mayjunpreview1985 by Commarts

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Gemeinschaftsschau der Baden - Wurttembergischen Elektroindustrie

IBM I

CHucK O'REAR

Left: self-portrait taken with a wing-tip camera as O'Rear flew an ultralight near Chase Lake, North Dakota. Cover of National Geographic for an article titled "The Bird Men ." Cattle being herded, an article on British Columbia in National Geographic. Robert Gilka, director of photography. This page: aerial photograph for Project Documerica, Gifford Hampshire, director. Golf course sand traps for Texas, A Salute From Above, book published by Kevin Weldon & Associates. Mary-Dawn Earley, photo editor. Wheat trucks , from an article on the California Delta, National Geographic. Robert Gilka, director of photography.

Counter-clockwise from above: Steve Jobs and John Sculley. The Chiat/ Day creative team. Back row: Steve Beaumont, Lee Clow, Steve Hayden. Steve Kessler, Richard O'Neill. Middle row: Penny Kapousouz, Christine Donohoe, Elaine Hinton, Laurie Brandalise, Marc Chiat, Steve Rabosky, Joe Sosa. Bottom row: Diana Barton , Gary Johnston, Marten Tennis, Harry Ray. From Apple's creative team: Tom Hughes, Tom Suiter, Denys Gilmour, Clement Mok, Susan Kare. The entire Apple Creative Services Group.

APPLE COMPUTER

The television commerc ial on the near right opens with the announcer saying , "With Macintosh from Apple, you can do all of this ..." and then shows a selection of various activities on the screen . The announcer continues with " ... by simply doing this." as a finger touches the button on the mouse. The announcer says, "Macintosh" as the Macintosh super appears on the screen . In another commercial , the Macintosh simplicity of operation is presented in a head-to-head comparison with IBM . This opens with a product shot of the IBM PC and then three large manuals drop in front of it with a heavy thud. The announcer says, " Why learn all of this ..." (cut to product shot of the Macintosh) " . . . when you can use Macintosh by simply learning this?" The small Macintosh manual drops into the frame and then there is a dissolve to the logo as the announcer says " Macintosh ." The art directors on both commercials were Lee Claw and Brent Thomas, the writers were Steve Hayden and Penny Kapousouz, the director was Mark Coppos. Unfortunately both of the film prints we separated from were heavy on the blue. The manual is small, ? V2 x 9, 166 pages including appendixes and index. The design is functional and attractive and the information is clearly and simply presented in words, pictures and diagrams. Clement Mok, Tom Hughes and Ellen Romano created the format for the manuals, but the actual design is done by Chris Espinosa, user education manager, and his team, obviously a close collaboration between designers and writers to present information in the most direct and understandable manner.

Communication Arts May I June 1985

APPLE COMPUTER

Anple annollllces a tecbn& 'cal breakthrough of in~le proportions. Following the Apple lie introduction at Moscone Cente r, it was promoted with 8-page inserts in magazines (shown here) and a three-page newspaper ve rsion of the ad. Gary Johnston , art director; Lau rie Brandalise, writer; Lee Clow and Steve Hayden, creative directors for Chiat/Day. Apple 's Creative Services produced sales materials and a 16-page brochure. The cover and first spread photographs in the brochure are also used on the Apple lie packaging . Denys Gilmour, designer.

Introducing the Apple llc. The new Appte•nc Peoonal • Computer. It's about the size of a3-ring binder. It weighs less than 8 pounds.' And costs less than $1,300.' ' Yet what it can do is all out of proportion to these proportions: It can run 0\'er 10,000 different programs. For bu<iiness. For education. Or just for fun. Which means it can do more for yoo than any personal computer by any other name. Or, for that matter, initials. And it can do all that right out of the box. The Apple lie comes complete with e.'ffYthing yoo need to start computing. Including a free 4-diskette course to teach.yoo how. An RF modulator that lets you use )OOflVas a monitor. And a gaggle of builtIn features that ca;t extra on less senior machines: 128Kofinternal memory-twice the pOI\'ff of computers twice its size. Abuilt-in disk drive that could cost $400 if it weren't. And built-in connections that let you add printers, phone modems and

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Communication Arts May I June 1985

an extra disk drive without adding $150 goodies called "interface cards:' Its full size keyboard is as ergo-

nornically perfect as an IBM• typewriter's. Which is a lot more than

And with 16 ultra high-resolution colors, it can bring any presentation to life-whether it's a quarterly report or geography lesson. If yoo\~ heard about Apple's Mactnta;h'" computer, )OO\-e also heard about the Apple~louse-a little device that lets )OO tell a computer what yoo want simply by pointing. ll:~l~ the Apple lie can easily adopt this same creature comfort. Allowing yoo to use advanced pro· grams like MousePaint'" electronic illustration. W1thout laying a hand on that beautiful k.e)ix>ard. And while IBM's junior com· puters don't relate \\~II to their elders, ' the Apple Uc is on speaking terms with the entire Apple II family of computer.; and accessories.

Afamilyknow.n or, among other things. advanced technology, ironcomputers by the same name can say. clad reliability and the world's largest ~th full SO-character display library of software. capabilities, it can show yoo more at All of which makes the Apple lie once than smaller-minded computers. much bigger than it looks.

APPLE COMPUTER

The first Apple trademark; Ronald G. Wayne, designer. Logo with apple shape and bite and sans serif type; Rob Janoff, designer. Apple mark with stripes applied to signage and vehicle identification ; Rob Janoff, designer. Facing page , top row: Apple identity manual and divider pages. In a reverse from the usual development of a corporate identity program , their identity evolved and was perfected on real projects ; then the manual was created to maintain the look and integrity of future projects and as a gu ide for design executed in other countries. Tom Suiter, creative director; Ronn Harsh , art director and designer; Steve Carroll , writer; Becker I Bishop, photographer. Second row: signage; Rob Gemmell , designer. Legal signatures as defined in the manual : the corporate signature; two vers ions of the international signature. Version A is for countries where the logotype Apple Computer is legally and linguistically acceptable . Version B is for countries where the word "computer" does not translate or is not used. Third row: business card, part of the stationery system designed by Madelene Lees , Lindy Cameron and Ronn Harsh. Veh icle identity; Rob Gemmell and Ronn Harsh , designers. Bottom row: stock certificate; Tom Suiter and Steve Jobs, designers. Stanford Stadium , Palo Alto, where all the visitors to Super Bowl XIX sat on the Apple identity.

Communication Arts May I June 1985

HEINDEL'S BALLET

Communication Arts May I June 1985