,-ctn full design direction, including the purchase of art (as opposed a "ing out' pages of predetermined pictures), and secondly, work- to the schedule the all-important element of time—time to get IJ n oer illustration executed if, indeed, inspiration should strike, S I iiyas hoped it would. v is proved to be the pattern for subsequent redesign: a new ..,rt|t, designed in the corporate art department by myself with the yiJ-anging technical help of my assistant, Bob Pelletier, a 'shake- c.i\r,y' period for new procedures and responsibilities, and then de- r j[|ion of the best art direction talent available to continue on rhection. Many major newspapers freelance out their large re- iesji projects. Being on the spot, however, is a big advantage. ,riats are one thing; day-by-day implementation, as every news- lap'man knows, is another. I considered a new format a 'platform ortiange', a charter agreed to by the interested parties—manage- net the editors, the production and art departments. From then on t 4, day-by-day art direction that counted, and built into each -ha r for change was the expectation that, in addition to typography -ha e, the quality of illustration would be the highest attainable, i tug to the other sections in quality, but differing as the illustra- totreflected the varying subjects and the personalities of editors ,nd"t directors. The most dramatic emphasis on new illustration came in a new page, the daily Op-Ed (opposite editorial). Conceived under the supervision of John Oakes, editorial page editor, it was launched with Harrison Salisbury as editor. It immediately established itself as a forum for important and often unexpected ideas and surprising and serious drawings. One of my first dummy pages featured a draw ing by the West German Hans Georg Rauch, a kind of illustration rarely seen at that time in American publications. A city-landscape by Ralph Steadman, Anita Siegel collages and drawings by Fons von Woerkom set the stage for the tone of the page, a tone continued when Charlotte Curtis took over as editor. New contributors came from all over the world, including people from 'fine art; established professionals who here could find an outlet for their non-commercial techniques and ideas; and young artists with fresh techniques. If the level of the art has generally been high, there are common denominators that help to explain the fact. One has been encourage ment by top management and editors, a second the designation of much responsibility for the selection and use of visual elements to the art director. Art people are not new in newspapers, but the con cept that designers and art directors should join in creative respon sibility is an important trend. There is growing enthusiasm, I believe, on the part of most section

Graphis de | 1976 | | page 77