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Issue no. 12 
November 1977 

Nancy Hanks: Some parting 
words about good design 

On September 30, Nancy Hanks stepped 
down as chairman of the National Endowment 
for the Arts after serving two four-year terms. 
During her tenure, the Arts Endowment initi- 
ated the Federal Design Improvement Pro- 
gram to raise design quality throughout the 
Federal government. 

In counseling Presidents — three in eight 
years — or in trying to keep Federal offices 
free of plastic plants, Nancy Hanks was a 
consummate promoter of the arts and good 
design in the Federal government and in the 

In the eyes of the entire art world, she was 
eminently successful in the first role; in the 
latter she confesses total failure. 

Reminiscing during an interview on her last 
day on the job, Miss Hanks recalled a vain 
attempt to thwart building maintenance men 
who had adorned an Endowment conference 
room with pots of plastic plants. She removed 
the plants and, in a ploy designed to remove 
suspicion from herself, hid them in the men's 
room. The maintenance staff, knowing her 
aversion to plastic plants, quickly found the 

She related this episode from the past while 
reflecting on the future of design quality in the 
Federal government. The future, she sug- 
gested, with no thought of disparaging the 
work of talented designers, may be in the 
hands of janitors. Then she made it clear she 
was speaking in the broadest terms about the 
need for maintenance. 

(Continued on page 5.) 

An exchange of 
information and 
ideas related to 
federal design 

GPO shifting most of workload 
to electronic photo process 

Within five years, 80 percent of the docu- 
ments printed by the 117-year-old Govern- 
ment Printing Office will be set into type by 
GPO’s highly automated electronic photo- 
composition systems. 

In slightly more than a decade GPO has 
installed what it believes to be one of the most 
advanced electronic typesetting systems in 
the world. The agency is in the process of 
shifting most of its massive flow of work for 
Congress and executive agencies to that sys- 
tem. It is already geared up to start photo- 
composition on the daily Federal Register, the 
large collection of Presidential proclamations, 
executive orders and regulations published 
five times weekly. The photocomposition 
process will also be used for the Code of 
Federal Regulations, 139 volumes of approx- 
imately 300 pages each, which contains the 
regulations in codified form 

Meanwhile, Elmo L. Wood, superintendent 
of the electronic photocomposition division, 
directs a staff that is fine-tuning the system by 
turning out Congressional bills, reports, hear- 
ings, and other documents. Last year the sys- 
tem processed more than a million pages. 

Implications for Federal designers are 
great. The equipment dramatically shortens 
typesetting time and can store data for later 
retrieval. Furthermore, it suggests the future 
possibility for handling many procedures re- 
motely through terminals in agencies. Al- 
ready, some agencies have equipment for 
creating magnetic tapes that can be used to 
(Continued on page 2.) 

for the Arts 

Biddle named chairman 
of Arts Endowment 

On October 31 , President Carter nominated 
Livingston L. Biddle, Jr., as chairman of the 
National Endowment for the Arts. The nomina- 
tion was confirmed by the Senate on 
November 4. 

Mr Biddle becomes the third chairman of 
the Arts Endowment. His predecessors were 
Roger Stevens and Nancy Hanks. 

A veteran staff member of the Senate Sub- 
committee on Education, Arts & the Humani- 
ties, chaired by Rhode Island Senator 
Claiborne Pell, Biddle was instrumental in 
drafting the 1965 legislation to establish the 
National Foundation on the Arts and the Hu- 
manities of which the Arts Endowment is a 

Having served as both Deputy Chairman 
and director of Congressional Liaison for the 
Arts Endowment, he has long been familiar 
with its programs. 

From 1967 to 1970, Mr. Biddle was chair- 
man of the division of the arts at Fordham 
University. He established the arts curriculum 
at a new liberal arts college at New York's 
Lincoln Center where he also taught creative 

A native of Philadelphia, Mr. Biddle is the 
author of several best-selling novels; one, The 
Village Beyond, which had a World War II 
theme, sold 300,000 copies and received the 
Athenaeum Best Novel Award. 

As chairman of the Pennsylvania Ballet for 
two years, he was credited with having 
cleared up deficits of a half million dollars that 
company had accumulated. 

George Tames, NYT Photo 

GPO — continued 

Each of GPO's computers is capable of handling output from up to 20 video terminals such as these. The terminals — 75 in 
all — are connected by cable with the computers in a separate room. 

The computers transmit signals to a photocomposer, a 
machine that produces a negative image of a page of type, 
such as the one being proofed here, or a positive image. 

activate the computerized typesetting equip- 
ment or for storing data on its memory disks for 
retrieval later. 

Each of GPO’s nine computers, called text 
processors, can simultaneously handle the 
flow of data from up to 20 video-display termi- 
nals. The terminals are located in a separate 
room and connected to the text processors by 
cable. The text, composed by operators on 
typewriter-style keyboards, appears on a 
video screen. The operator can make addi- 
tions and deletions of characters, words, sen- 
tences, paragraphs, or passages of any 
length and can transpose words or lines by 
manipulating keys. 

Fortunately, however, there are ways of ac- 
tivating the system with less expensive 
equipment This can be done, in fact, with an 
electric typewriter equipped with what is 
called an OCR-A typing element. GPO’s Opti- 
cal Character Readers scan manuscripts 
typed with such elements and convert the 
characters to digital form for storage and sub- 
sequent photocomposition. Stenotypists, for 
example, now transcribe the proceedings of 
Congressional committee hearings using 
typewriters with OCR-A elements and send 
the pages directly to GPO for scanning and 
typesetting. This process eliminates what Mr. 
Wood calls ‘‘double keyboarding," thus cut- 

The keyboard of this video terminal is wired to computers 
that can convert this operator's composition into type or 
store it for later retrieval. 

Computers such as these (enclosed in cabinets on the 
righthand wall) are the nerve centers of the GPO photo- 
composition system. The computer on the rear wall can 
perform page make-up. 

ting costs substantially. The new equipment, 
he estimates, is "saving” 60 to 80 percent of 
the original keystrokes. 

Still not fully operational, GPO’s interactive 
page makeup system will prove to be particu- 
larly valuable to designers. A page-makeup 
operator can call up a galley on one of this 
machine’s two video screens and display it on 
a layout on the other. 

DOT first agency to adopt 
total design and arts policy 

The Department of Transportation will con- 
sistently encourage good design, art, and 
architecture, DOT Secretary Brock Adams 
announced in the preface to the report of a 
Task Force on Design, Art and Architecture in 

Adams proclaimed a major goal of the De- 
partment to be “development of a unified 
transportation policy that coordinates im- 
provements in transportation systems with in- 
crements in the quality of life.” 

“The environmental design arts shall be 
combined with other technical skills in an 
interdisciplinary approach to planning, con- 
structing, and operating transportation sys- 
tems," Adams declared, adding that the De- 
partment would provide appropriate works of 
art for departmental facilities and encourage 
the use of art by its grant recipients. 

Adams endorsed the recommendations of 
the task force, including proposals that DOT 
—require that consideration of design qual- 
ity be reflected in environmental impact 
statements where relevant 
— establish a comprehensive graphics im- 
provement program and endorse a uni- 
form set of symbols and signs 
— conduct research, development, and 
demonstration projects to improve 
knowledge of design in transportation 
— establish an awards program in conjunc- 
tion with an annual conference on trans- 
portation design. 

Joan Mondale, wife of the Vice President, 
called DOT’S design task force "a prototype 
that other Federal agencies will be encour- 
aged to adapt to their own needs.” 

The Task Force was composed of represen- 
tatives of the Federal Aviation Administration, 
the Federal Highway Administration, the Fed- 
eral Railroad Administration, and the Urban 
Mass Transit Administration. It was chaired by 
Marty Convisser, acting Assistant Secretary 
for Environment, Safety, and Consumer Af- 
fairs, and White House fellow Charles 
Ansbacher. Arts Endowment representatives 
participated in the working group sessions, 
and Liz Reid from the Endowment’s Federal 
Architecture Project acted as the design ad- 
viser and coordinator of the Task Force report. 

Copies of the report are available from 
Robert Thurber, Office of Environmental Af- 
fairs, DOT, Washington, D C. 20590, but the 
supply is limited. 









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This poster, the first ot ten, designed by Wyman and Cannan, New York, was produced under the supervision of the National Zoo's 
Art Director Bob Mulcahy It uses symbols that mark trails to animal habitats. Copies will go on sale at Zoo gift shops by December 1 5, 


Nobody liked the tax forms 
for 1976 — not even IRS 

Few taxpayers who find Forms 1040 and 
1 040 A in their mail January 2 will be aware of 
the painstaking process used by a publica- 
tions team of Internal Revenue Service offi- 
cials to bring about the first major redesign of 
the forms since 1968. 

The process began in March when mem- 
bers of the team started a series of meetings to 
review tax forms used by more than half a 
dozen national governments and some pro- 
vincial governments. The group consisted of 
Hugh Kent, Chief of the Publishing Services 
Branch; Forms Manager Leonard Caracciolo, 
and Donald C. Lynn, IRS’s Design 

A critique of the 1976 Form 1040 by Ron 
Sterkel, professor of graphic design at the 
University of Illinois, provided valuable guid- 
ance. The group also took into consideration 
the views of taxpayers, accountants, and 
others who assist taxpayers as expressed in 
public hearings held in representative cities 
around the country. 

The mission of the publications team was 
limited to design. Meanwhile, another IRS 
group, the Tax Forms Committee, was drafting 
language for the forms and making sure they 
contained all Congressionally mandated in- 

The chief determinant of the design of the 
1977 form, however, was a decision by Com- 
missioner of Internal Revenue Jerome Kurtz 
calling for linear organization. The forms de- 
signers responded to this directive by provid- 
ing a form in which taxpayers will begin at Line 
1 on Page 1 and work their way to Line 66 on 
Page 2, just above the space for their 

Except for the linear order, differences be- 
tween Form 1 040 for 1 977 and its 1 976 coun- 

1040 U S ladnridinl locone Tai Return ®76 

Form 1 040 for 1 976 

terpart are primarily those of detail. In the de- 
sign of the new form, care was taken to avoid 
color and shading combinations that would 
have increased reading difficulty for color- 
blind taxpayers. The 1 977 forms will appear in 
black ink (instead of blue) on a blue (brighter 
than last year’s) background with dropouts 
that will provide white space for taxpayer in- 
formation. Red, used until last year to highlight 
certain instructions, has been eliminated en- 

The more simplified Form 1040 A, which 
displays all of its data on a single side of one 
sheet, has instructions printed in black on a 
screened-red background. The 1040 A for 
1976, printed in green ink, had data on both 
sides of a half sheet of paper. 

As its early-October deadline for printing 
approached — the publication team's equiva- 
lent of April 15 — the process accelerated. 
Proofs shuttled rapidly back and forth be- 
tween the IRS’s offices in Federal T riangle and 
the Government Printing Office. Often a proof 
would be delivered to IRS early in the day, 
revised and returned to GPO at the close of 
business. GPO would make revisions over- 
night and deliver a new proof to IRS. In this 
last-minute "pressure cooker,” some specifi- 
cations were garbled. A line might be 
centered that had been designed as flush left, 
for example. This was a minute detail, per- 
haps, but the cumulative effect of several such 
details was to erode some of the provisions 
incorporated into the design in response to 
Professor Sterkel’s proposals. 

Although not the esthetic triumph that the 
French government sends its taxpayers, the 
new forms are the result of an orderly process 
in which, presumably, representatives of the 
whole universe of users had an opportunity to 
exert their influence. And despite the exhaus- 
tive system of sign-offs involved in the proc- 
ess, the IRS made its printing deadline. 

1040 U.S. ladividaal Income Tax Return M)77 I ^@©1? *w/’ 7 

Redesigned Form 1040 for 1977 

Designers have key role 
in metric conversion 

"Metrication will lead to an information ex- 
plosion,” declares an Australian government 
official whose country has made the change in 
recent years from conventional measurement 
to the metric system. 

Hans J. Milton, who, as Australia’s Assistant 
Secretary for Housing Research, was heavily 
involved in that change, made this prediction 
in a paper urging graphic designers in this 
country to prepare for the major role they must 
play in helping Americans understand and 
accept the metric system. 

Milton noted that only the United States and 
four small Third World countries have not yet 
made the conversion to the metric system, 
now an almost universal standard. Since 
Congress passed the U.S Metric Act of 1 975, 
however, major changes in the way we deter- 
mine and express dimensions and capacities 
are inevitable. In a paper he wrote while on 
loan from his government to the National 
Bureau of Standards, Milton said: 

"Early awareness of lead times is required 
to schedule graphics, typesetting, proofing, 
and printing during the metric change be- 
cause demands for each of these services is 
likely to escalate.” 

With the approach of actual usage in the 
United States, Milton predicts, there will be 
increasing demand for three principal types of 
metric information: 

1 . General advisory or Instructive material. 
This will include basic literature to explain the 
correct use of the international system of 
units — the formal term to describe the system 
that was adopted by a 1960 treaty signed by 
most major nations. 

2. Detailed metric technical material. Ref- 
erence material in metric units for use during 
the transitional period and after the economy 
becomes fully metric will include handbooks, 
codes, standards, specifications, product lit- 
erature, and price lists. Although in many in- 
stances the structure and layout of existing 
publications may be retained, diagrams, 
charts, tables, and other graphic material may 
need to be revised and redesigned. 

3. Visual information and aids. Metric post- 
ers, charts, maps, special aids, and metric 
identification symbols can facilitate the 
change to the metric system. 

The experiences of designers in Great Brit- 
ain and Australia contain some pitfalls Ameri- 
can designers should try to avoid, Milton says. 
One common failing is to try to provide too 
much information so that the visual impact and 
education value is negated. As an excellent 
example of a “single impact" poster, he cites a 
design for the British Construction Industry 
Training Board showing the bottom of a foot. 
The caption reads: “This is not a foot it’s 300 
mm." By contrast, an Australian poster de- 
scribing metric measurement for the real es- 
tate industry suffered from what Milton called 
“visual indigestion" by displaying enough 

(Continued on page 5.) 


Metric — continued 

material for four posters. 

Most of the countries that have preceded 
the United States in the change have estab- 
lished a national metric symbol. Canada, 
which combines a stylized “M” with the outline 
of its traditional maple leaf, has issued a man- 
ual with explicit instructions for using this 
symbol. An "M" appears in the center of a map 
of Australia in that country's symbol. Britain 
uses a key with an “M” in the blade of the key. 

Milton suggested that an annual metric 
poster competition be held to assist in educa- 
tional activities during the transitional period. 
These would be judged for content, visual im- 
pact, and accuracy. 

He suggested that as one of its first actions, 
the National Metric Board, which Congress 
established to coordinate the conversion, ini- 
tiate a national graphic design competition for 
development of a U.S. metric symbol. Coun- 
tries that have preceded the United States in 
metrication, he said, have found such sym- 
bols highly useful for quick identification of 
metric items and for providing a national 
theme for the creation of metric awareness. 

Nancy Hanks — continued 

“I don't care how good the design is, be it 
graphic, be it interiors, be it a building. If you 
don’t have the commitment to maintain it you 
might as well not have designed it in the first 

But no menials need apply for the mainte- 
nance positions she envisions for, she added, 
“it takes a creative mind mixed with a mind 
that pays attention to detail and also has a very 
human soul because you have to care about 
people. So you just can't go in and tell them to 
do this or do that. You walk around these gov- 
ernment buildings and corridors and, you 
know, they don't have anybody there in 
charge of caring.” 

With her hearty approval, the Endowment’s 
first seminar for interior designers, to be held 
in January, will be open to building managers, 
space managers, and building maintenance 

While unable to stamp out plastic plants, 
Miss Hanks was able to eliminate a practice 
that graphics designers considered grossly 
unfair — the requirement that they be selected 
on the basis of regular government personnel 
forms, a procedure that provided them no op- 
portunity to demonstrate the skills for which 
they were being hired. The Chairman of the 
Endowment persuaded the Civil Service 
Commission to authorize agencies to select 
designers on the basis of portfolios of their 
work and appointed panels to help review the 

Despite the entrance requirements, the 
Federal government had attracted many of 
the country's outstanding graphics designers, 
Nancy Hanks discovered. But she sensed an- 
other serious problem. 

“There seemed to be antagonism between 
designers working in government and the 


Government Printing Office. The designers 
seemed to think they were always going to 
have to fight their way to excellence. On the 
other hand, GPO felt that the designers were 
not seeking the best ways to achieve good 

The Endowment's solution: bring designers 
and representatives of GPO together in work- 
shops, seminars, and mini-assemblies — 
sessions designed to meet the particular 
needs of groups and individuals. 

The Endowment’s concern for design ex- 
tends beyond the Federal level. “To the best of 
my knowledge,” the retiring chairman said, 
“we are the only national arts agency in the 
world that has architecture and environmental 
arts included in its mandate. Congress, in ef- 
fect, asked us to look at the spaces of our 
cities. Our latest program is Livable Cities. 
That phrase, although not new with us, sums 
up in shorthand what the Arts Endowment's 
total purpose is, because certainly without the 
arts a community or city, large or small, would 
be inhuman.” Livable Cities, carried out by the 
Endowment's Architecture + Environmental 
Arts Program, is the culmination of earlier pro- 
grams in which cities were given grants to 
develop imaginative methods for improving 
certain aspects of their communities. In a pro- 
gram called City Scale, for example, cities 
were challenged to devise imaginative 
schemes for park benches and lighting 

Miss Hanks leaves the Endowment 
concerned about “the almost total lack of rec- 
ognition of the importance of the individual 
architect, designer, painter, dancer, sculptor, 
or musician. We put every roadblock we can in 
the way of someone who is aiming to be cre- 
ative. But that is changing. I think five years 
from now you’ll see a great change in that.” 

Finally, there was the inevitable question: 
“Have you accomplished your goals?” 

“Well,” she replied, “we have an ever- 
moving set of goals. ... All of our victories 
have been small steps. For some reason there 
has been enough interest in the press and the 
country to herald what indeed are small steps 
in my judgment and refertothem as victories.” 

It was clear from tributes expressed in the 
wake of her departure that much of the rest of 
the nation measured those steps by a farjnore 
generous standard. 

Design briefs 

Boyle named public printer President 
Carter has nominated John J. Boyle, a 25-year 
veteran of the Government Printing Office, to 
be Public Printer. He succeeds Thomas F. 
McCormick, whose resignation became effec- 
tive November 1 . Boyle came to GPO as a 
proofreader in April 1 952, after serving an ap- 
prenticeship and working in the printing indus- 
try in his native Pennsylvania. He established 
GPO's Electronic Photocomposition Division 
and was responsible for the smooth introduc- 
tion of this new technology to the Government 

Printing Office. He had been deputy to 
McCormick since June 1973. In accepting 
McCormick's resignation, submitted in June, 
President Carter praised the departing Public 
Printer’s dedication, energy, and purpose. 
McCormick became the 1 6th Public Printer in 
1 973 after almost 20 years with General Elec- 
tric Corporation. 

Simply by design 

New poster . . . “Simply by design, the 
Government can strengthen communication 
with the public and produce printed materials 
that are readable, informative, and cost effec- 
tive." This is one of the messages conveyed 
by a poster recently issued by the Arts 
Endowment. It was designed by Nicholas 
Chaparos, Coordinator of Federal Design In- 
formation and Education for the Arts Endow- 
ment. Copies (24" x 36") are available by 
calling (202) 797-7770 or 634-4286. 

Graphics & Interiors studio seminars 
The schedule for Studio Seminars to be pre- 
sented during 1977-78 by the Arts 
Endowment's Federal Design Improvement 
Program is as follows: 

Fourth Graphic Design Studio Seminar, 
Parsons School of Design, New York, 
November 27 through December 3: New York 
graphic designer Daniel Friedman will lead a 
teaching team that will include Christopher 
Pullman, design manager, WGBH, Boston; 
Keith Godard, New York teacher and de- 
signer; Jean DuVoisin, a design management 
consultant, and James Uehling, Siegel & 
Gale, New York. Demonstration workshops on 
producing images in the typical government 
design shop will emphasize problem-solving 

The First Interior Design Studio Seminar, 
tentatively scheduled for January 1 0 and 1 1 , 
in Washington, D.C., is open to interior de- 

signers, building managers, space man- 
agers, building maintenance supervisors and 
interior specialists. The theme for the seminar 
is "Creating and Procuring Motivating Work 
Interiors." Discussion leaders will include 
Kenneth Walker, Walker Group, Inc., New 
York; Rick Hendricks, Chief, Space Standards 
& Research Bureau, GSA; and Charles Blum- 
berg, Special Assistant for Interior Design, 
NIH. The seminar will include presentations on 
policy, procurement and masterplanning of 
work environments and interior space and 
furnishings Participants will tour buildings 
with interiors furnished with items available 
under the GSA/FSS schedules. 

The Fifth Graphic Design Studio Seminar 
will be held February 5 through 1 1 at the 
Rhode Island School of Design in Providence. 
Illustrators, photographers, editors, writers, 
design supervisors, and printing officers, as 
well as graphic designers may attend. 

The Sixth Graphic Design Studio Seminar is 
scheduled for June 4 through 10 at the Yale 
College of Art and Design, New Haven, Conn. 

Northeast corridor project Design 
work is under way on a complete identity pro- 
gram for passenger rail service in the North- 
east Corridor, between Boston and Wash- 
ington, D C. It will include all graphics and 
signage for station facilities, vehicles, and 
public information activities; all signage for 
gate and area identification, train arrivals, and 
standards for tenant and concessions 
graphics. Design guidelines will be estab- 
lished for billboards, posters, kiosks, historical 
and civic displays, tickets, maps and sched- 

New art-in-architecture policy Under a 
new federal art-in-architecture policy, the 
General Services Administration will provide 
funding for art work in rehabilitated Federal 
buildings. Heretofore, the program was lim- 
ited to new construction. The new policy in- 
creases the funding from three-eighths to 
one-half of one percent of a building’s con- 
struction cost or repair and alteration cost. The 
program, announced by GSA Administrator 
Jay Solomon, makes possible the use of art in 
historic landmarks such as the Old Post Office 
in Washington, D.C., which is undergoing an 
$18 million renovation. 

Arkansas graphics The Office of Ar- 
kansas State Arts and Humanities has begun 
a statewide graphic design improvement 
program. Governor David Pryor opened a 
two-day graphic panel review session Sep- 
tember 7 by issuing a proclamation in which 
he stated that the "Arkansas Design is a pro- 
gram to educate Arkansans to appreciate, 
use and demand good design and improved 

The panel review looked at printed com- 
munications from all departments of the state 
government. Recommendations from the 
panel will determine future activity in Arkansas 
m the area of graphics improvement. 

Arkansas plans to follow up with several 
components, including a state design 

Some of the printed communications from all departments 
of Arkansas state government reviewed during an 

Arkansas Design program 

Federal Design Assembly — If current 
plans work out, the Fourth Federal Design As- 
sembly scheduled for fall 1 978 will be a "mov- 
ing" experience. Planners hope to take the 
assembly to several different sites in Washing- 
ton so that participants can see and feel the 
results of good Federal design in architecture, 
graphics, interiors, and landscapes. They will 
hear from agency teams how the projects 
were carried out. 

Assisting the Arts Endowment in devel- 
oping ideas for the program are Mickey 
Friedman, Design Quarterly; Bill Marlin, Archi- 
tectural Record; Alan Marra, Federal Prison 
Industries, Inc.; Gerald Patten, National Park 
Service; Mack Rowe, Federal Reserve Board; 
Grant Smith, graphics consultant; Peter Smith, 
communications consultant; and Erma 
Striner, General Services Administration. 
Endowment representatives are Jerry 
Perlmutter, coordinator; Nicholas Chaparos, 
Lois Craig, Lani Lattin Duke, Catherine F. 
George, Roy F. Knight, Robert Peck, and Joan 

Design Response Exhibition Some 70 
winning entries, judged as the best graphic 
work designed and executed for the Federal 
government, will be shown at the Federal De- 
sign Response Exhibition 1975-1977, which 
will open in New York City November 29. 

The biennial exhibition, sponsored by the 
American Institute of Graphic Arts (AIGA) in 

National Endowment 
for the Arts 
Washington, D.C. 


Official Business 

Saul Bass, with back to camera, talks with, from left, Paul 
Rand and Bill Lacy, fellow Design Response show jurors 
Looking on are show chairman Dick Lopez and his assist- 
ant Allan Stolz 

cooperation with the Federal Design Council, 
an association of Federal designers, will run 
through January 6 at the AIGA Gallery, 1059 
Third Avenue, near 63rd Street. 

The jury, composed of Paul Rand and Saul 
Bass, both graphics designers, and Bill N. 
Lacy, president of the American Academy of 
Rome, evaluated more than 500 entries by 
designers in 33 Federal agencies. Winners 
were chosen on the basis of graphic excel- 
lence and effectiveness in communication. 

The designs will be discussed at an idea 
exchange at 5:30 PM, Wednesday, November 
30, at the AIGA Gallery. A four-member panel 
moderated by Stu Johnson, curator for archi- 
tecture and design for the Museum of Modern 
Art, will begin the discussion. The other 
panelists are Bass, Ivan Chermayeff, AIGA 
president Dick Danne, and Bob Salpeter. 
Reservations for the idea exchange may 
be made by writing AIGA at the above 
address (zip code 10021) or by phone 


Coordinator. Design Information and Education 
Nick Chaparos 

Ass't Coordinator, Federal Graphics 
Catherine F George 
Editor/Writer Simpson Lawson 
Research: Tom Bay, Joan Shantz 
Photos: Nick Chaparos, Michael Bruce 

Postage and Fees Paid 
National Foundation on the Arts 
and the Humanities 

Notice: Use of funds for printing this publication approved by the Director of the Office of Management and Budget. 
For sale by the Superintendent of Documents, U S Government Printing Office. Washington, D C 20402 — 

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