REPORT OF GRAPHIC EVALUATION

• Document Type: CREST
• Collection: General CIA Records
• Document Number (FOIA) /ESDN (CREST): CIA-RDP77-00512R000100040064-4
• Release Decision: RIPPUB
• Original Classification: K
• Document Page Count: 12
• Document Creation Date: December 12, 2016
• Document Release Date: January 17, 2002
• Sequence Number: 64
• Publication Date: December 8, 1975
• Content Type: MF

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DD/A 75-5836
8 December 1975
MEMORANDUM FOR: Director of Central Intelligence
SUBJECT Report of Graphic Evaluation
1. Representatives of and consultants to the National
Endowment for the Arts undertook an analysis of the graphic
portfolio of this Agency on 8 and 9 October 1975. Their
report was submitted to us on Friday, 5 December 1975. It
is my opinion that all Agency personnel who participated in
this exercise were impressed with both the conscientiousness
and expertise of our surveyors and looked forward to the
receipt of their report.
2. I should like to offer comments as I submit this
report to you. Page 2 states, in part, that the panelists
asked the undersigned to define "the mission of the Agency."
The report misspeaks the request because, in. fact, I was
asked to comment on the perception we would choose to have
people view us. The quotation of the answer I gave is about
as accurate as any quotation which is fed back. There was,
however, one additional sentence which has been left out.
That sentence was approximately:
"We are a group of individuals who
believe we deserve, and in fact demand,
the respect of our Government and of our
citizens."
3. My second comment is that the report raises an
organizational issue of some sensitivity. Of all "sacred
cows" in the Agency, none is probably more revered than the
"Directorate-owned and controlled graphic arts facility."
There has, as the report indicates, been an historical lack
of coordination or even central guidance. For that reason,
I propose to approach an internal review and study of this
matter on a discreet basis. I am forwarding to the principal
senior officers a copy of this report and asking for no
written feedback at the present. In lieu of that, I will
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suggest a discussion of the matter at a forthcoming CIA
Management Committee Meeting and solicit reactions and view-
points at that time. I do propose, however, that we carry
on a continuing viable relationship with the National Endow-
ment for the Arts. STATINTL
John F. Blake
Deputy Director
for
Administration
Distribution:
Original - DCI
1 - DDCI
1 - ER
Att: Report of Graphic Evaluation / Central Intelligence Agency
by the Federal Design Improvement Progxaa, National Fntlow>eent
for the Arts, dtd December 1, 1975
1 - DD/A Subject w/cy of Att
I - DD/A Chrono w/o Att
JPB Chrono w/o Att
DD/A:JFBlake:der (8 December 1975)
2
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 f ? Inviiease f-1 ~ r-j IL) '
4wft
Of`IOOWff1OflT O.C. 20505
FOR
THE ARTS A Federal agency advised the
National Council on the Arts s
December 5, 1975
Honorable William E. Colby
Director
Central Intelligence Agency
Washington, D. C. 20505
Dear Mr. Colby:
I am pleased to transmit this report on the graphics of
the Central Intelligence Agency -- based on a panel eval-
uation of October 9 and 10, 1975.
We appreciate the many courtesies extended by your staff,
and look forward to continued cooperation.
Nancy Hanks
Chairman
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Report of
Graphic Evaluation
Central Intelligence Agency
Federal Design Improvement Program
National Endowment for the Arts December 1, 1975
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Introduction
This report is the result of an analysis of the
graphics portfolio of the Central Intelligence Agency.
The evaluation took place on October 9 and 10, 1975, and
consisted of analyzing nearly 70 items.
Appreciation is extended to the CIA for enthusiastic
cooperation and support of the Federal Design Program, and
STATINTL to and his working group for their diligence in
collecting a well-rounded portfolio. The panel of experts
who evaluated the portfolio:
James Dean
Curator of Arts
National Air and Space Museum
Grant Smith
Manager, Graphic Design Center
Westinghouse Corporation
Peter Smith
General Manager
MacMillan Education Corporation
RitaSue Siegel
President
Design Personnel Agency
Malcolm Grear
Malcolm Grear Designers Inc. and
Rhode Island School of Design
Jerome H. Perlmutter
Coordinator of Federal Graphics
National Endowment for the Arts
Paula. Silver
Assistant Coordinator of Federal Graphics
National Endowment for the Arts
Nicholas Chaparos
Coordinator, Design Information
National Endowment for the Arts
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Findings
One of the biggest and most encouraging advantages
the Central Intelligence Agency has concerning better
graphic design and communication is the agency's overall
willingness to receive advice and constructive criticism.
The CIA portfolio display showed evidence of some
talented designers/cartographers at work. In fact, the
cartographic area was singled out for high praise in terms
of outstanding work produced.
However, one of the strongest conclusions made by the
panel of experts, who carefully evaluated the entire cross
section of graphic items, was that clearly, total coordina-
tion of the agency's creative efforts was in order. Art
direction has no central control. Fragmentation, confusion,
lack of quality control, weak design and out-dated illustra-
tions and formats were evident and considered communication
liabilities.
When asked by panelists to define the mission of the
agency, Mr. John Blake responded: "The CIA should be per-
ceived as a group of well-educated, dedicated individuals
coming from varied, academic disciplines. An agency reflect-
ing the role of the U. S. today and in the future, working
for the welfare and preservation of the United States Govern-
ment."
Contrary to Mr. Blake's conception, the graphics gen-
erally reflect an agency born during and after World War Ik.
rather than conveying a contemporary mission.
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Organization and Control
Of major concern to panelists was the lack of quality
control regarding text, typography, layout and design. Evi-
dently, publications are approached by several different de-
signers with multiple but separate design responsibilities
(i.e., charts, maps, texts, etc.) Without a joint concerted
effort, fragmentation becomes the main weakness.
Some publications were interesting in style (atlases)
and presentation but more publications did not have a uni-
fying thread outside of consistent cover design. Panelists
observed that a graphics system (which is at its initial
stage of development) could bring together the many diverse
elements. Their response was to implement stronger direction
and quality control. Guidelines should be applied uniformly
throughout all the graphic shops to achieve that objective.
Typography
Type styles are varied and mixed in practically all
items reviewed. The problems become compounded with diverse
material being handled within one publication. More strict
attention should be given to developing grid systems -- those
presented are mostly unworkable and not "in-depth enough" to
solve the problem. Most typography shows a lack of concern
for spatial qualities; it seems clear that the typography
machine dictates what the person does. Little attention is
given to leading and letter spacing, both are equally as poor.
Margins are too wide for short paragraphs. Not enough spacing
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between paragraph units. Typographic covers should reflect
immediacy and importance, visually exciting; they generally
do not. The ones exhibited are pedestrian and lack spatial
concern.
Personnel
In every category, it was clear that improvements were
possible if alternative approaches were used. Panelists
observed that a lot was lost in the execution because de-
signers leaned on out-dated techniques. Panelists pointed
specifically to style, space, composition, color, layout as
some of the more important factors. CIA designers should be
exposed to a series of training programs. Special seminars
led by a commercial designer would help keep CIA designers
up to date and improve the quality and efficiency of their
work.
Photographs and Illustrations
Photos presented seem adequate but uninspired. They
convey their intent. Most illustrations (Literal especially)
show a lack of drawing ability and are very dated in appear-
ance as well as technique.
Priorities
Since one major goal of CIA's publications is passing
on sensitive and readable information to the intelligence
community and cabinet officials, a strong, fully coordinated
and administered graphics program should be of the highest
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priority. With the abundance of information to be digested,
legibility must rank high especially for top administrative
officials so that important intelligence data are not over-
looked or delayed in reading. Information should be presented
in a coordinated and unconfusing manner, unencumbered by du-
plication-or fragmentation. It was most evident to panelists
that high.priority has been given to the hiring of top calibre
personnel to develop accurate, well-designed, color-sensitive
maps and charts. Equal priority needs to be given to other
design areas responsible for conveying the Agency's message
to the public and other audiences via posters, brochures,
publications, etc.
Recommendations included a mandate from the agency
director to establish a position of design coordinator re-
sponsible for central control and direction for the various
different individual graphic shops. He would channel creative
talents to better control and produce the design needs for
each department. He would seriously consider drawing on the
talents of an outside design consultant with experience in
establishing visual communication systems.
The preparation of a new structure that would insure
a more responsible level of graphic direction especially
regarding typography, promotion of type and printing excel-
lence, paper selection, and a graphics system which could be
translated into a graphics standards manual. An overall mon-
itoring of quality, along with more effective communication,
could also prove to be both cost and time saving devices.
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Graphic systems should be developed to create a con-
sistent and coordinated a earance, one which will reflect
the importance and immediacy of materials. This would help
produce legible effective communications with little lead
time. The recognition of each staff designer, illustrator,
or photographer as a part of a team would contribute to a
healthy environment which would produce better graphics.
Panelists also recommended that designers from differ-
ent shops meet bi-weekly to share design information and
explore new design techniques by either design experts vis-
iting the CIA or the CIA staff going out to the design com-
munity.
This might also initiate competition among staff de-
signers for better and more refined results.
The following is a suggested chronology for the total
program.
1. Receiving a mandate from the Agency's Director
for the revision of structure, giving the indepen-
dence and complete central control to the new position
of Design Coordinator.
2. Consultation with the National Endowment for the
Arts, for advice and assistance in selecting candidates
for Design Coordinator.
3. Appointment of a Design Coordinator..
4. Engaging an outside consultant for professional
advice and direction.
5. Development of a philosophy statement for the
agency and its staff to make communication objectives
clear and major goals identifiable.
6. Monitoring for quality and adherence.
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Summing Up
In the final analysis to make the graphic program work,
CIA must identify or recruit an experienced, knowledgeable
design coordinator to develop and achieve quality graphics.
An excellent source is a commercial designer who has gained
experience establishing similar programs and would be willing
to work for the CIA full-time. Essential to the design co-
ordinator's success is the authority he receives and the
structure of the design organization. Assuming a centraliza-
tion of functions, the following is a model of a graphics
structure that could well serve CIA needs:
Design
Coordinator or
Director
1
Graphic
Units
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