aug1959

The Journal of Commercial Art · Volume 1 · Number 1 · August 1959

The Journal of Commercial Art is published monthly by Coyne & Blanchard, Inc. at 809 San Antonio Road, Palo Alto, California . Subscription rates : U. S. A., possessions and Canada, single copy, $1.50, one year, $12 .00; Pan American, one year, $14.00; foreign , one year, $18.00 . Copyright 1959

by Coyne & Blanchard , Inc. *Trademark registered. Applica· tion to mail at 2nd class postal rates is pending 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 editors or publisher for unsolicited contributions. Manuscripts 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., or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California .

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Editorial: Volume 1, Number 1

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Letters to the Editor: from the publisher

8

Creativity: Aspen, 1959

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Creativity: Hank Ketcham, Dennis, and the "real" menace

20

Humor: Irwin Caplan inaugurates, with advertising cliches

22

Special Feature: our logo and its designer, "Jerry" Craw

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Finish : Ampex' 35-mm Slide show, Bill Fisher

26

Exhibit: "reproductions of current and choice

41

Morgue: men's hands

46

Materials: artists' materials "work-tested" by CA

51

Color: regular color-guide chart, red-blue-black

55

Management: evaluating art costs to the total budget

56

Production: introduction to techniques

60

Special Feature : the story behind Time Inc.'s ''fish''

62

Typography: numbers

64

Special Feature: "The Awkward Age," part 1

66

Photography: the pitfalls of over-specialization

70

On the Board: shop talk, advertiser's index

Editorial

The Concept

in which we define what might appear to be an anachronistic title

Robert Blanchard, publisher Richard Coyne, art director Jack Herrick, editor

The Graphics Glen Burroughs, litho cameraman Ralph Hudgins, assistant art director

Although in concept, evolvement and execution it is a visual magazine-the loudest pre-publication reaction was to words. Specifically, the words on the front cover that say ((The Journal of Commercial Art." Everybody agreed that ((Journal" was harmless- after all it was to chronicle events, and it added a little prestige and authority to the title.

Jay McKendry, typographer Bert Bryce, associate typographer Clarence Philbrook, lithographer Sam Wylie, production manager

Contributing Editors 2

Susan Karstrom, Chicago Tobias Moss, New York James Peck, Seattle Harold Quiram, Dallas

Irwin Caplan, humor editor Graphis 3, photography editors

Advertising David Hartman, advertising manager

The Office Joan Buechner, circulation Van Whitman , assistant to the publisher Jan Williams, circulation / advertising

The Cover Lloyd Pierce

But ((Commercial Art"?

Nobody today is a commercial artist! The only place the younger ( ) artists have seen the two words together is in old correspondence school ads.

The older ( ) artists remember it with mixed emotions-mainly a nostalgic association with green eye shades, garters on the sleeves, naked light bulbs and low pay.

What we mean by Commercial Art is the world of Commercial Art-the world of professional art, design and graphics. Agreed, this world is filled with many titles and hats- Designer, Art Director (even assistants and junior), Illustrator, Cartoonist, Retouch Artist, etc., etc.

But when you get all through, all these people are paid ) artist. for being a ( But call it what you wish. We call it CA and hope you do, too. ((CA" can mean ( ) Art. It can also mean Creative Art or Commiserative Art. It can mean all things to all people.

And, CA will be all things, too-not necessarily to all people, but certainly to all the people who have an interest in good art, design and graphics whether they just enjoy it or are paid to create it.

In the final analysis it comes down to a statement made directly and implied by several of the panelists at the recent Aspen Conference-we are not as qualified to talk about what we do as artists and designers as we are to do it, so let's go back to the drawing board and do it.

What separates the brilliant perforiner froin

Stevan Dohanos

''just another artist''?

America•s 12 Most Famous Illustrators

By ALBERT DORNE Fam ous Magazine Illust rator

Ben Stahl

Austin Briggs

Peter Heick

Albert Dome

Dong Kingman

Robert Fawcett

Fred Ludekens

Harold Von Schmidt

America's Leading Fine Arts Painters

HE brilliant performers in every field of art agree on one thing: Talent, alone, is not enough. It is sometimes all that a young man or woman needs to get started in art. But to move into the circle of top professionals, an artist must know all the modern, advanced techniques of picture making.

O nly then can he develop a style of his own . . . the ability to think out picture problems ... and the craftsmanship which will set him apart from run-of-the-mill artists .

You can't get this knowledge of methods from "on the job" experience alone. Or from time spent with a morgue and clips trying to figure out the techniques of name artists. You certainly can't fit a regular schedule of classroom study into your busy work day. And you don't want to waste time traveling to and from school.

T

It Takes Success To Teach Success

Will Barnet

Arnold Blanch

Dong Kingman

Fletcher Martin

America's Most Successful Cartoonists

That's why home study with the Famous Artists Schools makes such good sense if you're ambitious and recognize the need for more training.

You study in the privacy of your own home or studio . Set your own pace.

Concentrate on the things you need help with most.

Even more important, you benefit directly from the long years of successful experience, the trade secrets and techniques of America's most famous artists . You learn the short-cuts and the special ways each of us has de-

vised to work out creative problems.

And your completed assignments are constructively criticized by a method which we sincerely believe is the most personal and effective ever developed.

Our original course in Commercial Art and Illustration proved so effective that two equally great courses- one in fine arts painting and another in professional cartooning - have since been created.

All three courses follow the sound principle that is the cornerstone of the Famous Artists Schools: It takes success to teach success.

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There are very few artists who could not profit from one or another of the Famous Artists courses. If you're ambitious and want to increase your earning power, you'll want to know more about our Commercial Art & Illustration course . . . or our course in professional cartooning. Perhaps you've already made your mark and now want to master the techniques of fine arts painting for your leisure and your retirement years. But even if you have no interest in training for yourself, you surely know some young "hopeful" - an assistant or a friendwho might someday become a brilliant performer with the proper professional training. Use the coupon below or give it to somebody you think would be interested. There's no obligation, of course.

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Letters to the Editor

To: Jack

Date: July 6

From: Bob

I

Subject: Letters To The Editor Department

THE ----------------------------. I I !r ~---=I -;.-/•~ . , _, r , - . .:..; • - --: --'

''BITE''

The horrible thought just occured to me that our format and dummy show 2% pages allocated to <<Letters .. ." - How can anybody write a letter to the editor of a magazine that isn't printed yet!

What do you have in mind for these 2 Vz pages?

NUPASTEL· 249 To: Bob

IS

Date: July 7

From: Jack Subject: LTTE Dept. - alternatives to fill the 2 Vz pages.

RIGHT

4

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I cannot tell a lie! I didn't have anything in mind, but what about: 1. Stretching the editorial 2. Writing our own letters 3. Extending advertising closing dates and letting Dave sell more Space $$$ 4. Print the letters we've already received

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5. Swipe some of the letters to other editors of other magazines and do a little editing on them 6. Seriously- since most of our readers have never been involved (and they should be thankful) in creating a magazine from scratch-how about doing a little feature like: cowe Make A Magazine" - giving some of the behind-the-scenes trials and tribulations of getting out Volume 1, Number 1

To: Bah

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Date: July 7

From: ~~ Subject: LTTE Dept. - alternatives to fill the 2 % pages.

I cannot tell a lie! I didn't have anything in mind, but what about: 1. Stretching the editorial -$/r>o~ ~~

llOth Anniversary, 1849- 1959

EBERHARD FABER WILKES-BARRE, PA. •

NEW YORK • TORONTO, CANADA

2. Writing our own letters-f~ ~v~ 3. Extending advertising closj ng d~ and letting Dave sell more Space$$$ -~(~

~,.~~ra4. Print the letters we've already~j.u ~T5. Swipe some of the letters to other editors of other magazines and do a little editing on them lri&IU~I~ 6. Seriously-since most of our readers have never been involved (and they should be thankful) in creating a magazine from scratch-how about doing a little feature like: uwe Make A Magazine" -giving some of the behind-the-scenes trials and tribulations 9f .A getting out Volume 1, Number 1 -~~ ~o Otta_ ~

To: Bob

Date: July 9

From: Jack Subject: uwe Make A Magazine" featureelaboration. You would pick the one that takes the most time ... but here's an outline: BACKGROUND-the people and facilities behind CA 1. People-experiences of staff members in: art studios, agencies, art departments of consumer and industrial manufacturers, free lance-the fact that we've all covered most of the facets of commercial art, paste-up boy to advertising manager, art director, etc . . . . talk, too about our Contributing Editors, their backgrounds, experiences, etc. -this will help uintroduce" them and help get across the idea of submitting material to them for use in the Exhibit Dept. . . . there's an interesting sidelight, too, in uGraphis 3," our Photography Editors, how they got together in the first place, how they work as an interchangeable uteam," etc.-the story of the cable they sent Fields (telling him about their association with CA) following him all over Australia and finally catching up with him in New Zealand . . . . maybe go into a short bit about how CA is financed by some pretty astute business men (not artists) who are more interested in the profits-(this will please the stockholders, too!??)

2. Facilities-talk about the fact that the magazine ttinherited" the type shop and camera facilities from Coyne and Blanchard studios, that we do all our own hand-setting of type for the magazine, do all our own camera work, stripping, etc., right here tton the premises." ... maybe use the pictures we took of the type and camera shops for the promotional literature (but didn't use)-attached are best of the proofs.

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Letters

GO AHEAD . ..

BE CARE n~E'

then g o back ov~:· the finishe d job a KLE ER-OFF mir e r as er t o r e m o ve marks, smudges and just p la in dirt!

Your KLEER -OFF e r aser pampers the paper, too ... doesn't mar o r har m clay -coated stocks, photographs , color -a i pap ers , acetate, etc.

20¢ each

(cont'd.)

MORE BACKGROUND- the birth of the idea of CA, the name, format, etc. Some people may still think magazines come from the <~birds and bees" or from rich printers whose wifes have literary ((bents" -or rich wifes, even, who know some printers ... think we could cover here: ... the fact that CA was born when you and Dick realized that you (as artists) didn't really have a magazine you could ((call your own" -was nurtured by your 2-man survey among artists you knew, then expanded into the two hop-skip-and-jump trips you guys made to over 12 cities talking to other artists (who also agreed) ... next, after you were convinced of the need for a magazine for commercial artists-go into a little about the 8¥2 months you spent developing a format, the contents, the objectives, aims, etc . . . . maybe even go into a little bit on how you convinced businessmen to buy stock in a magazine that was, at this time, but a ((gleam in your eye"

·~.'~

at leadin Art Mat e f1:i f .

Stores -~

=w

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Meet two CHAMPIONS who always WIN!

Before I really get carried away-does this sound o.k. so far?

To: Jack

Date: July 11

From: Bob Subject: ((We Make A Magazine" Outline sounds fine, so far- but have you forgotten there's only 2 1fz pages open - not 12% - if you're going to go into the ((story behind CA" you ought to cover:

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1. some of the human interest stuff behind our application for 2nd class postal permit - particularly that hilarious (we thought at 2 AM) incident when the Post Office had told us the postage was charged by weight and the advertising went at a different rate than the editorial- and we got carried away with the idea of getting the advertisers to use more white space in their ads to cut down the postage cost! ??

2. about our application to the Audit Bureau of Circulation - when we wanted to set up our IBM code system to conform to their regulations and then discovered we couldn't get final approval for six months and by that time we would have already coded 90% of our subscription list ...

3. some of the interesting production stories behind the magazine itself, the things we did right here like ... the fish story- how we used the camera to reproduce the color guide - how we did the separations of Dick's

son's drawing of the knight to demonstrate the color- some of the interesting things we did with the materials sent in for the exhibit section (particularly the Neiman-Marcus ad- this is another good time to make an appeal for Exhibit stuff)

4. the amazing coincidence and interrelationship of people represented in the first issue-how Hank Ketcham went to school with Humor Editor, Caplan - how Arch Garner, Hank's designer, worked at Douglas, during the war, with Angus Babcock- how Jim Peck was Dick's instructor in the commercial art school in Seattle, years ago, etc.

5. and - there's probably some more human interest stuff in the little statistical-type sidelights - like: ... how many cash flow charts we've made ... how many instant coffee quarts we've used in a week ... how we had to order more quotes to finish the Hank Ketcham story you wrote too long!

c( ")

These are the kind of ((behind-the-scenes" stories that help the reader to become more closely associated with us and the magazine - to give a kind of informal, friendly touch to 78 pages of paper and ink. But againHo w are w e going to do it in 2-1 / 2 pages?

To: Bob

7

Date: July 13

From: Jack Subject: ((We Make A Magazine"-how to get it in 2 Vz pages: Solution: we've already done it-print the memos!

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Creativity

International Design C nference ASPEN 1959

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Bruce MacKenzie Editorial Consultant, science editor and writer, Associate Editor of Behavioral Sciences Computing Newsletter, keynote speaker at '59 Aspen Conference

Morton Goldsholl Goldsholl Studios, Chicago , Program Chairman

Speaking of the '59 conference: it remains to be seen whether there is more energy in communications than in atomic bombs ... we will inquire here into the functions of the visual designer who concerns himself with the how of saying what, his problems, conflicts, failures, successes and potential ... the value of this conference will be to test the degree to which we as visual communicators can transcend the boundaries between visual and oral communications.

Tho~nas

M. Folds

Professor of Art , Chairman of the Art Department, Northwestern University

... designers' images have plurality of meaning though usually based on a functional (immediate) purpose ... if Van der Roe can build functional cabinets for people, so should the designer build functional images for people.

... an age of the Specialized Specialist is upon us and the generalist, the philosopher, the artist and the designer should take heed-it may be that the one century from 1860 to 1960 will be the only period in history when the designer existed as a unique, professional entity ... the future designer must retain his identity as a generalist with specific interpretive and intuitive artistic talents, but it is also essential he become associated and familiar with the specific fields for which he wishes to design.

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Gilbert Cohen-Seat Dean of the Institute of Filmology of the University of Paris. Manages the International Review of Filmology

La.ncelot Hogben, F.R.S. Head of the Department of Medical Statistics, Birmingham University, England

... in an age of potential plenty, there is still a challenge of producing books for world use by gearing printed material into editions which could span the language barrier and exploit the newest visual aids ... any picture is a visual aid ... many text book illustrations are visual hinderances . . . competent designers can aid by participating in teaching roles.

:Jerry Schnitzer Writer, Director , and Executive VP, Robert Lawrence Productions, N.Y.

... the television commercial was born in the limited confines of 90 feet of celluloid -orphaned by the film industry which has failed to accept the challenge of the television commercial as an art form, failed to conceive that anything of any artistic merit could fit within the limited confines of these 90 feet, failed to see that advertising and film are compatible-but the 60-second spot can, and has been, artif it is ever going to mature as a vital means of communications, it must do so as an art form under the aegis of film men - must reveal itself to the viewer honestly and unself-consciously to succeed.

... designers must have knowledge of human reaction when watching motion and when there is total darkness (no motion) ... the viewer of a film is interested primarily for his own account- we cannot perceive without participating ... TV and movies have in common an almost equal and similar emancipation, as far as the verbal world is concerned .

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WilliaJ:D. Golden Creative Director, Advertising and Sales Promotion, CBS-TV

Dr. RoJ:D.an Vichniac Fellow of Biological Photographic Association and N .Y . Microscopical Society

. . . designers' most important task is to work toward a universal language ... the discipline imposed to make it more universal can only make it improve ... specialization of designers is very unfortunate if this is to be achieved.

... much of the confusion that is generated in a discussion of the role of the advertising designer stems from the fact that Business regards him simply as a tool of communication, while the designer feels he has something to say in his own right ... there may be some cause for concern about the chaos the designer is bringing to the visual environment of advertisingwe tend to do this each time we leave our work for the lecture platform or typewriter ... I happen to believe this visual environment improves each time the designer produces a good design- and in no other way.

NorJ:D.an McLaren National Film Board of Canada

... there is an overabundance of communications in our country-in many cases it is used on unimportant tasks-we must simplify and purify our own statements ... film is a potent medium because motion is its basic substance-speech is alien to film, though natural sound effects often complement motion-music, too, has a kinship with both the sound effects and the motion.

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Lancelot La'W' Whyte Scientist, Author, Philosopher of Science

Abra:rn Ga:rnes, O.B.E., F.S.J:.A. Officer of the Order of the British Empire , Fellow of the Society of Industrial Artists

... there can never be a complete solution to the universal difficulties of the designer -the conference forms a service which is a stimulation of minds, opening new visions, reminding participants of old, forgotten visions ... designers often fail by putting too much intellectual complexity into their work ... American emphasis on testing, research and market analysis is conducive to sterility of expression.

... the ultimate image is the result of selection and ordering, the arrangement of symbols, which in turn represent the various aspects of the designer's experience ... this happens unconsciously, intuitively ... results in creating a message that is understood by the viewer in terms of his own experience.

Ja:rnes Real _ Design Consultant

... the language of vision, too, can be lied in ... as many frauds have been perpetrated in Bodoni as in Barnum ... the central problem pressing upon the designer is the nature of the image ... is he helping construct an image with decent powers of reflection, or is he building masks behind which the verities and strengths of the free society are slowly eroding away?

Willia:rn Capit:rnan President, Center for Research in Marketing, Inc .

... the researcher defines the problem, does not dictate the solution ... the designer is usually living apart from people and therefore not qualified to take on the job of human manipulation ... the designer must have a more objective knowledge of his society, must understand perception, how people translate visual forms - only this can improve his "intuitive" sense.

It is impossible to ((take you by the magic of words and camera" to the 1959 International Design Conference at Aspen, Colorado. Mainly because in its simplest terms, the I DC is a place where people go to exchange ideas. To ((take you" would be to saddle you with just the things we saw and heard, the ideas we exchanged. However, we do think we have given you an impression of Aspen and the Conference through the ((magic" of Art Hupy's camera and some of the words spoken or written by the people who participated. This issue concerns itself with the panelists in the three Cycles of the conference theme - ((Communication: The Image Speaks" (The Image Evolves- The Printed ImageThe Film Image). These are notes and quotes taken at Aspen and rushed back to meet the August deadline.

Next month, in a more relaxed frame of mind, we will bring you the impressions of people who attended the conference. The papers submitted by the speakers (not always in context with their speeches) are available from a variety of sources.

Hank Ketcham violates his own theory of looking backward and relives for us some of his philosophies behind Dennis, cartooning in general, his famous D-T-M playgrounds and even a 1-acre lake that leaks.

comp ac During the past few years Hank Ketcham has had plenty of time to sit back and reflect on the success he's enjoyed since the chance remark nine years ago that his son, Dennis, <<was really getting to be a menace." But we had the distinct impression that our day-long visit with him was probably the longest period he's spent <<reflecting" since that euphonious inspiration for Dennis the Menace.

Paraphrased in his own words, ((I suppose one of the greatest thrills is looking back through all the junk you've put out in the last few years and marveling that you could make a living-that people would buy that stuff. As long as you don't look back and say, <Gee, that was one of the best years,' you're in good shape. The drawing that you just did, good or bad, that's what you are today."

And, you'll see the drawing Hank did today in about five weeks in one of 327 domestic papers and 67 foreign papers that carry Dennis. Because, despite the big business that Dennis has become, Hank still sits down at the board and does the daily single panel himself. He can also get up from his board and by walking approximately 60 feet along the edge of the swimming pool, drop in on the progress of the Sunday colored strip, the lab-workshop where the Dennis puppets and toys are created, the projection room to view the latest Dennis TV series, and end up in the business office to check on the current list of papers carrying Dennis, the latest request for the Dennis Playground plans and the progress on a design of a portable light table to carry with him on his tour of Europe this fall. Hank's realistic enough to know he'll never get far enough ahead on the daily panels to just tour Europe, knows he'll be sitting in a hotel room in Rome, Paris or Moscow drawing a few panels for air mail delivery to the Hall Syndicate in New York.

It's quite obvious that with a six figure business tied up in the inventory of his right hand, Hank can't afford the luxury of basking in the past. But when he does, he opens the door wide to an insight into what makes

,.......--· .

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Ketcham tick. And belaboring the analogy a bit, the mainspring in the case of Ketcham is ((get enough experience to fully know the business, then decide what you're doing is right and go out and do it."

Being slightly prejudiced, Hank firmly believes cartooning and particularly animation is the most useful experience an artist can get whether he wants to be a cartoonist, illustrator or art director. ((Cartooning is everything," Hank states with a fervor you know he believes, ((because you are everything-art director, photographer, layout artist, illustrator and finish artist. The panel you have to fill is just like the ground glass of a camera. You can move that camera anywhere you want to put it, and in the case of Dennis we often put it at his level, see things the way he sees them from 3% feet high." Hank continued with, ((Cartooning gives you an invaluable lesson in action, weight, shape, layout, form and character. And, you've got to be a bit of a ham at heart. You are the actor for everyone of your characters and have to be able to shift from one to another without missing a beat."

Verification (or maybe one of the inspirations) of the Ketcham philosophy is found in the years he spent in Hollywood at the ((University of Disney." Forsaking the more academic approach of an art course at the University of Washington (where he was a classmate of another CA contributor- Irwin Caplan ), Hank headed south to get the kind of experience he felt he needed to be a successful illustrator. Lured by the stories that Disney was in desperate need of cartoonists for his forthcoming full-length features, Ketcham's first assault at the hallowed halls of Disney U was stopped dead in its tracks at the ((registrar's" office. He never got past the receptionist.

Two months spent ((changing the water and going after coffee" in a Los Angeles art studio at $12.00 a week did two important things for the undaunted Ketcham: 1) convinced him further that animation was still the key to his success (you at least got to draw) and 2) gave him

a business reference he could use on his next attempt to register at Walt's Burbank ((campus". This time his sample book got past the receptionist and onto somebody's desk. It came right back out with the comment that the owner ((was not cut out to be a cartoonist". However, Universal Studios were in need of a cartoonist and were willing to pay $16.00 a week for top talent. Hank got the job and did some ((inbetweening" (the sketches in between every fifth sketch done by the assistant animator) on some short subjects, a ((rabbit thing" and Andy Panda. ((Amazing as it sounds", recalls Hank, ((I really went Hollywood on the $16.00 a week-bought a car and moved into a real Hollywood apartment with pink stucco and tile roof-the works. In fact I'm not sure I didn't have more take-home pay than I do today."

His third attempt to matriculate at Disney U was successful. He was an assistant animator and worked on both Pinochio and Fantasia.

Two things happened in 1939 that convinced Hank it was time to head East and the <<lucrative" New York free-lance market: 1) the European war had cut off 50% of Disney's market and 2) a unionization attempt at Disney began to look like an end to the leisurely two-hour lunches and the beginning of time clocks and the various other accoutrements of tight regimentation. In addition, the strike was splitting the campus into two factions. ((I had made a lot of friends at Disney," Hank recalled, <<and the prospect of facing them with a picket sign when they came to work and went home was not my idea of how to keep them. So I headed East."

An integral part of Ketcham's philosophy is learning from experience and from others. ((I, like most of us," Hank stated, ((have a trunkful of rejection slips. The important step is to get these rejection slips because it usually indicates a lot of corn that you've gotten out of your system." While in the Navy, Hank found several men who were professional cartoonists and latched on to them and

15

At Left: Arch Garner, sculptor-designerhis 3-dimensional puppets and toys helped to "lock" in the Dennis characters -now creates most of the Dennis toyshelped Hank with the Playground design as well as the "lake."

16

picked their brains, found out what made them tick, what money was available and what the future held. In New York after the war Hank saw all the faces behind the big names that he'd read for so many years. <<They weren't names anymore," Hank recalls, «they were people who had frailties and pluses and minuses just like anyone else. So my jaw wasn't swinging open quite as much. They weren't an untouchable group anymore. You begin to cheer up a little, get some confidence. Somebody pats you on the back for a real funny one and a good job and you start working your wings a little bit and see art directors and tell them you can draw funny pictures, and the next time they have a story that needs a cartoon illustration you'd be glad to make a stab at it. You wonder, looking back at your early samples, how much guts a guy can have." . Apparently Ketcham's confidence was contagious because he got to «flap his wings" in Colliers, Saturday Evening Post and enough other leading magazines to make him a member of the regular Wednesday cartoonist commute group from Connecticut to the «City".

Two very important things have kept pace with the success of Dennis: 1) Hank's humility and 2) his desire to keep improving, keep doing a better job. The latter is keyed to the fact that he draws for other artists. «If I can have an artist whose work I admire," says Hank, «come to me and say, <This is a terrific job', I'm thrilled. The man in the street can get along with a lot less. I'm interested, of course, that he enjoys it. But the big challenge and excitement comes from keeping everybody off balance a bit. Don't let them ever expect a regular job. Throw a curve at them once in a while. Always tackle it fresh.

Never look back at your old stuff for scrap."

Too youthful-looking to assume the role of the patriarch, Hank has an avid interest and concern in the younger ((crop" of cartoonists and illustrators-is afraid that too many of them are doing what they think will sell rather than what they feel is «good stuff." «The kids

today," says Hank, «are trying to second guess the editors and the art directors instead of emerging as individuals.

They should have an insatiable curiosity about themselves and everything around them." Hank has an almost Horatio Alger approach to true talent - feels there's always an art director or humor editor who will recognize it - that today's apparent slacking off in the use of cartoons and illustrations in commercial art is a chicken-and-egg situation - that people aren't doing good cartoons and illustrations because they aren't buying it, and they aren't buying it because ...

Sitting around the beautiful pool, it was easy to lapse into ((shop talk" about other cartoonists and illustrators because this whole eight-mile valley is loaded with them. Right «down the street" (two 40-acre ranches away) is Eldon Dedini (New Yorker), Gus Arriola (Gordo), Frank O'Neal (Short Ribs) and one of the real «greats", in Hank's opinion, Al Parker.

We discussed everybody from «that little girl with the two holes for eyes and that arfing dog", through Dick Tracy (<<Gould uses the tools of the cartoonist and exaggerates the crime drama so beautifully, it really is a humor panel"), Blondie (« ...the most popular single comic feature of all time"), Walt Kelley's Pogo (« ... a very provocative picture ... sort of a modern, 20th century Uncle Remus"), to Charles Shultz' Peanuts (« ... seems to be a child's feature but with an adult's intelligence in back of it. .. sometimes you think of them as children, other times as confused adults").

Hank decries the «blood, guts and sex" cartoons still holds to the theory that if it's done for kids, it should be funny - or, if it's done for adults, it should make them think. If it can combine both, better yet. Dennis was originally intended for young adults- but Hank soon discovered that through the chemistry of the story and the drawing, he was also appealing to kids.

Faced with the question as to which is more important, the message or the illustration - Hank leaned a little to-

Above and Left: "The Giant Swing Ride" and ''The Winding Road, '' two attractions of the now-famous Dennis The Menace Playgroundthe playground with a maximum of DOs and a minimum of DON'Ts-the playground designed to match the imagination of the kids who'll play on it.

ward the message. <<Even Daumier couldn't sell a daily panel today unless he had something to say," remarked Hank, ((but if he could get a good writer, he could make a helluva lot of money." Conversely, Hank feels it's possible for a weak cartoonist to make a success of his work if he is a good enough editor to pick out the good material. <<But if he can draw," says Hank, defending his trade, ((can project himself a little better, think how much funnier or better it would be."

Fundamental as it may sound, Hank feels that every cartoonist should know <<how to draw" -should have a working knowledge of the tools of his trade, which basically are a <<group of symbols so arranged to acquire truth." Ketcham's own style, often described as that of a true draftsman, is built around symbols that are easily recognized, yet done so that people won't ((really notice them." If they tell the story, Hank believes these symbols will not be examined in detail, but will be subconsciously accepted. ((You take pains to have some self-identity for the reader," says Hank. <Td rather leave something for the reader to fill in - something for his eye to finish." In the case of Dennis, Hank never draws the whole neck, only one line - never completes Alice's forehead - leaves some missing lines in the furniture and background. However, this is an evolutionary technique which becomes very apparent when you compare the original Dennis drawings with the current panel.

In addition to the change in the Ketcham technique, there has been a definite <<mellowing" of Dennis and his parents. Everybody was a little <<mad" at everybody in the early panels. Dennis has evolved from almost a ((mean little kid" to a more typical, happy 3-year old with less malice toward Alice and the rest of the world, (mostly in the eyebrows that have changed from a frown to a more innocent arch). This ((mellowing" is a direct reflection of the surroundings and atmosphere in which Dennis is now created. We're sure the atmosphere today is a lot more

relaxed and casual than it was nine years ago (as any father who has gone through childbirth, literally or creatively, can readily testify). We also had the impression that everybody has learned to live with Dennis a little better- that he's a familiar «sight" around the place. In fact, after about two hours, we actually began feeling his presence, too, even though the real Dennis is now approaching teen-hood and is away at school.

The relaxed feeling is a direct result of the surroundings- a 60-acre ranch high on a hill overlooking the drowsy Carmel Valley. The «house" is about 100 yards from the poolside «factory." In between is a gently sloping lawn, a profusion of flowers and a lot of blue sky. The 3-man working force comes to work around 9 -10 and either gathers around the pool for conferences or goes to work in their rustic, redwood offices in the L-shaped cabana around the pool.

We were invited to stay for lunch and joined the Dennis team in a homey, spacious kitchen in the «house."

Seated around the table were: Arch Garner, designer-sculptor-coordinator of all the Dennis 3-dimensional material from puppets to playgrounds; Lee Holley, former Warner Brothers animator on Bugs Bunny, who now does the Sunday color strip; Fred Toole, who doubles in brass as Hank's office manager and also writes the be~t-selling Dennis comic books (they're illustrated by talented cartoonist AI Wiseman and his staff in nearby Carmel).

Missing from the lunch was one of the key men in the Dennis success story- Bob Harmon, who writes both the daily panel Hank does and the situations for the Sunday strip. The relationship between Hank and Bob is probably unique among writer-illustrators in that they have only been together face-to-face four times since Dennis' ((birth" (Bob lives 400 miles away in Southern California). The start of this almost mental-telepathy-type arrangement began with Bob sending Hank a few gag lines on spec during the Ketcham free-lance days in New York. With the inspiration for Dennis, Hank went to his gag file and pulled out all the Harmon situations built around kids. Fortunately the concept that Hank had of his own son's antics and the Harmon gags blended with perfect harmony. Armed with four panels representing the best of their combined efforts, Hank went to the Hall Syndicate and the rest is history.

Hank takes this rather unusual relationship very matter-of-factly-explains it this way, «Bob and I seem to have the same interest in kids plus a mutual understanding of the way they think and act. We see Dennis in the same perspective- Bob creates situations from Dennis' level and I often draw them from the same level."

A living example of Hank's desire to prove a point (once he's convinced he's right) is his current foray into TV with Dennis. Undaunted by the fact that very few cartoons have successfully made the transition from newspaper to film, Hank is working closely with Screen Gems in Hollywood to bring Dennis to life this fall over CBS-TV. We saw the pilot film and were impressed with the resemblance (partly natural, partly make-up) between the film Dennis (Jay North) and the pen and ink original. In fact, the resemblance would be amazing if they could manage to cut Jay's arms and legs down about one-third.

Another tribute to the Ketcham ((do-it-like-you-thinkit-ought-to-be-done" philosophy is the famous Dennis

17

Playground. Approached by the Monterey Peninsula Jr. Chamber to autograph and sell publisher-donated books to raise money for their playground fund, Hank asked what kind of a playground they had in mind. ((The usual," they replied, ((you know, swings and slides and stuff." ((Up to this moment," muses Hank, ((I had never thought much about playgrounds, but the thought of doing the same old things again didn't ring true. So I made a deal; I would get the books free-and autograph them if they would let me design the playground. Just like that, you know, big, full magnanimous me." Not knowing what Hank had in mind, but overjoyed at the thought of the added publicity of having a Ketcham-designed playground, the sponsors accepted with open arms.

Enlisting the support of his now-full-time designer, Arch Garner (a well-known sculptor in his own right and former movie set designer), Hank set out to design a new kind of playground with ((a maximum of DO's and a minimum of DON'T's". The finished playground (there are now nine of them around the country all built from Ketcham-contributed plans) is a tribute to Hank's philosophy and Arch's ingenuity. There are no swings, slides or teeter-totters in the conventional manner. But there is ((The Thing" (it can be a space ship, bird, train or anything a child's mind wants it to be), a drinking fountain in the roaring mouth of a lion, a hill ((that's fun to run up and down on", with a winding path and a little stream ((to float sticks in". It was designed for the imagination of kids, a place where they can run, slide, balance, dig, swing, hang and hide and not be confined by the dullness of the adult mind.

18

Another Ketcham project that will never be as famous as Dennis, the TV series or the Playground, but has been approached with the same dogged determination, is a one-acre trout lake that Hank is having carved out of the side of a mountain. An avid trout fisherman, Hank pulled the ((Mohammed and mountain bit" and decided to bring the trout to him rather than spend valuable time traveling to the trout lakes and streams over 350 miles away. At this writing, Hank has spent enough time working on the lake to take several pack-trips to the mountains (starting from his front door and walking both ways! ). Hank attacked the problem of building his lake the same way he attacks every problem. What is the right way to do it? In this case it involved: two derricks to dig boulders out of an out-cropping two miles away for the stream he created to feed the lake; building a road up the side of the mountain to haul the boulders; hiring an ichthyologist to help ((seed" the bed of the lake (you just don't dig a hole and put trout in it. .. you have to put in things that are eaten by other things that grow big that trout eat); a pumping station to bring the water from a river two miles away up to the reservoir on top of the hill; a pipe line to feed the water from the reservoir to the boulder-strewn stream and spawning pools; 50-foot high sprinkler system attached to trees to give the area a year-around green, damp effect; etc., etc. The lake was completed last winter and a turn of the handle brought water gurgling happily down the waterfall. The trout were gently placed in the rising lake. Before he had a chance to fish the lake, Hank had to go to New York. Christmas Day he received a frantic call that the neighbors down the valley were complaining. There was the small problem of a new river emanating from his ranch ... his lake was leaking!

Today the lake is almost dry. The fish have been transferred back into tanks. The neighbors are contented again. But not Hank. He and Arch are still looking for the leak.

Complacency? How could anybody be complacent about anything if he 1s determined to find a leak in a one-acre lake?

•

MARKET SAUL BASS

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An introduction to what you'll see in this department each month and an explanation of why it's so short this month.

For the benefit of those who did not see our original ((preview" brochure on CA, we would like to repeat what we had to say about the monthly Markets department: ((What's happening on the West Coast? How many studios and agencies in Phoenix, Arizona? What's the pay scale in Chicago? What are the trends in industrial or packaging art?

What do you do as an assistant art director in a 30-man department? <<The world of cqmmercial art is an everchanging, volatile world. What's <good' today is passe' tomorrow. Completely new industries, with a need for graphic specialists, are springing up around launching pads every day.

CA's Markets department will give you the answers. You'll not only read about life in TV commercial studios, display houses and other art worlds, you'll <talk' to the people in them and see what's being done today."

It's apparent that Markets can be many things: 1) a chance to compare titles and functions with your counterparts all over the country.

2) a chance to compare incomes and working conditions.

3) a chance to evaluate an industry or type of company without a lot of time-consuming research.

4) a chance to evaluate a geographical area without leaving home.

5) a chance to evaluate a little <<moonlighting" for the weekend.

All this rolled into one, probably makes Markets a high class employment service. Markets will not be a clearing house for jobs, nor will it champion an area or industry. It will present the facts for evaluation.

We aren't advocating a mass migratory movement of artists, art directors and designers. But we do recognize that this is a somewhat transitory business and will try and provide you with the information you want and need to find the«rightplace."

One of the enigmas of this department is that it takes you, the subscriber, to help make it work. A good share of our research requires information from you. Until we know more about you, it will be a little difficult to get some answers to some of the questions above.

There are two more reasons why this department is so short this month.

One of them (fortunately) is on the right. The other is across the page to the left (we became so engrossed in Hank Ketcham we let him slowly eat into the 3-page Markets story planned for this issue).

•

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19

Let's run

it up the flagpole and see who salutes ...

20

HUMOR Irwin Caplan takes pen in hand to christen his own monthly humor section with 8 sprightly asides at some over-done advertising-type cliches.

Future funnies will come from the pens of other well-known cartoonists and even a few frustrated art directors -will play no favorites, in fact will play a little havoc .with some everhallowed facets of our business from shows to salaries. But most of all, will help us from taking ourselves and ((the business" too seriously.

"Why don't you throw a few of the bad roads at us and we'll see what kind of a construction job we can come up with. "

(' «Let's pitch a few up to the green and see how close we can come to the hole. "

..·······.. \

«We'll woodshed it, bounce it off the wall, ricochet it around . .. and let the chips fall where they may. "

[~I BAR I]j

Lf a Let's send it out in deep water and see if it floats. "

«Let's follow it and see what it eats."

«Big daddy won't like it, but we'll hard sell it and give it the old French 75 treatment."

"That's the whole ball of wax. "

21

Special Feature

An anticlimatic introduction to our own nickname in graphic form

Anticlimatic because the minute we received it from designer Freeman ((Jerry" Craw, we started using it im-' mediately on everything from labels to letterheads instead of ((saving" it for the first issue. Deciding that we'd like to be known by the nickname rather than the somewhat imposing TJOCA, we concluded the best way to accomplish this was graphically with a distinctive ((CA" logo.

Jerry Craw, Vice President and Art Director of TriArts Press in New York, was given the assignment and a free hand. His conviction that counter design is a fundamental of good type design is wonderfully demonstrated in the CA logo. We've already had a great time experimenting with the counter in a variety of colors, textures and combinations.

22

Much has been said and written about Jerry's type designs. His Craw Clarendon, Craw Modern and other faces have become ((household" words in our profession and made him one of the best-known type designers in America today. We have always wondered, however, if Jerry doesn't cringe a little at being ((typed" because his type designing is only one of the many facets of this accomplished designer.

Freeman "Jerry" Craw

-T·-

Finish How Ampex "multiplied" an outstanding speech and graphic presentation 30 times by using their own tape for audio and slides for the graphics.

~

j

SLIDE SlOW

by BILL FISHER, Director of Advertising, Ampex Corporation, Instrumentation Division

'--------------------------------------------~ The old problem of ((being 30 places at once" became a very real and literal one for us during a recent campaign to spread the word about the application to science and industry of our new magnetic tape recorders. The ((30 places" were the 30 stops scheduled for a traveling show that would be on the road approximately three months.

What we wanted to ((reproduce" at each of these 30 stops was an outstanding talk on <<the Principles of Magnetic Tape Instrumentation" given by our marketing manager to the Bureau of Ships. His presentation told the complete story and was accompanied by some fairly technical sketches and drawings made by the speaker during his talk.

COPPERPLATE COPPERPLATE COPPERPLATE COPPERPLATE COPPERPLATE COPPERPLATE

The type faces selected for the slides, and the same faces at one-half reduction. The reaction of the type to printing or photo reduction was similar to the reaction on the screen. The fine serifs tend to disappear leaving a residual corner sharpness.

The solution to the speech was obvious, use our own tape recorders. We asked the speaker to perform a second time and to repeat each of his <<original" sketches on a fresh flip chart.

As you might guess, the sketches proved to be little more than skeletal because they had depended upon the accompanying talk for their meaning and personal impact.

Here we called in our graphic design :firm for consultation and explained the problem in detail.

Slides were the answer in conjunction with the taperecorded commentary. They had to represent quality and eliminate the two oft-repeated liabilities of slides, 1) the garish, ((blast" effect of a black drawing on a stark white screen and, 2) the bottom-line-of-the-optician's-chart reading quality. The average presentation would be to a group of 30 persons observing a 50-inch screen. A further consideration was that this presentation might be a forerunner to a 16mm movie.

After a week of experimentation, during which we worked hand-in-hand with the designers, the suggestions were firmed up for making our slide show. Maximum title length was considered and 18 point No. 1 Copperplate Bold was selected from among the Ampex type-style family, with 12 point No. 4 Copperplate Heavy and Heavy Condensed for subheads and callouts. The designers pointed out that black and white master drawings and type assemblies should be made 5 Vz" x 8 Vtt-" and then matte photostats made to 4%" x 6%" for the application of color.

The master drawings were kept available for changes or easy adaptability to other uses.

23

HOW MAGNETIC PATTERN IS USED TO EXPRESS DIGITS POSITIVE

HEAD

I 0 0 0 I 0

0 I 0

I I 0

0 0 I

01 0 0

I I 0 I 0 0

I

m

I

24

Some drawings were repeated, and we found that, with proper layout planning, a single piece of art could be used several times. Every drawing was made as an original to fit the planned size and type, regardless of the fact that other very similar drawings often existed. All line work was executed with Graphos pens to maintain weight consistency. Only by taking a firm stand on this were we able to insure readable slides.

Color was applied to the photostatic reductions with an airbrush, using transparent inks. Tests proved that pastel backgrounds were the most acceptable, with the single notable exception being shades of red which produced wierd pinks in the final slides.

In making our slides, we found that the least-expensive method produced the best color quality. Each slide was made as an exposure of the original artwork, rather than as a duplicate of a master slide.

We were not prepared for the reception accorded our slide show. In some areas we found engineering management asking that we call back with our slides on the following day to make the presentation for others in their organization. Where we could, we did, but most of the time we had to promise that our local sales engineers would soon have their own sets and would set up show schedules.

And so the number of slide sets grew. Our export group

saw the talk, and every overseas distributor received a set soon afterward. We don't know, frankly, just how many sets are out. Between the first version of 56 minutes and the second of 36 minutes, we have probably distributed in excess of 50 copies of the 70-slide talk, together with matching manuscripts and tapes containing the commentary. Thus, when you consider the initial cost of slide art at $40 per complete unit, our cost has been very low in comparison with their use.

We are so pleased with our slide show that we are now converting it to a 16mm movie.

While we cannot deny that a sound-and-color movie may be preferable in the long run, you can iron out most of the ((bugs" beforehand, and even more important, determine viewer attitudes by putting the show on slides first.

Changes will be inevitable, regardless of how technical the product or subject may be. Slides permit the cheapest means of correcting a portion of the show because a slide show is a truly ((modular" presentation. To take care of corrections, it's a safe bet to budget half again as much for additional slide art and reshooting, keeping in mind the number of sets to be updated with each change.

In addition, we got a second, unexpected use of the slide art, further reducing its apparent cost, by using the art in a booklet version of the talk. Over 25,000 copies have been distributed for educational purposes.

HOW MAGNETIC PATTERN IS USED TO EXPRESS DIGITS

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POSITIVE

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CLOCK PULSE CHANNEL DATA CHANNELS

1001

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Upper left: black and white master drawing, working size was 51/z" x 81/z*.

Right: finished slide art, 41/z*x 6%*, and typical samples ofthe 70-slide show.

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CONSTRUCTION OFA HEAD

FRONT GAP

25

EXHIBIT

26

Future copy for this section falls into the same category as the famous Robert Benchley presentation of the 1936 "Downbeat" Award to Artie Shaw.

After a long and flowery introduction of Benchley by the overzealous Master of Ceremonies, Bob walked to the microphone . .. ''Artie'' Shaw pranced up to the microphone and said, ''Yes, Bob'' Benchley handed Shaw the 14-karat plaque and said, ''Here.''

And that's just about all the introduction future Exhibit departments will get. But we're going to take advantage of a once-only opportunity to do two things here in Volume 1, Number 1: a) say why we think you'll find Exhibit the outstanding feature of CA every month and b) make an appeal to you to keep it that way.

Exhibit in CA grew out of frustration. Frustration at straining to see what the artist or designer was doing and why he did it that way.

Reproducing outstanding examples of commercial and graphic art from all over the country (in color when that is important to the full appreciation) and large enough to see what type face was used (if that was the story) will be the primary objective of Exhibit every month.

The other frustration will be solved (whenever possible or necessary) with a short commentary on the why, what, where, how and when of the piece in addition to the who.

A well-designed letterhead, ad or brochure that includes: a picture of the president, the main plant and two

branch sales offices, a listing of the product line and is done in aqua is interesting to look at. It's all the more interesting and worthy of praise if you are aware of the problem behind the design - the insistance by the sales manager for the two branch offices being inc1 uded, the reason for the product line listing (their competitors list theirs on their letterhead) and the fact that the president's wife has just redecorated the front bathroom and is on an aqua cckick."

We won't pretend to go into this much background every time, but we do hope to expand on the credit lines whenever possible - to go into the problem as it was presented to either the designer, typographer, printer, etc.to bring you the how and why of the problem.

Now that you know what we will be doing in the Exhibit department, it's obvious that we will be needing your help in filling fifteen pages or more every month!

We're looking for the things you think are goodthat represent good art, design and graphics. There will be no subheads for ((outdoor," ((car cards," ((one-color design of a back page" or even ((advertising," so you have a free reign. The particular piece you send along may have won an award in a show, or may not even have been entered.

It could be a 4-color piece or even a rough layout. In short- we want to reproduce the things you think are good, and a bit of the history behind how they got that way.

We won't promise to reproduce all of them, but we would like you to send us a proof of the ones you'd like to see in CA's Exhibit department. After we've seen the proof, we'll ask for whatever material we need to reproduce your piece (thus, eliminating the need for a lot of valuable art work being shipped back and forth). So, as Benchley so aptly put it. .. ((Here ... "

The "minimum" copy approach is carried to the extreme by eliminating words altogether in this brochure cover for Ampex Audio's hi-fi consumer line. Wanting ''something different than the customary full color cover," Art Director Max Silten and photographer Ken Bess let imaginative photography and the curiosity factor lead the reader ''inside.'' They worked with lithographer Charles R. Wood to achieve the subtlety of the original picture by reproducing it as a duotone using gray as the second color. Advertising Manager C. Arthur Foy and the agency, Boland and Associates had the herculean task of selling the ''no copy'' approach to management.

27

28

By special request, N-M has reproduced the ab ove poster on a 36-inoh silk scarf, a most unique souve nir or our Bri t1sh Fortnight 7 • 95

When we asked our Southwest Contributing Editor, Harold Quiram to ''get the dope behind the Neiman-Marcus newspaper color ads, '' we received by return mail enough material to do a full-scale story on ROP newspaper color

..•

•

(which w e will do in a forthcoming issue)! Herewith, however, is Harold's

story behind the outstanding NM ads: - I have consu lted Mr. Damon Bostick, Wi lson Engraving, and have the

• •...

following information to pass on ...

,.-...... ..

Neimans would seem to follow three basic

~

steps to secure the superb newspaper

•

1·eproductions they are noted for.

1) Insofar as possible, close register of

color is avoided, to allow for the wide margin of error that seems to be common in most newspaper color work.

2) Neimans sends actual merchandise to

the engraver for exact color match.

3) The use of opaque colors (and this

would seem the most important).

White ink is invariably used in the

•• •

colored inks so that the yellow newspaper stock does not change hue of reproduction. Before proceeding with engraving, Neiman-Marcus ·okays '

/

the engraver's color match to actual

•

product and then engraver's color is

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sent to ink company (Texas Printing Co.)

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of the ink seems to make the major

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:....... . ..

.

the fluoro graphic process.

.

•

;

...-.

Color separations are done in overlays.

Halftones are always executed by

At Prestbo Centtr. or downtown

.:

fl

the advertisement in the newspaper.

. Dicr, g old or ~-~~ 22. ~0 . ··~ ' &1I NDI AN Sl~K TI~S harid.Wdverr in v ertical, hori z ontal or • diagonal ,.6t.ri pes , most unusual in c oloring 3.~0 .

I

. .... ....

difference in the appearance of

I ~o tt ln, Nld or brown ~9.~$1. •• .. "' . \\ , · "' ~ , , , I OVl!RSrtE PAISLEY 1 sheer c~tton s hirt by tho House ar · .,.

-

.•

..·

1/ISLE'f

stol"e

29

A perennial problem -how to compete with the giants of an industry with a not-so-giant allocation. The usual solution is to make sure more people see what you have to say. The usual method is found in a good working relationship between copywriter, art director and artist.

In this case Permanente Cement had the '' problem.'' The ''·working''

PERMANENTE IS GROWTH IN INSULATING MATERIALS

relationship was between L. C. Cole's

Besides leadership in cement, Permanente is a major source for Insulating Products. Kaiser Fir-Tex acous-

Ray Ward, and illustrator Nick Sidjakov.

tical ceiling tiles, insulating boards and hard boards are helping western builders stay ahead of the

According to copywriter Michael Dakis,

~

demand for more new homes and communities. Diversification in building materials is another reason why Permanente means growth in the West.

~

PERMANENTE CEMENT COMPANY · OAKLAND· LOS ANGELES· PORTLAND· SEATTLE · ANCHORAGE· HONOLULU

\C:n;;;:;

30

the emphasis was on ''hard-working, soft-sell graphics" using symbols rather than cluttered illustrations to convey the feeling of a modern, progressive

PERMANENTE IS GROWTH IN BUILDING MATERIALS 11168 -

our pute.t powtb year, with aal• up 33!C to M'7,359,000. Expuaion or our r.ciliU.. aDd

organization. The ads ran only in the Wall Street Journal.

lll8l'bta ror cement, 1YJ1A111 and iDaulatin& prudueta baa broucht about thla aDerptic powth. Toct.y,

aDd ror the future PennaDellte laada the W..t iD powth to meet the c:hallenp or

IC\

tomorrow.SeDdtoKailer Buildinc,Oaldand.Caliromia f'orour1968Annua1Report. ~ ~ PEIIIIAIIEIITE COIDIT COIIPANY • CWQMD •LOS AIIG£US • PORTLAIID •S£ATTI.£ • AIICIIORAGE • HONOI.UW

\C:n;;;;;

This Rose Marie Reid ad by Carson Roberts, Inc. demonstrates how artist-art director Barbara Wood rendered color values, true to the original garment, in a manner adaptable to monotone as well as the original full color reproduction.

COFFEE

~

BORGIA

rilf' SO

CHOCOLATE

riJif' 35

CAPPUCCINO

riJ/f' 40

YERBA MATE

riJif' 40

VIENNESE

riJ/f' 35

MOCHA JAVA

riJif' 35

MALTED MILK

rilf' 25

CAFE AU LAIT

rilf' 30

CHOCOLATE MALTED MILK

riJif' 30

MILK with BUTTER

ESPRESSO

rilf' 20

DOUBLE ESPRESSO

riJ/f' 30

FRENCH

1'i1'" 20

CALSO

AMERICAN

rilf' l5

SCHWEPPES

TEAS (BY THE POT) DARJEELING

l'il'" 25

SOFT DRINKS rilf' l5 rilf' 25

MILK

riJif' 20

MILK SHAKES

riJif' 40

MALTEDS

l'il'" 45

GREEN

riJif' 30

FLOATS

riJif' 30

JASMINE

rilf' 30

COCA-COLA

l'il'" l5

OOLONG

riJif' 30

riJif' 30

32

Because it does so many things so well, Time Inc.'s "fish mailing" to advertisers and agencies could have been covered in almost any one of CA 's departments . .. or even all ofthem. We did treat the production methods used as a separate story in the Production department (Page 61), and confine ourselves here with the purpose (to show that English is the most important commercial language in the world today) and the graphic presentation of the intriguing lead line, "One man's fish is another man's poisson".

Art Director, Fritz Brosius. Designer, Arnold Shaw.

Copywriter Hu gh McArthur's "why not an egg"; Art Director Ed Hamilton's layout; Dan Romano's final illustration, and

Need more room?

lettering by Garnet Crossman are combined in this design used as a 24-sheet poster, car card, stujfer, and Bank of America lobby card.

Johnson and Lewis of San F-rancisco is the agency.

34

Probably the last place you'd expect to see Ted R and's " juvenile delinquent" illustration used is where it was used ... in a political candidate's newspaper campaign.

Decrying the stereotyped ''pub -set, sans serif copy and a big picture of the candidate's head, '' the agency (MMH &H ) conceived an ad series based on the issues at stake.

Art Director Bob Todd selected R and to do the series and this illustration of '' a juvenile delinquent being delinquent'' became an award winner in Seattle.

Get a Home Improvement Loan at

BANK OF AMERICA 35

come aboard the Je. t age ... now.I

The assignment from the Advertising Manager, Dou g Billmeyer-''make it look like an airplane ad. '' Art Director, Jim Peck used white space to represent the clear, clean sky, chose the side view to "better the public's initial memory" and brought out the sleekness inherent in the aircraft

West Coast's brilliant Fairchild F-27 Prop-Jet is here, waiting to carry you into a superb new experience in travel. Rolls-

with "graphic restraint. " The photograph was a joint effort of

Royce engines, the most proven prop-jets in the air, speed you

Fairchild's staff photographer

along at nearly five miles a minute. You feel no vibration. It is

and Harry Bonath and Associates in

quiet, restful, serenely smooth. The F-27 opens the new world

Seattle. Miller, McKay, Hoeck and

of jet-power travel to you now .. . swift, smooth and sure ... on

Hartung is the agency for WCA.

the Pacific Northwest schedules of IUEST CORST RIRI.IHES

The refreshing thing about our business is that every once in a while you get paid for doing something that is just plain fun. The only instruction and restriction Fred Mintz received from Harold and Norm Koltun was, ''design an ad that is more than institutional ... that will hold the attention of both production and art people ... that will display lithography at its best.''

The result: the insert opposite ..

EDUCATION CLASSES

LIFELONG LEARNING

36

A visual appeal to a wide audience of educated people was the object of these designs for the University of California Extension

by Tani, Robertson, Montgomery. Printing of both folders was by letterpress by the University of California Press. Artist for the Education classes folder was Ron Clark, and in the words of the art director Jim Robertson, success of this series proved ''it is not necessary to graphically 'talk down' to readers." Bruce Montgomery was both artist and art director for the Building Design and Construction/older.

}

FALL 1858

pick up on these cool cats ... webster 3-8433, padded at 418 north fairfax avenue 1 los angeles'ville, california.

38

Here's one cough that doesn't require an apology. Concept, presentation, and finished reproduction of this Abbott Laboratories "Cough" brochure all speak most lucidly for themselves. The only elaboration necessary might be to explain that the center spread was a half-page, thus achieving triple use of photograph on 5th spread . .. die cut hole on first spread also served double duty.

Copy by John Jakes, design by Norman Perman under art direction of Charles A. Walz, Jr. Production directed by Wm. H. Schramm, lithographed by Magill- Weinsheimer.

COUGH

39

the measure of (1(!9.~ cough therapy

ca cid i

~ pleasant taste

full dose of iodide treatment for eve.r.1J phase of the cough ettch tasty 30 cc. (I ft.oz. ) repreaet1ls:

Dihydrocodeinone Bitartrate ..

Nembutal ' Sodium . .

-~ Ephedrine Hydrochloride ..

Calcium Iodide, anhydrous ..

SAMPLE? Just use enclosed reply card.

® Htmbuiii- Ptnloblrbllti,Abboll

. ... 10 mg. . ..... 25 mg.

25 mg. . 910 mg.

WSHiNG~(J

jtfkTtE BlSSS INGS OF T~iS ~m'olJS seASON Starting with a basic shape that he felt "would tell part of the story," Frederick Walsh of R . T. Matthiesen, designers in Seattle, created this Christmas card for the Saint Edwards Seminary in Kenmore, Washington.

Artwork for the squares came from a variety of sources: the three woodcuts from ''Handbook of Early American Advertising Art" (Hornung); unable to find an adequate representation of God, a m_odified drawing of Neptune was used; the four cherubim was a 40

detail from "The Birth ofthe Virgin"

by Durer; the remaining two (center and bottom panels) were details from a Fourteenth Century French calendar (the six-times dropout enlargement from a halftone was responsible for the interesting line effect). The finished art was done as a pasteup of the black plate with one square for the ·background color, stripped into position for each of the colors. Sterling Engraving reproduced it on a 1200 Series Multilith converted by undercutting the plate cylinder to accomodate dry offset plates of .025 thickness.

Computer Engineering Associates of Pasadena wanted an appropriate and distinctive logo- something that ''told a story'' . . . asked Walter Landor and Associates to design it. Under the art direction of Walter, the staff monogrammed the firm's initials as an engineering symbol. The resultant trademark is now used on all the company's literature and equipment.

MORGUE How does a right-handed artist draw a picture of a cigarette lighter being used in the right hand? The insurance agent who couldn't quite believe our evaluation on morgue files quickly answered, ((By looking at a picture."

Explaining how long it took to find a picture of a right hand holding a lighter convinced the insurance agent and inspired this department.

Future issues will have feet and trees and animals and buses and missiles and test tubes and Japan and ... eventually all the things we've wished we had so many times.

We'll shoot most of the pictures ourselves. But when we go ((outside" it will be to an authentic source, like the one that would have been ((glad to provide one for a photograph, but only the nose cone came back."

41

42

43

44

45

MATERIALS CA's work-tested review of both new and existing materials available to the artist. Whenever possible, the actual product was tested by both "outside" artists as well as CA's own artists. Prices are manufacturer's recommended prices and may vary geographically.

and retouching lost details in a photo, it was a pleasure to watch Jorge turn muddy brunettes into brilliant blondes in a few minutes.

The process is a technical one, but after a few dry runs the step-by-steps become automatic. The kit with complete instructions sells for $5.00 and is distributed through some of the larger stores in the country. If you can't find it, contact Jorge Mills, Chemigraphic Studios, 101 West 42nd Street, New York 36, New York. •

46

PENCIL POINTER A small metal pointer for mechanical pencils. About an inch long, made of brass with a replaceable steel blade.

CA's comments ...

Makes an excellent point on both standard and extra bold leads. No trouble with leads breaking. A hole has been drilled through one corner so it can go on a key chain. Made by A. W. Faber and selling for 45c. •

ARTBLADES A dispenser type box of 100 single edge razor blades.

CA's comments ...

LYTINOL Lytinol is a chemical solution developed for photo retouchers. It's primary purpose is to lighten the details in dark areas of a photograph.

CA's comments ...

This answer to a retoucher's prayer is the result of 12 years research by Jorge Mills of New York City. Knowing what is involved in searching for

The blades are deep-honed and hold an edge quite well. Takes three passes to go through single-ply illustration board ... ten pieces were cut before the blade started dulling. When snapped at an angle, it held an excellent point.

The safety dispenser idea does a triple job: new blades from the bottom, old ones into the top, and in-use ones inserted along the edge. Put out by United Products Co. and selling for $2.00 a box of 100, less in 5 or 10 box lots.

•

GRAPHOS PENS A drawing ink fountain pen with 60 interchangeable nibs.

CA's comments ...

We've used these pens since they first came on the market ... have tested them thoroughly, and found them highly satisfactory. Line weights are called out in millimeters and a key letter and number are inscribed on the nib showing its type and size, ie.

A0.16 means a lettering nib with an 0.16 millimeter thick line. Six other types include nibs for: wide ruling, drawing, tubular, round, right and left hand slant.

All these are shown in a comprehensive chart making it quite simple to select the line desired, as shown in the photo above. If art is done oversize, the weight of the line when reduced can be determined and checked against the chart. The nibs are simple to clean, and as long as they are washed after each use, there are no clogging problems. An occasional cleaning of the pen and feed is recommended. If colored inks are to be used, an extra pen is simpler than cleaning out the black ink. We have our artists fill complete sheets of 60# Kromekote label with each line weight. This gives us an adequate supply of lines for use in literature plus good experience.

Manufactured by Pelikan, the set of 60 nibs, a pen and three feeds in a velvet-lined case sell for $29.75. There are several smaller sets or any of the

A precision instrument designed for the Graphic Arts

KENRO ttVERTICAL 18" Camera

items can be bought out of open stock.

Most of the nibs sell for 40c. A brochure illustrates the uses and gives complete instructions.

•

No, we're not painting pencil points. The retoucher is working on a photo we used in one of our pro· motional pieces.

SEE-EZ MAGNIFIER A magnifying attachment that can be adjusted to fit standard fluorescent light shades.

CA's Comments ...

The glass is 5* in diameter and magnifies approximately 2X at a distance of 6*. This is a comfortable working distance for the eyes, and a minimum of interference with brushes and pens.

If the weight of the magnifier overbalances the arm on lightweight fluorescent fixtures, tightening the various screws on the fixture will solve this problem.

To minimize distortion any magnifying glass should be kept on the same axis as the copy, otherwise, straight lines will start curving.

This model ( FD5) by Glan Products sells for $14.25. They also make a model (I D5) that has been adapted to fit circular incandescent shades, selling for $13.25.

•

Takes up LESS space than three file cabinets

You can do any of the following quickly, easily: • Reproduction quality positive or reverse stats • One shot, right or wrong reading, photocopies (NO negative step) • V elox prints both coarse and fine screen • Line or halftone negatives for offset printing • Enlargements to 4 times in one shot • Reductions to 5 times in one shot • Photograph products or packages in perspective or t t head on'' Exposures are made by pressing a button ... the automatic reset timer does the rest. Focusing artd sizing by micrometer dials.

The Kenro ttVertical 18" Camera is precision built to meet the rigid standards of the printing trades. It is not a stat camera or a modified lucida device. With the newly developed Prismatic Head the Kenro becomes an invaluable piece of equipment for studios, art departments, advertising agencies or any one working in the graphic arts. The Prismatic Head allows you to make reproduction quality photocopies, positive or reverse, in one shot. It completely eliminates the film or negative step. Think how much valuable time and money you can save by making all your own stats, photocopies and screened velox prints right on the premises, for only a few cents each and to the exact size you need.

The Kenro can be operated in ordinary room light with standard A.C. 110 current and requires only a closet size darkroom. Write today for complete information.

COMPLETE WITH-Standard and Prismatic Heads. Standard Goerz lens and two additional lenses.

$1750.00

can be purchased on time or rental plan.

•••••••••••••••••••••••••••••••••••••••••••• KENRO GRAPHICS, INC. 27 Commerce Street, Chatham, N.J. Dept. No. U-8 Please send further information on what a Kenro can do for me. ~~E------------------------------------ADDRESS--------------------------------CITY-------------STATE----

••••••••••••••••••••••••••••••••••••••••••••

47

Materials (continued)

dispense rubber cement thinner and similar volatile fluids. It's twisting brass valve and double diaphragm keeps the liquid from evaporating and also allows one drop or a steady flow.

Although we keep one for thinner, our artists are using them constantly as water dispensers. No worry about spilling and it's ideal for adding a little water to an airbrush cup, for paints, or for dousing cigarette butts.

The can will hold 4 ounces, sells for $1 and is manufactured by Continental Arms Corporation.

•

FOTO FIX A chemical cleaner.

CA's comments ...

48

This is another product developed and used by a professional artist and then put on the market. An excellent cleaner for surfaces with an emulsion ... photographs, stats or film, preparing them for airbrushing, retouching or reproduction. It can be used lightly on airbrushing without damaging the surface, remove chalk construction lines from scratchboard and remove wax from the edges of burnished acetate sheets of type. It is not meant for papers or boards with a rough surface and care should be taken when used near repro type or on acetate.

It comes in a 2 ounce bottle and sells for $1.50. Write to Robert Hibbs at the Green Valley Industries, 26 Green Valley Road, Wallingford, Pennsylvania.

•

SPRINGBOARD FOR CREATIVITY TAPE DISPENSER A bracket type attachment that can be fastened to a desk or tabouret.

CA's comments ...

Will handle tapes up to 1" wide on a 3" core and, as shown in the photo, can answer the production artist's problem of a number of tapes being immediately available.

Made by Scotch Brand tapes and selling for $1.44 each.

•

Atlantic Pastel Offset: opportunity for striking effect ; additional color without the cost of extra presswork .... Six delightful shades, match-mated with cover stock .... Send for an artist's pad containing both-for sketching, or just plain doodling.

MATERIALS PHOTOGRAPHY , BILL ARBOGAST

VALVESPOUT A leakproof liquid dispenser.

CA' s Comments ...

One of the handiest items we've used in a long time. It was developed to

Manufacturers wishing their materials tested by CA should send the actual product or contact: Materials Editor, The Jo urnal of Commercial Art, 809 San Antonio Road, Palo Alto, California.

ATLANTIC EASTERN FINE PAPER AND PULP D I VISION STANDARD PACKAGING CORPORATION • BANGOR .

MAINE

This is EASTERN's Atlantic Pastel Offset, Daffodil Yellow, Basis 70. For extra copies write to Eastern Fine Paper and Pulp Division, Standard Packaging Corporation, Bangor, Maine.

Color ''Color is for making things pretty with.''

So says our "guest designer*" w ho has initiated our regular, monthly color feature with a ''full color" illustration of a knight on a horse .**

51

This was ''artist separated'' using the color guide.

Each color is rendered as a black and white drawing. A master line drawing on a light table was used to maintain registration. The proper percentages of each color were interpreted from the chart and then rendered to match that percentage of black.

In every issue in the Color department, we will vary: 1) the guest designer 2) the two colors used in the color guide section 3) the use of these same two colors in pictorial duotones (page 54). The content of this department will be a two-page spread each month using a different two-color combination in each issue - in short, a color guide book on the ((installment plan."

Each month, the color guide will show: 1) 2) 3) 4)

a full range of the color percentages relationship of color percentages to black combinations of a color with black combinations of the two colors

5) combinations of the two colors and black showing just how far they can be carried from good to practically nauseous.

Granted, there are things that will effect colors and still must be left to the artist's interpretation such as: paper stock, ink opacity, and even printing sequence of the colors. The guide is intended as much for your inspiration as a mechanical reference. *Eric Coyne-age 5%-"knight on a horse" interpreted from a similar drawing used in CA promotional literature. ** The artist got tired and left out the horse.

10%

20%

10%

30%

10%

30%

30%

40%

50%

70%

100%

70%

100%

DUOTONES 50%

10

30

50

DUOTONES

10

30

50

70

100

50%

70%

80%

90%

100%

70%

100%

DUOTONES 10%

50%

10

30

50

TRIPLE TONES 10%

30%

10%

30%

10%

BLACK

BLACK

BLACK

CA

COLOR CHART COPYRIGHT 1959

BY THE JOURNAL OF COMMERCIAL ART

o

PRINTED

BY LITHOGRAPHY USING 150-LINE LEVY SCREEN .

54

The blue and red from color guide used as duotones with black.

Above : Tidewater Refinery- Below: Bethlehem Shipyard Photos by Wells-Fagliano, San Francisco

Management

Management nor mally means "the boss"but in the context in w hich it is u sed in CA each m onth, the Management depar tment has two objectives: 1) to help you be a better m anager (w hether it be your own stu dio or a department), 2) to help you better understand and work with the management you deal with every day. As an example, this month's ar ticle falls into the second classification . .. in which we help you.

CAN SAVE TIME ... effort and money with BLU-ZIP selfsticking acetate sheets. It never ages! Easy to use - positions where you want it . .. stays where you put it!

A vail able in unlimited patterns, shades and symbols, PLUS custom-designed logos , trademarks, signatures , etc.

Repeat - repeat - repeat! Again and again . . . exacting, clear reproductions from the same art. BLU-ZIP won 't peel , buckle or blister - withstands heat up to 300 degrees!

Hurry To Your Dealer Today or write for free catalog!

ARA -TONE INCORPORATED 512 West Burlington •

La Grange, Illinois

PARA-TONE PRODUCTS-first cho"ce with professionals everywhere!

DEFEND YOURSELF WITH FIGURES It is the assumption of most people who deal with artists that the only time they understand figures is when they are drawing them . .. that when it comes to adding and subtracting them, the artist can be cchad."

One specific area that comes up again and again is the matter of ((saving money on the art and/ or production bill." This happens mainly because almost all the other costs are fixed or the savings are ccinsignificant."Whether the job is a company brochure or an advertisement for media, reducing the art cost appreciably is still only part of the story. For example: You are responsible for the art and preparation on a brochure (25,000) that will be used as a mailing piece - the brochure and a letter will be stuffed into a #10 envelope and mailed third class to a prospect list. Suppose the original $ 600 budget for art and preparation was proposed to be cut to $350. This is a 40% savings!

The 40% is an impressive figure and one that could easily lead you to agree to go back and make some fairly drastic cuts in layout, photography, type and illustrations.

But let's take it a few more steps further. The printing cost is $2000- that $250 savings now represents only 10%. Stuffing, addressing and envelopes add another $1375 to the bill. Third class postage is $750. The total cost of the job is now $4475. The ((sacrificial" $250 reduction is now only a 5% savings! You may have a hard time justifying the 40% - but try turning the tables and see if ((they" can justify poor art and preparation for only a 5% savings!

This is not an attempt to show you how to build an empire or empire-type budgets needlessly. Many times, savings in art and preparation can be done without appreciably affecting the job. Rather, it is an attempt to help you help your management to put art costs in perspective- to use judgment in weighing the overall cost and values more often than is normally done.

55

Production a br oad, visu al glimpse at some of the m an y ar eas to be covered in this departm ent- presented as background know ledge and to stimulate thinking toward more creative and practical production planning.

MOST ACCURATE I'ROJECTIONS FOR LAYOUTS AND SCALING

Everybody -w-ants to get in the act!

Projects ANYTHING opaque, transparent or three dimensional 400'1. in true color, thru and upon the working surface without hand shadow and in perfect detail. Also makes line or half· lone, negatives, veloxes, photocopies, silk screen positives.

EXCLUSIVE FEATURES

e Viewing area 24 "• 24" •

e Na utras

Copyboard area 27"• 32" • Floor area 29•1 36" e Parallel Adjustments

for accuracy

You've heard it from production people and printers. You've probably said it about production people and printers. But the fact remains that somewhere in the middle is where the outstanding reproduction and printing jobs are being done. The ''middle" being a careful blending of the designer, art director, artist and technicians to make production planning an important part of the creative process.

There are basically two ways for you to take advantage of the contributions inherent in production techniques: 1) gain a better working knowledge yourself of the many facets of production and reproduction - or 2) establish the necessary two-way communications with the people who know the answers. In either case the end results and benefits to the artist are the same:

.....,....._......._• On <asters for mobility

1) Greater fidelity to your art - a full knowledge of the potentials as well as the limitations is essential before you can evaluate.

2) New creative possibilities in the normal as well as unusual production techniques.

56

- -- ----------------- -- -- -- -----FOR OVER 33 YEARS

QUALITY in POSTER COLORS

er~s~~~ • OPAQUE

1 White (Spect. ) 14 Poster White 18 Gray (Spect. ) 20 Black ( Spect.)

24 Poster Black 30 Light Yellow 31 Yellow (Spect.)

32 Dark Yellow 40 Yellow Or. ( Spect. ) 42 Orange (Spect. ) 43 Red Orange (Spect. ) * 44 Flesh 50 Blazing ( Light) Red 51 Vermillion 52 Red ( Spect. ) 53 Crimson Red 54 Dark Red 56 Brilliant Red * 57 Pink 58 Maroon 60 Light Blue 61 Turquoise Blue 62 Blue ( Spect.)

63 Ultramarine Blue 64 Prussian Blue

65 Navy 70 Yellow Grn . (Spect.)

71 Emerald Green 72 Green (Spect.)

73 Dark Green 74 Extra Dark Green 75 Blue Green (Spect.) *76 Olive Green 77 Holly Green 78 Cyprus Green 80 Lavender 81 Light Magenta 82 Red Violet ( Spect.)

83 Violet (Spect.)

84 Blue Violet (Spect. ) 90 Yellow Ochre 91 Brown (Spect.)

92 Burnt Sienna 93 Burnt Umber 94 Vandyke Brown 95 Raw Umber 97 Raw Sienna Deluxe Gold Deluxe Silver *Three New Shades

Makers of F ine Artists' Materials

'LCH 8RT COLOR CO

- - -

---------------- --------..-- --31 WEST 21ST STREET, NEW YORK 10, N . Y .

3) Best use of your budget - sometimes the printer will do it "the hard way" because he thinks you want it done that way.

There are probably enough people now in "your act" without adding more. But in the litho camera, stripping table and bindery (not to mention the engraver, typographer, etc. ) you have helpful allies - if you're not afraid to use them.

The camera lens does not see things similarly to the human eye, and the halftone screen, magenta, glass or something other must translate things into their own patterns, for they are mechanical.

Film is a wonderful thing and most flexible. It can be positive. It can be negative, or it can be combined. It can be scribed, opaqued, etched up and etched down. In the right form it can be wonderful media for scratchboard or airbrush or even pen and ink.

Plates, engravings and silk screens all have their own sets of capabilities and are asked to perform beyond the limits of reasonable precision , because the limits are not understood. Other times, these

A f ew production techniques at work.

The black and white art, above right, was shot as a duotone . Black was dropped out of the land masses. Black was vignetted out ofthe left side of the globe and right side of the background. B lue was etched up in the background. Stars in original art reversed through both colors, the Milky Way was reversed through black only.

Equator and longitudinal lines were double-printed in black. Design by Max Silton, art and production by B ob Blanchard.

COURTESY AMPEX CORPORATION . PROFESSIONAL PRODUCTS DIVISION

57

58

One and two-color treatments of a photographic illustration. In order: halftone, halftone with Kodalith line red, halftone, line screen, duotone, partial duotone, tint block and halftone, negative-positive duotone, mezzotint.

...._--

Die cutting can be the feature of many good designs. Lack oftime or budget does not preclude the use of such effects.

There are many possibilities available in standard bindery equipment.

Above : a simple piece, scored at varying intervals and cut on the bias, folds to an interesting pattern. Below : standard heads for a power punch offer a challenge to the imagination and a cost similar to a 3-hole punching.

''

'

\

\ \

I

\ I \ I

,-,\ \

\

,-,

~

\ I 'I II •

'

r

\ I

'IIt

\

,-, \ I \ ,, \I \ I \I

\I

~ ~

limits are not reached or even approximated. A surprising amount of the mechanical production possibilities and capabilities remain unexplored and unused. Waiting for the right imagination to be stirred, many things that have never been done before are probably possible now. And then they might appear several places simultaneously, for that is the way things seem to happen .

Artists may plan in many ways, depending on the place and the time. It may be with the help of a production man or a whole staff, or in consultation with the printer who will handle the reproduction. Probably most often the artist must put his feet up on the desk, lean back and make his own decisions. In some cases, stories would have it that the formula was to plow right ahead and leave the outcome to the will of the gods and the broad shoulders of the printing plant production manager. This does not necessitate failure for they are skillful and experienced men who have a good chance of guessing what was intended to happen and can figure out a way to get it accomplished unless hopelessly trapped from the goal.

It is not proposed to make this department a school of production.

But CA will present many of the facts of production, basic and advanced, gather demonstrations of good planning and tell ttwhy" and ((how." In the hands of an ingenious artist the budget job can become spectacular, the routine job take on a ((fresh" appearance and the intricate piece retain high fidelity.

c___)

6

Standard punch heads.

59

Arnold Shaw tells the story behind Time Incorporated's visualized pun-one man's fish is another man's poisson.

60

Arnold Shaw, the designer on the Time ''fish piece," has his own studio in New York (Arnold Shaw and Associates) ... graduated from Cooper Union after studying advertising design at night, also took a course in visual fundamentals with Gyorgy Kepes at Brooklyn College ... worked for RKO, agencies, printers and design studios ... went into free-lance work in 1948 ... this fall will instruct a class in Typography in Visual Communications at New York University ... lives with his work, wife and three children in Bayside, Long Island.

Unlike most fish stories, we have the evidence in hand on the Time Incorporated mailing piece to agencies and advertisers. This in itself is no mean trick, as the popularity of this recent promotional piece quickly depleted reserves to the point that they're almost becoming collector's items.

Getting Arnold Shaw, the designer of the piece, to remember the story behind the fish was not easy, either, mainly because the piece had been done a year ago and held back for release. <<After having read the manuscript," Arnold recalls, «somehow this piece was one that contained its own solution, if approached properly.

«Working with our reference material it occurred to me that organically, the head of a fish moves into and away from the body as it breathes. The fins move and also direct movement in water. And finally, the tail moves and controls direction. With the organic feeling of the fish in mind, it was only steps away from the final form.

«As we got into the rough, comprehensive stages, I knew we had achieved a sound solution that integrated copy and design, and <felt' organically correct."

The story «behind" the fish is typical of Shaw's approach to design, it's functions and obligations. He believes «pure" design goes a great deal further with people because a good, well-designed promotion piece appeals to people on many levels. «Just as one finds a rapport with a friendly, well-mannered salesman," says Shaw, «so one finds a well-designed promotion piece appealing. It doesn't insult your intelligence with poor design manners, typographic or otherwise, or be discourteous in any graphic way."

Continuing his analysis of the requirements for a promotion piece, Shaw feels it should offer the reader a reward for participation, whether it's an idea, a moral, a compliment or an aesthetic value. With this kind of an approach, and with a realization that good selling-type manpower is becoming a bigger scarcity every day, Shaw sees a greater demand for good direct mail selling, sees «greater graphic years ahead."

Special Feature

Throughout tlte u;orld, E?tgliah i8 the common denomi1tat01· of a

Each ojthe inside sheets is the same dimension. The score was moved %s' on each succeeding sheet in sequence. Die cutting and scoring were done simultaneously.

moat~ g1·oup of people.

Tlteae at·e tlte important buaineu ~zecutivea, leadillg profeuimral men, govet-nment officia.ltJ ... the nucleu1 of

intenlaiimtallmsineas i11/humce ... tile people 1dw ~ bwtilltlfl fot· compam·ea

like youra.

These are the people you. find t·eading the International Editiona of TIME . ( I n English, of course.)

61

The sheets were hand folded, and the job gathered and saddle stitched on a gang-stitching machine.

Final step was to hand sand the edges of the bound booklets.

Client: Time Magazine, Promotion Department Designer: Arnold Shaw Art Director: Fritz Brosius

Printer: Futura Lithographic Corporation Typographer: Typographic Service Company Bindery : Wolff Die Cutting

Typography

$1234567890 12 Point No. 1 Copperplate Heavy

$1234567890 8 Point News Gothic Condensed

$1234567890

10 Point Fortune Light

$1234567890 8 Point Craw Modern

$1234567890 10 Point Century Schoolbook

NUMBERS In which we face some ofthe problems of numbers in type, present some tests for function and performance, and survey 12 different type faces.

Through probably no fault of their own, numbers have become the ((black sheep" in the type families. Information about them is often incomplete. Many type books do not even include numbers in their showings.

Presented, are the numbers from twelve representative type faces in the closest approximation to comparable sizes. The tests are for legibility and size under some of the conditions most frequently used. These tests will be helpful in evaluating the particular faces shown, used as a reference for similar faces-or, treated simply as a guide for testing other faces.

One of the simplest decisions exists when the problem is that of confined horizontal width. When the vertical space is confined, a different type of number becomes desirable. When both conditions exist, the problems can become more than frustrating.

$1234567890 62

10 Point Garamond

12345

$1234567890

1234

10 Point Stymie

1234 5

5 5

$1234567890 10 Point Century Catalogue

$1234567890 10 Point Spartan Heavy

$1234567890 10 Point Venus Medium

$1234567890

6 Point No. 4 Copperplate Light Extended

$1234567890 10 Point Franklin Gothic Extra Condensed

12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345 12345 12345

12345 12345 12345 12345

12345 12345 12345 12345 12345

1234!56 $123456 SUl8456

e123466

123456

$123456

$123456 $123456

$123456

$123456

$123456

$123456

$123456

$123456 $123456 $123456

$123456

1!1123456

$123456

$123456

$123456

$123456

$123456

$123456

$1234!56

$123456

$123458

$123456

$123456

$123456

123456

$123456

$123456

$123456

$123456

$123456

Tests of number function: one-quarter reduction, reverse, one-third reduction, overprint on 30%.

Letterpress from type lock-up has many advantages in speed and flexibility. The trend, particularly in the West and in the field of industrial literature, is toward lithography. In many cases this is habit, not good planning.

However, type lock-up can present a major problem when space is at a premium but legibility must be at a maximum.

Some type faces, especially in the smaller sizes, meet every qualification except the utoo large" or ((too small" problem.

For example: Copperplate L ight Ext. 6 pt. No. 3, 4, 12 pt. No. 1 $1234567890

$1234567890

$1234567890

News Gothic Cond.

repro-proofed, assembled and put through camera, litho or engraving, complete flexibility is available by pastingup oversize in proportion.

Copperplate Light E xt. $1234567890

12 pt. No.1

$1234567890 $1234567890 $1234567890 $1234567890 $1234567890 $1234567890

Approx. 6 pt. No. 8

$1234567890

Actual 6 pt. No. 3

6, 8, 10 pt.

$1234567890

$1234567890

$1234567890 Century Catalogue 8, 10, 12 pt.

$1234567890

$1234567890

$1234567890 Some faces are cut with in-between sizes ( 7, 9, 11) and this lessens the problem. Other efforts have been made to handle this with variations of shoulder widths and even variation in the design of the face itself. When type is

This offers fringe benefits in more ueven" letterspacing, larger sizes in the same width, often sharper reproduction.

Delicate serifs or thin lines may suffer with some faces.

One nasty problem exists with numbers, fractions and percent signs. Some faces are cut with their own, many are not. Usually the fractions that do go with faces only go up to eighths. This puts the burden on handy fonts, piece fractions, or full-size numbers and slants.

The former are confined to generalities (sans serif or serif in old style, transitional or modern; condensed, normal or expanded; light or bold). Full figures with slants usually lead to confusion and an unhappy appearance.

There is no answer to this other than checking with your typographer before the job is set, weighing the availabilities and minimizing the problem as much as possible.

63

Special Feature Introduction: This will be a semi-regular series in CA starting in the first issue and continuing 'till Angus' memory runs dry. It will not appear in every issue, or even in every other issue because Angus wants it that way.

And we agreed that for once he wouldn't be under any pressure to meet a deadline.

It will concern itself with the chronological period starting in the mid-20's and continuing through the period when Angus feels commercial art came into its own as a profession. We're not sure when this period is, or if it has happened yet, but will rely on Angus' y"udgement.

But enough prologue, there's more about Angus and the series in the "We Make A Magazine" story on page 7, let's go back to the summer of 1926 and ...

THE AWKWARD AGE

by Angus Babcock

Something must have roared in the 1920s. You hear about it all the time. The long-waisted dresses with knee-length skirts and helmet-shaped hats, I'll vouch for. Even the coonskin coats, but not with sailor straws. (That's Hollywood.) The roar I never heard.

64

I didn't even hear the first machine-gunning in Chicago. I was a block away buying some expensive paper I could not afford because one of the many artists who had turned me down said I had a real flair for drybrush. Apparently organized gangs and I had invaded Chicago at the same time, possibly by different routes.

Their antique WW-I machineguns were loaded. My portfolio of commercial art samples was loaded with duds. A kind-hearted artist named Ralph Frederick, to whom I had been referred, said I'd never knock anyone dead with my amateurish sketches and tore them up before my very eyes. The quivering of my lip was concealed by an overgrown moustache. Between Ralph, a solid artist, and Harold Gray, who had just made Orphan Annie a national heroine, I was introduced to many top-flight artists and saw the work of numerous others of such fame as the Lyendecker brothers and Maude Tousey Fangel. I had the pleasure of watching Haddon Sunblom spread sunlight on canvas for Proctor and Gamble products and the Ford car. I was surprised to see he had a handful of photos. I did not know real artists used photos, and had never heard of ((scrap". Nor spots.

Frederick gave me the low-down on technique. ((A beginner," he said, ((should aim to do spots." (I was not exactly a beginner. I had illustrated all my University textbooks with marginal sketches and some of my campus humor magazine cartoons had been published in College Humor. Besides I did not know a spot from a ((comp").

He explained that my pen technique was too scratchy, that a heavy, firm line was required. Also that I had better lay off bathing beauties and get some pots and pans in my samples. He wound up by telling me to go home, turn out a new batch, and then to remember that Chicago was dead in mid-summer.

Undaunted with the results of my first attack on Chicago and commercial art, I returned with a new portfolio and a new batch (I had saved the College Humor cartoons from Frederick's dramatic appraisal ). I had one real honey of an imitation of Franklin Booth, a popular artist who used pen and ink to simulate woodblock without benefit of scratchboard. And plenty of pots and pans with heavy lines and black shadows. The little insight I got from my mentor and my gadding about made me head directly for an art studio in the loop that was a real sweat shop, but typical of that era.

Nobody seemed to be in charge so I headed for the guy at the front desk. In those days titles were not only scarce, but quite simple. You were either a ((beginning artist" or had ((been around." But you were still just a commercial artist. The only other title of significance was ((the salesman," the guy who sold the stuff, and the key to success of most of the studios. If an agency had an artist, he was just that. Art Director, Designer, Layout man, etc. were complexities yet to emerge. Most of the work done by the studios was done directly for the client and the man who bought it was either the advertising manager or the president himself.

The harrassed-type guy at the front desk riffled through the batch and asked me how much I wanted. Since my vocal chords refused to pick up any signal from my cerebrum, all I wanted was to take the next train back to Michigan. ((Well, we average sixty bucks", he said. ((If that's okay, be back Monday. Bring any tools you have."

The joint had one unwashed window and about four bare electric light bulbs for a dozen shirtsleeve artists with green eyeshades. The drawing tables were in one long row.What little conversation one heard was in dialects covering most of Europe, including Scandanavian. Indeed, the big Swede with the pipe-organ voice who sat next to the window burst forth now and then in a delightful cadence. Coffee breaks were unknown then, and this Viking supplied the relief by sending a pornographic sketch down

80 is a magic

number in the art world!

DRAW I NG S

Thousands upon thousands 'of artists and students use Bainbridge #80 Illustration Board regularly- they insist nothin g else will do. They like its clean uniform "tooth" th at takes pencil, watercolor, tempera, pastel, or chalk.

They know that its quality is dependable-always the same, always the best.

For magic results try Bainbridge #80!

B Y ED TABER

the line mid-morning and mid-afternoon. Most important was the salesman, a character right out of a Casa Blanca movie, who, in the dead of summer, could bring in more work than we could grind out. His homburg, waxed moustache, white checkered vest and mysterious accent must have done the job.

a~tn!I~131•M'. ~::;~:;:./;; _

The lrne most m ~emand by top professionals and amateurs alike.

_ •• • •

• ILLUSTRATION BOARDS • DRAWING BOARDS • MOUNTING BOARDS • SHOW CARD BOARDS • MAT BOARDS

At all art supply stores in most popular sizes CHARLES T. BAINBRIDGE'S SONS, 12 Cumberland St., Brooklyn 5, N. Y.

After turning out a candy box design, an all-over pattern of galloping ducks, rabbits, lambs, kittens and pups, which was on its way to the engraver before the office boy could find some inadequate scrap, I was rewarded with an entire forty-eight page catalog of radio parts. Few people bought a radio in those days. Few were available. They bought the parts, including a big storage battery, and assembled them. On each page of my catalog were two or more complete assemblies, laid out with that heavy, firm line Ralph Frederick had told me about.

Bathing beau ties? Like the correspondence school ads? Nope!

If photostats were available in those days, I never saw one in that studio. In a catalog of French's birdseed and other products I copied their canary and all the type on the different labels many times. But rubber stamps were used in some places. After naively telling the boss I could handle human figures, on my first go-around, he had replied, "Some guys can do hands, some feet, some torsos, some faces, and a few can do legs. But nobody can do 'em all. Look here!" And he opened a drawer full of rubber stamps of hands and feet in various classic poses.

That was the awkward age of commercial art. There were few schools teaching anything more than the basic fundamentals. But new ideas were creeping in. Before I left Chicago, the heavy firm line was replaced by the thin firm line·----------------------------~

r----------------------------------------------65

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Order from your art supply dealer now or write for literature on all Luxo models .

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Photography

66

Grap his 3*innaugurate their department with their own article an d pictu res on . ..

SPECIALIZATION ... the curse of the trade To categorize is human, specialization is nothing more or less than extremes of categorization. Specialization is a comfort ... a comfort both to the Art Director who knows his specialist has <<come through" before .. . a comfort to the photographer because facing the same subject time after time is easier on the nerves.

From the photographer's viewpoint there is only one thing that takes the «curse" off specialization ... more money. But more money leads to security and security has a tendency to lead to a lack of ingenuity and imagination. The insecurity of a photographer taking on a new subject produces that magic spark necessary for a great picture.

Assigning a photographer to a subject about which he has no pre-conceived ideas is stimulating to the man behind the lens.

With the stimulation that comes from facing a new problem and the excitement of finding a new solution, a photographer's finest work is yet to come. Irving Penn, once classified only as a fine fashion photographer, turned his camera on a seemingly foreign subject, food. Having no pre-conceived notions, he had the audacity to break a few rules. The resultant Jello pudding photographs made some of the most delectable food ads ever printed.

Doing another about face, his current pictures for De Beers Diamonds are reminiscent of Impressionist paintings and are

*Graphis 3-CA's Photography Editors are: Almonte Bailey, Jack Fields and Bill Hewitt.

See "We Make A Magazine."

completely different, too, from his fashion work.

Photography covers a vast canvas. We photographers like to think we can tramp around it at will. Sometimes we leave muddy tracks, and sometimes we make a picture. But, a lot depends upon how we are used. We make better pictures when the subject is new and interesting, when it's a challenge. We try to make pictures that work. Sure, bump any camera and you'll find a would-be artist. So, encourage him, he might have just the picture you need. A good test is to ask to see your photographer-specialist's other picturesthe ones he probably took on his own-the ones he likes.

•

A bold companion to Cra"\V Modern:

American Type Founders' Cra~ Modern

Dra~n

of

by Freeman Cra~~ designer

a~ard-~inning

printed

pieces~

this forceful~ tasteful ne~ typeface has a touch of modern Americana that combines at once an incisive directness ~ith a curvated quality ~hich

results in a balanced effect.

Specimen sheets of

Cra~

Modern

Bold are available from American Type

Founders~

Elizabeth~

N.J.~

or

from your nearest ATF type dealer ~ho ~ill stock it from

8 to 72 point.

69

ON THE BOARD

70

There are many ways to describe the concept which will lead to good design, but one of the most concise is that stated by Leo Leonni: uThe basic premise is to be interesting because you must compete."

Leonni, who as Art Director of Fortune Magazine and Design Director for Olivetti Corporation of America probably needs no introduction to readers of CA, recently told this to two audiences-delegates to the National Industrial Advertisers' Association meeting in San Francisco to whom he talked about uCreativity in Industrial Advertising," and a packed audience in the auditorium of the San Francisco Museum of Art who heard him tell of the distance uBetween the Easel and the Drawing Board."

He suggested to the advertisers that uin business today it is possible to be successful and civilized at the same time," and he advised against creating a corporate identity to superimpose artificially on the company's real characteristics. The Olivetti image (which he is largely responsible for visualizing) came naturally simply because Mr. Olivetti surrounded himself with people who believe in his ideas and allowed them freedom to express themselves as accurately as they could.

To his audience at the Museum, which was concurrently holding an exhibition of his works-paintings, graphics, and design, he said that the designer uis in the middle of the contemporary world" doing work which urelates to people around you."

Then, turning from the drawing board to the easel, he said; uPainting is a lonely affair, a timeless affair." Another way he expressed it: uPainting is not a pleasant thing to do, design is a pleasant thing to do. Art ... is difficult, tough ... " Privately, he explained to us earlier in the day, he spends about half his time at the drawing board and about half at the easel. And recently he spent part of his time at both by designing, illustrating abstractly, and writing (uthe hardest part of all") a children's book titled uLittle Yellow and Little Blue." We looked at his book, and saw that when the characters-little spots of color, got together

near the book's end, they got a little green. (and it was so well done~ we envy him in the same color).

• In going over the comments about the Seattle Art Director's uTenth" from Jim Peck we ran across a statement made by Ted Rand (see Exhibit department - juvenile delinquent illustration) that somehow rang a bell.

The statement in answer to Peck's query for advice for the artist, young or old: ((Make way for mental change in large hunks. Complacency is the malignant enemy of the artist after thirty." The bell: see Hank Ketcham's philosophy about !(complacency" (page 14). Both artists being recognized successes in their fields, we began to do a little soul-searching.

The conclusion - make a mental note to look at CA's anniversary issue in August 1960.

•

Our attention has been directed to the field of ((non-promotional literature," instruction manuals, parts lists, price lists, data sheets, etc. What we have seen, we must confess, has been a little surprising. Something happened to the ditto sheets and the ((drawings we can squeeze into the schedule of our drafting department."

Color, white space, type specification, just plain good layout, have invaded the field in force. Why not? uCorporate identity" should extend to this large and important segment of a company's literature.

Today's machinery and instrumentation is complicated and getting more so every day. Much of it cannot be operated without pounds of printed material. This material can be as important to the machine as its gears, tubes, transistors, etc.

Industry has been forced to extensive and expensive training programs.

Visual aids supplied by the equipment manufacturers directly affect both time and cost. This makes the classification of unon-promotional" a possible misnomer. Much of it does get into the hands of management and the caliber of this literature could

easily be related to sales. We hope to find more about this subject m our mailbox soon.

• Strangely enough ((the back of the book" is really being written last! This potpourri of observations probably will always end up being done lastand maybe this is good - it gives us a chance to take a look at page proofs, brownlines, etc., on everything that has utaken place" in the previous 70odd pages. Our conclusion after a brief review of this, our first issue, is that the key to CA's progress begins on page 26 (Exhibit). This is where you really see what's going on around the country. It's been said that all art is provincial. Other than subscribing to all the local and regional magazines and newspapers, maybe Exhibit can be a source for you. But like all other ugoing" things, it needs help to keep ugoing." We'd like you to submit your favorites.

• Index to advertisers American Type Founders . . . . . . . . . 69 Bainbridge Illustration Board . . . . . . . 65 Crescent Illustration Board . . . . . . .. 19 Eastern Fine Papers and Pulp Div. (Standard Packaging Corp.) .. 48, 49, 50 Eberhard Faber Nupastels . . . . . . . . 7 Famous Artists Schools, Inc. . . . . . . . 3 Goodkin Camera Lucikon . . . . . . . . . 56 Kenro Vertical18• Camera . ... . .. . 47 Langnickel Kleer-Off Eraser . . . . . . . 6 Lucygraf Manufacturing Co. . . . . . . . 19 Luxo Combo Lamp

. . . . . . . . . . .. 65

National Card, Mat and Board Co.. . . . 6 Para-Tone Color Co., Zip-A-Tone . . . . 55 Rich Art Color Co., poster colors . . . . 56 Winsor & Newton, water color brushes

Advertising Correspondence: David Hartman , Advertising Manager, The Journal of Commercial Art, 15 West J,.J,.th St., New York, N.Y.; or Advertising Department, The Journal of Commercial Art, 809 San Antonio Rd., Palo Alto, Calif.

5