Federal
Design
Matters
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
nation.
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
culprit.
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.)
National
Endowment
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
part.
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
writing.
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
Transportation.
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.
2
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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,
3
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
Manager.
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-
formation.
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
signature.
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-
tirely.
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.)
4
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
place.”
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
men.
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
portfolios.
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
5
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
work.”
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
systems.
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
methodology.
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-
ules.
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
communications.”
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
assembly*
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
Shantz.
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.
20506
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
(212-PL-2-0813).
Acknowledgments:
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 —
Price 75 cents (single copy) Subscription Price $3 00 per year, 75 cents additional for foreign mailing
6