augpreview1962

15

One of the fine reports of the past year was prepared by Illinois Bell Telephone.

Their story, always sensitive because of size, near monopolistic position and stringent government regulation, was further complicated by the smallest increase in number of telephones since 1954 and lower per share earnings. The target is a triple audience-shareholders, employees and customers.

The copy and layout are simple and decisive, but present a warm, personal image as in the president's photo or the round-the-clock post tornado repair shown in the spreads at left. The handsome ccarea of operations" map also quietly presents two other statements in layout and copy: an attitude of public service and encouragement for the use of area code dialing.

CA. August '6f

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CA, August '62

Charles Weckler

John P. Danforth

The lOth annual Western States Print Competition continued as the ufreshest" of the association competitions. Sponsored by the Professional Photographers of California, this year's competition was opened to any professional photographer and some entries were received from outside the Western states. Among the features noted were some flashes of originality amid the perennial stereotypes of portraiture. Another highlight was the interesting form and composition displayed in the industrial photographs.

30

Wynn Bullock's abstract photograph, CA's cover this month, appeared in the experimental category.

Hiro Nomura

Miriam Toren

CA, August '62

Miriam Toren

"Exhaust Nozzle Test" John Gregoire-Jet Propulsion Laboratory

" Strontium Flame Temperature Measurement" Gil Edelstein-The Marquardt Corporation

"Molydenum lconel High Temperature Analysis" Gerald Paul-The Marquardt Corporation

" Electron Beam " Keith V. Adams-General Dynamics/ Astronautics

" Virtual Light Source" John Hewitt-Jet Propulsion Laboratory

"Atlas Skin in Rolled Steel" Walter W. Gault-General Dynamics/ Astronautics

" Arc Image Reflector" K. Gordon Maughan Jet Propulsion Laboratory

Henri Van Wandelen-Experimental

Editorial Art Reborn

by Otto Storch Art Director, McCall's Magazine

38

We are in a business that is similar to show business, where every time we do a job it is seen and evaluated by our audience, our colleagues and our clients.

When I was a little boy living in Brooklyn, I showed an early interest in commercial art, copying the lettering off beer trays, and I told my mother that I would like to be a commercial artist. My mother encouraged me, saying it was a nice clean business, that there would be little competition, a great deal of respect, I would make a lot of money and work with very nice people. At that time, my mother evidently knew even less than I did about commercial art. I think I will call my mother tonight and say to her, ((Mama, remember when you told me a long time ago how nice it would be to be an artist? The short hours, the glory, the wonderful, easy, creative life? Well Mama, you were wrong-you didn't have it right at all.

Except for one thing. I do work with nice people and I wouldn't change my job for anything in the world."

The best magazines today recognize the upgraded taste level of today's American woman, and appeal to her diversified range of interests, treating her as knowledgeable and well-informed.

McCalrs magazine is divided into m~ny different service departments, all of which must have good visual effect to entice our readers. If the food doesn't look appetizing and exciting the woman will not try the recipes.

If the fashions do not look attractive she will not be tempted to make or buy the clothes. In housing, who

would want to describe a room when a picture in four colors will show it in all it's creative homemaking? The same is true of household equipment and beauty. There are also articles on personalities, health, education and other subjects of general interest and, of course, in every issue there are four or five fiction stories. In almost all of the service departments it is usually necessary to present an article in a realistic and believable manner in order to convince the reader that she can achieve the same results that we did. We often supplement a photographic service section with drawings to add a little more drama, imagination and sometimes detail. It seems to me that all of these service departments sho11ld present a challenge and an opportunity for many artists.

We strive for variety in our fiction illustrations, always keeping the mood of the story and the graphic pace of the particular issue of the magazine in mind. Many times we try to show our fictional people as our readers might imagine them, and perhaps as they themselves would like to be. Commonplace illustration and unimaginative layout give the reader little reason to become interested in the picture or the story. It is not enough for an art director to make a pleasing arrangement of type and illustration.

CA, Auaust '61!

Coby Whitmore's theme illustration for the seminar showing the art director (Storch) and the illustrator (Whitmore).

The illustrator and the art director must first have an idea for the picture that will interest the reader intellectually and emotionally. It is then the illustrator's responsibility to produce a picture that is imaginative, dramatic and entertaining. In all of this the illustrator must get the reader's attention and set the visual mood of the story, interesting the reader enough to stop, look and read.

Since the pictorial content sometimes differs from the literary, a story will often be vague or uninteresting from a graphic point of view. It is then necessary for the illustrator to re-evaluate and restate the problem from his own visual point of view.

Fiction is a make believe world to start with and it is the artist's good fortune not to be limited to a specific place and time because he can create things that never happened.

I can never understand why there is always so much hoopla about the different styles in illustration, and the search for a new trend that will be different. I know that every time our Annual Exhibition is put together here at the Society there is some apprehension that all styles will not be represented, and everyone wants to know what is the new exciting trend to come out of the show.

It seems to me the only thing that is important is whether or not the thinking and the technique is right for the subject and the audience, and then how good is the quality of that job. Let each man create and communicate in his own way. I personally do not believe in trends, but in solutions to individual problems.

In spite of fads and an attempt to be different, I think that good, sound illustration, executed with the sensitive emotional content that will appeal to people, will always be saleable. It will never be a crime to draw well.

There has been so much said about the competition between photography and drawn illustrations for today's market, I don't think I will have much to add to it. It seems to me there is a need for both. The two, in many respects, are so different that they are hard to compare.

An illustration suggests, whereas a photograph is usually a statement. The advantage in this to the illustrator is that he can get more reader participation by leaving more to the imagination of his audience. He also has more control of his picture-everything is seen through his eyes and through his hands. In his art, there are very few events that happen in an accidental moment of life, but rather are a premeditated summation of how he personally feels about a person or an experience.

CA, August '62

THE CREATION or old there was nothing, l'o;or ~and, nor sea, nor cool waves.

No earth, no heaven above.

Only the yawning Lha,m.

The >Un knew not her dwelling, â&#x20AC;¢'\or tlw moon hi> rcalrn.

The star, hac.! not their places.

FINNEGANS

WAKE

Jack Cloutier

46

ORIGIN OF MAN

Marshall Henrichs

Philippe de Marguenat CA, August '62