Numbers in Nature

Nov 20, 2018


The C.G. Jung Institute of Los Angeles publishes a quarterly journal, Psychological Perspectives. I’ve served as its graphic designer for 18 years, primarily in collaboration with Nancy Mozur, the magazine’s art editor.

Nancy begins each issue by identifying an artist whose work is appropriate for the chosen theme. Nancy and I gather suitable samples and from those we select the best images for the front and back covers. For most issues, we pick several additional images to appear on inside pages. I then lay out the covers and inside pages.

Quite out of the blue, for the Winter 2018 issue Nancy tapped me to create the cover art. The issue theme is “Number, Matter, and Psyche.”

I happily accepted the assignment, and immediately thought of some photographs Dennis Keeley had posted on Facebook; all were images from his garden, and several of them were succulents. Dennis’ images are gorgeous, and many illustrate a sort of geometry I’d learned about in school.

continue reading… “Numbers in Nature”


Tom Wolfe

Oct 25, 2018


At some point in my second year at Art Center, I was given an assignment to read a book and create some illustrations. I chose Tom Wolfe’s Radical Chic & Mau Mauing the Flak Catchers, two distinct but related articles, previously published in magazines and put out in book form in 1970.

I read and illustrated only “Radical Chic,” about a social gathering held at composer Leonard Bernstein’s Park Avenue apartment, at which Bernstein and others of New York’s liberal elite entertained members of the Black Panther party. My drawings were realistic pencil renderings. I no longer recall the subject of two of the pieces but one was of a joint sitting on a silver tray.

Sometime after that I learned of Wolfe giving a talk at USC, a few miles’ drive from Art Center. I attended the event and after Wolfe spoke, I introduced myself and gave him those drawings.

A few months later I received an extraordinary letter:

continue reading… “Tom Wolfe”


Live Talks LA

Sep 17, 2018


On September 9, a 12-page marketing piece I designed for my client, Live Talks Los Angeles, was included in the Sunday New York Times print edition for subscribers throughout Los Angeles and Orange counties — about 50,000 households.

Live Talks LA hosts authors on tour promoting their books. Ted Habte-Gabr, Live Talks’ founder and producer, enlists interviewers, arranges for venues, and sells tickets to the events, and copies of the books featured.

Live Talks Los Angeles was founded ten years ago, and I’ve helped Ted promote his organization for the past six or seven. The business has grown steadily; each year, Ted has hosted more events than in the previous year. This Fall alone, there are nearly 30 scheduled. We featured each of those that had been confirmed by press time in the publication. (One event has been added since, and several others are pending.) Visit the web site, livetalksla.org, to learn about upcoming events.

continue reading… “Live Talks LA”


Site 2.0

Sep 11, 2018


The redesign of my web site, launched last week, has been in the works for several years. Like any comprehensive design project, it presented many challenges — compounded, in some regards, because I’m the client — but in the end, it’s been great fun and I’ve learned a lot.

The primary function of this site is, of course, to present samples of my work. The first site I published, in 1995, did that reasonably well; technically, though, it had grown a bit long in the tooth.

The splash page of that site (main graphic above) announced me as a Commercial Artist — an archaic term, to be sure, but one that speaks to serving two masters, Art and Commerce.

Plus, it suggests a generalist approach. So-called marketing gurus counsel designers to specialize, but I never have. Over the course of my career I’ve designed advertising, books and journals, logos, album covers, web sites, typefaces, movie props and more. I enjoy working in all of these areas. But more to the point, I do not distinguish between them as many do. Fundamentally, all of my work is about giving visual form to ideas, with the purpose of communication.

An early mockup of the site redesign spoke to this notion:

As a brand message, “Design for Communication” works well enough. However, it seemed limited, and limiting. I thought my new site also should reflect more of who I am as both a designer and a person; after all, I am a sole proprietor, so my clients experience me personally as much as they experience the work I produce.

continue reading… “Site 2.0”


Marion, Ohio

Sep 1, 2018


I was a very lucky young fellow. Interested in advertising since before high school, I was offered a summer job at an ad agency after my freshman year in college.

I was lucky initially because Marion, Ohio, my hometown of only 38,000, was home also to three ad agencies. Fathers of several of my friends were art directors and account executives. Advertising was in the culture.

The largest of the local firms, Howard Swink Advertising, employed more than a hundred folks, including 30 creatives, and at the time was one of Ohio’s biggest agencies.

Bob Guirlinger, a senior art director at Swink, took me under his wing, allowing me to see from the inside how ads are made and how an agency functioned.

The tasks I was assigned were menial, including occasionally getting people coffee. But I learned a ton about ad production. I watched people spec type (and order it from typesetters in Columbus and even Dayton, two hours away). I also learned to operate the stat camera and create mechanical art.

The art directors, writers and creative directors I worked around impressed me as smart and witty. All the art directors could draw well in those days, as ideas were developed and presented via Magic Marker comps. Many painted watercolors or oils as a hobby. They were fine early examples to me of what it meant to be a commercial artist.

I attended Ohio University at the time but wasn’t thrilled with the program. One of Swink’s younger art directors, Steve Gunder, mentored me in the creation of a portfolio for submission to Art Center College of Design, in Los Angeles. I was accepted and given advanced standing, and transferred a year later.

Among many other things, Swink introduced me to agency self-promotion. Dick Fisher, who created Swink’s first campaign, told me:

“In 1964, I had been with Swink for seven years and had recently been named creative director. I went to Howard Swink one day and asked, ‘Why doesn’t the agency do some advertising for itself?’ He said no one had ever come up with a good idea.

“I thought about the problem for a while and came up with the line, ‘What’s an agency like Howard Swink doing in Marion, Ohio?’ It was what many people asked us when they first realized we had a pretty good agency in an unlikely place. I wrote and designed the campaign, which ran for about 20 years, 26 times a year, always under the same headline and always on the back page of the Midwest edition of the Wall Street Journal.”

Here’s one of the ads (mocked up for a brochure to appear as though the ad ran on the front page).

Throughout the campaign, the copy was consistent in length, tone and message: We’re a sizable and sophisticated organization located in a modest Midwest town. Here are three other examples:

Don’t let the location fool you. There are only about 100 agencies in the country larger than Swink. And 14 of our clients are listed on the New York Stock Exchange. Marion has lots of trees but it’s definitely not in the bush leagues.

During a typical week, Swink people are in New York, Chicago, Pittsburgh, Los Angeles, Cleveland, Cincinnati and other far-flung places. And these big cities have a lot of things Marion doesn’t. So naturally it’s a great relief to get back home.

We have offices on both sides of a busy street here in Marion. So we tell our account executives, “When you go across the street to tell the creative director you don’t like his idea, be very careful.”

Dick Fisher continued, “The campaign ran uninterrupted from June ’64 until our merger [with a larger agency in Columbus in 1985]. By then, according to an independent research study we commissioned every two years, Swink had become one of the best known and most respected names in the agency business — at least in the Midwest. And we had grown from zilch to $100 million.”

A valuable lesson learned early: advertising employing a smart strategy, humor and not least, persistence, pays off.

I’m grateful for my my time at Swink, and especially to Bob Guirlinger, Steve Gunder and Dick Fisher, and several others who took interest in me that summer.

What a tremendous way to launch a career.