Potlatch Field Studies Series Finance

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otlatch McCoyField Studies Series



P O T L A T C H F I E LD S T U D Y : F I N A N C E

T H E R E 'S MORE TO FINANCE THAN COLUMNS

OF NU MB ER S; IT IS AN INDUSTRY RICH W ITH

ICONOGRAPHIC IMAGES, QUIRKY

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TRADITIONS AND DRAMATIC MOMENTS. THIS POTLATCH F lELD

< £ 1

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STUDY FOCUSES ON THE ART

LORE AND VISUAL VERNACULAR OF

FIN AN CE . IN THE PROCESS, IT IS ALSO INTEN DED TO F AM ILIARIZE

YOU WITH THE FIVE DISTINCT

" W - ' F IN IS HE S OF P OT LA TC H M c C O Y A ND

HOW WELL THEY HANDLE EVERY VISUAL MEDIUM,

FROM PHOTOGRAPHY TO FINE-LINE GRAPHICS.

ANOTHER STOCK TIP A * ^ ^ FROM POTLATCH.



T H E DISTINCTIVE ENGRAVED BORDERS ON PAPER MONEY. THE ORNATE TYPOGRAPHY ON

STOCK CERTIFICATES. THE TOWERING GRANITE PILLARS AT THE ENTRANCES OF FINANCIAL

I NST I TUT I ONS. THE FRENETIC ACTIVITY ON THE TRADING FLOOR OF THE STOCK EXCHANGE.

ARTIFACTS, ARCHITECTURE, TOOLS, TYPOGRAPHY AND CELEBRATED TYCOONS FORM THE

VISUAL VERNACULAR FOR THE WORLD OF FINANCE. THESE ICONIC IMAGES DO MORE THAN

JUST IDENTIFY THE NATURE OF THE BU SINESS, THEY COM MUNICATE ITS OPERATING STYLE,

LEVEL OF ENERGY, AND EVEN THE V A L U E S - E . G . , STRENGTH, SECURI TY , STABI L I TY - I T

MOST ADMIRES. HERE, WE TAKE A LOOK AT FINANCIAL EXCHANGES AND THE MANY WAYS

THEY HAVE BEEN INTERP RETED BY CONTEMPORARY PHOTOGRAPHERS AN D ILLUSTR ATO RS.

T H E M A R K E T

I M A G E S F R O M T H E W O R L D O F F I N A N C E

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One of the hallmarks o f financial

imagery is engraving, which was

used on stock certificates to

enhance a com pany's image and

deter counterfeiting. Today old

certificates featuring engrav ed art

have become highly collectible.



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.NY STYLE, OR TO RISK THEIR GOODS

OVERSEAS, FOR THE CHILDREN TO LEARN A TRADE, FOR PEASANTS TO SOW AND TO WORK

SO HARD ON THE SOIL, FOR THE SKIPPER TO SAIL ON THE TERRIBLE AND DANGEROUS

SEAS, FOR THE SOLDIER TO RISK HIS LIFE FOR SO LITTLE GAIN, IF ONE CAN MAKE

PROFITS OF THIS SORT?" SO WROTE A DUTCH SPECULATOR DURING THE TULIP FRENZY

OF 1637. IT GOES TO SHOW THAT " IRRATIONAL EXUBERANCE" ISN'T NEW TO THE DOT-COM

CRAZE. IT POPS UP EVERY GENERATION OR SO, OFTEN TRIGGERED BY SOMETHING SO

REVOLUTIONARY THAT THE MASSES GET SWEPT UP IN FINANCIAL SPECULATION. T H E ONLY

THING NEW ABOUT BOOMS AND BUSTS IS THE INNOVATION THAT MAKES THEM HAPPEN.



One of the strangest manias in history

occurred in Holland between 1634-37, when

Dutch speculators began buying futures and

options in the newly introduced tulip, coveted

by the wealthy as the ultimate symbol of

power and prestige. At its peak, a single tulip

bulb of the rarest variety cost as much as 20

small townhouses. Prices escalated 5,900%.

Seeing a chance for quick riches, the middle

classes mortgaged property and wagered

everything to invest in futures contracts for

breeder bulbs yet to be harvested from the

ground. Then on February 3, 1637, word

got out that buyers were refusing to pay thewildly inflated asking prices and the market

collapsed literally overnight. Speculators

defaulted and a long recession ensued.

TULIPOHANIA

2 1



T R A I N W R E C K

In the early days of the British railway system,

anyone could apply to start a railway. Local

leaders formed provisional railway companies

and raised money by selling shares in pubs

and town squares. All it took was a fraction

up front, with the rest to be "called" later.

Without a national railway plan, redundant

proposed routes covered about eight times

more tracks than Britain needed. By 1845,

some 1,200 new railroad issues hit the

market, and the collective debt related to

railway schemes exceeded the national

income. As construction got under way and

companies "called" for the remaining capital,

speculators tried to sell off shares, but found

no takers. The avalanche of bankruptcies led

to the financial crisis of 1847.

2 2



In the early 18th century, the South Sea

Company in London offered to assume the

British national debt in return for interest

and sole trading rights to Latin America.

Over an 18-month period, company shares

rose 1,000%, as speculators envisioned

colonists, rich with New World gold and

silver, clamoring for English merchandise.

Tradesmen rushed to invest, ignoring the fact

that Spain already had a trading monopoly

in Spanish America and that the South Sea

Company had never returned a profit. The

bubble burst in August 1720, when shares

hit £1000 and insiders cashed out. By

December, the price had collapsed to £121.Both shareholders and creditors who under

wrote the boom suffered the consequences.

S O U T H S E A B U B B L E

2 3



R A S H O F r 2 9

The Twenties were a period of peace and

prosperity in America, with industrial produc

tion soaring. In this optimistic climate, stock

speculating became a fad . The unregulated

securities market let people buy shares from

brokers on credit for as little as 10% of

the shares' face value. As long as the market

rose, both investor and broker profited.

But as stock prices drifted downward in the

fall of 1929, lenders began to call in their

margin loans. On October 24, the sell-off

began as panicked investors tried to minimize

their losses. The chain reaction crashed the

market on October 29 - Black Tuesday. The

Dow Jones Industrial Average, which rose

from 100 in 1924 to 400 in 1929, fell 89%to 41 in 1932. The Great Crash of '29 was

followed by the Great Depression.



A COUNTRY'S CURRENCY IS USUALLY THE ONLY "NATIONAL SYMBOL" THAT CITIZENS

CARRY AROUND WITH THEM, SO IT IS USED TO COMMUNICATE NATIONAL PRIDE. SOME

COUNTRIES FEATURE THEIR JET PLANES, TRAINS AND ARCHITECTURE. OTHERS DEPICT

GEOGRAPHIC LANDMARKS AND NATURAL WEALTH, FROM MINERAL RESOURCES AND FARMLAND

TO WILDLIFE AND TROPICAL F ISH. STILL OTHERS SHOWCASE THEIR ANCIENT CULTURAL

ARTIFACTS. AND, OF COURSE, KINGS AND QUEENS, POLITICAL FIGURES AND HEROES

ARE ALWAYS POPULAR SUBJECTS. NO MATTER THE VISUAL THEME, CURRENCY DESIGN, BY

NECESSITY, IS INTRICATE AND COMPLEX TO DETER COUNTERFEITERS. COLOR-SHIFTING

I N K S , WATERMARKS, METALLIC THREADS, MICROPRINTING, HOLOGRAMS AND OTHER

DEVICES ARE ANOTHER LEVEL OF DESIGN, SOMETIMES INVISIBLE TO THE NAKED EYE.

H O N E Y TALKS

T H E G R A P H I C S Y M B O L O G Y IN C U R R E N C I E S

A traditional symbol of

America, Lady Liberty adorns

this newly minted silver

dollar. Ironically, to obtain

this commemorative coin,

you may pay up to 12 times

face value.

2 6



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T H E G R E E N B A C K : THERE IS MEANING IN MONEY BEYOND WHAT IT CAN BUY. EVERY

DETAIL FROM THE FIBER CONTENT OF THE PAPER TO THE FINENESS OF THE ENGRAVING

TECHNIQUES HAS A PURPOSE. EVEN THE GREEN INK USED ON THE BACK WAS CHOSEN BY

THE U.S. TREASU RY IN 1 8 6 2 TO DISTING UISH THE NATION 'S FIRST PAPER MONEY FROM

GOLD CERTIFICATES. INK-FAS T AND AMAZINGLY DURAB LE, U . S . BILLS HAVE BEEN

TESTED TO ENSURE THEY CAN SURVIVE REPEATED HANDLING, CRUMPLED STORAGE IN

POCKETS AND ACCIDENTAL CLEANING IN WASHING MACHINES. ALTHOUGH THE

GR EEN BAC K'S DESIGN ISN'T AS CONTEMPORARY AS OTHER CURREN CIES, ITS LONG AND

ILLUSTRIOUS HISTORY HAS MADE IT THE MOST RECOGNIZABLE CURRENCY IN THE WORLD

- SO MUCH SO THAT WHEN THE U . S . TREASURY UNDERTOOK A REDESIGN IN THE LATE

1 9 9 0 S , IT COULD NOT WALK AWAY FROM THE "BRAND" EQUITY OF THE ORIGINAL AND

OPTED TO STICK WITH THE DISTINCTIVE GREEN AND THE FAMILIAR HISTORIC FACES.

George

Washington

$1

Abraham

Lincoln

$5

Alexander

Hamilton

$1 0

Andrew

Jackson

$2 0

Ulysses S.

Grant

$5 0

Benjamin

Franklin

$100

Portraits

The portraits appearing on paper money

were adopted in 1929, the year the

notes were reduced in size. Politics and popular

opinion undoubtedly played a role in the

choice of subjects, especially when considering

the faces on d iscontinued notes-William

McKinley, $500 ; Grover Cleveland, $10 00;

James Madison, $5000; Salmon Chase, $10,000,

and Woodrow Wilson, $100,000.

2 8



Department of the Treasury Stamp

The U.S. Treasury Department is

responsible for A merican currency and

oversees the work of the Bureau of

Engraving and Printing.

Common Currency

The $1 bill represents 45% of all the

U.S. banknotes in circulation; 95%

of all notes printed each year are to

replace notes already in circulation.

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Secretary's Signature

Currency is also signed by the

Secretary of the Treasury a t the

time the bill was issued.

Average Life

The average life of paper money before wearing out

is 22 months for a $1 banknote; two years for a

$5 note; three years for a $10 note; four years for a

$20 note, and nine years for $50 and $1 00 notes.

Counterfeit Deterrents

In the 1990s, the U.S. Treasury

began the redesign of American

currency partly in response to

evidence that terrorist groups

were funding operations with

sophisticated counterfeit green

backs. The new money design

incorporates difficult to reproduce

devices such as microprinting,

inscribed security threads,

watermarks, color-shifting inks

and numerous secret techniques.

- • Serial Number

Serial numbers are in the upper right

and lower left part of a bill. No two

notes of the same series and de nom

ination have the same serial number.

Note Position Letter

The bold letter indicates the position of

the note on the printing plate and also

appears in the upper-left-hand area.

Plate Serial Number

The numbers to the right of the

letter identify the plate from which

the particular note was printed.

Bureau of Engraving

Bills printed by the U.S. Bureau of

Engraving and Printing in Fort Worth

have the small letter "FW" in"the

lower right-hand corner, to the

immediate left of the plate serial

number. Federal Reserve notes are

also printed in Washington, D.C.



Green Back • -

The origin of the name

"greenback" comes from

the fact that only the back

side is printed in green.

The portrait side is printed

with black ink.

The All-Seeing Eye • -

Also known as the Eye of

Providence, this symbol

indicates the supremacy of the

spiritual over the material.

Pyramid of Progress • -

Adopted in 1782 , thePyramid of Progress reflects

the Founding Fathers' belief

that Egypt was the cradle of

civilization. The unfinished

pyramid symbolizes America's

determination to keep

growing, building and search

ing for truth. The 13 layers

of the pyramid represent

the original 13 states, with

individual blocks representing

local self-government.

Use of Great Seal

The Treasury Department

proposed the use of the Great

Seal on the back of $1 bills

in 19 35, w ith the eagle to the

left and the pyramid to the

right. President Franklin

Roosevelt switched the order

and added "The Great Seal of

the United States."

Ink Supply

The Fort Worth and Washington, D.C. money

printing plants, which have a combined total

of 24 currency presses, use approximately

18 tons of ink daily.

• Annuit Coeptis

Meaning "God has favored our

undertaking," this Latin phase was

adopted as a motto by the nation's

Founding Fathers.

Novus Ordo Seclorum

The Latin term for "A new order has begun"

encircles the pyramid base, which is inscribed

with the Roman numerals for "1776," the

year of America's independence.

Great Seal Designers

The First Continental Congress asked Benjamin

Franklin to head a committee to design the Great

Seal. It took four years to produce a seal and

another two years to get it approved.



t Green Inks

In 1929, green ink was chosen for the color of money because it tended

to be resistant to chemical and physical changes, psychologically

identified with the strong and stable credit of the government-and

because there happened to be a ready supply of green ink at the time.

t In God We Trust

This inscription first appeared on

paper currency issued after 1957.

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Size

When the Federal Reserve redesigned paper

money in 1929, it changed the size of the

notes from 7.42 inches x 3.125 inches to

6.14 inches x 2.61 inches.

Number One

The number one, as a numeral

or word, appears 16 times on

the dollar bill, front and back.

Typography

Extreme th ick and thin type and three-

dimensional cast shadows are so linked

to the greenback tha t it has become a

vernacular symbol for American money.

Three-Step Printing

Paper money requires three passes through the press.

The black front is printed first from engraved plates.

Then the green is printed on the back. Finally, the green

serial number and Treasury seal are added to the front.



f Legal Statement

This statement appears on currency to tell recipients that

it is money created by the U.S. government and, by law,

must be accepted as the payment of debt. A check issued

by a bank, on the other hand, is not actually legal tender.

Federal Reserve System

Formed in 1913 to serve as the nation's

central bank to regulate the flow of money

and credit, the Federal Reserve accounts for

9 9 % of the greenbacks in circulation today.

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Laurel Leaves

A symbol of glory and triumph, laurel

leaves frame the portrait of Washington

and the borders of the dollar.

Engraving Process

Over 65 separate and distinct steps are

used in the engraving process. The portrait

consists of a pattern of fine lines, dots

and dashes that vary in size and shape.

Series Marking

The series marks the year in which the design of

a bill was first used. Small design changes are

indicated by a letter after the year. The series year

is not necessarily the year the bill was printed.



• Symbolic 13

The Great Seal repeatedly features patterns of 13-denoting the

original 13 states - i n the number of stars, the arrows, the leaves

on the olive branch, the stripes on the shield, and even the number

of letters in "E Pluribus Unum" and "Annuit Coeptis".

War or Peace

The national bird clenches an olive branch

in one claw and a bundle of arrows in the

other, indicating the nation looks toward

peace but is willing to fight for its beliefs.

Spending Spree

If you had 10 billion $1 notes, and

you spent one every second of every

day, it would take 317 years before

you would go broke.

Reproduction Law

Federal regulations state that

the reproduction of any U.S.

currency must be at least

11/2 times larger than actual

size or no bigger than 3A

the actual size.

• Intaglio Engraving

An intaglio engraving process

is used to make the fine-line

patterns on currency. Rotary

presses subject each sheet to

20 tons of pressure to ensure

that the finely recessed lines

of the plate pick up ink.

« E Pluribus Unum

The motto "E Pluribus U num"

emblazoned on the scroll in

the bald eagle's beak means

"Out of many, one," signifying

the union of 13 states.

Cloth Money

So-called paper money is

actually a 25% linen, 75%

cotton blend, with red andblue minute synthetic fibers

running through it.

Secret Formula

The Bureau of Engraving and

Printing uses proprietary inks,

mixed according to a secret

formula . As a security precaution,

it also uses a separate engraver

for the portrait, lettering, script,

cartouches and other features.



E U R O P E A N C U R R E N C Y : THE APPROACH FOR DESIGNING THE EURO, THE NEW

CURRENCY OF THE 1 2 MEMBER NATIONS (AUS TR IA, BE LG IUM , F INL AN D, FRANC E,

GERMANY, GREECE, IRELAN D, ITALY, LUXEMBO URG, THE NETH ERLA NDS , PORTUGAL

AND SP AIN ) OF THE EUROPEAN U N IO N , WAS COMPLETELY OPPOSITE TO THAT OF ANY

NATIONAL BA NKN OTE . AS THE CURRENCY FOR A SINGLE EUR OPEAN MARKET, TH E

EUR O'S DESIGN HAD TO BE TRULY MULTICULTURAL A ND NOT IDENT IFIABLE W ITH ANY ONE

NATION - W HICH RULED OUT THE USUAL NATIONAL HEROES AND LAND MAR KS.

T H E EURO 'S DESIGNER, ROBERT KA LIN A OF AU ST RIA , SELECTED A THEM E OF BRIDGES,

OPEN DOORS AND WINDOWS TO SIGNIFY THE EU'S SPIRIT OF OPENNESS AND

COOPERATION, AND DREW THE IMAGES TO REFLECT EUROPE'S ARCHITECTURAL STYLES

THROUGH THE AGES, CAREFUL TO AVOID MODELING THE ARCHITECTURAL DETAILS AFTER

ANY KNOWN STRUCTURE.

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Euro Design

The seven denominations of Euro currency

are each different in color and size.

The front side features windows and doors,

symbolizing openness and a view to the future,

and the back shows bridges and maps as

a metaphor for communications and connec

tion. Each note displays the EU flag and the

word "euro" in Latin and Greek letters.

2 9



C H A R T S ARE UBIQUITOUS TO THE FIELD OF FINANCE. THEY TAKE AN ENORMOUS QUAN

TITY OF DENSE STATISTICAL DATA AND DI T GRAPHICALLY IN A WAY THAT THE READER

CAN VISUALIZE THE NUMBERS AND WHAT THEY MEAN. THE SPATIAL RELATIONSHIP

BETWEEN PLOT POINTS COMMUNICATE AN UNDERSTANDING OF QUANTITATIVE

CHANGES FROM PERIOD TO PERIOD. OFTEN NO FURTHER ANALYSIS OR EXPLANATION IS

NECESSARY; THE READER CAN SEE WHAT WOULDN'T BE AS APPARENT IN A TABLE OF

NUMBERS. FOR THE DESIGNER, CHARTS SERVE MULTIPLE PURPOSES. WHEN DESGNED WITH

IMAGINATION, THEY CAN CONVEY THE NATURE OF THE COMPANY'S BUSINESS IN A PROVOCA

TIVE AND ENGAGING MANNER AND SERVE AS THE CENTRAL VISUAL ELEMENT ON A PAGE

CHARTS & GRAPHS

I N T E R P R E T I N G N U M B E R S



Som e financial institutions fall

back on tried-and-true bar graphs

to present numbers, concerned

that pictographs ma y trivialize

the information. But objects

identified with the business are

often more compelling to view.

Notice that the slanted "floor"

optically increases the height

differential between the smallest

and largest amounts.

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Ne t Inc ome

Five-Year Comparison

( in mil l ions)

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CD

CD

3CD

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Five-Year Comparison of Net Income

(dollars in millions)

$77 .6

$43.2

$13.6

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The vertical silhouettes of

trees offer a natural shape for

creating a bar graph for this

timber company. To reinforce

the idea of growth, an added

touch was to depict the

smallest amount as a seedling,

with increases suggested in

the maturity of the tree.

3 2



$ 4 3 . 2

symbol for this business.

$ 1 3 . 6

$ 77.6

F I V E - Y E A R C O M P A R I S O N O F N E T I N C O M E



Using people as a measure

of business growth is an

apt image for an executive

recruitment firm. Notice

that the people are all

approximately the same

height; the shadows they

cast serve as the bar graph.

xCD

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5"o

Five-Year Comparison of Net Income (dollars in millions)

2002

2000

1998

%

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cr5 - Y E A R N E T I N C O M E C O M P A R I S O N

1 9 9 8 1 9 9 9 2 0 0 0 200 1 2 0 0 2

90

70

60

50

40

30

20

10 h V ^D O L L A R S IN M I L L I O N S

The reality of photography

helps to lend credibility.

Startup companies that may

not have actual products out

strive to convince investors that

they are dealing with concrete

projects-in which case,

photographs work better than

abstract conceptual images.

3 6



N e t Inc ome Fi v e -Y e ar C ompa r i son



Page 20

Booms & Busts

McCoy Velvet 100 lb. Text.

Four-color process, double-hit match

silver and overall satin varnish.

Illustration by Takayo Muroga.

Page 2 1

Tulipomania

McCoy Silk 1 00 lb. Text.

Four-color process, match silver

and spot satin varnish.

Illustration from Eyewire, Inc.

Page 22

Train Wreck


Four-color process, match

silver and spot satin varnish.

Illustration by Maria Wenzel.

Page 23

South Sea Bubble



and dot-for-dot spot satin varnish.

Illustration from Crabtree & Evelyn

Cookbook, © Crabtree & Evelyn,

Ltd., 1989.

Page 24

The Crash of '2 9

McCoy Silk 100 lb. Text.


and dot-for-dot spot satin varnish.

Illustration by Tim Lewis.

Page 25

Dot-Com Meltdown


Four-color process, match silver,

match gray and spot satin varnish.

Illustration by Mirco llic.

Page 26

Money Talks

McCoy Silk 100 lb. Text.


ray and spot satin varnish.

Photograph by Barry Robinson.

Page 27

Face of Money

McCoy Gloss 100 lb. Text.

Four-color process and

overall gloss varnish.

Illustration by Karen Montgomery.

Page 28

Greenback


Four-color process, dull match

cream and red.

Fold-out

Dollar Bill

McCoy Uncoated 100 lb. Text.

Four-color process, match cream,

red and overall matte varnish.

Printed on a UV press.

Page 29

European Currency


Four-color process, dull match

cream and red.

Page 30

Charts & Graphs


Four-color process, black solid with

three-color underscreen, match

gray and overall matte varnish.

Page 31

Dollar Stacks



spot tinted satin varnish.


Page 32

Trees



spot satin varnish.

Illustration by Will Nelson.

Page 33

Teapot


Four-color process, matchpurple with underscreen of

process cyan and magenta

and overall satin varnish.


Page 34

Plumbline


Four-color process, black solid

with three-color underscreen


Photograph from Eyewire, Inc.

Page 35

People



gray and spot satin varnish.

Illustration by Maria Wenzel

Page 36

Test Tubes



silver and spot satin varnish.


Page 37

Topographic Map

McCoy Matte 100 lb. Text.


overall matte varnish.



Page 38

Potlatch Promise


Black and match red duotone,

match gray, spot matte varnish

and spot conventional gloss

varnish. Printed on a UV press.

Engraving scanned from a Wittaker

Corporation stock certificate.

Back Cover

McCoy Uncoated 120 lb. Cover.

Four-color process and overall aque

ous coating. Printed on a UV press.

Photograph of financial data by

Jorg Greuel and engraving scanned

from a New York, Chicago and

St. Louis Railroad Company stock

certificate.

Printing on Soft Finishes

Soft-finished papers have their

own set of production needs. The

very surface and finish qualities

that make them attractive-

including their good opacity, bulk,

and readable/writable non-glare

surface-also make m arking a

concern. Using inks formulated

with hardeners, Teflon® or scuff

resistors will reduce the problem.

Applying dull or gloss varnish over

inked areas helps prevent inks

from rubbing off onto facing pages.

Varnishes and metallic inks may

lose some reflective qualities.

Potlatch Papers

Potlatch produces a wide selection

of coated and uncoated printing

papers for high-visibility projects

such as annual reports, catalogs,

direct mail pieces, posters and

corporate image brochures. Potlatch

coated sheets are available in an

array of finishes including Gloss,

Velvet, Silk and Matte, and come

in weights ranging from 130 lb.

Cover to 60 lb. Text.

In addition to manufacturing

papers most suited for contemporary

design, Potlatch supports the

industry through the sponsorship

of design and printing trade

events, the Potlatch Annual Report

Show, the Context Show, @ Issue:

the Journal of Business and

Design, and numerous education-

based programs.

The Context 1 Brochure, available

May 2002, includes research

results from a Roper ASW survey

on designing collateral materials

for the financial industry. See

www.potlatchpaper.com to obtain

your own complimentary copy.

© 2002 Potlatch Corporation

http://www.potlatchpaper.com/




Production Notes

Design

Pentagram

Text

Delphine Hirasuna

Separations

All images are scanned at

175-line screen.

Printing

Eight-unit 40" Heidelberg press,

eight-unit 40" Heidelberg UV press

with interdeck drying and ten-unit

40 " Heidelberg UV press with

interdeck drying.

Images printed on the UV presses

use UV inks and UV varnishes

unless otherwise specified.

All images are varnished in-line.

Front Cover

Potlatch McCoy™ Uncoated

120 lb. Cover.

Four-color process and overall aque

ous coating. Printed on a UV press.

Photograph of New York Stock

Exchange by Harald Sund.

Cover Gatefold

McCoy Uncoated 120 lb. Cover.

Double hit black solid with three-

color underscreen, match gray,

match dark green, light green and

overall aqueous coating. All colors

knock out of background. Printed

on a UV press.

Page 1


Four-color process, match gray

and spot matte varnish. Printed

on a UV press.

Page 2

The Market


Black and match blue duotone,

match gray, spot matte varnish

and spot conventional gloss


Engraving scanned from a Wittaker

Corporation stock certificate.

Page 3

Stock Certificates




Photograph by Terry Heffernan.

Pages 4 -5

New York Stock Exchange




Photograph by Charles O'Rear.

Page 6

Manhattan Subway Map


Four-color process, match red

touchplate and overall gloss varnish.

Photograph by Terry Heffernan.

Page 7

Chicago Board of Trade



overall satin varnish.

Photograph by Ken Hedrich.

Page 8

Stock Exchange Board



fluorescent green touchplate


Photograph by Stan Honda.

Page 9

J.P. Morgan


Process black, cyan, magenta

and match chrome yellow quad-

tone and overall gloss varnish.

Illustration by John Mattos.

P ag es 1 0 - 1 1

Bird's-Eye View


Process black, cyan, magenta

and match yellow quadtone

and overall gloss varnish.

Photograph by Marvin E. Newman.

Mini-Book Insert

Heard On The Floor

McCoy Uncoated 8 0 lb. Text.

Double-hit black solids, black

and match gray duotones,

black and match red type and

overall satin v arnish.

Illustrations by Regan Dunnick.

Page 12

Trading Floor




Photograph by Yellow Dog

Productions.

Page 13

Currency Symbols


Black solid with three-color

underscreen and spot matte

varnish. Match special gloss UV

metallic silver and gold with

spot conventional gloss varnish.

Note: To achieve higher gloss,

sizing was applied under symbols.



Page 14

Wall Street Sign


Black with match gray under

screen, match blue, orange,

yellow, gray and overall matte


Illustration by Michael Schwab.

Page 15

Pacific Coast Stock Exchange


Black, match gray and special

gloss UV metallic silver tritone

and overall conventional gloss


Photograph by Vano Photography.

Page 16

Engraving Detail


Black, match blue, red and yellow

quadtone and overall matte


Engraving scanned from an

Atchison, Topeka and Santa Fe

Railway stock certificate from

George H. LaBarre Galleries, Inc.

Page 17

Bank Vault

McCoy Velvet 10 0 lb. Text.



Photograph by Barros & Barros.

Pag es 1 8 - 1 9

The Dow is Up!

McCoy Velvet 10 0 lb. Text.



Illustration by Jane Wooster Scott.



Where paper is just the

beginning of the partnership

Potlatch Corporation

P.O. Box 510

Cloquet, Minnesota 55720

800 .447 .2133

www.potlatchpaper.com

7





HEARD ON

THE FLOOR

" 'NSIDER'S

GUIDE TO

THE WORDS AND

PHRASES OF

WALL STREET.



Yo-Yo StockA HIGHLY VOLATILE STOCK THAT SWINGS

DRAMATICALLY UP AND DOWN IN PRICE LIKE A YO-YO.



ZombiesCOMPANIES THAT ARE BANKRUPT AND INSOLVENT,

BUT KEEP OPERATING WHILE HOPING

FOR A MERGER OR AWAITING CLOSURE.



Santa Claus RallyBETWEEN CHRISTMAS AND NEW YEAR'S

INVESTORS TAKE THEIR PROFITS OR LOSSES,

SETTING OFF A SEASONAL RALLY IN THE MARKET.



Misery IndexAN INDEX THAT SUMS UP THE UNEMPLOYMENT

AND INFLATION RATE; OFTEN USED AS A POLITICAL

RATING OR MEASURE OF CONSUMER CONFIDENCE.



Shark WatcherIN RISK ARBITRAGE, THESE ARE FIRMS SPECIALIZING

IN DETECTING THE FIRST SIGNS THAT

A COMPANY IS ABOUT TO BE TAKEN OVER.



Burn RateTHE AMOUNT OF MONEY A STARTUP SPENDS IN EXCESS OF

ITS INCOME. BURN TOO SLOW A N D YOU ' RE LEFT BEHIND;

TOO FAST AND YOU'RE OUT OF CASH BEFORE YOU TURN A PROFIT.



AngelA BENEVOLENT PRIVATE INVESTOR

WHO IS WILLING TO PUT "SEED" MONEY INTO

A STARTUP BASED ON FAITH IN THE IDEA.



Goldilocks Economy

"NOT TOO COLD, NOT TOO HOT, JUST RIGHT."

^ i T i nrfJttiitaTti'iiatit



Shoot-OutT H E BATTLE BETWEEN TWO VENTURE

CAPITALISTS OVER THE RIGHT TO REPRESENT

THE SAME HIGHLY ATTRACTIVE STARTUP.



T-Rex FundA GARGANTUAN VENTURE CAPITAL FUND,

USUALLY WORTH OVER A BILLION DOLLARS.

Potlatch Field Studies Series Finance

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Transcript of Potlatch Field Studies Series Finance