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LAURENCE OLIVIER AS KING LEAR .. part of a series I call actors in their roles. They represent a unique and exciting challenge because I try to capture two personalities in one portrait: the performer and the character he or she is portraying . Olivier as Lear was comm issioned for a poster by Mobil for a public television production ." SAM WATERSTON AS HAMLET " A poster for a New York Shakespeare Festival production . Instead of an introspective and passive Hamlet, Waterston played him in a state of active madness and rage ." GARY COO PER "This was a cover painting for New York magazi ne. After one too many comm issions involving violent and threatening images, my request for something more positive brought forth th is assignment to portray one of our great mythic heroes-the Coop."
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- - - - Our Chi1uz!Orient cntises bring you ;_:::.___::_.:....:...__ history in the making as China, the great '-'-.c__:;___ _ slumbering giant, awakens to find its place - - - - in the world. From the giant pandas of :.. .:. :. :. . .:.:. .- '---- Dalian ... industn'al Shanghai ... nwdem, ____ sprawling Beijing to countryside panoramas, the Forbidden City, a mmwrable trip on Shanghai's Grand Ca11a4 and the Great Wall, you'll see the contrasts ofChina as few have seen them be/ore. And, these fullyescorted slwre ex£ursions are includ.Rd in the cruise fare. Pius, sample beautiful Nagasaki with its cheny blossoms, and Pusan, gateway to Kore.a.'s ancient civilizations. On the wa)i you11 hear k1wwledgeable lecturers on a11cient and nwdem Asian history 01ul culture. 38
landiXOQramsintormation pages 90-91 .
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Communication Arts September/ October 1985
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He was concerned with treating the message so that it was not only aesthetically pleasing, but also clearly communicated. Important goals for Beall were to give life and emotion to subjects that often were treated too casually, and to eliminate all of the unnecessary details to provide instant understanding by the reader. In a major article on Beall in 1951, Interiors magazine said, "Scientists like Beall's treatment of Scope because its complicated statistical tabulations, graphs, and data are easy to read and understand; artists study it because it is acknowledged to be one of the most lucid and beautiful examples of layout, typography, and graphic art produced in this country." Beall could design in three dimensions as effectively as two. He began to do package design in 1936, and by 1957 fully 50% of his work was in this area. His approach to packaging was similar to that of his flat graphics-direct. His packaging solutions for Wiss Products were notable for their strong and simple shapes, readable type, clear colors, and
Left: spread from a 1949 Scope ; the right-hand page is the start of an article; the left-hand page is one of several "ads" Beall would design for each issue. Right: 1944 cover for Scope. Contents page for Scope , 1945, plus an ad for Cheracol.
CHERACOL For the Inevitable Coughs of Early Spring In spite of the strides made by chemotherapy f or the relief of respiratory infections we still must rely on old remedies for the symptomatic relief uf coughs.
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