apr1961

Volume 3 • Number 4 • April1961

The Journal of Commercial Art is published monthly by Coyne & Blanchard , Inc. at 809 San Antonio Road , Palo Alto , Cal ifornia. Subscription rates: U. S. A. , possessions, and Canada , one year, $12 ; two years, $22; three years, $30; five years, $45. Foreign, one year, $14. Single issues: $1, except for AD show issue $2, Packaging issue $2, Corporate literature issue $2, CA annual issue $4. Copyright 1961 by Coyne & Blanchard , Inc. *Trademark registered . Second-class postage paid at Palo Alto , California. Postmaster : Please send 3579 to 809 San Antonio Road, Palo Alto, California.

Change of Address : Notification should be sent to The Journal of Commercial Art, 809 San Antonio Road , Palo Alto , California , at least 45 days prior to effect date. Send both new and old address. If possible, use imprint from CA mailing envelope for old address.

Editorial Correspondence: No responsibility is assumed by the ed itors or publ isher for unsolicited contributions. Manu scripts or other material should be accompanied by selfaddressed , stamped envelope.

Advertising Correspondence: Requests for information or other correspondence concerning advertising may be addressed to David Hartman, Advertising Manager, The Journal of Commercial Art, 15 W. 44th Street, New York 36, N.Y., MUrray Hill 2-1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California, DAvenport 6-6040.

4

Letters to the editor

10

Advertisers' index

13

The time~ the place, the people

14

Morgue: palms

21

CA color chart

22

Editorial

24

Cover story

27

Designing for consumers

36

Exhibit

42

Literature of the month

46

The Master Plan in action: Raychem Corporation

50

From the shows: Richmond, Chicago

57

Typography: cutting type costs

60

Materials: services, available literature

61

Print that matters

61

On the board

62

Guest editorial: Susan Karstrom Keig

ART TRADE SHOP NO . I

ACCEPT THIS

LETTERS TO THE EDITOR

typical monthly issue of the

CLIP BOOK OF LINE ART as a Bonus Gift along with a Trial Subscription

Crusader

Dear Messrs. Blanchard and Coyne: ... because I cannot tell which of you authored "The Basic Problem of Our Economy" (March '61) I salute you both.

The title did seem a little queer but I idly began to read simply because I always read every printed word in CA. Then I did a double-take. The shock was delightful.

As a compulsively dedicated audiovisualist, as well as the bread-andbutter kind, I am at your service for any little chore that will help in this crusade.

Sincerely, Anne E. Cotter President

WITH THE NEW

Filmscope Inc. Sierra Madre, California

4

THREE CLIP BOOKS - 32 one-side 5x8" pages-20 ready-to-paste proofs of "Sales" situations- 14 art proofs of "Crowds" walking, cheering, etc.- 18 "Announcers," newsboys, town criers.

EASY! CLIP & PASTE these art proofs just like type proofs!

Quality art improves low-budget pasteups. Saves time and money in the bargain! Three brand new "Clip Books"32 "Kromekote" pages with dozens of line drawings-released every month.

Realistic, light humor, stylized, decorative art for offset, letterpress, silk screen printing. Also three 5x8 card indexes and 16-page "how-to" booklet each month. Only pennies a day-no extra reproduction fees. Typical issue, above, yours as a gift when you subscribe.

Cancel anytime. Or return everything after 10-day examination without cost.

10 DAY FREE TRIAL! HARRY YOLK JR. ART STUDIO PLEASANTVILLE 6, NEW JERSEY Enter our subscription to the "Clip Book of Line Art" starting with the current monthly issue-and send us Sales, Crowds and Announcing as our bonus gift. I understand that we may stop service at any time, just by notifying you. Or that we may return everything within 10 days without cost or obligation.

D BILL QUARTERLY @ $23.85 D ANNUALLY @ $71.40 SIGN . .•• ....• • . . .. . .. ... .... ••. . • .•..•. •. , Please sign your name above, clip and attach to purchase order, letterhead or business card.

Your comments and those of many others are appreciated. Recent statements by Labor Secretary Goldberg indicate our analysis is all too true. Even now, our entire educational system is undergoing great "soul-searching" and change.

CA plans to publish additional editorials on this subject, preferably written by others. There are two vital problems concerned in this ''crusade,'' as you termed it: the economic one we discussed and one with our own profession. Why must we wait for others to recognize this potential of ''communications art''?

Why should they come to us with readymade plans and directions for us to execute merely as craftsmen?-ed.

More to come

Dear Sir: I would like to congratulate you, not only on your great CA'60 issue, but on the high printing quality and the timely and interesting editorial content of CA month after month. Every issue that arrives in our design office is eagerly sought after by every member of the staff. I appreciate the effort that went into your CA'60 issue and hope it was the first of many such issues.

Very truly yours, Ward M. Hooper Design Head: Packaging Div. Store Development J. C. Penney Company Inc. New York City A preview announcement of CA '61 is on the inside back cover.-ed.

CA, A pril '61

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5

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CA. April '61

Tubes 35c each and 1 oz. jars 40c; 4 oz. jars $1.25

Ad placement

Gentlemen: I would like to take this opportunity to add my voice to the ever increasing audience of admirers you've earned yourselves.

CA's high standards of: quality, coverage, color, type, printing and its consistently well layed-out, easy to read pages make me conscious of how much I look forward to its arrival each month.

Recently I dropped the long standing subscriptions of two of your competitors. Their consistent use of poor judgment as to the placement of advertisements in the editorial sections of their respective magazines got me down. In CA I enjoy the articles' continuity, the illustrations and the advertisers since they do not destroy the magazine's Reason for Being!

Best wishes for many long years of leadership in this field.

Sincerely, Barbara M. Fisher Los Angeles

One of the least understood and one of the most fascinating (and frustrating) problems in publishing is the jigsawlogistics of ad placement. Most advertisers request a "right-hand page, up front." If you don't have many ads, this is easy. Eventually, many hours are spent figuring how to "do right by the 12-timers"; how to make new advertisers happy so they'll become 12-timers; keeping competitors off the same page or spread; working out signature patterns for regional advertisers; keeping coupons on an outside column; placement of inserts between signatures; working out split fountain runs for two-color ads; making last-minute decisions on additions, cancellations, or changes.

Creates quite a challenge!-ed.

6

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Color-aid Liq«U EMHu now in 3 oz. bottle

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Beans

Dear Sir: You and your damned swapping!

The enclosed check for $45, I understand is saving me $29 and will renew my subscription for 65 issues.

Sincerely, (Mrs.) Edith H. Fish Advertising Manager N ole to Stanley D. Fish: You won't mind living on beans for a while, will you, dear?

DuPaCo., Inc. Arcadia, California CA, A pril '61

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and you will too once you discover why. Layouts, camps, and visuals jump to life on Ad-Art ... works magnificently with pencil, charcoal, pastel ... any dry medium. dt The unusual whiteness, translucency and velvety texture seems to perform magic ... the paper does its part, the rest is up to you. eh Be sure you now look for the newly designed pad cover.

50 and 100 sheet pads available in: 9xl2"-10xl4"-llxl5"-12x18"-14xl7"-131/2 x21"-15x20"-19x24"-2lx27"

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b i 8ft'£ & ft g PAPER CO., INC. METUCHEN, NEW JERSEY

9

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CA. April'61

With Liquitex, the designer and illustrator can achieve effects-and speed of handling- not obtainable with any other colors or media.

Liquitex Colors are EXCEPTIONALLY BRILLIANT- almost luminous-used as either opaques or transparent glazes.

Use them on any surface, even on plastics, with no advance ground preparation.

They dry quickly and are IMMEDI.ATELY WATERPROOF. The work needs no spec1al surface treatment to protect it from handling.

Liquitex Colors thin with water or with Liquitex Medium. NO NEW TECHNICS need be learned but whole new fields may be explored through the great versatility of Liquitex.

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Unheralded areas

ADHESIVE BACK

ACETATE SHEETS in COLOR Here's a new, quick, accurate way to add matched standard printing ink colors to layouts, sketches and final art.

Dear Mr. Coyne: It was a pleasant surprise to browse through the Jan. '61 issue of CA and suddenly discover that our own little effort, Image, had achieved your recognition. The two-page spread was not only handsomely done, but was very generous on your part.

I'd like to commend you for the fresh approach your magazine has brought to commercial art. Beside presenting fine specimens of tasteful art, your policy of extending your attention to the usually unheralded areas of our business, such as production and industrial illustration and rendering, gives CA a practical quality.

Keep up the good work and thanks again for the kind words.

Sincerely, Jack Weaver Editor, Image Mel Richman, Inc. Philadelphia

You can now see precisely what the art looks like in color before making costly plates or pulling color proofs.

EASTERN EDITION Appleton Coated Paper Co. . .

11 , 12 Art·O·Graph, Inc. . . . . . . . 4 Bienfang Paper Company, Inc. 7, 8 Arthur Brown & Bro ., Inc. . . . . 5 Champion Paper and Fibre Co. 25 , 26 Color· Aid Co. . . . . . . 6 Contempo Publishing Corp . . 23 Crescent Cardboard Co . . . 6 Eberhard Faber Co ., Inc. . 2C Edstan Studio . . . . 9 . 4 A. I. Friedman Inc. Grace Letter Co., Inc. . 16 M. Grumbacher, Inc. . . 5 . 16 Johnstone & Cushing Arthur B. Lee & Associates . 13 Lewis Artists Materials . . . 10 Lucygraf Manufacturing Co. . 10 Mask·O·Neg . . . . . . . 13 National Card , Mat & Board Co. . 5 . 4C C. A. Parshall, Inc. Permanent Pigments, Inc. . . . 9 Philadelphia Art Supply Co. . 9 Saral Paper Co . . . . . . . . 13 Arthur Schroeder Paper Co. . . 17, 18 Rik Shaw Associates , Ltd . . 16 Shiva Artists' Colors . .

6 . . . . 4 Harry Volk Jr. Art Stud io

Address advertising correspondence to New York Office:

David Hartman, Advertising Manager The Journal of Commercial A rt 15 West 44 th Street N ew Y ork 36, New Yor k (MUrray Hill 2·1438) Palo Alto Office:

Betty Fairbank, Adver tising Dept.

The Journal of Commercial A rt 809 San A ntonio Road Palo Alto, California

10

NOW AVAILABLE

FOR THE 1st liME! 161 different coordinated color sheets in standard percentage tones. Working area 18 x 24 inches.

Index to Advertisers

(DAvenport 6-6040) Chicago Office

SITUATION WANTED Creative artist, BFA degree, former AD but prefers the board, desires relocation from Dallas to New York area. Resume and samples on request. Box CA 341 Young (27) retoucher desires relocation anywhere.

Five years' experience (B &W, dye transfers, Cprints). Needed: friendly management, larger salary. Resume, samples on request. Box CA 342

Jos eph Lam bin, Sales R epresentative 4037 N. Mozart Street Chicago 18, fl linois (JUniper 3·3325)

for ''Be My Guest''

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Send for literature today!

LUCYGRAF Mfg. Co. 1929 N. Hillhurst Ave. .A. 27, NO. 1-0637

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Smartly designed letterheads for inspirational purposes and hobby collection. Russ Coventry, 155 E. Ohio St., Chicago 11, Illinois.

HELP WANTED Art Director's Asst. 1-2 years agency and/ or art service experience. Versatile, ambitious detail man to take charge and control flow of work.

Render fast clean visuals from art directors roughs and follow through with mechanical and finished art. Salary open. Send short resume to Nathan Berman, AD Placement Service, 1604 Chestnut St., Philadelphia 3, Pennsylvania.

CA, A pril '61

offer and subscription information see page 19

You can achieve many exciting multi- ~ color effects with simple, economical two-color halftone/ duotone printing on Apco IMPACT Coated Book and Cover.

MPACT

• creates new reader interest

COATED BOOK Perhaps you never realized how much "naturalness" of color can be created with Apco IMPACT Coated Book (and Cover ) and its color related "8 to 1" inks * in place of conventional black ink. And, if you've been a bit wary as to how your color jobs might come out on these subtle, softly tinted papers - just examine this insert carefully. It features Apco IMPACT Mint Green with its correct colorrelated dark Green ink. Note, no black is used whatsoever. As you can see, the text and illustrations reproduce with these important qualities:

• enhances "natural" color and tone fidelity • provides fascinating new effects

attention because the eye is accustomed and attracted to its pleasing natural colors which are faithful reflections of the daily color variations of sunlight.

• Full color illustrations become "alive" with naturalness because they lose the flat, washed out high noon appearance, unavoidable with stark white papers and black ink.

Apco IMPACT Creates Interesting "Atmosphere" Any pictorial mood can be emphasized for far more reader "impact" by skillful selection from the five Apco IMPACT Coated Book Colors: - Jonquil, Suntex, Coral, Mint Green and Azure Blue. To complement these non-glare "background" paper colors, one of four special "8 to 1" colored inks is used in place of black. Brown is used on Jonquil and Suntex papers; Maroon with Coral paper; Green with Mint Green paper and Blue on Azure Blue paper. No changes are required in art work, printing plates, or process color inks - excepting here, the black is replaced with the ink color related to the Apco IMPACT paper color. Naturally, any second or third color of your choice can be used for two and three color printing.

All printing on Apco IMPACT Coated Book with color related "8 to 1" inks commands more

*Inks formulated for correct 8 to 1 reflectance ratio when used with Apco IMPACT Papers

• Typography takes on new clarity and legibility • Monochrome line drawings and halftones take on an aura of new reality • Duotone illustrations take on amazing new "lifelike" depth and warmth realism

MPACT

COATED BOOK Does wonders to improve these printed jobs

Your copy message also benefits immensely with the Apco IMPACT Coated Book and Ink formula.

It has long been assumed-the higher the contrast between ink and paper, the higher the legibility. But is this assumption correct? "No" says Faber Birren -one of America's leading color authorities. "No" say leading opthalmologists and reading psychologists. Why? Detailed scientific tests conducted over long periods of time conclude: The high reflectance contrast between black ink and white paper (about 17 to 1) is actually detrimental to legibility, reduces reading speed, comfort and results in eye fatigue.

Recommended reflectance contrast for optimum legibility was found to be only 8 to 1. Apco IMPACT formula for printing is a revolutionary departure from the past, based on the startling discoveries of modern color research. By combining softly tinted papers with color related inks, the Apco IMPACT formula achieves the preferred 8 to 1 (hence name of inks) reflectance contrast ratio and breaks into an entirely new, wonderful world of reading pleasure.

Apco IMPACT Stimulates Interest in Your Message

With the Apco IMPACT formula, readers immediately respond to the pleasing marriage of paper and ink colors. The eye glides smoothly, quickly over the softer color combination without irritation or fatigue. And, the psychological effects of softly tinted Apco IMPACT Coated Book and Cover ere-

"THE

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Learn More about this Sensational New Formula

Find out more about the unique benefits offered

by Apco IMPACT Coated Book and color-related "8 to 1" inks. Send for free 24-page illustrated booklet "Achievement in Increased Readership."

NOTE: If you'd like to see how the full color illustrations above look on the other four colors of Apco's IMPACT paper-plus a conventional process reproduction on white stock, for comparison purposes-we'll be glad to send them on. Simply request on your business letterhead, please. ~~._......,.,...,

APPLETON COATED PAPER COMPANY

THIS INSERT PRINTED IN 4 COLORS BY OFFSET LITHOGRAPHY -

APPLETON, WISCONSIN

RED , YELLOW , BLUE AND " 8 TO 1 "

GREEN ON IMPACT MINT GREEN -

BASIS 25X38-80

THE TIME THE PLACE THE PEOPLE

Aspen The Aspen School of Contemporary Art, a non-profit educational program at Aspen, Colorado, will hold its 10week summer workshop in painting, drawing, and sculpture from June 23 to Sept. 1, 1961. For information write to Contemporary Art Associates, Inc., cj o G. Price, Director, 119 E. lOth St., New York 3.

Chicago A Museum of Modem Art of Chicago, devoted to contemporary art and art education, will soon take its place among the cultural institutions here.

The incorporators are Barnet Hodes and Herman M. Silverstein. Hodes is one of Chicago's leading collectors of contemporary art; Silverstein is a director and general counsel of the Harding Museum.

Houston Sixth Graphic Art Exhibit, sponsored by the Artists Guild of Houston, at the Houston Museum of Fine Arts, April 15-30.

Los Angeles National Art Materials Trade Association 11th annual convention and trade show, Biltmore Hotel, April 28- May 1.

Los Angeles County Museum ... Exhibits in April - Modigliani, Pieter Brueghel the Elder, and Textiles of Antiquity (this through May).

Westprint 61, first major show of printing equipment on the West Coast, attracted nearly 30,000 visitors during its four -day run last month. Plans are now underway for Westprint 64.

Memphis Ed Bailey, formerly a partner in Boatright, Bailey and Huckaba, has moved to Greenhaw and Rush, Inc., where he will be art director for a number of accounts.

A Mid-South Advertising Institute, designed primarily to acquaint the advertiser with what advertising should be and do, will again be sponsored by the Advertising Club of Memphis.

April 27 - 28.

Milwaukee The 8th annual ADCM exhibition will be held at Layton School of Art, April 25 to May 14. Suren Ermoyan, Executive Art Director of New York's BBD&O, will be guest speaker at the awards banquet, April 25.

New York The Society of Illustrators presents an exhibition of English advertising illustrations through May 13 in its gallery at 128 East 63rd Street.

Direct Mail Day in New York, the 28th annual ali-day conference devoted to the creative, production, and distribution aspects of direct mail, will be held at the Hotel Commodore, May 2nd. For information contact Mail Advertising Service Association, 55 West 42nd St., N.Y. 36.

~~rn~}~f~ VELOXES ~~~tMk-o-IIJJ

St~

142 Greene New York City

CA 6-8440

RANSFER TRACING •

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SEND $1 for an ·introdu ctory pack of 5 sheets (8Y2 x 12) GRAPHITE-for dark on light surfaces YELLOW-for light on dark surfaces WHITE-also for light on dark surfaces BLUE-for mechanicals (non- photographic) RED -for glossy surfaces (acetate, photos, glass)

Boxed Roll s ( 12ft. x 12Y2 in.) $3.50 SARAL PAPER CO., 5 Tudor City Pl., N.Y. 17

The Museum of Modern Art ... Edward Steichen, 65 years of his photography, on exhibit through May 21.

13

Canadian Television Art, a special exhibit of graphic arts design from the Canadian Broadcasting Corporation, David Mackay, art director. At Gallery 303, 130 West 46th Street, through April 26.

Doug Manson, a former vice president of Benton and Bowles, has joined Jerry Fields Associates as vice president of new business development.

St. Louis New officers of the ADC, St. Louis: Jay Sartoris, president; Bob Ertel!, first vice-president; Harry Holmes, second vice-president; Nedra Ty Hoester, secretary-treasurer; Dick Best, John Gertmann, and Gene Kowall, members of the board.

San Francisco Art Directors and Artists Club of S.F. have new officers: William Carson, president; Calvin Anderson, William Cheyney, and Curtis Fields, Jr., vicepresidents; Harriet Hunter, secretary; Ellis Berry, Jr., treasurer; Louis Shawl, controller.

CA. April '61

~-·=-:= - ~L- ~= ~-· - ·-=

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•1:::::::==== ==-----= 1 - -PAGES! - · · :§g;g;gtlli~t~i§T§ •l== . l = • 106 ~ • 1730 Type Faces 4 to 24 pt.

Lowercase, Caps and Small Caps • 280 Complete Alphabet Showings!

Fast, accurate, DIRECT $850 VISUAL CONTROL Streamllned Copy-Fitting makes it easy to fit type like an expert. Thousands of users - endorsed by graphic arts leaders. Plastic bound. with all scales needed for copy-fitting in the precision die- cut Vinylite type- casting gauge.

Your best buy fo r $8.50! Money-back guarantee.

Order now - at art supply stores ~r direct: ARTHUR B. LEE 22 West 45th Street, New York 36, N. Y. Please send me .................... sets of STREAMLINED COPY-FITTING Manual & Handbook at $8.50 set.

D Payment enclosed. No C. O.D.s Name ......................................................................... .

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MORGUE This month, 21 palms (and a banana tree).

Palms have long been popular subjects for cool art techniques and borders for romantic-type photographs. Few are native to the U.S. but over 200 species have been imported from many parts of the world.

These were photographed for CA

by Jack Knoble.

CA. A pril '61

Top left, Brazilian Queen or Cocos Palm.

Top right and lower left, Canary Island Date Palm.

Lower right, Chinese Windmill Palm with shaggy trunk.

Far left, a Banana Tree. Right, Windmill Palm.

E CAN MAKE FULL COLOR BLOWUPS OF YOUR ADS UP TO 15 FEET? For full storySend for free glossary

RIK SHAW ASSOCIATES, LTD. 181 PHOTOGRAPHIC PRODUCTION SERVICES 250 WEST 57th STREET, NEW YORK 19, N.Y. PLAZA 7-3988

Free Samples & Catalog Grace Letter Co., Inc. 77 Fifth Avenue, Dept. B NewYork3,N. Y. Watkins 4 -0860

ALPHABETS CA Volume Files They grow tall. The Washingtonia or California Fan Palm.

are now available

$2.50 ea. 3/$7 6/$13 order from

Jesse Jones Box Corp.

16

P.O. Box 5120, Philadelphia 41. Pa.

Windmill Palm .

•• •

......

-----CA COLOR CHARTS "Seconds" (while they last) at $5 per set (additional sets at $3 each) Charts with minor printing flaws were separated from our standard $9 sets. Equally functional, they are available at the above reduced rates. Each set has 12 duotone and tripletone combinations of 2 colors and black, printed on # 100 vellum and coated. Send check to CA Color Charts, 809 San Antonio Road, Palo Alto, California.

SEEN ANYTHING

JOHNSTONE & CUSHING, COMIC STRIP ADMEN OF

137 f=. 57th ST.,

Jack Knoble began as a machine designer in Chicago, later studied commercial art, photography and retouching. He has published several books about Santa Barbara, California.

Currently, Jack is with a firm designing packaging machines.

1\J.y.c.?

CA. April '61

Here is a paper that can really perform for the designer with

IMAGINATI Pine Tree Cover offers undefined, subtle, suggestive color. It can be many things ... sky ... water ... smoke ... whatever the delineations of the skilful designer communicate to his reader's eye.

Add that something extra to the modest-budget job with this unusual stock that has both color and the feeling of white paper. Design on the Pine Tree Cover with color too. It's only slightly more than the cost of equivalent white stock.

Made in 50 lb. coverweight, this stock is heavy enough for a cover, light enough for a text with body, perfect for the self-cover piece. (Approximately 90 lb. text weight.) Sheet sizes are 23 x 35 and 26 x 40, suitable to any printing process.

This is # 93 Green. Pine Tree Cover is also available in #90 Rose, #91 Brown, #92 Blue and #94 Rainbow.

Write for samples.

Arthur Schroeder Paper Co., Inc. 420 Lexington Avenue New York 17, N.Y.

, I

'')

ARTHUR SCHROEDER PAPER CO., Inc. 420 Lexlntrton Avenue, New York 17, N.Y. Agents for Pejebscot Paper Co., Inc. 91 years of quality, dependability and progress in paper

In the beginning ... we offered to send CA to anyone you felt might be interested in receiving a copy.

We would like to repeat this offer.

If you have any clients, suppliers, friends or acquaintances you'd care to have us send a copy, please fill out the "Be My Guest" card, drop it in the mail, and we'll follow through.

I I

Be My Guest Thought you might be interested in seeing a copy of CA. At the publisher's suggestion, I've asked him to send you one. Hope you enjoy it.

I If you wish more of these uBe My

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-NAME OF G U E S T - - - - - - - - - - - - - - - - - - - - - -

Guest" cards we will be glad to send them to you. Or we'll fill them out

I -ADDRESS - - - - - - - - - - - - - - - - - - - - - - - - -

for you if you'll send us the names of those you'd like to receive a copy.

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CITY - - - - - - - - - - - - - - Z O N E - - - STATE - - - - -

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-youR N A M E - - - - - - - - - - - - - - - - - - - - - - - - -

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SUBSCRIPTION INFORMATION

How w order . .. please cut out the coupon, fill in the information requested, and mail to CA. If your art supply dealer handles CA, he will be glad to place your order.

Billing . .. if you prefer to be billed and the billing address is different than the mailing address, please advise us accordingly.

Back copies .. . they are available at $1.50 each (November CA'60 is $4) while they last.

Special rates . .. for information concerning club rates, art student or teacher rates, foreign rates, or additional company subscriptions, write ... Carolyn Thompson, circulation mgr.

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The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California.

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Complete information concerning entries will be announced in the May issue of CA

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CA COLOR CHART COPYRIGHT 1961

BY THE JOURNAL OF COMMERCIAL ART

CA. April '61

•

PRINTED

BY LITHOGRAPHY USING 150-LINE LEVY SCREEN

The Concept

Editorial

Robert Blanchard, publisher Richard Coyne, AD/editor

The Graphics Jay McKendry, typographer Bert Bryce, associate typographer Henri Luyckx, litho cameraman

Contributing Editors William Condit, Denver

The big art directors shows continue to grow bigger.

New York reports 15,000 entries. Los Angeles reports 90,000 visitors to the exhibition.

And the wave of criticism grows bigger, and more dull, every year. On rare occasions it is the vehicle for cleverly written humor, but more often it is repetition of cliches instead of sophistication.

Wendell Davenport, Honolulu

~~Is it art?"

Ira Goldblatt, Boston

~~Will it sell soap?" (Please qualify the question with a few

J. Philip Jordan, Richmond

incidentals such as the quality of the soap, its packaging, its distribution figures, the point of purchase activity, the historical patterns of ~ ~brand loyalities," the balance of the advertising program in all media, and similar information about the competition.)

Susan Karstrom Keig, Chicago Tobias Moss, New York James Peck, Seattle

The question is irrelevant.

Emile Pirro, Canada Ted Poyser, Los Angeles Harold Quiram, Dallas Robert S. Robison, St. Louis Mickey Mulligan Twohy, consulting editor

Advertising David Hartman, manager, New York Joseph Lambin, Chicago

A group of jurors were selected because of somebody's sincere evaluation of their qualifications to serve. The selections and awards are, in the majority opinion of this group, what represents the best in ideas, art, design or advertising-in whatever ratio of importance caused the individual jurors to make their choice. This has to be accomplished under tremendous pressures of exposure to too much in too little time.

The awards given by the system are valued, both by the recipients and the non-winners, enough to cause them to send more entries the following year.

Betty Fairbank, Palo Alto

The Office Carolyn Thompson, circulation manager Nancy Gruenwald, circulation Shirley Crosby, circulation Eileen Vowell, circulation Margaret Craford, accounting

The value of the exhibition is what any individual, inside or outside our profession, is able to draw from it. The aims can hardly be more than making the exhibition available.

We have the need of communicating essential messages to artists, management and public. We would do better to develop voices and vehicles tailored for these communications and stop trying to piggyback this problem on the exhibitions.

CA, A pril'61

COMPLETE

RUVIN~ GUIDE ~~R Plllst:tffED

~LfWAJl~OO~ DESIGN DISPLAY DESIGN ILLUSTRATION PROMOTIONAL ART SPECIAL MEDIA PHOTOGRAPHY LABORATORIES TELEVISION ART LETTERING DECORATIVE ILLUSTRATION RETOUCHING TECHNICAL ILLUSTRATION 400 PAGES 143 SERVICES 15,000 LISTINGS

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Please send me a copy of the 1961 New York Art Directors Buying Guide. Enclosed $3.75 per copy. Checks payable to: Contempo Publishing Corporation 342 West 40th Street N.Y.C. NAME ............................ . .......................................... .

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Cover Story...

The Journal of Commercial Art

A pool of water, a pile of sugar, hardly

Aprtll961

merchandisable elements in themselves, yet through the medium of packaging they become dramatically individual ... setting u p in the mind ofthe consumer a whole profile of attitudes and impressions triggering the decision to buy or not to buy.

This is the primary task ofthe package designer: to communicate through surface graphics and packaging shapes, such as those seen on our cover, a specific, unique and believable brand personality.

Here, created as an organic outgrowth ofthe specific nature of the product and company on one side, and the consumer's image of the product and brand on the other, are four Landor-designed packages: the Arrowhead spring water "tilt" bottle, Bel-air frozenfruit pies for Safeway, Spreckles Sugar, and Paul Masson crackling rose wine.

24

CA , A pril '61

$1

"With much communication will he tempt thee, and smiling upon thee, will get out thy secrets

c/lpocryphtL: Ecclesiasticus, xiii, 11

®

This is KROMEKOTE Cast Coated I Side Litho Pastel Blue

'The "litho look" starts with paper engineered for the job. It demands a working partnership between printer and papermaker. 'That's exactly what the man from Champion has to offer. c/lsk him. He's on

your side. So are all the fine merchants who sell Champion papers.

From the Foremost Merchants-for the Foremost Customers

Cham.pion

Papers District Sales Offices in New York, Boston, Chicago, Philadelphia, Detroit St. Louis, Cincinnati, Atlanta, Dallas and San Francisco

CA takes a look at the fields of industrial design and packaging; visits one of the foremost package design firms, Walter Landor and Associates.

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Designing for Consumers

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When designers for the industry first got around to naming themselves

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30 or more years ago, they called themselves industrial designers.

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even invented, for that matter), some of the more alert members

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of the profession now rail against the term for its in-looking,

Although since then no new term has been generally agreed upon (or

production-centered connotations.

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The astute industrial designer-particularly if he is engaged in the creation of packaging-is intensely consumer-oriented. We design

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primarily for consumers, not for industry~ he says.

whether or not his profession was in fact the sole

for~JrUnner of this

concept, he is now being supported more and more in this approach by those progressive manufacturers he serves who are equally

consumer-oriented and wlw tend to draw thtdr top exe~JUtives from

sales rather than production.

CA. April '61

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Group creativity, or the "cross-fertilization of design ideas" as Landor terms it, is a significant part of all design programs executed in the Landor studios. Participating in at least the important initial stages of all design programs are : Landor, the design group head, and a maximum number of senior designers.

One of the three studios in the Landor design office devoted to the creation of packaging, product design, and corporate identity programs.

In the foreground, Dave Bowman, design group head on the Kellogg account, studies an associate's work.

28

Weekly lectures and discussions on creativity - past, present and futurenot necessarily related to industrial design can result in more imaginative solutions to the problems of communicating to the customer through design. Here a well-known authority on pre-Columbian art discusses fine points of the subject with Landor designers.

The shift in emphasis from production to sales has occurred only because production did its job so welL The consumer, with his sometimes capricious tastes, has been put in the driver's seat by seemingly limitless product output and almost universal gains in product improvement.

This last factor has resulted in a era of ever-growing product similarity. Laboratory analysis will still reveal that each product differs somewhat from its competitors, but a far greater difference lies in the mind of the consumer- in contrast and conflict of brand image with brand image, the accumulation of impressions and attitudes that triggers the decision to buy or not to buy.

A primary force in nurturing of this brand image is the package designer. His is the important responsibility of creating a compelling visual personality- often the only discernible difference from brand to brand.

Whether the designer is shaping the product itself or as is more often true, creating the package in which the product is sold, he must make a significant and believable statement separating this brand from all others. He must also communicate a positive message about the character and identity of the company behind it. Design can speak a very specific language. Skillfully conceived, it will convey a specific thought about a specific brand.

CA, April'61

The study of consumer response to package design is deeply integrated into the Landor design development process. Launched before any actual design work begins, these studies are continued throughout a design program. Proposed designs are evaluated against other proposed designs and against competition in a variety of environments and by a diversity of methods. To assure the validity of consumer response, comprehensives of proposed designs are developed which duplicate the appearance of the mass-produced package.

This emphasis on design as a statement of product individuality, a stimulus for purchase and a motivation for brand loyality has dated those designers who impose their personal (calligraphy' on the packages or products they design, overshadowing the individual product personality to be projected.

The new maturity, the new adulthood, of the industrial designer is characterized by a passion for appropriateness. He sees design as an organic outgrowth of the specific nature of product and company on one side, and the consumer's image of the product and brand on the other.

Such a designer more often says ((we" than ((I," not for reasons of modesty, but for reasons of accuracy. Because he is in the business to visually communicate a specific brand story rather than to express his own design preferences, the output from his studios typically represents a cross-fertilization of ideas springing from a team of specialists and generalists. Usually he is characterized by a strong sympathy for the contribution of research.

More often than not, he is devoted to the idea of exploring a multiplicity of design directions in the initial stages of design development rather than arbitrarily limiting the number of approaches. (continued) CA, April ' 61

A unique aspect of the Landor approach is that both researchers and designers meet consumers and participate as a team in evaluating reactions. This teamwork concept prevents the frequent "mis-translations" of responses common in many other consumer study processes.

These study programs are conducted by an affiliate, the Institute for Design Analysis, headed by Hugh Schwartz. Although Landor and his associate designers do not look upon their consumer study programs as full-scale, comprehensive research, they do find them extremely valuable in stimulating designer creativity and in facilitating inte!ligent design decisions.

Consumer response out of context tends to be untrustworthy.

Therefore, one of the tools of the I.D.A. is a "laboratory" supermarket duplicating the real thing as nearly as possible.

Consumer panel sessions, an essential part of the study programs, sometimes get lively. This interaction often provides insight unattainable in the most exhaustive individual interviews. Many times the panel is unaware of the information being sought and, concerned with one thing, prove something else such as the difference in flavor of the same product with different packaging or labelling.

Participants are carefully screened by a sociologist to represent a true cross-section, serve one time only.

29

The Landor studios are located at Pier 5 North, on the Embarcadero, San Francisco. The rough pier building space has been cleverly and attractively remodeled. Five large reversible panels, mounted to turn easily with one hand, separate a large conference room from the reception area. Designed by staff members, these panels show package design on one side and product design on the other. A museum of packaging, featuring many grotesque and wonderful containers of the last hundred years, is an interesting adjunct to the Landor facilities.

Large windows and a sun deck overlook San Francisco Bay. In this photo, Landor (center) discusses a design problem with Don Short, studio director; Fran Mair, design group head; and Nicholas Newbeck, head of a Landor affiliate, Merchandising Design Counselors.

30

Master Models, located in the same building, is another Landor affiliate aiding in the creation of custom shapes. A unique vacuum-forming process developed by Master Models allows economical pre-production testing for private mold glass. In the photo, Pete Stevens, manager, prepares a model.

In a field of nearly 300 practitioners, there are, of course, many who are moving toward this "new maturity." In order to suggest the general approach of these designers, a brief profile might profitably be drawn of an industrial design organization which has become widely knownfor maJ·or conceptual breakthroughs and a wide range of design solutions through creative team efforts.

WALTER LANDOR AND ASSOCIATES, formed some 20 years ago, is now among the top four packaging design firms in the nation. Middle-size in staff, it is not too large for design programs to escape the personal attention of its head, nor small enough to risk design domination by one man.

Recently completed design programs suggesting the diversity of their solutions range from the elegantly understated Benson & Hedges cigarette pack and the pure design of the Japanese gift pack of Ribbon Juices, to the hard-selling yet tasteful new packaging for Kellogg's cereals.

As might be expected, Landor has very definite ideas on the importance to the client of the designer not imposing his personal signature on the packaging he creates. (continued) CA, April '61

The Old Fitzgerald Candlelight Decanter delivers a choice of two re-use features-as a decanter, or as a candelabra (the gold tip).

Documenting the "sale-ability" of good design, this decanter won top sales position in its category.

Curved to fit the pocket, the Fitz pocket flask communicates an "executive air" quite removed from the back alley connotations of the ordinary half-pint. Designed to look at home in the traveler's luggage with the distinction of an expensive flask, the Fitz half-pint features a restrained label, an embossed key symbol and a gold jigger cap.

The Arrowhead spring water "tilt" bottle permits the consumer to pour without lifting. The new design gained 90% distribution for Arrowhead in its sales area, was chosen among the "best-designed everyday objects of the twentieth century" and was included in a ·national tour of museums.

32

Designed to compliment the good taste of the consumer, the new Benson & Hedges package (right) is an understated, luxurious "cigarette case." Unlike the old pack which carried bold brand identification as part of the permanent design, the new package is created so the consumer strips away strong brand identification by removing the transparent film overwrap.

King-size Philip Morris Commander was launched in bold masculine packaging to dramatize a new entry with strong product improvement.

The overall design concept was aimed at the smoker of non-filtered cigarettes who seeks primarily full flavor.

Created deliberately in the opposite direction from the current vogue in the cigarette field for abstract symbolism, the Alpine package represents a specific visualization of the brand image. However, care was taken to create an out-of-doors feeling without belaboring the point by pure illustration.

urn our group we are determined," he says, ((that none of our designs be reminiscent of another. No style similarity must creep into our work. The client comes to us not for a particular kind of thing he has admired in our work for others, but for the building of a unique personality for his product that springs from the peculiar set of circumstances specific to his brand, his product, and his past and present marketing situation. When we are finished with a design program, we must be thoroughly satisfied that our design solution could fit only the design problem at hand and no other."

The teamwork concept, or continuous cross-fertilization of ideas as Landor calls it, is a guiding principle in the design development process in his studios. A system has been developed through which principal designersalthough they may not be working on the particular project-can inject ideas into the proram and stimulate fresh thoughts in their fellow designers. This playback of ideas, mutual exposure of viewpoints, often stimulates a chain reaction developing into a whole series of concepts quite removed from the initial approach.

In Landor's view, a package design solution, to be truly valid, must satisfy more than the accepted basic needs: protection of product, shelf impact, memorability, strong communication of product and brand. It must, he says, convey the essence of the contents in the psychologically most effective manner. It must promise pleasurethe pleasure of both using the contents and the pleasure CA. April '61

The latest step in an evolutionary design program in keeping with the ever increasing sophistication of the American wine consumer, the Gallo two-piece label spotlights the wine varietal name with a bottom label color-keyed to flavor. Not only does the emphasis on varietal names reflect the average wine consumer's growing appreciation of the difference in wines, but it also serves to alleviate the boredom factor (and the possibility of accidentally selecting the wrong bottle) as the consumer's eyes and hand moves down the liquor shelf.

A subt!e design change can be enough to communicate a new image of quality. In the Landor-designed Hunt's Catsup label, for example, a restrained up-grading of the label resulted in a definite step upward in quality connotation. The redesign program was launched in part by the necessity for the label to speak the same visual language as the outstanding Hunt's Catsup advertisements.

33

of uhaving the package around." It must, in short, win the heart, not merely catch the eye. ulf our design group could be said to have a basic philosophy, it might be stated this way," says Landor. ((That good design is not good enough unless it appeals to the emotions as well as to the mind, and that design should do everything possible to convince the consumer that the client has the customer's best interests at heart."

Making a package act like a friend instead of a salesman in the home is a concept as yet too rarely attempted, believes Landor. Yet what greater insurance is there for building brand loyalty, he asks, than to win the consumer's heart by making a package a joy ((to handle and to be seen." ulf we are to be classified as specialists, it should be in the field of understanding people. To have sympathy for their physical and emotional needs is a prerequisite of our profession. ((The battle for the consumer's heart is just beginning," Landor declares. ((Improving the visual aspect of home environment-making the kitchen, dining table, bath, a more pleasant sight through the availability of visually more satisfying packaging-should be accepted as a social responsibility by manufacturers and their designers."

Consumer studies are an important part of their design development process. Studies of consumer reaction to packaging and corporate identity not only launch every design program, but are continued throughout the design

development process as a kind of barometer of design effectiveness. Even in these consumer studies, the Landor teamwork concept prevails. Through the facilities of the Institute for Design Analysis, an affiliate of Walter Landor and Associates, designer-researcher teams meet consumers face-to-face to stimulate and evaluate cor.sumer response to packaging.

Included among the Landor consumer study tools (1) consumer panel sessions,~(2) individual depth inter: views, ( 3) at-home interviews, ( 4) interviews conducted in retail outlets, and ( 5) observations of shopping patterns in the ((lab" supermarket located in the Landor studios. ((Although we find our consumer studies extremely valuable," Landor says, ((we do not regard them as full scale comprehensive research. When full scale testing is needed -such as after a final design decision is reached-we recommend the client use an outside research organization." uwhat we are trying to achieve in our consumer study programs is the avoidance of (drawing board isolation' which plagues so many designers. It should be an integral force, supplying background information to provoke creative thought, to facilitate intelligent planning, to stimulate judicious action. However, it should not be regarded as gospel proof, not as rules to live by, not as a substitute for creativity, and at no point does it need to become a a stifler to free-wheeling imagination."

CA. April '61

Creativity pure and simple (although it is neither) is

New "slant" to cereal package design is represented by the new Landor-created package for Kellogg's Raisin Bran (right). The new "dynamic diagonal" design which embraces all of the Kellogg's cereals was conceived to reinforce brand identity and to set up a strong, eye-arresting pattern linking Kellogg's cereals in mass display. Although designed for strong family resemblance, the diagonal approach is versatile enough to allow retention of well-established symbols and to permit maximum expression of product individuality. The new Kellogg's Raisin Bran package was launched, incidentally, without the usual premium blurb on the front panel.

Forcefully projecting the intrinsic drama of the product it contains, the Cosmobile carton pictures in color: the sun, the 9 planets, and their 31 moons against a field of space-evoking black.

regarded by Landor and his associate designers as the prime tool a designer brings to his drawing board. ((The creative act is the result of magic impulse plus awareness and experience. We are better designers, can come closer to a 100% solution, therefore, if we know as much as possible about the specifics of a problem, including people's relation to these specifics. uwe conceive the design problem as a problem in communication -rapid communication. We find it much, much simpler to arrive at a design solution which satisfies us aesthetically and emotionally, than to evolve a solution which is relatively satisfying to us personally yet truly communicates to a mass audience. However, that is our responsibility," says Landor. ((While we do not design to prove something to ourselves about ourselves, or to please our favorite fellow designers, we find there is still plenty of room for selfexpression within our self-imposed limitations."

Editor's note: Beginning with the next issue, CA will feature a monthly column, "Designing Aloud," by Walter Landor. "No specifics, or solutions," he promises, ''just thoughts, observations and questions that may stimulate the ideas and thinking that produce design solutions."

Though his column will be primarily concerned with package design, M 'r. Landor will touch on subjects pertinent to all areas of design, frequently will include the words of "guest columnists."

Designed to look like a toy itself, the carton for Space Spider-a string sculpture kit-strikes the proper balance between mathematical precision and the touch of sophistication needed to reach its proper audience at point-of-sale. The custom shape of the carton also delivers a bonus: a 40% saving in shipping space over cube packaging.

Projecting the many qualities and applications of a mobile and design toy, the package for Space Rings spotlights six full-color photos featuring the product illustrated against brightly colored backgrounds. Interior of the box is coated a rich, flat grey to set off the multi-colored rings.

The gift carton is an important part of many package design programs created for the Japanese-a great gift-giving people. This gift carton, designed for a Tokyo-based processor of concentrated fruit juices, utilizes a "pure design" approach, imparts a rich, expensive look in keeping with the high regard the Japanese have for fruit juices.

Although designed exclusively for Japanese consumption, the brand signature is carried in English to capitalize on the prestige factor of "Western influence."

Primary problem in creating the new Picot antiacid packaging was to evolve a design which would mirror Mexico's increasing sophistication at some consumer levels, yet retain sufficient resemblance to the old package to hold brand recognition and loyalty among those consumers who cannot read. The solution, created within the visual framework of the old design, achieves a distinctive modernity, and communicates the sparkling and refreshing qualities associated with the product.

The Landor designers were able to actually exploit the inconsistencies of Mexican printing with the freer, more fanciful interpretation of the grape motif utilized in the new package.

Unmistakingly contemporary, yet projecting vividly the spirit of Mexico, is the Landor-designed packaging for Mexicali Beer. Utilizing exurberant colors and the Aztec sun motif associated with Mexico, the Mexicali Beer can was created to appeal to Mexican eyes which respond particularly to strong, vibrant color combinations. The distinct "national" quality seen in the can is reflected also in point-of-purchase pieces created for this Mexican brewery.

CA. April'61

3 .5

EXHIBIT

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"View 1 is the first in a series of special publications prepared by Champion Papers of Hamilton, Ohio. This is a publication with two purposes and two dedications.

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It is, and in subsequent issues will continue to be, devoted to views of subjects that are basic to our times.

"Its purpose also is to range freely through possibilities of design and printing. It is dedicated therefore, both to ~Ma++++~r++++++t·+++·H++++tttttttttttttt

those involved in the creation of impression on paper

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and to all men of good will whose honest debate will chart the future's best course." (Preface to View 1) This publication is everything that could be anticipated from the above quotation. View 1 is a significant and outstanding work-both for its content and for the excellent typography and design of Noel Martin. The subject, "The War We Are In," is handled maturely and skillfully by Karl Hess, Director of Information Services for Champion. Previous to his present position, Editor Hess was Associate Editor of Newsweek Magazine, author of five books, Capitol Hill news correspondent, editor for McGraw-Hill.

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The book is 11 x 13, thirty-two pages plus cover. The 36

cover and two spreads are shown here at 35% of actual size. Paper stock: cover-12 pt. Colorcast Drum Finished Cover, coated one side, yellow; text-70# Garamond Wove Text, white, and 60# Refold Coated Cover, India; flyleaf-30# Colorcast Drum Finished Label, blue.

Heads are set in Schadow semi-bold. Outline letters on

The war we are in has been characterized as a protracted con-

flict. The man who has best described it is one of the most remarkable political and military strategists of all time- Mao Tse-Tung, designer of the Red Chinese colossus and the most

the cover are Forum 1. Text is in 10 pt. Melior and

formidable of living Marxist-Leninist theoreticians. It is his

Melior Italic. Picture captions are 7 pt. Melior Italic.

thesis that war and peace are not now separable conditions.

The inside covers, halftone reproductions of an 18th

This protracted conflict is simple in concept, immensely diffi-

Century Chinese battle scene, are printed in silver ink only.

cult in execution- involving every sector of human activity,

Better than our summarizing or describing the editorial

political, economic, psychological, cultural, technological, and

content, we have reproduced the introduction-beginning

military. There is about it one reasonably sure thing- it may

on this page and continued on page 38. This is the typography (slightly reduced) is it appeared in the book.

most swiftly be lost by the side unaware that it is fighting it.

Most simply stated, here are the basic guidelines of protracted

The record speaks more effectively than any compliment we might pay this outstanding publication. The first

conflict: (1) Knock off your enemies one by one, as they become

printing was 25M, distributed primarily to art directors

exposed. This applies to jungle warfare and it applies to inter-

and designers. Demand was so great that a second

national political warfare. Kill the straggler in a group of men.

printing of 25M was made, offered at cost for 55 cents.

This printing exhausted, a third printing of 10M is

Penetrate the straggler in a group of nations. (2) Keep the enemy

now on the presses.

off balance. Again, it applies to jungle warfare or to the inter-

The next issue will be titled "Freedom: The Real

national thrusts and feints that have become a familiar Soviet

Revolution" and is in preparation now. Noel Martin will

tactic. (3) Sap the enemy's will to resist. This includes propa-

again design. To receive this publication, write to Karl Hess, Director of Information Services, Champion Paper and Fibre Company, Hamilton, Ohio.

ganda and cultural warfare and extends everywhere from convincing the enemy that you are technically superior- through CA, April '61

The War in Words ...

Friendship "Tbe rotten apitalUt world it colltpa;inJ. Frie.ndt, let's drink, let'tltuah.let'snjolcel" - Khrvthcheo, Statement at o reception for amboJtodon of the

An:tb tlotn durin& the oitil to Mo.coro of Prench PremJer Guy MoUet. PopuJcdredePoria, }une2tl,l958.

Morality " When people talk to us about morality we Hy, For the Com· munbt. morality cooalatl entirely of compect united cliaclpllne and consdout man atrugle aa•hut the exploiters. We do not

International Cooperation "A real internationalist is one who brinl' his sympathy and recoanJtionuptothepolntofpraclicalandmaxlmalhelptothe

be.Ueve In eternal morality, and w~ expose tll ftblel tbout

U.S.S.R. In support and defense of the U.S.S.R. by every means

moralJty."

and in every po11lble form. Actual cooperation with the U.S.S.R.,

-Lenin, Tcu:kt of tht Youth Leque, October 20, 1820. Selected

Works, International PubUthen, Nero York, Jt43, ooJ. IX. pp.

tharudineJJofthe workenofanycounlrytosubJectalJtbeir ailM to tbebaslc problemofatrenatheningtheU.S.S.R.In ita

alrugle-thiJia the ma.nifeatatlon of revolution•ry proletariJn lnternatlonaliamonthepartofworkenlnforetancountriea ..

Peace

The defenae of the U.S.S.R., 11 of the aoclaJiat motherland of the world proletarlat.ia the holy duty of every honeat maq

.. Every peace prosrom it 1 decaption of the people tnd • piece or hypocrby unleh It• prindpal object is to expltln to the mutettheneedfortrevolutJon, andtotupport, tldandde-

everywhen~

and not only of the citizen~ of the U.S.S.R."

- Vyshinaky, Communiam ond the Motherland, Voproal Piloaofii,ProblemtofPhiJoaophy,no. 2,J9•4.

velopthe-reVolutionarystruggleofthemttletthttlattl.rtina everywhere (ferment amona the maJJH, proteata, fratemlu·

tionl.nthetre.nches, atrikes, demoutratJonJ .,,)"

Change from Stalin

-Lenin. General Commi«H PropoaaJa Submiltecf to SocloJial

"He had m.ny defectJ but Stalin waa a devoted Mandai·

Conferenc., Apl\11118, Selected Worb, lntemotionaJ Publish-

LeninJat. a devoted and ateadfaat n~volutlonary. Stalin com·

en, Nero York, 21H3, ool. V, p. 237.

mlttedmanymlatakeslnthelaterperiodofhlsactlvltybu t he alao did much that was useful (or our country. for our party, for all the lnternaUonaJ workers' movement. Our p,arty, the Soviet people wiU remember Stalin a.nd give him hia due."

- Khruahcheo, For a CJoae Tie of Uteroture and Art 10ith the Life of the People, Kommuniat, no. 12, 21158. p. 11.

(7) Supportlna the propoted Freedom A~de!Dy through

Businessmen and the Strate&Y of Survival

tc:holanhJp, publl~tion and endowment lunda; (8) Attendinl the FreedOm A~demy 11 students, to develop the knowledge and sld.llt required for succ..aful strugle aaainat the Communlltenterpriaa;

Tba Strategy of Survival ia a tuk for the entire nation, not

{9) Cooperatina with aovemment uenciu and with each

merely for aonmment and the military. Tba followtna are

other lJl ~uue•tina a.nd plannlna u well u coaductina effec-

10111e of the ways in which buti..neumea-in their corporate u well u individual cap,adty-ea.n belp achieve it. victory:

tive economic warfan~ operationa; (10) Seek:lna new method• for lncreued inveatmanta in and

(2) Rxplaialna the challenp of the Communbt enterpriae and

trade with tha underdeveloped nation•:

what mUJt be dona to meet it, to dvlc oraanlutiont, trade

{21) Jolnlna with other bualne11men ~ere and In Europe to

auoc:iatiolll, and tha community In aene:ral ;

bulld the Free World EconomJc Development Contortlum.;

(2) Urainl the need for a strategy of •urvtval on public ofR-

(12} Formlna and •upportJ.na public committee• to pt volun-

dab at alllevelt of aovemmant;

tary fundi. medical aid and other msterlaJ help for auch 1trua·

(3) Publi•hlna kay points lJl lnJtJtutJonal advertitina. brochuru, pampbleta, etc.;

glet of freedom ftshtert aaa1n•t Communi•m 11 9Java broken out in Hunaary. 'nbet, lndoneala, etc.;

(f) Subsldizina the praparetlon and dlltribution of boob. moDOp'lphl and pamphleta on the protncted con.Aict a.nd on

{23) lnltiatlna a IUBe-.cale permanent public Committee for National SuroioaJ, to alert the n1Uon about the n1t01e of the

conaldaratloa. of a atntqy of aurvival;

protracted conftlct and the meant for meeting Ill challenge,

(5) Urging th.t courset on the protracted confllct and ita prob-

and to preaent to public opinion 1peclftc propo1al1 for meetlna

lemabetiiU,t.tla.aliHCOndaryandhiaharJChooltandcollepa, and, where aeceuary, nb.iclid.ng ncb COW'Mt ud related raearchlnthaunJvenltles:

apeciftc crins aa tbeae arlae. (tf) To contlder, In the application of all these polnta, the formulation and 1t1tement of a ltrateJY beyond turvival-a

(e) Rafuaina: all polite IOdaJ coatact with visitint enemy

dear aounding not only in reaard to the Communist tyranny

qeats, auch u Mikoyan, Kodov and Khruahcbev. who thould

we are ftahtina agalnat but alao of the human condition of

balaft.iftheycome,tocoldlyofficialre.latJoDJ;

freedomthatwearefjghtlnafor.

This Is the Challenge ...

CA. April '61

VIEW 1 (cont'd) talk as much as talent- to disarming him with the beauty of your ballet troupes. (4) A void a frontal assault, a knock-out punch, until such time that it can succeed without powerful retaliation. (5) Divide the battlefield into a peace zone and a war zone. The peace zone of today is simply the full area of the Soviet Empire. All international tensions, according to the ground rules of Sino-Soviet tactics, lie within the war zone.

Thus, the question of colonialism may be debated in regard to Algeria, never in regard to Hungary or Tibet.

This concept, relatively new to the West, is ancient in the Orient. Centuries before Mao, in 500 B. C., the Chinese militarist Sun Tzu wrote that "To fight and conquer in all your battles is not supreme excellence; supreme excellence consists in breaking the enemy's resistance without fighting." Mao himself quotes several of Sun's formulations in his Strategic Problems of China's Revolutionary War. One is: "Avoid the enemy

when he is full of dash, and strike him when he withdraws exhausted.''

But perhaps the most pointed of all that Mao quotes is this: "Make a noise in the east, but strike in the west."

38

Mao Tse-Tung spelled out the doctrine of protracted conflict in a series of lectures. His language seems that of an instructor to whom teaching the uses of a machine gun is different only in mechanical detail from teaching the dynamics of moral subversion. Both have similar objectives- to destroy the enemy and his will to resist.

When Mao delivered his lectures on protracted conflict he was widely characterized in the United States as an "agrarian reformer" preaching only social reform. He is still more widely characterized as the operator of a "social experiment" than as a military dictator.

The point is widely disputed. It forms the crossroad of divergence in describing the war we are in. Taken along one path, it is a struggle of economic theory, with the Sino-Soviet Empire representing economic collectivism and with the West representing varying versions of economic individualism. Taken along the other path, it is an armed struggle in which economic theory is merely a tactical skirmish while territorial conquest, rawpower domination of the world is the grand, guiding strategy.

View 1 is of the latter path. It treats of Communism as not a way to organize society but as a way to organize conflict- total, protracted conflict. It suggests that the gaps between Communist theory and Communist reality lead to this path.

CA, April '61

Ron Siechrist is a promising young artist/ designer from Richmond, Va. He is 24, a BFA graduate of Richmond Professional Institute, currently employed by A. H. Robins and Company, Ethical Pharmaceuticals.

On the facing page is his illustration, ''Virginia's Art for Business and Commerce," utilized as the theme for the 6th annual exhibition of the Art Directors Club of Richmond (page 50). It was reproduced in two colors, maroon and black, using each color and combinations of the two.

Below are two medal winners ofthat show, an ad and an illustration for A. H. Robins Company, art directed by Frank Mann.

Ronnie is pictured below in an exhibition booth he designedfor the company. He also designs mahogany furniture which his father, a cabinet maker, builds. He has exhibited and won awards in Richmond, Norfolk and New York.

39

J

A H

ROBI~S

CO

JtiCHMO"tO 10 VA

INC

ENTOZYME CA, April '61

The Caldecott Medal for the year's "most distinguished American picture book" was awarded to Nicolas Sidjakov, San Francisco designer, for his illustration of' 'Baboushka and the Three Kings.,.

The medal is given by the Children's Services Division of the American Library Association.

Two spreads from the book are shown at one-half of actual size, the title block is same size.

Nick made his illustrations with a felt-tip pen on rice paper. The absorbent quality of the paper cause the ink to soften and spread. He further developed the effect with a coating of rubber cement on the back ofthe paper. The black plate was shot as bleed halftone to hold this effect. Colors were painted on acetate overlays and also shot as halftone.

Hogan-Kaus Lithographers of San Francisco are the printers. The type face is Invitation Roman.

Parnassus Press published and Ruth Robbins, art director and co-founder of the firm with her husband, Herman Schein, is the author.

This is Sidjakov 's second children's book. His first, "The Friendly Beasts" also published by Parnassus Press, was selected by the New York Times as one ofthe ten best illustrated children's books ofthe year in 1958.

40

In October 1959, CA featured Eugene de Christopher and his unique felt shapes called Chris-Cuts.

Though they were packaged as a children's educational toy, Chris utilized these shapes as a design and illustration tool for national ads, other proJ"ects.

CA readers will recognize the illustrations from that article on this new packaging for Chris-Cuts.

Structural design and production of the package is by Container Corp.

Chris' company is launching full national distribution this Fall with Chris-Cuts as one of a line of educational toys. Chris-Cubes is shown in the lower illustration. Another product is a block-printing set utilizing Chris' shapes. This, too, offers interesting possibilities for artists .. we've tried it.

Presently, Chris is preparing a 39-week TV show on art for children that will be taped at KCOP, Los Angeles, syndicated and released nationally.

CA, April '61

****************

BABOUSHKA AND THE THREE KINGS *illustrated ** b9 Ruth Robbins * * * b9 Nicolas Sidjakov Adapted From A Russian Folk Tale Parnossus Press Berkeleg, California

**************** *************************

In the sleigh rode three men, splendid figures,

A train of travelers was approaching. Leading

wearing jeweled crowns and cloaks of crimson

the procession was a magnificent sleigh drawn

and ermine. Men on horseback followed the

hg three white horses.

sleigh and behind them trudged men on foot.

41

*** ((Ther~ is no time to linger, Baboushka," answered the strangers. ((If . gou cannot come with us now, we must continue our journeg."

The9 turned and disappeared into the storm.

CA, April '61

The MAGNFrHKAD DMSION of. General lnmumenl Corporation hos wuated aptOitM\olc:cnt.nJ&lraearch

W.th<fiddo/ .......... '""""""' Tlvou&hthiiJ)f'Oit'*'ft.wt:et ~e.-nolferyouthe

-

S.tatdc:vdopmcntslnboth ...W.daionard~

We daipt and nw1Uf-.turc a c:ampluelintofmilitaryand ~-drumo.Ow­

all mcul ...,. and dnon !ads .... cancdvedMddevdapedwithboth rdiebUity and lone life in mind.

Thc:y'rcava.ilibkb.U""'J'*ic. .......tlonl. homo'""ok proCot:ypc: 10 production cpntitia.

lnldditian, acholourprcd.a:u

ilavad.t.6cdthcrasaqle c:ompllnUKoraac:cmpkt.e

"""""Y._......._.u ....

J)Kbpdre.6-writcarcuiuy We would wda:m& your Yilit to

aw~modernfKilitb.

q

42 .

from Prototype ·

CA, April '61

Literature of the Month

Smaller companies or autonomous small divisions of larger corporations generally share one problem in common, covering a maximum number of bases with a minimum number of pieces of sales literature. This month, CA selected a booklet designed by Jerry Braude for the Magne-Head Division of General Instrument Corporation.

This is the basic piece of literature and includes the facilities story, product data, and a great deal of flexibility to adapt to the specialized sales problems ofthe company.

Magne-Head is a West Coast sales and manufacturing division of a parent corporation headquartered in the East. The products are component parts and the marketing is entirely industrial, in a field of highly advanced and rapidly changing technological development.

Products of standard specification are available from Magne-Head division, but each application is likely to be custom, with the facilities for research, development, and production to close tolerances forming an integral part of the product sale.

CREDITS: Designer: Jerry Braude (Bro'de)

43

Photographer: George Sugasawara Copywriter: Dan Greenburg Paper: cover, Starwhite Bristol; text, 80# Starwhite Text

Upper left: The cover is printed in three colors. The top photo, a duotone of blue and black, was shot with the recording heads hung downward by their wires and the picture inverted for use here. The bottom photo is a duotone of green and black and the title is blue and green relating to the color of the illustration.

Upper right, lower left, lower right: the opening three spreads in consecutive order.

CA. April '61

The AaNmbJy of all Malne-He•d product• i• P4dormM en t irely by akiJJM h•nd•. It ia the b.•ic ••,.mbly mon th•.n •"1 other ph ... of production which determine• the reault•nt qu•lity of the produ ct . And our Ou•lity Control DeJUrtment oontinu•Jly monitCNe check point• et e•ery •tep in the •uembly oper•tion, thu•lu• r · anteeinl•b.olu te uniformity in the proce,. of production .

MHDM-35-367 Magnetic Drum Head 44

llOpttlq: 400 Mittohmty at 130KC ptt k& 4 Conductor Shielded end ]KketedC.ble

R~• Grimeco cw Equlv.

COATING THICICN&SI HEAD TO DRUM SPACING WRITS CURRSNT

SO M.A. Pe:ak thru either lq 160 MV. Peak to Pe:U Total

Wi.ndin&at 2SONRZBiUiperlnch

Vo'\thaSKLoed

MHTE-9-782 Magnetic Tape Head .

350pe:rlq: 4ptttraek IOOM~Mu.

±25(1MicroinchMu.

PULIS PACXINO DENSITY

WJUTK CURRKNT

450 NRZ 8 iU Per Inch 30 l&A. ~to Peak 120MV. Pe-aktoPeak

The type faces are Egizio Medium Condensed heads, 10 pt. Goudy Light 38E for the introduction, and 10 pt. Bookman Oldstyle Italic for the text The data sheets are in 10 pt Bookman Oldstyle, News Gothic and Egizio.

CA, April '61

The booklet began with initial discussions of goal, budget and the specifics of information that should be communicated, now and later. Braude met with management, sales, and free-lance copywriter Dan Greenburg. (Magne-Head does not have anyone with the single responsibilities of ad manager on the staff.)

Following this conference, rough organizational copy was worked out. Then Braude called in photographer George Sugasawara, explained the project and outlined the general photographic needs. Thus instructed, Sugasawara spent seven hours in the plant shooting candid shots, using a Rolleiflex and existing light.

Designer, photographer and writer worked together selecting photos, suggesting crops and relating copy. Then Braude planned his production methods and made the first rough layout. He selected Hamilton Starwhite 80# text and 80# cover. Pleased with their work in flat inks, Braude chose Koltun Brothers to print the job, checked out the signature patterns with them. The body of the text (18 pages) would run two colors one side, one color the other in this pattern :

Our •nlin ..n and circ uit de•i4nen are al•~• available to worlr with y ou on any m a4netic reoordinl problem, Jar•• or email. l'reNnt u• •ith y our •t>«ial tequiremente and OUt' enlin ..ri nl etaf/ will de.,.Jop a produc t but eui ted to y our indi.,idua/ need• .

r-------------------35--------------------4

The inside back cover (above) utilized a black and white reverse of the photogram appearing on the back cover in green.

The envelope (below) repeated the back cover art.

23

The cover would run two-up, three colors one side and one color on the other. Data sheets would be black and white, printed one side only and run by the most expedient method for any individual or group of sheets. The printing run is only 2500 books.

Plastic binding will be done internally at Magne-Head and the data sheets will be selected for the individual recipient.

Following completion of plans and rough layout, another photo session was scheduled for photograms, product shots and the cover photos. With all of his elements compiled, Braude executed his final layout.

As well as additional data sheets, future plans include sections dealing with the two basic product categories.

32/6 We<t El Segundo Boulevard, HawthorM, California

CA, April '61

45

''Corporate image'' is a valid term, of great significance, but it has been badly undermined by misuse, overwork and linkage to the erroneous and insidious term of "image maker."

Corporate image is not something a company has, or can create, or can exercise anything approaching a total control of It is the image that someone else has of the company. Literally, the term should be "corporate images" for there are as many as there are individuals having relationship with, or knowledge of, the company. These images began to exist the day the company opened its doors. They are opinion and they might never be changed, or be changed slowly, or be changed quickly through some dramatic action.

A change for the worse is more easily accomplished than a change for the better. And the latter has the lesser degree of permanence, assuredly no more than the consistency and success of the efforts to maintain and protect it.

Generally, planned programs have been developed to enhance existing images.

The exception is the opportunity offered only to the beginning company, but it is rare when one has opened its doors with a planned program aimed at developing favorable images.

CA presents a case history of a company that did, an example of

THE MASTER PLAN IN ACTION 46

RAYCHEM CORPORATION Paul M. Cook, 37, is the young, aggressive and enlightened president of Raychem. An M. I. T. graduate (chemical engineering), his background includes two years as vice-president of Warren Wire Company and four year~ with the Stanford Research Institute where he headed their Radiation Laboratory. In 1953, he leftS. R. I. to become president of Sequoia Process Corporation. He founded Raychem in 1956.

uin forming Raychem four and one-half years ago, I decided to write into our basic management philosophy the belief that conscious design (hopefully good design) pays. I speak of design as not only a control of the corporate visual image but also a psychological factor in a wide range of corporate relations- customer, stockholder, vendor, personnel, recruitment. Our design program is a totally integrated one. The Director of Communications wears seven or eight hats.

He is architect, interior decorator, advertising director, graphic designer, product designer, package designer and audio-visual specialist. Everyone from the janitor to myself turn to him before making any move which pertains in the slightest way to the personality which this corporation presents to its interior or exterior public. ui am delighted to state categorically that this program has paid off in sales, company acceptance and prestige, successful recruitment and personnel relations, and a generally healthy feeling of enlightened progressiveness."

This statement by Paul Cook, president of Raychem, sums up the management attitude of the company.

Questioned as to how he justified this program in relation to the volume of sales of a smaller company, Cook explained why he felt that this was the time his company CA, A pril '61

DESIGN AND CORPORATE IDENTITY

by DAN DEFENBACHER, Director of Communications, Raychem Corporation

Today design is, in a way, the architecture of industry. It is the way the structural elements-management, engineering, research, marketing, public relations-look when assembled.

As American business has been relocated from the personal bailiwick of individualistic families to the impersonal province of paid team management and stockholder ownership, this architecture has become more and more apparent. Design is of deeper significance, management-wise, than the look of a product or service. It is a structural thing in operations, affecting public, consumer, employee and total identity.

Design is visual expression of the corporate identity or personality. In our world of growing visual communication this service of design begins to rank along with personnel in presenting the corporation to its public, to its stockholders, and, often forgotten, to its own management and employees.

The medium of this expression is multiformed. It involves the total visual environment. It is the visual sum of products, advertisements, training aids, inter-office communications, public relations, facilities, equipment, reports, selling aids, packaging and a myriad of less tangible things.

For example it is entirely possible for a corporation with a fine advertising program or a fine product design to be without the kind of corporate personality which builds confidence and direction. It is even possible for a corporation to do all separate things well and still not develop the overall expression which unifies and solidifies its identity.

The design element, therefore, is an inter-relating substance-a kind of catalyst. By adding it to all of the various visual things which express a corporation, the best in each is drawn out to express the best of the whole.

I am not inferring that any corporation, large or small, needs a design dictator. As stated by Martin of Bell Telephone "The cooperative effort of an industrial team is greater than the sum of the individual contributions."The job needed is one of clarification and interpretation between all of the disivions and departments at all levels. It is a new dimension of management which has become specialized to the point of demanding a special position to maximize its effective role in the teamwork of successful operation.

There are still other aspects: we have come to recognize that "appeal" is in itself complex. In a product, for example, "appeal" is not only an elusive ((attraction" quality. It is fundamentally related to usability and efficiency. We want our tape recorder, calculator, or handy mixer to look as though it works as well as to know tl-.at it works. This demands an integration between engineering and final appearance at the earliest possible stage.

Obviously, design cannot and should not override any other operation. Its role is as a service to each-a service specializing in expediting and strengthening the cooperative effort to express visually the corporate objectives.

The relationship of the design element to public relations

is interesting. It is also a tool of this activity-especially in constructing and nourishing corporate identity. Public relations is oral, physical and visual with the latter growing rapidly in intensity. As the visual activity intensifies, both the need for specialized help and the need for close coordination with all other departments are proportionately expanded. This again emphasizes the role of design as a direct management aid.

Perhaps by analyzing the job, the functional relationship will be further clarified. The job is concerned with coordinating and relating all visual expressions of the corporation.

It has three major areas of activity and responsibility: analysis and evaluation; communication and coordination; quality development.

These are specific functions : (1 ) To study and evaluate the visual interrelationship of products, printed matter, physical facilities, and display; report; suggest directions for action.

(2) Give technical design aid to all departments in evaluating projects, locating personnel, determining methods and materials, expediting solutions and approvals.

(3) Implement coordination between departments in attaining overall objectives while maintaining departmental individuality.

(4) By writing, speaking and developing various visual aids, assist management, public relations and training in disseminating design information internally and externally.

(5) Interpret management objectives for translation into visual terms.

Dan Defenbacher entered the design field via architecture, receiving his B.A. from Carnegie Tech in 1932. The depression offering little for architects, he began his career designing and selling store fixtures for Wade Manufacturing Company, Charlotte, N.C. In 1936 he became Southeast Regional Director for the Federal Art Project where he evolved the Community Art Center Program. This brought him the post of Assistant National Director.

In 1939, Defenbacher became the Director of the Walker Art Center and Walker Art Center School, Minneapolis, where he received much recognition for his program of community education and industrymuseum interrelations. For this, he was awarded an honorary degree of Doctor of Fine Arts (1950) from Lawrence College.

Following four years (1951·54) as Director of the Ft. Worth Art Center, he moved to Oakland, California, as President of the California College of Arts and Crafts where he successfully led the college to full academic accreditation. Turning to full·time professional practice as a management consultant to industry, he serviced Raychem as a client, joining them in 1959 as Director of Communications.

CA, April '61

47

needed it most. ((We did not have a product," Cook stated, Hwe had an idea for sale."

What Raychem had to offer were the physical properties of irradiated plastic achieved by molecular rearrangment through bombardment by huge electron beam generators, the facilities to produce wire and electric cable sheathed with this plastic, and the know-how to develop solutions and adaptations to a customer's specific problem.

The technology of radiation chemistry is new, the potential has barely been scratched, but it offered available and economical solutions to the attainment of industrial materials impossible or difficult to achieve by other chemical, heat or pressure methods.

48

Raychem's initial market was limited, easily pinpointed for direct sales action. These were sophisticated customers, primarily engaged in critical defense projects, willing to spend whatever money was necessary to acquire materials with the properties of insulation, resistance to high temperatures, etc., that their projects demanded.

Raychem faced the problem of convincing them that irradiation chemistry offered the most reliable, economical solution to producing such materials. Even more difficult was the task of convincing them that Raychem, a beginning company, had the know-how, organization and reliability to develop and control the production of these materials. Raychem had to ((put its best foot forward."

To Paul Cook, this meant creating an atmosphere of confident, organized efficiency about the entire Raychem Corporation. No stone could be left unturned lest there be some visible weakness that might destroy the image and upset his plans in selling, and in acquiring the engineers, technicians and sales personnel of the caliber required by Raychem. This was the objective that he felt could be achieved with a totally integrated design program, the problem as he presented it to Defenbacher.

Both time and money being limited, they recognized the value of getting things done quickly. Every effort would be made to do them well and efficiently, but they would risk the possibility that longer consideration might have developed a way to do them a little better. The responsibility for evaluating time and expense fell on Defenbacher.

To expedite decisions, he answers only to Cook but he realizes the necessity of utilizing consideration and diplomacy where other individuals are concerned.

Good design was not new to Paul Cook. His home, a contemporary structure in Atherton, is one of the outstanding houses in the area. Everything about his activities

reflects good taste. At Sequoia Process, where he directed the company activity as president much of the design was admittedly more outstanding, at least more obviously impressive, than at Raychem. cci learned many lessons from that experience," Cook said. HOur design and architecture was definitely an asset to the company, but its value was minimized by the expense and the financial burden it placed on us. Too often a project wound up costing a great deal more than we had anticipated, almost always it took too long. This was usually discovered after we were too far in to back out and it was rationalized in terms of that and the final outstanding quality of the results. ((This didn't shake my faith in design," he continued, ((but it caused me to think about it and understand how good design really can and should function. It is organization and control. It does not drive the cost accounting department and the comptroller wild; it is one of their greatest assets in controlling the expenditures. Change of plans, redoing things, is expensive. Particularly, it is usually very costly to a beginning company. We have achieved a better result, and at a much lower cost than would be considered normal, because the essence of our program is good business practice, as well as better design appearance. This is our definition of good design."

One of the many areas that Defenbacher programmed was the architecture and interior decoration. Going through the main building, housing offices and manufacturing facilities, one gets the feeling that these are advanced and attractive facilities in which to work or bring customers.

Yet this is standard ((tilt-up" concrete construction, probably the most economical of all building methods. The external motive is simplicity, restrained from the many textural aggregate patterns and other effects frequently used (sometimes with unfortunate results) in this type of construction. This is complimented by linear accents of bright orange-red, in the structural joints and in the lattice over the external conference room and/ or employee lounge (patio) adjoining the entrance. Keyed to a climate which permits this type of facility, it is also equipped with a quickly positioned overhead cover to cope with the California sun and the California rain.

Inside, each office has one wall in the red or a deep blue that have been standardized as basic decorating colors for the company. The other walls and ceilings are soft white. An effect of cheerful contemporary color is achieved.

At the same time, each room has been carefully planned for the needs and working positions of its occupants and

CA , A pril' 61

they have the color with them without ever having to work facing into it. One office, a large one shared jointly by several members of the sales staff, necessitated many directions of facing, so all of the walls are white. Here the design utilizes the binders and other books on the shelves, the maps and other functional accessories to provide color accents.

The furnishings are Steelcase 1300, fairly expensive but extremely durable, adaptable to the decor and always available as additional pieces are required. The use of carefully planned, attractive but inexpensive built-in cabinets and storage shelves eliminates the usual visual hodgepodge of file cabinets and storage furniture.

Every office contains one or more paintings. Souvenirs and other mementos often found on office walls are not permitted. ((Originally," said Defenbacher, uwe tried a plan of rental paintings from the museum. These were very good, but generally pretty advanced. Some of the personnel were repelled by them, reacted as though they had been violated. Thinking about it, I could realize that perhaps they had." The paintings are now mostly reproductions of the well-accepted and very good masters, e. g., Braque.

No effort has been made to force advanced taste on company personnel, but exposure through the company and in the homes of Cook and Defenbacher has had its effect. It has also caused consulting on furniture, rugs, paintings to become another of the many duties of the Director of Communications, but it is accepted as being in the best interests of the company.

In the plant, color plays a major part, too. Besides the areas of color serving decorative purposes, everything in the plant conforms to a color code, by category of the equipment and to classify controls, or parts of equipment by varying degrees of caution or danger.

How is this reacted to by the employees? Each one seems to take a personal concern in the appearance of the facilities. ((We even leave the paints available," Defenbacher states, ((because they don't like to wait for their equipment to be painted or repainted. At the first opportunity, they often do it themselves.

Standards and formats have been developed for the signing and the graphics. Everything that is printed must be approved for conformation, quality and function in the use for which it is intended. The available budgets and immediacy of need has caused Defenbacher to be somewhat of a jack-of-all-trades. Admittedly many of the functions of graphics, photography, other areas of design could be better done by outside services and specialists. This is evolving and will become more in effect as the company grows. But always it will be a part of the controlled design program.

Many other projects are in transitional stages. Some of the packaging has shifted from hand to semi-automation, will be fully automated as soon as the cost-accounting shows that capital investment in equipment is better justified than the higher non-automated costs.

Part of the success of the program can be measured in the growth of sales. From $13,000 in the fiscal 1957, sales have increased to $660,000, $1,450,000, $3,600,000 in succeeding years. Fiscal 1961 (ends June 30) should be well over five million and projections indicate a continuation of this growth rate for the several years that can be predicted now.

Two heat shrinking devices designed

by Defenbacher. Produced by Raychem, these are essential tools in the application of certain products.

The top is a modification (handle, base, and heat director) to a purchased unit.

49

One of a series of technical sales brochures.

A new, and perhaps the greatest, challenge is the acquisition of another company, Bently-Harris Manufacturing Company of Conshohocken, Pennsylvania. This is a company that has been in business 25 years and was basically conservative in its approach. Transition from this into compatibility with the Raychem philosophy is underway, being carefully planned and diplomatically executed for as little disruption of the facilities and personnel as possible. A new logotype style and graphic format has been developed and Defenbacher has just completed the redesign of the office facilities. The products and markets, though parallel, are quite defferent from Raychem's. The applications are more universal and not primarily for defense contracts. This opens a new area-advertising and a formal public relations program. This had not been considered necessary or advantageous to Raychem' s previous operation.

The integrated design program, so effective for the beginning company, will now get its test in dealing with existing images.

CA. April '61

RICHMOND

From the Shows

The 6th annual exhibition ofthe Art Directors Clu b of R ichmond was notable for two thingsthe rapid improvement in the level of art as the South comes of age, and the publication of the Clu b's first annual. The published annual, a difficult problem for most clubs to solve, was a very good first effort and well supported with advertising.

Judges for the exhibition were Everett W. Sahr beck, V . P. and Executive A / D of R each, McClinton, Inc., N ew York; R obert 0 . Bach, · V. P. and Managing Art Director of N. W . Ayer and Son, Philadelphia; David L ondon, E xecutive A/D ofth e Griswold-Eshleman Company, Cleveland. Several ofthe winners are shown, credits are as follows :

EVERY TWO MINUTES SOMEONE MAKES A LO AN AT fH E BANK OF VIRGINIA

Newspaper Ad Art Director: Dick Gunn Artist; designer: Edgar Mallory Exhibitor: Liller, Neal, Battle and Lindsey , Inc. Newspaper Ad Art Director: Joe Coffman Artist: Michael Lester Exhibitor: Zimmer-McCiaskey-Frank, Inc.

50

Newspaper Ad Art Director: AI Cascino Photographer: Scott Dine Exhibitor: Cargill , Wilson and Acree , Inc. Reynolds plants coffee where bauxite used to "grow"

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CA, April '61

The l i ght of development is as a series of values.

The efforts to obtain the proper relationship of these values create the desire for identity.

Booklets and Direct Mail Designerj artistj exhibitor: William Gravitt

51 Trademark Design Art Director: A. R. DeNatale • Designer: George Woltz • Exhibitor: Reynolds Metals Company Booklets and Direct Mail Art Director: Milton Hull • Designer / artist: Byron Lawrence • Exhibitor: Baughman Company

where you find one . ... . you'll find tl)e other It yuu' rc h av ing tro u!Jic umlcnt•ndin g wh a t a ll thctc ;:o ing&-on have to do with yo u, plcaae unde rta m! the diHicult y we had tryin K to rclate thi ob urc jungle oddit y to th e printin g CrJuipm c nt at the Ba ughm a n Co mJ)a ny. The onl y po iLic co nnection, re mote, a t heat, i the diHcrc nce in s ize l.,etwccn these etra ngc Afri can COmJJanion , a nd the fa ct tlu•t our CtJUiJIIUl' nt vari c& con itlc ra hl y in , izc, , .. from our OOZEL a i~c lcllcrprcAI to our Hllli\0 izc fo ur.r~ol o r ofrk't prcue . ne w i\1icldc fo urcolor oHsc t pre , a ne w two-color off c t pre , a ne w ain gle color oU~ t pre , and anothe r la rge lcllc rJlrCU, all added rece ntly, prompted thi pi ece or %oologie lite ra ture.

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I CA , April '61

Marvin Abelson, Artists Guild president, presents the top honor Crystal Award to Marjorie Hirano for her illustrations in the booklet "Death Penalty." Art directed and designed by Daniel Czubak, the booklet was produced by the Illinois Committee for the Abolition of Capital Punishment. Three of the illustrations are shown on the facing page.

CHICAGO 52

The 15th annual exhibition of advertising and editorial art, Artists Guild of Chicago, provided an innovation in the selection of judges.

Louis G. Redstone, architect, Detroit, joined Charles MacMurray, Manager of Graphics for Latham, Tyler & Jensen, Chicago, and Jack Amon, V. P. and Director of Art, Needham, Louis & Brorby, Chicago, on the exhibition jury.

Serving with these two prominent representatives of the visual design field, Mr. Redstone not only added the representation of an allied field, he signified a trend. He has been responsible for the development of the Allied Arts (cont'd top. 55)

Editorial illustration Artist: Franklin McMahon Art director: R. Bruce Crippen Client: Kiwanis International Packaging Art director/designer: Morton Goldsholl Client: Kimberly·Ciark Corporation

CA, April'61

CA. April'61

54

CA, April'61

Committee of the Michigan Chapter of the A. I. A. in which a professional relationship has been established between architect, craftsman and designer. This group has formulated a list of designers within the region, provided reference material on their work and encouraged the idea of having one design concept being supplemented by other design concepts.

The Guild, comprised of 859 members, annually submits a wide range of materials which prompted this move to enlarge their field of critical appraisal. Susan Karstrom Keig, CA's guest editorialist this month(page 62) was chairman ofthe exhibition. The Crystal Award and 14 Gold Medals were awarded.

55

< Non-Commissioned Art -Illustration Artist: Don Siculan Packaging Artist: Gabryel DeMillion-Czarnecki Art Director: Albert Kner Producer /client: Container Corp. of America Editorial Illustration- Color Artist/ designer: Ron Bradford Art Director: Arthur Paul Producer: H.M.H. Publishing Co. Client: Playboy Magazine

Folders, Direct Mail Artist/ designer: Susan Karstrom Keig Art Director: Fred Boulton Client: Art Directors Club of Chicago Advertising Illustration- Black & White Artist: Phoebe Moore Art Director/designer: Bernim- Monsen Producer/client: Monsen Typographers

CA, April '61

56

Advertising Illustration Photographer: Larry Larimer Art Director: Robert Dunn Agency / producer: BBD&O Client: Conn Organ Corporation Experimental Photographer: Sara Marcia Schwartz Non-Commissioned Art - Photography Photographer: Larry Larimer

CA . A pril '61

TIPS ON TYPE is the title of a service/promotional series prepared by the Frederic Ryder Company, advertising typographers in Chicago. The series consisted of pastel-colored cards 221;2 inches tall and of varying widths. The content dealt with an excellent presentation ofthe basics of typography and type specification and included the following categories: 1. Set the copy (flush left and right, irregular right, etc.); 2. Length of line; 3. Letterspacing; 4. Paragraphing; 5. Accenting; 6. Marking the copy; 7. Casting the copy; How to save money on typography. The series was popular, found its way onto the walls of many agencies and studios in Chicago. We have excerpted from the information but the location on the pages here is not related to the layout of the cards.

Narrow measures cause letterspaced lines and hyphenated words adding to the cost of setting type.

A proper length of line is proportionate to type size used and amount of leading used with it. Lines under 30 characters and above 50 should be avoided.

A good solution is to set the copy on short measures irregular at right.

Examples show type set 40 characters wide or about an alphabet and a half.

Eureka Belt Dressing -Keeps belts pliant and smooth. Reduces slippage and breakage. Also used on canvas aprons of combines, binders, headers and also on corn huskers' mittens.

Superia Insect Spray with DDT- For lon~­ lastin~ killing power. Sprayed on walls, ceilings, floors, furniture and screens, it remains deadly for weeks to a great variety of flying and crawling insects. Also fine as air spray.

Regular Suparla In· sect spray (Improved) -For immediate killing of flies, other insects in home and milk house.N ow even further stepped up in excess of National Bureau of Standards' requirements for "AA" rating.

Bovino! 250/o DDT Concentrate - En-

Bovlnol 25% DDT Concentrate-

tirely different from regular Bovina( must be mixed with water- spray on barn surfaces to kill barn -dwelling flies - on cows to combat horn flies. Only 3-4 applications needed per season.

Entirely different from regular Bovinal-must be mixed with waterspray on barn surfaces to kill barn-dwelling flies -on cows to combat horn flies. Only 3-4 applications needed per season.

Regular Bovina!

(Improved)Greater insect killing power than ever I Spray cows at milking time; Bovinal's lasting repellent effect keeps flies away for hours in barn and pasture.

Cuts milk losses caused by flies.

Regular Bovlnal (lmproved)Greater insect killing power than ever I Spray cows at milking time; Bovinal's lasting repellent effect keeps flies away for hours in barn and pasture. Cuts milk loses caused by flies.

Extra long lines make copy more difficult to read unless space is added between lines.

How is one to assess and evaluate a type face in terms of its esthetic design? Why do the pacemakers in the art of printing rave over a specific face of type? What do they see in it? Why is it so superlatively pleasant to their eyes? Good design is always practical design. And what they see in a good type design is, partly, its excellent practical fitness to perform its work It has a "heft" and balance in all of its parts just right for its size, as any good tool has. Your good chair has all of its parts made

How is one to assess and evaluate a type face in terms of its esthetic design? Why do the pacemakers in the art of printing rave over a specific face of type? What do they see in it? Why is it so superlatively pleasant to their eyes? Good design is always practical design. And what they see in a good type design is, partly, its excellent practical fitness to perform its work It has a "heft" and balance in all of its parts just right for its size, as any good tool has. Your good chair has all of its parts made

CA. April '61

How is one to assess and evaluate a type face in terms of its esthetic design? Why do the pacemakers in the art of printing rave over a specfic face of type?

What do they see in it? Why is it so superlatively pleasant to their eyes?

Good design is always practical design.

And what they see in a good cype design is, partly, its excellent practical fitness to perform its work. It has a "heft" and

How is one to assess and evaluate a type face in terms of its esthetic design?

Why do the pacemakers in the art of printing rave over a specific face of type? What do they see in it? Why is it so superlatively pleasant to the eyes?

Good design is always practical design.

And what they see in a good type design is, partly, its excellent practical fitness to perform its work. It has a

How is one to assess and evaluate a type face in terms of its esthetic design? Why do the pacemakers in the art of printing rave over a specific face of type? What do they see in it? Why is it so superlatively pleasant to their eyes only? Good design is always practical design. And what they see in a good type design is,

How is one to assess and evaluate a type face in terms of its esthetic design? Why do the pacemakers in the art of printing rave over a specific face of type? What do they see in it? Why is it so superlatively pleasant to their eyes? Good type design is always practical design. And what they see in a good type design is, partly, its

57

First paragraph flush and all succeeding paragraphs indented is common practice in advertising. Newspapers indent all paragraphs for uniformity of operation.

Letterspacing

FREDERIC RYDER COMPANY

Extra space added between paragraphs is used in advertising to relieve monotony.

set solid

FREDERIC RYDER COMPANY letter-spaced 2 points

FREDERIC RYDER COMPANY letter-spaced optically

FREDERIC RYDER COMPANY set solid

FREDERIC RYDER COMPANY letter-spaced 2 points

58

FREDERIC RYDER COMPANY letter-spaced optically

There is a man in your area who can help you make a wise, profitable decision about drying methods and equipment. He's your Butler Blue Ribbon Dealer. He's trained and backed by the company whose name appears on grain storage and drying structures all over the countryfrom on-farm grain bins to million-bushel elevators. This is the company with unequaled experience in grain drying. Millions of bushels have been dried with Butler equipment.

Butler makes a complete line of drying equipment ranging from a new feature-packed batch dryer to the famous STOR-N-DRY® bin drying system. With this complete line to choose from, your Blue Ribbon Dealer can recommend the type best suited to your farming operation.

Butler makes a complete line of drying equipment ranging from a new feature-packed batch dryer to the famous STOR-N-DRY® bin drying system. With this complete line to choose from, your Blue Ribbon Dealer can recommend the type best suited to your farming operation.

MARKING THE COPY Each line of type requires 9 specifications and if a line can be set 2 ways, it is not marked properly.

Here are the 9 points:

1. FACE ... Name the family: Garamond, Caslon, Futura, etc.

2. WEIGHT ... Faces come in Light, Book, Medium, Demibold, Bold, Extra-Bold.

3. STYLE ... Roman, Italic, Condensed, Extra Condensed, Wide.

4. SIZE . .. Order exact sizes. Be specific-don't say "set larger."

5. LEADING ... State the amount you want.

6. WIDTH ... Mark the width of your lines. Layouts may not show exact length, particularly when odd measures are used.

7. POSITION ... Mark the line flush right, centered, flush left or indented.

8. CAPITALIZATION ... Do you want all caps, all lower case, caps and lower case, caps and small caps?

9. LETTERSPACING .. . Is it to be set solid or letter spaced optically or to a certain measure?

CA. April'61

HOW TO SAVE MONEY ON TYPOGRAPHY 1. MAKE YOUR INSTRUCTIONS CLEAR

8. GET 11 STYLE" APPROVAL FOR LARGE JOBS

Each job should be accompanied by instructions that are as clear

When starting to set a large booklet or series of ads, the approval of

and as comprehensive as it is possible to make them. Everything

which may rest with many different people, it is a good idea to first

pertinent to the job should be included - the size, time wanted,

have a "style" page or ad set. Show it to everyone concerned.

number of proofs required, kind of paper, instructions about cuts

When "style" has been approved, proceed with the rest of the job.

(where they are coming from and when), and whether you want complete or type proofs. Make your instructions clear and you've

9. DON'T ORDER MORE PROOFS THAN YOU NEED ...

already started to save time and money.

All typographers include a standard number of hand proofs with composition and alterations. Extra hand proofs are billed on a "per

2. SEND YOUR TYPOGRAPHER 11 CLEAN" COPY

each" basis. If you require proofs for reproduction, where time al-

Copy should be sent to the typographer in the most readable form

lows check a rough proof before ordering.

in order to facilitate handling by the mark-up men, machine operators, compositors and proofreaders. Key your copy to the layout.

10. ORDER ENGRAVINGS PROPERLY

Typographers are usually able to decipher a poorly written manu-

Check your typographer about how he wants the cuts delivered -

script, but it takes time ... and typography is billed on time.

mounted, flush mounted or unmounted with block.

3. CAST COPY ACCURATELY

11 . AVOID SWITCHING CUTS

Many customers allow the typographer to take care of the cast-up.

Even though switching cuts from one job to another usually entails

In any event, typographers will re-cast all copy before it goes into

only a minimum alteration, it is more economical to order electro-

the shop, and when copy does not "work out," and time permits,

types of slugs, trademarks, etc. Besides cutting costs, it speeds

the manuscript is returned to the customer for cutting, adding to,

deliveries and leaves type form complete.

or to change layout as required. If "time doesn't permit," your production costs are running up.

12. SEND ENGRAVINGS WITH COPY Ideally, no setting should be started until the engravings are in the

4. MAKE ALTERATIONS IN THE MANUSCRIPT

typographer's hands. When an advertisement is set from a silver

Alterations are an expensive feature of any advertising job and one

print or a stat, the typographer must insert furniture or blocks for

over which the customer can exercise considerable control. If your

the illustrations that are to come. When the cuts appear, the shoul-

copy chief, buyer, client, or any other interested party, prefers to

ders on the engravings are often different from the allowance made,

make his copy changes in the job after it has been set instead of on

or they are tacked top and bottom instead of on the sides, or the other

the manuscript, your typography bill is going to be higher.

way 'round. Or maybe the silver print has shrunk. The plates must then be trimmed or remounted to fit. Then, too, the material that

5. GET LAYOUT APPROVED BEFORE HAVING JOB SET

was used to 'block out" until the cuts arrived must be put away.

Hastily executed tissue layouts are sometimes necessary, but usually

And the clock ticks on ...

costly. Any visual should be shown to the person or persons who will eventually OK the job. Maybe they can't be. Maybe it isn't

13. ORDER QUANTITY OF PRESS PROOFS YOU NEED

possible to show the job until it is in proof form . We don't know

Here's one case where ordering a larger quantity will bring down

... but this, too, comes high on the list of "How to cut your

your "cost per proof." Take a two-color job. The forms must be

typographic costs."

locked for press, put in register and made ready in the same way for one proof or for a thousand. Therefore, 50 to 100 proofs would

6. AVOID COMPLICATED TELEPHONE ALTERATIONS

cost only a few dollars more than 10 proofs. If you have use for

Simple alterations by phone are always practical and actually save

them, it pays to order the larger quantity.

time. However, lengthy corrections and copy additions should be picked up by messenger and executed, eliminating the possibility

14. AVOID SUPER RUSH JOBS

of misunderstanding and error that could result from phone con-

Advertising typographers are accustomed to rush work, but they

versations.

can't go beyond a certain speed without spending extra money. You can get your job when you want it, but from a cost angle it's expen-

7. DON'T 11 MAKE-UP" A JOB UNLESS NECESSARY

sive. To save money and get a quality job, give your typographer all

When you are going to paste up a job and don't need it in the position

the time you can.

of the layout, be sure to mark "galley proof" on your instruction sheet. Putting a form "in position" is similar to putting a form in register. It takes time and costs money.

CA , April '61

•

59

MATERIALS

Literature for your files " ... as mentioned in CA"

CA 's studio-tested review of new and existing materials available to artists.

A request on your letterhead will bring you any of the following pieces ... free unless otherwise noted.

Trace

An aerosol spray that eliminates hand tracing onto the finish illustration surface. By spraying Trace on the final paper or board, sketches on translucent paper can be transferred either by using a diazo-type machine or an aquaammonia solution. $3.20 per 12 oz. can. West Reproduction, Box 2336, Ft. Dearborn Station, Dearborn, Mich.

"Minstrel Greeting Papers" ... unique-

ly designed sample and swatch kit of four new grades of greeting papers : Lyric, Roundelay, Sonnet, Ballade. Included are vellums, fancy finishes, embossed patterns, white and natural shades. Market Sales Manager, Greeting Papers, Champion Papers, Hamilton, Ohio.

"Eagle-A Thought Starters No. 2" .. .

Confirmation Order Blanks

Designed by the Artists Guild of New York, these preprinted blanks are available with your imprint and confirmation order information on one side.

The other side has the Code of Fair Practice as formulated by the Joint Ethics Committee of the Society of Illustrators, Art Directors Club and Artists Guild. Fifty sheets at $1.25 per pad. For a sample or order write to Robert MacDonald, The Artists Guild Inc., 129 E. lOth St., New York 3, N.Y.

the second in a series of portfolios including swatches and ten printed specimens on L'Aiglon Text and Cover stocks. G. A. Tyler, American Writing Paper Corp., 10 Eagle-A Avenue, Holyoke, Mass.

"Standard Italic" .. . a specimen sheet

including medium italic, from 8 pt. through 42 pt. Amsterdam Continental Types and Graphic Equipment Inc., 276 Park Ave, So., New York 10, N.Y. "Crescent # 1 Illustration Board" . . .

extra heavyweight cold press, 100%

60

"ILLUSTRATION WEST" an annual published by CA for the Society of Illustrators of Los Angeles featuring The First Annual Exhibition of Western Illustration 115 pieces, many reproduced in color, of the best in illustration executed or commissioned in western U.S. and Canada

Plus this added feature the paintings by the members of the Society for the Air Force's ((Documentary Art Program"

$2.50 California residents add 10 cents for state sales tax.

rag surface, sizes 22 x 30 and 30 x 40.

Sample on request. Crescent Cardboard Co., 1240 N. Homan, Chicago 51, Ill. "Know Your Photography (reproductionwise)" ... a 48-page book combin-

ing photographic information, glossary of teans, service, prices. Includes such items as murals, montages, displays, cells, color prints, dye transfer, slides, filmstrips, TV services, libraries, movies, many other. Rik Shaw, 250 West 57th St., New York 19, N.Y. "Caslon Antique" .. . a temporary re-

vival, including italic, of a colonial style resembling the crudely cut 17th century faces. Also revived is Card Mercantile, a thick-and-thin titling face somewhat resembling the Craw Moderns. Other specimen sheets now available are Craw Clarendon Condensed and many of the sans serif Univers series designed by Adrian Frutiger. Jan van der Ploeg, American Type Founders Co., Inc., 200 Elmora Avenue, Elizabeth, N.].

"Personalized Portfolio of Samples" .. .

Westvaco will send a folder describing the various available portfolios of plain and printed samples on different classes and weights of paper. They will also supply dummy formats to specifications. Hal von der Osten, West Virginia Pulp and Paper, 230 Park Ave., New York 17, N.Y. "Analith Kit" ... printing and design

information on pre-coated aluminum foil stock for lithography. Includes an illustrated book on Aluminum Foil Design which describes the material; how to use it; step by step procedures, including required materials, for preparing comprehensives; samples. Also included is a brochure on printing, coatings, cutting, handling, inks, available laminated stocks. Marketing Services Dept., Anaconda Aluminum Co., Box 1654, Louisville, Kentucky.

"Wood Type Supplement No. 1" . .. a

16-page showing of 54 additional wood type faces added to the Morgan Press collection. Willard Morgan, Morgan Press, High Point Rd., Scarsdale, N.Y.

CA, 809 San Antonio Road, Palo Alto, Calif.

Gentlemen, Please send me _ _ copies (at $2.50 each) of Illustration West.

My check is enclosed.

-- NAME--------------------- -- - - - - - - - - - - - - - - -

-ADDREss----- - - -- -- - - -- - - - - - - - - - - - - - - - - - - - - - C I TY

--------------------zONE - - - S T A T E - -

CA. April '61

"The Art of Color Transparency Retouching" .. . a series of six brochures

designed to acquaint transparency users with the various techniques and specialties available to them. Also included is a reprint from Ansconian titled "Color Transparency Retouching."

Estelle Friedman, Dept. J, 141 East 44th St., New York 14, N.Y.

ON THE BOARD

PRINT THAT MATTERS

The Illustrator Today

A Guide to American Trade Catalogs 1744-1900

The New York Society of Illustrators holds its first all-day seminar at the society clubhouse on May 23 with the intention of stimulating interest in the role of the illustrator in today's business community. Speakers and their subjects include Austin Briggs, "Communicating with Illustration"; Phillippe Halsman, "Creating Ideas with the Camera"; Oleg Cassini, "I Create Elegance"; Robert Pliskin, "Making Art Sell"; Edward Zern, "The Written Word and How It Motivates People and Sales." The motion picture, "New Directions in Visual Communications," will be shown. A panel of authorities will state their positions and practices today, and an open discussion will follow. Attendance is limited to 125 participants. For information about reservations write to George Samerjan, Society of Illustrators, 128 East 63rd St., New York 21, N.Y.

Jose Ruiz

On a trip to New York this winter we talked with Mr. Shultz at Delta Brush and learned that Delta and Shiva Artist Colors have retained Jose Ruiz as an Art Products Consultant. Lectures and demonstrations are being arranged and Fine Arts Groups, Colleges, and Art Directors Clubs and Art Materials Dealers, desiring to have Mr. Ruiz appear in their town are asked to write to him in care of Delta Brush Mfg. Corp., 120 South Columbus Ave., Mt. Vernon, New York.

In an attempt to beat the February deadline, we phoned in the above information for Letters. Our ears are still red.

We not only misspelled Mr. Shultz' name, made a Company out of his Corporation, but Jose somehow came through as Ruiz Hernandez. Since Jose shares the family name of one of the world's prominent painters, Pablo Ruiz (also known as Picasso ) , we appreciate his gentle admonition when he had the right to be extremely indignant. We wish him many successful Lectures and Demonstrations. We also promise to leave Letters to Uncle Sam, not Mr. Bell.

Knee breeches and queues

The following quote was noted in the Los Angeles Art Director's ADLA News, originally published in 1911 by the Hill Publishing Company: "The business man who does not advertise because his forefathers did not, should wear knee breeches and a queue.

"The business man who does not advertise because it costs money, should quit paying salaries for the same reason.

"The business man who does not advertise because he tried it once and failed, should throw away his cigar because the light went out.

"The business man who does not advertise because he does not know how himself, should stop eating because he can't cook."

By Lawrence B. Romaine Copyright 1960 by R. R. Bowker Co., 62 W. 45th St., New York 36. $15

A guidebook to catalogs, especially one with over 400 pages of small print, unrelieved by pictures, would not usually fall into the category of fascinating reading ... its just not the nature of the beast. But here is one which you, being CA readers, can open to any page and find yourself skimming through with interest and amusement. As CA readers because ... you have the curiosity, the appreciation for American history as it has affected our design world jadvertising world jcommercial world, and the sense of humor necessary to appreciate this "guide" in which over 10,000 catalogs and brochures are listed, located and described in anything but a cut-and-dried manner.

Lawrence Romaine, self -described as "a 20th century out-of-print bookseller" from Middleboro, Massachusetts, has been tracking down, collecting, poring through merchandise catalogs for 25 years. His enthusiasm for this rich, and until now unrecorded, source of Americana is such that he just can't resist adding his own comments to the descriptive items throughout the book. This unusual personal touch is what makes this reference book so lively.

The wealth of potential source material for illustrators, scene designers, costumers, writers is indicated by a few of the subject categories: Artists' Materials; Bee Keepers' Equipment; Clothes, Overclothes, Underclothes, Hats, Shoes & All Things in Between; Horse Goods; Printers' Samples; Windmills. The products of these early pitch days conjure up wonderful visual images: Auto-Quadricycle, Foster Steam Wagon, plush and velvet styles with stenciled bodies, waterproof bosoms, lute strings, limbs for all occupations, pistonless steam pumps for all purposes ...

Mr. Romaine begins and ends each category with suggestions on how best to use the contents. From Undertakers' Equipment & Paraphernalia we quote: "An excellent chapter to peruse with a frightful hangover. It will cheer you up no end to see the lovely caskets one used to be able to crawl into with an undertaker on each side, with all the trimmings, for about $19." Anxious that neither his project nor your research gets slighted, the author admonishes: "Don't tell me that you looked for oil well drills ONLY under Oil Well Supplies. I have explained carefully that the firm that made rock drills made them for good drinking water, coal, gold and silver as well as oil."

The catalogs and brochures are briefly described as to content, size, year and place of publication. Each is simply coded as to where it can be found today, and every major city appears to have its share of these treasures, accessible to the public.

The book itself is cleanly designed, with space well organized for quick visual grasp of the reference scheme.

The binding and paper are solid, as is the price. But, as a first of its kind in the world, A Guide to American Trade Catalogs will become a standard reference book in any public library. 448 pages.

CA. April '61

61

A Guest Editorial

Toward a Total Design Concept

by SUSAN KARSTROM KEIG

Charming and brilliant, dedicated and ingenious, Chicago has right to be proud of Susan Karstrom Keig.

Consistent award-winning designer with Morton Goldsholl Design Associates, past pre.sident ofthe Society of Typographic Arts, lecturer at the Art Institute, actively involved in many of the Art Directors Club's and Chicago Book Clinic's activities, chairman ofthis year's Artists Guild's Exhibition (pages 52-56), delegate to the 1960 World Design Conference in Tokyo.

Despite increasing recognition within professional areas, the designer today faces a broad and very real challenge-that of relating his work to the environment and economy.

The age of specialization has created a situation which needs re-evaluation. Now the need for generalists is even more apparent.

62

How little the public knows of, or understands, the problems involved in solving a visual problem-but he does read and reread repeatedly of exposes of the advertising field, and recently of the low rating in prestige and economic necessity of the profession.

We are all caught up in the same net-these reflections bounce off on all involved in the creative framework, where there is by necessity a certain overlapping of professions.

Something is out of focus here-perhaps instead of ignoring this trend of public thinking and proceeding with our personal design crisis of the moment, we take a long look at what is happening. What has created this situation? And what can we do about it?

A first step might be to interrelate the design professions-to understand new points of view-to expose ourselves to an enlarged framework of thinking. Now as never before we must work as a team. As it stands, we seem to neither talk the same language nor make the effort to translate! The continual process of reeducation should be reemphasized. We are highly trained within certain areas but have lost sight of the even more important area of the over all relationship.

The next few years promise an opportunity and challenge which we must not permit to disintegrate by default. Art as a totality, will involve all of us especially in technological problems. The architect will work with the visual designer on company design programs; the textbook designer will relate to the film maker on possible new educational theories; the industrial designer to the illustrator on technological visual problems-all interweaving contributions. The man with the broader point of view, the visionary, the coordinator is the vital person in this complex of professions.

The state of flux of business, science, education, and the economy will need a new kind of designer and design concept. Can we prepare for this challenge?

CA. April '61