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Left page : Nordstrom shopp ing bag and catalog cover . Leslie Creighton , art director . 18 x 18, pastel on paper. Pacific Telesis brochure illustration . Keilan i Tom , designer; Keilani Tom Design Associates , design firm . 22 x 28, pastel on paper . Metro magazine cover article illustration concerning South American refugees "The Sanctuary Debate ." 24 x 18, pastel on paper.
This page brochure illustration . Robert Kastigar, art director; Halleck Design , design firm ; Tragon , client. 15 x 20, pastel on paper. The Rain Forest Book cover illustration . Sharon Smith , designer; Sharon Smith Design, design firm ; Living Planet Press , client. 28 x 22, pastel on paper. .
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and the hand-those two parts were a little problematic. Otherwise I tried to make things fairly traightforward. "Physically working on the mural was much more interesting than I thought it would be. I just thought it would be frustrating , that the medium was so crude compared to what I'm used to. But once I was used to the crudeness , I started to enjoy it. It was a wonderful project and I loved doing it. At this stage in my career I like working on things that are new and challenge me to be a little uncomfortable. This was much more like a painter ' s project than an illu trator 's project because it did not have clearly defined objective . I'm not apologizing for the way I respond to illustrative problem because I think I do that in a fairly high-level way. But thi s kind of project take different reflexes and a different way of thinking about my work. The possibility existed for a more subtle, multi-layered work than perhap I was used to thinking about, so it took me a while to feel out that space. " Rehearsal Chairs was officially unveiled by the pre ident of Mutual
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Benefit Life, the corporation th at sponsored the mural for Lincoln Center, on June 13 , 1990, a year after Jim began working on the first sketch. "Ironically, Mutual Benefit Life, who actually had no say in making the final choice, loved the first sketch better than anything else I did. So they decided to do it a a mural for their corporate headquarter in Newark, New Jer ey. I wasn 't surprised because it has a kind of charm that the fin al sketch didn ' t, but the final is a much better piece of art. And out of the whole experience that probably means the most to me."
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Below : Final design of the mural.
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E 1986, the Honolulu Symphony took on new leadership. Howard Grant, executive director, and Laura Maziarz, director of development, arrived in Hawaii from the Long Island Symphony. They gave Clarence Lee the challenge of developing unique and attention-getting program cover .
" My idea was to create cover u ing the ymphony's ba ic public relations material , but to stretch and manipulate them, by developing various blends and color overlays to create a montage, 'symphonic' look ," Lee aid. Each cover is based on either one composer or performer. Clarence and Tom Tietz of Honolulu Graphic Art use negatives and color keys to create the cover and were able to do a great deal of experimentation because of donated materials. Several of the performers wished to purchase the cover art, but, because the process is with graphic arts film, there is none. Since Lee began creating the covers, operating costs went from a net annual loss of $6,000 to a $50,000 surplus due to increased ad revenues. Clarence Lee, designer/photographer ; Laura Maziarz, wri ter; Tom Tietz, technical assistant .
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