Graphic Communications Today, 4th Edition

By Bill Ryan and Theodore Conover
2004: Thompson Delmar Learning
ISBN: 0766820750

When Theodore Conover, the original author of Graphic Communications Today, asked Bill Ryan to take over for the fourth edition, the result was an entirely new book. A coffee-table book as well as an essential reference for visual artists, teachers and lovers of design and photography, the 662-page book, billed by the publisher as “the definitive book on graphic communications,” includes all new artwork, compelling case studies, and, as Ryan puts it, “interviews with some of the most important people in graphic communication on the planet.” These include photographer Mary Ellen Mark, National Geographic editor-in-chief Bill Allen and Pete Docter, writer and director of Toy Story and Monsters, Inc., and many more. Ryan, who uses Flux covers and layouts as well as many other student and alumni examples in the book—says that reconnecting with the dozens of former students whose work is included was “really kind of an epiphany.” “I learned a lot of things about myself, about design, about the process of building and completing an enormous book and about many of my graphic heroes.”

How many other books have you written?

I've co-authored: How to Produce Creative Publications: Traditional Techniques & Creative Applications...and Desktop Publishing with Tom Bivins. I am currently working on two other books – Documentary Photography for Focal Press (Boston/London) and The Creative Sides Of Advertising (working title) for Delmar Learning. The latter will focus on the of creative aspects of the contemporary advertising, including design, copywriting, planning, typography, branding, strategic planning, collateral materials, marketing, creative strategy, and examine other media. My purpose is to create another landmark book with Delmar, and to produce several conference papers and/or journal publications in the process. This work has logical connections to my teaching, research, and writing. Add to that, Delmar has guaranteed that they will put the same kind of commitment to developing this text; we've already discussed contracting Kit Hinrichs - my friend and principal and senior designer at Pentagram.San Francisco - to design it. The book be similar in size and format, full-color, and offer many other special features: interviews with some of the finest creatives, planners, strategists, and branding specials; case studies; profiles; and the history and culture of professional advertising.

I've also written Reflections In A Circus Mirror – with James Minor - a collection of poetry published by South and West Press. And my poetry and other creative writing (short stories mostly) have been published in literary magazines the likes of The Chicago Review, Voices International, The Notre Dame English Journal, Wisconsin Review, South Dakota Review, Human Voice, Kansas Quaterly and America - to name a few.

Why did you write this one?

I had been a reviewer for (and a contributor to ) the second and third editions. I'd also sent student work to Ted Conover (the original author) for both editions that been published and over the years we became friends. He also has very close friends at the UO in Professors Dean Rea, Ken Metzler and Roy Paul Nelson - and he was familiar very familiar with the design and art side chapters of the book I'd done with NTC. Anyway, he approached me about taking the book over for him. We talked and he really liked my ideas and vision for a new book - one that included a great deal of research, several new chapters, a complete rewriting of the text - not just an update, all new artwork, compelling case studies, and interviews with some of the most important people in graphic communication on the planet.

…I wanted to really make this book a bible of graphic communication and design. I wanted to make the book vibrant, compelling, interactive, and instructional - and be as relevant to professionals as it was to students in a classroom. I wanted to make a book so relevant and interesting that readers would want to *keep* it in their personal libraries. I wanted it to have a serious impact on their vision and how they thought about communication, period - visual or otherwise.

What did you learn while writing it?

Well, I learned a lot of things about myself, about design, about the process of building and completing an enormous book, and about many of my graphic heroes. I was really kind of an epiphany reconnecting with so many former UO Students - Tracy Wong, Chris Ribeiro, Matthew Bates, Sarah Aichinger- Mangerson, Rob Siltanen, Eric Evans, Ken Chitwood, Dirk Barnett, Kevyn Smith, Stacy Milrany, Mark Clemens, Jenny Eggers...the list goes on and on. In addition, I was able to renew many old professional relationships with the likes of such insight designers and art directors as D. J. Stout - former AD at TEXAS MONTHLY; Kit Hinrichs - principal and sr. AD and CD at Pentagram Design San Francisco; Jack Anderson, principal and Sr. AD at Hornall Anderson Design Works - Seattle; Connie Phelphs - Design Editor at National Geographic; Dave Gray - Exec. Director and co-founder of the Society for News Design; Fred Hammerquist, Exec. CD of DDB-Seattle; Mary Warlick, Director of The One Club-NYC; Nanette Bisher, Creative Director and Graphics Editor of the San Francisco Chronicle, Chris Curry, Illustration Editor of The New Yorker. And I make hundreds of new friendships through shared artwork, conversations and detailed interviews with Bill Allen, Editor-in-Chief of National Geographic; Fred Woodward, former AD of Rolling Stone and AD at GQ currently; Pete Docter, writer, animator and director of TOY STORY And MONSTERS, INC.; Patrick Coyne, Editor-in-Chief of Communication Arts. The learning experience was an on-going one.

What's your next book about?

The next book, The Creative Sides Of Advertising (working title), is going to provide a very thorough and comprehensive overview of advertising - from brainstorming to research, typography, media coordination, branding and identity, copywriting, portfolio development, creative strategy, storyboarding and TV spots, planning, presentation - the whole thing. Like Graphic Communication Today, 4th Edition, the book will include opening statements and interviews with some of the finest minds in advertising, marketing and branding. And - it will, of course, be packed with wonderful examples - award-winning from all over the world.

Anything else Flash readers should know?

I am also working on a screenplay, a book on documentary photography, and I am a regular book reviewer for Visual Resources Journal.