnceracrive Design Annual 1 + CD-ROM; Technology Feature: C/'\s First CD-ROM

July 1996

s8

Alexander Gelman; RJ Muna ; Roche Macaulay & Partners; Janee Woolley; Color Predictions; Great Ideas on Limited Budgets; Eco; Exhibit; Index ro Volume 38; Tecnnology Feature: ACD Conference: Design for rhe Internet

March/April 1997

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Mary Ellen Mark ; Big Bang ldea Engineering; Specialty Beer Label Design; Rene Milot; Clients & Designers: Des Moines Metropolitan Waste Authority and Pattee Design; Eco; Exhibit; German Advertising; Technology Feature: Corbis Corporation

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1997 lllusrrarion Annual; Technology Feature: Nancy Stahl

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1996 lllusrrarion Annual; Technology Feature: Don Arday

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1998 Advertising Annual ; Technology Feature: Red Sky Tnceraccive

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January/February 1999

1998 Design Annual; Technology Feature: Design Firms on rhe Web

December 1998

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September/October 1999

August 1997

$16

1997 Photography Annual ; Technology Feature: Stock Photography on Web

November 1997 1997 Design Annual; Technology Feature: Digital Type Web Sites

$24

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Bianco & Cucco; Peter de Scvc; Wolfgang Weingart; Hunt Adkins; Frans Lanting ; Luba Lukova & James Vicrore; Grear Ideas on Limiced Budgets; Eco; 1998 Salary Survey; Exhibit; Technology Feature: Austin, Texas, Multimedia Scene

July 1998

March/April 1999

$16

1998 Photography Annual; Technology Fearure: Digical Camera Review

September/October 1998

The Leonhardr Group; aralie Ascencios; Color Predictions; hrisrine Ali cino; Kan & Lau Design Consultants; Palmer Jarvis DOB ; Broadcas c Design Association; Eco; Exhibit; Index co Volume 40; Type Designer Jim Parkinson; Technology Feature: Arr Technology Group

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1998 Illuscrarion Annual; Technology Feature: M.A.D.

August 1998

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Fitch Inc.; Michael J. Deas; Lambesis; Clients & Crearives: Dcsgrippes Gobe & Associates and Brooks Brothers; Hugh Kretschmer; Exhibit; Eco; Interactive D es ign Annual 4 + CD-ROM; Technology Feature: RAW lnteracrive

s8

Communicacion Arcs 4och anniversary issue; ine Ways ro Improve an Ad; Timelinc; Srock Trademarks; Clients and Designers: Doug Oliver/Jim Cross/Mike Weymouch/Perer Harri on and Les Day, Northrop Coporarion's Annual Report from 1961 to 1997; David's Lemonade; Eco; Paul Rand ; Doyle Dane Bernbach; Pioneers; Technology Feature: Paul affo

July 1999

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1999 Illustration Annual; Technology Feature: Pacific Dara Images

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Sagmeisrer Inc.; Cathie Bleck; Odiorne Wilde arraway + Partners; Graham Wcsunoreland; Exhibir; Eco; lnreracrive D esign Annual 5 + CD-ROM; Technology Feature: Rare Medium

November 1999 January/February 1997

July 1994

March/April 1998

Grafik Communications Led.; Joe Sorren; Butler, Shine & cern; KDSP Design Group; Rodney Smith; Typographic Voices; Eco; The Richard and Jean Coyne Family Foundation; Exhibit; Technology Feature: Pittard Sull ivan

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1999 Design Annual; Technology Feature: RIGA lnreracrive

December 1999

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1999 Advertising Annual; Technology Feature: Web Banner Advertising

January/February 2000

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Colorado Poster Exhibition; Lee Crum; Color Forecast; Johnson & Wolverton; Ogilvy & Mather/IBM; Mary GrandPre; Pioneers: Walter Landor/Landor Associates; Eco; Exhibit; Index ro Volume 41; Typography: Type in the Future Tense; Technology Feature: studiomoriv

March/April 2000 Din nick & Howells; Amy Guip; Aerobleu; Mauk Design; Gary Baseman; Exhibit; Eco; Amsterdam: Europe's cw Creative Center; Technology Feature: Kioken

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