ABOUT THE WORK IN THIS GALLERY
The examples of my design work shown here are only what remain in my possession at this time.  For the most part, my design work was done for music groups, for their ads and flyers and for music publishers.  I also did other design jobs for individuals and businesses that had nothing to do with the music world.  All of this work was done in the pre-computer era, which meant that I had to rely on press-type, and photostats to resize images and type. Since much of my design work was type based, the work I did was quite a far cry from what one can do today with the aid of a computer. I am especially amazed at the labor intensive and complex typographical counterpoint seen in the poster (the one with light blue lettering on a black background) done in 1973 for the Hudson Valley New Music Group.  

I began working in a music copying shop in 1967.  My first job there was to correct mistakes in the music found by the various in-house proofreaders working at the music publishers.  My copying technique evolved quite quickly with the use of a music typewriter, press type and symbols, the advanced IBM Selectric (which had interchangeable type fonts and the ability to achieve full justification of body text. I also made use of various templates to make slurs and ties by hand. I used about three main pens for such things as beams, stems and hairpins (decrescendo and crescendo markings.)  For the most part, I learned these copying skills for the purpose of copying my own music. There were, however, a few pieces such as Wuorinen's "Janissary Music," Wolpe's "Form IV" for piano (which I edited with the pianist Robert Miller) and the Sollberger and Tower works seen here.  In 1978 I turned down a request from John Cage to become his personal copyist.  That was the year I moved to La Jolla, California, leaving music and all the rest, to play tennis.