sepoct1984

COMMUNICATION A RTS M AGAZINE Editor and designer: Richard Coyne

VOL. 26, NO. 4, SEPTEMBER/OCTOBER 1984

Executive editor: Jean A. Coyne Associate editor: Dugald Stermer

Editor's column . . . . . . . . . . . . . . . . . . . . . . . . .

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Advertising and production manager: Kurt Klein

Wendy Richmond . . . . . . . . . . . . . . . . . . . . . . . .

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Annual reports of the future

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Anita Kunz . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Circulation manager: Nancy Hagemann Subscription: Toni Black, Georgia Jurickovich, Betty Willis Traffic manager: Scott Perry Contributors: Nathan Felde, Byron Ferris, Mark Fulton, Larry Klein, Marty Neumeier, Mill Roseman

Communication Arts 410 Sherman Avenue P. 0. Box 10300 Palo Alto, California 94303 Phone (415) 326-6040

R/Greenberg Associates ................. . .. 44 Gregory Heisler . . . . . . . . . . . . . . . . . . . . . . . . . .

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Bill Robles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Lawrence Bender. . .......................

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Barbara Gordon . . . . . . . . . . . . . . . . . . . . . . . . .

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Computer graphics for design and production .

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Book reviews ............................ 109 Materials, available literature ............... 116 Clubs, Conferences, Seminars ............... 120

Cover photograph by Gregory Heisler Communication Arts Magazine (ISSN 0010·3519) is published eight times a year, January/February, March/April , May/June, July, August , September/ October, November, December, by Coyne & Blanchard, Inc. , 410 Sherman Avenue , Palo Alto, CA Copyright 1984 by Coyne & Blanchard, Inc .

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

Subscription rates : U.S.: one year-$40; two years- $76.

Canada: one year-$42 (U.S.); two years-$80.

Other: one year-$50 (U .S.); two years-$96.

Single issues: $5 except Illustration Annual (July) at $10, Photography Annual (August) at $10, Design Annual (November) at $12 and Advertising Annual (December) at $12.

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

No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

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EDITO~S COLUMN We don't have a column to run letters from our readers, so I'll include a couple of recent ones that were interesting.

Since the writers had no reason to expect that their letters might be published, I will not include their names.

"Congratulations on your first Illustration Annual. I've been an interested reader of your publication in past years, often admiring the design of the magazine and the choices you and your editorial staff have made.

"Recently, however, I have been concerned that your excellent magazine was going the way of so many others . . . dealing with easy images acceptable only to the real mainstream of the graphic arts. I must admit that the blandness was beginning to bother me. It was not that the images were not professionally executed or in impeccable taste, just that the energy, that special spark I used to sense, seemed lacking.

"With the publication of the new Illustration Annual, my concerns seem groundless. The images are both relevant and beautiful. The content is strong and reflects the courageous quality of the most exciting work being done in the areas of graphic arts and illustration today. The judges seem to have done an outstanding job of democratic selection by choosing works of uniformly high standard, whether they had been created for advertising, editorial or poster.

"On the strength of this issue, I would like to subscribe to the magazine as I feel that you have finally made a strong, positive statement about your intentions for the future."

Editor's comment: Thank you, I think. As you pointed out, the annual is the result of a jury selection. I can only take credit for the design and publishing of the annual.

Your use of the term democratic is interesting. We do provide a system that allows each juror to vote her /his opinion with little or no influence from other jurors or anyone involved in the process, including me. It is possible, that Jean and I might have some form of indirect influence by the fact of which jurors we invited. But these people are highly qualified, experienced practitioners in our field and should have the objectivity to vote for something good even though it may not represent the solution they might develop for the same problem or assignment. Here is another letter dealing with the same subject: "I have been a subscriber to your magazine for seven years.

I have never been so repulsed by your choice of art and felt moved to express my disappointment. Your magazine has always motivated and inspired high quality, not only to the professional but for the academic world. I feel your responsibility for excellence should be for content as well as technique. It saddens me to see so much morbid violence and cruelty. If these were chosen for lack of enough choices, I would prefer to see less work, but with your usual high quality.

12

Communication Arts September/October 1984

"I urge you to recognize the subtle endorsement your magazine seems to be making by publishing such sensationalism. I think much of the work expresses a dynamic and vibrant style, but the subject matter and content is pure 'ugh'."

Editor's comment: See above. It wasn't for lack of choices.

The jurors had over 4500 entries to choose from. The only way to avoid the "subtle endorsement" you referred to would be to abandon the jury system. Juries are unpredictable in that they represent a collection of individual opinions. It's a rare case when we get a unanimous opinion on any of the pieces selected, but that's why you have juries. Generally, the system works pretty well, and it's the only method we have in our field to set standards of quality and creativity.

We had a "Letters to the Editor" column in the early years of CA. Maybe sometime we will bring it back if it could be an opinion forum, Op/ Ed. My justification for killing it before was that I couldn't see any reason why our readers would bother to read it. Most of our letters were puff letters: "You're doing a great job," " ... filling a need," etc. Inclusion of these was obviously self-serving. At least it conveyed that impression, but it wasn't doing us any service. Could such a letter, or a whole bunch of letters convince someone to send in a subscription? Of course not. I have too much respect for our readers to even suspect that. We also had a few letters that pointed out our typos, corrected our grammar or some other error. That didn't offer much service to our readers. Very few of them were going to make corrections in their back issues. If it was an important error, one that might have an effect on someone's status or career, I could always correct it in this column.

I'm not announcing that we will have an Op/ Ed column in the next issue. If enough people indicate an interest in having a place to express their opinions about various practices or developments in this field, we would give it serious consideration.

D

The cover photograph by Gregory Heisler was an 8 x 10 for the American Ballet Theatre 1983 and 1984 Souvenir Brochures. Each of these brochures, art directed by Paul White, had over fifty portraits and dance photographs.

The dancer in this photograph is Ronald Perry, seen here in the role of a sailor in "Fancy Free."

-R.S.C.

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Conductor.

Edward Sorel, artist. " Standing in front of a symphony orche tra and producing an avalanche of harmonies with a wave of a hand always seemed to me the most godlike of acts. It is th is feeling of omnipotence that I was going after in this drawing."

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CAPTURED KEYSTROKES A large percentage of your typesetting bill is the cost of the time that the typesetting operator spends on your job. It's not the actual setting of type that is so expensive; that part is automated. It's the preparation of the text for the typesetting machine that is time consuming. The three major areas that occupy an operator's time are 1) keyboarding the text; 2) entering typographic instructions into the typsetting machine; and 3) proofing. Because many designers' clients are avid users of word processors, much of this work can be accomplished outside of the typeshop, sometimes cutting the typesetting bill in half.

ally, when the operator types the manuscript copy at the typesetting machine, new errors are often introduced. By feeding the actual keystrokes into the typesetter, the copy is exactly the same as it was on the client's word processor. All editorial responsibility now lies with the client.

What are captured keystrokes?

Frequently the manuscript copy that a client delivers to a design studio has been typed on a word processor. All of the copy is in the form of captured keystrokes; the word processor records-captures-each character. The text can be played back to reappear on the word processor's screen for additions, corrections, and any other editing. Or the text can be sent to an electronic typewriter which, like any typewriter, prints the characters on paper. The text is recorded on a floppy disk, a plastic disk that looks like a 45 rpm record with a thin protective jacket. The disk can be removed and inserted back into the word processor at any time to edit or print the text.

In Boston, the design studio Sametz Blackstone Associates and several of their clients, along with Monotype Composition Company, routinely make use of word processors as an integral part of typesetting. The following steps of a typical job illustrate the process of sending a floppy disk of captured keystrokes and typographic information to the typeshop.

That same floppy disk can be played back on the equipment at the typeshop. By receiving the manuscript as captured keystrokes, the operator can eliminate the step of rekeyboarding the same text.

Because the operator is not typing the manuscript, editorial proofreading at the typeshop is also eliminated. Convention-

Capturing the keystrokes of manuscript text itself does not involve any typographic specifications, and the designer still marks up the hard (paper) copy. However, the word processor can be further utilized when the designer, typeshop, and client collaborate to include typographic information with the manuscript.

1. Using the conventional manner of specing type, the designer has sample pages typeset, and sends them to the client for approval.

2. When the sample pages are approved, the designer has a sample typeset of EVERY typographic element that will be in that job, again in the conventional manner. For each variation, the typeshop designates a specific mnemonic code, a for mat call, for each element.

What is a for mat call?

A format call is an abbreviation which represents a lengthy set of specifications. In this particular job, ;r is shorthand

In 1983 the Division of Medical Sciences will celebrate its seventy-fifth anniversary. This joint venture of the Harvard Faculties of Medicine and Arts and Sciences offers training in the basic medical sciences and eads to the .D. degree. The Division, which is headed by Dr. Harold Amos, provides a broad education in about a dozen fields, from the older disciplies such as jn atomy~ to the newer ones such as Cell and ~ Developmental Biology" and Immunology.

C ~ ._ C:--- The number of graduates attracted to the Division has been steadily expanding and the quality of the students, which has always been high, is now even more impressive. In the year just concluded 190 men and wome enrolled in the Division, 36 of whom are also working towards the M.D. at Harvard.

( cc

(Figure 1)

18

Communication Arts September/October 1984

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G;scRADUATE EDUCATION;nin 1983 the Division of Medical Sciences will celebrate its seventy-fifth anniversary. This joint venture of the Harvard Faculties of Medicine and Arts and Sciences offers training in the basic medical sciences and leads to the ;scPH;r.;scD;r. degree. The Division, which is headed by Dr. Harold Amos, provides a broad education in about a dozen fields, from the older disciplines such as Anatomy, to the newer ones such as Cell and Developmental Biology and Immunology.

GRADUATE ED CATIO In 1983 the Division of Medical Science will celebrate it eventyfifth anniversary. This joint venture of the Harvard Faculties of Medicine and Arts and Science offers training in the ha ic medical science and lead to the PH.D. degree. The Division, which is headed by Dr. Harold Amos, provides a broad education in about a dozen fields, from the older disciplines such as Anatomy, to the newer ones such as Cell and Developmental Biology, and Immunology.

The number of graduates attracted to the Division has been steadily expanding and the quality of the students, which has always been high, is now even more impressive. In the year just concluded 190 men and women enrolled in the Division, 36 of whom are also working towards the ;scM;r.;scD;r. at Harvard.

The number of graduates attracted to the Division ha been steadily expanding and the quality of the students, which ha always been high , is now even more impressive. In the year just concluded 190 men and women enrolled in the Divi ion, 36 of whom are also working towards the M.D. at Harvard.

(Figure 2)

(Figure 3)

for roman, 10/12 Bodoni x 17 picas, flush left ragged right.

The typesetting machine is programmed (instructed) to set all text following ;r to those specifications. All text is set to those specs until the machine encounters another instruction, such as ;sc, which represents a different set of specifications, this time for small caps.

3. The designer than marks up the manuscript with these codes (figure 1) and returns the manuscript to the client. The client's word processing operator enters these codes on the word processor with the rest of the manuscript. (figure 2).

Just as the manuscript text is recorded on a floppy disk, so are the format calls. Because the text and the format calls are not rekeyboarded at the typeshop, the word processing operator must make sure that he or she has included all necessary text and codes.

4. The client sends the disk (and a hard copy version as back up) back to the designer, or directly to the typeshop.

5. When the disk arrives at the typeshop, a skilled operator must set up a translation table. To a designer, the format call ;r is an abbreviation for 10/12 Bodoni roman. To the typesetting machine, it is an abbreviation for a much longer and more complex code that the machine understands. The translation table tells the typesetting machine that every time it encounters a ;r in the manuscript, it should carry out the long, complex set of machine instructions that are associated with ;r. When the machine encounters ;sc, it carries out a different set of instructions.

6. The typeshop then sends the typeset galleys back to the designer, (figure 3) and a copy of the galleys, with the disk, to the client. Turnaround time is short: twelve galleys of type overnight, seventy galleys in forty-eight hours. The galleys are pasted up in the conventional manner. If there are extensive changes, they are made on the client's word processor, and the disk is sent back to the typesetter. Sametz Blackstone has noticed a marked decrease in corrections and/ or aa's.

Various typeshops agree that including format calls with the word processor's captured keystrokes is economical only if 20

Communication Arts September/October 1984

the job is long and repetitive. It takes a skilled operator a long time to set up the translation tables, and if the job is short and has a lot of variety, it's easier for the operator to type the machines codes directly from reading the designer's conventionally marked up manuscript. A 200-page college catalog, on the other hand, is very repetitive. The set-up time is short compared to the time it would take to repeatedly type the machine language codes. And format calls can be used for any job that repeats a set of specifications, like a monthly newsletter or magazine. As the repetition adds up, the savings accrue.

At Typographic House in Boston, about 25% of the customers send manuscript copy in the form of captured keystrokes, and of those customers, about 10% include format calls. Typesetting costs are cut by about 40% (depending on the length) for jobs that are text keystrokes only. If format calls are included, another 15% might be saved.

Typographic House recently purchased a preview screen, a video display terminal which shows a simulation of the text in the point size, leading, style, column width and so forth that will be typeset. It is much easier for the typesetting operator to catch errors on this preview screen than on a regular video display terminal, where the long codes are difficult to distinguish from the manuscript text. And it is much more economical to catch errors before the job is typeset on expensive film or RC paper.

It's no surprise to T)rpographic House that many designers would like to have the advantage of a preview of their job before it is typeset. Material is delivered from place to place on floppy disks and played back on a variety of machines, from word processors to typesetters to preview screens.

(Translations are necessary, but standards are emerging.) The simulation of a typeset page could be stored on a floppy disk and displayed on a preview screen at a design studio.

Most typeshops have a wealth of information and suggestions, and it is their goal and responsibility to keep designers informed and productive.

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ANNUAL REPORTS OF THE F UTURE What will they be like?

They will be friendlier, shorter and more interpretative. They will reflect the pursuit of excellence, in design as well as editorial content. They will be computer-produced, but designers will be running the computers. They will encourage readers to do things, like reinvest dividends or buy products.

And increasingly they will communicate the new corporate purposes of our post-industrial society.

The most important job of the annual report will remain the same: helping the chief executive officer communicate effectively. To the extent graphic designers understand this, and make it happen, they will broaden the market. Today perhaps only one in twenty annual reports is well designedthe room for expansion is enormous.

Changes in annual reports will grow out of developments now taking place in business and society.

MARKETING: THE NEW CORPORATE PRIORITY One key business trend is the ascendancy of the marketing executive. In the 70s, financial professionals were in demand as chief executive officers, reflecting the need to cope with inflation and respond to complex new accounting regulations. In the 80s, the star of marketing executives is on the rise as companies turn to a new priority: boosting sales and earnings in a moderate-growth economy by capturing market share from competitors. John Sculley, who left PepsiCo, Inc. to become president of Apple Computer, Inc. and John

RICHARD A. LEWIS is chairman and chief executive officer of

Corporate Annual Reports, Inc., a leading company specializing in the planning, design and production of annual reports and other corporate literature.

Lewis is also publisher of The Corporate Communications Report, a newsletter written to assist the chief executive officer and his key advisors in communicating with stockholders and the financial community.

Prior to founding Corporate Annual Reports in 1962, Richard Lewis was a reporter for The Wall Street Journal in New York City. He joined the Journal in 1958 after working as a general assignment reporter for the Redwood City Tribune, Redwood City, California.

Lewis is the author of Annual Reports, published in Switzerland by Graphis and distributed in the United States by Hastings House, Publishers, Inc., New York City, N. Y. He conceived and wrote "Making Points with Your Annual Report," a booklet published by S.D. Warren Co. He has written numerous articles on annual reports and has lectured on corporate communications both in the U.S. and abroad.

He has appeared on PBS's "Wall Street Week."

24

Communication Arts September/October 1984

Reed, recently named chairman and CEO of Citicorp, are among the new breed of top corporate executives with backgrounds in consumer goods or services marketing. This trend will affect the annual report in a number of ways: Marketing executives are results oriented. They may be less willing than their predecessors to accept on faith a designer's vision of their company as expressed in the annual report design. They may demand that the annual report serve a clear purpose-and they may want to test the results.

Marketing executives, on the other hand, do understand that quality graphics can provide a competitive edge. So once they support the annual report's mission, they are likely to approve sizable budgets for first-rate photography, printing and other design elements. Annual reports are especially effective at marketing financial services and big ticket items, such as computers and cars. Mellon Bank has focused its past three annual reports on customers service-a message aimed both at employees and customers. Amax Inc. includes forms so shareholders can enroll in its dividend reinvestment program. General Motors Corporation issues an annual report that looks like a glossy car brochure.

Chrysler Corporation in the past has bound in a coupon to aid shareholders in making appointments to test drive new models.

The marketing profession has moved increasingly to market segmentation-identifying various audiences and developing separate materials for each (such as upscale products for well-to -do young singles or TV commercials directed at Hispanics). Consequently, some companies may narrow the focus of the annual report-by gearing the report to the needs of individual investors, for instance, while developing other materials for brokers, security analysts and institutional investors. This could open up the market for investor literature to include many more items, from dividend reinvestment brochures to special midyear reports for analysts.

REBIRTH OF PEOPLE'S CAPITALISM

Another important trend is the rejuvenation of the stock market and resurgence of individual investment in stocks.

According to the latest New York Stock Exchange survey, more than 42 million Americans own common shares, an increase of nearly 50 percent in just five years. Moreover, the new investors are much younger -at mid-1983, eight out of 10 investors were under age 45, with a median age of 34.

Younger investors are more interested in growth companies.

In the 70's, many corporations lost hope that the annual report could influence investment in their stock, so the annual report became a less important document. Ironically it was about this time that annual reports from a design standpoint made a giant leap forward,as a number of talented, strong-minded graphic designers entered the field.

Their elegant designs didn't necessarily solve problems, but did seem to give harried CEOs a nice warm feeling.

Now that individual investment is on the rise, CEOs are once again viewing the annual report as a primary tool for winning investor favor. This use of the report is being fanned by the growth of executive stock options-especially among the wave of new high-tech companies, which typically pay low salaries while awarding options abundantly.

Executives with options have an obvious interest in a higher price for the company's shares, and hence in an annual report that does a good job of telling the corporate story.

INFORMATION OVERLOAD

A third basic trend is the waning of the industrial age and rapid emergence of an information and communications society, as illustrated by two-way cable television, data retrieval banks and the surge of new specialty periodicals.

The benefits of this change are enormous, including new means of instantaneous business communication and new leisure opportunities for consumers. At the same time, however, Americans are being bombarded with more information than they can possibly absorb. In his book The Next Economy, Paul Hawken talks about an information-rich society in which an excess of fact can cause overload and stress. Even financial analysts, who traditionally never get enough information, have started complaining of "information suffocation."

Annual reports must compete for reader attention within this cluttered environment. To have impact, the annual report of the future will have to be brief, easy to scan and inviting to read-as well as interpretative so that readers know how to judge the information they receive. As a rule the more complex the company,the simpler should be the annual report.

OUT OF MALAISE AND INTO A NEW ERA OF OPTIMISM

Finally, if I might be permitted some blatant optimism, I would suggest that annual reports will be influenced by a historical turning point just now being experienced by our society. This is the turning away from more than two decades of disruption and malaise (Vietnam, Watergate, oil shortages, runaway inflation, the hostage crisis, etc.), and the beginning of a new era of hopefulness and prosperity that could prove to be the greatest in American history.

When the mind of America switches positive, the change is going to be dazzling. Imagine 230 million Americans filled with the spirit that won the west, instead of a pessimism about the future that, among other things, has held the stock market essentially flat for eighteen years. Many authors and futurists-Toffler, Naisbitt, Kahn, among others-have signaled this new era.

The problem is getting from here to there. It's a process futurist Herman Kahn called "creative destruction" shrinking and streamlining of basic industries while thrusting into new areas of service and technology. This is going on right now. As companies work this trying period and emerge on the other side, their malaise is being exchanged for enthusiasm and higher levels of business investment. We may be starting on an economic roll that will last well into the next century.

Annual reports will communicate this new enthusiasm. As an indication of what's to come, consider the 1984 Advanced Micro Devices, Inc. report-soaring eagle on the cover; smiling chairman Jerry Sanders, sporting cowboy boots, pictured inside; and a chairman's letter that begins, "We're winning," and goes on to urge employees to put two 60%plus sales growth years back to back to make this "our Gigabuck year." He spurs them on by invoking "the old-fashioned can-do frontier spirit characteristic of the American west."

PURSUIT OF EXCELLENCE

Concurrently, many corporations are stepping up their emphasis on quality, influenced by the best seller, In Search of Excellence. Ohio's Banc One Corporation devotes 12 pages of its 1983 annual to a management presentation by In Search of Excellence coauthor, Thomas J. Peters. The special section includes 15 pictures of Mr. Peters interacting with Banc One managers. Time Inc. also uses quality as the theme of its 1983 report, and includes an essay by Henry Grunwald, editor-in-chief, that begins: "America is entering a new era of quality. Excellence, durability, reliability-these have always been prized. But not so much, not so urgently, as today. For much of its history, the U.S. emphasized quantity, the result of the marvels of mass production. The goal was to produce inexpensive goods that could be readily replaced. But that is no longer the ideal."

The most important annual report in recent years, in my view, is the 1981 General Electric Company report. Jack Welch, GE's new CEO, used the report as a tool to reposition the company and declare his goal of being number one, or number two, in every market. GE will get there, he said, by having excellence in people and products. The report's significance is that the CEO uses it as a tool to articulate major changes in policy, strategy and corporate culture.

Increasingly corporations will be searching for excellence in everything they do-including the annual report.

THE ANNUAL REPORT MARKETENORMOUS ROOM FOR GROWTH

What does all this mean for designers of annual reports?

One clear implication is that the market for quality annual report design will expand significantly in the corning 25

ANNUAL REPORTS

decade, but that clients will be more demanding than ever of their designers.

In preparation for this article, I reviewed about a thousand 1983 annual reports. I was shocked by the poor quality of most of them-cluttered, confusing, poorly designed. This is a far different view of the annual report market than one would form by merely reviewing award-winning reports and others produced by a handful of top design firms. Perhaps one report in twenty can be judged excellent. This is an improvement from one good report in fifty two decades ago when I entered the field, but the potential for improvement remains enormous.

The first key to tapping this huge market is to understand why the annual report is important-and it is of fundamental importance-to corporations.

WHY ANNUAL REPORTS ARE IMPORTANT Even during the malaise of the 70's, annual reports remained the single most important form of corporate communication, for three basic reasons:

The annual report is the key document used by corporations to establish and update their identity. Today's corporations are in a constant state of change due to product successes, product failures, management turnover, acquisitions and divestitures. Take Borg-Warner Corporation, although best known as an auto parts supplier, it has become the leading supplier of private protection services through its Wells Fargo, Burns International and Pony Express operations.

Virtually no document except the annual report can capture what a corporation is and where it is heading.

Typically, the annual report is the only corporate document that carries the CEO's signature and picture. It has credibility, because it is scrutinized by the company's accountants and lawyers and filed with the SEC. And it never gets badly out of date, since it is replaced each year by a new version.

The annual report is a multi-purpose document. By answering the question of how the company expects to survive and grow, the report is important to a variety of audiences with a stake in the company's future-including shareholders, employees, bankers, suppliers and major customers.

The annual report can help achieve specific communications objectives, such as explaining an acquisition, showing off new products, correcting a misconception about the company, or highlighting its technological leadership.

THE CEO's STAKE IN THE ANNUAL REPORT Ultimately, the annual report is a tool to help the chief executive officer extend his communications reach. As CEO's have focused increasingly on global competition, the annual report has become a flag for highlighting corporate priorities and rallying employees.

26

Communication Arts September/October 1984

• Dana Corporation's 1983 annual report devotes 15 pages to the theme of "competing." It provides this definition: "Competing in this tough environment means producing low-cost, top-quality goods and services around the world."

• Campbell Soup Company's CEO, Gordon McGovern, tells meetings of analysts and stockholders that the words "focus on consumers" have appeared on the cover of the last three Campbell Soup annual reports.

• Sterling Drug Inc. notes in its annual report that "In 1983 Sterling rededicated itself to the pursuit of marketing excellence." The report's theme: "Commitment to Marketing."

• The cover of the Lincoln First Banks Inc.'s 1983 report contains this exhortation: "We will achieve excellence ... we will be market-driven ... we will get close to our customers ... we will encourage innovation and productivity..."

• Reichhold Chemicals, Inc. Chairman Robert Powell states the company's new philosophy of the 1983 report: " ... pursuit of excellence in all phases of our Corporationour goals, our products and services, our people and our life-styles."

• Capital Holding Corporation features seven executives in its 1983 report, each of whom discusses products or strategies from a personal point of view. "We have gone out and actually talked to customers to find out who they really are, what they look like, where they live and what they think," reports Duane 1. Murner, president of Commonwealth Life Insurance Company.

That so many annual report messages involve employees is not surprising. In many companies, employees make up the largest single block of stockholders. In Dana's case, for example, 700/o of employees are shareholders.

THE VITAL LINK: THE DESIGNER AND THE CEO

Because of the CEO's pivotal role, it is virtually impossible for a designer to create an effective annual report without first finding out what's on the CEO's mind. The designer has to spend time with the CEO or be extremely well briefed by someone close to him. Without that kind of input, a designer falls into a "bottom-up" trap-dealing several rungs down the corporate ladder while trying to guess which topics and themes the CEO considers most important for inclusion in the report.

At our firm, Corporate Annual Reports, Inc., we like to begin an annual report project by sitting down with the CEO and asking a series of questions about the company's opportunities, problems and strategies, as well as about the company's communications objectives and the CEO's personal preferences in annual reports. We then prepare a written annual report plan. Once approved, this plan becomes the marching orders for the report.

We also attempt to find out, early-on, who all the key corporate players are and bring them into the planning process.

Doing so not only permits us to gain a better understanding of the company and its communications needs, but minimizes the danger that an important executive might throw the project into last-minute chaos because his or her views were overlooked earlier.

My guess is that the Xerox report will backfire by sending the wrong message-that is, by causing shareholders and employees to ask, "Is something wrong?" Readers look to annual reports for a sense of stability. The annual report of a large corporation should be like an ocean liner: Maintaining a steady course despite storms and tossing seas.

ANNuAL REPORTS NEED Born

A magnificent example of using the annual report as a "positive force" for countering hard times is the 1983 Mattel report. The collapse of the video game market -in which the company's Intellivision video games held the number

In recent years annual reports-along with other elements of American life-have displayed a greater sense of stylemost of it to good effect. Style can make an annual report distinctive, elegant and enticing. It can attract attention and encourage readership. In most cases style is achieved through simplicity, organization and emphasis-all qualities that normally enhance understanding.

Many corporate executives-not to mention shareholders-respond negatively to what they see as wasteful or useless annual reports.

STYLE AND SUBSTANCE-

In striving for style, however, it is also possible to produce annual reports that are pretentious and confusing. Annual reports can have story lines about animals and children or display antiques or art collections. Like Walt Disney movies, they may give people a nice warm feeling, but in my view they are failures if they ignore the fundamentals-the company's ability to survive and grow.

Crimes in the name of style are also committed against readability. These include chairmen's messages dropped out in white type from black backgrounds; black type laid over dark gray backgrounds (indecipherable by either humans or photocopy machines); and column after column of tiny type unrelieved by subheads. Whenever I see stylistic "innovations" of this sort, I wonder whether the designer considered that some people might actually want to read the report.

WATCH OUT FOR ANNUAL REPORT BACKLASH

An annual report that is unreadable, or fails to make important points about the company, is irrelevant. Many corporate executives-not to mention shareholders-respond negatively to what they see as wasteful or useless annual reports. I believe that this kind of showy design has created a backlash that has retarded a broader use of graphic design for corporate literature.

An example of backlash is the 1983 Xerox Corporation report. It looks like a product catalogue on the outside. On the inside it is without pictures and is 12 pages shorter than the prior year. An inside cover caption explains: "Over the years, there has been a trend in American industry to make the Annual Report a multi-purpose document aimed at many audiences with varying information needs.

In the process, it has become more elaborate and expensive.

This document is an attempt to restore both focus and simplicity."

two position- created a financial crisis for the company that resulted in its getting out of not only video games but also publishing, theme parks and hobby productsto raise money.

What remains of Mattel is its original toy business. So besides containing the obligatory (and painful) financial history, the 1983 Mattel report features an ebullient, 20-page, chart-laden "overview" that both positions Mattel as the world's leading toy maker and shows that toys are a wonderful business. By mid-1984, Mattel common stock was trading at about $9 a share, up from a low of $4 7/8.

THE COMING CHANGE IN

ANNUAL REPORT DESIGN

We are on the threshold of a golden age for annual reports.

The business and stock markets are improving, and there is at least the possibility that good times could roll all the way out until the year 2000 and beyond. Corporations have shown a willingness to spend more money on annual reports than ever before. Now is the time to "put it all together" to apply brilliant graphic design to the solution of real corporate problems.

The annual report of the future will be: Reader friendly-Bold headlines and subheads will be employed for scannability. Charts will be simple and easy to grasp. Type will be easy to read. The report will not contain intimidating graphics that discourages readership. The tone of the text will be warm and personal-and candid. Business and technical jargon will be excised. In some cases, reader response cards will be enclosed to give shareholders a chance to express their views, enroll in dividend reinvestment programs or order products. The fiscal 1984 Beatrice Foods Co. annual report includes eight "money off'' coupons; savings 27

ANNuAL REPORTS

range from 25 off on Tropicana orange juice to $200 off on a three-piece Samsonite luggage set.

Shorter and more interpretative-Shorter reports are less intimidating. One way to shorten the report is by reducing the amount of text. Another is by merging the review of operations with the management discussion and analysis; space gained in this manner can be used either to abbreviate the report or add interpretative information about the company. The report can be regarded as two basic sections: the front portion, which presents the current reality of the company and a vision of where it is going; and the financials in the back showing the company's past performance. Crown Zellerbach's 1983 report shows the way. It is only 32 pages long, yet it manages to support its "Building on Strength" theme with a 10-page special section. An operations review follows as part of the management discussion.

Rather than replacing the designer, technology will be a godsend by liberating the designer from mechanical and repetitious tasks .

Produced by designer /writer teams-The ideal way to perfect the message in an annual report is through the combined talents of a professional designer and writer.

Increasingly, designer, writer and client will work closely together in developing an overall message or theme for the report. This message will then be conveyed in ways that even the most casual reader cannot overlook-through short copy, photographs, charts, captions that make a point rather than merely being descriptive, readable headlines and other elements.

Management focused-Management quality is the number one criterion of professional investors in selecting stocks.

Therefore, as companies upgrade the investor relations role of the annual report, a major job for the report will be to reflect favorably on management. An effectively-designed report can, in and of itself,impart a positive impression of management. Other possibilities include a meaty, informative president's letter that deals incisively with the company's achievements, opportunities and problems; a question-andanswer roundtable to highlight depth of management; and a willingness on the part of management to own up to failures. One of the more interesting examples of the latter is the Simmonds Precision report, which each year has listed on page one: What we did. What we didn't do.

What we plan to do next year.

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Communication Arts September/October 1984

USING TECHNOLOGY TO PRODUCE ANNUAL REPORTS

When we talk about the annual report of the future, without doubt one of the changes will be the increased use of technology to help produce reports. Rather than replacing the designer, technology will be a godsend by liberating the designer from mechanical and repetitious tasks, opening more time for creative thinking.

Right now, our firm is using telecommunications and highspeed facsimile to transmit text, galleys and page proofs back and forth among writer, designer, client, typesetter and printer. The effect is not only to improve speed and accuracy, but to break down geographic barriers. It is now quite feasible, for instance, for a Texas company to have its annual report designed in New York and printed in California.

Increasingly, companies will go anywhere to obtain excellence, in graphic design as well as printing. Geographic boundaries will crumble.

In addition, our firm has begun using proprietary computer programs that make it possible to produce finished charts, ready for camera, in minutes instead of hours or days. The ultimate development in technology will come when annual reports can be designed on video screens and automatically converted into page proofs for printing-again enhancing speed and accuracy. This technology is being used now for newspapers and magazines. It will be cost effective for annual report designers sooner than most people realize.

ELECTRONIC ANNUAL REPORTS

Some people have suggested that the annual report might eventually be replaced by technology-that is, by a video report. My response is an emphatic no. While video reports may supplement annual reports as we know them today, the printed word has advantages which are hard to overcome.

These include scannability (versus a videotape which has to be viewed from beginning to end) and easy portability.

Studies have shown that shareholders spend anywhere from 5 to 30 minutes reading an annual report. Sometimes this research is used to infer that annual reports aren't valuable.

I would argue that the easy scannability of a good annual report is a great virtue.

I believe we are on the threshhold of a new era in annual reports-an era when the annual report will become more important and effective than ever as a corporate communications tool. For designers who serve this challenging market, the best is yet to come.

-Richard Lewis

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ANITA KUNZ Canadian illustrator Anita Kunz is beginning to receive wide recognition for her highly individualistic work.

Born in 1956 in Toronto, Anita's first mentor in the business was her uncle, an illustrator who worked for educational publications. It was seeing his work, when she was a child that sparked her interest in becoming an illustrator. Anita took Saturday art classes as far back as she can remember.

In her senior year she attended a high school with a special art program, emphasizing the commercial and graphic arts.

By the time she graduated from the Ontario College of Art in 1978, she had already begun her professional career.

"There was a lot of pressure in school to conform to the 'practical' world of illustration. But Doug Johnson was teaching there at the time, and because of him, and other guest lecturers he brought from the States, I began to realize you could get more from illustration than simply trying to earn a living at it. My feelings were further supported by Weekend Magazine, a Canadian newspaper magazine art directed by Robert Priest with Derek Ungless as his assistant.

They used a wide variety of talent from all over the world and gave them complete creative freedom. It was exciting to see the work of Ralph Steadman, Sue Coe, Julian Allen, Russell Mills and a lot of other people. The magazine had a lot of energy. I also started looking at European illustration.

Those influences didn't show up in my first portfolio, but helped me develop into my second stage. I do believe you have to do more with illustration than simply have a nice style. Actually, I don't consciously try to have a style. It's not that important."

The most important part of illustration for Anita is to communicate the content of the assignment. This is a point she makes over and over again. Her ability to become involved in a broad range of subject matter combined with the artistic ability to execute her ideas is what places her in the enviable position of being an illustrator who is asked to work with an art director to solve problems rather than being assigned a concept to execute. This adaptability is a major factor in her 'style.'

The immediate reaction to Anita's work is that it reflects the Flemish school. Her technique, in fact, is done with a series of watercolor glazes instead of the traditional oil glaze, but the process is basically the same. What it curious is that with such a traditional attitude toward painting, Anita is so nontraditional in her drawing. This combination gives her work a particularly contemporary attitude that fits with the work done by the so-called 'new wave.' They tend to work in pastels, oil crayons and other materials that lend themselves to direct painting as differentiated from a building process such as the one Anita uses.

34

Communication Arts September/October 1984

"I sometimes feel that my painting process is one of coloringin my pencil drawings. I would really like to explore a more direct painting process."

Anita begins every illustration with a carefully detailed pencil drawing. If the art director requires a sketch, she photostats the completed drawing and sends it out. She then begins the glazing. A layer of watercolor is put down, she sprays fixative to hold fr, then applies the next layer.

"I don't like working from photographs because it forces me to copy them. The drawing, consequently, has to be accurate. As much as I like accurate drawing, I don't think it should be the major criteria for judging work. I like some of the struggle and process to show in the final picture. I feel very free when I can simply sit down at the beginning of an assignment and allow the drawing to take its own direction."

The interesting thing about removing oneself from the accuracy of reference is that the drawing is allowed to become part of the content. But, when a viewer is involved, the possibility of misinterpretation is always there.

"I've gotten some horrible letters from people. I did an illustration for a Mozart festival . I did a drawing of a little guy, I took it from Watteau. He was playing a guitar and just for design's sake, I placed his foot a bit twisted. Someone wrote and asked me how I could do that in the year of the handicapped. I felt awful."

Anita's ability to draw, however, is what has allowed her to take on a wide range of assignments. She has done caricatures for Rolling Stone, black and white editorial comments for The Progressive as well as selling products for advertising. Although it all looks like Anita's work, the liberties she takes with the drawing are always determined by the limitation of the assignments. So far she seems to have been able to avoid the typical categorization that most illustrators suffer.

She lives and works in Toronto and doesn't feel a necessity to move to New York to compete in the American illustration market. This represents a real shift in the way the business of illustration is conducted today. Traditionally, one had to be where the major markets existed-New York, Los Angeles and San Francisco-to make any real impact.

"I really don't feel that being in Toronto has cut me off from working in the States. Almost all of the work I do for the States has been done by the mails. Federal Express has made

Illustration for a Chi ldrens Book Festival poster, 12 x 15. The medium is watE:Ol rcolor and gouache as it is on all of the other paintings shown w ith th is artic le. Tann is Hopkins/ Fifty Fingers, art director.

35

ANITA KUNZ

it possible to ship work in one day. Most of the art directors I work for, I've never met personally. I get work by sending them slides with a cover letter. I'm bothered by the attitude of a small group of Canadian illustrators and photographers who feel Canadian magazines should only use local artists.

I think that in the long run, this outlook limits everyone."

Anita Kunz is representative of a group of young illustrators who are entering the field committed to finding a way to bring personal expression into a marketplace that has resisted it. They are finding a measure of success and it is beginning to change the look of the entire business. Even the issue of sex seems not to be as much of an issue. In recent years, women graduates at the School of Visual Arts in New York always had the best portfolios, but very few of them were on the scene five years later. But this seems to be changing as well with young women artists like Anita, Vivienne Flesher, Teresa Fasolino, Sue Coe, Dagmar Frinta, Alexa Grace and Frances Jetter.

"Being a woman really hasn't made much difference in my career at all. When I was in England there was a forum on women illustrators. The questions were all feminist oriented, but none of the women felt it made any difference to their options or possibilities as artists. The nice thing about freelancing and working through the mail is that I think I could have a family and continue to work from the house."

Photograph by Brian Smale

In six years, a relatively short time to assess a career, Anita Kunz has shown more than just promise. Her work has appeared in Graphis, Communication Arts, American Illustra-

tion, European Illustration, The English Illustration Annual, and she has received the highest Canadian National Magazine award, a gold medal.

"I love books and the printed page. I hope that as time goes on the definition of art will keep changing. I try to put everything into what I'm doing. Before I start every job, I get very nervous. I don't know if that's good or not, but I can't seem to get rid of it. I do prefer to do editorial work. I have a good rep that understands this. Unfortunately, I can't make enough money working only for magazines, so I do some advertising, but I don't like gearing my mind to selling someone something. This will probably stop all this work from coming in, but advertising does pay well and that's why I do it. I don't feel a need to paint, now. I really don't like the idea that someone will have to buy my work and hang it over their couch. It may change, but I hope the illustration field will allow me to keep growing."

-Marshall Arisman

Illustration for a story, "The Witches of Eastwick," in Playboy, 12 x 12. Kerig Pope, art director.

Right: ad for Participaction , " Fitness for Women ," 5 V2 x 7.

Paul Hodgson I Fifty Fingers, art director.

Book jacket for "The Four Wise Men ," 5 V2 x 7. Aventura Books , publisher; "Keith Sheridan and Assoc iates, art director.

"Superior Music " for CBC Radio Guide Magazine , 8 V2 x 11 V2.

B. J. Galbraith , art director.

Article on conversion of the Jews, 7% x 10 V2. Saturday Night Magazine ; Derek Ungless, art director.

36

Communication Arts September/October 1984

37

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Communication Arts September/ October 1984

ANITA KUNZ

Left: article on the loneliness of being single, 8 x 10.

Financial Post; Jackie Young/Ink, art director.

Article concerning Anorexia Nervosa, 8 x 9. Sunday Times Magazine, London . Gilvrie Misstear, art director.

Portrait of Ray Charles, 9 % x 10 1/2. Westward Magazine, Dallas Times Herald; Fred Woodward, art director.

Story about children who befriend a Nazi soldier, 7 x 8 114.

Northeast Magazine, Hartford Courant; Riki Alred , art director.

39

40

Communication Arts September/ October 1984

ANITA KUNZ

Left: article about dreams. 12 x 8. Homemakers Magazine ; George Haroutian, art director.

ABC Diet and Bodyplan, 10 x 13. Sunday Times Magazine , London; Gilvrie Misstear, art director.

Article on psychotherapy, 7 114 x 9. Financial Post; Jackie Young/Ink, art director.

This page: article on arson 7 x 8. The Boston Globe; Ronn Campisi, art director.

Article concerning the scientific vs. religious interpretation of miracles, 7 1/ 2 x 8 114. Newscientist Magazine ; Christine Jones, art director.

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ANITA KUNZ

Illustration of "The Commercialization of Christmas ," 7 x 8 114. Avenue Magazine ; Rod Della-Vadova, art director.

1983 personal Christmas card, 6 x 4 1/2.

Right: cover for The Atlantic for an article , "Shedding Light on Lebanon ," 8 114 x 11.

Judy Garlan , art director.

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Communication Arts September/ October 1984

43

RfGREENBERG ASSOCIATES The name is not so much unusual as it is accidental. It came about, essentially, because other names, earlier preferred, proved unavailable. It turned out, however, to be almost uncannily appropriate.

There are two R. Greenbergs-Richard and Robert, and the organization as it currently functions is almost inconceivable without either. Despite an admitted residual sibling rivalry, moreover, they are so interwoven-almost interpenetratedthat they finish one another's sentences. The experience can be unsettling, and attempting to attribute a statement or comment to one or the other is almost impossible.

Formally, Richard is oriented to what can be called (though both would dispute the division) the creative side of the business; he is the graphic designer, the conceptualizer, the director. Robert takes on just about everything else: business management, sales and contracts, as well as the vast and constantly expanding technical side. Together, and with the essential participation of a staff of designers, technicians, engineers and other specialists that now totals 42 souls-and equipment so complex and awesomely proficient that it, too, seems ani--.1ated-they are responsible for a range of TV commercials, video logotypes, motion picture titles and movie promotional teasers and trailers with effects that have left most of the industry wondering how they could possibly have been achieved.

Meeting the Brothers Greenberg, one could easily mistake the one for the other: Richard-the designer/director-is tall, quiet and with a shambling shyness of manner reminiscent of the young Henry Fonda. Robert-organizer, businessman, negotiator, salesman-has been mistaken for Milton Glaser: long hair, granny glasses, clothes so casual you have to be really with it to recognize how stylish they are; all that's missing are the hats.

Both, however, are earnestly committed to the same viewpoint. Robert articulates it first: "We have tried to put together a group of people from varied backgrounds, but mainly from design, which is why our work would have a more graphic quality than that of other production companies. We've added technical capabilities, at first only so we could bypass the problem of designing something and then being restricted by people with a technician's or factory mentality.

"Optical houses, for instance, are organized and run like factories-you have a creative idea, and if you don't understand the technology, it gets lost. The end product gets out of your control.

"So as we grew, we started adding people who were technical, so we could have an in-house capability, but with whom we could communicate. Then we added more designers, and more equipment that would give us control over the design 44

Communication Arts September/October 1984

process. What occurs then is what we call an integrated design-film production company."

The sentence may have been Richard's, because he continued: "Certain people work very well when guidelines are established. Others work much better blue-sky, when everything is more open. Part of what we have to do is figure out who's best at what; when to pull it back, when to let it go.

"Some work we do for ad agencies is so set when it comes to us-so much has been specified-that essentially you're just translating it to film; some things come up in the translation, but there isn't really a great deal of creative involved."

The example he cited was the Timex series of commercialswhat has been called the "Big Watch" series. "The basic concept was brought to us: they wanted to see a large watch.

What it finally came to be, through a kind of crossfertilization or creative collaboration, was quite different from where it started, but it's not our concept; it's theirs."

Robert added that agencies, in general, "come to us with a concept, that we develop further; but ninety percent of the time we re-board the commercial."

A good part of the reputation the firm has built up was based on "doctoring" commercials which just didn't work, visually. That aspect, however, has in more recent times been de-emphasized, and today it represents a small fraction of the miles of film and tape produced daily.

"To do what we wanted to do," (Robert, again) "we had to become very diversified, and really quite unique. We are one of just a very few facilities, anywhere in the world, that have our capabilities. We set up this diversification process that would not limit us to feature film-making, or commercial, or industrial. In feature film, for example, between Christmas and February the field is dead, but you can't just close down when you have forty-odd people and multi-millions of dollars worth of equipment. A production company with normal overhead can get by for a while, but if you're a production company like ours and you don't have the equipment, you can't do the work. And, unlike a manufacturing company, you don't have a backlog of orders."

Richard, however, adds: "We always get-in features, commercials or whatever-the problem things; things that are hard to visualize. If they just wanted a simple, straightforward movie title, for example, they wouldn't come to us.

We're known for the things like the Alien title, or the Superman stuff, or Altered States, where there was a difficult thing to do-either set up a sense of menace as in Alien, or where the narrative is already started and you have to drop in a title without breaking the flow. Or in commercials, like Timex, where the difficulty comes in terms of coordinating lots of different skills: optical, directorial, location and logistics."

Trailer to promote Brian De Palma 's latest feature , "Body Double," is erotic, without being over the porno line, with an overtone of menace. The client was Columbia Pictures. " Hat Trick," a :30 television commercial promoting IBM desktop computers, opens with a man walking into an elevator. An imp (miniature of the man) comes out from behind the man 's hat.

Imp: Don 't do it, dummy.

Man: Today's the day.

Imp: These desktop computers are for Ph .D.'s.

Man: I need one. Things are getting out of control.

Imp: They're for Einsteins and ...

Man: I can handle it.

(Cut to shot of elevator door opening with man taking off his hat. Man walks out of elevator and the Imp is sitting on his shoulder.)

Imp: Says who? Wait ' II the Chief sees you fumbling around that keyboard (laughs).

(Serviceman walks out of office door carrying an IBM computer box. Man talks to woman in office.)

Man: Morning. What 's going on?

Woman: The Chief's getting a computer ... right on his desk.

(Man starts to walk in office door, puts hat over the Imp on his shoulder, lifts the hat and the Imp is gone. Man walks around the back of the computer on the desk, turns it on , leans over and looks at it. Fade to logo.)

Anncr. 0/0): Despite some nagging little doubts, more and more people are ordering IBM computers of their own . Smart people want smart desks.

Imp: (In background) Okay, okay.

The principal photography was at an office location in White Plains. Insert stage shots utilizing blue screen techn iques required a 12-foot process blue hat designed by Eric Chamberlain and constructed by the studio's Technical Systems Division . The hat moved, matching the actor's head movement in the original scenes. In post-production , movement was further refined through optical rotoscoping of the insert elements for matting into the final optical combination .

Richard Greenberg, director; Brian Williams, production manager; Carl Norr, director of photography; Ken Rudnick, assistant director; Joel Hynek, optical director.

Geer, DuBois, agency; Rea Brown , copywriter/art director; Bill Teitler, producer; Ethel Rubinstein , executive producer; Steve Olderman , creative director; Linda Wenger, account supervisor; John Allen , management supervisor.

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Communication Arts September/ October 1984

RIGREENBERG

Left, top row: recept ion area.

Robert and Richard Greenberg.

Center row : computer generated imaging system.

Bottom row: optical printer.

This page: soundstage with set for Timex Watch commercial.

Elicon Camera Control System with a 35mm high-speed camera with video viewfinder, mounted on a boom-arm dolly that moves on a precision machined I-beam track. A motion-controlled stage designed to house the Elicon CGS® has an overhead lighting grid , full complement of lighting equipment and 10 x 16 ft. DC-powered blue and white screen for flicker-free matte shots. Auxil iary motors, model movers and lighting are all computer controlled.

Richard and Robert Greenberg .

Photographs © Gerhard Gscheidle

47

RIGREENBERG

Movie "teasers," the pre-production promotion shorts that are used to build up anticipation for a motion picture which is still (or not yet) in the shooting stage, represent a significant part of the Greenberg workload.

"Making teasers," Richard says, "we more or less act like an agency: figuring out how you go to sell a movie. If it's an easy sell-a Clint Eastwood where they know the audience, or a musical where they have beautiful footage which is easy to cut-it's unlikely they'd come to us. But that's not the same as a film like Tootsie, where they were scared to death that the gender thing would turn off audiences. Or Big Chill, with lots of clever talk, where they were worried about how to position it so people would feel it was going to be fun."

Robert recalls the trailer created for Jaws-3D: "We went to Florida, shot shark footage, and tied it in graphically with the name," which is a rather simplified precis of the process that actually took place, involving a mechanical fin actually hauled around in the water, mated to graphic animation.

His point, however, is that "if we do our job, we can open the movie well. Elaborating the "full-agency" role they play in motion picture promotion, he points out that for a film currently in production, Body Double, the Greenberg firm is doing everything but buying time. "We're coming up with the concept, producing, directing, handling the SAG papers and the union contracts, writing, doing the marketing strategy, handling the mixes, voice-over recording, casting-the full thing." For more and more films, they are also producing the print materials-posters, etc.-in a reversal of the role production houses traditionally play. And in some instances-Richard cited a new Warner Brothers film, Ladyhawke, "we're directing and producing about ten minutes of the actual feature footage itself."

Much of this flexibility is possible, Robert pointed out, "because we have our own, unique contract with IATSE, which permits us to have a person go from one kind of equipment to another-operate a live action camera, an optical printer, a motion control camera, even a still camera.

As a result, we can have creative people on staff rather than only technicians. We can do creative opticals, creative animation; traditionally, that kind of work was done either non-union-so it couldn't be applied to major feature films-or it was never integrated." Richard, who sits on the board of AIGA, amplifies: "I adore film, and I think my real talent is working things out in time, but most of my ideas come from looking at graphic design. I've seen films done by people who do superb print graphics, and when they deal with film, they often forget that it's an evolving process: you can't give it away up front, you have to keep that drama going by letting it evolve. Sometimes what I see by people who can do a brilliant poster, is that when they do film they think every frame has to have all the information in it. But when you look at a good film frame for frame, there's very little in any one-it just adds up to something."

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Communication Arts September/ October 1984

The focus on graphic design derives, it seems evident, from Richard's earliest interests; at the University of Illinois (the Green bergs hail from Chicago) he started in architecture, . then switched to industrial and graphic design. While there, he shot a student film, with an old Bolex, dealing with the Chicago political convention of 1968; submitted to a competition in New York, it took first prize. He went on to the Carpenter Center at Harvard, then back to Illinois for an MFA in graphic design.

After graduation, he taught for a time at the Institute of Design, and did production for Morton Goldsholl, but "it became clear that major work, even if initiated in a place like Chicago, went to one of the coasts for production." So he tried California-offered jobs by Bass and Eames-but he didn't like it there, so he came to New York, worked for a year with Jose Ferro, and then went out on his own.

Robert, who started out studying mass communications, went into the business world, working for an uncle who was a manager for Royal Crown Cola. That took him to Canada, where he managed one of the Royal Crown subsidiaries, but when Richard decided to go into business for himself, Robert pitched the corporate life and headed for New York.

That was in late 1977. The brothers lived and worked "in a tiny brownstone apartment-it used to be a call-girl establishment and we got some funny visitors-in midtown Manhattan. It was so small, Robert slept in a box, and I slept in a bookcase, on a shelf under our animation stand, which we were always afraid would sink through the floor."

With one colleague, animation director Ken Stytzer ("he goes back to the first days of TV split-screen") and $12,000 worth of capital, they got the assignment for a couple of TV commercials-IBM and Black & Decker-where their visual effects were seen by Steve Frankfurt, who hired them to create a trailer for Superman. That led to their being hired to do the film's title sequences, and they were launched.

In doing the Superman campaign, Richard worked with a producer at the Frankfurt office, Paula Silver. One result of the collaboration was that they were married in 1979. Paula, now Silver-Greenberg-remained with Frankfurt until 1982, when she joined the Greenbergs where she now serves as producer for all motion picture feature promotions. The Silver-Greenberg family has by now grown to five, with a 2 Y2 -year-old daughter and 7-month-old twin boys, and that expansion, in many ways, parallels the growth of the firm .

Today, they're overflowing three floors in a Madison Avenue high-rise office building, equipped with a complement of sophisticated hardware ("our capabilities are similar to ILM, George Lucas' facility on the West Coast, which he built to provide a high-level special effects capability") ranging from a computer-controlled Oxberry animation stand with all the trimmings, to a DEC VAX computer-generated imaging

The title sequence for "The World Accord ing to Garp" was based on a concept of film director George Ray Hill , but the almost impossible task of executing it was accomplished by the Greenbergs utilizing state-of-the-art wh ite screen special effects developed by Joel Hynek, director of their Optical Department .

The six-month-old baby was filmed on a white limbo (backlit plexiglass) rig with the aid of a Loumacrane. All camera movement and operation was remotely controlled. In the photo at left, film director Hill watches while producer Bob Crawford amuses the baby.

Richard Greenberg was creative director ; James Szalapski , director of photography; Steve White, assistant cameraman; Tom r<ane and Wayne Carmona, assistant directors; Brian Williams , production manager. Warner Bros., client.

49

RI GREENBERG

system, an Elicon computerized live action and motion control system, and computerized Oxberry optical printers for special effects production. Plus sound stage and comprehensive editing equipment and backed by a 2,500-foot setbuilding shop across the Hudson in New Jersey. Both to integrate these facilities in a single location, and to escape the escalation to which New York rentals are subject (their per-foot rate has jumped form $5.50 to $30) the Greenbergs are now engaged in putting up a new building of their own, over in the West Side of Manhattan, which itself represents a $5 million investment. The stated intent, already largely realized, is to offer a complete in-house production organization, which can take a concept from initiation to completed film, and which will equal anything available anywhere in the world-California included.

"Technologies are merging," Robert (or was it Richard?) declares. "Our interest in computer-generated images isn't only for such effects as were done in Tron or the Bell Telephone wireframe (vector) configurations, but for actual graphic design, including design and movement of type in ways not now possible. We have 20 computers in-house. I (Robert, after all) had to learn algorithms and exponential curves-and I was in remedial math!"

"But," Richard adds, "we're not at all interested in using technique for technique's sake. There used to be a strong tendency in that direction, but I think people are moving away from that-getting a little tired of everything flying, everything looking like it's made of some highly-polished plastic. The simplest way of communicating an idea is generally the best way. When you put together images in a slightly different way-from a slightly different perspectiveyou get results that are interesting and unique."

The results the Greenbergs have gotten are listed in a fourpage, single-spaced run-down of 13 available sample cassettes: three of TV commercials ranging from American Airlines to Whirlpool, three more of just TV graphics, six of feature film promotions, openings and special effects, and one of industrial films.

"When I got out of school," Richard recalls, "if you wanted to make film there were just two areas you could go into: TV commercials or some aspect of feature film-making.

Now we're entering a whole new world. There's this whole big music video area. Some MTV is good. The same thinking and ability to create a drama go into film and video; all the things that are called video are actually produced on film anyhow. We integrate film and video, back and forth. We did a commercial for Renault where cars bend around corners, and to generate that image we needed the combination of all the things we have in-house: computer-generated mattes, with a thousand passes for each frame of film."

Richard mentioned the special-effects work they had done on Zelig, putting Woody Allen in with Babe Ruth and the like, and it led to some thoughts on live action .

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Communication Arts September/ October 1984

"The direction we decided to take, very early, is to achieve a synthesis of live action and graphic elements, working together but not fighting each other the way they used to.

Now you can fuse them into a surreal kind of image, with a complexity that works as a counterpoint to the pure graphic image. I try to keep the almost accidental quality that makes live action interesting. Too often in effects-oriented commercials you see people who come across as automatons, and defeat the whole purpose of using real people."

As an example, he cited the title sequence for Carp, where a jaybird-naked six-month-old baby is seen flying in the air.

"If you pull that baby down to a point where it's not responding at all, you might as well use a doll."

The Carp footage recalled earlier experiences. "We started in films and commercials as film surgeons. Films shot not in register, or not shot against mattable backgrounds, yet needing to go over other backgrounds. So we developed ways, and that taught us a lot. In Carp, to get the babyagainst-the-sky effect, you couldn't use a rig or harness, because the kid had no clothes on. People were actually going to throw the baby up in the air-and you can imagine the legal problems that would open up-or shoot it blue matte, and in that case the baby would have a very hard edge. Back in the surgeon days, we had to pull mattes from a feature which should have been shot against a blue screen, but wasn't-instead, it happened to be shot against a sort of washed-out sky, with no detail in it, which was similar to a back-lit white screen. We developed a technique from pulling mattes for that feature, because we had to-working, really, with density differences rather than color separation.

"That's the way we did the baby-density-difference mattes, white-screen backlit." The baby lay face-up on a speciallyconstructed Plexiglass surface, back-lit, and the illusion of motion came from the overhead-mounted high-speed Mitchell camera, moved on a crane with a floating effect which conveyed the sense of weightlessness. Sky footage was then matted behind the action, on the optical printer.

"I particularly enjoy doing the title sequences," says Richard, "because there's a synthesis of typographic form and dramatic content. But without Bobby's ability to set the parameters, I would get eaten alive."

Robert adds: "Most production companies are run by creative people, largely directors. But you can't make it in this business if you don't know how to deal contractually.

Hollywood would eat you alive. Commercial people can't work in feature films and feature people can' t work in commercials, not only because clients or agencies or film companies can't believe that one can do the other, but because they don't have the vehicle; they don't understand the complexity. We've never missed a schedule-we get it done on time. We don't necessarily get it done on budget, however-there are things they add to a production."

-Mill Roseman

Logo identification and poster for "Ghostbusters," a Columbia Pictures release .

A/Greenberg Assoc iates also did a full advertising campa ign , beginn ing as early as last December to create an awareness of this phenomena that was "Coming to Save the World This Summer."

The campaign included a teaser, a full trailer, a :10 and :15 logo spots , six :30 spots, a :90 spot and the one-sheet. They also did the main title logo for the feature . Paula Silver was creative director for the campaign . Michael Gross designed the symbol. Kate Cox wrote the copy for the campaign . Concept for the logo animation was by Liz Maihock and Robert Mrozowski with animation directed by Ken Stytzer and shot by Vinny Giordano.

Vito DeSario edited the trailers and :30 and :90 spots. Larry Plastrik edited the :10 and :15 spots.

Peter Frankfurt produced the trailers and television spots. David Langley was the photographer for the poster and Lisa Fisher was the producer.

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RIGREENBERG

A series of live-action/special effects vignettes featuring Timex Quartz watches as architectural elements with human interaction ran singularly as :1 0 spots and in modular form as :30 and :60 spots. A :60 commercial is shown here, opening with a water resistant watch as a floating pier.

Anncr. (VO): Here, introduce yourself to Timex Quartz. Watches to be proud of ... not timid with . (cut to watch as sculpture) Beautiful watches of incredible value .. in over 100 styles . (cut to runners on a watch) The Timex Runners Quartz. Uncanny accuracy. (cut to watch as elevator door, which opens and closes as the digits change) The Timex Calculating Quartz. Versatility .. . with Timex durability. (cut to watch as bridge over a pond) Our new Timex Elite is the thinnest quartz calendar watch in the world. (cut to building) Our new Solid State Watch has no moving parts.

These are microchip projected hands. (cut to dancer on watch) And our Dress Digitals have no buttons. This sleek command bar controls all functions. (cut to watch as fa<;:ade of elegant shop) Yes , bring the value of Timex Quartz into your world.

(Super: Timex Quartz. $7 .95 to $120 suggested retail price)

52

Below: outdoor live-action of a boat, indoor live-action with key blue screen elements and the watch filmed with a computerized motion-control camera system to match the live-action scenes . These were combined for the " Boat Dock" vignette.

Right: bulldozer constructing the Runners Quartz contour and the elevator set.

Grey Advertising, agency; Nancy Axthelm, producer; Jim Morrissey, creative director and copywriter; Jeff Hill and Louis Hernandez, art directors ; Steve Novick, director of commercial production ; Casey Wojciechowski , account executive .

Richard Greenberg, director; Robert Greenberg , producer; James Szalapski , director of photography; Randall Balsmeyer, motion-control photography; Joel Hynek, optical director; Robert Mrozowski , matte artist; Larry Plastrik, editor; Brian Williams , production manager.

Communication Arts September/October 1984

53

RI GREENBERG

54

Communication Arts September/ October 1984

Left: poster for "The Natural ," a Tri-Star Pictures release . Richard Greenberg I Paula Silver, creative directors; Larry Lurin , designer; Seininger Associates, production.

Feature logo identification for Tri-Star Pictures.

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This page: main title sequence for "Altered States," Warner Bros. The same theme was also used for the trailer and the television campaign .

Trailer and television campaign for "Jaws 3-D." Universal Studios, client.

55

A :30 television commerc ial to introduce Renault 's new Encore incorporated new optical techniques to graphically emphasize the Encore's agil ity in both c ity and country driving . Extensive pre-production included equipping the Encore with neon bands to create traveling blue screen mattes and rigging the car to appear driverless. The "elastic " optical effects were executed via a new scanning invention involving as many as 1,100 passes per film frame .

Anncr. 0/0): Introducing the amazing Renault Encore.

Look how it feels to mold to the road , with four wheels suspended independently.

Feel it flow through hairpin curves.

Look how the new Encore feels as it almost ignores gas pumps. And provides f rant wheel drive for extraordinary cornering . For an amazing $5,755.

European design built in America. The new Renault Encore. Amazing!

Singers: The One to Watch . The One to Watch.

The One to Watch .

(Super: Renault. American Motors A-Mark) Anncr. 0/0): Renault.

"Manhattan," a :30 commercial for AMC Renault utilized thirty Renaults to create the effect of hundreds. Arrangements were made to close Park Avenue from 90th to 92nd Street on a Sunday morning and the avenue was divided into a schematic grid where the fleet of cars was filmed moving in seven different formations. Stills of the filming are shown at right.

The commercial opens on a deserted street and then one Renault Alliance appears.

Anncr. (VO): Nobody thought European automotive technology could be affordable. Then Renault introduced All iance. (several Renaults appear on the street) At first , only a few discriminating buyers recogn ized the benefits. Sedan comfort for five. A quiet, smooth ride. But its reputation grew (more Renaults appear) And grew Until Alliance became the best selling American car line launched in 1983. Renault All iance. $5,959. European technology that 's affordable.

Singers: The One to Watch . The One to Watch .

The One to Watch.

Annc r. 0/0): Renault.

Grey Advertising, Agency. For " Plastic Car" : Carol Cohan , producer; Jim Trippler, art director; Tony Alfanso, writer. For " Manhattan " : Nancy Axthelm, producer; Bill Giles, creative director; Jim Consor I Scott Pollack, art directors; Howard Reed/Eric Robespierre, writers.

Richard Greenberg , director; Robert Greenberg , producer; Joel Hynek, optical director; Dick James, (Plastic car) and Richard Moore (Manhattan), director of photography; Larry Plastrik, editor; Brian Williams, line producer.

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Communication Arts September/October 1984

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GREGORY HEISLER The building is one of the big, old commercial-industrial survivors from the last century: high-ceilinged lofts, iron staircases, creaking wooden floors, in the section of lower Manhattan called NoHo (North of Houston Street) where these same ancient edificies are being "gentrified" into romantic residences for the new bohemians-and where you drive through the streets hoping you won't be held up at a traffic light because, if you are, you are sure to have your windshield washed (more or less) by the insistent entrepreneurs who don't take no for an answer.

Occupying a top-floor studio space (only temporarily; the process of gentrification threatens to quintuple his rent) is, appropriately enough, a photographer who has penetrated to considerable recognition because he, too, wouldn't take no for an answer. Or, rather, because he didn't recognize refusal for what it was.

Gregory Heisler had started his first week in the Chicago photo lab maintained by Playboy magazine. That was in 1974; at that time in Chicago, as he puts it, "there was a tremendous amount of food and product photography, but not a whole lot of fashion ar1d other things. There was sort of everything else, and then there was Playboy."

The first day on the job, however, he'd sent a letter to Arnold Newman in New York. "He was my absolute idol at the time; it was like writing a letter to God." The route to that adoration had led through undergraduate study in astronomy at the Universities of Wisconsin and Illinois (abandoned when "I realized that the day-to-day was really just math, and that wasn't really my fascination"), a part-time job doing school photography, and a one-year stint at R.I.T. "It was horrible. They split the curriculum into two halves-the art photography school, where you could get a BFA, and the professional curriculum, where you could get a BS. The problem was that the faculty fostered all those prejudices against one another: the professional teachers thought of the art faculty as the artsy-fartsy guys, and the art faculty thought of the professional guys as commercial hacks. I wanted to do both."

Back to Chicago, "I got a job with a food photographer8x10 things. I asked if I could noodle with the props and equipment after hours, and he said sure, he'd like to see what I could do. Next morning I had some of my film up on the light box to show him. His rep saw them and said, 'Oh, Dick! I love these. They're some of the best things you've done in a long time!' That was my last day on that job."

Kraft Foods had a big photo operation in Chicago, and Greg took his portfolio there. "The head man explained to me that there were three kinds of photography: people, still life, and cheese. He meant cheese-like Velveeta-and I didn't have any of that. That's when I went to Playboy.

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Communication Arts September/October 1984

"The Friday of the first week there (at Playboy) I got a reply from Arnold Newman-'Sorry ... not interested ... too young' -that kind of thing. I looked at the letter and, dumb as it sounds, I was absolutely thrilled to have his signature on a piece of paper. 'This is great!' I thought. 'I'm going to call him.'

"So I called him up. He was really gruff on the phone: 'I thought I told you ...' etcetera. I thought: 'I talked to him!

That's even better.' Monday I flew to New York.

"I called him from the airport, and when he found out I was at LaGuardia I could hear him complaining to his wife, his hand sort of over the phone: 'What are we going to do about this one now, he's here?' She's absolutely wonderful, and I could hear her saying something like 'What's the matter with you? Have him come over.'

"The fact is, he actually was looking for somebody; he'd had a blind ad in The Times, wading though a million replies. I showed him my pictures and he said, 'Let's see if you can spot prints.' He does a lot of black and white printing for museums, and he wanted to see if I could spot out the little dusties. The first print he hands me is the Stravinsky, and I was literally shaking, handling that photograph; it's as famous as Ansel Adams' Moonrise.

"I stayed with Arnold for about 10 months, and learned a tremendous amount. It was beautiful stuff to work with, and it was also a fantastic introduction to New York. A lot of the people he photographs are the very wealthy and captains of industry. You're living in this sub-leased stinky apartment and the first place you go in the morning is the office of the Chairman of Exxon, where the leather on the chairs is like from the testicles of unborn calves or something.

"A lot of people come to New York and work for fashion photographers and like that; they just sort of throw up some umbrellas, it's that kind of standard way of lighting things and taking pictures. But he-Arnold-has worked in his own way for years: he's not one of those guys who's into having a studio and into being a photographer. He just is a photographer. He'd just take his rusty lights and bounce them off the wall or stick them on the floor-it was obvious that what was important was the picture. He was more into photography than into being a photographer."

The experience, as Heisler reports it, was invaluable. The money, on the other hand, was sparse; he got by on what he A ten-pound topaz, largest in the world, was photographed in a non-typical still-life manner on location at the Smithsonian Institution . The model was selected from the kitchen staff. Life; Bob Ciano, art director.

Welder converting a kiln at the Medusa Cement Co., photographed for the 1979 Crane Co. annual report. To show the scale of the kiln, the orange glow was simulated with strobe lighting . Bob Glassman , art director.

59

GREGORY HEISLER

had saved for the second-unattended-year at R.I.T. After ten months with Newman, he went to work for a fashion photographer, Bill King. "He's quite well known for doing real animated, energetic things of people running around on white backgrounds.

"You couldn't have had a bigger change of atmosphere-this place was a white Formica palace; photography as a business, not as an esthetic enterprise. I remember the first day there I had to plug a camera in. A guy gave me a Nikon and a synch cord-with Arnold we never used strobes, though I believe he does now. The end of the synch cord was a regular plug, so I walked over to the wall and I was about to plug it in, when this guy looks at me and says, 'You're kidding, right?' I think to this day he doesn't know if I was or not. I probably would have melted his camera-there would have been a pool of Nikon on the floor."

After King, Heisler worked for Eric Meola-"He does exquisite work, real beautiful, graphic color pictures, and it was interesting because he was about thirty years old, and there was a lot more give-and-take; I learned a lot from him about color and lighting.

"When I assisted, I tried to work with people I admired.

Given that assisting is such a miserable job, that way you could at least say, 'Gee, this person is doing the best that one could reasonably expect to be doing in this fieldwhat's it like? How is it for him, not only where does he set his F-stops, but is he happy? Is he running himself ragged?

Are the people who surround him complete ding-dongs?'

"I don't mean this to sound presumptuous, but you're setting your sights on the future, and it's nice to take a look forty years into the future and see somebody who's reasonably happy with what they're doing. Arnold really seemed the happiest. He was around sixty when I was working with him; he's eight years older than that now, and he's still genuinely interested in going out and taking pictures. He's not jaded, whereas with the advertising guys-generally the older, more successful guys I worked for-it was like 'I don't even pick up a camera unless I'm getting paid for it.' Obviously, there are other compensations, but that seems to be such a sad place to arrive at."

The reference to other photographers relates, primarily, to those whom Heisler assisted on a part-time basis, because the experience with Meola was his last full-time job.

"At that point I was making about $75 a week-gross-and I couldn't live on it any more; I'd run out of my school savings. So I had to start shooting. Eric put me in touch with John Durniak, who was then the picture editor of Time; he gave.me one of my first jobs, and I also did an album cover while I was still with Eric. I did a lot of free-lance assisting, here and there-worked a lot with John Olson, ()()

Communication Arts September/October 1984

Above: Heisler, in the costume of the period , on the set of " Under the Rainbow" during a shoot for Life. Photograph by Larry Barbier.

Unpublished photograph of Twiggy and Tommy Tune in their roles as Edith Herbert and Billy Buck Chandler in the musical " My One and Only."

A quintessential slice of life in New York City for New York Magazine , Robert Best, art director. Musicians Yues Naive and Abbe Apathetic enjoy an after-lunch smoke in Katz ' Deli while taxi driver Roy Larsen (pastrami on rye) looks on . All three people were acquaintances whom Heisler recruited for the photograph .

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61

GREGORY HEISLER

doing mainly annual reports, and that experience came in handy later on. Finally, when enough work came in, I stopped assisting.

or sixth assignment down was to shoot Three Mile Islandthe nuclear thing-and when I brought the work in I learned that the assignment actually came from Loengard.

"You meet a lot of assistants who do it too long. They get into a sort of mental set: the role of actualy being a photographer seems almost overwhelming, intimidating. A lot of photographers have their assistants do all the technical stuff for them-'Okay, light this room for me, and I'll see you in an hour' -and the assistant really sets up the picture. That's a good learning experience; essentially the assistant has taken on the role without the risk. Or the reward. I felt that as an assistant I was getting all the blame and none of the satisfaction. That's why I went out on my own.

"That gave me the credibility. I've since done an incredible variety of things for Life-Broadway things, science, everything-and I started getting other magazine work, and corporate annual reports. I do 99% of my work now for six or seven people, all referrals or ongoing relationships, and I like working that way. It's about 40% magazine and 40% corporate, with the rest dribs and drabs of other assignments. Some of them exciting, like the book, A Day in the Life of Australia, where Rick Smolan got a hundred photographers from all over the world to come there and shoot one day each in different parts of the country. I was up in the northwest, mining country, and the craggy faces were marvelous."

"I started doing pictures for different magazines-Money was the first that really started hiring me. I took my book around myself-I don't think magazines are interested in seeing representatives, and I was curious to meet these people. I don't like working through reps; I had one for a year and I missed the direct feedback. I don't have a representative now.

"In 1978 I got a call from Life-the then assistant picture editor, Mel Scott. It seems like on a first assignment he's interested in separating a style from a 'shtick' -if you bring him fashion pictures he'll assign you to photograph nature, like that, to see if you've got eyes. I just dropped off my book1 didn't meet him then-and in a few weeks they called with an assignment: a 'Just One More,' which is kind of the last picture in the magazine, a cute, unexpected thing. I had to photograph the Ghost Parking Lot in Connecticut, a conceptual installation by the 'Site' group of architects; they'd buried some cars, at different depths, in a number of the parking spaces, then paved right over them and drawn the lines back in.

"Life liked the piece and they hired me back for more; it developed into a real steady relationship. The work for Life put me on the map as a photographer-that's for sure.

"When I first started taking my portfolio around, I didn't know what to put in it-setups, still lifes, or what. A friend suggested I talk to John Loengard; he was one of the photographers on the old Life and is now picture editor. He said if I wanted to, I could probably start shooting pictures like the kind you see in the Black Book, but he thought you should just shoot what you can't help but shoot. 'Then,' he said, 'you'll do your best work, and people will respond to it because it is your best work. When they hire you, they'll hire you to shoot more of what you do best, and then finally you'll look back and see that you have had a style, instead of trying to do a style.'

"That was the portfolio that got me work at Life; I thought I was getting all my assignments from Mel Scott, but the fifth 62

Communication Arts September/October 1984

That assignment also introduced Heisler to the Australia psychotherapist who, three years ago, became his wife, and who also put his studio on a businesslike basis. And it led to two subsequent books along the same lines, one in Hawaii and another, still in development, in Canada. The "dribs and drabs" have also included movie still photography, for the upcoming films Dune and 2010.

He works, today, with one assistant and a part-time bookkeeper, and when the rent-hike forces him out of the soaring studio in NoHo-"any day now"-he feels having another large studio is unnecessary. "I work with anything the subject calls for, from a 110 camera to an 8x10, and I literally take the studio to where the job is. If I do need a large space, I can always rent one.

"In New York, the advice you keep hearing is 'specialize, specialize' but I like always having new things to do, and finding new ways to do them."

And, evidently, still refusing to take "no" for an answer.

-Mill Roseman

Right: in a studio session re-creating the essence, look and feel of the Broadway musical "Nine," Anita Morris, as Carla, performs the number "A Call From the Vatican." Life; Bob Ciano, art director.

One of a series of photographs for the American Ballet Theater 's 1983 and 1984 Souvenir Brochures, Kevin McKenzie in costume for Jerome Robbins ' "Other Dances." Paul White , art director.

While shooting a series on young American ballet stars, Heisler was struck by the astonishingly high number of heavy cigarette smokers he encountered, and by the incongruity of the cigarette habit with their grace and beauty.

"Susan Jaffee was very playful and had a terrific sense of humor, so when I asked her to pose for a portrait of the Swan Queen having a drag on her cigarette,she was into it 100 % ."

63

64

Communication Arts September/ October 1984

GREGORY HEISLER

Left: two photographs from the book "A Day in the Life of Australia," a project organized by Rick Smolan where 100 photographers from all over the world each shot in different parts of Australia on the same day. The miner is Roger Gardiner, an out-of-work cinematographer and musician from Sydney, who endured the heat, flies, long hours, hard labor and •loneliness of exploratory ore-drilling in the remote outback because the pay was high and would free him to pursue his craft in Sydney. The rust color on his face, hair and clothing is f ram the red clay earth he drills.

The red landscape with two motorcycles on a dirt road is Drillers Ridge .

This page: portrait of William B. Casey, Director of the Central Intelligence Agency.

New York Times Magazine , Ruth Ansel, art director.

From a series for Life on the Broadway musical "Sugar Babies," Mickey Rooney leering out from a thicket of legs belonging to the chorus line.

Bob Ciano, art director.

For "Citileverage," a Citicorp financing and leasing brochure illustrating various types of equipment financed through Citibank, a photograph of Brent Towing Company's pushboat, Margaret Brent, pushing a load of barges down the Mississippi River.

65

GREGORY HEISLER

Photograph taken during the actual meltdown crisis depicts the Three Mile Island power plants as an ominous presence for the cover of Life. Bob Ciano, art director.

Portrait of Caskie Stinnett to suit the strip-in landscape and create an overall feeling of reminiscence . Alaska Tourist Board, client; Foote, Cone & Belding , agency; Sal Sinare, art director.

Right: for an essay on high-tech winemaking in Californ ia, Heisler shot the indoor stainless steel fermentat ion tanks being cleaned by a rubber-suited worker at the Robert Mondavi Winery.

Life; Bob Ciano, art director.

The Monte Carlo Cafe, from an unpublished essay on the boom and bust town of Grants , New Mexico. Sitting on old U.S. 66, the cafe sits forgotten , bypassed by a new interstate highway.

A1uka la that rare pl8ce from which you never completely return.

It la the world U It WU thouanda ol yeera -ao. ltl lhorw ltill ICOW'ld by llacien. It la the caribou, the mooM, the whale, the -cl• ltill livinc in harmony with the Indian and Eaklmo and Aleut.

A1uka la an out-of-the-way reeort tucked amonr primeval mountalna, lak• and (Jorda. It ii a train meanderinr throuch

floww.clad IWNMr fielda.

A1uka ii the unexpected pleMure ol a centuriel old Rullian Orthodox church rilins above a filhln& vlllap ailhouetted apinat a fiery summer aun•t.

But molt ol all,Alllka la an uperienc:e that can only be delcrlbed by IOinl there and beinc In It. It dolm't matter whether you ao by car, boat or plane,a trip to A1uka will chanp you In uneitpaCted waya.

Fbr me, It waa diacoverinc a piece ol the world I thoucht we'd loll• lane time aao.

A remarkable, uhllaratinr journey that will etay with me and deeply touch me farrier.

66

Communication Arts September/October 1984

67

GREGORY HEISLER

From an essay on state-of-the-art telescopes in the U.S., the VLA (very large array) Dish at the NRAO Laboratory outside Magdalena, New Mexico, is the largest radio telescope array in the world. The dish was strobe-l it so as to not appear as a passive silhouette. Life; Bob Ciano, art director.

A lone commuter at the Riversdale station of the Conrail Line at twilight expresses the loneliness of odd-hour commuting for an issue on "A Day in the Life of New York." New York Magazine ; Robert Best, art director.

Right: from the essay on the Little People in the movie " Under the Rainbow. " "While shooting on the set, I'd noticed a special closeness between Pat Bilon (who later was E.T) and studio hair stylist Bridget McNamara. As the little man generally loved the ladies, especially the big ladies, I wanted to do a picture that would show this, particularly their relative size. One day when she was costumed for a bit part as a dance hall girl , I got them together.

We played around and this was one of the moments that resulted ." Life; Bob Ciano, art director.

68

Communication Arts September/October 1984

69

B ILL ROBLES "I love courtroom illustrating ... the immediacy... working feverishly... the adrenalin gets going ... and suddenly it's over and on the news that evening."

Many artists have the luxury of time, whether they're working on a commercial account or the hoped-for masterpiece.

Not Bill Robles.

Robles' job requires him to capture the essence of the moment. With an unerring eye he must freeze the action, interpret the mood of the key figures and capture the sweep and style of the drama unfolding before him. And he must do so with stop-watch speed and accuracy.

Robles works for a strict and unyielding taskmaster: television news.

His illustrations are especially essential when no cameras are allowed to record the proceedings. In such cases, all the visual impressions must come from the artist and that places a heavy responsibility on specialists like Robles.

What he sees, everybody who watches the news will see. His impressions become their impressions. The job calls for keen analytical ability and professional objectivity of the highest order.

"The courtroom artist can orchestrate the entire event," says Robles, "eliminating or adding various elements for composition or dramatic statement.

With one illustration, he can achieve what it might take a still camera several photos to do-or with video, much more time."

And Bill should know. He's been doing courtroom illustration for fourteen years. In 1969, at the time of the Charles Manson capture, Robles approached the art director at KNXT (now KCBS-TV) in Los Angeles with the idea of going into the courtroom to illustrate the trial for the station's news shows. KNXT went along with it, and Bill was on his way.

Since then he's covered many sensational trials including Patricia Hearst, William and Emily Harris, Roman Polansky, Howard Hughes' Mormon Will, Marvin vs. Marvin, Carol

Burnett vs. The National Enquirer, NFL vs. Oakland Raiders plus numerous other trials.

Other freelance assignments have transported him around the world.

In addition to KCBS-TV and the CBS network, his clients include British Airways, Western Airlines, NASA, Boy Scouts of America, Union Oil , The Washington Post, Los Angeles Times, Pentel Pen Company and Western Gear.

Robles' talents have been acknowledged with many awards, including a Gold Medal from the Los Angeles Art Directors Club, three gold medals from the Broadcast Designers' Association, an Emmy nomination, the New York and Los Angeles Societies of Illustrators and Communication Arts.

Bill's approach to courtroom sketching is to first review what he calls the "cast of characters" -the primary figures, judge, prosecutor, defense attorney and major witnesses. He tries to analyze the "essence of a person ," what is unique in their features or mannerisms. The drawing becomes easier

Left: Lee Marvin at the Ma rvin vs. Marvin trial.

Right: Charles Manson; Ron Hughes, Manson " Family" attorney who died during the trial ; members of the Manson Family on vig il outside the Hall of Justice.

"That was my first trial and probably the craziest.

I spent nine and one-half months on it, every day of the trial , and did hundreds of illustrations.

When Manson finally took the stand-for the one and only time-you could see why people were taken in by him. Oddly, he had a very engaging quality. Something strange happened when he got up there . All of a sudden , a ray of sunlight fil tered through the courtroom windows and shone right on him. It was inc redible . I don't remember it ever happen ing to anyone else."

70

Communication Arts September/ October 1984

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BILL ROBLES

after that. Famous (and infamous) personalities are more difficult to capture than the average John Smith.

A preconceived image is established from TV, movies and newspapers.

"You can't fake them."

Although recent rulings have allowed television cameras into certain courtrooms, Robles is assured there will always be cases where only the artist is permitted. "Especially where children are concerned. Features have to be changed, masked, in silhouette or shadow. On one illustration of a child molestation victim, I hid the features behind a microphone. You have to be inventive when working within limitations."

For re-creative illustrating, "I do as much research as possible, go out and shoot lots of photos and interview whatever people are necessary to get the drawings as accurate as possible.

Re-creations take more of an editorial approach. They're more innovative and have more action than trials."

Robles thoroughly enjoys being involved with history-making events.

"Sometimes in rushing toward a TV air time, I am putting the finishing touches on an illustration in an airplane, automobile, standing in a hallway, and once in the Governor's waiting room."

When asked how he handles the frantic pace, Bill immediately responded, "I get exhausted sometimes, but never burnt out. I just rest and bounce back." Just listening to him talk about it in that announcer voice of his, you can sense the adrenalin beginning -Al Medora to perk.

Al Medoro is an art director I designer with KABC-TV and past president of the Broadcast Designer's Association.

Parts of this article originally appeared in Scanlines, a professional journal for the television designer.

72

Communication Arts September/ October 1984

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Left: Bill Robles, photograph courtesy of KCBS-TV Hillside Strangler listen ing to the verd ict.

This page: Larry Flynt.

Re-creation of the "Twilight Zone " helicopter crash for KCBS-TV News, Los Angeles .

73

BILL ROBLES

" L.A. Raiders owner Al Davis was impressive .. . in his own way. I remember his su its were shaped, with no back vents, and he wore his Super Bowl diamond ring .

He was a snap to draw, such an interesting face ."

Scene from an Alan Landsberg Productions television special on congressional debates between World War I and World War II. Many hours of research were requ ired to master the costumes and the personalities of the time. Landsberg also utilized Robles re-creative abilities for a special on UFO sightings. Bill really had fun with flying saucers , outer space beings and the eerie glows.

Right: the California Supreme Court.

Francis Ford Coppola at the "Cotton Club" trial.

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Communication Arts September/October 1984

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BILL ROBLES

Robles was commissioned by NASA to cover the first four shuttle flights. He sketched the landings of the first , third and fourth flights , but it was the second that he regards as the most exciting .

He was at the 3:30 a.m. "suit up" of astronauts Engle and Truly as they prepared for the flight of Columbia.

Drawings form the De Lorean trial. Below: De Lorean 's attorney, Weitzman, questions Hoffman, the key government witness.

Right: De Lorean and the jury listening to the proceedings and the jury listening to the tapes.

On the first day: "We had been waiting all day-hours and hoursfor De Lorean 's arraignment. The courtroom was packed. Finally, they brought him in. Although he had several days growth of beard and appeared very tired, my first impression was how very imposing he was. Very tall. Very distinguished, yet very nervous."

An artist's work can be transmitted nearly instantly across continents and be viewed by millions of people on television and in newspapers. Robles ' sketches on the opening day of the De Lorean trial were shown on the CBS Evening News and, via satellite, on the British Independent Television News.

76

Communication Arts September/October 1984

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LAWRENCE BENDER Most of the world has heard about Silicon Valley. They may not be sure of its exact location, but they all know that Silicon Valley is synonymous with high technology.

would be spent as an agency art director. I was interested in ads. At Art Center I'd only studied advertising design.

And I'd never done much collateral. Almost none."

For the record, Silicon Valley is roughly equivalent to California's Santa Clara Valley. And it's home for most of the clients of Lawrence Bender & Associates.

The company gave Larry the freedom to create and the budgets to produce what he created. "It was a really exciting time. We'd do something and then the other companies in the business would copy it, so we'd have to change.

There were really no limits."

Larry Bender says he always knew what he wanted to be when he grew up. "I just knew I' d be some kind of artist.

I was always drawing-constantly-all through grade school. In junior high I had a special class where I was a teaching assistant. I got out of algebra that way, which was stupid given where I'm working now."

Stupid or not, Larry pursued art and avoided science through high school and San Diego State University. "I was a painter until my senior year at State. Then I found out what being an art director meant and decided to be one. Of course when I got on the other side of that door it wasn't exactly what I'd thought."

It was the time of the Korean war and after graduating, Larry discovered no one would hire him because he might be drafted. So to get it over with, he volunteered and spent the next two years in the army, mostly in Germany.

When he came back he took a job with a packaging company in Los Angeles, and went to Art Center at night.

After three years he went to work for Carson / Roberts, one of L.A.'s most creative advertising agencies. Later, when Carson / Roberts bought an interest in the design studio of J. Chris Smith, Larry was transferred there.

In 1966, Mario Donna, who had been one of Larry's instructors at Art Center, told him about a corporate art director position at one of his clients, Fairchild Semiconductor in Mountain View, California, and offered to recommend him for the job.

"I didn 't even know what a semiconductor was. I thought you either conduct or you don't. Why would you want to semiconduct? And I didn't know much about the San Francisco Bay Area either. Mario talked about green, rolling hills and blue skies. But I talked to the people at Fairchild and they made me lots of great promises so I took the job ."

Fairchild did more than make promises, as Larry says, "They offered me the opportunity to fall flat on my face!"

The company came through on all of the promises and Larry didn't fall flat on his face . Not only that, he learned about semiconductors and went on to do a lot of pioneering high technology graphic design for Fairchild.

Fairchild was, to quote an industry cliche, "on the leading edge," of the new technology. No one had ever designed an integrated circuit brochure or catalog. Larry was able to set new standards. "Before Fairchild I figured my life 78

Communication Arts September/ October 1984

While his design career flourished, Larry began another, almost by accident. When he first came to the Bay Area he discovered a great need for practical graphics education.

"People in my own department were ordering type but they didn't really know how to copy fit. They were ordering printing and letting the guys from the printers tell them how it should be done. And we were so busy I didn't have time to teach them. I figured they could go to school at night like I did and learn some o f these things."

Larry checked with nearby San Jose State and the local community colleges, Foothill College and College of San Mateo, and found none offered the necessary courses at night. So he went to Foothill and, after explaining the need to the Dean of Evening Instruction, was offered the job of teaching the class. In the 17 years that Larry has been teaching at Foothill, the program has become an important part of the Foothill curriculum.

At Fairchild Larry worked with, and became good friends with, Dick Steinheimer, a photographer and writer. O f Steinheimer Larry says, " Stein's been a major influence in my life. He's just a wonderful human being. He's one of the brightest, most knowledgable guys you ' ll ever get to know. He's 100% in everything. There's just no such thing as 'close enough' to Stein."

Eventually Larry began to get restless at Fairchild. "They were about to give me a little ruby five-year pin. And five years just seemed too long. The fun and excitement had begun to settle down, things were becoming routine. I started to get it into my head that, 'Gee, now I have all this experience, I could open my own office.' I mentioned this to Stein and he said , 'Good, I'll go with you,' I said, 'Great we'll share space.' He said, 'No, we'll be partners."'

Bender & Steinheimer set up offices a little to the north in Palo Alto and continued to do work for Fairchild while

Lawrence Bender is the art director on all of the work shown with this article . In some cases he is also the designer or co-designer and that will be noted in the individual captions.

Spreads from the 1982 (above) and the 1980 annual reports for Ramtek Corporation , manufacturers of soph isticated graph ics display terminals used in medical , scientific , business and industrial research and information organ ization , including CAD/CAM .

Linda Brandon , desi gner; Tom Tracy, principal photographer.

PREDICTING THE WEATHER TO SAVE LIVES AND PROPERTY The scientific community ranks among the most demanding of display users when it comes to resolution and performance. Two members of Ram-

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Atmospheric Administration (NOAA), which uses the systems to display up-to-the-minute meteorological information on violent storms in and near metropolitan Denver.

NOAA is conducting an experiment to determine the optimum use of such advanced techniques for predicting severe storms-those characterized by hail, lightning. flash floods and tomadoe.. In the Denver area, where part of NOAA is located, such storms occur frequently in summer, often causing much destruction and even deaths. Because these storms come and go very quick.Jy, they sometimes elude traditional weather prediction methods.

But today Ramtek's RM-9400 display is helping meteorologists at NOAA's Environmental Research Laboratories see changing weather conditions almost as they occur.

The lab gathers information from three sources: the GOES meteorological satellites, which photograph the atmosphere o( the entire nation every 30 minutes; three radar stations on the ground that take pictures o( the atmosphere over Colorado and adjacent states every five minutes; and the Mesonet network of 21 computer-automated weather stations that measure atmospheric conditions around metropolitan Denver every 10 seconds and average the data over five-minute periods. Mesonet stations gather such information as temperature, dew point, precipitation, wind

" The9400shows NOAAsdtntiststlre mostminuttdetailso/ a weather pattern. By

zooming in and adding colortodilftrnrtartas o/tlrtscrtnr,they canstesubtlechangtS thatmiglrtmtanbad weatherisontlrtway."

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from these three sources gives NOAA scientists a clear picture of what's happening in the atmosphere over metropolitan Denver. first, the GOES information from a two-hour period (four images) is made to show actual movement of atmospheric conditions through a technique called " movie-looping" -the same technique that makes satellite pictures " jump" on the familiar television weather forecasts.

Next, the radar information received every five minutes is also movie-looped , giving the data high resolution in both space and time over a more localized area.

Finally, the Mesonet information is combined with the radar and satellite data, and the three data sets are superimposed over one another on the Ramtek 9400 screen. The 9400's ability to display the data in many colors lets meteorologists distinguish the characteristics shown by data from the three sou rces.

According to N~AA m~them~tician Bob Bro~n~ the process makes 1t possible to rsolate a geographic area-such as metropolitan Denver- and study the conditions specific to that area, rather than the whole nation. And because of the short intervals between pictures taken by on-the-ground radar and data sent

by Mesonet stations, changes in weather conditions can be monitored virtually as they occur.

Uthe NOAA experiment succeeds, local weather prediction could become a far more accurate science than ever before. In the case of severe convective storms, the result could be many Jives saved.

U p-to-the-minuttmtttorologiCJ1linformation gatlrntdfromSAttltitts, radarandcomputl!T-aulo-

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79

LAWREN CE BENDER

gaining a reputation for excellent work for other high technology clients. But the partnership lasted for only about two years. The breakup wasn't caused by any clash of personalities. The partners came to realize they were running two separate businesses under the same roof.

"One thing I learned when Stein and I were together was how to do business. Stein just wasn't interested in the business side of things," Larry laughs, "So I had to learn."

After the partnership broke up Larry's business became Lawrence Bender & Associates. Today that's Larry and a staff of seven. Last year the firm produced 17 annual reports. This year they'll do more than 20, mostly for high-tech clients. And that's in addition to a considerable number of corporate identity, brochure, poster and other collateral projects. "Annual reports comprise about 70% of our business. If you want to work here, you've got to like doing annual reports."

Lawrence Bender & Associates has no outside or account people. Typically, Larry does all initial client contact on new projects. At some point he'll bring along a designer.

And eventually he'll step back a little from the project. "I know I'm doing things right when the client calls and asks for the designer instead of me. But I'm still there, sticking my nose in from time to time, so there are no surprises, either for me or the client."

Increasingly Larry finds himself determining the direction of the annual report. "It used to be the writer, but now more often than not, it's the designer who's driving the book. They used to just write it and then dump it on us to design. Now we set the tone, we set the direction; we tell the writer what, and how much, to write."

This of course means that Larry must be familiar with all aspects of his client's business. He is. As one CEO remarked after an annual report meeting, "Damn, Bender knows more about our business than I do!"

Not only does Larry get to know his clients' business, he also gets to know, and work closely with, the real "movers and shakers" of the industry. These often are people who have amassed fortunes at an early age, people who can be difficult, on their best days. And he loves it. "What's most important to rrie is those client relationships. It doesn't really matter whether the budget's big or the budget's small, how many pages the book is, or anything else about it. What matters is that the clients are good people to work with."

If his results are any indication, Larry's been working

with some of the best.

-Mark Fulton

The staff: (back row) Peter Oberdorf, Cliff Burk, Margaret 1 Hellman Cheu ; (front row) Linda Brandon , Larry Bender; Fani Chung, Debbie Palmer, Timothy Lau .

Fairchild poster. Mark Wallin and Mike Kun isaki, designers; Larry Bender, writer.

80

Communication Arts September/October 1984

Photograph by Tom Tracy

Look to Fairchild for the complete spectrum of Optoelectronics

Mark for Commun ication Transistor Corporation , manufacturers of microwave transistors . Larry Bender, designer.

Mark for Vista Ventures, venture capital firm. Mark McGeoch, designer.

Second row: mark for Advanced Micro Devices, manufacturer of integrated c ircuits . Larry Bender, designer. The AMO mark was designed in 1969.

In the late 70s, they entered into a new joint venture company with Siemens AG to manufacture integrated circuit development systems and Bender designed a mark for Advanced Micro Computers that would capitalize on AMD 's reputation in the U.S. market.

Portrait for a poster announcing Bender's presentation to the Art Directors and Artists Club of Sacramento. Linda Brandon , illustrator and designer.

1976 Advanced Micro Devices poster. Mark Wallin and Larry Bender, designers.

~d Micro Drnca

81

LAWRENCE BENDER

Illustration and type on the cover of Intel Corporation 1982 annual report. Segments of the illustration were used on the text spreads of the report.

NTEL

CORPORATION

ANNUAL

REPORT

982

Portraits of the President and Chairman/CEO. Describing themselves as a supplier of "electronic building blocks ," this diagram shows that Intel can sell its building blocks in a variety of forms . The color squares code the examples shown in the illustrations demonstrating that customers can select and integrate these into their product at any level that best suits their needs and change levels as their needs change .

Mark McGeoch and Larry Bender, designers ; Michael Schwab, illustrator.

Right: Micro Mask 1979 annual report was dedicated to their employees and the major contribution they have made to the growth and success of the company. Mark Wallin , designer; Ronald May, photographer.

end users such fleXlb1hty m configunng systems for changing needs

CHMOS (complementary, tugh·performence, metal-oxide semiconductor) process Many of our future m1crocon -

broadest selecuon of these special purpose circuits rn the mdusuy 1\vo im-

Controllers Three new microconuollers were introduced m 1982 The 16-bit 8096 mte· grates over 120,()(X) transistors. the highest integration achleved so far m a single chip controller The 8096 has been referred to as the " blue collar" chip because it is designed for hlgh speed control operations m areas such as robotics, CAD/CAM, automotive engme control. and computer peripheral control The 80C51and80C49 are Intel's first m1crocontrollers built on our

uollers will be built on CHMOS be-

1982 the 8207 and the 8Z720 The 8207

cause thts advanced process offers the same performance as HMOS but consum es much less power Th.is is cnt1cal because it will enable us to design m-

is a dynamic random access memory (DRAM) conuoller, which combines both hlgh performance and all DRAM

creasmgly dense cucutts without ra1smg power consumpuon to undesuable levels Low pow er levels are also cnt1cal in the portable and remote instruments

portant add1uons were announced m

control funcuons on a smgle ctup. The 8207 mmunizes the number of chlps needed to unplement high speed sys· terns. and can control memory for today 's fast microprocessors such as the

being designed now

IAPX286

Peripherals With 60 peripheral controllers now available . Intel continues to have the

The 8Z720 Graph.Jes Display Con· troller enhances both development and execution speed of color graph.Jes apphcatlons , makmg high quahty color

'=d

~::J~?~::::ruu:i.

proceHorandslm.UarmlcroproceHOr· ba•.clequipm•ntmor• etfldentbybandllngalltheln·

!:1r:~~ !~':"~-::::1::~::·

betwMnthecentr&lprocHaor =~~u dynamic RAM memory

82

Communication Arts September/ October 1984

graphlcs affordable for general purpQSe business systems. It is the fast m Intel's family of high-per formance CRT controllers Intel also joined Oig1tal Equipment Corporation , Thkuorux and twelve other companies supporung two proposed graphic standards North American Presentation Level Protocol Syntax (NAPLPS) and the Virtual Device Inter· face (VDI) NAPLPS is a commumcauons protocol for uansm.lss1on of graphics information VDI. by providing standardized access to graphics functions, will improve the portabthty of software among computei systems and graphics devices Support of these

proposals 1s pan of our comm1tment to open systems and standardization Processors Intel ushered m the second generauon of 16-b1L m1croprncessors m 1982 with the muoducuon of the lAPX 186 and 286 Both are software-compatible with our mdustry-leadmg IAPX 86 and 88 microprocessors The 286 provides about th.ree Umes the performance of any other 16-bit processor It 1s also the ftrst microprocessor to offer memory management and protection on-clup It is designed to address multt-user and muJtHaskmg apphcauons such as business systems, office and industnal

Storing data In small, danH 21MARAMs(randomacc.H memori••) kHps this " •mart" copier down to• compact 1b.a forofflcauHandb•lp1to automata many of It.I fa.cling,

:~:::::.~od paper-loading

automauon Its hlgh speed and large memory capability gives systems designers more flexibility and higher performance m hand.I.mg large data bases The 186 integrates onto one chip a number of the support functions previ ously unplemented m muluple chips The result 1s lower system cost, hlgher rehab1hty and faster operating speeds The 186 is appropriate for use m costsensit1ve, hlgh volume appbcauons such as computer workstauons , word processors and persona] computers At the system level, Intel also introduced the 861380 and 86/380X. ma)Or add1uons to the System 861300 famtly of mtegrated microcomputers The 86138)

Laborat.0ry•pphcaUON1ar11agrow· ingmarketlorm1croelecuorucs In Uwil!nv11onmenttheyarep112ed foctheu:abllltytoprOYKieaccwate resultlandmoblle compuung

-

Program11 lnt.hislogicana· lyserare.ior.cllnlntel'127128 128-ldJoblt &PROM. This ••ry dense, •ruahl• m•mory atorH a large application program on onacbip.

!even years ago, the Integrated drcuit industry wasjust beginning Its rapid rise to a multibiDion dollar market. In that entrepreneurial environment, Micro Mask began producing photomasks for that bwgeoning market. Today, that industry Is a $4.5 bl1lion market. accotding to estimates of the trade organization, the Semk:onductor Industry Association. And Micro Mask, with $19 million in sales, ls the largest independent mask maker servldng that industry. As it has grown in revenues and earnings, Micro Mask has also grown in products and markets. It has broadened its product line to include emulsion and haJd surface photoplates, the basic building blocks of photomasks, by establishlng Sempro, Inc. in 1971 and acquiring Electronic Materials Corporation (EMC) in 1974. With the 1976 acquisition of1i'anex, Inc., Micro Mask expanded Its focus to include electronic components. 0 Much of the aedit for this growth goes to the more than 500 Micro Mask employees. As these men and women have grown in experience and responsibJlity, they have helped Micro Mask progress. With their support, Micro Mask Is well positioned to continue its rapid growth. 0 Micro Mask/Sempro: growlnQ with the semiconductor industry. Photomasks are an essential part o( semiconductor processing. Without them, Integrated dm.dts cannot be manufactuted. With them, the drcuit image Is placed on the silicon wafer using optical techniques or other methods of Bthography. The silicon wafer is then further processed to produce the Integrated dm.dts, or "chips." By producing high quality photomasks with state-of-the-art mask making equipment, Micro Mask helps many Integrated drcuit manufacturers develop stateof-the-art products and manufacture today's products in steadily increasing volumes. 0 For producing today's devices, " projectio master" photomasks are most often used. Using these

E

niques of projection printing, the wafer. Micro Mask Is a leading expertise of optical tooling Maria Wmchester. Their exper-

tlse Is the result of over 10 ye8l'S of photomask making experience, in which they have operated five generations of photorepeaters and two generations of pattern generators. Likewise, Susy and Maria have seen integrated dicuit devices evolve from transistor-transistor logic (TlL) products with 1,000 logic gates to today's complex large-scale integration (LSI) devices, with over 16,000 logic gates integrated on a chip. Based on their experience, they can make the fast. accurate judgments necessary when operating a photorepeater to make a low-defect projection master. D The photorepeater is one of the last and most critical steps in making a projection master. Masters begin with a digitized dicuit design. From the digital input, a "reticle", an image usually 10 times the actual size of the drcuit, is produced with a computer-based pattern generator. Then, with a computer-based photorepeater, the image is reduced to its final size and stepped and repeated across the photoplate to produce the master. 0 Such prqjeclion masters can provide One widths as narrow as 2 microns, or 80 millionths of an inch, so semiconductor manufacturers can achieve the tight geometries necessary for today's complex microprocessors and memories. 0 Movtng beyond the opttcaJ Omit. For the very large-scale integration CVLSD devices of tomorrow, however, 2-rnicron line widths are not small enou h. To help process these state-of-the-art devices, Micro Mask provides still another type of photomask producecf on the electron beam CE· beam) exposure system. Wrth E-beam masks line widths of 1 micron and below can be achieved, along w i t h o t he r tighter dimensions and quality levels. Such masks are already used to produce devices such as the 65,356-blt random access memories and 1 million-bit bubble memories. This year. ' Micro Mask became the first independent mask maker with an E-beam system in full production with the help of E-beam specialists Gregoria Herana and Del Lampe. As a result, Micro Mask has established a dominant position in this growing market. O Greg and Del, following years of on-the-job experience in Micro Mask's optical mask making fadlities, underwent extensive training to learn how to operate

computer engineer James McCracken.

As a result ofJim's eng1neerlng skills, Micro Mask in 1969 was the first independent mask maker to apply computers to mask making. particularly in the field of data pieparation. Computers became neeessary about that time to handle the growing amounts of data &om Increasingly complex dicuit designs. By constantly worldng with equipment manufacturers to expand Micro Mask 's capabllilies, Jim has helped the company support the most advanced dicuit designs. With his help, Micro Mask will continue to apply new technology to produce photomasks for today's high volume integrated drcuits and tomorrow's state-of-the-art devices. 0 EMC: Growing as geometda ahdnk. Hald surface photoplates provide the necessary quality substrate ftom which many photomasks are made. This substrate consists of an extremely flat glass plate that is first coated with a thin film ofchromium or Iron oxide and then with a thin Olm ofphotosensitive material. With the hasd surface that results. It is possible to maintain tighter dimensional control than with emulskm photoplates. This is an important factor for mask makers produc:inS projection masters and electron beam masters for state-of-theart devices. 0 Hence, as the device geometries have become smaDer. the market for haJd surface photoplates has grown. EMC. holding a m*1' share of that market, has more than kept pace with that growth. In fact. revenues have tripled since Micro Mask acquired EMC in 1974. 0 One reason for EMC's rapid growth are employees, such as Brent Pickett, eastern regional sales rnanagei; who works closely with EMC's customers. In addition to Micro Mask and other independent mask makers, EMC's customers include the in-house mask making departments of rruvor semiconductor manufacturers such as Mostek, Motorola. National Semiconductor and Texas Instruments. 0 Brent uses the experience he gained in EMC's photoplate production, engineering and quality control departments to helpoCUstomers In the Eastern United States specify the right product for their semiconductor process requirements. The opening this year of the eastern regional office, as well as a southwestern regional office, will enable both

EMC and Micro Ma~ to work more doselywith customers in those re~ons. OThe proprietary ecliC. Still another reason for EMC's growth is the photo. plate process itself. This process is based to a large degree on proprietary equipment, which is designed, built and maintained by EMC. As a supervisor in the engineering department, _ "' Kenneth Schwartz is one of those responsible. for developing proprietary equipment, such as EMC's sputtering .,."" system. With It, the glass substrate can be coated with the thin layer .:. of chromium or iron oxide fastei; and at a lower cost, than Is possi- ~ I ble with any competitive approaches. 0 There are other key ingredients to EM 's photoplate process besides proprietary equipment, though. Before the glass substrate is coated, it Is cut, polished, deaned and inspected under the supervision of people like Maria Alcarez. As a shift supervisor.

Maria Is responsible for these manufacturing steps that are so critical to the production of a quality photoplate. EMC processes its own ultra-pure water especially for these cleaning steps. Beyond that, Maria's department uses a proprietary chemical and mechanical deaning method for final cleaning. The result is a virgin surface on which chromium or iron oxide and the resist material can be deposited evenly. 0 Afterwaids, the plates undergo a rigorous inspection for flatness and defects. As one of EMC's senior quality assurance supervisors, Mamie Borges uses her 10 years of photoplate production and inspection experience to ensure that all photoplates meet customer quality requirements . This involves 1 checking the uniformityofthecoatings which are measured to the nearest angstrom. or 10 billionths of a meter. From the uniform photoplate that results, mask makers can control precisely the critical dimensions of the photomask. Likewise, each plate is also checked for defects and flatness, which are measured to the nearest micron, or 40 millionths of an inch. This in-depth quality control is important so that a photomask can provide maximum yields in the semiconductor process. 0 A hasd surface for tomonow's semiconcluc· tor processing. EMC's process has continually evolved to produce photoplates for

p_.....,

- with el low defect level• and tight

dimensions-and the optical techdrcuit image is projected onto the supplier of such masks, thanks to the specialists like Susy Hurtado and

....

>

--.

--Forow110yean.

... = ·!'""

~

83

LAWRENCE BENDER

1981 annual report of WA Krueger Co. had a theme of " Photography: The Visual Language" and all of the photographs in the report were selected from two books printed by Krueger, The Joy of Photography and More Joy of Photography, with permission of the editors of Eastman Kodak Company and Addison-Wesley Publishing Company.

The cover photograph is by Peter Torrente and the photograph on the spread shown is by Pete Turner. John Straube! wrote the annual report and assisted Larry Bender, the designer, on the selection of the photographs .

Right: the 1982 Krueger annual report used selected pictures from another book printed by Krueger, Treasures of the Smithsonian by Edwards Park. The cover photograph is by Charles H. Phillips; photograph on page 5 by Aldo Tutino; on page 18 by John Tennant, Hirshhorn Museum and Sculpture Garden ; on page 19 by Ross Chapple.

John Straube! , writer; Larry Bender, designer.

ANNUAL REPORT 1981

PHOTOGRAPHY: THE VISUAL LANGUAGE

10

The eye goes to the viewfinder, the shutter clicks, an image is frozen in time, preserved on film. It is a process which will

be repeated over ten billion times this year. ln little more than a century the making of photographs has become a Vastly popular and powerful means of

exb~;!~~~nlike

words, need no translation, and so photography has become a universal language, speaking to the world in all its vernaculars on the printed page. Teaching, selling, delighting, showing: the impact of these photographic messages relies in large part on the skill and sensitivity o( the printer.

p~~~~~:~;.~~:~:~~~~'?:;ic

to the photogra ph."

Krueger agrees, and that is the thought behind this years annual report graphics, which feature the work o( Haas and several other eloquent speakers o( the visual language. The images are drawn from Eastman Kodak Company's two books Th< Joy of Photography and Mor< Joy of Photography, which are produced jointly with Addison-Wesley Publishing Com-

~k ~:n~1a~~~i~tg~:!~::. New Berlin These volumes explore the creative techniques of photography, and their success convincingly attests to the communicating strength o( the medium. TM Joy

t:.;'i:a"f!:'!~1fo~b~~i~ :~~~!°Id months, and is now being translated into a dozen languages. The recently released Mor< Joy is projected to do easily as well.

Nearl~ a thousand photographs fi ll the

~~~a~e~et~fie':~~~=~:~~.

The choice is admittedly arbitrary, but represents the drama and subtlety that is ~~;~a~r:'~:~:I of photography, the

"l 'dn~r•tma

tr1uh C41n lib that IH/arr-its sltapt 11ndwlof"Sf•sri-

~=::.~r':i;;:'f.S,,.";:: composition. T11mn mowd tht container to•nHrbyM.flch, "whtrt tht bright, clt11rsky allowtd mt to work with tht prim•ry co lors: ~llOWt nd11ndbl11t.H1Mmtr

statts,"lplt1a my trMstinthtl11chnidt11t1 of pri11h'ng. I tnutth11tthtyw.-

dtr1tand wluit I'm looking for in tht n prod11ction of my lm11gts: pltnty of contNrst, IUld

'punch.'"

84

Communication Arts September/October 1984

W.A. KRUEGER CO• ..tSublidiarln

W.A. KRUEGER CO. andSubudianrs

CONSOLIDATED STATEMENTS OF SOURCE (USE) OF CASH

NOTES TO CONSOLIDATED FINANCIAL STATEMENTS

Yeantnded.Dettmba"Jl.198.1. 1982.andl981

1983 Cub provided from {used for) ope1>tions: Netearninp Depreciation Deferred income taxes, investment tax aedit Deferred liabilities Deaease (increase) in receivables Deaease (increase) in inventories Deaease {increase) in prepaid expenses lncreaseinexcessolootstandingchecksovercashbalances Increase {decrease) in aa:ounu payable, accrued expenses, andincometues Cash provided from {used for) investments: Capital expenditures Disposalsolfixedassets Sale of Bristol plant and equipment Reduce Bristol asseu to net realizable v2'ue Deaease (increase) in other assets Cash provided from (used for) financing activities: Bankrepaymenu Issuance ol long-tenn debt Repayment o( long-term debt Purchaseoltreaaurystock Proceeds from the exercise ol stock options Cash used for payment ol dividends Increase in cash and shon-tenninvestments Cash and short-term investments at beginning of year Cash and abort-term investments at year-end

1982

1981

$10,981 7,518 1,850 1,195 (3,135) (729) (108) 1,497

$ 6,789 7,248 386 426 1,105 (163) (22) 260

$ 7,833 6,615 1,814 43 (4.655) l,423 161 130

(268) 18,801

456 16,485

10.237

(10,934)

(9,628) 690

(7,378) 246

783 409 (7,746)

(351) (7, 483)

554

'"'"'°""""')

(3,127)

2,500 (231) (8,111)

(2,11 7) 435 (1,682) (2,843) 6,165 4 ,268 $10,433

320 (4,264) (523) 202 (4,265)

(2. 613) 1,861 2,407 $ 4,268

(13,800) 20.397 {4,751)

1.846 (2,615) 1,985 422 $ 2, 407

TheaCJCDTC1111)'inanoware1ninttanlpanolthete1tatement.L

STATEMENT OF ACCOUNTING POLICIES PRINCIPLES OF CONSOLIDATION-The financial statemenu include the aa:ounts of W.A. Krueger Co. and its wholly owned subsidiaries (the Company). All material intercompany accounu and transactions have been eliminated in the consolidated financial statements.

INVENTORIES-Inventories are priced at the lower o( C06t {firstin. first-out) or market. Cost includes all significant material costs, labor, and related overhead. Raw material and work in process inventories at December 31, 1981 were $6,397,000 and$3,279,000, respectively.

PROPERTY, PLANT, AND EQUIPMENT-Property, plant, and equipment is stated at cost and is depreciated over the estimated useful lives o( the assets using the straight-line method ol depreciation for financial statement purposes and acce~:rated methods for (1)

taxpwposes.

ACCRUED EXPENSES-Included in accrued expenses are $3,467,000 and $3,222,000 for vacatioo and holiday pay and $2.811,000 and $2, lll,000 for salaries, wages. and bonuses for the years ended December3l. 1983and 1982, respectively. Alsoinduded for plant closure costs are $372,000 and $1,213, 000 for the yearsended0ecember31, 1983and 1982, respectively.

EARNINGS PER SHARE-Earnings per share were coml'Jted by dividing net earnings by the weighted average number o( shares o( common stock. Earnings per share were based on 7,285, 464 , 7, 238,244 and 7, 264,828 weighted average shares butJtanding for 1983, 1982, and 1981 respectively. Common stock equivalents (stock options) had no material dilutive effect in 1983, 1982, and 1981.

(4) LONG-TERM DEBT AND LEASE COMMITMENTS Long-term debt at December31, 1983and 1982 oomisted olthe following: t983 t982 (111~

~~ir:=i:::1~~~~ t987

s 960

S t ,200

6Y•'l>-7"o'l>Joneaboro,Arl<ansascapitalized leaseobliption.duethrooght987

880

t.100

1.550

1,900

315

385

617

m

2,236

2.532

5Wl-7W:.Senatobia. Mississi:ppic:apitatiz.ed le>seoblipdon.duethrooght988 Equ;pnom purchase notes. at tl .8'1>, due throul!h 1988 Equ;pnentpurchasenote,at t21'&. duethroul!h t987 Capit.aliudequipment1ea.seobliptions, atvarying

68

ntes,duelhrough1985 c~=nt1easeobligation.atln.

SecuredPromissoryNote,at91'&. cluctltroul!h 1984

363

6t4

Sttw'ed.PromissoryNote. at9Wli. duethrou#I l . t99

1984

Secured.PromiuoryNote, withnteseithtt lloatingwithprimeorlilledforperiodsolone

monthuptosevenyearsbasedoocertn::Meol ~nteslorl<ICltperiods (atthe

Compony'ooption), duethroul!h t993 ~:~tleueobtigation. at9W1'

20.000

20.000

239

290 30,017

27.900 Leu current maturities

3.007

2. 11 7

$24.893

$27.9()()

(2) PLANT CLOSURE On October 4, 1982. the Company discontinued manufacturing ope1>tions at iu Bristol, Connecticut planL Accordingly, at December 31. 1982, achargeolS3.200.000 againstearnings($.24pershare) was recorded for anttcipated expenses to be incurred subsequent to October 4, 1982, until the date o( final disposal. That charge, net or the tax benefits realized during 1983. was adequate to provide for such losses incurred in connection with the dooure o( the Bristol planL (3) NOTES PAYABLE TO BANKS The Company has lines ol credit with two banks totaling $8,000,000.

Borrowings may be made at interest rates based on the prime rate, the London Interbank Offering Rate (LIBOR), or money marltet rates. Both lines require compensating balances; however, the balances are not legally restricted as to withdrawal. The unused lines ol credit at December 31, 1983, totaled $8,000,000.

Mue11ryrotrmM

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t9

85

LAWREN CE BENDER

The 1982 annual report of Convergent Technologies synthesized the original business plan (1979) as a sketch on a napkin , promising the first shipment in 15 months. Page one of the report showed the napkin open with these sales predictions: "We can do $1.8 million-'81 ; $10 million'82; $22 million-'83; $50 million-'84." The financial highlights table on that same page listed revenues of $13 million for '81 and $96 million for 1982. Linda Brandon and Larry Bender, designers; Tom Tracy, photographer. The photographs are reproduced as scanned tritones.

Right: 1983 annual report for Priam Corporation , manufacturers of closed loop, voice coil Winchester disc drives. Linda Brandon, designer; Tom Tracy, photographer.

1983 Advanced Micro Devices annual report featured the quality of its employees. Linda Brandon, designer; Tom Tracy, photographer.

1983 annual report of !matron, Inc., formerly a limited partnership that incorporated in 1983, developers of computed tomography scanners for sophisticated diagnosis of cardiovascular diseases. Larr.y Bender, designer; Tom Tracy, photographer.

86

Communication Arts September/October 1984

PRJA.M CORPORATION ANNUAL REPORT 1983 l'RJAM-lwmffmM.udJr;if J91

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THE FREE-LANCE S CENE The approach of the fall "Selling Season" as we call it in New York-one assumes the "Selling Season" begins with the end of the vacation season-is always a good time to report on the state of the free-lance scene. Here are some of the things we're noticing.

Projects On Hold: There seems to be a trend in advertising agencies today to put projects on hold for months at a time and it's frustrating not only to the free-lancers, but doubly frustrating to the art directors involved in these projects.

What happens is that the creative team will originate a concept that the client approves. The art director then chooses a photographer or illustrator that's right for the project, gets all of the costs as well as the availability of the talent, sends the information to the client with everyone waiting for the "go" signal and then-nothing. The idea isn't killed; it just gets put on "hold" and everyone waits. Occasionally a project dies, of old age no doubt, but usually the project just sits around waiting until the go-ahead is given. Believe it or not, we've had a few projects take over a year to get a go-ahead.

No one seems to be able to give us a logical explanation for the situation, but my guess is that it has something to do with the economy. Despite the so-called "boom" in progress, businesses seem to be slow to spend money on inventories, new employees and, apparently, new advertising before it is absolutely necessary. So save those old layouts, free-lancers, there's probably life in some of them yet.

Out Of Towners Flock To New York: It happens every summer; out-of-town illustrators, photographers and designers, probably combining a vacation with business, come to New York looking for representatives and new markets. This year is no exception, with one big difference, there appears to be at least twice as many free-lancers coming to New York than in previous years. And while a majority of the free-lancers we see tell us they feel they haven't "made it" unless they've "made it" in New York, I still think that the economy is at the root of this large influx and that many of these freelancers simply cannot sustain themselves in their local cities and towns on the work they're getting there.

Computers, Art And Photography: Have computers taken over art and photography? That was the feeling one got from a recent, very large trade show-that shall remain anonymous-for artists, photographers and designers that recently took place in Manhattan. It started with the talking robot that met everyone at the entrance to the show.

It continued with the overwhelming majority of exhibitors showing some sort of computer function as it related to art, photography or design. Even the seminar sessions dealt predominantly with the uses of computers. The feeling one 94

Communication Arts September/ October 1984

got was that there were almost too many options in this area.

At the trade show alone, one seemed to be faced with the fact that each new computer system seemed to obsolete the one seen at the previous booth. One also got the feeling that a lot of these companies would not be around a year from now since so many of them are competing so closely. This vast array of machines gave me an even greater respect of the human creative process.

Is Romance Dead: Romance in the book industry, that is.

The romance novel, which has seemed a mainstay of the paperback book industry for so long now, and whose covers have provided many an illustrator with a good and steady income, is probably not going to be its usual robust self in the coming year. There will still be romance novels around, but according to many of the editors at paperback houses, there has literally been too much of a good thing. The publishers have been producing far too many romance titles and unfortunately not all of them have been first rate. The editors tell us that too many mediocre romance novels make all romance novels suffer, so there will probably be a more discriminating release of romance novels-translation: fewer novels-in the coming season. Some people have said that the same phenonmenon has happened in the free-lance field .

Industrial Advertising And Illustration: You may not find an oil rig or a resistor a thing of beauty, but if you're an illustrator perhaps you should take a closer look. There has been a definite increase in the use of illustration in industrial trade advertising. Clients tell us that apart from being less costly than photography, no traveling expenses for a crew, model, etc., illustration gives them a distinctive look that separates them from their competitors. It's a trend that appears to be growing.

Black And White Illustration: While we're on the subject of trade advertising, black and white illustration seems to be on the increase in this area, both in art and photography, not only in newspapers but in trade .magazines. A lot of advertisers are finding that, like the black and white movies of old, this medium can be a more effective one with certain products and once again, keep costs down. Free-lancers would be well advised to keep the black and white sections of their portfolios current.

Direct Mail Market: We also notice that many agencies are either setting up direct mail divisions within their own or buying direct mail agencies outright. If direct mail, or direct response as agencies prefer to call it, is on the rise that is good news indeed for all free-lancers because it is a heavy print medium and uses a great deal of art and photography.

MASTERING GRAPHICS Design and Production Made Easy

By Jan V. White

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By Jan V. White Award-winning specialist Jan White's latest guidebook shows how to turn dull statistical data into dynamic, attention-grabbing visual formats. Pie charts, bar charts , graphs , flow diagrams-a lucid text and some 1,000 line drawings explain why and how to use charts, which diagram best suits the information being conveyed , and more , with hundreds of examples that can be taken from the text and used "as is:· for the most effective graphic displays in any medium .

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Written in non-technical language and illustrated with over 400 line drawings and more than 80 photographs, this book is a long-standing best-seller in the design world. All the essentials of graphic design and production are coveredtypography, layout, printing , how to use color, selecting paper, and much , much more. Whether you 're designing a simple business card , or a four-color annual report , this is your finest guide to an effective, attractive final product.

0-8352-1704-3, 1983, illus., 192 pp. , $24.95 paper

EDITING BY DESIGN A Guide to Effective Word-and-Picture Communication for Editors and Designers

2nd Edition

By Jan V. White This best-selling companion to White's Mastering Graphics presents hundreds of proven techniques for solving design problems and producing a better, more attractive publication.

Using over 400 illustrations , White both tells you and shows you how to make the most effective use of type styles, pictorial illustrations, nonpictorial illustrations, color, and page organization , and explains clearly why certain word and image relationships work, or don 't work.

0-8352-1508-3, 1982, illus. , 248 pp., $24.95 paper

THE BOOK OF GRAPHIC PROBLEM-SOLVING

DESIGNING FOR MAGAZINES

How to Get Visual Ideas When You Need Them

By John Newcomb

By Jan V. White

Solve design problems , overcome "designer's block:' take the mystique out of the design process using the "bite" system , a simple process of analysis that breaks down the central thought or message to be presented into more manageable , more useful "bites'.' Profusely illustrated with some 600 halftones and four-color reproductions , this book provides hundreds of tips to help both the accomplished and the aspiring designer keep an open mind to new ideas and fresh inspiration , plus 12 graphic tools that will bring variation and sparkle to any publication or presentation , regardless of content, format , or medium .

0-8352-1895-3, Oct. 1984, illus ., 256 pp., $24.95 paper

Common Problems, Realistic Solutions

2nd Edition Another best-seller from Jan White's brilliant graphic design series, this volume is a priceless "idea file " of design solutions , presented in a readable style and backed up with hundreds of large scale illustrations. Among the design problems covered are front covers, contents pages, lateclosing forms, front and back departments, section openers, full-bleed pictures , new product reports , and much more.

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COMPUTER GRAPHICS FOR DESIGN AND PRODUCTION Graphic applications ranging from slide shows to product design will now begin to benefit from a silent revolution that's been brewing in computer graphics capabilities for the last three years. This article will try to detail those advances that are revolutionizing the graphic arts process while standardizing the techniques of computer graphics (CG).

We will be discussing only those systems that an art director or designer would sit down and use for applications such as layout ad design, package design, design and production of brochure graphics, slides and videotape for industrial promotion and training, and word/ chart slides for business presentations.

There are two primary issues through which the advantages of computer graphics become obvious: 1) The interactiveness of the CG process, and 2) The fact that images created with CG can be applied across the board of graphic applications, i.e., "pan media."

1) The first key to realizing the tremendous advantage in computer graphics is to understand the "interactiveness" of the medium-seeing your image taking shape before your eyes with all the simplicity and directness of a pencil revealing emerging shapes on a page. While today's tools are truly as straightforward and responsive as using a Stabilo or an X-Acto knife, they include the expanded powers of color shading, photo duplication, scaling, rotation, and cut and paste all built right into that single electronic stylus.

That stylus is your key to the universe of computer graphics.

With it you activate command buttons and draw your images by pointing and drawing on the tablet-your electronic vellum. How you see, both what you're drawing as well as the command buttons you're using, is by watching the video monitor. What you see on the monitor is obviously what you draw, but also a list or chart of commands you use to perform drawings, drafting functions, and color choices.

This list of command buttons is called the "menu" and is the source of the flexibility and responsiveness of CG. With menu-based systems, the intimidation of using a computer disappears because all computer programming functions have been done long ago by someone else and buried behind these simple command buttons. These menu commands then activate drawing functions as simply as turning on a light switch.

This menu approach was developed by Dick Shoup at a Xerox research center and then released as a product when he started Aurora Imaging. This year the Academy .of Arts awarded Dick an Emmy as the father of user-friendly electronic graphics.

by Bruce Hurn %

Communication Arts September/ October 1984

VCR Record

Viewing NTSC Monitor

Step Frame Controller

RGB Video Out Viewing RGB Monitor

1--_R_G_ BV _ id_e_o _O_ut _

_

.i

Film Camera

Image Buffers Videotape images and sync for gen-locking

~ Menu Monitor

Video Digitizer

-~

Line art images and full color images

Data Monitor

CPU "The Computer"

Copy Camera Stylus

00

Drawing Tablet

Storage disks for image libraries

This menu of commands collects all your illustration tools into one electronic drawer. Never again will you hunt for that one tool that rolled under the drafting board-they're always right where you left them-in the menu.

While most CG systems offer you a menu of 60 to 80 functions, the folks at Via Video have taken a unique angle by offering a choice of over 600 different illustration aids. In fact, with such a large list, you "go shopping" for tools on their system just like you'd tour through an art store to outfit a new studio. After choosing the tools you're going to use on a job, you then have your own custom-tailored menu to work with.

The way you activate commands on the menu is by pointing to them with your stylus on the tablet. Some vendors print the menu on the tablet-but only the limited systems. Most require that you develop a hand/ eye coordination by watching the monitor while you draw on the tablet.

As the stylus touches the tablet, an electronic signal senses where you are on the tablet and displays a "cursor" in relative position on the monitor screen. This cursor shows you where you're pointing on the tablet and from then on, the cursor is your guide to that hand/ eye coordination.

Positioning that cursor over a particular command and then touching "do" activates that command. Then you draw on the tablet with whichever function you've chosen. This basic "point and do" process is what assures the fast, flexible

Ryder's new disk-to-disk typesetting technology can give you a better annual report for less.

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Well, it's time Ryder had a little disk-to-disk talk with you. Disk conversion, that is.

Ryder can help cut your typography costs and turnaround time significantly with our new Altertext conversion system.

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Prepare the information as always, and store the information on a floppy disk.

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COMPUTER GRAPHICS

interaction typical of today's systems. And it's what makes the systems very easy to learn.

To learn these CG tools, you needn't sit down and read a thick manual-just grab that stylus and start crawling around in the menu. Touch one thing and see what happens.

Since all real programming is buried under the menu, you can't damage anything. And since the menu commands are in simple English, you can figure most of them out instantly and learn right off the screen.

While even the simplest CG tools-say a Koala pad and an Apple-will mechanize several drawing functions, a truly productive CG tool must fully automate the complete range of illustration functions. Otherwise, you're painting yourself into a corner by doing some functions on the computer, but having to do all others on a drafting table-and ending up with wasted effort. I've seen CG tools that could do less than a pencil. A pencil can draw thin lines, thick lines, shaded areas, and erase any or all of them. You can go spend $10,000 on a mickey mouse system and not even get the full capabilities of that pencil.

The way you gauge a system's capability is by looking at and using its menu. Included here is an "ultimate menu" compiled from the capabilities of all the systems on the market today.

2) While the output from a computer graphic tool is always video (many also drive graphic plotters, but quality is limited), video output can be translated to film using special high-resolution film recorders. Thus "pan-media" application is possible because almost all final graphic applications are executed through film. A system that outputs film really puts you where you end up anyway-just without the intermediate step of paper art and the hassle of getting it shot.

There is a wide range of film recorders that handle formats from 35mm and Polaroids up to 6 x 8 transparencies.

Through this film interface key, the whole world of final applications is opened up to CG images, and even quick-turnaround client proofs can be produced on the Polaroids. Presentation quality cameras with 2 to 4000 lines of resolution range from $10,000 to $90,000 with a very good unit available from Matrix at $27 ,000.

For many CG users, their volume of work doesn't justify owning a hi-res camera and they use phone line services.

Here, the service carries the ownership burden of the camera and takes your computer graphics data over the phone.

They then send you finished slides in 3 to 5 days, or in 24 hours with rush charges.

The final image quality does vary with different systems, based on the resolution of the CG system, the number of 98

Communication Arts September/ October 1984

simultaneous colors the CG can supply and the type of film recorder used. But complete systems costing under $60,000 (camera plus CG) can produce 35mm slides having 4000 lines of resolution and 256 colors. At the Genigraphic™or Dicomed™level, 6 x 8 transparencies at 6000 lines of resolution can service magazines and advertising accounts effectively.

Of most importance, however, is to realize that in a couple of short years, CG tools will feed presses directly with four-color separations by transmitting the computer data over the phone. This is already being done in fact by Scitex and others. They scan existing color photographs, allow you to perform photo touchups electronically, and can then send four-color seps by phone to over 200 printers who've already installed the receiving equipment.

So with CG, you have video display and film output-but in between, the images live as computer data stored on magnetic disk. And this disk storage is another fabulous boon to the design studio: Disk storage condenses storage space dramatically, the quality of archived art never deteriorates, inventory and retrieval are instant-you'll never fumble for a piece of art you can't find, and most important-that client of two years ago walks in asking for a modification on his art and in five minutes that image is on the screen in perfect condition with the alterations being made with the identical colors of two years ago.

Re-rendering is never needed for modifications are made right from a copy of that original.

Many other business benefits accrue from electronic graphics. You can network images within local offices or between coasts-or even to clients if they set up a monitor and phone link. The elimination of art supplies and photo lab fees coupled with classic computerization advantages of production control and higher productivity can totally revolutionize the business of graphic arts design and production.

But I'm here to talk more about the personal experience of sitting down to design interactively on a computer graphics tool using that magic stylus with its menu to replace the raft of traditional art tools and outside services. Basically, here we're speaking of two categories called "slide" and "paint."

These are not the high end 3-D systems for architectural or product design, but 2-D systems offering very sophisticated graphic performance.

The brush/pen category is an easy one to start with because it's as simple as picking out a fat or thin brush or pencil: You touch the menu on the size pen you want, touch "do" and begin drawing on the tablet. Another command will assign a color to that line. On most systems, you can start

ULTIMATE MENU © 1984 Bruce Hurn

SYSTEM ARCHITECTURE

FEATURES Free software updates Menu based Menu monitor separate Dedicated system PC based Multi workstation Data link to mainframe Floppy disc storage Hard disk storage Gen-lock to ext. video

DIGITIZER Black and white 16 color 256 color 24-bit color RGB camera Encoded camera Tape source

COLOR 16 64 128

256 4000 24-bit

PAI NT RESOLUTION 200 x 300 512 x 512 716 x 480 1024 x 780

RESOLUTION Camera dependent Vector (2000 to 4000) Anti-al ias On I off selectable

TYPE Bit-mapped paint Object based vector 3-D vector

OTHER Frame file quick-scan Last-command safety net Key graph ic over ext. video Preview channel

FONTS Number of stored fonts Leading/kerning Italicize Anti-alias Justify Scroll Crawl Drop shadow Border Emboss Print on angle

ILLUSTRATION (Bit-map paint system)

DRAW Free hand line Point to point line Point to point arc smooth Spline curve Grid for "line snap" Perspective grid Safe-title grid

BRUSH/PENS REAL TIME ANIMATION

COLOR CYCLE Limited Dissolves Speed rate cueing Maximum number stored events Segmented cell With tracking Two plane

TRANSFORMS Tween Tweep Disc recall

SPECIAL EFFECTS Closeup pan Closeup scroll Real time zoom Push on/off Wipes Venetian blind Flips/tumbles Simulated 3-D Real 3-D

CELL ANIMATION Step frame interface Move light source Move camera Move object Colorize objects Automatic perspective

Variable line width Variable after drawn Airbrush Symbol Shaded Translucent Color sequenced Customizable

ERASE Erase function Erase by pixel Erase by color

TOUCH-UP Cursor has pixel window Can add/delete single pixel Crawl while enlarged Scroll while enlarged

COLOR RGB adjust Hue, sat, chrom adjust Tint/blend/mix adjust Adjust on palette only Adjust in-situ on graphic Palette remember Color find Number on display palette Number simul. displayable Number available

SHADING Segmented Continuous tone Adjust number of ramp steps Translucency /transparency Texturing

BORDER

IS THERE A GHOST IMAGE TO HELP POSITIONING BEFORE PRINTING?

Automatic border I outline Line width variable Variable after drawn Inside/outside selectable

VECTOR SYSTEM ILLUSTRATION

DRAFTING AIDS Perspective Square Rectangle Arc smooth Curve stretch Polygonal smooth Circle Ellipse fit by axis Ellipse fit by rectangle Business slide assist: bar, pie, graph , scatter

COMPOSITION AIDS Mirror Rotate Scale up Scale up with pixel repair Scale down Perspective Tilt/taper Reposition Duplicate Warp/fit to geometry Merge/matte prior frame with current frame (cut and paste)

OBJECT BASED Geometric primitives Maximum number of object layers Maximum number of objects Retrieve any layer Curve smooth Curve stretch Point mapping Wireframe Hidden line removal Tessellation (smoothing) Shading , constant Shading, phong/geroud Transparent/translucent Maximum number of light sources Fractals (mathematical designing) Tween Tweep Cross section rotate Cross section extrude Rib contour Geometric primitives

99

COMPUTER GRAPHICS

with one color and, after getting a start, change that color-not just by picking a color off an existing palette, but by reshading that line you've just drawn.

On the menu, you'll find a means of creating colors by adjusting the red, green, and blue components, or by tweaking the hue, saturation, and chroma. This way, you optimize that line color by seeing the color changing within the drawing until you see the shade become just right-something your Stabilos just won't do.

As for that old Zipatone and X-Acto knife routine, how about simply touching the "fill" command and see any enclosed area instantly shaded with any color or texture you choose. The same color optimizing process used for lines can now be applied to filled areas-even with the client peering over your shoulder, you can get just the shade he/she wants, instantly. If you fudge around too much and lose the feel of what you originally had, just call back your original shade-presto!

And speaking of shading in the true sense, many slides produced on first generation slide makers had to have a totally flat look because the computer couldn't create a "ramp" of shaded color. Now, on $25,000 systems, you can designate a beginning and ending color, and the computer will automatically create a ramp of shades in between. You can also designate how many in between colors you want ranging from a few to a lot. This "shading" can then be inserted into your area with the direction of color ramping going top/down, or down/top, or sideways, or on any diagonal. This shading can also follow a simple or compound curve path.

One of the most astounding demonstrations is found on the computer graphics lab Images II automatic transparency.

Say you paint a scene and then draw a glass coffee table into that scene. Rather than hassling to create the transparency illusion of that glass, you simply draw the edges, highlights, and surface shades of the glass and then assign a transparency value to that area, and you're done. Their computer will assign transparency values ranging from 0 - opaque, through translucent, to 99 - the transparency of say a shaft of light streaming through a window.

On most systems, drafting aids include both the obvious as well as the sublime. Circles, squares, rectangles, and the like are certainly faster with CG than with mechanical aids, but the creation and positioning of say ellipses to fit between existing edges is a challenge that most systems have solved with varying degrees of elegance.

Typically you're using an ellipse as a perspective element, say for the top of a can, or end of a pipe. The first challenge is to estimate the proper distortion of the circle to fit the 100

Communication Arts September/ October 1984

scene's point of view. Three methods are used to tell the computer what size and ratio to make the ellipse. By pointing to the ellipse command, the computer gives you either: 1) A temporary rectangle that you shape to the desired height and width-the ellipse then fits into that rectangle and the rectangle disappears. 2) You use the same rectangle approach for size and position, but the rectangle is a square, and the result is a circle fitting the proper position.

Then you use a squeeze command to squash the circle into the right perspective. 3) Finally, there is the axis approach where you assign the end points of the ellipse and the computer creates the right shape. The shortcoming of this approach is that you have to also determine where the center of the axis should be.

These drafting aids quickly lead you into composition commands. For example, if that ellipse needs to be on an angle (not vertical or horizontal) then you'll use some copying, rotational, and positioning commands. After creating the ellipse, a copy command allows you to stamp out one or several more. These then can be assigned a degree of rotation, with some systems performing this rotation in "real time" and others taking 30 to 40 seconds to compute. After the CG computes the newly angled ellipse, you can touch the position command, then touch the ellipse to be picked up, and then move it anywhere on the screen you need to put it. All the standard photo duplication functions are also supplied by CG composition commands: enlarge, reduce, duplicate, mirror image, etc.

A very important capability that about half the systems have is a "ghosting" function that applies to all the drafting and composition commands. Let's say we're positioning that ellipse into a set of parallel lines. We want the edges of that ellipse to perfectly match up to the vertical lines, and we don't want to hassle with a series of trial-and-error repositionings. Thus the need for a perfect solution of "ghosting" where a shadow image of the shape you're positioning will flicker until you "place" the object in its final spot. This way you see the exact alignment before you commit to the final position, making it right on the first try.

Other systems only show a box border that stands for the object until you "place" it. Obviously systems that don't offer ghosting require lots of trial-and-error for precision positioning-avoid them.

While most of the traditional photo-method composition techniques have been covered by CG systems for several years, one lacking capability has recently been covered-the enlargement. In paint systems, when you "zoom up" or enlarge an object, the tiny dots or "pixels" that make up the computer picture also enlarge. Thus a scene enlarged on a paint system loses its resolution, looking grainy. Recent

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California Kirk Paper Company, Inc. Los Angeles* Zellerbach Paper Company Bakersfield, Eureka, Fresno, Los Angeles t, Sacramento, San Diego t, San Francisco, Santa Maria, Stockton Colorado Zellerbach Paper Company Denver Connecticut Lindenmeyr Paper cCorporation Hartford, New Haven Florida Virginia Paper Company Jacksonville, Miami, Orlando, Tampa Georgia Virginia Paper Company Atlanta Hawaii Zellerbach Paper Company Honolulu Idaho Zellerbach Paper Company Boise, Pocatello Illinois Seaman-Patrick Paper Company Chicago Indiana Carpenter Paper of Indiana Fort Wayne Cordage Papers Indianapolis Kentucky Cordage Papers Louisville Louisiana Fine Papers Company Shreveport Marks Paper Company New Orleans Maryland Virginia Paper Company Landover Massachusetts Lindenmeyr Paper Company, Inc. Boston Michigan Carpenter Paper Company Grand Rapids Seaman-Patrick Paper Company Detroit Minnesota Wilcox Paper Company Minneapolis Missouri Beacon Paper Company St. Louis Montana Zellerbach Paper Company Great Falls Nevada Zellerbach Paper Company Las V121as, Reno New Jersey Lindenmeyr Paper Corporation Rutherford

Superb taste. A refined, satin-smooth surface and uncanny ink holdout which ensure both exceptional image fidelity-color or monochrome-and glare-free readability.

Add a pure, distinctive ivory shade: traditional and elegant, yet arresting. Plus controlled chemistry which makes this unusual paper acid-free, with no fluorescent dyes or optical brighteners, as permanent as a fine paper can be. The paper of choice for printing which must appeal and endure, from fine art catalogues to significant corporate documents: Ikonorex Matt Dull Ivory.

Another in the family of superior coated papers crafted

by Zanders Feinpapiere AG-Chromolux cast coated, Chromolux Color, Metallic and Vario, Ikonolux Gloss, Ikonofix Matt Dull in white and colors, Ikonorex Matt Dull in white and ivory- available from the fine paper merchants listed here.

~ PS I Zanders papers are imported by Paper Sources International Box 368, Rutherford, NJ 07070.

New York Lindenmeyr Paper Corporation New York North Carolina Virginia Paper Company Charlotte, Greensboro, Raleigh Ohio Cordage Papers Cincinnati, Columbus, Dayton Brewer-Chilcote Division Cordage Papers Akron, Cleveland Oregon Zellerbach Paper Company Eugene, Portland Pennsylvania General Paper Division Cordage Papers Pittsburgh Lindenmeyr Paper Company Lancaster, Philadelphia South Carolina Virginia Paper Company Columbia Tennessee Cordage Papers Knoxville, Nashville Texas Clampitt Paper Company Austin, Dallas, Fort Worth, Houston, SanAntonio Utah Zellerbach Paper Company Salt Lake City Virginia Virginia Paper Company Richmond Washington Zellerbach Paper Company Seattle, Spokane West Virginia Cordage Papers Huntington Wisconsin The Bouer Paper Company Milwaukee CANADA Crown Paper A division of Crown Forest Industries Limited Alberta Calgary, Edmonton British Columbia Vancouver, Victoria Manitoba Winnipt2f Saskatchewan Regina, Saskatoon

*Ikono grades only. tChromolux grades only.

Printed by offset on Ikonorex Matt Dull Ivory Basis 20 x 26-92.s cover

COMPUTER GRAPIIlCS

advances by New England Technology Group, among others, have eliminated this problem with a technique of pixel replication called "digital filtering" whereby the enlarged scene is returned to its optimal resolution.

The elimination of composition delays resulting from dependance on photo labs offers a broad range of benefits to the designer. Obviously the elimination of lab fees and turnaround times is a tremendous boon. But two others come to mind. First, the precision of making enlargements, reductions, and copies right there on your working piece will eliminate the design sacrifices of "making do" with miscalculated scalings. If it's not right on the first try, an instant and correct fix is available. Since the fix is electronic, there's no wear and tear on the original art. Secondly, the momentum of creative design isn't put on hold while you wait for the lab's reduction. Thus you achieve a better continuity of the creative process, not to speak of better client response when you can change that scaling detail at a moment's notice-even if what he's seeing was supposed to be the final version.

One final note on drafting aids. While most systems give you temporary background grids for positioning graphic elements, these spacing grids are without perspective. Now while you can draw your own perspective or vanishing point grids as a drafting aid, you're still hand drawing shapes to match those grids. But one system, Aurora, provides an automatic perspective device whereby an image previously drawn can have perspective automatically applied to it. The menu shows you a "viewer" and a "plane" which is your graphic. By positioning the plane relative to the viewer either in distance, left/right, or up/down, their system automatically computes the proper perspectives and changes the graphic to display the correct illusion. The Artronics system offers another perspective approach. With their PC 2000, you draw a perspective grid and then the system automatically warps your scene to fit those vanishing points.

Now, a final note on drawing functions. While it's very easy to do freehand drawings with the stylus, the quality of freehanding is not adequate except in air brush modes. So you will typically use the drafting aids to achieve very clean lines and curves. These aids consist of point-to-point connections. You touch the "rubber band" command and then touch the start of your line. As you then move the stylus anywhere, there is a trailing ghost, like a rubber band is attached from the tip of your stylus back to that starting spot. This way you see any line you're about to draw, and that line is then drawn with ruled precision.

For curves, two main methods are used. One is to draw a series of dots in the curve-smooth mode and the computer

will connect them in a perfect French curve. Some systems will then let you move one of the points and see a ghost image of how that change would distort your curve. The second method uses no reference points, but is like a French curve that you distort to your liking, called a "spline curve."

Again it uses the ghost image to show you in real time the warp that you're creating so that you can make minute adjustments interactively by watching the changes on the screen, and then print the version you need.

Lastly, an essential capability to look for is "touch up."

These commands include the ability to 1) erase or add pixels by zooming in to a close-up view and manipulating single pixels at a time, 2) change line widths after an image is drawn without redrawing the image. This means that after evaluating a scene, you can choose to add or lessen line weight by reassigning pen widths to an existing line without redrawing that line, and 3) changing colors anywhere in the graphic by seeing the color change "in situ." Some systems insert a square over your scene and expect you to adjust your color in that box and then insert that color into your scene. The computer should work for you by showing any color changes exactly within the portion of picture affected so that you can gauge the relative impact of the color modification in comparison to the whole scene.

With all these drawing, drafting, and composition aids at hand, it's important to remind you about the "trap," or "scan in" function. Often there are graphic elements previously constructed that would make no sense to rebuild on the computer. By placing any existing art-or real objects-under the input scanner, you can capture any existing graphic elements with which you can start or add to your image. Depending on the system, you may only be able to trap black-and-white versions of the image which you'll then have to color. Other systems will capture full-color renditions of the original. Either way, you have a real leg up on the competition when you can immediately start illustrating with whatever the client brought you without having to re-render it or wait for a photo copy.

There are a couple of comparisons to be drawn between the slide systems vs. the paint systems. In the past, paint systems were solely for video production due to their animation capabilities and their limited resolution. However, with several paint vendors now offering the slide quality resolution, this distinction is becoming blurred. Yet important distinctions still exist-primarily the fact that slide systems are "object based," whereas paint systems are "bit mapped."

Object based systems remember the "objects" that are drawn on them. Even though the objects are two-dimensional (vs. high-end 3-D systems), when a 2-D 103

•

COMPUTER GRAPHICS

object is drawn, it is remembered. When a new object is drawn on top of the other, the lower object can be retrieved and brought to the surface. These "vector based" or "object based" tools build images a layer at a time, allowing you to later retrieve and reposition any layer-a real convenience in optimizing design. These tools also give you a clean image when you do enlargements on them, but few can supply you with the ability to scan in existing art like paint systems can.

Paint systems, on the other hand, remember only the one layer of pixels that make up the image. Thus, when a base image is eclipsed by a new graphic, that portion of the lower

image covered by the new graphic is lost and must be redrawn if needed later. Now this limitation can be circumvented by storing each successive drawing on the storage disk so that if previous graphic elements are desired, they can be retrieved intact off the disk. But on slide-only, object based systems, this storage and retrieval is automatic.

With paint systems now offering 2 to 4000 line resolution, they are very competitive with slide systems. New color developments actually make paint systems more capable than slide tools. One of the best slide machines (Autographics) offers 4000 simultaneous colors, whereas

VENDOR (PAINT) MAILING LIST ACCENT SOFTWARE/TGS 3750 Wright Place Palo Alto, CA 94306 AMPEX/AVA Ill Bill Carpenter 401 Broadway, M .S. 3-46 Redwood City, CA 94063 ARTRONICS/ARTRON 2000 Hugh Smiser 300 Corporate Court South Plainfield, NJ 07080 AURORA / AU 100 Dick Schoup 185 Berry Street #143 San Francisco, CA 94107 AXIOTEK/GENRE A Jerry Kennedy 2615 Miller Avenue Mountain View, CA 94040 BESTON I PRODUCTION GRAPHICS Bob Barnes P.O. Box 937 Olathe, KS 66061 BOSCH I FGS-4000 Ph il Luck 2300 South 2300 West Salt Lake City, UT 84119

104

COMPUTER IMAGE/SYSTEM 4 Ron Shaw 2475 West Second Avenue #4 Denver, CO 80223 CUBICOMP Carol Rainen 3165 Adeline Street Berkeley, CA 94703 CYBERVISION /CYBERVIEW 100 Boris Stout 374 Delaware Avenue Buffalo, NY 14202 DIGITAL EFFECTS/PALLETTE Ill Judson Rosebush 321 West 44th Street New York, NY 10036 DUBNER/CG-2 Harvey Dubner 158 Linwood Plaza Fort Lee, NJ 07024 INTERRAND CORP. /TELESTRATOR Leonard Reiffel 3200 West Peterson Avenue Chicago, IL 60659 LIGHTSPEED COMPUTERS Francis Olschafskie 134 Beach Street Boston , MA 02111

COLOR GRAPHICS/ARTSTAR Kenneth Simmons 5727 Tokay Boulevard Madison , WI 53719

LOGICAi FLAIR 64 Newman Street London , England W1A 4SE

COMPUTER CREATIONS Victor Peters 1657 N. Commerce Drive #18 South Bend, IN 46628

NEW ENGLAND TECHNOLOGY GROUP Paul Shelman 400 West Cummings Park Woburn , MA 01801

COMPUTER GRAPHICS LAB/IMAGES II Bill Taylor The Chrysler Building 405 Lexington Avenue New York, NY 10174

NEW MEDIA GRAPHICS/GRAPHOVER 9500 279 Cambridge Street #5 Burlington , MA 01803

Communication Arts September/ October 1984

QUANTEL/PAINT BOX Chuck Martin P.O. Box 50810 3290 West Bayshore Road Palo Alto, CA 94303 SYMTEK/PGS Ill Patrick Keely 15933 West 8-Mile Drive Detroit, Ml 48235 TIME ARTS/EASEL John Dunn 3436 Mendocino Avenue Santa Rosa, CA 95401 THOMPSON CSF /VIDIFONT Lynn Kranzler 37 Brownhouse Road Stamford , CT 06902 3M PAINT SYSTEM Jerry Tapley 225-3S-07 3M Center St. Paul , MN 55144 VIA VIDEO Peter Clark 5155 Old Ironsides Drive Santa Clara, CA 95050 VISUAL DATA ENTERPRISES Nick Pavlovic P. 0 . Box 30563 Los Angeles, CA 90030 WEST END FILM / ARTWORK 2121 Newport Place Washington , D.C. 20037 XIPHIAS/ AED PAINT Peter Black 233 Wilshire Boulevard #900 Santa Monica, CA 90401

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COMPUTER GRAPHICS

several new paint systems are delivering 350,000 simultaneous color capacity.

There are two key concepts to understand about color capacity. First, the "number of colors available" or "number of colors on the palette" are not the same as "number of simultaneous colors." "Available colors" refers to how many types of color can be made by the computer, but not to how many can be used within one single picture. Many systems tout a 16 million color palette, but can display only 128 or 256 within one scene. The term "simultaneously displayable" is the important measure. The new paint tools can handle 100 times the amount of the best slide tools.

The second color issue is "why do I need so many colors?"

In fact, many artists will tell you that there's no such thing as 350,000 colors, much less 16,000,000. Well yes and no.

While there may be only a few hundred "colors," there are 16,000,000 different shades, tones, or saturations of color.

And it is just this tonality of color-the subtlety of shading-that distinguishes a flat, machine looking graphic from a hand drawn air brush or photograph. To be able to render the nuance and depth of life-like images, a computer needs 16 million colors available-and must be able to display 3 to 400,000 of them at one time within a graphic.

This capability is called "true-color" or technically, "24 bits deep." Paint systems are the only ones delivering it. That transparency feature mentioned earlier is a perfect example of the power of true-color systems.

These new capabilities are coming on the market at astounding prices. When you consider that a Genigraphics or Dicomed with film camera is around $150,000 and a True-Color paint system with film camera will be available this winter for around $50,000, the price/performance advancements are impressive.

Also of great benefit is the emerging consistency of system menus and capabilities. Most of the draw, draft and composition commands are similar on both the paint and slide systems. This means that a crew of artists can become familiar, not just with one machine, but with the whole generation of computer graphics the same way a typist can use any typewriter.

Certainly there will continue to exist systems that mechanize a few functions while failing to automate the whole of the illustration process. Even with the quality systems, ghosting, automatic edging and automatic perspective are found only on a few, and the one tool that has all of the above doesn't have true-color or transparency. But for these quality systems, the news is good: They are very responsive to artists needs and they are all rapidly filling in their missing links with updates in their menus. Within six months, there will be at least three high resolution, true-color paint systems with a full complement of illustration commands.

106

Communication Arts September/October 1984

As these computer graphics tools become more capable and more affordable, you're going to see a radical change in the basic mechanics of graphics design and production-yielding a more direct path from concept to rendered image. As a designer who has produced many new-product introductions with computer graphics, I can vouch for the fact that the elimination of the host of traditional art tools is not false bravado, but simply the practicality of the future.

Now quick ... don't take this a threat to your domain. Design lives not in the tools, but in the hand and mind directing them. You, the designer, can not be replaced, but your productivity, gross revenue and profits can be increased. You should not identify the demise of traditional tools with the demise of your professional security or the quality of your craft.

In contrast, the proliferati on of computer graphics tools will in fact improve your business. By making your time more productive, good design from your firm becomes less expensive and you can now make your design services available to new customers who previously could not afford your services ... or you can pocket the productivity gains as profit and still handle more business.

I hope that this overview will help you approach the computer graphics industry with enthusiasm and confidence about the benefits it offers you. The original CG systems performed inadequately and were too expensive, but today's highly flexible and productive systems are finally here at very affordable prices. In the coming years we can look forward to an even faster evolution in the continuing developments of the communication arts.

Bruce Hurn has been using and teaching computer graphics since 1980. He created several new product introductions for Varian Associates, producing graphics for trade shows and brochures in concert with animated videotapes. Currently, he is the Marketing Communications Manager for Micro Automation, Fremont, California, where he is installing a computerized publications department for producing the entire range of product support literature and audiovisual media.

Hurn will be giving a hands on workshop in computer graphics this fall in Kansas City and Los Angeles through the North American Television Institute, and he writes a monthly column for Video Pro. His forthcoming book, "Computer Graphics for the Graphic Artist and Television Producer," will be published this time next year by Knowledge Industry Publications.

Four times a year a panel of graphic arts judges gathers to evaluate entries in the Appleton Papers Creative Production Competition .

All specifiers , users and distributors are eligible to submit entries . An entry must utilize in whole , or in part, an Appleton Papers Graphic Arts grade and must be submitted in its final , printed format. An entry form (o r facsimile) must be taped to the back of each piece . Additional entry forms may be obtained through authorized Appleton Papers Graphic Arts merchants or Appleton Papers.

The panel of judges will base their evaluations on the following criteria : overall impression , design for intended use, strength of design , paper selection , and quality of printing and typography.

A single Award of Excellence, three Awards of Merit and six Awards of Achievement will be given in each category. At the end of the year all Award of Excellence winning entries will be published in a full -color catalog . The catalog will be distributed internationally.

Submission of any entry acknowledges the right of Appleton Papers to use the entry for exhibition or publication .

Appleton Papers is not responsible for damage, loss or return of any entry. If a piece is to be returned , special arrangements must be made in advance of submission.

Announcement of winners will be made two weeks after the deadlines.

Winners will be notified by mail.

-------------------------,

CITY _ _ _ _ _ _ _ _ STATE _ _ _ ZIP _ _ __ CATEGORY----------------DESIGN FIRM

Entries should be sent to : Appleton Papers Inc. Graphic Arts Competition PO. Box 359 Appleton, WI 54912 Entries must be received

by Appleton Papers before the following deadlines: Winter February 1 Spring May 1 Summer - August 1 Autumn - November 1 Entries not received by the above deadlines will be eliminated .

The categories of competition are : A. ) Annual Reports 8 .) Brochures - product, service , facilities , institutional , etc .

C.) Folders 0 .) Covers - books , magazines , catalogs , etc .

E.) Posters F.) Miscellaneous - anything not specifically covered in the above , such as menus, calendars , ad inserts, packaging , p.o .p., cards , etc .

Entrants must clearly specify the category a piece is to be entered into.

AGENCY----------------~

CLIENT _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ PRINTER----------------PAPER MERCHANT---------------~

D WINTER

D SPRING

D SUMMER

D AUTUMN

&

APPLETON PAPERS I NC. GENERAL OFFICES : P.O . BOX 359 . APPLETON . WI 54912

Currency Cover - Embossed , Gold/ White, 10 pt.

BOOK REVIEWS DRAWING THE LIVING FIGURE Joseph Sheppard Watson-Guptill 1515 Broadway, New York, New York 10036

$24.95

While there is an endless number of books on human anatomy for artists, there are never enough decent ones, ones of positive utility. This volume might well find a place on the reference shelves of anyone faced with the unending challenge of drawing the figure.

While the advertising for Drawing the Living Figure claims that it is "The only book available on surface anatomy -how bone and muscle affect the appearance of living, moving figures," we may forgive such inaccurate hype because Mr. Sheppard does at least present that subject with clarity, both in his illustrations and his captions.

Sheppard draws well-except for faces-and his poses are well chosen for the information they convey. Included are analyses of standing, sitting, kneeling, crouching and reclining male and female figures. For each position, Sheppard presents a complete drawing, along with two

diagrams showing the underlying skeletal and muscular structure. Supplementing these are thorough explanatory captions.

This book is hardly a complete guide to human anatomy, nor is it intended to be. For those with little prior knowledge, it will provide a basis for further study and observation; and for those who possess the basic information, at least as it applies to drawing, much of what the book has to offer will still be of use, primarily because the desired material can easily be located and absorbed without the necessity of wading through a great deal of extraneous data.

-Dugald Stermer BRIEFLY NOTED:

THE PEN AND PENCIL TECHNIQUE BooK by Harry Borgman (Watson-Guptill, 1515 Broadway, New York, New York 10036, $27.50). Unfortunately, nowhere among the 300 illustrations, including 56 color plates and 46 step-by-step demonstrations, is there much evidence of

Yes, we have no Bananatype.

No, we don't have Claro.

Helios? Can't help you.

Geneva? Sorry, no Geneva.

But if you want real Haas® Helvetica* from Switzerland, set on the Berthold Phototype equipment that is the quality standard of Europe, we'll have it on your desk- anywhere in the U.S. - manana.

lTypogram) *Over 250 authentic typefaces available.

•

FREE Berthold E2 Book : This 1136 page classic is yours free with your first order over $150. Offer limited, coll for details: 1-800-USA-TYPE On New York 212-505-1640)

109

BOOKS

technique as that word is generally understood; i.e., "a method of accomplishing a desired aim." The illustrations are so astonishingly pedestrian that the entire burden of information conveyed rests with the text, an impossible task in a book about drawing.

samples to help organizations deal effectively with both print and broadcast media. It provides information on preparing for news conferences, news releases, talk show appearances, conventions and public appearances." It may be purchased by mail from the publisher.

NoTE: Also recently published by Watson-Guptill (1515 Broadway, New York, New York 10036) are four more how-to-make-art books: Painting the Spirit of Nature,

by Maxine Masterfield; Making Your Paintings Work, by Phillip Jamison; Color Drawing Workshop, by Bet Borgeson; and How to See Color and Paint It, by Arthur Stern. They are all priced at $24.95.

FREEHAND DRAWING & SKETCIITNG by Karl Christian Heuser (Van Nostrand Reinhold Company, Inc., 135 West 50th Street, New York, New York 10020, $19.50). This is an awful book from conception to execution. Words won't do it justice. Not buying it will.

THE PUBLICITY HANDBOOK by James F. Lukaszewski (Brum & Anderson ExecuComm, Inc., 425 Lumber Exchange Building, 10 South Fifth Street, Minneapolis, Minnesota 55402, $39.95 plus 6% Minnesota sales tax).

Just the title, author and publisher's information took nearly four lines! Too late to make a long story short: This is a three-ring binder of 160 pages of "tips, techniques and

"... may be the most professional art school in America."

Tough faculty, tough assignments, tough deadlines, tough criticism, terrific placement!

Portfolio Center The Professional Approach to Art Direction, Graphic Design, illustration, Copywriting, and Advertising Photography.

®

(404) 351-5055 .

125 Bennett St., NW, Atlanta, Ga. 30309

HUMOROUS ILLUSTRATION AND CARTOONING by Roy Paul Nelson (Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632; $12.95 paper, $22.95 cloth). This is a most unfunny book, despite its title. Too many of the examples shown here are from the "decorative illustration" school of drawing, popular in the fifties. The writing is similarly deadly. One doubts whether B. Kliban, Pat Oliphant or Berke Breathed ever thought of reading this kind of book; if you don't know who those worthies are, the book would not be of interest anyway.

SIGNS & EMBLEMS by Erhardt D. Stiebner & Dieter Urban (Van Nostrand Reinhold Company, Inc., 135 West 50th Street, New York, New York 10020, $15.50). This 356-page book is jammed with signs, logos; symbols and trademarks from all over the world.

MARKETING FOR SMALL DESIGN FIRMS by Jim Morgan (The Whitney Library of Design, 1515 Broadway, New York, New York 10036, $27.50). Although this volume is designed to aid in the success of every kind of design office, from architectural to engineering, including graphic design, the thrust is overwhelmingly toward the former. Only one graphics firm is profiled in any detail, but there are many case histories involving architecture, interior design, landscape architecture, even a few concerning urban and industrial design. If you are a graphics specialist not primarily doing business around the subject of buildings, there is little of specific value here.

PERSPECTIVE DRAWINGS BY PROGRAMMABLE CALCULATOR

by David Yue (Van Nostrand Reinhold, 135 West 50th Street, New York, New York 10020, $28.95). By studying this book, it is promised that "perspective drawings can now be made quickly, cheaply, and in any size by using inexpensive programmable calculators." Not only that, but one can also plot accurate shadows. It is too early to assess these claims, but it's worth a try, and I intend to give it just that.

-D.S. 110

Communication Arts September/October 1984

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BUSINESS

BY DESIGN Nov.10-11, 1984, Sacramento, CA Unfolding the mysteries of business is all part of the designers' job.

The Art Directors and Artists Club of Sacramento is excited to present the sixth annual designers' workshop. An intensive two days will be spent interacting with business and design leaders focusing on topics including "Prospecting," "Sales Calls," "Developing Estimates and Costs," "Proposal Writing," "Vendor Management," and "Delivery and Collections."

The days will be divi,ded into morning group seminars and small afternoon workshops . Participants will have the opportunity to choose from a number of sessions .

Past designers'workshop speakers have included Woody Pirtle, Michael Manwaring, Guy Day, Kit and Linda Hinrichs, Ken White, David Strong and Richard Donne.

Registration The fee for Business By Design is $130 for ADAC members, $150 for non-members and $90 for students (with current student ID) . Visa and MasterCard will be accepted by phone and checks by mail. Registration must be made in advance and the deadline for guaranteed registration is October 26, 1984. A confirmation will be mailed to you . For phone registration or details, call the ADAC office, weekdays between lOAM and 4PM (916)731-8802.

ADAC, 2971 24th Street, Sacramento, CA 95818

Design : Della Gilleran, Gerry Mcintyre, Mark Price, Carrie Schiro.

Copy: Kim Tackett-Barbaria Photography : Gerry Mcintyre Type : ATG/Ad Type Graphics Camera: Hal Hammond Graphics

Fold A to meet B

Al

IB

Fold B to meet A

MATERIALS MIRRORED SURFACE PROJECTION SCREEN

FILING POCKETS

The manufacturer of this product, the Protolite Corporation, make large claims for it, with considerable justification. As the information on Mirror Image states, "Undeniably the weakest link in the visual communication process has been the common projection screen." True, so much contrast, brightness, color and detail is lost when the image hits the screen, especially when any other light is present, that any improvement is clearly welcome. To quote further: "Common projection surfaces rely on random scattering of light to create an image. In contrast, Mirror Image incorporates an array of mirror-like concave and convex image forming lenses to precisely control the reflected image. Over 700,000 of these mirco-mirror lenses are formed into every square foot of the surface." The possibilities are varied; for example, images can be projected in lighted rooms with far more success, which also means that drive-in movie theaters can start their programs much earlier, and can more nearly equal the quality found in indoor theaters. For anyone involved with any kind of audio-visual presentations, meaning most of us to some degree, it is suggested that you write for further information to Protolite Corporation, 985 Timothy Drive, San Jose, California 95133.

This is the Perky vertical filing pocket series, in which over half of each page of paper shows over the pocket, apparently defying gravity, as the literature attests. Because the wall-hung pockets are curved on the front end, papers don't fall forward and out. Write R & D Products, Inc., P. 0. Box 2238, Rohnert Park, California 94928.

Bertram Bentley the Third!

If this had been on .anything other than CLASSIC'Text you would have gone ~ to the principal. ;~~ ~ L'¥ ~ 'J¥- ~

""'-

' A

~

"TACK-IT" DISPENSER

This is a double-sided tape dispenser, or more precisely, a dispenser for tape that leaves adhesive behind as it is rolled over a surface. I have tried this product and can attest that it works, as least up until it gets tangled, at which point the spools become impossible and the user turns ugly. It has often occurred to me that manufacturers might do well to add to their instruction sheet some advice as to how to proceed when the product becomes garbled. Anyway, for information, write Wess Plastic, 50 Schmitt Boulevard, Farmingdale, New York 11735.

GRAVITY FEED Am-BRUSHES

Badger Air-Brush Company has announced the availability of its new LG series of gravity feed air-brushes: The 100-5LGXF, 100-6-LGIL and 100-7-LGHD. The advantage of gravity feed over siphon-type air-brushes is that the former can produce a finer line. This new line also features large, Vs-oz. color cups and caps. For more information, contact Badger Air-Brush Company, Department 83.14, 9128 West Belmont, Franklin Park, Illinois 60131.

PORTABLE LIGHTING BOOTH

For those who must present color proofs to clients often in less than ideal conditions, this product may help. Port-AView is a table-top, self-contained booth which simulates larger color-balanced lighting booths. It is easily carried by one person (it weighs less than ten pounds), comes with a shoulder strap and handles, and folds out into its operating shape within minutes. For information, write Ingarra Enterprises, Inc., 720 East Glenwood Avenue, Akron, Ohio 44310.

ALTERNATIVE TO NEON

Neenah Paper The Classic line to keep you ' 1984 K.C.C. • Registered Trademark of Kimberly-Clark Corporation

112

out of trouble.

@ Kirnberty-Clart< Neenah Paper Division

Communication Arts September/October 1984

This low-cost-relatively-alternative to neon lighting has been developed in the Netherlands, and is now available in the United States. It is a plastic tubing which is activated by ultra-violet light, not electricity. It comes in eleven colors and can be shaped into any number of designs. This product's brand name is Line Lite, is made of polyvinyl chloride, and glows fluorescently. The tubing is available in four diameters-2, 4, 8 and 12mm.-and may be cut to any length. For further ·information, write to the Netherlands Consulate General, Economic Section 7a7 83, One Rockefeller Plaza, New York, New York 10020.

Just design an 18" x 24" poster using Marsgraphic 3000 markers and you could win up to $3000 in cash! It's easy to be creative with Marsgraphic 3000, the colorful, flexible-tip marker. With their unique brushlike qualities, you can make fine and bold strokes. Their ability to blend and shade can create remarkable effects. And with a rainbow of 60 colors to work from, you could produce just the strokes of genius needed to win one of the three top prizes, or one of 500 Marsgraphic T-shirts.

Hurry to your Marsgraphic 3000 dealer now for entry forms and contest rules. Or write to us for entry information.

Deadline for entries is December 31, 1984.

1st prize 2nd prize 3rd prize

$3000 cash $1500 cash $750 cash

Total cash prizes $5250.

500 4th prize Marsgraphic 3000 T-shirts will also be awarded.

1ars~ J. S. STAEDTLER, INC., DEPT. C P. 0 . BO X 7102 C ANOGA PARK. CA 91 304

MATERIALS

BOOK COVER REPAIR TAPES

TECHNICAL PEN

I intend to look into this product, as it may prove useful in a number of ways. Patco Book Cover Repair Tapes come in clear gloss or matte finishes, but more important, they come in Y2" to 48" wide rolls, surely a benefit when trying for reasonably fastidious repairs, or protective coverings of many kinds. These tapes are also offered in polyethylene, polypropylene and vinyl grades, they resist moisture and don't yellow with age. (One wonders, in passing, if 3M/ Scotch Brand has heard of this product.) For information, write Patco Corporation, William B. Wilbur, Marketing, 211 Weeden Street, Pawtucket, Rhode Island 02862.

There is a certain kind of advertising copy that seems to make sense at first reading, but coherence disappears as if by magic upon closer scrutiny. The following is an example: "There's a fine line between inexpensive fixed-point pens you throw away, and expensive technical pens you'd like to throw away. It's Tombow's PGS Graphic pen . .."

Even taking into account the word-play on "fine-line," those two statements still don't make sense. Nevertheless, on reading further, one discovers that this new pen features a replaceable plastic nib that, because it's disposable, never needs cleaning. At least that is what the copy seems to convey. Further, "It gives you a smooth, constant line the second it touches paper. No more fiddling for half an hour when you're ready to start the finish ..." Outside of noting that the Tombow PGS Graphic pen comes in eight line widths, starting at 6x0 broadening to 2 Y2 , the rest of the information may be obtained by writing Tombow, Inc., 5352 Sterling Center Drive, Westlake Village, California 91361.

TILTING LIGHT TABLE

This new light table from Plan Hold has an "easy-tilt" surface, adjustable lighting and a patented diffusion system. It is also described as being "specifically designed for user comfort," but I will have to take their word for it, since the photograph shows a spartan-looking steel table that looks as if it couldn't be moved with a fork lift truck.

For information on this 371LT Light Table, write Plan Hold Corporation, 17421 Von Karman Avenue, Irvine, California 92714.

Artograph 1000J: The Graphic Design Tool for Visual Communication Professionals Instantly visualize your layout, in full color, before spending time and money on type and stats with Artograph's professional art pro1ector. the 1OOOJ. Featuring the widest scale range in vertical projectors, the 1OOOJ accu rately projects all forms of artwork from opaque copy, slides and transparencies' to 3-0 objects with ease.

• Front-loading to accept oversize copy.

• Pinpoint sharp images in full color.

• Speeds up design time .

'A variely of accessories are available 10 exlend lhe performance and capab1h11es of lhe 1OOOJ The bellows accessory 1s shown here

Two-SLIDE MAGNIFIER

This product seems so obvious, it is a wonder that it is just now being introduced. Visual Horizons has announced its new 2-Frame Magnifier for viewing a pair of 35mm slides simultaneously. The virtues of this new kind of loupe are obvious, especially when selecting the better of two for reproduction. The price is a modest $9.95 each, and they may be ordered from Visual Horizons directly, 180 Metro Park, Rochester, New York 14623.

"DESTROYIT" PAPER SHREDDER

Artograph, Inc. Dept CB-984. 2626 N. Second Street Minneapolis. MN 55411 612/521 -2233

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I D Please send brochure with complete specifications and price . I I Name _ _ _ _ _ __ _ Phone ( -------- I I Company _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ I I I Address

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City _

_

_ _ _ __ _ _ _ state _

_ __,_ip _ _ _ _ :

I My art supplier is I Located in I CB-J Artograph , Inc., 2626 N . Second St ., Minneapolis, MN 55411 116

CARTOGRAPIBC PATTERNS

Adding to their already extensive line, Letraset has added Fisher Cartographic Patterns on Letratone pressuresensitive sheets. If this is in your sphere of interest, more information may be obtained by writing Lauren Hirsch, Esselte Letraset USA, 40 Eisenhower Drive, Paramus, New Jersey 07652.

Communication Arts September/October 1984

I I 984 I

"'Personal,' 'Confidential,' 'Top Secret,' 'For Internal Use Only,' every office has sensitive, privileged papers, whether or not they are stamped with these classifications." I don' t know about yours, but my office has nothing that could be described as either sensitive or privileged, although there may well be something in the medicine cabinet labeled "For Internal Use Only." If, on the other hand, you deal in classified design, Destroyit Paper Shredders may be just what you need. Made by Electric Wastebasket, these models now feature 2-Way shredding, meaning a crosscut in addition to the original shred. For all the information you need to form an intelligent decision, write Electric Wastebasket Corporation, a division of Michael Business Machines Corporation, 145 West 45th Street, New York , New York 10036.

PRE-PRINTED BOARDS From T&J Graphic Art Supplies comes word of a "proven art medium used by hundreds of artists to save time and money for their companies," Pasteze art boards. These are pre-printed 60# dull coat boards with crop marks and nonphoto blue ruled dimensions in 8 Yz 11 x 11 11 , 11 11 x 17 11 and business cards four-up. If you have need for this or these, write for prices to T&J Graphic Art Supplies, 2406 Spring Street, Redwood City, California 94063.

"Ann-0NS" The above is the name Avery has put on a new line of selfadhesive accesories for binding and filing. If you require a certain amount of compulsive organization in your life, if only to demonstrate a veneer of respectability, these products will be entirely useful. For example, there is "Add-APage," which is/are three-hole punched strips designed to attach to odd-sized or folded pieces, and then placed in binders. In this way, one doesn't have to actually punch holes in the document itself. Then there is "Add-APocket," a binder pocket to secure paperwork, charts, floppy disks, in fact up to fifteen sheets to the inside of a "binder, file folder or cabinet door(?)." Some of the other

.,..: ,

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••

products include "Add-A-Title," these being vinyl windows with inserted title cards, "Add-A-Shield" and "Add-AClip." For information on these new products, write Avery Consumer Products Division, 818 Oak Park Road, Covina, California 91724.

ULTRA-FINE MARKER

According to the release, "Graphic designers and commercial artists no longer have to search for an ultra-fine marker in standard printing colors. The new Speedball Stylus is a competitively priced .3mm drawing and lettering marker that is keyed to the 28 most frequently referenced printing colors." I am not about to quarrel with those "28 most frequently referenced colors" but if the point truly stays sharp, we may have something here. For details, write to Hunt Manufacturing Company, 230 South Broad Street, Philadelphia, Pennsylvania 19102.

Two NEW ART BoARDs Letraset's line of boards has been augmented by two new products: LetraMax 1000 is an all-purpose mechanical board which can hold up under erasures, tape pick-up and scraping, and LetraMax 2200 Cold Press Illustration

.•.

•

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·:".:~~~::.. : ...:. :.

When you go shopping for art furniture, don't settle for just any grade. Tell 'em you want Americana from Hamilton, the prime filet.

We've got elegant wood or contemporary steel designs guaranteed to please the most discriminating palate. For more infonnation, contact Hamilton Industries, Two Rivers, WI 54241. Telephone 414-793-1121 .

tLlMILTON 117

MATERIALS

Board, both of which come in single and double weights.

They are available in most art supply stores, and information may be obtained by writing Curt Dwyer, Letraset USA, 40 Eisenhower Drive, Paramus, New Jersey 07652.

MAT BOARD COLORS

The Crescent Cardboard Company has added thirteen new colors to its already extensive line, making the total over two hundred, a nightmare of choices for framers. For a color chip card of the new flavors, write Crescent Cardboard Company, 100 West Willow Road, Box XD, Wheeling, Illinois 60090.

SOLID OAK DRAFTING FURNITURE

A subject close to my heart, oak furniture, is the last item for this column at present. Alvin & Company has a new line, "The Windsor Collection/, which includes a four-post drafting table, a "C-Table,, which tilts and accommodates the handicapped, a five-drawer plan (or flat) file in three sizes (my choice), a 30" reference table with two drawers, a two-drawer taboret and an auxiliary two-drawer file unit.

For color literature, write Alvin & Company, Inc., P. 0.

Box 188, Windsor, Connecticut 06095.

LITERATURE FOR YOUR FILES A request on your letterhead to the following companies will bring you the literature described . . . free, unless otherwise noted.

Lithography . . . is both the title and the subject of Simpson Paper Company,s newest edition of their portfolio series of promotional brochures. More specifically, the booklet "examines the magic of lithography,,, primarily by means of black and white photographs by Grant Mudford, a few words by Maxwell Arnold, all put together and designed by Cross Associates. I don't know quite what to make of it, if anything. Either I've missed the point, or there isn't one, besides the obvious message that Simpson's line of fine printing papers makes for fine printing. Of course, we already knew that. For a copy, ask your Simpson Paper distributor or write the company, One Post Street, Suite 2500, San Francisco, California 94104.

Halftones & Duotones . .. Curtis Paper Division (of James River Corporation) has just published a 10-page gatefold brochure demonstrating its Argyle printing paper.

It also demonstrates and explains various methods of black/gray duotone printing. The design is straight-

IEW BEROI: PRISMACOLOR Incl Panton( Id Marker™ Incl Mecano1111a Is Well Berol® brings you twice the marker.

Introducing the all new PRISMACOLOR Art Marker: the revolutionary product that no single-nibbed marker can beat. One marker with both a broad nib and a fine nib sharing the same ink reservoir for perfect color match.

forward and handsome, the text informative, and the photography is oddly undistinguished. For a copy, ask your Curtis merchant, or write Curtis Paper Division, James River Corporation, 145 James Way, Southampton, Pennsylvania 18966.

Pressure Sensitive A wards . . . It sounds like something one would receive upon graduating from an est training session; but no, it's only MACtac's new publication honoring the winners of its "1983 Starliner Premier Print Awards competition." In case you didn't know, Starliner is a pressure sensitive sheet stock manufactured by MACtac, and the awards are given to twenty-three winning entries from each of three divisions: "One or two colors, three or more colors, and most unusual application." To receive a copy of this booklet, write MACtac Printing Products Division, 4560 Darrow Road, Stow, Ohio 44224.

Catalogue Paper . . . Champion International Corporation has just issued a twelve-page brochure demonstrating the capabilities of its three web coated papers: Javelin, Panaprint and Courtland Matte. The booklet is in full color, was designed by Gips & Balkind & Associates, and is

available for the asking. Just contact your local Champion dealer, or write Martha Nold, Manager, Trade Publicity, Champion International Corporation, One Champion Plaza, Stamford, Connecticut 06921.

Ideas on Display ... is the title of a new publication published by ExpoSystems, a major manufacturer of modular display systems. This is Volume I, Number 1, leading one to surmise that there will be more to come. Its contents are essentially case histories of various display installations ExpoSystems has had a hand in, with lots of color pictures and few words. To get a copy, write ExpoSystems, P. 0. Box 5086Y, Tampa, Florida 33675.

Lasertone News . . . This publication has been mentioned in this space before, so here is a brief reminder. The current issue, number 21, offers guidance in the use of "Colorpage," a newly installed electronic stripping system available at Spectrum, the Colorado-based color separation firm. For a copy, or to be put on their mailing list, write on your letterhead to Spectrum, Inc., 6275 Joyce Drive, Golden, Colorado 80403.

-D.S.

MARKERS BEAT DESIGI®ZTO I. Available in 116 vivid colors.

Saves time, saves money, saves board space. A brilliant idea in 116 vivid rolors. Use our roupon and send for a free marker. One by and you'll agree: two nibs are better in one.

Single ink reservoir for perfect color match.

Mail to: Berol USA, Eagle Road, Danbury, CT 06810 Yes, send me a new PRISMACOLOR Art Marker.

Bero'® BerolUSA

Division of Berol Corporation Danbury, Connecticut 06810 Bero! and PRISMACOLOR are regislffi'd lrad<.>marks of Bero! U.S.A.

_ _ _ _ Zip

CLUBS, CONFERENCES, S EMINARS AAAA Mike Sloan, chairman of Mike Sloan Advertising, Inc., Miami, has been elected chairman of the Southern Region of the American Association of Advertising Agencies.

C.R. "Dick" Penny, president and chief executive officer of Weekley &. Penny, Inc., Houston, has been elected vice chairman. Ralph W. Callahan, president of Henderson Advertising, Greenville, South Carolina, has been elected secretary treasurer. J. Liener Temerlin, immediate past chairman of the Southern Region and chairman of the board of Bozell & Jacobs, Dallas, continues as governorat-large. The AAAA is organized into four regions and twenty-eight councils that deal with regional and local needs ranging from professional development to tax issues.

Each region has its own board of governors composed of elected officers, governors-at-large and chairmen of local councils. Senior members of region boards serve on the national board of directors. AAAA, 666 Third Avenue, New York, New York 10017.

A.NNuAL REPORT

The Mead Annual Report Show will premiere at openings

in New York's Tower Suite of the Time Life Building on September 13, 5:30 p.m., and at the Los Angeles Hilton on September 20, at 6:00 p.m. A continuing exhibit will be available for viewing from September 17 through October 31 at Mead Paper's regional office in the Pan Am Building in New York. Mead distributors throughout the U.S. and Canada will also host exhibits of the show. Of the hundreds of annual reports submitted from all over the world, thirty were chosen for inclusion. They were selected by a panel of nationally recognized graphic designers on the basis of excellence in design, printing, photography, illustration and typography. For further information contact Mary Fitzgibbon, Mead Annual Report Show, Mead World Headquarters, Courthouse Plaza N .E., Dayton, Ohio 45463.

KANSAS CrrY

The Kansas City Art Directors Club elected officers for the 1984-85 year. President Carmen Soubriet, Triad Productions; treasurer Barbara Gerber, Valentine-Radford; public relations chairman Karen Patton, Barkley & Evergreen; corresponding secretaries Craig McCord and Dale Wittenborn, Kuhn & Wittenborn; program chairmen Jeff Bremser, Jan Tracy and Craig Hetler; 1985 awards show chairmen Tom Palmer, Patrice Eilts and Mark Sackett; membership chairmen Chris North and Marianne Notley.

The 300-member club is a professional organization for art directors, writers, photographers, illustrators and other advertising and design professionals in the Kansas City area. For additional information contact Karen Patton, KCAD, Westport Station, P. 0. Box 10022, Kansas City, Missouri 64111. (913) 432-2600.

NAMTA Art & Design in Action '84, a trade and consumer show sponsored by the National Art Materials Trade Association, will be held at the Washington D.C. Convention Center Thursday, November 1 through Saturday, November 3, 1984. The exhibit hall will feature over 140 booths of fine, commercial and graphic art supplies, equipment and publications. Consumers, and people in the trade, can talk with the manufacturers and distributors, watch products demonstrated and discover new ideas and new applications of products. Thirty-five seminars will be conducted during the three-day show. Registration forms will be available in September at art material stores in Washington and six neighboring states. For more information or to request a registration form, write to NAMTA, 178 Lakeview Avenue, Clifton, New Jersey 07011.

NAAP The National Association of Advertising Publishers announced its 1984-85 meeting schedule: 1984 Fall 120

Communication Arts September/October 1984

Conference, October 17-20, Scottsdale, Arizona; 1985 Mid-Winter Conference, January 14-18, Cerromar Beach, Puerto Rico; 1985 Annual Convention, June 5-8, Washington, D.C. NAAP, 111 E. Wacker Drive, Chicago, Illinois 60601; or call (312) 644-6610.

SACRAMENTO

The Art Directors & Artists Club of Sacramento elected their officers for the 1984-85 year. President Della Gilleran; board of directors David Thomas, Penina Meisels, Penny Hill, Connie Morton, Mark Price; vice presidents publicity Tom Varela, newsletter Margaret Westcamp, facilities Steve Brooks, meetings Melinda Brown, workshops Bob Dahlquist, membership Michael Kennedy; advisory board Frank Burris, Michael Dunlavey, Michael Kennedy, Joel Stinghen, Gwen Amos, Paul Blaise, Paul Paige. ADACS, 2791 24th Street, Sacramento, California 95818. Hot line (916) 731-8802.

STUDENT COMPETITION

Creative directory RSVP sponsors a national competition to select the top college seniors in illustration. Prizes,

which include complimentary pages in RSVP plus free tear sheets, answering service and cash awards, are intended to launch the professional careers of these young artists.

Included on this year's jury were John deCesare, Milton Glaser, Barbara Gordon, Salvatore Lazzarotti, Jack Tauss and Carol Wald. The thirty-five finalists in the 1984 competition were honored with a special exhibition of their work at Warner Communications on June 26. First prize winner, Kam Mak from School of Visual Arts, received an award package which included a check for $1000. He, and the three other grand prize winners, will be featured in RSVP's 10th Anniversary Edition, published in January 1985.

Exhibitors' schools included Art Center College of Design, Brigham Young University, Cleveland Institute of Art, Columbus College of Art and Design, Kansas City Art Institute, Parson School of Design, Pratt Institute, Rhode Island School of Design, School of Visual Arts, Syracuse University and the University of Arizona. Information is now available for the 3rd Annual Student Competition.

Deadline for entries is February 28, 1985. Teachers or students wishing contest details should contact RSVP, P.O. Box 314, Brooklyn, New York 11205.

2nd International Design Competition, Osaka This international design competition seeks to clarify the role and mission of design in concretely visualising a bright future for mankind as it moves onward toward the 21st century. It is our sincere

hope that the theme of the 2nd Competition rxJ [Kou], as it relates to people, society, life, culture and all else that impinges upon us will elicit profound and enlightened projects and proposals.

Theme: rxJ [Kou] This ideograph is

Jury:

derived from a pictograph of a person with his or her legs crossed. It also means 'association', 'to associate with', 'to mix with'.

Rodolfo Bonetto Willm Crouwel Shigeo Fukuda Fumihiko Maki George Nelson Dieter Rams Jan Tragardh

Subject Category: Every category of design will be considered.

Eligibility: Designers, engineers, students, etc. in every field throughout the world may participate in the competition individually or as members of a team.

Entries: All works entered must be recent and previously unpublished.

Schedule:

• This International Design Competition is conducted under the auspices of the Japanese Ministry of Internat ional Trade and Industry and with the endorsement of ICOGRADA, ICSDI and IFI.

October 31, 1984 Closing date for registration January 10, 1985 Closing date for entries for preliminary judging June 15, 1985 Closing date for entries for final judging October 1985 Awards Presentation & Exhibition

(Italy) (Netherlands) (Japan) (Japan) (U.S.A.) (F.R.G.) (Denmark)

Prizes: Grand Prize of ¥10,000,000 Five Prizes of ¥2,000,000 Other Special Prizes

Official Languages: Japanese, English and French

Enquiry and Registration: Registration is required for participation in the competition. Please send your name and address and 7 International Reply Coupons. We will send a registration number and information by return mail.

Promotor:

Japan Design Foundation Semba Center Building No. 4 Higashi-ku, Osaka 541 Japan Tel: +81 6 271-5211 Gabie: DESIGNFOUND OSAKA

121

CA back issues Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period (1977 on}, a hundred or less of others, and none of a few. That's why we have to reserve the right to refund the money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

We pay the postage, second class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

NOV/DEC, 1979 CA-79, An01ual Exhibition ... . ..... .. .... $18 NOV/DEC, 1980 CA-80, Annual Exhibition . .............. $18 JUL/AUG, 1981 The ART Annual 1981 ......... . ........ $12 SEP/OCT, 1981 Lou Dorfsman ... Kinuko Y Craft ... Dick Durrance 11 ... Levis Billboard Trucks ... Corporate Annual Reports ... " Revealing Illustrations,'' James McMullan . . . Atari Design ... Letterheads . ... ....... . ........... ...... .. $5

Issues not listed are no longer available.

NOV/DEC, 1981 CA-81, Annual Exhibition ...... .... ..... $18

JUL/AUG, 1977 The ART Annual 1977 ....... . . ... ...... $12

JAN/FEB, 1982 Gernsheimers/Partners Design Studio ... Carol Wald .. . Jerry Herring ... Sahlan Cherpitel ...

Michael Schwab . .. Bank of Kuwait Identity Program , .. Corporate photography panel ... .. $5

NOV/DEC, 1977 CA-77, Annual Exhibition .. ....... ... ... $18 JAN/FEB, 1978 Arnold Saks .. . W B. Park ... Loucks Atelier .. .

Don Weller ... McCall's Rockwell Christmas .. .

Oregon Rainbow . . . RitaSue Siegel opinion/ commentary ... Roots of Design ......... $5 MAR/APR, 1978 Paul Davis ... Implement, Ltd .... Ciba-Geigy exhibit ... Ron Anderson/Tom McElligott ... Art Kane .. . Jann Church ... Willi Baum ...... $5 MAY/JUN, 1978 Linda and Kit Hinrichs ... Robert Weaver . ..

Barton-Gillet ... Egyptians/George Meinzinger . . . Charles Saxon . . . The Colorpedia . . .

Amil Gargano ............... ...... .... $5 JUL/AUG, 1978 The ART Annual 1978 ...... .. ..... ..... $12 NOV/DEC, 1978 CA-78, Annual Exhibition ...... . ........ $18 JAN/FEB, 1979 Isadore Seltzer .. . Robert Overby .. . Peter Rogers ... Sheldon Seidler ... Westways . .. William Accorsi . .. Phil Marco . . . Paul Rand ...... $5 MAY/JUN, 1979 RVI Corp ... . John Thompson ... Brian Harrod ...

Lisi Dennis . . . Lloyd Crider ... Cook & Shanosky . . . Crate & Barrel ... CSU Poster exhibition .. .

George Mack opinion/commentary ........ $5

122

SEP/OCT, 1979 Harald Sund ... Michael Vanderbyl ... Robert Peak ... Bright &Agate ... Carmichael-Lynch .. .

Chicago Packaging Design .. . Aspen 79 .. .

Offices of Gregory Fossella Assoc ..... .... $5

Communication Arts September/October 1984

MAY/JUN , 1982 William Rivelli ... Sheila Levrant de Bretteville ...

Bill James ... Vickers & Benson ... Photomontages by Scott Mutter ... Ford, Byrne & Associates ... Portfolio of Trademarks .. .... .... $5 JUL/AUG, 1982 The ART Annual 1982 .................. $12 SEP/OCT, 1982 Michael Manwaring ... Bruce Stromberg . . .

Tyler Smith ... Richard Nodine ... Marshall Arisman ... Phillip Snyder's Christmas Cards ...

Barbara Gordon/Free-Lance Scene ... The Designer and the Technology Explosion .. . Aspen . .. ... .. $5 '82 ........ ..... . ...

NOV/DEC, 1982 CA-82, Annual Exhibition .....

.. .$18

JAN/FEB, 1983 Japanese Design ... Richard Saul Wurman/ Access Press ... Sharleen Pederson . . . Graphic Designer's Production Handbook . .. Clint Clemens ... Index to Volume 24 ...... .... $5 MAR/APR, 1983 The Gap Between Designers and Top Management ... Borders, Perrin and Norrander .. . Bill Nelson ... The Coys . . . Robert Llewellyn .. .

Posters .. . Why a Computer ........ . ... .$5

MAY/JUN, 1983 Ken White ... Leo & Diane Dillon ... North Charles Street Design Organization . .. Lanny.

Sommese . . . Phillips photographers . . .

Abercrombie & Bastiansen . . . Alvin Lustig remembered .. . Computer-aided graphic design . . .. .......... . ............... $5 JUL/AUG, 1983 The ART Annual 1983 . .. ............... $12 SEP/OCT, 1983 Tad Crawford ... Short run printing ... Jack Summerford ... Teresa Fasolino ... Primo Angeli ...

Light Language ... Consensus on type ... Corning Glass Works ... Annals of design ... Forecast of advertising billings ...... . ............ $5 NOV, 1983 CA-83, Part One: Design ............... $12 DEC, 1983 CA-83, Part Two: Advertising .... . ....... $12 JAN/FEB, 1984 Tad Crawford ... Designing the L.A. Olympics ...

Gary Kelley ... Johnson & Simpson . .. Annals of Design (2) ... Lance Hidy ... Index to Volume 25 ..... .. ... . ................. . ..... $5 MAR/APR, 1984 25th Anniversary Issue . . . The CA Annual Judges .. . Judging Process . .. lmagesetters ...

The Free-Lancer-Client Relationship ....... $5 MAY/JUN, 1984 Anspach Grossman Portugal . .. Braldt Braids . . . Daniel Bittman ... Chuck Kuhn ... Hixo, Inc. ... Vincent Daddiego/Roll Over Vivaldi . .. Herb Rosenthal's fountains ... Robert Parker/Copy and Graphics .. . .... .. . . . ... ....... . .. $5 JUL, 1984 Illustration Annual. .............. ... ... $10 AUG , 1984 Photography Annual. . ... ..... ..... .... $10