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    gal NOSI thabcl ievab ienvpottooity to v iewbest + beightest contertvpotat iniot folvertiucioents -I- IVcotornercale.loterset io type 3.

    ? We .See instde tot detai ls.

    1 _ .-

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    TypeWorksURW TypeW orkschoose Volume 1 or Volume 2. Each TypeWorks CD-RO M contains3,000 ultra-high quality typefaces. Select PostScript Type 1 or Tru eType fonts.All fonts are supplied with up to 1 ,000 kerning pairs. Also included is Include ,Kernus, the industry 's m ost sophist icated tool for precision le t ter spacing ern us-isand kerning. TypeW orks is supplied completely unlocked. All fonts and soft-ware are avai lable for im mediate access . Full type famil ies , complete character sets , aprofessional library for the price of a single software pack-age. Includes a comprehensive 1 ,001 page Reference G uideshowing examples of all typefaces in text and display sizes.

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    URW Software & Type the company that pioneered digital type4 Manchester St., Nashua, NH 03060 Phone 800.229.8791, Fax 603-882.7210

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    enntsURW's exclusive letter spacing toolgives you the power to automaticallycreate over 1,000 point size spe cific kern-ing pairs in under 30 seconds for all Post-Script Type 1 or TrueType fonts Idealfor designing headlines, or use Kernusto optimize the clarity of text as small as6 point. A built-in editor enables you tomo dify or adjust individual kerningpairs . You no longer need to spend valu-able t ime m anually kerning fonts, andyou' l l save mone y by not buying pre-made k erning pair packages. $499

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    "I t alwaysexcites mewhen Graphisarrives.All thosebrilliantpeople doingall thatbeauti ful work.I want to goback anddo somethingeven better.So I do "MASSIMO VIGNELLIDESIGNER

    "The first timeI ever sawGraphis,I was adesign studentin Scotland.It made merealize howmuch moreI had to learn.When I seeGraphis today,I feel thesame way."ALBERT WATSONPHOTOGRAPHER

    GRAPHIS In Advertising,Architecture,Illustration,Design andPhotography,no otherpublicationhas givenmore inspirationto the world'sgreatest talents.For Graphissubscriptioninformation,call toll free800-351-0006.

    GRAPHISCircle 287 on ReaderService Card

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    trAlo, / /VOLUME TWENTY-ONE,

    N U M B E R O N E , S U M M E R 1 9 9 4EXECUTIVE PUBLISHER:CHARLE S M . WILHE LM

    E D IT O R: M ARGARE T RICHARD S O NMANAGING EDITOR: JOYCE RUTTER KAYE

    CONSULTING EDITORS:EDWARD GOTTSCHALL

    ALLAN HALEYGRAPHIC DESIGN:

    PENTAGRAMCRE AT IV E S E RV ICE S D IRE CT O R:

    JANE DiBUCCIART/PRODUCTION MANAGER: CLIVE CHIU

    AR T/PR ODUC TI ON:JAMES MONTAL BANO, SI D TI MM

    OPERATIONS: REBECCA L. PAPPASP U B LIC & M E D IA RE LAT IO NS :

    SHAR ON BODENSC HATZSUBSC R I PTI ONS: EL OI SE A. C OL EMAN

    ADVERTISING SALES:CALHOUN & ASSOCIATESPHONE: (404) 594 -1790

    FAX: (404) 594-1849INTERNATIONAL TYPEFACE

    C OR POR ATI ON 1 994.U&Ic (ISSN 0362 6245) ISPUBLISHED QUARTERLY BY

    INTERNATIONAL TYPEFACE CORPORATION,866 SEC OND AVENUE,NEW YORK, NY 10017.

    ITC IS A SUBSIDIARY OFESSELTE LETRASET.

    U.S. SUBSC R I PTI ON R ATES,$30 F OR THR EE Y EAR S;

    FOREIGN AIRMAIL SUBSCRIPTIONS,$60 U.S. F OR THR EE Y EAR S;

    U.S. F UNDS DR AW N ON U .S. BANK.FOR ADDITIONAL INFORMATION

    CALL (212) 371-0699.FAX: (212) 223-1915.

    SEC OND-C L ASS POSTAG E PAI D ATNEW YORK, NY AND ADDITIONAL

    MAI L I NG OF F I C ES. POSTMASTER : SENDADDR ESS C HANG ES TO

    U&Ic SUBSCRIPTION DEPARTMENT,P.O. BOX 1 2 9,

    PL AI NVI EW , NY 1 1 803-01 2 9.ITC OPERATING EXECUTIVE BOARD 1994

    MARK J. BATTY,PR ESI DENT AND C EO

    MAUR EEN A. JAC KSON,CONTROLLER

    CHARLE S M . WILHE LM ,V ICE P RE S ID E NT , CO RP O RAT E M ARK E T ING

    AND COMMUNICATIONSILENE STRIZVER,

    DIRECTOR OF TYPEFACE DEVELOPMENTITC FOUNDERS:

    AARON BURNS, HERB LUBALIN,E D WARD RO ND T HALER

    ITC, U/ /c AND THEU & Ic LO GO T YP E ARE RE GIS T E RE DTRADEMARKS OF INTERNATIONAL

    TYPEFACE CORPORATION.MICROFILM (16mm OR 35mm)

    A N D MICROFICH E (105mm) COPIESOF U&Ic ARE AVAILABLE FROMUMI , 300 NOR TH ZEEB R OAD,ANN ARBOR, MI 48106-1346.

    PHONE: (800) 521-0600OR (313) 761-4700.

    FAX: (313) 761-3221.

    VBPAMEMBER6

    4MESSAGE FROM ITC

    IntroducingITC Design Palette,

    an instantaccess system

    for designprofessionals.

    8TYPE WITH ATTITUDE

    Advertisingtype directorsEdwin Torres

    and Graham Cliffordreview their

    favorite currentprint ads.

    14SCREEN FONTSIs innovative typographymaking TV commercialsmore effective, or just

    adding to the noise level?

    18GREAT ADS

    A round-up of thefew, the memorable,

    the amusing.

    24ADS WHICH APPEALPro bono ads which

    take an artistic,not an antagonistic,

    approach topromoting good causes.

    28FRIZ QUADRATA ITALIC

    A new slanton a popular design.

    32THE FRAGMENTED

    FUTUREOF ADVERTISINGThe ads of the

    futureand theircreatorswill be

    smarter and moreresponsive.

    34SMOKE AND MIRRORSSteve Heller explains how

    cigarettes were soldto women in the early

    20th century.

    38NEW TECHNOLOGY

    An overview of newdigital products for

    the design community.

    54SEYBOLD/BOSTON 94

    What graphicdesigners were looking

    for at the show.

    55U8,1c COLOPHON

    How this issue was designedand produced.

    THE DESIGNERSInternational Typeface

    Corporation would like tothank Woody Pirtle,

    John Klotnia and 'vetteMontes de Oca of

    Pentagram for the designof this issue of U8.1c.

    In the 25 years since its founding, ITC has continually kept pacewith the changing market by being among the central playersin changing typographic technology. This is still the case, and asgraphics technology continues to develop, merge and blendinto an integrated digital environment where all graphics needscan be met simultaneously, it follows that ITC should evolve tobecome an important part of this development. This is why ITChas become the marketer and supplier of an instant accesssystem for a wide range of digital graphics productsfor design professionals. The system is ITC DesignPalette, and adheres to the quality and commit-ment for which ITC has become known in itstypeface licensing activities.

    ITC Design Palette is a seamless instantmeans for locating and purchasing a vast libraryof digital graphics products. Comprised of both asoftware and hardware component, it enables usersto instantly access and purchase items they require, withouthaving to exit their active application. Eliminated are all the timeconsuming and taxing requirements of current CD access andon-line systems. There are no unlocking codes, no on-line chargesor credit cards involved. There is basically no down time at all.

    Each user will have his or her own vast library of products,available 24 hours a day, seven days a week. With the simplicityof opening a Macintosh file, the user can access everything from

    a single weight of a typeface, high and low resolution photo-graphs, backgrounds and textures to sounds and video clips,software upgrades and program extensions. The ITC DesignPalette even coordinates, at purchase, license agreements andregistration requirements. It also inventories purchases, andtracks when and why a specific item was purchased, at whatprice and by whom.

    ITC Design Palette was presented at the Seybold NewTechnology conference in Boston on March 24,

    where it was one of 12 recipients of a SeyboldAward for Excellence. W ith strong positivesupport from our Subscribers, industry asso-ciates, the press and our friends we returnedto New York with the knowledge that we

    do have a successful new venturenot justfor ITC, but for the design community and the

    publishers of quality graphics products.More will be said about ITC Design Palette both in L 1 8 , 1 c

    and other media over the coming months. Commercial releaseof ITC Design Palette is scheduled for this coming September.If you would like further information on ITC Design Palette,or have a product that you would like distributed, please let usknow. As in the past, ITC wants to make this new technologyavailable to everyone, and continues to support the vendorsand end users in the graphic arts community.

    (TABLE OF CONTENTS) HEADLINE: FRIZ QUADRATA ITALIC NUMERALS/TEXT: FRIZ QUADRATA (MESSAGE FROM ITC) HEADLINE: ITC OFFICINA SANS BOOK TEXT: FRIZ QUADRATA, ITALICMASTHEAD: ITC FRANKLIN GOTHIC BOOK CONDENSED, BOOK CONDENSED ITALIC FRONT COVER: ITC FRANKLIN GOTHIC HEAVY THE INDEX TO ITC TYPEFACES APPEARS ON PAGE 52

    4

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    e r o ' 'Underpants $39 (Pa g

    AutologicTypeScriber'v.3.0Includes: The licensed Adobe andBitstream libraries, plus theAutologic range. Font Access:Locking. (FontHaus is an authorizedunlocking dealer.) Free: 12 fontsfrom the Autologic range (brochureavailable). CD Price: $18 for alimited time. $29 after d uly 30,1994. Font Unlocking: Individualfonts priced at $18 each.

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    I T C DESIGN PA-LETTEThe Instant Graphics Source

    ComingSeptember

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    e ca ri BackgroundsBorders, yet they are somuch more than that.

    ese six collections of textures,patterns, shapes, and scenery

    can not only provide backdropsand frames for great designs,hey can be the centerpiece of

    today's most inventive layoutsand illustrations.

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    Circusfrom the Expressions Collection

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    greeting cards menusdirect mail brochurescalendars CD covers

    Pillarfromthe Abstractions Collection

    Frame B o rderfrom the Synthetix Collection

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    LetrasetFor free brochure and demo disk, call 1 -800-343-TYPE or contact an authorized Letraset dealer.

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    THE YET CON.HELPING TO

    SAVE THEENVIRONMENT.

    AGENCY:BARTLE BOGLE HEGARTY,

    LONDONART DIRECTOR:DENNIS LEWISCOPYWRITER:

    STEVE HOOPERTYPOGRAPHER:

    MATTHEW KEMSLEYPHOTOGRAPHER:

    DAVE STEWART

    AGENCY:THE BALL PARTNERSHIPEURO RSCC SINGAPORE

    ART DIRECTOR:ANDY CLARKECOPYWRITERS:

    DANNY HIGGINS,JIM AITCHISONTYPOGRAPHER:

    FOTOSETTERPHOTOGRAPHER:ALEX KAIKEONGILLUSTRATOR:ANDY CLARKE

    0AGENCY:

    GGT LONDONART DIRECTOR:

    KATE STAMMERSCOPYWRITER:

    TIM HEARNTYPE DESIGNER:

    JONATHAN BARNBROOKTYPE DIRECTOR/TYPOGRAPHER:

    LEN CHEESEMANPHOTOGRAPHER:

    JOHN PARKER

    Why martlearned to walk.

    YET CONRESTAURANT

    Lurpak0

    GC:This is inspired.You have a f ishchanging into a

    carrot with a type-face that then

    combines lowercase letters with

    capitals, serifwith sans serifand it all gets

    incorporated intoone font. This

    funky font throwsyou for six.

    ET:This is a subliminalone-two punch.The surreal ideahere extends tothe type which isweirdalso imply-ing half one, halfthe other. Alsothe layout is "off:'allowing you torelate to thisstrange worldcreated here.

    Sony9GC:

    These ads areclean, simple andconsidered with

    a strong sense ofdesign. It is l ike

    you'd imagine tele-vision technology

    to bevery orderlyand controlled as

    seen in the sansserif body copy.

    The type here isopened up with

    character spacingand leading. Thisshows they wereconfident aboutwhat they were

    saying by puttingall that air aroundthe type. Classic.

    ET:This is about let-ting the headlinebe the headline.Knowledgeablespacing lets theletters breathe,lets them walk.There is greatcolor to the type,to the weight ofit. The type worksperfectly withthe rest of the ad-synchronicity.

    8

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    Carks0GC:

    works especiallygraph and the

    background color.There is also an

    interactionbetween the type

    is trying to sellshoes. Notice the

    effective use ofserifs modified

    here from an oldFrench-style type.ome of the serifs

    like shoes. Thetype projects theproduct and ser-

    vice; it enhancesthese ideas.

    typewith

    AGENCY:BMP DDB NEEDHAM,

    LONDONART DIRECTOR:PETER GATLEYCOPYWRITER:

    JON MATTHEWST Y P OG R A P HE R :

    DAVID WAKEFIELDPHOTOGRAPHER:

    BRANKA JUKIC

    ET:The conceptincluding the kindof typographyused here depictsits own world...It is organic in thatit grows from theideas within it. Thetypeface itself isreally remarkablein its feet. It is feet.There is beautifulkerning here and alot of craft.

    Alto cAN YOUTRosT TO

    Look AFTER THELITSTE ONES*?

    CLARKS

    e ConRestauranGC:

    The type in thisad gives you aninstant feelingof what kind oftalking about.

    Effective use ofting these weirdinconsistencies

    and blurring. Dis-tressed, decon-

    structed type, ifyou like.

    TWO TYPEDESIGNERS DISCUSS

    CURRENT TYPOGRAPHICTRENDS IN PRINTADVERTISEMENTS

    ET:Playing off themenu idea, thistype captures fastfood. It has a fastXerox quality.The feeling in thetype completesthe world it comesfrom.

    AtTiTuDeby Margaret Richardson

    GRAHAM CLIFFORDAND EDW N TORRES ARETYPOGRAPHIC DESIGNERSWORKING IN ADVERTISING.EACH IS A STYLIST USINGTYPE, AND EACH IN HIS OWNWAY ADDS A SENSE OF IN-TEGRITY AND A PERSONALPANACHE TO THE PRINT ADVER-TISEMENTS THEY CREATE.BOTH CLIFFORD AND TORRESHAVE BUILT IMPRESSIVEPORTFOLIOS AND DEVELOPEDPERSONAL THEORIES ONWHAT MAKES TYPE WORK WELLIN AN AD (SEE PAGE 12). WEASKED THEM TO CHOOSERECENT PRINT ADS WTH EFFEC-TIVE TYPE TREATMENTS ANDCOMMENT ON THEM. HERE ARESOME OF THEIR SELECTIONS.

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    GC:Very well consid-

    ered type. It istouchy-feely with

    the sans serif typeredrawn to befat, wide, very

    black, serious andactually touch-

    ing. Matches themood of the great

    photo on theopposite page.

    uys. .txPavetRau

    ET:The type here isillustration. It is asif the words smile,have humor, a sen-sory experience.You could touchthe typeface itself.The type looksas though it issaying the samething the photo-graph is sayingand you want tohold the whole ad.

    HAAGEN-DAZS

    AGENCY:BARTLE BOGLE HEGARTY,

    LONDON ART DIRECTOR:MARTIN CALTON

    COPYWRITER:WILL AWDRY

    TYPOGRAPHER:MATTHEW KEMSLEY

    PHOTOGRAPHER:NADAV KANDER

    10

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    A G E N C Y :BMP DOB NEEDHAM,

    LONDONA R T D I R E C T O R :TONY DAVIDSON

    C O P Y W R I T E R :KIM PAPWORTHT Y P O G R A P H E R :

    DAVID WAKEFIELDP H O T O G R A P H E R :PIETRO PRIVITERA

    fom The Mouth of The Lour.

    HOUSE ANDG A R G L E .WE WOULD like to think that Aberlour Single MaltWhisky has always maintained its sense of decorum.The bottle rcitrained and decorous to a fault, the hueof its contents confined to a mellow palette. Its sub-tlety of flavour having appeal for only the moil dis-cerning palate. Furthermore, Aberlour is a sensitive

    soul, accatomed to the moil felicitous surroundings,the diklillery neilling in a pine clad vale, served by itsown limpid spring, in the very heart of Speyside.We would ask, therefore, that you maintain particu-larly high ilandards with regard to your own personalsurroundings. For while Aberlour should be served at

    room temperature, it should certainly not he servedin any room. Indeed, where flock wallpaper, PVCreplacement windows or false oak beams are in evid-ence, householders have frequently found the bottleexceedingly difficult, if not impossible, to open.Under the direil decorative conditions, the cork has

    a tendency to swell to such proportions as to renderthe golden liquid within totally inaccessible, therebyreducing the hapless bolt to a condition of gibberingembarrassment. Although it's reassuring to refleltthat, given this predileilion, few enough of such folkare likely to be of an inclination to embarrass easily.

    .$V,RLO&AIS 101/EAS OLD .1SINGLE SPEYSIDE MALT

    fom The Mouth of The Lour.

    A KICK UP THEARTS.MODERN ART. A contradiaion interms, wouldn't you agree?

    Picasso, for goodness' sake, waspositively square compared withhis pof'tcursors, curse them all.Precious few of the blighters wouldpass milkier as decent painters anddecorators.

    I, for one, would be the oinvite Jackson Pollock to wallopthe walls chez moi.

    And what pearls of wisdom orlight of enlightenment have theybellowed upon the world?

    Hockney tells us that there area lot of swimming pools inCalifornia. 0 blinding flash ofinsight

    While, as for Bacon, a fittingRomeo jamiliae if ever there wasone, moil of his scratchings(pork) resemble the interior of the local butcher's shop.

    The latat thing, we hear, is crazy paving (thearta)? sculptor? landscape gardener? should and willremain anonymous.) Ycs, the careful arrangement ofchunks of slate, large and small, into jolly little circlesor squares. A talking point on the patio, maybe, butsitting in {late in the Tate? (Where, one might add,one dare not so much as use a litter bin for fear ofdefiling some priceless exhibit, though ones crumpledcopy of The Times, casually discarded on the foyer

    86V,R 1 , 000I S ' 10 TEARS OLD 4

    SINGLE SPEYSIDE MALT

    floor, has every chanceof becoming one andwill, like as not, soonfind itself roped off inits own little temenus,the objet of massveneration.)

    Aberlour SingleMalt Whisky is, ofcourse, an ancient art,inured in the time-honoured ways of ourforefathers.

    And if it is to claimcommonalty withany of those dabblersin oil and water, itwouldbe wthTurner. Both beingjuilly famous for themagnificent mellowglow they create

    DISTILLERS LTD.

    A G E N C Y : BMPDDB NEEDHAM, LONDON

    A R T D I R E C T O R :MARK REDDY

    C O P Y W R I T E R :RICHARD GRISDALET Y P O G R A P H E R :

    DAVID WAKEFIELDI L L U S T R A T O R :

    ALLYSON MCNEILL

    CAMPBELLS

    0

    ET:Care is taken hereto the layout andthe space. Thishas an organicquality. It's ele-gant, but really offin a way. There'san understandingof positive/nega-tive space which ishard to achievewith originality.

    CampbesDstillers Ltd0

    MarcOPooGC:

    le, interactivead. The type is

    curved, organic,

    and feeling ofthe mood of the

    whole ad.

    O zMARCO'POLO

    /11 a t e riaisGC:

    When you thinkof single malt

    Scotch whisky,you simulta-

    neously think:'Where's thatmetal type?'

    But this is a dif-ferent class.

    ainstakingly set,

    appropriatefor people who

    drink Scotch(or aspire to).

    ET:Here Scotch isScotch and itlooks it with thetype having anold world feeling.Timeless, classictype with a deli-cate use of orna-mentsthingsyou don't seeenough of.

    11

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    AGENCY:MARCEOTES, FERTITTA,

    DONAHER WEISS,N E W Y OR K

    ART DIRECTOR:BRIAN O'REILLYCOPYWRITER,LORI KORCHEK

    TYPE DESIGN AND LAYOUT:EDWIN TORRES

    PHOTOGRAPHER:GEORGE HOLZ

    f t our kendsg e l th e m

    earookte504/4 Fm Arr r,.,4*+4uut eft

    ir.44%* tvutiret ...Atte. ....toy .7,4M.V.044sC s MM terI ral a Ina*A.m.moot,vv. ch.ar toed. ttr vo wII.* tW11Ltaf.4.0

    1 ward to Ow-A=ZENZUMM

    E A P O Nagainst E N T A I .

    RETA D A T I U N

    wonext .01401. otburet- 43144bk111Nt146.044

    March of Dimesdeame am. mracial

    tOrReS Freelance Type and Graphic Designer

    Weiss,

    oet, inworld" to share

    visible,

    grows from withinitself so that nothingis extraneous, andwhat happens in thead seems natural andreal.Type has to fitnaturally into thisworld. Sometimeswithin the ad, type isthe main message,sometimes a sec-ondary message,somet imes a non-message, all fittinginto this world.

    "Sometimes goodtype becomes invis-ible to the messagebecause that's howi t should be. Some-times type s the mes-sage; it is the illustra-t ion. Type can l ivein many waystypeas text,as border,as ornament. Typeshould exist on manylevels."

    As a student at PrattInstitute, Torres wasintroduced "verygently" to typographyby Jack Tauss. "Iresponded to typog-raphy as art. Letter-forms were l ikepainting. There wasthe excitement of abig headline, the sub-tleties of spacing.Type could be big,malleable."Torres, now 35, hasworked as a graphicdesigner in New Yorkfor 15 years. As assis-tant type director atJ. Walter Thompsonfrom 1980 to 1982he honed his typo-graphic sensibility.As a f reelancedes igner and hand-letterer, Torres incor-

    porated in his designshis personal visuallanguage inspired byl iving in the EastVillage. In 1986, hebecame art directorat Scholastic Publica-tions' software divi-s ion, which added aneditorial focus to hisdesign. In 1989, hewent to Margeotes,Fertitta & Weiss asdesign director.

    "When I d iscoveredpoetry in 1991, mytypographic languagealso opened up," hesays. "Designing isbeing a sculptor of let-ters on a page, andwords as poemsbecame a naturalextension of that ideafor me."Torres strongly feelsthat the best adver-tising creates worldswe want to share in,and these are fueledby "letting the real in,letting ads be influ-enced by the worldaround you ratherthan focusing just ondesign and onlydesign.

    "Everyone should beinfluenced byeveryone," he asserts.

    "The more tools youhave, the moreresources you haveto create."

    NEWSDAYAGENCY:

    MARGEOTES, FERTITTA,DONAHER rR WEISS,

    NEW YORKART DIRECTOR:RICH CROLAND

    COPYWRITER: CHARLES HALLTYPE ILLUSTRATION:

    EDWIN TORRES

    MARCH OF DIMESAGENCY:

    MARGEOTES, FERTITTA,DONAHER & WEISS

    ART DIRECTOR:RICH CROLANDCOPYWRITER: CHARLES HALL

    HEADLINE TYPE DESIGN:EDWIN TORRES

    PHOTOGRAPHER:JON HOLDERER

    HEADUNES/BYLINEJINTRO TEXT: ITC SYMBOL BOLD SUBHEADS/CAPTION HEADS: ITC SYMBOL MEDIUM TEXT: ITC SYMBOL BOOK, MEDIUM CAPTIONS: ITC SYMBOL BOOK, BOOK ITALIC CAPTION NUMBERS: ITC ZAPF DINGBATS

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    Your high school our S O I I a S baseball\earbook. ard collectionForour freeFire Safety Guide"please call:1-800-AETNA-11C.

    EVERYTHIlip IN LIFE VERYTHING IN LIFEwas as reliable as a was as reliable as a

    ISINNOVATIVETYPOGRAPHY

    MAKINGTELEVISION

    COMMERCIALSMORE

    EFFECTIVE,OR JUSTADDING TO

    THE NOISELEVEL?

    B YPETERHALL

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    COMPUTER-ANIMATED TYPE FLIES OUT OF THE SCREENIN R/GREENBERG ASSOCIATES' TREATMENT OF A CAMP-BELL'S SOUP SLOGAN BY AGENCY BBDO. SURPRISINGLY,MANY DESIGNERS AND DIRECTORS PREFER ROSTRUMCAMERA ANIMATIONS FOR THEIR "NATURAL SHAKE."

    (often in Franklin Gothic) in white on a black background or black on white, with no imagery, asin the "drinking and driving wrecks lives" kind of campaign, or Aetna Insurance's current campaign,which uses screen words accompanied by sound effects. Martin Fox, editor of Print magazine,has this explanation: It seems to me that not using visuals implies that an advertisement is notonly serious, it is honest. In times when people did more reading, people trusted words less andimages more. The image could not lie. But through our exposure to TV, we've seen that imagesdo lie. It's a kind of reversal. People don't trust the image, so advertisers are eliminating the image:'

    Since in advertising, new ideas have the lifespan of a fruitflybefore they are copied, the all-type commercial has already evolved intoself-parody. New York agency Dweck and Campbell uses the technique withconsiderable aplomb in its low-budget commercials for Giant Carpet, andthe Chicago Congress Hotel. One Giant Carpet spot airing around the time of the last presidentialelection had various insults hurled between candidates relayed in white typewriter type on a blackscreen, ending with a pun on the effects of "mudslinging" on your old carpet.

    A distinctly different philosophy seems to be at work in the current wave of layeredcommercials on MTV and its various clones. Here where commercial breaks sandwich youth andculture shows, the type is reinforcing a sense of information overload, adding another dimensionto spots that are already deeply textured and fragmented. The best examples are sneakers adver-tisements, for companies like Reebok, Nike and Vans. Between the fast-cuts, disjointed musicand (intentionally) deteriorated imagery appear equally disjointed anddeteriorated typefaces, with letters often appearing in fast succession toform barely discernible words and sentences to spell out the advertisingmessage. In that extraordinarily self-referential TV way, these fonts havethemselves been actually inspired by the deteriorating effect of low resolution TV on typography.

    Oddly enough, such developments have not necessarily gone hand inhand with the capabilities of type-manipulating technology. Though it is possible to make typedo almost anything you want with a Paintbox computer, many directors and typographers prefer totake a traditional approach. Eye Design, New York, has animated type to do elegant acrobatics infood, furnishings and tampon commercials by filming it with an old-fashioned Oxberry stop-motioncamera, once even using Letraset rub-downs. P. Scott Makela's type in the "Think Twice" Vanssneakers spot was animated by splitting the letters of the slogan onto each side of a spinning card,and Kaye and Barnbrook filmed the explosive "Can You Kick It" Nike spotat London's Speedy Films using only distorted Xeroxes as artwork. "I likethe things that film can give you that video can't:' says Nancy Laurence,principal of Eye Design, "such as the color and motion and subtlety:'

    You get the impression that such widespread inventiveness is a healthy sign for typog-raphy in advertising. The fact that agencies and directors are beginning to work in conjunctionwith print designers (like Makela, Barnbrook, Scher, Barry Deck and David Carson) seems to be anindication that the advertising industry has finally woken up to an awareness of typography'spotential on TV. Or is it evidence that graphic designers have finally given up their disdain for thephosphorescent box, and learned to see its potential?

    Peter Hall is a Brit ish journalist who spec ial izes in design a nd a dvertising. He writes forseveral publ icat ions in England and the United States.

    IN NIKES "CAN YOU KICK IT?" UK SPOT, JONATHAN BARN-BROOKS STRETCHED FRANKLIN GOTHIC INTERMITTENTLYBURSTS OUT OF THE SCREEN IN A SEQUENCE BY SPEEDY FILMSOF LONDON, ANIMATED ON A ROSTRUMCAMERA. "NOTHINGWE DO IS ANIMATED ON THE MACIN TOSH;' SAYS BARNBROOK.

    H EA DL INE: (S) IT C L UBA L IN GRA P H BO L D, (C) IT C KA BE L UL T RA , (R) IT C A VA NT GA RDE GO T H IC DEM I , (E) IT C FENICE UL T RA , (E , F , Ns ) IT C FRA NKL IN GO T H IC X-CO M P RESSED DEM I , (0 ) I T C A VA NT GA RDE GO T H IC BO L D,(T) ITC OFFICINA SERIF BOLD, (S) ITC AVANT GARDE GOTHIC BOLD SUBHEADS/BYLINE/PULL-QUOTE: ITC OFFICINA SERIF BOLD TEXT: ITC OFFICINA SANS BOOK CAPTIONS: ITC OFFICINA SANS BOLD

    PAULA SCHERS LUXURIOUS ORNAMENTED TYPE,ANIMATED BY CURIOUS PICTURES, HELPS CONVEY THEIMPRESSION OF TIME STANDING STILL WITHIN A THIRTYSECOND SPOT FOR TASTERS CHOICE FLAVORED COF-FEES BY AGENCY McCANN-ERICKSON, NEW YORK.

    THE WILDLY EXPERIMENTAL REEBOK "INSENSITIVE PIG"SPOT BY DIRECTOR JEFFREY PLANSKER, WITH TYPE BY BARRYDECK, WAS CUT AND THEN PULLED OFF THE AIR BY AGENCYCHIAT/DAY AFTER COMPLAINTS BY FEN OFFENDED AT THEINSINUATION THAT THEY COULD BE THOUGHT OF AS PIGS.

    "SO MUCH TYPE ON TV IS DONE IN-HOUSE BY PEO-PLE WHO ARE ESSENTIALLY B-MINUS STUDENTS" SAYSP. SCOTT MAKELA, WHO DESIGNED THE SPINNING TYPEON THIS VANS COMMERCIAL BY AGENCY EISAMAN,JOHNS & LAWS, DIRECTED BY JEFFREY PLANSKER.

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    NEVERUNDERESTIMATETHEPOWERO F SO UP

    CC91 1 . 10

    "TYPE ISUSED TO GIVEIDENTITY TO

    INCREASINGLYBLAND

    PRODUCTS:'

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    dr M NY OFTHESE DS

    PPE LTO OURI N T E L L I G E N C E

    Taking a bunch of plastic-looking models put

    G R E A T A D SY E S , TH E Y 'RE O U T TH E R E .

    PATRICIA A. RIEDMANasks creative people to select their favorites

    and explain their appeal.UT OF THE HUNDREDS OF ADSthat we are exposed to every day, a handful man ,age to register in our consciousness. A FEW may

    even be deemed attractive enough to be framed and hungon walls. What are the SPECIFIC QUALITIES that makethese ads so memorable? We were curious, so we asked asampling of graphic designers, illustrators and critics toshare their favorite print ads with us.

    What we found, naturally, is that an affinity for a cer,fine artist. H A T M A K E S A C A M P A I G N A P P E A L I N G I S Q U I T E P E R S O N A LSome people, for example, appreciate sardonic humor,while others are drawn to an emotional hook. Yet most ofthe ads here share one QUALITY: many transcend a simpleproduct message with a larger statement about culture orsociety, such as a Barneys ad steeped in supercilious attitudeor a Benetton ad showing the bloodied shirt of a young sol-dier killed in Bosnia and Herzegovina, punctuated withcopy in which his Serbo'Croatian father pleads for peace.

    and offer insight into a generation, arace or a gender. Since t989, a Nikeprint campaign which features frankcopy about real women has elicitedcountless letters from people rangingfrom husbands worried about their

    wives to students writing term papers. When they first setout to do the campaign, Wieden & Kennedy copywriterJanet Champ and art director Charlotte Moore merelywanted to create ads that speak sincerely to women andcounter all the beauty myths hyped in women's magazines.

    Above all, T H E B E S T A D S A R E H I G H L Y O R I G I N A L A N D U N D E R I V E DCampaigns like Absolut stay fresh and popular becauseartists are given free rein to interpret the product withinthe familiar bottle shape and logo, which act as signpostsfor readers to find the ad and product.

    S I l i L L CREATIVE COMMERCIAL WORK, thehard-sell message in all of these ads be,comes invisible beneath a cloak of provocative imagesor entertaining copy.'P.A.R.

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    ACTIVEWEAR BY U.S.A. CLASSIC, INC.

    places no one really goes.

    J I L L YSIMONSPrincipal

    Concrete, Chicago

    U N I T k n C O L O R SOf bk NE MK

    G A RY K OE P K EPrincipal

    Koepke International, Ltd.Magnolia, Massachusetts

    In'houseliviero Toscanihotographer:liviero Toscani

    k I t 's s u c h a s i m p l ei l lu s t r a t i o n s t y l e , but there's somuch attitude in it, andit's so New York. It's thissort of irritated chichi atti'tude that's so beautifullycaptured. I really relateto what they do becausethere's so much humorin it and it's so human.There's still this enormouslevel of sophistication andyet they don't talk downto you, in fact they allowyou to take it even furtherin your own mind.

    i t T h e s e a d s m a k e m e t h i n k , not only about Benetton and buy,ing their clothes, but about the rest of the world and our placein it. I don't mind them making a political and social statement;it's something that needs to be done anyway. It doesn't have anything to do with Benetton, their clothes, or looking good. It hasdo with a comment. It's really a strong statement and I don'tthink they're doing it to sell clothes. I think they're doing it tobe active.

    Client:Everlast ActivewearAgency: Goldsmith/Jeffrey, New YorkArt Director:Gary GoldsmithCopywriters:Tom Churm,Gary Goldsmith

    MICHAELBI ER U TPartner

    PentagramNew York

    -I t h o u g h t i t w a s g r e a tbecause it attempts toshort circuit all the usualways that things get sold.And appropriately somyguess is that their strat ,

    e g y i s t h a t t h e y r e t h e r e a lthing and everyone else'ssportswear is about havingsome sort of attitude.This comes from the peo,for the guys who get thecrap pounded out of themday in and day out. So ithas to be good by exten'sion somehow.

    Client: BarneysNew YorkAgency: BNY AdvertisingArt Director:Siung Fat TjiaCopywriter:Glenn OBrienIllustrator: JeanePhillippeDelhomme

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    A B S O L U T W A R H OO R G I F T DE MIRY OF Aasotui V O D K A ( E X C E P T W H E R E P R O H I B I T E D BY LW CALL 14300-243-37E17PRODUCT OF SWEDEN 40 AND 50% A C OL(.' 1 AND100PROOF).100%GRAINNEUIRAL SRRITS0198 5 E STATE AND E C I N D A T I O N AR4atClient: AbsolutAgency: TBWA, New YorkArt Director: Arnie ArlowCopywriter: Peter LubalinIllustrator: Andy Warhol

    G A R YK E L L E YIllustrator

    Cedar Falls, Iowa

    t o I t 's a l w a y s t h e r e , it's always in the same formatand it's highly recognizable for that reason. But with ,It's letting the artist respond to the campaign and theproduct and in doing that giving the artist an incredi'ble amount of freedom and still creating a productawareness. I don't think you could ask for much more.

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    ware awry llitmasts trot kith. sim larity tad ret WNW Is fat * ags same the swam Pere Gam far thrst MID orMarstast

    Cap Beale atmaswam br.11111i (1$1111101111-uer.SW NS LANGSTON

    Client: The Gap,San FranciscoAgency: In-houseArt Director:Susan TolandPhotographer:Annie Leibovitz

    JANEKOSSTRINPrincipalDoublespaceNew York

    - 0 F r o m S h a q u i l le O ' N e a lto Herb Ritts to SpaldingGrayonce you saw Gapclothes on these people, allof a sudden there was areal aspirational qualityto them. The ads tookone Gap item, whether itbe a T-shirt, or a jacket ora pair of jeans, and placedit within their wardrobe soyou saw that Gap clotheshad the capacity to be partof your style-consciouswardrobe. I think it wasincredibly successful andworked on so many levels.It totally changed people'sperceptions of the Gap.

    Also, the beautiful black-and-white imagery,whether Matthew Rol,Annie Leibovitz, reallycaptured the soul of thepeople and that just trans ,about the company.

    Client: NYNEX InformationResourcesAgency: Chiat/Day, New YorkArt Director: Dion HughesCopywriter: Cabell HarrisPhotographer: Rick Dublin

    E L L E NSHAPIROPrincipal

    Shapiro DesignAssociates, Inc.New York

    k I t d i d m o r e t h a n j u s t t e ll y o u about a product, it entertained you and gotyou to think. It also alerted me that there is one "authentic" Yellow Pagesbecause we're often getting bombarded with offers to advertise in other yellowpages, and there could have been such a heavy-handed way to go about this.The art direction is so simple, and that's what's great about it. It also says thatNYNEX is an unconventional company. You may think of your telephonecompany as this enormous, corporate, uncreative bureaucracy, but then lookat these very offbeat and funny ads.

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    t.c.reamVon,1...11.1 ....by

    V on

    Client: LogitechAgency: Woolward &Partners, San FranciscoArt Director:Tracy HopperCopywriter:lain WoolwardPhotographer:Dan Ham Photography

    M I C H A E LOSBORNEPrincipal

    Michael Osborne DesignSan Francisco

    t o I t ' s o n e o f t h o s et h i n g s that when you're flip,you have to stop andlook at it.

    On top of all that, that'smy son. It's two differentbabies but the one on theright is my son, who's now14 and has size 11 feet.When he was a baby I wasdoing a promotion piecefor a printer, and whilewe were shooting him ona light table, he kind of gotthis weird look on his face,rolled over on his back andstarted going. The photog,and so I have this sequenceof shots where it's creatingthis perfect arc.

    The first time I saw thatshot used was in this ad.[I later discovered] the pho-tographer sold it to a stockhouse. My son hammers onme pretty regularly aboutit, physically. I had the adhanging up in the office andhe'd see it and just startwailing on me, "DAD "

    Client: Colombian CoffeeAgency:DDB Needham, New YorkArt Director:Sharon OcchipintiCopywriter: Susan LieberPhotographer: Stuart Heir

    4 T h e r e a r e c e r t a in a d s in this series that they'vebeen playing with the logo for years and years. Andthis is one that I think is very clever and good. It'snot about the coffee really, and it's not about any ofthe standard things that coffee ads are about. They'vejust chosen to focus on this logo and all the visualgames that they can play with it.

    f e e l s G o o d

    KA R R IEJ A C O B SWriter at large

    Metropolis

    Patricia A. Riedman is associate editor of Advertising Age's Creativity.22

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    A W O M A N I S O F T E N M E A -S U R E D BY THE THINGS SHE CANNOTCONTROL. SHE IS MEASURED BY THE WAYHER BODY CURVES OR DOESN'T CURVE, BYWHERE SHE IS FLAT OR STRAIGHT OR ROUND.SHE IS MEASURED BY 36-24-36 AND INCHESAND AGES AND NUMBERS, BY ALL THE OUT-SIDE THINGS THAT DON'T EVER ADD UP TOWHO SHE IS ON THE INSIDE. AND SO IF AWOMAN IS TO BE MEASURED, LET HER BEMEASURED BY THE THINGS SHE CANCONTROL, BY WHO SHE IS AND WHO SHE ISTRYING TO BECOME. BECAUSE AS EVERYWOMAN KNOWS, MEASUREMENTS ARE ONLYSTATISTICS. AND STATISTICS LIE.

    Client: Family LifeMagazineAgency: FallonMcElligott, MinneapolisArt Director: Joe PoprockiCopywriter: Luke SullivanPhotographer:Rick Dublin

    JOE DUFFYPrincipalDuffy Inc.

    Minneapolis

    t o T h i s s e r v e s a s k i n d o fa b r e a t h o f f r e s h a i r in that it'sclassic, it's very legible andperhaps most important,the typographic treatmentreally conveys the personalsity of the product. It com-plements the look of themagazine without aping itand it's lighthearted with-out being difficult to read.It also stopped me becauseit's well-crafted and nicelydesigned. This ad could havebeen appropriate 50 yearsago, yet at the same time it'sappropriate for today.

    H a i r T i n t i n g

    NYNEXIf it's ou t there, it's in here. YellowPages

    Client: NikeAgency:Wieden & Kennedy,Portland, OregonArt Director:Charlotte MooreCopywriter: Janet ChampPhotographer:Michael O'Brien

    DICKMITCHELLPrincipalRBMM

    The Richards GroupDallas

    I w i l l a lw a y s r e m e m b e rt h i s a d . I first noticed itpinned to an art director'swall and even thoughgraphically, it wasn't veryunusual, it was veryunlike Nikewith ele-gant typography andsophisticated photogra,phy. Most ad copyleaves me with a memoryof the product, but thiscopy left me with some,into women. It made mewant to read it. And Iremember I wanted totake it with me.

    O ne minuteyou're tiowinytuiies, iAenext, you're

    explfaininy sex.fyure.

    Client: NYNEX InformationResourcesAgency: Chiat/Day, New YorkArt Director: Dion HughesCopywriter: Cabell HarrisPhotographer: Rick Dublin

    STEVEHELLERSenior

    Art DirectorThe New York

    Times

    t o T h e r e ' s n o t h i n g m o r e e x c i t in g in an advertisement than something thatengages you to act and react. The one thing about the NYNEX ads is thatthey keep you interested by posing the ridiculous riddle, which is as mucha pun as it is a riddle and therefore keeps you in touch with the advertisingmessage. I 'm not all that interested in NYNEX Yellow Pages, but it cc,

    n l yot embedded in my brain after that series. Quite frankly, I missthe fact that they're not there anymore; I think they added something to thecityscape that most advertising does not.

    HEADLINE: ITC FRANKLIN GOTHIC DEMI X-COMPRESSED SUBHEAD: ITC FRANKLIN GOTHIC HEAW, ITC GOLDEN TYPE ORIGINAL BOLD 8IO/CAPTIONS/DROPCAPI1EXT: ITC GOLDEN TYPE ORIGINAL, BLACK; ITC FRANKLIN GOTHIC DEMI, BOOK X-COMPRESSED, HEAVY; ITC ZAPF DINGBATS

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    EGARDED BY THE AD COMMUNITY

    E? JADED CONSUMERS NO LONGERESPOND TO ADS WHICH RESORT TO

    BY JOYCE RUTTER KAYE

    int cam paign to en-ane S oc iety o f Utah in Sa l t Lake Ci ty ,

    wny,ndoned pe t s peer ing pla in t ive ly ou tthe ir cages . Instead , he and h isch by highlighting pets' irresist-

    h o ts o f c a t s a n d d o g s s u p e r i m p o s e d o nages of newspaper "personal ads" pro-ot ing the ir f iner tra i ts . "That dea th andoom approach is overused; expla insardon. "We d idn ' t want people to adoptan a n im al ou t o f gu i l t . We wanted to showhat you are instead a dopt ing a spec i f icpersonality. We thought the personal adsou ld be a good way to i l lu s trate that : '

    The cam paign is currently running inr e g io n a l m a g a z i n e s s u c h a s Utah Holiday,Salt Lake City Magazine a n d Utah Business.The v isual approach wa s inspiredby a series of quirky anim al portraits shotby New Mexico photographer Chip Sim ons.When S im ons showed h is work las t year a ta m eet ing o f S a l t Lake Ci ty ' s chapter o f theAm er ican S oc ie ty o f Med ia Photographers,Cardon im m ed iate ly envis ioned them forthe cam paign . He fe lt S im ons ' o f fbeat u seof co lored ge ls and s l igh t ly-skewed ca m eraangles gave h is work an appeal ing im m e-dia cy. "The anim als seem to be looking eyeto eye at the reader; ' he says.The larger challenge was pullingthe copy together for the classif ied ad back-g r o u n d . S i n ce e a c h a d w a s m e a n t t o b eread , copywriters John Kinkead , Rebecca

    Bentley-Mila and Bryan DeYoung wrotesom e 4o or ig inal ad s f rom the pe ts ' poin to f v iew, borrowing the sam e form ulasused by m ate -seeking huma ns . One ad , forexam ple, reads , " I 'm b ig , bad a nd fu l l o fenergy. If you're into the prissy, bow-on-the-head pood le type, you 're barking u pthe wrong tree. But if you're looking for ahowling good t im e , le t' s ge t toge ther andwatch the f ur f ly . 261 - 29 1 9 . The H um aneSociety of Utah:' New York's Village Voicein spired m any o f the rac ier exam ples , saysCard on, with its colum ns of "alternativel i festyle" ads which are scarce in a city half-populated with conservat ive Mormons.This was ev ident in one dog 's ad , wh ichread s: "Black lab looking for someon e intobondage . T ie m e up. Pu t m e on a leash .Show m e you care :'

    In order to m ake the Hum ane Soc i-e ty ads re semble t rue c lass i f ied a d pa ges ,the she l ter 's logo was com ple te ly om it -t ed from layout s . The c l ien t agreed totake th is r isk, says Cardon , becau se the irn a m e a n d p h o n e n u m b e r a r e r ep e a te d i neach t iny ad . "How m any c l ien t s can saythe ir nam e appears 4o t im es in one ad?"he a sks . (Care fu l readers wi l l a lso not iceone space which lists credits for thosewho contr ibu ted to the cam paign , f romthe copywriters to the color separa tors.)Taking unusu al m easures l ike theseare necessary for any client , Cardon says,becau se , "you have to get noticed: ' But hedoes a pprec iate the creat ive f reedom probono work somet imes o f fer s: "You canoften see the best work in this ca tegory,because people can real ly cu t loose : '

    USING SHOCKING, GRAPHIC IMAGESAND NEGATIVE COPY. THE BEST PROBONO CAMPAIGNS THESE DAYS TAKE APOSITIVE APPROACH TO PERSUADINGPEOPLE TO ACTION. MANY, LIKE THOSESHOWN HERE, COMBINE A GOOD IDEAWITH ATTRACTIVE VISUALS TO MOTI-VATE, RAISE AWARENESS, INSPIRE ANDOFFER A GLIMMER OF HOPE.

    C L I E N T :T H E H U M A N ES O C I E T YO F U T A HA G E N C Y :E V A N S G R O U P ,S A L T L A K E C I T YA R T D I R E C T O R :S T E V E C A R D O N

    C O P Y W R I T E R S :J O H N K I N K E A D ,R E B E C C A B E N T L E Y -M I L A , B R Y A ND E Y O U N GP H O T O G R A P H E R S :C H I P S I M O N S( A N I M A L S ) ,E D R O S E N B E R G E R( N E W S P A P E R S )

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    Doyle's television campaign creates

    without exploiting their grief. Commer-cials shot by Chelsea Pictures director NeilBurger artfully show silhouettes of youngpeople shot through a rough, gauzy fabricwhile a mother wonders with bitternessand sadness how her child has become oneof the "disappeared?' In one commercial,a mother asks, "Have you seen my daugh-ter? This is her photograph. She still hasn'tcome home, not in ten years. Only yester-day she was a little angel in my arms. Nowshe's a young lady, a studentanother 'dis-appeared:" A bright light then shinesthrough the hazy gauze, to signify AmnestyInternational's symbol of hopea lightedcandle wrapped in barbed wire. The closingvoiceover says, "Every day, Amnesty Inter-national shines a light on such cases, wher-

    ever they occur?' This statement is followedby information on how viewers could vol-unteer for the organization.

    A print campaign offers furtherincentive to help. Spreads feature black-and-white photographs of former prison-ers who have been released through theefforts of the organization. Each photoemphasizes the hands of the subject inorder to show that while prisoners' handsare bound, free people are able to takeaction, explains Doyle, who created thecampaign with copywriter Robin Raj. Fif-teen celebrated photographers have con-tributed their talents to shoot the printcampaign, including Annie Leibovitz, MattMahurin, Phil Porcella, Nadav Kanderand Curtis Johnson. Eventually, there will

    be 5o ads produced in the series. Current-ly, John Doyle is organizing an exhibitionof the work to be held at the InternationalCenter of Photography in New York City,and hopes to have the images publishedin a book.

    In each print ad, the portraits facea page which briefly describes other casesstill under investigation. The copy is fol-lowed by ten blank lines to suggest a letterthe reader could write to appeal for a pris-oner's release. Giving people clear-cutoptions like this, Doyle adds, allows themto become involved without feeling asthough they are being manipulated. "Theads can't overextend themselves:' he says.

    "You have to allow the audience to enterinto the message?'

    CHOICEWI-4AT A SEAVTIFVL

    AGENCY:MAD DOGS & ENGLISHMEN,NEW YORKART DIRECTOR:JULIE KATAKURA

    COPYWRITER:SUSAN TREACYPRODUCTION COMPANY:IN-HOUSE

    hite team was in the midst of

    ple to donate blood. W hens unique style of anima-

    Chel White, the feature's Portland-based director, shared their enthusiasmand agreed to cut a commercial from theoriginal film. Backed by Citizen M's funkytechno/hip-hop/jazz version of DukeEllington's classic, "Caravan," the :3o

    "Photocopy Jazz" shows fleeting shots offaces, hands and other body parts cap-tured by a copier's light source. (In thiscase, White used a Sharp model SF82o).White animated the images by filmingthem with traditional stop-motion anima-tion, and used colored gels to add depthand heighten the dream-like sense of sur-realism. White says he enjoys workingwithin the limitations of the copier, whichinclude a small surface area, a shallowdepth of field, and a low-quality resolu-

    tion. "On a graphic level I am attractedto its grittiness and high contrast level:'he says. "It's not like traditional photog-raphy; it's almost like looking at x-rays."In both the commercial and film, blacksequences appear between images tosimulate the pauses the machine makesbetween copies. This White says addsa "sense of mystery;' and allows the view-ers time to add their own interpretationof the work, an approach he feels benefitscause-related advertising.

    "Photocopy Jazz" is remarkablebecause most pro bono spots are morelikely to borrow conventional visualapproaches instead of introducing a newmedium to television. But the Blood Cen-ter had already shown a propensity for

    experimentation by accepting two ear-lier commercials from the agency whichused twangy cowboy music and an ele-gant mlange of typefaces. (McElligott,Wright, Morrison, White has since closed.)According to Rhode, the client realizedthat these unexpected elements wouldappeal to a younger audience, rather thancommercials which focused on the direeffects of dwindling blood supplies. "Wedidn't want anything that said, 'you'rethe next to die;" says Rhode, who is nowworking at Wieden & Kennedy, Portland.White appreciated the creative teamssubtle approach to this life-or-death issue.

    "As image makers we're all developinga vocabulary:' he says. "It makes sense totry something different."

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    Amnesty I nternationa1 - g ( 1 1 1 -7 , - Y

    ART DIRECTOR:JOHN DOYLECOPYWRITER:ROBIN RAJ

    PRODUCTION COMPANY:CHELSEA PICTURES,NEW YORKDIRECTOR: NEIL BURGER

    AGENCY:MCELLIGOTT, WRIGHT,MORRISON, WHITE,MINNEAPOLISART DIRECTOR:JOHN MORRISON

    CLIENT:MEMORIAL BLOODCENTER OFMINNEAPOLIS

    Medical technology cancopy' just about anything .

    on League

    The commercial was created to

    softly-lit, slow-motion footage of childrenplaying while their parents reflect in avoiceover how they made the difficult, butrewarding decision to bear a child. Thespot closes with the tagline, "Life. What abeautiful choice."

    To present NARAL's opposing view-point, the creative team eschewed usingan emotional approach because they feltthat would be too manipulative and wouldpotentially repel certain fragments of thepro-choice faction they were targeting. "Wefelt playing with people's emotions wouldbe wrong; it's like an invasion of privacy,"says Julie Katakura, who art directed thespot. Her partner, copywriter Susan Treacy,adds: "We wanted to have a really fair ad;one that was inarguable:'

    Their commercial, therefore, en-compasses a broad variety of personalpreferences through a rapid successionof Katakura's white-on-black line draw-ings and hand-written title cards createdto introduce each category. At first, theteam considered using stock footage orphotographs to represent these choices,but realized that the simpler the artwork,the more the spot could embrace a wideraudience. Often there are humorousvisual surprises. The super reading, "WhoYou Worship," for example, is followedby a drawing of a bible, a Buddha and ElvisPresley. A peace symbol, a gun and a tele-vision set are used to illustrate both "WhatYoure Against" as well as "What YoureFor." The spot closes with the image of a

    man and woman, who are soon joined byscores of other people, which Katakura andTreacy say symbolizes the diversity andthe numbers of those who support the pro-choice movement.

    Before breaking on New York City'sWCBS-TV this spring, the spot was screenedat a dinner celebrating NARAL's 25th anni-versary, where it was welcomed by support-ers with cheers and applause. Accordingto Treacy, representatives from the organi-zation told her they were pleased thatthey are now able to defend their positionwith an approach which celebrates Amer-ican freedoms, instead of one which triesto evoke guilt or shame. "We didn't want tofight fire with fire," explains Treacy. "Wewanted to fight fire with water."

    COPYWRITER: JEAN RHODEPRODUCTION COMPANY:CHEL WHITE FILMS,PORTLANDDIRECTOR: CHEL WHITE

    Except blood.

    H EA DL INE/ NUM ERA L S/ INT RO , IT C CH A RT ER REGUL A R YLINE/TEXT: BOLD REDIT S: REGUL A R, BO L D

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    A S

    chhics Ca coo

    y

    graphicsfirst intn in tompetith VisC to aroughITC libmily tn 1992

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    OR SUCH A SMALL typefamily, Friz Quadrata hashad a long and diversehistory. The original design,

    and first weight, of FrizQuadrata was created in 1965 y Swiss designer Ernst F riz,who studied grap hics in Zurich ith Rudolf Bircher and

    Walter Koch. Friz Quadrata made its first international appear-ance when Visual Graphics Corporation released the design inthe late 196os as one of the winners of its International Typeface

    Design competition.Sev eral years later, ITC entered into a cooperative arrange-

    ment with Visual Graphics Corporation through which VictorCaruso collaborated with ITC to add a b old weight to Friz's origi-

    nal. Both designs then became available through ITC and VGC.F or this reason, this family is one of only two typefaces in the

    ITC library that does not carry the IT C prefix.Since its introduction as an IT C family in 1 97 3 , Friz

    Quadrata has suffered from the lack of an italic companion.In 1992, the F rench designer T hierry Puyfoulhoux submittedhis solution to the problem with two weights of Friz Quadrata

    Italic. The ITC Typeface Review Board was delighted by theprospect of finally completing the Friz Quadratafamily, butknew that the new d esigns had to be w orthy complements tothe existing roman designs. This resulted in an unprecedented

    level of involve ment on the part of the Board in the fine-tun-ing of character shapes and proportions. Puyfoulhoux not

    only took the guidance in stride, he also prove d to be a master-ful interpreter of the Board's suggestions.

    Puyfoulhoux, 32, studied calligraphy and typog-raphy at the Scriptorium of Toulouse with Bernard

    Arias, and at the Imprimerie Nationale (the GovernmentPrinting Office) in Paris under the direction of Jose

    Mendoza, another ITC typeface designer. The FrizQuadrata Italics are Puyfoulhoux's first commercially

    produced typeface design.Friz Quadrata is available in Roman and Bold weights,

    as well as their corresponding italics. Oldstyle figures areavailable for the new italic designs. Only licensed ITC Sub-

    scribers are authorized to reproduce, manufacture andoffer for sale these and other ITC typefaces shown inthis issue. This license is your guarantee of authenticity.

    These new typefaces will be available to the public onor after May 23,1994, depending on each manufacturer's

    release schedule.29

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    Scriptoriurnale (the Go Mendoza,PuyfoulhoR A TA I S A V A Iding Italicslicensed Ioffer for s

    nse is your

    R I Z Q UA

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    grapn, aParisner. Throduced tyId weights as wellailable for the newzed to reprpefaces shoty: These n23, 1994, d

    OUX, 32, STUse with BePrinting OfC typefacemmerciallyan, and Bold wetes are availabre authori

    igns. Only lifacture anissue. This 1'es will be aon each maraphy and t, and at theris under thhe Friz Qua

    typeface dess well as their cnew italic deuce, ma

    sed ITC Suir sale thyour guao the pubi's releaseat the Sc,ie Nationalof Jose Meiics are PuyA

    Z QUADRATAesponding Iti. Only licene and of

    Friz Quadrats Bold Italic

    , u acn this issue.typefaces will be aending on ni

    1ED calligra ty,rnard grin,ffice) in Pae designer.Ily producedold weightsailable for trized to repefaces shown ss,These new typefaces ti1ff AP I O kMb 4I MNAMPSAA

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    Friz Quadrata Italic

    A B C D E F G H I J K L M N OP Q R S T U V W X Y Zabcdefghtjklmnopqrstuvwxyz12345678908,Vi%cOACEficofeetbfifl"'{](:;, ?1234567890

    8/10Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subject of typograpby is difficult because the principle applying to one job may not fit the next. No two jobs are ides

    10/12Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improveappearance and impact. Stating specific principles or guides on the on the subje12/14Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve ap14/16Excellence in typography is the result of nothing morethan an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contempora ry adv ertising the perfect integration of design elemen ts often deman ds unorthodox typography. It may require the use of comp act spacing, minus leading, unusua

    Friz Quadrata Bold Italic

    A B C D E F G H I J K L M NO P Q R S T U V W X Y Zabcdefghijklmnopqrstuvwxyz123456789010CE%ciliffffic

    12345678908/10Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific principles or guides on the subject of typography is difficult because the principle applying to one job may

    10/12Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designermust care. In contemporary advertising the perfect integration of designelements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; whatever is needed to improve appearance and impact. Stating specific princi12/14Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in iis planning; the designer must care. In contemporary advertising the perfect integration of design elements often demands unorthodox typography. It may require the use of compact spacing, minus leading, unusual sizes and weights; what14/16Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must careIn contemporary advertising the perfect integrationof design elements often demands unorthodox typography. It may require the use of compact spacing, m

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    m

    The future of advertising either looks scary or exciting these days, dependingupon where you're perched. Talk to a young "hot shop" creative director likeJeff Weiss of Margeotes, Fertitta, Donaher & Weiss or a cutting-edge graphicdesigner like David Carson and you'll hear that advertising is on the cusp of anera of wide-open experimentation, which could be more stimulating than the"creative revolution" of the 1960s. Talk to a nervous, mid-level creative directorat agencies like Lintas or McCann-Erickson and you're more likely to hear direpredictions of slashed budgets, encroachment from Hollywood, and a com-ing techno-revolution that threatens to destroy "classic" advertising as weknow it (strike up the violins ). , Both sides are right. In all likelihood, the nextfive to seven years will be one of the most tumultuous periods in advertisinghistory, bringing a Colgate smile for some and an Excedrin headache for manyothers. But there's little question that when the dust clears, advertising will lookdifferent than it does today. k New & Improved: Audiences, Clientsand Media Change is already occurring all around. Start with the audi-ence: Designers and art directors such as Carson, Weiss, and Wieden &Kennedy's Jelly Helm have demonstrated that the post-Boomers, weaned onMTV and video games, seem to respond to information in more abstract, live-lier and quirkier forms. At the same time, this audience is more ethnically andculturally diverse than any other in history. Hence, the classically art-directed,slogan-driven, star-studded, mass-appeal commercial doesn't generate somuch as a blip on the radar of this younger audience. lients are chang-ing, too. They're devoting more resources to direct marketing and other adver-tising alternatives. They're experimenting with smaller, regional agencies, or inCoca-Cola's case, say ing to hel l with agencies al together (Lastyear, Coke hiredCreative Artists Agency, a Los Angeles talent agency, to handle much of thecreative portion of its account.).inally, as we've heard ad nauseam,the media world is changing. True, there's a certain degree of hype and

    production of ads on lower budgets, because clients will need a lot more ads."Where once you made three commercials, you'll have to produce 30," saysBalkind. The reason? If there are 500 channelsor even 150 channels, or 100options available on one interactive channelthere are going to be a lot moreplaces to put customized commercials. 'This fragmentation in the media dovetails with the growing diversity of the audience: a channel for every kind of per-son. . The idea of targeted advertising isn't new, but so far the ad industryhas done a pretty lousy job of it. Ads for ethnic minorities often do little morethan insert actors of a particular ethnicity into Norman Rockwellish commer-cials; these ads end up being just more wallpaper, albeit in different colors. Butwhen targeting is done with true empathy and sophistication, such as Wieden& Kennedy's resounding Nike campaigns for women, the results are quite ef-fective. For future advertising to succeed, ad creators must become more cul-turally aware. Account planning and focus groups may help. What might helpeven more is a deliberate effort by agencies to recruit non-white, non-malesinto creative departments. . Finally, it may be time for advertisers to stop talk-ing about "standing out." More likely, the commercial of the future will blendinto the surroundings, like a double agent. "The distinctions between pro-gramming and advertising will continue to blur," says Balkind. We've alreadyseen the rise of "infomercials=and while you may laugh at their lack of sophis-tication, advertisers are taking them very seriously. What began as a mediumfor chatty entrepreneurs is now moving to the next level. Microsoft, Braun,Revlon, Mattel and other major companies have either produced or are nowproducing infomercials. "You'll see infomercials become much more sophisti-cated, with higher budgets, better directors and more of a storytelling format," -

    says Steve Dworman, publisher of The Infomercial Marketing Report.Print advertising is undergoing a similar blurring of the boundaries that

    a e speculation surrounding the chatter about 500 channels, but even ifthe new media environment hasn't fully taken shape, we knowit's coming. By the end of this year, Time Warner's interactive TVpilot program in Orlando, Florida, should be up and running. View-ers will use a mouse to manipulate commercials on the TV screen: Youclick for more detailed specs on a product, click again for an elaboratedemonstration, click yet again and a coupon prints out alongside yourTV set. A more advanced version of this system could conceivably enableviewers to alter the background scenery or the color of a car in a com-mercial. But even in its present form, this system "irrevocably alters theway advertisers interact with customers," says Time Warner multimediamanager Bruce Judson, who predicts that interactive TV will be rolledout nationwide in the next three to five years. ds which are 'Liv-ing Brochures' o what do all of these changes mean in terms ofwhat the commercial of the future will look like? The consensus seems tobe that new commercials will have to be faster, smarter, and far more re-sponsive than the old ones. Not to say that there won't be a place for ad-vertising's glib copywriters and visionary art directorsonly that theymight have to work a little harder. Peter Farago of Farago Advertising,who will help create commercials that run on the Time Warner interac-tive system, says that ads will still need to attract viewers with a simple,effective hook (a dramatic visual, a great opening line)but will berequired to follow that up with detailed information that comes at view-ers in stages, continually tempting them to proceed to the next stage. Insome ways, commercials may become more like living brochures, sug-gests Aubrey Balkind, president of Frankfurt Balkind Partners: "Infor-mation and images will have to be structured hierarchically," he says.Balkind thinks graphic designers, as well as video game creators, willplay an important role in developing these commercials. Don'texpect a lot of high-production glitz and overpaid celebrity endorsers inthe commercial of the future. There will be a demand for more in-house

    IIVI G 1111separate editorial from ads. In the last year or two, we've seen a

    spate of "magalogs," which attempt to disguise a catalog as a maga-zine. In one of the more bizarre twists in this phenomenon, the clean-cutLand's End catalog recently hired the down-and-dirty playwright DavidMamet to pen an essay for its pages; next, we might see John Updikewaxing eloquent about Sony headphones. ou Can't Run, YouCan't Hide f course, this commingling is unsettling because itmakes advertising even more insidious than it has been in the past. In thelatest video games from Sega, advertising characters and logos are slylyembedded in the game itself. And that kind of infiltration could be justthe beginning of things to come. A recent issue of Wired magazineraised the fascinating prospect of ad 'viruses" that would be planted inthe information networks that we use; every time you watch a showerscene on your computer/TV, an image of Ivory soap would sneak intothe picture. That's pretty futuristic, but one way or another, advertiserswill continue to cross boundaries into programming. They have nochoice, after all; if ads aren't camouflaged, we'll all just keep shootingthem down with our remotes. In some ways, the coming changes inadvertising can be beneficial to all of usthe creatives, the clients, eventhe audience. If old commercials were like bad salesmenscreaminga rehearsed sales pitch at you as they push the same product on every-body who comes into the storethen maybe new commercials will belike good salesmen. They II actually listen to you, respond to your needsand give you enough information so that you can make the right choice.On the other hand, they'll be so smooth and friendly you won't evenknow you're being sold something. Until you notice that you bought thedarn thing. arren Berger writes about advertising for The New York TimesMagazine, Communication Arts, and Advertising Age's Creativity.

    HEADLINE/SUBHEAD/BYLINE ITC MIXAGE BLACK EXT/B10: ITC ERAS LIGHT, MEDIUM, DEMI, BOLD, ULTRA

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    t 1A tPIN

    rs o f u!,GA::7I O W 0-01 41(.124i

    Lucky Strike < "I The Man Who Know

    LUCKY STRIKE MEANS FINE TOBACCO

    ucts resulted in coughing, throat irritation, and raspy voices, although thelatter was sometimes promoted as sexy. Yet to deflect public attentionaway from those ailments, cigarette advertising exploited certain per-ceived heal th benefi ts , such as increased vigor and stamina. Cam elsasserted that their costlier tobaccos had a stimulating effect, while Luc kyStrike took the wholesome app roach with their motto "It's toasted," as inan ad that reads: "Everyone knows that sunshine mellowsthat's why the

    `TOASTING'process includes the use of the Ultra Violet Rays...Everyoneknows that heat purifies and so `TO ASTING'...removes harmful irritantsthat cause throat irritation and coughing." Increasingly concerned withcomplaints of ill health side effects, by the mid-1930s Lucky Strike hadadded the following tagline to its ads: "sunshine mellowsheat purifies."

    Men played a k ey role in cigarette advertising for women. They ranthe agencies, produced the images, and wrote the copy that created thestereotypical or commercially correct woman. But in clubhouse fashion,men also m ade fun of their own ludicrous stereotypes. In "Shanghaied bya Silly Salt?...Light an Old Gold" the Esquire magazine pinup artist GeorgePetty's voluptuous gal is hit upon by a licentious old gent, but the copyreads that Old Gold is her saving grace: "When a retired skipper proves heis anything but retiring by dropping anchor alongside of you...Offer him

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    STLIERTOBACCOS

    old... he'l l welcome i tbreeze gracefully

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    QuarkXPress for Power MacintoshQuark, Inc., developers of the pagelayout program QuarkXPress hasannounced the development of anative version of QuarkXPress forApple Computer's line of systemsbased on PowerPC technology. (A na-tive application is one that has beenrecompiled for the PowerPC chipand takes full advantage of the supe-rior speed of PowerPC technology.)The Power Macintosh version isscheduled for release in the first halfof 1994 and will ship on CD-ROM,making it Quark's first product to beproduced in this format. Includedon the CD-ROM with the new versionwill be more than $1900 worth ofadditional software, including AppleEvents Scripts, QuarkXPress librar-ies, two image databases, fonts and avariety of Quark XTensions. For Mac-intosh. $995. Quark Inc., 1800 GrantStreet, Denver, CO 80203. (303) 894-8888. For more information, circle422 on reader service card.

    PageMaker and FreeHand for thePower MacintoshAt Apple Computer's internationallaunch event for the new Power Mac-intosh computer line, Aldus Corpo-ration announced native versions ofAldus PageMaker 5.0 and Aldus Free-Hand 4.0. Both applications havebeen recompiled and optimized totake full advantage of the superiorspeed of the PowerPC microchip. Asa result, PageMaker and FreeHandfor the Power Macintosh computerperform between two and ten timesfasterdepending on the operationthan their counterparts running thefaster Quadra computers in Apple'scurrent Macintosh line. Other Aldusproducts slated for conversion tothe Power Macintosh in 1994 are Per-suasion, TrapWise, Gallery Effects,Fetch, Color Central and CoSA After

    Effects, making Aldus the supplierof the largest family of native appli-cations. PageMaker $895, FreeHand$695. Aldus Corporation, 411 FirstAvenue South, Seattle, WA 98104-2871. (206) 622-5500. For moreinformation, circle 423 on readerservice card.

    Add 3D Impact to Type and GraphicsaddDepth is a new graphics applica-tion from Ray Dream that allowsusers to easily add the impact of 3Dgraphics in all types of business com-munications. Users can create 3Dtext and objects either from scratchor from imported clip art and illus-trations. Ray Dream has also intro-duced the addDepth Wizard, agraphics assistant that fully auto-mates the creation of 3D graphics.The addDepth Wizard allows the userto choose from dozens of profession-ally designed 3D graphics templates.Users simply enter their text andselect the design they want. For Mac-intosh and Windows. $149. RayDream, Inc., 1804 N. Shoreline Boule-vard, Mountain View, CA 94043. (415)960-0768. For more information,circle 424 on reader service card.

    New Image LibrariesLetraset has announced the releaseof three new collections of photo-graphic images designed especiallyfor users of multimedia and desktoppublishing applications. TheLetra-set* Images forMultimedia andDesktop Publishing series contains120 images in each CD collectionfor use as backgrounds. Images rangefrom standard marble, stone andpaper surfaces to the unusual andunimaginable. For example, theIndustrial CD offers galvanized back-grounds such as rusted metal andtin cans to manhole covers, Styro-foam peanuts and broken glass. Allof the full-screen backgrounds areready to use in 72 dpi, 24-bit RGBand TIFF format. For Macintosh andIBM compatible computers. $249 perCD; $599 for all three CDs. LetrasetUSA, 40 Eisenhower Drive, Paramus,NJ 07653. (800) 526-9073. For moreinformation, circle 425 on readerservice card.

    Create Innovative EffectsFractal Design Corporation has intro-duced version 2.0 of Fractal DesignPainterThe program


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