Black and white illustration of the "tomato" visitors' center in Leamington, shown in the Canada text. Asked about the structure, the woman behind the counter said, "You're in the home of the Heinz factory, and Heinz buys 38% of all the tomatoes grown in Canada. There are 1,200 tomato growers here in Western Ontario, working about 30,000 acres of tomatoes. That's upwards of 45 square miles. Canada used to be totally dependent on foreign countries for tomato paste ... So what kind of building would you have put up? A rutabaga?" Illustration by William Low.
33
R.
HAMILTON SMITH
Personal photograph of trees in a meadow. White barns shot for an upcoming book on Illinois. Jim Patrick, publisher ; Foremost Publishing, client. Personal table-top shot later used as the cover shot for Developing the Creative Edge in Photography. Karen Geller-Shinn, picture editor; Bert Eifer, publisher; Writer's Digest, client. Grain elevator with moon. "This is not a filtered shot, but the result of the weirdest sunset I've perhaps ever seen:¡ Paul Panoc, art director; Farm Journal magazine, client.
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51
ONCE AGAlN NIKE BR1NGS ACROWD10 ITS FEET
Athletes aren' t the only ones rising to the occasion in our shoes. But that doesn' t come as a surprise to us. Because we've spent the last few yea rs developing infants' shoes that make
a little one's first steps easier. How? Starting from the bottom,our shoes have fl at outsoles to lessen those all-toofrequent wobbles and topples. There's more to these outsoles. They' re very light. And
WHI/1111 DOIIBJ; WMRL It's a complicated, confusing world out there. Just about the time you have
~~~!r.o;~;er=!. ~
two mile stretch of concrete. Followed by a rain-soaked field . If you're a runne~ there just aren't many simple answers m life. Save one. The ¥.affle. As familiar as this shape has become, nothing is better qualified ~~k~ the worst the
::tt
t~::=~will='Jrue
in to act as an independent shock absorber- penetrating softer swfaces, pushing into the midsole on harder ones.
thet re rubber. So they bend eastly at the ball of the foot. On top of all that, we made the uppers fro m either so.ft leather, canvas, or nylon. All of which are very flexible. And very comfo rtable.
One last thing. Every ike infants' shoe has an extra wide
and deep toe box. To better baby's foot. And make the shoe the shape of a much easier to get in and out of. Infants' shoes from ike. Proof that what goes up doesn' t have to come d own~ At least not quite so often. •...... '""'"
a drde, fo r exam ple, the W..fne appears to require Jess torqu e to rotate, and should lessen both strain an d fati gue. That's not to say we have n't tried to make imp rovemen ts. '1M!'ve come out with variations of that famous square ever since we introduced it, way back in 1972. Via high speed fil m and computer analysis, we discovered tha t most runners tend to toe-out when they land . As a result, on
:ft~~~~~~~~~f~~~~7nes.
But that's about it. As far as discovering some revolutiona ry new shape o r system better able to carry you th roug h a
~~~~fi,';~~~; a~~~:~lfsehaven't.
At our research lab in Exete~
~"J:ti'!":;~;,;w~o:::'C:.,~ the cushioning of a running sh oe a full lOpercent.
;:~ i.~ Th~tuldHjonof\I!MfflntothtumtJhot
tignific•ntlyrrducnimp•ctlhoc:k.
Granted, it is possible to
~~s!o~fl:.~~u~~=~Pa muCh tliickel; much softer rubber.
to ;ot:t~":~ ~~~~~~~tt;:r: -
5
ed more radical, remember. Sometimes there's a defini te
advantage t~ being square.
Unfortunately. that means giving up both traction and wear. W! also suspect the Wlffle's square shape is superior to others durinll those criticaJ in direction or stride. Compared to
hl'l'rl!lrr , O~Irl
changes
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Communication Arts January/February 1987
TH1<STtiOIOO..
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till· Ill":\ I
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ck ... i~nn of
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hats; Ol1l' day th.n of a SfWCialist in )Mtkaging:
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/:.nth 1jlh, 11 urlli'llln
in
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o ne of .t
annual reports, or l·xhibitio ns.
hmrd upo11 tltr mmr talrnt
tht:: ab ility to sec a problem in rdation to a clien t's needs, a nd to solve it in terms mea ningful to the public .
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d e ~l'J"J<ic~e §;ule GORDON
MARTIN
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I I I I 75
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Communication Arts January/February 1987