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A N N U A L R E P O R T S , VOLUME 3 I N THE A M E R I C A N D E S I G N C E N T U R Y SERIES, IS PRINTED O N P O T L A T C H K A R M A , A FAVORITE OF CORPORATE COMMUNICATORS FOR MORE THAN A QUARTER CENTURY. T H I S PREMIUM MATTE-COATED SHEET COMES I N T W O VERSATILE SHADES B R I G H T W H I T E AND WARM

NATURAL. As YOU TURN THESE PAGES, N O T I C E H O W KARMA'S HIGHLY OPAQUE, NON-GLARE SURFACE CAPTURES IMAGES IN VIBRANT DETAIL YET IS EASY O N THE EYES EVEN W H E N READING FINE PRINT. LITTLE W O N D E R THAT K A R M A IS ONE OF THE MOST SPECIFIED PAPERS FOR ANNUAL REPORTS.

inancial annual reports have been around in one form or another for hundreds of years pretty much for as long as there have been investors interested in how their money was being managed. But in 20th century America, two events shaped annual reports as we think of them today. The first was the U.S. Securities Exchange Act of 1934, passed after the catastrophic stock market crash of 1929. It mandated that all publicly traded companies had to make yearly financial disclosures to their shareholders. The second defining event occurred at the dawn of the '60s, when letter press printing gave way to photo offset lithography and hot metal type gave way to photo composition. Flexible and fast, these new technologies made it affordable and possible to introduce color photography and graphic elements into corporate brochures. Companies seized the opportunity to "piggyback" a marketing message onto the annual reports that they were required to send to key constituents anyway. From the '60s forward, annual reports exploded with

colorful photographs, graphic images and visual themes, and these once-dry documents took on the personality of the individual company Graphic design drew readers into the report, communicated corporate culture and explained management strategy in a lively, compelling way It still does. In fact, the term "shareholders report" is kind of a misnomer, since most companies print at least two to three times more copies than they have stockholders. That suggests a distribution and use that goes far beyond financial reporting. Each year thousands of annual reports 13,577 in 1998 alone - are filed with the U.S. Securities and Exchange Commission, and that doesn't include the thousands more produced by nonprofits and other entities that do not have to file with the SEC. For designers, photographers, illustrators and printers, an entire industry has grown up around annual reports. In Volume 3 of the American Design Century, we look at a small sampling of some of the best annual reports produced in the 20th century. The emphasis understandably is on the past 40 years when annual reports became a visual medium.

An Interview with B. Martin Pedersen

Publisher and CEO

of Graphis Press, B. Martin Pedersen has headed this

international visual

publishing firm since 1985. In addition to publishing arts magazines and a wide range of art/design

one of the world's foremost

books, Graphis produces a prestigious acquisition &

biannual annual report competition. Prior to Pedersen's of Graphis, he was a principal at fonson

Pedersen Hinrichs

Shakery, where he designed many award-winning magazines

annual reports,

and corporate promotions. He is a member of the Art Internationale.

Directors Hall of Fame and the Alliance Graphique

Q. Graphis has sponsored an annual report competition and produced a book on annual reports for many years. When did this start and why were these financial documents of interest to a design publisher?

A. My predecessor, Walter Herdeg, who founded Graphis, started that in 1971, not too long after the modern annual report came into being. What interested Walter, and still interests Graphis today, is that annual reports involve a broad cross-section of the best talent in the visual arts industry designers, photographers, illustrators and typographers when they were still a distinct profession. As a category, annuals are also of prime aesthetic interest to our readers. Annual reports are unique because whether they are for a multi-billion dollar conglomerate or a small public concern, they all must communicate the same basic information who the company is, what it does, how it is doing financially, and where it's going in the future. What's fascinating is the myriad ways that designers address these points and how they manage to come up with fresh, original, companyspecific solutions each year. Q. Like many people, you use the term "modern" annual report. Could you define what you mean by modern and what the typical annual report was like previously? A. By modern, we are talking about annual reports that make
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Before acquiring Graphis Press, Martin Pedersen designed a number of award winning annual reports. Among his longstanding clients was Dow Jones & Co. for whom he produced annual reports for nearly a decade.

strategic use of design as a marketing/public relations tool. When you look back on annual reports produced prior to the mid-'50s, they were non-visual financial documents a letter to shareholders, financial statements and notes, brief summary

of operations, and a listing of officers and directors, just the facts that the SEC required them to disclose. That doesn't mean that good corporate design wasn't being produced. Look at the commercial posters and advertising images being created by designers like Herbert Bayer, Lester Beall, and others at the time. It's just that no one saw the annual report as anything but a financial document. Q. So when did the annual report start becoming a corporate communications vehicle? A. Early signs of what it is today began appearing in the mid-'50s. Today Paul Rand's 1955 annual report for IBM may look dated, but back then it was cutting-edge. Rand was brought into IBM
Every two years Graphis hosts an annual report competition and showcases the winning designs from around the world in a hard-cover book.

by its president Tom Watson Jr., who asked him to head a new graphics program. Rand immediately brought a responsible design sensibility to IBM's annual reports and promotional literature. He hired leading photojournalists to take pictures for the reports. He put a color photograph on the cover, introduced the use of white space and switched over from a cheap paper to a quality coated stock. For its time, the impact was dramatic. Another memorable annual from that period is the one that Erik Nitsche did for General Dynamics in 1958. Nitsche illustrated the company's business lines by combining beautiful black-and-white photographs of airplanes, rockets and submarines, with short-sheet color photographs of abstract industrial designs. Even by today's standards, that report is wonderfully sophisticated and fresh.
Q. The reports you mention pre-date the 1959 Litton Industries book designed by Robert Miles Runyan, who is often called the father of the modern annual report. Why was Runyan's Litton report considered groundbreaking?

A. What made Litton's report unique was that Bob Runyan developed a more sophisticated visual theme to position the company strategically.You have to remember that Litton had only been founded about five years earlier a startup by today's definition and didn't have much of a track record to show for itself. It needed to develop a corporate presence. Bob presented readers with Litton's goals and aspiration by combining inspiring symbolic still life photographs with marketing promises. The theme implied technological leadership and sound financial management without focusing on the present. It was a message intended to reassure employees and customers as well as shareholders. It was brilliant.The Litton book

Although the majority of annual reports produced in the late 1800s and in the early part of the 20th Century contained little more than financials, there were a few wonderful exceptions, including this 1860 Central Park annual report featuring a fold-out map of the park.

was a visual eye-opener to the design community. It helped CEOs, communications managers and designers see how an annual report could be used to build what we now call a brand identity. Q. Were there other reasons why annual reports began to play a larger communications role? A. The fact that annual reports came out annually and had to be distributed, by law, to investors, financial analysts and other important audiences made it practical to add a few more pages for an editorial message. Compare that to corporate brochures, which often get bogged down in production for lack of a fixed deadline and then get used for years until the information inside becomes embarrassingly outdated. With annual reports, the SEC filing deadline forces decisions to be made and top executives to give it priority. As a result, the content is perceived as more timely and authoritative. The fact that annual reports are regulated by the SEC also adds to their credibility. Q. What impact did the modern annual report have on the design industry? A. It enabled graphic design to grow into the profession as we know it today. The marketing potential of annual reports encouraged companies to allocate sizeable budgets for top professionals and for the best production value available. When you look at the thousands of annual reports printed every year, you can see how they have spawned an entire industry, supporting designers, photographers, illustrators, printers and paper companies. Before modern annual reports, the graphic design profession was called commercial art. In fact, Graphis started out as a commercial arts magazine. Its contents were about displaying graphic art, and what that meant was fine graphic art prints by the likes of Vasarely, Munch and Picasso.

Q. Have annual reports set any design trends?

A. Absolutely! Some of the most innovative design produced over the past several decades appeared in annual reports. This started with early design giants like Paul Rand, Saul Bass, Dick Hess, Arnold Saks, Robert Vogele, George Tscherny and Chermayeff & Geismar, who, in turn, hired some of the leading photographers and illustrators of the time. Together they established a model for what annual reports are today Q. Could you name some of the major influences on annual report design over the years? A. Of course, Bob Runyan and Erik Nitsche showed us the visual possibilities of annual reports. Consistently good annual report designers like Jim Berte and Gary Henche came out of Runyan s Los Angeles studio and are still doing good work today In the '70s and '80s, Jim Cross did a number of elegant annual reports for Northrop, featuring some amazing black-and-white photography In the '70s, illustrator and designer Dick Hess was responsible for giving a family look to Champion International annual reports. When you stacked them on the shelf, they looked like a book series, but each had a unique message inherent to the company's performance that year. Corporate Graphics Inc. and Corporate Annual Reports also had strong influence during the '70s and '80s, and built their companies and reputations creating unique annual reports for Fortune 500 companies. Kit Hinrichs has also had an enormous influence on annual reports, with his work for Warner Communications, Immunex and his brilliant encyclopedic series for Potlatch. Over the past 20 years, Greg and Pat Samata have also contributed enormously to the annual report field. Q. How has annual report design changed in the '90s? A. In the '60s, '70s, and '80s, there were established looks that were maintained, refined and developed. In the '90s, design is all over the place. There is no longer a single design model. A lot of younger designers have gone beyond being influenced by each other and are doing their own things. When they are brilliant at it, they are amazing. I particularly admire the imaginative reports produced by Cahan & Associates. I'm awed by and supportive of the young generation of designers who are taking risks and comThe stock market crash of

nig up with original concepts that merge tine art and the new
1929 instigated a demand for

technologies. To do that within a period when there is no specific look and fashion is truly creativity at a highly demanding level.

mandatory annual financial

reports to stockholders and led
t0 the creation ofthe Securities

and Exchange

Commission.

Q. Are annual reports always a reflection of the CEO?

A. Annual reports have been called the CEO's report card, and certainly, they always contain the CEO's letter to stockholders. In most cases, the annual report message is driven from the top, even though the production process is supervised by a corporate communicator. Sophisticated CEOs know that their ideas, achievements and vision can't be communicated strictly through hard numbers. These messages are conveyed more effectively and persuasively through design, imagery and well-written narrative text.
Q. Designers frequently express frustration that corporations are inherently conservative and less willing to embrace groundbreaking ideas. From reviewing annual reports, do you have any thoughts on how to develop a strong annual report?

A. Let's look at it another way. I believe that two-thirds of the design solution is likely to come from the clients themselves, but too many designers go into the first meeting with their own design solutions in place. One of the most important ingredients of communications is an ability to listen. A secure designer listens to the client and the client, in many instances, drives the brilliance of an original idea. This is especially true of CEOs who have to be creative and innovative in solving business problems. When designers show a willingness to listen, I believe that CEOs look to them to articulate their vision and express it in a way that is visually compelling. Afterall, design can give form, energy and emotion to corporate strategies. As Runyan's Litton report showed us,

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design can gain attention and help readers appreciate corporate goals and aspirations, even before a company has realized its full potential. Q. Are annual report designs

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evolving in this age of mass media? Certainly, annual reports are reflecting the fact

that we have become a technology and information-based culture. In America today, the entire working population, including CEOs, has grown up under the influence of television, some were
In the late '50s, the General Dynamics and Litton

industries annual reports introduced conceptual

theme sections with rich color photography and

even weaned on MTV. The media-sawy public is attuned tO quicker methods of communications

demonstrated to American business the marketing

value of these financial documents.

and to dealing with sophisticated conceptual ideas. It is used to receiving information in sound bites and graphic form, and impatient with long-winded stories and disconnected words and images. American consumers have learned that it is possible to be informed and entertained at the same time - and they have come to demand it. The way annual reports are
As with most annual reports of

being designed and information is being presented is a reflection of that shift. Another interesting change is that some of the most daring annual reports

the time, IBM produced a minimal document in the 1920s. Just 6x8 inches in size and only 8 pages long, the IBM annual report included just a title page, letter to shareholder, directors listing, balance sheet, income statement and auditor's report.

today are being created for startup companies, whereas 25 years ago the most dynamic reports were generated by Fortune 100 corporations. A startup back then would have most likely put out a plain 10-K to conserve cash. Today's startups understand the importance of brand positioning and how marketing can help them grow and attract investors. They are willing to risk more and allocate a significant portion of their funds toward creating a brand identity through their annual reports.
Q. With the rise of the Internet, many people are predicting the imminent demise of printed annual reports. Any thoughts?

A, Maybe someday, but not in the near future. What I do see happening is that companies will likely place an even greater emphasis on the so-called "front of the book." That's a complete reversal of the original intent of annual reports a financial document with a secondary theme message. Today anyone can go online and look at a company's earnings the day they are announced. Why wait weeks when you can access this information instantly? However, a printed piece is a tangible object.You can touch it, browse through it, read it at your leisure, toss it on your coffee table and come back to it at a later time. Another advantage for companies is that they can actually put a printed piece in front of readers, whereas the Web requires that people take the initiative and deliberately choose to visit a corporation's website. So just like TV hasn't replaced books, I don't think Web communications will replace the printed annual report. Most likely they will support and augment each other.

Most companies begin introducing themselves to annual report recipients right from the cover. Strong visuals entice readers to open the book and provide an opportunity to focus attention on the theme message for the year. In 1976, H.J.Heinz proudly joined in the celebration of America's Bicentennial by paying tribute to people across the nation. The photographic essay by Art Kane begins on the cover with a picture of a high school graduating class of 7 6 . The report was designed by Harrison Associates.

Cahan & Associates used bright solid colors, clean geometric shapes and simple sans serif typography to reinforce the meaning of the company name and turn the cover of Rational's 1996 report into a bold piece of modern art.

THE L. J. SKAGGS A N D MARY C. SKAGGS F O U N D A T I O N A N N U A L REPORT

Nonprofit organizations as well as publicly traded companies produce annual reports. In the 1987 report for the Skaggs Foundation, Vanderbyl Design featured folk art objects to draw attention to the Folkart/Folklife Program funded by the Foundation. 12

Hupp Motor Car Corp. 1938

Puget Sound Power & Light Co. 1944

General Foods 1949

Transamerica Corporation 1950

The Ansul Company 1961

Westinghouse Electric 1978

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CENT OF 1972 EARNINGS COMPARED WITH ONLY.20 PER CENT TEN YEARS AGO.

Micom Systems Inc. 1983

Scovill Manufacturing Company 1972

Litton Industries 1977

Woodward's 1985

Adaptec Inc. 1995

Metropolitan Life 1984

Playboy Enterprises 1986

14

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Robbins Mills 1949

CalMat 1994

Cracker Barrel 1986

Herman Miller. Inc.

1985 Annual Report

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Time Warner Inc. 1989

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Bristol Meyer 1975

15

< Photographer Gregory Heisler used color and scale to give futuristic drama to the satellite test chamber shown on the cover of RCA's 1983 report, designed by Arnold Saks Associates.

Two designers, two circles, two ideas. In 1963, Paul Rand symbolized IBM's futuristic thinking, with a photograph of a burst of light
Houston Public Television 1993

being emitted by an IBM experimental data storage system. In 1993, Geer Design marked the 40th anniversary of Houston Public Television by creating an illustration using the old circular TV test pattern as the predominant motif. 17

By creating a typographic > photoassemblage out of symbolic objects, Pentagram let the cover title explain the philanthropic focus of the Rockefeller Foundation.

During the 70s, designer Paul Rand extended the typographic identity that he created for Cummins Engine by treating type as art in the company's annual reports. The graphic simplicity of the Cummins' cover gave it the impact of a poster and made the book stand out from the hundreds of annuals that securities analysts receive. 18

T h e R o c k e f e l l e r F o u n d a t i o n 1992 A n n u a l

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Investors not only tend to read the letter to stockholders thoroughly, they look closely at the picture of the individual who heads the company to determine whether this is a person deserving of their trust. This classic portrait of IBM's founder Thomas J. Watson depicts him as a wise and trustworthy father figure capable of steering a steady course. The library of books and IBM motto overhead communicate the values and culture of the company during Watson's tenure.

21

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Southwest Airlines Co.'s > 1994 report focused on the company's blueprint for the future, a theme that Sibley/Peteet Design visually carried throughout the book, including the portrait of the CEO.

Candor, immediacy and innovative thinking were communicated through the use of Polaroid-print portraits shot by Scott Morgan for the 1987 Nichols Institute report. The report was designed by Robert Miles Runyan & Associates.

1 2 1

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< The executive portraits in Scovill's 1972 report are expressed in a surrealistic manner that is consistent with the other conceptual illustrations done by Richard Hess throughout the book.

In 1983, Anspach Grossman Portugal Inc. commissioned renowned fine arts and fashion photographer Irving Penn to shoot the executive portrait for the New York Stock Exchange annual report.
25

Fremont Group 1998

H. J. Heinz Co. 1983

Polo Ralph Lauren Corporation 1998

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< Adaptec wanted to emphasize how its hardware and software products make connecting data as simple as ABC - a message that Cahan & Associates interpreted literally by producing the 1996 annual as a children's primer, illustrated with playful drawings by Richard McGuire. Even the executive "portraits" were presented in this style.

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CEOs are often shown standing proudly beside their products. That's the case for Nintendo too, except its products are a bunch of famous video game characters. Nintendo's 1993 report was designed by Leimer Cross.
29

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Designed by Robert Miles Runyan & Associates, the 1959 Litton Industries report is often called the first "modern" annual report because it was the first to introduce a graphic theme. Revolutionary for its time, the report combined symbolic still life photographs with Litton's goals for the future - e.g., becoming "a major industrial citizen serving well the defense needs of our country."

31

Over the past 15 years, Nesnadny + Schwartz has built a visual identity for Progressive Corporation's annual reports by commissioning fine artists to create a body of work to interpret the year's theme. The avant garde art helps to communicate the auto insurer's proactive attitude and willingness to embrace change.
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Pentagram used type > as a visual metaphor to depict tornadoes, lightning strikes, hurricanes and car wrecks in the 1996 report for CAT Limited, a property catastrophe reinsurance company.

Visual metaphors can be very effective in communicating their point, even when they feature objects unrelated to the company or industry. Leimer Cross forcefully represented Zurich Reinsurance Centre's strategic message with a photograph by Tyler Boley.

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Designed by Erik Nitsche, the 1958 annual report for General Dynamics is cutting-edge even by today's standards. The lavishly produced book featured bold gatefold black-and-white photos, interleaved with short-sheet color images of abstract industrial designs. Three printing processes were required - gravure for the black-and-white, letterpress for the color, and lithography for the cover and text.

37

Illustrator Guy Billout is > known for presenting conceptual ideas with a humorous twist as shown in the 1992 report for Herman Miller Inc., which featured a theme on Perspectives. While most annual reports are produced by outside design firms, Herman Miller's award-winning reports have been done by in-house designer Steve Frykholm for more than 20 years.

Eli Lilly and Company 1982

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Illustrations have long been a favorite means to communicate broad concepts. Robert Guisti's bull painting highlighted animal genetics in Eli Lilly's report, designed by Corporate Graphics. Jack Unruh's fanciful drawings accompanied children's essays about the future in the Lomas & Nettieton Mortgage Investors report, designed by Richards, Sullivan, Brock & Associates. Vin Guiliani's collageassemblage visualized automotive market share in Scovill Manufacturing Co.'s report, by Corporate Annual Reports, Inc.
38
Scovill Manufacturing Company 1969 Lomas & Nettieton Mortgage Investors 1977

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< During the '90s, Cahan & Associates has made creative use of unusual techniques to drive home their clients' message in unforgettable ways. Here, two die-cut holes that run through the entire 1996 Heartport annual report underscore the point that the company's system of making two small incisions between the ribs is a less invasive alternative to conventional open heart surgery.

Group 243 Design chose a fun and youthful way to reinforce brand awareness of the Domino's Pizza name. It tucked the company's 1983 financial message inside in a dominoes game box. 41

Transamerica's Pyramid > headquarters is not only the company's corporate symbol, it is one of San Francisco's most popular tourist attractions. To celebrate the Pyramid's 20th anniversary, Pentagram designed a 33-inch high pull-up cover that called out interesting facts about the landmark. The theme inside called out interesting facts about the company.

MAI N

PLANT

C O M P A N Y

D E T R O I

Prior to the mid-'50s, few companies took an editorial stance in their visuals. Pictures of their facilities were presented simply, in a "bricks-and-mortar" style, with no attempt to interpret the business. The drawing in Pfeiffer Brewing Co.'s 1950 report is an exceptionally fine example of this approach.
42

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EH HEW BRANDS, RAISING THE COMPANY'S TOTAL DOMESTIC AND INTERNATIONAL BRAND:

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Sometimes the most impressive and understandable way to present a broad assortment of products is by arranging them into a pleasing pattern. Using photographs shot by Michael Deuson, VSA Partners organized Smithfield Foods' packaged meats into a colorful design of interesting shapes and sizes.

The 1974 Seagram Company report, designed by Arnold Saks Associates, opened onto a five-page foldout photograph of Seagram products, with the reverse side showing more of the same. Photographer Phil Marco shot this impressive display by arranging the bottles in a staggered pattern on a light box.

Before Photoshop, complicated photographs required expensive retouching to assemble. For Castle & Cooke's 1984 report designed by Jonson Pedersen Hinrichs & Shakery, photographer Tom Tracy created an elaborate still life display on a soundstage so he could shoot the company's produce products from 20-feet above.

Quantity - not just product assortment - was the visual message in this photograph in Sunshine's 1945 annual report, which talked about the nearly 200 million packages of cookie and cracker products sent to military PXs during World War II.

than 190,000,000 packages -X's alone shipped between Harbor and Hirohito's surer, Aug. 14, 1945 in addition ar rations. Sunshine has gone every corner of the world

Arnold Saks transformed the look of annual report photography in the '70s first by his use of strong photographic "icons" of an industry and then by partnering with printers to produce color separations that would enable higher ink densities on a sheet. Gary Gladstone's photograph for the 1982 Colt Industries report is representative of Saks' richly saturated style.

H.J. Heinz Co. 1974

H.J. Heinz Co. 1976

During the'70s, H J . Heinz commissioned some of the best-known editorial photographers in the world from top, Bruce Davidson, Art Kane and Jay Maisel to shoot for its annual reports. The 1974 and 1976 reports were designed by Harrison Associates. The 1979 report was done by Corporate Graphics Inc.
46 HJ. Heinz Co. 1979

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For the 1996 and 1997 Swiss Army annual reports, SamataMason designed double-cover "form and function" books. Opened from one side, the books showcase product forms in beautiful photographs. From the other direction, the books feature the functional side, presenting the letter to shareholders
48

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In 1963, Chermayeff Geismar put a consumer face on Burlington Industries by focusing on the multitude of end-products made from the company's textiles. 52

A hallmark of Northrop Corporation annual reports has been the skillful use of dramatic black-and-white photographs featuring military aircraft. This photographic style was initially introduced by Jim Cross and then maintained by Carl Seltzer when each was an in-house designer at Northrop. The two continued to design Northrop reports through Cross Associates. 53

During the '80s, Potlatch annual reports presented an ongoing theme series that explored one aspect of its forest products business in-depth each year. Pentagram designed the theme to be told largely through pictures and captions, combining an interesting mix of photographs and illustrations, historical images, industry lore and company facts. Rich with information, the Potlatch reports were used by schools and colleges to teach students about the forest products industry.

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A pioneer in photosurrealism, > Charly Franklin produced this image in-camera, without any use of retouched art, for Activision's 1984 report, designed by Jonson Pedersen Hinrichs & Shakery.

Insignia Solutions 1996

Manipulated photographs allow companies to communicate abstract ideas that could once be told only through illustration. The photo above was shot by Michele Clement for the 1996 Insignia Solutions report, designed by Schulte Design. Below, John Casado photographed the listening man for the 1995 Public Securities Association annual, designed by Frankfurt Balkind Partners. 56
Public Securites Association 1995

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The premiere annual report of the newly merged Time Warner Inc. in 1989 set out to establish the combined company as a bold, daring and creative global presence. Designed by Frankfurt Gips Balkind, the Time Warner report made lavish use of shocking fluorescent colors and Cubist/Dadaist-style compositions by conceptual photographer Geoff Kern. 59

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For Cor Therapeutics' > 1996 report, Cahan & Associates made readers feel like they were being briefed in the company's laboratories by recreating the look and feel of a real medical research file, complete with x-ray film.

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Tolleson Design illustrated the benefits of on-demand printing in Electronics for Imaging's 1997 report by demonstrating how EFI's Fiery technology works on actual Fiery-output pages. 62

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When weather permits there is ice skating. Trees enhance the appearance and comfort of the areas. Buildings with accommodations for indoor activities in bad weather are provided in one-quarter of the playgrounds.

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JUVENILE DELINQUENCY ARRESTS

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1935

Marginal Playgrounds
In Central Park the lawns and landscaped areas were being torn to pieces by active children. T h e problem was largely solved by placing eighteen marginal playgrounds near the entrances to the park, providing children with healthy play which took the place of thoughtless destruction. The same policy is being followed in other large parks. One-half of the east border of Bronx Park has already been so developed. In rehabilitated parks, wherever necessary, definite areas were set aside for baseball, football, soccer and other open field sports. Hundreds of acres of formerly idle lands were thus made useful.

* * * * *

* * * * * * * * *

1937 A A A * * * * * 1938 A A A A A A A A A
EACH SYMBOL = 500 ARRESTS

A blend of science and art, graphs have long offered the opportunity to present dry statistical facts in an engaging visual manner. The 1939 annual report for the City of New York converted juvenile accident and arrest statistics into pictograms that allowed readers to compare year-to-year changes at a glance.

65

Bergen Brunswig Corporation 1986

Shawmut Corporation 1984

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78 Total Revenue: $3.8 million Nelvana 1998

79

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81

82

Colt Industries 1982

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76 Chicago Board of Trade 1994

77

78

79

80 Times Mirror 1986

Seagram Company Ltd. 1980

FASTEST SALES RATE IN V I D E O CAME HISTORY

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Nintendo Company Ltd. 1997

Big Flower Holdings 1998

:rs Communications Inc. 1988

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< A bar graph can be made from practically anything. Here, Petrick Design chose a familiar office product to represent sales growth in the 1995 annual report for Boise Cascade Office Products Company.

fBSS YEAR-END VALUE

$236,000

The choice of a pig had a double meaning for Smithfield Foods, which produces fresh pork and processed meats. It symbolized both an important line of business and, in its piggybank appearance, an American symbol of investing in the future. VSA Partners drew attention to the impressive numbers by keeping the pigs as the only graphic elements on the spread.
69

Consolidated Freightways 1986

Potlatch Corporation 1991

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Polaroid 1985

While charts and graphs must be proportioned to accurately represent mathematical data, diagrams often

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can be interpreted freely to suit the information that needs to be conveyed. Here, different designers have used the globe to pinpoint sales offices, show transportation routes and talk about worldwide markets. Another favorite graphic device has been the use of schematic diagrams to give readers a cutaway view of what's inside or, in the case of the log, show the variety of products

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manufactured from wood fibers.

71

When designers and printers say they depend on "karma" to produce a winning annual report, chances are they are referring to a paper that is renowned for performance and visual appeal. Karma anticipates what the job needs. Its matte, non-glare finish comes in two versatile shades Bright White and warm Natural, made with 10% post-consumer recycled fiber. Both shades are known for high opacity and superior ink holdout, critical for printing rich colors as well as tiny footnotes in the Financials. Available in weights that range from 80 lb. text to 80 lb. cover, Karma by Potlatch brings positive energy to annual report projects everywhere.

To receive a complete set of Potlatch swatchbooks, contact your local Potlatch paper merchant. Call us at 8 0 0 4 4 7 . 2 1 3 3 or visit our website at www.potlatchpaper.com

72

Index
Covers Burlington Industries 1965 Design: Chermayeff & Geismar Photograph: Carl Fischer Herman Miller Inc. 1985 Design: Stephen Frykholm Photographs: Various Houston Metropolitan 1980 Design: Herring Design Inc. Photograph: Jim Sims H.J. Heinz Co. 1975 Design: Harrison Associates Photograph: Magnum/Bruce Davidson Norlin Corporation 1974 Design: Chermayeff & Geismar American Can Co. 1968 Design: George Tscherny Inc. Photograph: Magnum/Burk Uzzle American Can Co. 1966 Design: George Tscherny Inc. 24 Scovill Manufacturing Co. 1972 Design: Corporate Annual Reports Inc. Illustration: Richard Hess 25 New York Stock Exchange 1983 Design: Anspach Grossman Portugal Inc. Photograph: Irving Penn

11
H.J. Heinz Co. 1976 Design.- Harrison Associates Photograph: Art Kane

12
L.J. & Mary C. Skaggs Foundation 1987 Design: Vanderbyl Design Photograph: David Knight

26
The Ansul Company 1967 Design: RVI Corporation Illustrator unknown Fremont Group 1998 Design: The Leonhardt Group Illustration: Nancy Januzzi/Noli Novack H J . Heinz Co. 1983 Design: Corporate Graphics Inc. Illustration: Daniel Schwartz California Casualty Group 1994 Design: Broom & Broom Photograph: Jock McDonald 27 St. Joe Minerals Corporation 1975 Design: Corporate Annual Reports Inc. Illustration: Wilson McLean Polo Ralph Lauren Corp. 1998 Design: EAI Photograph: Polo Ralph Lauren Archives Transamerica Corporation 1997 Design: Pentagram Illustration: Jack Unruh Potlatch Corporation 1990 Design: Pentagram Photograph: Tom Tracy 28 Adaptec Inc. 1996 Design: Cahan & Associates Illustration: Richard McGuire 29 Nintendo Co. Ltd. 1993 Design: Leimer Cross Photograph: Eric Meyer Themes

13
Rational Software Corporation 1996 Design: Cahan & Associates

14
Hupp Motor Car Corp. 1938 Designer/Illustrator unknown Puget Sound Power & Light Co. 1944 Designer/Illustrator unknown General Foods 1949 Designer unknown Illustration: Armando Seguso Transamerica Corporation 1950 Designer/Illustrator unknown

CBS 1964
Design: Lou Dorfsman Logicon 1985 Design: Carl Seltzer Design Office Hunt Foods & Industries 1962 Design: Saul Bass & Associates Photograph: Max Yavno Time Warner Inc. 1989 Design: Frankfurt Gips Balkind Photograph: Scott Morgan G.D. Searle & Co. 1957 Designer/Illustrator unknown Bristol Meyer 1975 Design: Arnold Saks Associates

Xerox 1972
Design: Chermayeff & Geismar The Ansul Company 1961 Design: RVI Corporation Illustration: Chad Taylor Westinghouse Electric 1978 Design: Paul Rand National Audubon Society 1995 Design: Pentagram Illustrations: Various Chase Manhattan Bank 1968 Design: Arnold Saks Associates Illustration: Adrian Lopez Scovill Manufacturing Co. 1972 Design: Corporate Annual Reports Inc. Illustration: Richard Hess Micom Systems Inc. 1983 Design: Robert Miles Runyan & Associates Litton Industries 1977 Design: Robert Miles Runyan & Associates Woodward's 1985 Design: John Van Dyke Co. Photograph: Howard Fry Adaptec Inc. 1995 Design: Cahan & Associates Illustration: Steve Yance Metropolitan Life 1984 Design: Corporate Graphics Inc. Illustration: Guy Billout Playboy Enterprises 1986 Design: Boiler Coates Spodaro Ltd. Illustration: Andy Warhol

16
RCA 1983 Design: Arnold Saks Associates Photograph: Gregory Heisler

17 IBM 1963
Design: Paul Rand Photograph: Cornell Capa Houston Public Television 1993 Design: Geer Design Inc.

18
Cummins Engine Co. Inc. 1976 Design: Paul Rand

31
Litton Industries 1959 Design: Robert Miles Runyan & Associates Photograph: Ovid Neal 32-33 The Progressive Corporation 1989-98 Design: Nesnadny +Schwartz Illustrations/Photographs: Various 34 Zurich Reinsurance Centre 1995 Design: Leimer Cross Photograph: Tyler Boley 35 CAT Limited 1996 Design: Pentagram

19
Rockefeller Foundation 1992 Design: Pentagram Photograph: John Paul Endress Portraits

21
IBM 1956 Design: Paul Rand Photographer unknown 22 Nichols Institute 1987 Design: Robert Miles Runyan & Associates Photograph: Scott Morgan 23 Southwest Airlines Co. 1994 Design: Sibley/Peteet Design Illustration/Photograph: Mick Wiggins

15
Aetna Life 1921 Designer unknown Robbins Mills 1949 Designer/Photographer unknown CalMat 1994 Design: Douglas Oliver Design Office Cracker Barrel Old Country Store 1986 Design: Thomas Ryan Design Photograph: McGuire

36-37
General Dynamics 1958 Design: Erik Nitsche Photographer unknown 38 Eli Lilly and Co. 1982 Design: Corporate Graphics Inc. Illustration: Robert Guisti

Potlatch
Potlatch Corporation Cloquet Minnesota 55720

800 447.2133
www.potlatchpaper.com

Lomas & Nettleton 1977 Design: Richards Sullivan Brock & Associates Illustration: Jack Unruh Scovill Manufacturing Co. 1969 Design: Corporate Annual Reports Inc. Illustration: Vin Guiliani 39 Herman Miller Inc. 1992 Design: Stephen Frykholm Illustration: Guy Billout 40 Heartport 1996 Design: Cahan & Associates Photograph: Ken Schles

Burlington Industries 1963 Design: George Tschemy Inc. Photographer unknown 53 Northrop Corporation 1979-81 Design: Cross Associates Photographs: Various 54-55 Potlatch Corporation 1982-88 Design.- Pentagram Photograph: Tom Tracy Illustrations: Will Nelson, Colleen Quinn 56 Insignia Solutions 1996 Design: Schulte Design Photograph: Michele Clement Public Securities Association 1995 Design: Frankfurt Balkind Partners Photograph: John Casado 57 Activision 1984 Design: Jonson Pedersen Hinrichs & Shakery Photograph: Charly Franklin 58 The Registry 1996 Design: Weymouth Design Photograph: Bruce Rogovin 59 Time Warner Inc. 1989 Design: Frankfurt Gips Balkind Photograph: Geoff Kern

The Seagram Co. Ltd. 1980 Design: Arnold Saks Associates Times Mirror 1986 Design: Robert Miles Runyan & Associates Nintendo Co. Ltd. 1997 Design: Leimer Cross Big Flower Holdings 1998 Design: Susan Hochbaum Design Rogers Communications Inc. 1998 Design: Tudhope Associates Inc. 67 Colonial Penn 1976 Design: George Tscherny Inc. Medical Inter-Insurance Exchange 1992 Design: Cook & Shanosky Associates Inc. Borg-Warner 1983 Design: Boiler Coates Spodaro Ltd. Komag Inc. 1992 Design: Tolleson Design

41
Domino's Pizza 1983 Design: Group 243 Design 42 Pfeiffer Brewing Company 1950 Designer/Illustrator unknown 43 Transamerica Corporation 1992 Design: Pentagram Illustration: Dugald Stermer 44 Smithfield Foods 1996 Design: VSA Partners Photograph: Michael Deuson The Seagram Co. Ltd. 1974 Design: Arnold Saks Associates Photograph: Phil Marco 45 Castle & Cooke Inc. 1984 Design: Jonson Pedersen Hinrichs & Shakery Photograph: Tom Tracy Sunshine 1945 Designer/ Photographer unknown

Chili's 1988
Design: Richards Brock Miller Mitchell & Associates Illustration: Regan Dunnick H.J. Heinz Co. 1977 Design: Corporate Graphics Inc. Photograph: Magnum/Bruce Davidson Lockheed Corp. 1988 Design: Carl Seltzer Design Office The Coca-Cola Company 1993 Design: Pentagram Photograph: Arthur Meyerson Brown & Bigelow 1944 Designer/Illustrator unknown CAT Limited 1996 Design: Pentagram Chicago Board of Trade 1992 Design: VSA Partners 68 Boise Cascade Office Products Co. 1995 Design: Petrick Design Photograph: Charles Shotwell

60-61
The Ansul Company 1966 Design: RVI Corporation Illustration: Milton Glaser 62 Electronics For Imaging Inc. 1997 Design: Tolleson Design

46
H.J. Heinz Co. 1974 Design: Harrison Associates Photograph: Bruce Davidson H.J. Heinz Co. 1976 Design: Harrison Associates Photograph: Art Kane H.J. Heinz Co. 1979 Design: Corporate Graphics Inc. Photograph: Jay Maisel 47

63
COR Therapeutics Inc. 1996 Design: Cahan & Associates Photographs: Keith Bardin, John Kolesa, Tony Stromberg Diagrams

69
Smithfield Foods 1996 Design: VSA Partners Photograph: James Schnepf 70 Consolidated Freightways 1986 Design: Pentagram Illustration: Tom Nikosey IBM 1959 Design: Paul Rand Illustration: Rand McNally & Co. Etec Systems Inc. 1996 Design: Cahan & Associates Photograph: Tony Stromberg Potlatch Corporation 1991 Design: Pentagram Illustration: Will Nelson

65
City of New York 1939 Designer unknown

Colt Industries 1982

Design: Arnold Saks Associates Photograph: Gary Gladstone 48-49 Swiss Army Brands Inc. 1996-97 Design: SamataMason Photograph: Victor John Penner 50 National Medical Enterprises Inc. 1988 Design: Pentagram Photograph: Michele Clement Illustrations: Justin Carroll, Tim Lewis, Vince Perez

66
Bergen Brunswig Corp. 1986 Design: The Jefferies Association Electro Rent Corporation 1981 Design: Robert Miles Runyan & Associates Illustration: Paul Bice Shawmut Corporation 1984 Design: Benes Communications Illustrations: Michael Benes/David Hannum Yahoo 1997 Design: Stephen Turner & Associates Nelvana 1998 Design: Tudhope Associates Inc. Colt Industries 1982 Design: Arnold Saks Associates Chicago Board of Trade 1994 Design: VSA Partners Photograph: Frangois Robert

71
Polaroid 1985 Design: Benes Communications Illustration: Dave Hannum Siebel Systems Inc. 1998 Design: Cahan & Associates Illustration: Craig Terrones Transamerica Corporation 1992 Design: Pentagram Illustration: Ed Lindlof

51
Creative BioMolecules Inc. 1996 Design: Weymouth Design Photograph: John Huet 52 Chicago Board of Trade 1996 Design: VSA Partners

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