dec1960

2:12 • December 1960

6

Letters to the editor

8

Personal: for hire, for sale, wanted

8

The time, the place, the people

9

Print that matters

10

Color charts

12

The Creative Mind, a guest editorial

14

Advertisers index

15

Materials, services and available literature

17

Editorial

18

Literature of the month, a new feature

24

Illustration West

34

The Annual Report

42

From Memphis

44

The studio that artists built

46

Elsa Kula, her profiles

48

The biting eye of Andre Francois

50

The people package

53

Morgue, a building grows

56

Retouching, part 1

59

Annual index, volume 2, 1960

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 (Annual November issue $4), one year, $12; two years, $22; three years, $30; five years, $45. All other countries, one year, $14. Copyright 1960 by Coyne& Blanchard, Inc. *Trademark registered. Second-class postage paid at Palo Alto, California. Postmaster: Please send 3579 to 809 San Antonio Road, Palo Alto, California.

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

Editorial Correspondence: No responsibility is assumed by the 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 Manage.r, The Journal of. Commercial Art, 15 W. 44th Street, New York 36, N.Y., MUrray Hill 2-1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California, DAvenport 6-6040.

ART TRADE SHOP NO . I

NUPASTEL~ 299~P

NUPASTEL BY EBERHARD FABER IS MORE WIDELY USED THAN ANY OTHER PASTEL

l:I... S

NUPASTELS come in 60 radiant colors and the "bite" is right. .. rub in smoothly without mottling ... with less crumbling and less dust.

FREE - New 8-page. full col or Nupastel Technique Booklet. Write to : RM . J-11 Advertising Department. Eberhard Faber Pen & Pencil Co ., Inc. Crestwood , Wilkes-Barre, Pa .

Erase NUPASTEL cleanly with NUPASTEL CLEANER .

Fix NUPASTEL permanently with NUPASTEL FIXATIVE.

See your nearest art supply dealer for NUPASTELS ... in assortments of 12, 24 , 36, 48 , and 60 colors .

Or write directly to EBERHARD FABER.

SINCE 1849

EBERHARD FABER ptZt<!Ah Q~~~

<Cl 1960 Eberhard Faber Inc .

Tm . Reg . U . S . Pat . Off . and Other Coun1ne s

Wilkes-Barre, Pennsylvania-New York-Toronto, Canada

Talking Storyboard

We produce "talking storyboards" with limited or full animated sequences from cartoon, photographs, or from existing storyboards, utilizing the full range of camera movement and photographic techniques for which EDSTAN is famous.

These may be used as a "comprehensive" on film, for client presentation, or as a preliminary to an expensive commitment. They are also useful as an inexpensive TV commercial for limited market product testing.

Available in color or black and white, 16mm or 35mm. Production time is measured in hours instead of days.

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HP..-.r~cn

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LETTERS TO THE EDITOR

on

photocomposition A brief, informative review of photocomposing equipment and methods, and of the techniques which have been developed by Progressive Composition Company.

Also covers the uses, advantages and some of the disadvantages of this new form of typography.

Free upon request. Write.

PROGRESSIVE Composition Co. 9th and Sansom Sts., Phila. 7

W(\lnut 2·2711

The PROGRESS • HANSON • PROGRESSIVE Group On e of America ' s Most Complete Graphic Arts Organizations

Philadelphia • New York • Newark • Lancaster Wilmington • Baltimore • Washington • Richmond

6

"IN" Dear Bob, We're getting under way with with our annual programs for the SAAD Club as well as the usual research for and evaluation of promotion devices.

When you were here, if you recall, we discussed the desirability of offering a "reduced rate" subscription to CA to all members of SAAD. The cost of the subscription would be part of the annual dues, and serve as a "reason-for-joining-and-belonging." The club has about 85 paid up members, so there is a great possibility of gaining a sizable nu~ber of subscribers in this way. Any idea you may have will be most appreciated.

Sincerely, Merlin R. Krupp Society of Artists and Art Directors Minneapolis, Minnesota

We have just been advised that the SAAD has voted CA "IN." We will be pleased to send details of such a program to other interested clubs. ed.

Progressive Dear Sir, I would like to take this opp6rtunity to congratulate you and your colleagues on your most wonderful,. beautifully produced publication. Finally, a magazine available that interests both the printer and the artist; in fact, anybody that is commercially involved with graphic arts.

CO:M:PLETELY

VERSATILE

The Pasadena City College Print Shop instructs 25 letterpress printing students and 25 student lithographers. We are asking your permission to color separate, strip, make the plates, of your Al Parker cover, Nov. '59, and run off a nebulous amount; like, say, 200 or so, purely for practice and the progressives.

We enjoyed the art work and the color, and we thought it would be a challenge for our student cameramen and pressmen for the practice and instruction.

Your magazine can be found each month in our library, our print shop, and our art department. If you give us permission, I will send you a couple of sets of progressives, just for kicks.

Sincerely, Walter F. Bennett Instructor of Lithography Pasadena City College Pasadena, California

CA, December '60

ANGRY??

Sure I was angry! I've been using Crescent Cardboard Products at the studio and home for 15 years, then this young artist we just hired for wash drawings tells me he has to work on imported board.

Well, I told him I had something better, made right here in the states. Y essir! I showed him some Crescent Extra Heavy Water Color Board with the 100 % Strathmore surface.

Let me tell you ... he changed his tune pretty quick. Like I've always said ... you can't beat CRESCENT CARDBOARD PRODUCTS!

CRESCENT CARDBOARD COMPANY 1240 N. HOMAN AVE./CHICAGO 51 I ILL.

Give your "graphic grey matter" a spring cleaning! See Morton Goldsholl's new color-sound film, "This is Texoprint"-featuring the very latest in visual design and graphic technique, set to a swinging jazz score. It dramatically illustrates the versatility of Texoprint® plastic printing paper-the paper with the feel of fine leather ~ the paper you can wash! It's a must see-and it's free!

KIMBERLY-CLARK CORPORATION

•

NEENAH, WISCONSIN

I am interested in viewing a print of "This Is Texoprint." Please send me details about obtainina one.

NAME --------------------------------------------~ FIRM

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

ADDRESS--------------- -------------- --- CITY-------------------- ZONE- - - - STATE----------------

Closing date for "Personal" copy is 20th of the month preceding date of issue. $3 per line accom· panied with check.

SITUATION WANTED Experienced Illustrator, B. A. degree, L. A. Art Center, 2 yrs. A. D. & Idea man-desires greater challenges & compensations. Resume & samples on request. Box 2121CA.

THE TIME THE PLACE THE PEOPLE Ann Arbor WITH THE NEW

Smithsonian Institution's Traveling Exhibition, "Lithographs of Fantin-Latour," at Alumni Memorial Hall, University of Michigan. Through December 18.

Baltimore

-G-~

000'' 8

Its range and performance will save you valuable production time . . . time you can devote to pure creative work. The Art-0-Graph "1000" reduces 5X, enlarges 5X (9 times with inexpensive lens attachment). Projects flat copy or objects. No intermediate steps such as tracings. Quick focusing. Simple manual control. Feather-touch balance. Automatic lock. Adjustable track length for home or office use. Takes no floor space.

AU-steel lifetime construction. Beautiful gold hammertone finish. Better all-round performance at a new, lower price.

Young America -1960. Paintings by 30 artists all 35 or younger. Baltimore Museum of Art. Through January 1.

Brockton, Mass.

Call for entries to Brockton Art Assn's. 4th Annual Winter Show. Open to all artists.

Robert Collins, Box 97, Bryantville, Mass.

Chicago Call for entries to the 29th National Competition of Outdoor Advertising Art, sponsored by Chicago's AD Club. Deadline January 13.

Call for entries, both traditional and modern, to 11th Annual ADCC Fine Art Exhibition. ADCC, 6 East Lake St., Chicago.

Art Institute of Chicago-In the East Wing Galleries, Italian Drawings from five cenSee Your Art Supply Dealer turies, through December 18, sponsored by the Smithsonian Institution's Traveling OR WRITE TO: Exhibition Service. In Gunsaulus Hall-a ART·O·GRAPH, INC. Primitive Art Exhibition including work 4837 Emerson Ave. S., Minneapolis 9, Minn. from Mexican, Mayan, Peruvian, African, - - - - - - - - - - - - - - - - - - - 1 Sudanese, and Melanese areas. Through December 31.

Detroit in ART MATERIALS and ART BOOKS

" Friem's Four Pages, " our interesting art newsletter ...

Detroit Institute of Arts' special exhibitsMasterpieces of Flemish Art through December 31. Forms from Israel through December 22. Early Sculptures of Quebec (Photographs by Jean Paul Morrisset) through January 31.

Minneapolis/St. Paul Newly elected officers of the Minneapolis/ St. Paul AD Club are Norman Hamilton, president; Matthew Ruddy, VP and secretary; Robert Englund, treasurer; Steve Griak, VP in charge of entertainment; Robert Gordenier, librarian.

CA, D ecember '60

We've enlarged a

typical

H~

character

to show you the e,~ design quality of this type face:

~,destructive of surtace harmonies, fast-paced,

H.d

and distinctively

personal. Specify H~.

w~~~~ Amsterdam Continental

Types and Graph ic Eq uipment. Inc. 276 Park Ave.S., N.Y.10,SP7-4980

New York City As of December 31, Winsor & Newton, Inc., will be located in new offices at 881 Broadway, New York 3.

The John Averill Memorial Exhibit will be at the Gallery 303 Annex through December 31 including many familiar black and white prints plus lesser-known color works.

concerning HI-ART Illustration Board

Museum of Modern Art. A continuing exhibit of present and past photos, each by a different photographer, selected from the Museum's 2600-print collection.

After 4 years of intensive development, we are proud to introduce the completely improved new line of Hi-Art illustration board. Some of its advantages include: Much heavier facing paper for durability and better erasing qualities ... much whiter for better photographic reproduction ... more uniform for optimum workability.

Toronto Call for entries for all-Canada to the 13th Annual ADC show. Closes early in January. Miss Jean McCallister, P.O. Box 303, Toronto 7, Ontario.

PRINT THAT MATTERS

The remarkable new Hi-Art surface is harder for best lifting qualities. AU-in-all, Hi-Art Illustration Boards excel in the field. Drop us a note for samples of deep tooth finish #69, 79 or 7960. Then give it a try.

Letter a

NATIONAL CARD, MAT and BOARD CO.

By Armin Haab and Alex Stocker.

Published by Hastings House Publishers, Inc., 151 East 50th St., New York, N.Y. $8.50

4326 Carroll Avenue, Chicago 24, Illinois 11422 South Broadway, LosAngeles 61, California in Canada: Card & Paper Works, Ltd., Peterborough, Ontario

In the broad and general sense the authors have intended this book as a standby for all those in any way connected with lettering. With the modern designer in mind they have concentrated on both classical and modern types, chosen with regard to form, originality and usefulness and omitted such types of lettering, though interesting from the historical point of view, which have fallen into disuse today.

The work includes 62 alphabets and over 190 examples of words from the type-face arsenals of Europe and America and complemented by examples of original creation. The publication is rounded off by an index giving the nature and origin of each individual type. 125 pages.

Sketching with the Felt-Tip Pen

By Henry C. Pitz.

Published by The Studio Publ ications, Inc., 625 Madison Ave., New York, N.Y. $2.95

The first book written about felt-nib pens or brushes has been freely illustrated by author Pitz and artists Henry Koehler and Robert Fawcett, and includes a group of advertising sketches furnished by N. W. Ayer and Son. Originally developed as a shipping room tool the felt-nib has graduated to wide usage by artists and illustrators. In a simple and straightforward text Mr. Pitz describes the different types of pens, the characteristic marks made by each tip, the surfaces for drawing, lights, shadows, figure drawing, landscape sketching. 62 pages.

9

1······-~ I

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\f 1 H:.:.~::l:n~:::l:f:e:~::ng. I~ 1 I I () # t ~ •••••••~ ~ I ~, ~ I ~~... ] The first is still the best!

1

'

:

RELVON®

It reproduces clear, sharp detail with flawless definition: Ludlow Papers, Ware, Massachusetts, CA-120.

Please·send me test samples of RELYON

Lighh¥eight ( )Heavyweight

CA, December '60

"'tj

lj

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COLOR

DUOTONES 10%

20%

30%

10

20

30

40

50

70

100

CA, December '60

50%

70%

10%

One-color halftone

Duo tone

Norrnal black and white halftone

20%

30%

40%

50%

COLOR

COLOR

COLOR

COLOR

BLACK

BLACK

BLACK

BLACK

\:&:1 U"U u u L::l

60%

70%

80%

CA COLOR CHART COPYRIGHT 1960 BY THE JOURNAL OF COMMERCIAL ART

90%

•

PRINTED

CA. D ecember '60

100%

BY LITHOGRAPHY USING 150-LINE LEVY

SCREEN

I j,, iIi,,'~' J~::g:r~U[

A GUEST EDITORIAL

CliP BOOK of liNE ART

YOU~ FOR 30-0AY FRf:f: [XAMINATION It's great-but don't take our word for it. Try it in your own office for 30 days! Puts professional flavor into your low-budget paste-ups ... saves you time and money. Used by ad agencies, art studios, printers and industry ... for ads, printed pieces, publications, direct mail, visual aids.

Dozens of black-and-white line drawings every monthtop quality realistic, stylized, decorative and humorous.

Ready to use-just clip and paste. Get the current month's set of three thrifty "Clip Books of Line Art" plus "Paste Pot and Scissors" on 30-day free trial. No obligation. Just jot a memo on your company letterhead: «Send me the

The Creative Mind EDWIN H. WHITE Art Director, The Atlantic Refining Company, Philadelphia, Pennsylvania

If you are shopping for a creative artistic mind, first find a quiet man. Rarely does a vociferous individual have the talent or ability to pry into the depths of a given subject and explore thoroughly its many facets. Too many creative minds have been brushed aside by talent seekers merely because the louder voices attract potential purchasers.

Don't bite at the bait!

current issue of«Clip Book of Line Art" on 30-day approval."

HARRY VOLK ..JR. ART STUDIO PLEASANTVILLE 6. NEW ..JERSEY

12

the perfect

EXTRA TABLE

............

No. 415 Harwood Stor-A-Way by

for studio

..&.NCO

or

• Provides plenty of knee room. Board pivots at front and is easily adjusted to working angle most comfo rtable for each individual.

• Doubles as easel as well as drawing board. Adjustable to any angle including vertical.

• Inconspicuously sto red. Folds flat to 6 inches.

• Select clear western pine top and hardwood base are smoothly· finished in a fine clear lacquer.

Board Size List Price

No. 415-1 No. 415-2 No. 415-3

23 11 X31" 24 11 x36" 31"x42"

office, folds flat to 6"

$17.50 19.00 23.00

All ANCO products sol d thru dealers only. Writ e f or t he one nearest you.

6-CA-12

ANCO WOOD SPECIALTIES. INC .

I

7l 08 80th Street Glendale27 New York

Creative talent shows itself early in life. The youngster who lives within himself may well be a prime subject.

What may be misconstrued as shyness, timidity or coyness, could be the outer shell of an observant and imaginative person. A love for animals, passion for history, infatuation for color, attachment for adventure, are all keys to a budding creative mind. Like a sensitive antenna, the young visionary reacts quickly to changing moods and situations about him.

In a pulsating room full of people, creative talent can be swept away by chaotic outbursts, half truth suppositions and incohesive planning. Under such conditions the delicate mechanism of subtle thought loses its identification. It can only function in its proper element of quiet confidence and sincerity of purpose.

The creative mind draws on its experience. What it has seen, heard, felt, smelled or tasted becomes the sole encyclopedia from which it can draw. Its depth of reasoning may be enlarged through education, but its basic sensitivity places it in the mood to come up with the correct interpretation of the problem at hand. A creative mind must be able to crawl in a shell and think.

It is a mistaken belief that artistic talent and creativity are one and the same thing. Actually, the ability to interpret what the eye sees has nothing to do with the ability to come up with something new. Many artists can render objects they observe, or complete a project that is meticulously laid out for them to follow. They do not necessarily have the ability to envision a campaign or create a technique from written copy. As a matter of fact, the combination of artistic talent and creativity is rare.

The sum total of creativity rests with the individual's ability to use his natural talents, his comprehension of

CA, Decembtn' '60

VERMILION

DO !T WITH

GRUl~BAC~R .

DESIGNER

... and YELLOW, MEDIUM GREEN, LIGHT TURQUOISE BLUE, LIGHT match the other AAAA COLORS.

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MATcHES

%" x 4" Tube ... 45¢ each .

Designers sets 26·7, 26-13, 26-26 at your Artists' Material Dealer.

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13

CA, December '60

The Creative Mind (cont'd.)

technical graphic arts media, and his basic intelligence.

This enables him to draw readily upon his experiences and apply his knowledge in a visual and comprehensive form.

WINSOR & NEWTON'S DESIGNERS' GOUACHE COLORS Used by the majority of commercial artists both in this country and overseas, Winsor & Newton's range of 75 Designers' superfine gouache colors represent the last word in brill~ant and opaque water colors, superior to 14

any poster or gouache color.

Now add t~ Series #1, is a range of

You cannot identify creative and artistic talent by any marked physical appearance. A flair for odd-hal~ temperamental outbursts, peculiar habits of dress, so called personality affectations, are all fair warning of immaturity, and at best a shield against reality. For creative artists are tall, short, thin, fat, young, old, quick, slow, and dedicated to the product they are selling. They also have a marked dedication to their principles. They never rest until they have presented their .product in a most favorable light.

The vulnerability of the creative mind is readily apparent. The advertising field is strewn with the wreckage of such talent. A close inspection of the employment of creative skill will show occupations of short duration in various and sundry advertising organizations. It is considered normal for artists, writers and other creative folk to honeycomb their working years with a history of agency, department store, and newspaper employment. The never ending quest to present their ideas in classic creative style, forces the inevitable change.

Good creative talent runs deep. To find it you have to dig. It lies in a hard rock bed of talent, intelligence, imagination and endurance. No superficial indications of manner, no glib tongue, no college diploma, is indicative of the possibility of striking a payload of creative ability.

•

5 neutral greys for general application and photo-retouching.

Index to Advertisers

Ask your local dealer for free description leaflet #115 or write direct to us.

Amsterdam Continental Types & . 8 Graphic Equipment, Inc. . . 12 Anco Wood Specialties . .

Art-0 -Graph , Inc. . . . . . 8 . 16 Bourges CoiQr Corporation .

Color-Aid Co. . . . 15 Crescent Cardboa(d Co. . .

6 . 5 Edstan Studios . . . . .

Eberhard Faber Pen & Pencil Co.,lnc. 4 A. I. Friedman Inc. . . . . . . 8 Grace Letter Co., Inc. . 16 M. Grumbacher Artists' Material . . 13 Kimberly-Clark Corporation . . . 7

Norman Kurshan Color Service, Inc. 13 Lucygraf Manufacturing Co. . . 16 Ludlow Corporation . . . . . 9 John F. Mawson Typographers . 3C National Card, Mat & Board Co. . 9 C. A. Parshall, Inc. • 4C Permanent Pigments - . . . 15 Philadelphia Art Supply Co. . 15 Progressive Composition Ca. . 6 Shiva Artists' Colors . . . 6 . 12 Harry Volk Jr. Art Studio . 14 Winsor & Newton, Inc.

Address advertising correspondence to New York Office:

David Hartman, Advertising Manager The Journal of Commercial Art 15 West 44th Street New York 36, New York (MUrray Hill 2-1438)

WINSOR & NEWTON INC. 881 BROADWAY NEW YORK 3, N.Y. Canadian Agents: THE HUGHES OWENS CO., L TO. Head office, MONTREAL Californian Distributors: THE SCHWABACHER-FREY CO ., SAN FRANCISCO

Palo Alto Office:

Jan Williants, Advertising Department The Journal of Commercial Art 809 San Antonio Road Palo Alto, California (DAvenport 6-6040)

CA, D(;cember '60

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

Available in a combination of 380 faces and point sizes in 6 colors, at $2 per sheet, from your dealer or write to The Marilla Co., 12-12 Bridge Plaza South, Long Island City 1, N.Y.

Color-aid BACKGROUND PAPERS

Mix-eez palette Copy-Zip Frisket A thin, matte-finish, transparent, heat-resistant, self-adhesive frisket. Originally developed as a tracing medium for architects and engineers, it comes close to being that elusive "perfect frisket." It will cut with a light pressure and transfers easily in one piece to a sheet of glassine. It repositions easily and won't pull off paint when used for double or triple frisketing. Edges can be lifted to check contrast and a slight pressure will reseal it with no resulting bubbles. Except under heavy burnishing on glossies, which isn't necessary, no adhesive deposits remain; nor did any emulsions or paper peel off under any tests. 10x14 sheets sell for 40c, 18x24 for $1.20. Tablets of 25 7x 10 sheets sell for $5.20, 25 10 x 14 sheets sell for $8.00 from your dealer or write to Para-Tone, Inc., 512 W .

Burlington Ave., La Grange, Illinois.

Instant Type Vinyl sheets of pressure-sensitive alphabets and symbols that will transfer to any surface.

Letters are of reproduction quality and a slight pressure will position the individual letter on art, photos, maps, displays, etc.

An aluminum holder containing five white, disposable, plastic cups with a trough for brushes and a snap-on cover, for use with paints, inks, or dyes. Colors can be mixed, coded, kept fresh for days, and discarded when through. The kit with 25 cups sells for $2.49, 50 refills for 79c at your dealers or write to Regush Products Co., 505 Fifth Ave., New York, New York.

Literature for your files " ... as mentioned in CA" A request on your letterhead will bring you any of the following pieces ... free unless otherwise noted.

"Mountie Offset antique wove" . . . a specimen folder showing white and 8 colors.

"Mountie Offset pinseal finish" ... a printed specimen sheet. "Marked with integrity" . .. a specimen folder showing white and 13 colors of watermarked Northwest Bond.

"Carlton Bond" . . . a specimen folder showing white and 8 colors. Write to The Northwest Paper Co., Ad vt . . Dept., 20 North Wacker Dr. , Chicago 6, Ill.

ORIGINAL COLOR SYSTEM OF 210 COORDINATED COLORS SIZE 18'' x 24''

Dependable Color-aid papers are available in 210 coordinated colors, 24 basic hues, 4 tints and 3 shades of each hue, 8 grays, black and white, and 8 NEW colors.

NEW! Color-aid 1111t1

tiqWd !MHtA, Formulated exclusively for Color-aid papers to remove dirt, grease, erasure burns and many other uses.

AT ALL LEADING DEALERS Color-aid Co. 329E.29St.N.Y. 16 15

Philadelphia Art Supply Co. Philadelphia 's most complete stock of art and drawing materials • CRAFTINT • BOURGES SHEETS • KEMART MATERIALS • ZIPATONE • ALL GRAPHIC ART SUPPLIES

SEND FOR OUR 200- PAGE CATALOG ON YOUR LETTERHEAD

PROMPT DELIVERY AND MAIL ORDER SERVICE

25 South Eighth St. Philadelphia 6, Pennslyvania Phone MArket 7-6655

CA. December '60

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

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

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

They dry quickly and are IMMEDIATELY WATERPROOF. The work needs no special surface treatment to protect it from handling.

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

FOR FREE TECHNICAL BOOKLET, COLOR CARD AND PRICE LIST, WRITE:

PERMANENT PIGMENTS, INC. 2708 HIGHLAND AVENUE CINCINNATI 12, OHIO

At three times the price, you can't buy a better luci!

SOLD DIRECT ONLY with a ten day money· back GUARANTEE 18"x24" focal plate, 17"x23" copy board.

Four dia. up or down.

Hundreds sold to the nation's top firms ... never a return!

~

$19800

complete with Raptar F 4.5 lens

Send for literature today!

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

"M-] Gummed Papers" ... samples of white, colored and special gummed stocks, both coated and uncoated. "Eleet Gummed Papers" ... a specimen booklet with samples of their new "dot-gummed" label papers. Write to Mrs. Georgine Mason, Ludlow Papers, Needham Heights 94, Mass.

L

u

c y

"Avery Stock Self-Adhesive Products" ... a 4-page illustrated price catalog including price marking and identification labels, correction tape for reproduction typing, file folder labels, photo mounts, coding and mailing symbols. R. W. Morris, Stock Products Division, Avery Label Co., 1616 So. California Ave., Monrovia, Calif.

G

R A

F

Free S amples & Catalog

Gra ce Letter Co., Inc .

77 Fifth Avenue, Dept. B

New York 3, N . Y.

"Where Color Reigns" ... a kit of printed samples on available weights of Nekoosa Offset. Includes different color combinations on nine colored vellums plus six finishes of white stock. Advertising Dept., Nekoosa-Edwards Paper Company, Port Edwards, Wisconsin.

Neuland, Virtuosa I and II, Michelangelo, Palatino, Original Haas Clarendon, Microgramma, Saito, Egyptian bold ext. and cond., Orplid, Standard, Walbaum, Torino, Egmont, Hidalgo, Amazone, Augustea, Slogan, Juliet, Melior, Sistina. Write to Amsterdam Continental Types, 268 Fourth Ave., New York 10, N.Y.

"The Kees Postoscope" ... an illustrated sheet describing their $35 portable, opaque projector which will handle copy up to 6" x 6". G. J. Shaefer, F. D. Kees Mfg. Co., Beatrice, Nebraska.

"Color Data Handbook" ... a 16-page brochure and price list covering all phases of color film processing, dye transfers, color prints, duplicate transparencies, slides, film strips, masking, flexichromes, mailing and technical information services. Ken Lieberman, Kurshan & Lang Color Service, Inc., 10 E. 46th St., New York 17, N.Y.

Watldna 4·0850

ALPHABETS

CA Volume Files a r e n ow ava ila b le

$2.50 ea. 3/$7 6/$13 order f rom

Jesse Jones Box Corp.

P.O. Box 5120, Philadelph ia 41, Pa.

16

rn

~~1a

"Strathmore Artist Papers and Boards Sample Book" . .. 46 specimens of drawing, water color, charcoal, patent office, tracing, illustration paper and boards. Write to Bradley Stafford, Strathmore Paper Co., West Springfield, Mass.

"Amsterdam Continental Types" ... specimen folders of the following type faces are available: Original Janson, Metropolis Bold, Sapphire, Ornata, American Uncial,

.9 g·1c.') roag.lC 'm • adlc ~, · lJJan· ,

.

t!J'lc . mag~

"Volk Clip Books" ... several folders, brochures, price lists describing the services of the Harry Volk jr. Art Studio. Includes illustrated examples of work offered in their monthly Art Director's Clip Kit and Clip Book of Line Art plus individual clip books on 50 special subjects. Also included is an illustrated folder showing samples of their Grafikline Process of converting photos to various line techniques. Harry Volk jr. Art Studio, Pleasantville, N.J.

· ... well, it works and looks like magic! Bourges is a fabulous art medium-transparent sheets of workable color developed specifically for the graphic and ad fields. Bourges means that you work in the medium in which the art will be reproduced-in color, matched t o standard printing inks. Finished art is the pre-separated mechanical-ready for camera. And Bourges also means new creative thinking, new techniques -saving time and money- for ayouts, camps, presentations, design, visual aids, etc. material dealers Write today urges, the 001 Uses."

TION rk 11, N.Y.

©t960 B OURG E S C O LOR C ORP ., N EW Y O RK II

CA, December '60

Editorial

A New CA Feature ...

In this issue we begin a regular department called Literature of the Month. In it we will show most or all of the visual aspects of selected pieces of literature. We will also try to present the ~~reason why," a picture of the total creative concept. ~~Literature" is a generic term we use loosely to include nearly

everything in printed graphics except space advertising, consumer and trade publications, 24-sheets, cartons, posters and six-foot three-dimensional displays.

Much of this literature is created for short runs, for limited and well-defined audiences. There is little opportunity to see most of it.

When we do, the selectiveness of its nature makes the symbolism, function, power of the communication not readily evident to the ~~outsider," only the visual impact of a montage of typography, photography, illustrations and paper. The benefit and appreciation of the creative thinking it represents is missed. Conversely, we might appraise it as something more than it is. Laurels have been mistakenly heaped on pieces that are devoid of any real creative values.

We have to be deeply interested in this total creative concept for it is the most significant thing to happen in art and graphics in the past ten years, though it has not had its share of publicity. This significance should not be measured in just the giant strides already taken and waiting to be taken in responsibility and stature for the artist. Today, there are twenty artists concerned with literature for every one involved in space advertising. We are not playing down the importance of the artist's role in advertising, we are only trying to depict the size and growth of the field of literature preparation.

All of us in the graphic field-artists, typographers, photographers, printers-tend to be isolated by our personal concern with our own accounts and deadlines. It is not easy, perhaps it seemed unnecessary, to be aware of what was happening on a national scale. It is important, to us and to the national economy. The increasing emphasis on scientific and technical development, its necessary reliance on printed communication for sales and operation of these developments, is the dominant factor influencing our future.

More than volume, challenging opportunity is ahead for us.

The boiler-plate approach to literature is nearly extinct. Industry is aware that there is more to successful communication than mere technical accuracy.

We are the architects it must turn to.

CA, December '60

17

L ITERATURE OF THE MONTH

It is difficult to portray a piece of promotional literature in a limited space.

A page, a spread, the cover can proJ·ect only a part ofthefeeling, the mood that the designer conveyed. It is the turn of a page, the opening of a fold that reveals the full power and value of the design concept.

We can, in this department, concentrate more space on a piece; try to follow the flow of it; pause at the accents; consider the 'relationships ofthe two designs; the visual and the architectural. A separation of these two is academic, even suggests a facade thrown over a barely related structure. Jobs have been produced this way, someone has stepped in, after the design has been completed, to engineer it from the outside in. We won't editorialize further on the expense, misunderstanding, disappointment and buck-passing that this can lead to.

In reality, today's successful and responsible designer hasn't thought about, wouldn't recognize such a differentiation. His completed visual is based on his plans for typography, photography, art, paper, co_lor, printing, folding and binding. These may have come from his store of knowledge, probably he has checked each phase by consultation with his suppliers.

We hope to convey more than just the design and production in Literature of the Month. We will try to present the planning, the thinking, the reasons.

This month, CA kicks-off with a company publication barely out of the planning stage. It is "Cascades," a publication of Pacific Telephone-Northwest, art directed and designed by Fred Walsh of R. T. Matthiesen Associates, edited by Frank Kain.

18

The covers for Volume 1, Number 1 and 2. These were reproduced in four-color. The symbol, used as cover theme for Number 1, was also designed by Fred Walsh, is currently used only for Cascades and the PR department. Number 2 is due off the press the same day as this issue of CA.

CA, December '6U

Cascades is the internal/ external publication of a new company, Pacific Telephone-Northwest. Part of the Bell System, it serves Washington, Oregon and Northern Idaho, an area formerly serviced by Pacific Telephone.

Walter W. Straley, president, and John Page, vice president, of the new company, both recognized the potential value of a company publication, particularly for the difficult public relations requirements of an organization as large as the Bell System. They felt the magazine could convey the ((personal side," the dignity of the individual maintaining and safeguarding the public communications network, the concept of many stockholders instead of the more easily accepted view of a gigantic ((big business."

The picture of a young, regionally oriented company serving a young, growing and remarkably beautiful area also had to be conveyed.

Fortunately, the management too is young-forties and thirties-and most of the key executives had public relations experience in their background. Cascades was conceived and launched in an enlightened atmosphere that permitted Editor Frank Kain and Art Director Fred Walsh to do a job of very creative and sound thinking.

19 Pages 2, 3 Photograph by Art Hupy

October 1960 · Volume 1 · Number 1

co n. \ 1::> 5 6 8

10 12

Congratulations ....

Show Biz Oregon The Ambivaknt Aardvark Ready? aim . .. fire I

1'f

The Big River Runs West

11

L/qyd Center

20

Personality in Profik fEATLR~S

2!

An Editorial

24

Book Reviews Asterisks

26.

"the

ea never changes and its works, for all the talk of men, are wrapped in mystery." joseph conrad

CA, December '60

~o::"t~~~.:=~F.~~:::~~~ 11-17-W•Vt"'-lonStltiDept.of~II·I I-DuMhnd;

2C).Il-M.,._JoorcNn ; 2t-2t - Un~ofWe.tllf\Pin l.Mwwy.

l"ubftltMid b)l hdftc:T~Nof1:hwoftl EdftorWomc., IIOibdl~ ..

llulkJin .. S.Ittte4,W..htqtoft. At,..Cock201.MUtuel2·9000,bt.5755.

Congratulations, Editor Frank Kain ... and your-cOhom,. upOn this. launching of Our bri'lb.t new company magazine, Cascades. I wish it long yean of loyal readership.

More than that. I wish for Ccucade.J the success of steadfast pUrpose in continuing to be a company magazine, not a competitor ot Life, Look, Silver Screen or Mad. The root& of ow Company an: 10 deeply embedded in the life of the Pacific Northwes~ 10 closely tied to the Co:ut and Country that you ba~ nearly DO geographic limit& upon your editorial selecti<>A.' Tbe Echo I balloon reminds us nightly that our oommunications bUJineu is a continually unfolding drama which plays on a largeNban-world-widc stage.

But, Frank, I ask you and the magazine staff, and t.boK of us who will contribute tid-~its, to tie this subject matter--~elected from an almost boundless aourc:ewith the ru.nni.ng thread of purpose we have for .o ur company and our individual purpose in giving some part of our lives to it.

Forgive an over-simplification; there is no other purpose of a good company magazine. This gives you plenty of leeway. For we do not want our as!OCiates in tbiJ company to suffer simply the continual rephrasiugs of what I once knew as our thn:e-legged stool. The job of the magazine is to help bring such words u customer, employee, •tockbolder, to a point of persooal, prodding signilicaDce. No two of us are apt to express company purpose in the same way or words. But no one of w is Filing lull pay lor the job if the day's work doesn't fit comprehensibly into an o~r;all effort worth malciu&.

I hope this magazine will help us aay our customer is more important than a practice. Make i~ if you can, spread the word that a broken commitment is alfl<ml failure, DOt an index liability. Yow pages will, I bope, portray at timea the underlying human dignity whicb expresses itself In nleguarding apimt errnn, fixin& unnotiocd trllllSIDis&ion fault&, or stopping the breakdown before it bappem.

I want our magazine to laud good effort at any level, help spread noedcd understanding that ourcompany's future n:sta principally upon individual contribution, regardless of rank. ~a~y. this is quite a charge. But ono thing more, Cascade• abould remind ua now and then to give a aympatbctic wave to our bou, the atockholder. He has said, "Hen:, take my savings, and build a business." Willyoujogus to remember that our individual resolve to treat him and his capital fairly brillp personal invol~ment in building and safeguarding not our company alono, but our whole economic aystem.

And now, to complete my preaumptioua admonitions, 111 try to aum them up in two sentences. CGScades mwt contribute to the certainty with which each of us may say, when we come to the etid of our time, ..What I have OOne here was worth doing. I am glad to have done it well."

WALTEI. W . STM.LEY

5

Pages 4, 5 Photograph by Art Hupy

20 Pages 10, 11 Illustration by Bob Cram

CA. December '60

The Cascade principals, left to right: Bob Quickstad , ass't editor; Margaret Gregory, writer; Fred Walsh, Bob Matthiesen, Frank Kain.

Plans were begun about two and a half months prior to the first publication date. Artists and art groups were interviewed. R. T. Matthiesen, Inc., of Seattle was selected. Fred Walsh, of that group, assumed the responsibilities of designing and art directing. Preliminary conferences between Walsh and Kain began to shape the approach.

Very few preconceptions or qualifications existed prior to that time.

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Even the budget was handled in a unique manner.

They had a fixed annual budget, made up of the funds formerly allocated from theWashington and Oregon area of the Pacific Telephone publication. A general size and concept for the magazine was determined at this time, the frequency of publication was not. The format was developed to achieve the desired visual impression and standards of quality, planned carefully to achieve the maximum efficiency, minimum expenditure, but still insure these standards. Result: a simple division of cost per issue, $12,000, into the total budget, equals frequency of publication, eight times per year.

The budget is based on a printing run of 30,000.

First issue run was 26,000 distributed to all Pacific Telephone-Northwest employees, 500 other Bell System employees, 7000 other selected people or companies in the Northwest.

Additional names will be added to require the full 30,000.

Several basic tenets were established in these early planning sessions. The visual format would

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The press sheet patterns. Printing is done on two·color, 22 x 34 presses. One sheet is printed 2-color one side, and 4-color on the other. This is cut and folded as two 8-page signatures. The first (#1), is folded with the 4-color out, (cover, back cover, 4 and 29). The other (#4), has the 4-color in (14, 15, 18 and 19).

The second press sheet is 2-color, two-sides, also folded as 8-page signatures.

Walsh's layout utilizes gutter jumps, folding as eights gave him greater accuracy, near-perfect cross-gutter registration. Gathering is signature 4 inside of 3 inside of 2 inside of 1. This gave Walsh 4-color on the cover and back cover ad, and 4-color spreads on 14 and 15, 18 and 19. Pages 4 and 59 utilized black only, layout was designed not to require the ochre on these pages. The magazine is saddle-stitched.

CA, D ecember '60

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OREGON READY? aim ... fire!

13

"What do we want of this vast, worthless area, this region of savages and wild beasts, of shifting sands and whirlpools of dust, of cactus and prairie dogs? To what use could we ever hope to put these great deserts or these great mountain ranges, impenetrable and covered to their base with eternal snow? Mr. President, I will never vote one cent from the public treasury to place the Pacific Coast one inch nearer Boston than it is now."

That was Daniel Webst~r speaking, one of the most eloquent statesmen in American history. Time: about 120 years ago when a bitter controversy raged

over whether or not the Columbia River country would be a valuable or even worthy addition to the eastern states.

Taken as prophesy, Webster's oratory falls miserably short of the realities of the Columbia th~t today we take for granted. To most of us the mighty "River of the West" represents wealth, power, beauty. But like Webster, maybe we don't fully appreciate its economic, political-even military importance.

After all, aside from its surface truisms, the Columbia is actually over 1,200 miles of mystical paradox. Here's a stream that flows north then south to go west;

14

15

CA, December '60

be two-page story spreads in the front followed by short single-page features, cartoons and story continuation in the back. Thus, length of story would not dictate or confine story layout. Close cooperation and harmony between copy and visual would be the policy. This has worked so well that it has seldom been necessary to interrupt the flow of story with photo legends- none in Number One, only one in Number Two.

Lloyd

Center

Issue Number One was designed by Walsh and presented as a complete comprehensive book.

The first visual concept was accepted. Dan Marr, another member of the studio lettered the title, ((Cascades." He also does the graphic devices, assists Walsh on the magazine. Bob Matthiesen, supervises the scheduling and production control, working with Bob Hail of the printing firm, Acme Press. Matthiesen also did the color illustration of the Columbia River (14-15).

Walsh visualized the effects he wanted, the way he would use his color and selected Consolidated Productolith as his paper stock. The magazine is printed on two 2-color Mann presses, running simultaneously on the job, simplifying control of color constancy.

18

19

Pages 18, 19 Photograph by Deane Bond ( 4·color)

Al

Story conferences start 60 days before publication date. Walsh sits in with the editorial staff to plan the approach and handling. The studio and printer are briefed and layouts begun. With the established flexibility and pattern of the format, individual stories can be laid-out, okayed. The body type is Times Roman, 10 on 12. Manuscripts are typed 54 characters per line-count of the standard 20 pica column. Lead articles are typeset to fit special layout requirements in front of book and then the balance is pulled on 20-pica galleys. Typography for heads vary with the individual article, lean to Baskerville.

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II 11 11 B()()K R~.Vll~,;ys

Assembly is executed on pre-printed paste-up boards with margins, column lines and folio positions indicated in light blue-gray.

Photographic spreads have been laid-out after the photo material was available, but the art direction includes instructions to photographers for story-telling pictures. Walsh selects and commissions the photographers and artists, using several, some of them artists from other studios.

The magazine design has been received enthusiastically by all of Pacific TelephoneNorthwest, right on up to the president.

Pages 24, 25

ccThis is not to say we have carte blanche on design," states Walsh, ubut the usual climate of compromise resulting in mediocrity does not prevail."

CA, December '60

is the first annual exhibition of the best of illustration from Western U.S. and Canada, sponsored by the Society of Illustrators of Los Angeles. Illustrations originating, commissioned or published in this area were elegible. 600 entries ..... were submitted, including some from our two biggest states, Texas and Alaska.

114 were hung, selected by the jury: AI Parker, George Rappaport, Donald Teague, J. Chris Smith and Gordon Brusstar. The exhibition was shown at \..'-....,_.'71 the Otis County Art Institute, broke all attendance records for the Institute.

ADV • Ed Kysar, Los Angeles • A/ D George Rappaport • Agency, Fletcher Richards Calkins & Holden • Litton Industries

First Award, Color, EDIT • Merle Shore, Santa Barbara • AID Lowell Butler • Westways • Automobile Club of So. California

Experimental• Harry Garo, los Angeles

First Award, B&W, INST • Gene Holtan, los Angeles • A Picture Picker's Magazine

ADV • Ted Rand , Seattle • A/ D Roman P. Demski • Advertising Age • Collins, Miller & Hutchings

First Award, Color, ADV • Chuck Wysocki, los Angeles • AID William E. Dye Jr. • Agency, Ross Roy-B. S. F. & D., Inc. • Dodge Trucks

INST • Jim Jonson, Sherman Oaks • Parsons Gallery

ADV • John Altoon, los Angeles • A/ D Merle Shore • Verve Records

ADV • Paula Powers, Los Angeles • AID Merle Shore • Verve Records

ADV • Neale Boyle, Los Angeles • A/ D George Rappaport • Agency, Fletcher Richards Cal~ins & Holden • The Rand Corp.

First Award, Experimental • Pat Heine, Los Angeles

ADV • She I Platt, los Angeles • AID Len Pilley • Agency, Hixson & Jorgensen, Inc. • Gladding & McBean

ADV • Joe Cleary, San Francisco • A/ D Ken Webster • Agency, Fletcher Richards Calkins & Holden • Boothe Leasing Co .

ADV • Bill Kinser, Denver • A/ D Merle Shore • Verve Records

ADV • Carroll Collier, El Paso • AID Howell Zinn • Agency, White & Shuford • Sunland Park Race Track

.

• Earl Thollander, San Francisco Expenmental

, San Francisco ADV • David Stone Martin Jr. • Agency, Ross Roy·-B. S. F. & D., Inc. AID William E. Dye

• Mich igan Blue Cross

Honorable Mention, Experimental• Greta Elgaard, Los Angeles

EDIT • Tom Van Sant, Los Angeles • AID Mischa Kallis • Bryna Productions/ Universal International Pictures

A PERSONAL OPINION OF THIS EDITOR

'Roll out the photo files. Get a meaty list from R & D, the accent's on progress. Line up a committee for a good cross-section of opinioninclude someone from PR or Advertising. And don't forget the money, it's time to get out the

ANNUAL REPORT' To start on a positive note: There were a small number of praiseworthy reports that stood out in the two thousand of this years reports that I saw. Some of them are reproduced on this and the following pages.

There was another, larger group that were competent jobs with flashes of excellence (most often seen in the cover, opening spread, paper selection and the typography of the financial tables).

Recording a few more impressions: The budgets were obviously not lacking in size. There was no shortage in the use of art and pictures, or quality printing. In many of these, the report must have been considered the major, most expensive literature production of the year. (continued)

34

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Clean, compact 20-page report for Anderson, Clayton & Co., Houston, Texas. Center 8-page signature had four-color bleed pictures, balance was in ochre and black.

Design is by Gene Slaughter, art direction by Ross Bonny of McCann-Erickson.

Photographs by Harper Leiper. Cover is Coronado Opaque, basis 80; text is also Coronado Opaque, basis 80; 10M printing run.

CA, December '60

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.... . ..................................... Cofillll .........

.... ,..,.._....~ .. .,l ................... .,.,. ... .,.

-..--~

_,.,.,,.,,,. __ .....,....___ ,')') ___ ........ ,.,. . .,

'-1-T_ ......._:

~-...-~-

n.~--..c...,..r•.w.b

.,...........,_...._ . , . . . . . . . _ l i l u _ _ _ . . .

..... ----.................. _...... ____ _,_ _.,_.,_,_.......__o..c-Mr sa, l.,..

Cllflioo.I,___.......,~ - -----. . . . . . . . - - . . . . . . . . . .........

. . . . . Oirponlila . . _ ~

·

-

TWI_ . . . .

all fii ...W. II MW ..,. ~-~.._,,_--. •

..ww,

---•s-'.....

4•· _ ••..,..... a.,._, ....,..., ........

...... ... am~~~ ........

~

===)::!::

~::::=::.~~·::::-.. ........... ,.._,.."'

IBM's report utilized bleed color photos facing black and white type-pages.

Paul Rand designed. A number of photographers were used, on the spreads shown: George Hight Studios, Jon Brenneis and Art d'Arazien. Stock is Oxford North Star, Polar White, dull coated. Printing run, 225,000.

The ogreple of property, plant and equipmeol hu been reduced ill recent yean by an UCCN ot depreciation over new acquistioos, but author~ Lzed expendituru for new construction are now hi&bcr than a year aao. with iDclieati:w tbatplantac:c:ountwillprobablyincreasedurinJthcJt.UOn

nowstartioa.

Gimlin&. oiJsced millina 'and warehousi.Da. altbouah subject to iDcreasinaJy keen competition, have continued on a profitable buis both in the United States and in foreip countries. Volume tw been maintained, dccliaa in lndividual areu beina compensated by i.ncreucs elsewhere. l n the United States molt capital upeoditurcs lhiJ year have coruisted ot improvements in uistina facilities, pattkularly of &inJ. The Compeay's Bra· zilia.D sublidiary has pun:hucd and is enlaraina a cottonseed oiJ mill in the Slate ot Panna aod il buildina a rnoc1an. JOivenl· proceu soybean mill in the State of Rio Grande do Sui, to provide additional raw matenal needed for the s.o PaWo mlrJarinc aod $horte.nina plant.

In the United Stala, i.Dadditioo tothekindofcompetitioothat is oonnaJ and expected in Cldds occupied bycooventioftal privateertterprise. the Company is iDcreuin&ly confronted by the compecitioo of c:oopen.tive corporatioo.s, particularly in the fields of ainnina and oil millina. Tu laws and rqulatioos permit coope:n.ti"-e c:orporatbu to aYOid any equivalent of tho 52 'll> corpcntc tn payable by firms like Andcnon,..121aytoa ol Co. upon their iocomc. Beina able to retain for workina eapiu.l and invest· ment ia planu the wbok rather than onJy 48 cents of each dollar earned, c:ooperatiw: corpontions in effect eajoy sublidizcd entry and expusion in tboliddsandenteq>riJcslheyJdect.

Other i.odua:trial operatbu aeoerally have continued lO be prof~ itable, particularly in foreian countries. Productive captdtics of the Bra· :.ilian mlrJarine and shorteni.n& plant arc aaai:n beina enlaracd in response to iocreasi.na demands. Mentioo has earl~ been made of the steps that are bein.& taken lO assure ic an adequate supply of raw materials. The importation into Peru of creater quaotitia of edible oil 'bas increased productioa and 1owercd unit c:::ous at the cdible-oil·prodUCU plant in Lima. In some countries. profit DWJim from the m&DUfacture of m&r&arine, s horteniltJ and oaladoilba.. bea>l<!ueczodbet.....,oeilinJpricaonlhcoc:productsand risiD& COlli of raw materials arlsina from inadequate domatic supplies or GoY<nuncntal support J>R>IJO'l1L

nrt l N0/61 _ _ _ _ ......,....,,..... ..

......... .,an..._. .................. .................. ,....,..... .... ._...... .......

_c..

_..._._...._.,loor, ~--..,....---

_ ...... . . -.. . . ,_. _,.

llllllllt . . . . . . . . . . . . . . . . . . . . lN0/61_ ...

....... _

....... .,.....,.....,.,., ....... ao..w....

........---n....IW .......,a---.,wllldl.....-.. ............. _ ......... .,....,_ __._...... ................ ,._.,..... ....a---~

...,cwt . . . .

Dwilll ........ - . . . . . _ ..........

- 11*1:,..... . ............... --..-,. .. .-.,..... ola.-.....1,.._ . . _ . _ . _ . . ...., ..........

...............................................

-w...d..,.,_,..... ... ...... ......... _....., .............__........., _____ ...............

TW ......... ol.,..ol ............ -

.........

. . . . . . . . . _,..,.,.... _ _ . . .

profttallkiO-~

Dwilc .. a.c.!,__...IIIIJJl , I HO,IM~,.,._ , ~-~ """'Colli.~-·-,_.

........... .,..

.................... "" ......... .. o.r.r...;. ~-..... _.,..... ___ a........ .....

..._,.,......,.,w_ ..................... --. ..... ............ ..,.,._ Oaflllo...,_.. ........ _..,. ~

...............

fllllcdw ........ . . . . . .

_..,-a... .....--·~.............

-~--,..__._ .. .......w,.....__ ...... ,_._.. ........ ___

n.. .............. . _ .. .............. ._... .. .....,.,..__n..._... ,e.t . . . . ~.,

,..._,~N._.__.....,

.................

.....,_.....,lllan_....,_,....llub,le~·

~--

CA, December '60

l rtdutrlal operatioM

..., ......... .....,...,.... .. ,.... .. ..__........,.... .......... ...--.-----.,.__ "' .......................... ... ........,..,.... _............ ...,...... ......,_.......,. .. ....... ......,.,lll_.., ... _ ...................

Aadlr...~'IW..W..,.....,.......,

......

......... O. . . . . . otiCIIMdltlb_.....,oooo...d ......

....... __._...,.wdro_llinab'l'eiMIIIID-.'nrt .... of ...,.._ . _,_.,~

.. L.a.~ .............

~

TM__. ~ ol .......,.,triwldrll ...... ............

_. c....., ........... ....

-'-' ..._r--......_ ................. ... .. ... _ ..... c....., .... _ __.,_Wl!al .,..__...prodrlct-oll ................. _ .. ,....,.,.._, • .............. il ...

......

. ............... ,._ .......

,..,....n,..,.... .. .. ..,.... ..... n...-c~.-otd'llly . . ~,._

n.~

......... -~ ........... ,.....,..

................. _ . . . . . . . . . .,. .. ac&iYiiJ. Of• IOUil of JlOS/¥7S,OOO- to1l II Ill W..W ....... ~ill . .

u-.. ........................

Something was lacking in far too many of the reports-maturity.

With the growing importance of the ccaverage investor" as contrasted to the financial sophisticate, corporations have felt compelled to present more in their reports than the legally required figures and the historical and future planning information that the financial community desired. Now a report generally carries the story of the company, too. This is a tremendous responsibility, to present the company's image in one piece of literature.

Sometimes this fundamental purpose of communicating an image is confused with, or replaced by, the urge to be different. This may result in something best termed ccgraphic insanity." The major weakness and misfortune of so many reports is a graphic disorganization that conveys an image of disorganization for the company.

36

In the extreme cases, the financial information has been subordinated, hard to find, or even abbreviated; or the president's letter has been confused with the office redecoration program and the one millionth widget turned out by veteran Charlie Brown in plant four. Mostly, the problem lies with the responsible individual lacking the background and experience to make graphic and PR decisions; or with a channel so lacking in communication and understanding that sound decisions cannot be made by anyone. Graphically, four pictures do the work of one. They are hung from the top of the page, the column margins, the gutter; superimposed on the type; carefully spotted for color on the page and the reading matter threaded around and between them. Supplemental charts and graphs are inserted as a change of pace.

jft·powmd aircraf'i: wmc incowr.. }mr{s tqJUndoniOrltt'tice',animpon:anc&c:torian:pandinJOW'I'IitdoabullntK,

6hbumuchoUbcmtn.lbomthet.cinc uiauted ill. cbe UElitedSa.m.Juxy.t fiti.raue•pplyinatrdmk:allftdmatke.:-

.... JUm&tbMtd ., tbe llddidoa of Dt'W ina skilb dndoprd ia North AmerO co

.,......~o<r..,u..ru.w.,......,.of

kct:pabe.dlndW6eld.

tbne &c:ilida now CODiiJIC of uadcr. lf'O'IodpipiDJandhydraoatbacCOGAea

In cbe United Sam Jerwy affili.ccs hne lnrroduced • DC"W ala Met ten"ia JXOII'&.III fOr oiJ.fimt home bntiOJ .IJ'I" Cftnl. This prcaram it dcsiptd CO im· ptOvt: cbe dic:Waq of bftdn& pb.na.,

directly co tbeplantt.Jmry wuapio. nttrindrwk>pillltbae:I)'MMW&Ddoow hutbemiaopen.tionatiDOf'ethanahuadredaltponsaroundthtworld. l n ~mmeecdwattundycom­

pctitiwcoadiOO..tNraiNeddurinJtbe ya.r lftd Wt ue c:ooclo11iQ& our muket:inJ orpni..a.tioa &nldt Nnbu proa;m~ in

tbtdlidtnt:ueol-npowu,inc:cmolidl.rioao/bullrpla.nat.Odtumia&Ja,aod i.ndilrributtoomtt:hods.Newin~a

ctftfift&IUbkantiiJMvlnJsbthebomeowaa. Sa &r the ptoJr&ID hu bem of· Rred oaly in • limirrd nwnbu of una, bucjerwyplar»conpudche~HYicelftd

a..llocomU:ecber«hruques•w.ilableco cbe:reaofcheindUIUJinordercoca· COW'I.JeiDOftpeople:toheuwithoil. }ftxr'sworldwideanworlcofdpcy.

abobrouptabout tallnOID.ia. fora;.

&ixmail~tcboola,dcsipdco

ampU,tbt~tofpUub

hdp ten"it-e arioa opmron ud matket·

badin& and p.cbJinc luhricatiq oilJ iQI c:mplopa b«ome better ~ in Puu, Colombia, Qiic, and Vmnudt reducedthrneeclcoimpon~

mm,p.et:n.ini11Jto4t6l)dttlomlftd comJII01 a1nmta du.rina the fftl'· This

p<Odum.

Orpniadon.! ct...n,n undmabn in

compmcioa•cchema.alkwl

tn.i.niaail~ndfeaiftaiclinrDMicJ

'9'9 1ft n:pcaed to imptO\"e d6dmcr a.adgowchpcunciaLTbrmnsrrolJu"1·• domauc dfiUaM,now u.rtduway, is panicuWiypromisina&omama.rketina

Otmaad b IUCh Otl-dmftd producu u pluda.tains,1Jndxtictu~6bm,.

aandpoint.ThtouJbHumb&eOii&JU.. finina Compuy (Delaware), thr new compiny rnultina &om dw mcrpr, }«·

Sam tbc annu.aJ rate of JfOWth hu hem

K7•illbeiaapoliUoatocompetemore r&aively than n« bdOre and to nund mulr.niDJtoall'firaracnuptalitablc opponunitiaappn.r. ThauJhJcrxyia.tmds to main uw of tht familiar U.:, uadtmark. tbt lltUCh mndnua b a

CHIIIUCAU

and dewp:nu tw bun powinJ aron&fy borhachomea.ndabro.d.In dwUrUred 14percmr inrecmc~andititex· peccedtocoatinue~rnorklscbl.ftJ oprt

crmbthenncteftral ran.Jerwr'• ~fiompetrodwmia.Jialtswodd.

widewuh}6.ooo.oooin•9)90ur.us in the United Sucn, ....de

,c.m_.loc..

bn.ndl'llllnttobeutednationwide.

prinv.riiJ ...........

Anotba-importantdLtnp:wutbr& mblilhmem ol Elk) WedifUftOHA, IDe.,

inctaxdby:npercmccorecordln-ds.

Atlu8uc:rootitu.rmdeofbutyltubber, were inaocfuad in thr domadc awitet in tbetu.m.~~~rrofJ9'9 Md IDtl with cathusiatdc 1CUf1U11U by CUICOmm..Buryl.whkbjenr,Scaadarddnod.

coc:oordinatetai.-ic~oldiliacaintbe

npidlynpaodinca:IIU'baoftbeeucrm Neditanacatl,NonhaodWac:Africa, andtbclbuiaoPMiNUIL ASiiara c:oadoued co find . .,. co lf'W' tUa of mditiona! produca. T1w 8tui1iao compny, b namp&t, ~ cluaed•unall,wryinezpmliftcooltinJ lllO¥e tblc uta lmolmtu ics fUel Jc wu

op<d.od """"""' pn>du<.... hubo<o tbe priocipJ Nbberu.Jrd ioinntrNba b•ownbt-rofynn..Nowicilbno&pu inausio&trtoiUChDC"Wu.JaUW~ud

abk: Wul.adoo, holes. llld ioduarW

~nimmedi•teaKCet&,&ndtbecompany

bdr:s.Manynewarmodebb.'fC'O'tU 1)0

IOid oYH )00.000 of the lt09ft durlnJ

iodi'fidu.lbucylpuu.SalaoftbU•etM· Ulr: m~rui.J ii'ICftUtd by)) pncmc cfur. inJ19)9,.ndrranuf.cnarioJaplcicyb

che)'fti'. Aaimiluprosn.m isund«w:.y intheCaribbeant.tu.

Oil helcinJ of homa concinu.ed to ~p~sdinwac:nnEwopr. Thepowxial

'l1lbcolorlulmooriftrllittor. !Dideol&coapol.r;oropf'kttor, I QltW

ofchisnwknismormow.,i.oumucbu

Workoearedcomp&ttionoa•,W.•t S.ycown, Thw, ro manu.f.autt poly~

Europnnsnowute, pe:rcspita.oolyooe

pylene,~nimpon:ancMWpluticu.Jrdco

Zurich.~ PoiJPI'Oflflr:ttor rope: II

~llldapcediDa.tiMua,

aiDCtitlc.a..haronartwet ct.ftdry,.od•li.Pterd.a ropeaol~IU'tOIIL

16

Standard Oil Company (New Jersey) used dramatic full-page color photos facing black and white type-pages.

Charles Lofgren designed, many photographers are reproduced. Cover is Warren's Cumberland Dull , text is Warren's Lustro Dull. 900,000 printing run.

___....

.._,__.......... ....,...

__ _.

111• Corpentio• .. th ..

,...,._t,

........,.,_....,. .......................... ...............,..- .......

........... ... ............................ ........... .. ,_. ... ......,..

_

. . . . . . . ,.... ....... tl ... - .

CA, December '60

Jct'W'f pnnldwmical,

WIIRUDdytamJb,tbe ~fMo

bei.OJnpt.nded.

Tcrr.t.~.~fliS6l,1•7PI!Ir.r-.,_,-.u..*"'t.llla~.....,., .._.

Dull!tOII,, U..lotu.tlCC. . . udOpcruioM ~ ,._..OOIIIWm.bk_,...

::::.:.-.;!!.~,.:::-,_,_,, AI

:,:.-:.:a-::::.=.~~~,:::::::,~.:-= -.o.s---................ ..,..cc...........,,_.._ __ blitW.

~=::5.-;,a:~--=·=:

jor,.--<tlu..c_,...,_..

.,_.,,,..., , 11M.o...,.t.!Mtr.o..,..._.,~_,...,....

-~·pnolll~oll-"" ........ . .,. .............. biJMwr

__ ___

..... ,_,..,..TIIit_II_,.....,.IOthodfectoi..SCW..e-.IMt.lnlol-

::c-=:::.~=:.~= ..~e:-.:::--a:= ....................... ......,.. ........ ......._n._ .....blr ~~....-:~--= ::=::--....=~CJdlol.'-'-.~..,... u.....,._fll

===--=.

...

Het._o/Sl,41)JOwu .... a&M ........... MII ..... M ' - - - ' ' * " "

-u,.....

:::!=~-ldlllllllilft".Uiii.....,_..M...._

..

~-u..

_

_.._..,us,.......,. .......m ..... -.........-.

SI .T7 •,_, ..... _.l,71l...,_tllal _ _ _

won.-. ce,.w .- u. eow1 o l i H t . - - 10 »D.JSl.llt, .. - . . .rSI,IJII,6ll _.,.,.,101M,,.,...._.,..-.,.......,_ 1M ..tocu

M._,_........,..a&diq..,. ...urecc--.--...-.,.,...,

Cc.pulf"o ..-.tlol

.--mJ_;...,uu..u-...oti&.S.UOOfii4M '\ ~~

O.O..C_.._IfltT'IIo,....._...-ltoretin: .. ~IIMk..._ ......

-~~~~~-~ld)'K,OOO.OOOMIIU.IIIIe_wu...,._•_.. . CiafNI,

,_,_.~~~.,....,...;.t'otnloa.....,_io_.d__,.a.,...cyd&

.

•• -..;qu.--.... _._... ,.....,._......,_ ..........

DwwcU..,...,, ......_IO .... '""""' .... .q. . . . . --.IIOJU16.1fJ•

_,.,.,.IOSJ,Iot.n•••••n. .... ...,....._,,,cw..nJfll,..__......,.

=~~::-£..:-=-"=~ ~,:.-;::::

=."::.:.~~u::~~.:'~--=-'==

ICIII.,..._ • ....._OplicoiiC..,..r ia l"'-siU,IIIO. TIMIIoialtoltc:apitalu,_...

:::!~c:-:::::=-;-:~~'""'-=::= h-.~cM... Iorlt,.--..,.MSI ,lU,Gn"-Sl)Jl,MOilllntl,

11-"HJ ....... ~viU.m.tltrotU...,..~IMW&Mr ...... tl

:::::..-..:=.:.:-:~=~-~...:.·--ft( Alllw:no4tlltB, dloof,47t ........ vllliiC..,..,..•-IIIOdi:IIM .. .....,. vlut,J07,J01•_,....10Sli.Jtol,lll•ttM ... vl lnti. Tllil.,_ti SI,74l,Qit If• priKipallyMI'Ni. . ..,.....tiS1 ,43U16uo11111Mkvl__,.lllod ill _..W!U.Illlc:...p..,'lt&odlopGo.pln(IIHJ)I9)•MIIIIIICII~vi iM,...

OpucaiC:..,Uy(SIIl.*}. TlwllqiMIJ'fllllii-MO<Udolorporllllft_.. btalllillllldfllt,.......,IOUUif.-Sl1jlal ...... tiU..pftor .......

KI:MEERLY-CLARK CORPORATION

Upper left, Bausch & Lomb Optical Company used smaller photos closely related with typography in a formal but very legible layout. Two colors, ochre and black throughout, the photos are duotones. Effect is conveyed of confidence and dignity. Ralph Allen designed. Stock is Mohawk Vellum Superfine. 9M printing run.

37

The Kimberly-Clark report was designed by Morton Goldscholl. Three colors, black, blue and umber, the photographs are umber and black duotones. Paper stock is Kimberly-Clark's Prentice Velvet Coated.

44M printing run.

<

General Dynamics perfect-bound their report, utilized different paper stocks and paper colors for pace change.

Erik Nitsche designed. Cover is in color on white Mohawk Superfine , alternating with text pages printed one-color on gray Curtis Utopian. Financial pages are ochre and black on natural Curtis Utopian . Photos are by General Dynamics photographers. lOOM + printing run.

~"'fiUW!Ii'lilloaOII I ~-..n.t..­

A_

UtiJD.,.._IIt/tlo..--*l'lllfttol.....-

=.-:::..•--.....dr..ublilhtd-,.-.

.W..TW.~•runoooc~mto•-t.i•-•nif­ .t.Nttlto~~e«~ot~w•lhldiaclmpon.at~

•ta.-llfKUntl ........ cipntta

_._.pap~r..a.iMti.,..U,.~

o~e.~aa--u,IMtalltdatlolooullHo1178pMp.

n.--u........-ua-n.DoUU..UIIitedSW..

-w.... to wiU. --'111'

_,c.-.

--"~

b._.....

..... ,.......,....,._

..... _..

......... tlopentioN.,I'tilili.. .ui-~

~~-.t- ........ ~"'~

===~~~u..~ bltatJc.tto.84rwt,1\lnMo.Aa~-.wet

"-""'·-

olthio-·u..~_..w..u."-"""-

ltilaMV..clwtC...-.UmitM, _...udput

~~oco.......-a--..W..p&ut.t!lt.Hpciii.U.,

Qwbc,la SeptemiMr, ltii. TW.pliaatil ........... fariala...,!ail«t~.........t.N'r ...... ,Oittile

Cuadiu-kM."-MrMWpkll.tfot'tJoe_,_ t-.-'---"-'*~-tW.~

tlo.laDee.miMr, ltii,M.Saiat,_.. Jo.:. . Brunrkk.

-··t.oo~ to tMpulplllillol _ _.., tmat:PIIIp APaplr, u.ited. hwlll ...... uf~-

~toroi~=::::.~H..WM::: ~~----.-..-&11

Mditio11to 1M WllllliJIII, )llalliloW,

CA. D ecember '60

--uac pleat.

Looking at the reports we favored (some of them are shown here ), there is a degree of similarity. To the unsophisticated eye this might indicate the development of a formula. It isn't. The similarity occurs in the common purpose. The desirable image to be projected doesn't differ greatly from corporation to corporation. Legibility and clear presentation may cause quick impressions of sameness while being very individual in the actual handling. The use of the photography is particularly outstanding.

The photos have been selected or taken, possibly cropped, to convey powerful and dramatic impressions. Large size and quality reproduction, often with color or duotones, enhanced the effect, caused little distraction to the flow of the message.

All of these reports were executed by highly capable designers, many are nationally respected names. In each case the designer's efforts are discreetly in the background with a sure hand on the decisions. Typography, photography, printing and paper are welded into a powerful communication. Most of these designers, I suspect, have a strong relationship already established; or efforts were made to thoroughly indoctrinate them with the company.

Because a report has not been reproduced here, I certainly do not mean to imply that it was automatically included in the area of criticism. Actually, annual reports have come a long way over the general quality of just five or ten years ago. It's just that many still have some distance to go. The area for improvement means more opportunity for the artist to raise his stature in American Commerce.

38

Corning Glass Works utilized black and gray duotones, blue accent for the symbol. Art Director, Martin S. O'Connor. Artist, Marcel ltin . Photographer, Richard Jeffry and Corning Glass Works. The report also contains one bleed color photo. Cover is Strathmore Alexandra Japan. Text is Mohawk Superfine, printing run 30M .

Twoun'*l&lprajec11werecompkt:edlut )"tar.

1llcfinlwMthc~mataulacturc

.........

upiDDOW.

_

..... _....,., ....

bcvocnpindUICri&

olthcthfckat...si.adaallliddiDcwiodowllllde AI~hthltwfndowlti_Kiett

thick, tbe,..._ il oiiUChvJa-a-b.ipqualitythat objecumaybevlcwailh.rou&hltwitbolnd»-

A. reponed a yair ap, OanUnc Ware lkWeta

tonioo. l twWbcialtalc:diotbereaciOI'~

trocDaPyrocenmmatlcri&l,rea:ivedW'IUIU&i

JU.DoaoperaeedbytbeAtDIDk:P..nerJyc.om. mblloaatldaboF.U.,Idabo.

~upoatbcirintnxhactiollioakw

aDdaucqMU'll&,tbeint__.,....._ .....

m.jormarkuduriactbeluc~-m.ol

Anotbcr~twutbemuulectun:oi19SI.

A.diltributionwuextmded~c

an~rdecdnfmlmwblallk.14tbcCOUDtry, dcmaDdrapktlylnc:reuocl. l nApril

lncha iD diamder, b

the new oadoo.aJ ob-

~UVallllr'yatJtJttPeaknearl'uaoa.,AriMJDL

'I'hil wu the larpt pojeet o1 itt kind ti.ftce CominfprocluccdthcblankfortbeHaleTe&.

IC!OpeatMt.. Pa&omar,CalJbnl.a,25yunap.

A-. the many new tcchnic.al procl...cu introducedlaatyurwuan improved Pyrex brand dnlnlinc for c:arT'OIIive wutc1. B«awe thil procluctillow iD COit,CUftomai.ntain,aodb paraoteed for the lilc fll the buiJdinc in which ltiliDitalled, ht..alrcadypioedwideac>. cqK&DCC. Pyru brand pipe Ia allo cxllmliYdy

19S9,(acilicia~kaledathda:!Oty, Wellt

V"Jinia.toirlcreueoutpul.

FivenewCcmlncWareproducta.lndudlnc twoco«eepen::olaton,werel.ntroducednadooally inmidaunmcr. 'The•caryoiOc:ntlnaWarewu carried tomillioololbomeedurint: the autumn

montht throucb a utlonal..:l¥a'tiliftc proa:ram oanetworttdnilioaandlam.tpaioa. Sala rapoNelothilpnJIJIOCion.andtbefactthat

addiDooal proclucca are DOW wxkr dc:vdopmau, lwncotlllic.tcdafurthcrapembainproductic-:~ c.ap.clty.

CA, December '60

American Machine & Foundry used 4·color and blue and black duotone photos facing airy, readable type layouts.

Samuel A. Fertik, AMF's art director, designed the report.

The photographer was Art d'Arazien. Cover is Strathmore Fairfield blue/ white, text is Warrens 80# Cameo Brilliant Dullcoated, printing run 85M.

Financial review

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International Minerals and Chemical Corporation's report had beige and black duotones, used the beige color for overall coverage on title pages, chart backgrounds. Blue was used sparingly as an accent color. Morton Goldscholl designed. Photographer was Jim Burns. Stock is Hopper Carrera Vellum, printing run 42M.

la theUaiacdStata, prodvccioao/Cominc

ernpb.a*ilinlcndattoi.ncrcaKtbeaumbcrol

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Canada.awholtyowocdiUWdiary, iaiuplaDt

year, IDOI"C~werc~co.:ap&etcd

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atLcuidc,Onwio.

SUa ol O:lrDUtc Ware ba¥C ..ot w:t.encty af!'ectstaJaolthe-.~lineoiP'yTa

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wbichcanbcuxdtoimpfoveaodc:xpaodtbebwi· nc& o-/,_w lfOUP' traDilatc the ruu.lll ol rt:te:areh Into lmprow:d or tiCW product~ and

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39

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Cominc hold. • 50 per cent b:ltaat m Dow

Muecum ol Art Ia New Vorl: Cty and will be ahibhedatotbclr~artmuacu.-inthe

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ThttiCWStcubeoCI•abopb:INewYorkCty,

OJminc Fiberpe Corpan.tioa. A brief dacriptioaoltbac..adatcdcoaapMialtp.a.OIII ~ 31 . Tbdr accouDCI an: DOt CODIOlidated withtbolco/OonincCU.Worb.

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the hilcary, art aDd Jdmot ol ~­ Anocba'95,000pa'IOIII.priadp11Dycm.P'ora and otberuurelkknar. attended thcconc:eru.,

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comparedwithl5,li2,7:Mio19SI.Carainc

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Stcubm last JUT were Prelideat Eilenbower's JU'II to beads o/ttaiC paeated dwinc Q Euror pu.ojoumey.

cow:rina•pericxto/3,000yunol~.

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CA. December '60

thareo/the~~WC~oltt­

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parUa m the puc year w 13, 155,000 1n tt51.

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c.onw."•boob.

.

Do you want to sell today' s artist 7 market

CA's 70,000 readers are the buyers in this market. Their • unparalled interest and enthusiasm offers you the ideal atmosphere for your sales message.

Our own survey of subscribers and of the commercial art field not only produced these high readership figures, it is also indicated nearly twice the readership of any other magazine in this field.

An outside survey is currently underway. Also, a major study of the entire field, by CA, is out of the planning stages, will commence early in 1961.

WHY has CA achieved this big lead in readership in only a year and a half of publishing?

40

The answer is simple ... a qualitative evaluation of the magazine by the artists themselves. They recognize CA's attitude of service. They appreciate CA's editorial content, the selection and preparation of articles and features for the maximum interest and value to them ... a content that is growing stronger with the continuing growth of their acceptance, enthusiasm, cooperation. They have welcomed and praised CA's quality of reproduction and use of editorial color, available in some European magazines but in no other art and design publication in America.

CA, December '60

AN ADVERTISEMENT

CoMPARE. Notice the use of maximum-quality reproduction techniques and editorial color in CA, and the high ratio of editorial to advertising that our greater subscription revenue helps us to afford. Note also that the recent issues of Art Direction and Print gave their subscribers absolutely no editorial color, the minimum quality of reproduction.

APPRECIATE the value to an artist of clear, accurate reproduction of the pieces shown in the magazine. What is an illustration for an article on typography worth to him when the typography of the piece illustrated is nearly illegible? This is one of the many reasons why artists value, read, return for reference to CA. This is why they will look to CA for coverage of major events such as the New York Art Director's Club Exhibition. They want to see the art that warranted such distinguished honors.

Where then is your advertising most likely to be seen and read?

41

Take advantage of the opportunity to place your sales message where it counts the most. Why not send an insertion order now?

For more information, write CA. Or, call collect.

The number in New York is MUrray Hill2-11,.38.

In Palo Alto it is DAvenport 6-601,.0.

CA. December '60

from Memphis, some outstanding art represented by these pieces-all winners in the J,.th Annual A/D Club exhibition.

Left, a package design by Ed Bailey for Blair Art Products.

Right, a series of sales promotional slides for the Canvas Awning Institute. Art direction and design by Kathryn Huckaba, lBttering by Joe Giles.

Far right, a poster for the Memphis Little Theatre designed by Millicent Ford.

Below, the Exhibition Call for Entries Brochure, A/D Bud Gardner, art by Gardner and Jason Williamson-first award for folders and booklets, also "Best of Show."

42

filled Mth gsnuilll

BF.SfiPST PAPJUt CIMINI

CA, December '60

43

-~j'

1::..:'·

r

·············i········

• MORE

IMPACT!

CA, December '60

6 Texas artists move into a

"DREAM" STUDIO CA reproduced a half-year calendar (Exhibit, August '60) by six artists in Houston. Accompanying the calendar was an invitation to a Christmas party and reference to a different new studio center. We probably can't make the party, but we did find out more about the studio.

It was concieved by Jim Glass, graphic designer. It is tenanted

by Glass and five other indepent free-lancers: Harrison Allen, letterer-designer; Jim Culberson, cartoonist and designer; Fred DuBose, designer-illustrator; Charles Schorre, painter and consulting art director; Gene Slaughter, designer.

The center was designed by David D. Red, AlA, head of the architectural department of the University of Houston.

The landscaping was designed by Robert F. White, ASLA. The center also boasts a conference room for use by the tenants and their agency clients. Glass plans to develop this facility further as a library of typography, photogr~phy, graphic art media (CA?), packaging, information for general reference.

44

5

4

3

2

SCHORRE

GLASS

CULBERSON

AL LEN

PATIO DuBOSE

SLAUGHTER OFFICE

3

CA, December '60

1. Each studio has a door opening onto the 40 x GO-foot patio.

This consists of a series of maintenance-free areas of crushed brick, gravel, Mexican river pebbles and time-rounded rocks from the Pecos River. Concrete walks bridge these areas and they border on a reflecting pond and fountain. The patio is further partioned by solid-color metal screens which set off private discussion areas.

2 . North-facing wall has angled windows, gives natural light to each studio.

4

3. Jim Culberson. Ea.ch studio has a natural pine wall for hanging and nailing; built-in cabinets; recessed basin; exposed-beam ceiling. They range in size from 12 x 19 to 17 x 18.

N

4. Painter Charles Schorre has the center's largest studio.

1

5. Gene Slaughter, left, and Jim Glass relax on the patio.

6. Fred DuBose instructs a model. All of the artists have use of the photographic studio. A 15-foot ceiling contains three square bubble skylights with shades. In the studio are two Grafikon projectors, bank of lockers, rolling stand with sound and film recording and editing devices, a variety of screens for modeling sessions. An 8 x 12 darkroom adjoins.

PARKING

5

45

"An Experiment with Line and Camera" is a limited limited-edition (10) printed by George Sadek and Jerry Uelsmann. The high-contrast negative of the line and the continuous-tone negative were combined and registered in a single photographic image using two enlargers. We were not able to show all of the travels of this adventurous line, such as th'rough a cigar and out as curling smoke.

It does continue on to wander off the book, find its way back and finally return again to its home in the ink bottle. Sadek is an instructor in the Department of Fine Arts, Indiana University. Uelsmann is an instructor in the Art Department, University of Florida.

PARKING

76

-----

CA, December '60

ELSA K ULA is a Chicago designer and illustrator with a highly developed imagination. Her ability to visualize and transport objects out of context leads to design solutions that are exciting and effective. In her own promotional pieces, she adopted a theme of self-portraits, identified herself with a variety of techniques that were fresh, unexpected. Several of those shown are inserts bound into the annuals of the ((27 Designers of Chicago." This year, the rules committee decided that no portraits, photographs or drawings, of the designers were to be allowed.

With this crimp in her running series, she went to a portrait by association (lower right). She has a reputation as a <<hat zany," designs her own, wears them all the time.

Besides her free-lance work, Elsa also teaches Visual Design at Southern Illinois University. At left is a cover from a brochure she prepared for the University's 4th annual Fine Art Festival featuring Italian arts.

CA, December '60

The portrait series began with this ''cookie profile," a combination of cast plaster and 30 stuff. The crossword puzzle is a cover for a 27 Designers insert, the inside spread is shown

47

at lower left, continues the check pattern.

The photo is Elsa and assistant (daughter) working at her floor model blanket·wringer press.

CA, December '60

48

CA, December '60

the biting eye of

ANDRE' FRANCOIS :)

A new book full of fascination, wit and surprises appeared last month, published by Perpetua Books, London. It is the first comprehensive collection of the work of Andre Francois.

Whether sketching, cartooning or painting, Francois' art is important. He has left his mark on our graphics.

Ronald Searle wrote the introduction and we excerpt: H... With the advantages of an adult mind he peers through the eye of a child and in the simplest terms restates the adventure, poetry and meanness of the world around us.

Suez- bifore and tifter

HThrough the power of his line he is able to present these discoveries as a statement of fact-even when the result is sheer fantasy."

At left, a cover for Punch.

49

CA, D ecember '60

The people package

by George Elliott, Senior Art Director, McCann-Erickson, Inc.

2

50

CA, December '60

The visual theme of the 39th Annual of the New York Art Directors Club is a simple invention. It is composed of two basic ingredients, people and communication.

At some sweat-stained moment of truth, the sound and fury of communication machinery is left far behind in the anticipatory dust of store deliveries. Cartons of canned goods, bottles, peas, cat food , soft drinks, soaps, the stuff of life. It is not coincidental that the graphic device used to «package" the visual theme is made from the heretofore unglorified inside dividers of a shipping carton.

The whole small ball of earth-people in the act of being born, growing, wanting is our potential sales market.

The scared world of mothers for their babies, people in love, hate, pain, hope. This is the people-package, the human beehive surrounded by and reacting to our professional deeds.

3

The 39th Annual is the first book of its kind, or possibly any kind, that has a sequelled graphic continuity on eight ((visual covers" rather than the conventional two.

Breaking this «eyeball barrier" should be a new giant step in creating a more sustained emotional sales influence factor for publishers.

The delivery of bodies and messages begins on the face of the book container. It transforms to an apartment house of people on the other side. Having survived this initial jolt, the helpless prospect is trapped into removing the book from the outside box, and is caught in the electric current of human activity on the book cover.

Being weak of character, he should proceed to the 4th and 5th covers. (In the Dark Ages referred to as end papers.)

The emotional chemistry spreads like soft margarine to the 6th and 7th covers in the rear of the book. On the 8th cover, the whole family of people and messages lives happily ever after in locked embrace.

The graphic treatment is like an art director's last dream of glory as the enemy approaches. The walls are plastered with a collage of photographic pin-ups including a few desirable beauties, and a sort of typographic Bouillabaisse. Dimensional design and the use of four color photography wraps the thing in a meaningful cohesion of elements. We sink finally, in a blaze of visual acrobatics on a patch of soft green grass.

The 39th Annual contains the rich cream of graphic efforts from the fuel cell of creativity, The New York Art Directors Club.

Earnest Elmo Calkins, who fathered the first A. D. show, has at 92 now lived to see his strong faith in the importance of good graphic communication finally justified. It was a privilege to design and photograph the 39th Annual. I was honored to meet and photograph the inspiring Mr. Calkins.

CA, D ecember '60

IN THE BEGINNING 'COMMERCIAL ARTIST" WAS ATERM OF RE· PROACH

The visual theme of the 39th Annual of the New York Art Directors Club is a simple invention. It is composed of two basic ingredients, people and communication.

At some sweat-stained moment of truth, the sound and fury of communication machinery is left far behind in the anticipatory dust of store deliveries. Cartons of canned goods, bottles, peas, cat food, soft drinks, soaps, the stuff of life. It is not coincidental that the graphic device used to <<package" the visual theme is made from the heretofore unglorified inside dividers of a shipping carton.

The whole small ball of earth-people in the act of being born, growing, wanting is our potential sales market.

The scared world of mothers for their babies, people in love, hate, pain, hope. This is the people-package, the human beehive surrounded by and reacting to our professional deeds.

3

5

4

7

6

The 39th Annual is the first book of its kind, or possibly any kind, that has a sequelled graphic continuity on eight «visual covers" rather than the conventional two.

Breaking this «eyeball barrier" should be a new giant step in creating a more sustained emotional sales influence factor for publishers.

The delivery of bodies and messages begins on the face of the book container. It transforms to an apartment house of people on the other side. Having survived this initial jolt, the helpless prospect is trapped into removing the book from the outside box, and is caught in the electric current of human activity on the book cover.

Being weak of character, he should proceed to the 4th and 5th covers. (In the Dark Ages referred to as end papers.)

The emotional chemistry spreads like soft margarine to the 6th and 7th covers in the rear of the book. On the 8th cover, the whole family of people and messages lives happily ever after in locked embrace.

The graphic treatment is like an art director's last dream of glory as the enemy approaches. The walls are plastered with a collage of photographic pin-ups including a few desirable beauties, and a sort of typographic Bouillabaisse. Dimensional design and the use of four color photography wraps the thing in a meaningful cohesion of elements. We sink finally, in a blaze of visual acrobatics on a patch of soft green grass.

The 39th Annual contains the rich cream of graphic efforts from the fuel cell of creativity, The New York Art Directors Club.

Earnest Elmo Calkins, who fathered the first A.D. show, has at 92 now lived to see his strong faith in the importance of good graphic communication finally justified. It was a privilege to design and photograph the 39th Annual. I was honored to meet and photograph the inspiring Mr. Calkins.

CA, Decembe'r '60

IN THE BEGINNING 'COMMERCIAL ARTIST" WAS ATERM OF REPROACH

lliESE WERE BELIEVED TO BE MEN WHO HAD FAILED, MEN WITH NEITHER ARTISTtc ABILITY NOR !MAGI·

NATION. TODAY, ARTISTS HAVE leARNED THAT THEY CAN Ill USTRATE AN ADVERTISEMENT WITHOUT SACRIFICE OF IDEALS OR ARTISTIC INTEGRITY, AND CAN PAINT A PICTURE TO ADVERTISE A MOTOR CAR

OR FOOD PRODUCT IN THE SAME SPtRIT AS THAT IN WHICH MICHELANGELO CARRIED OUT THE ASSIGN· MENT TO DO THE CEILING OF THE SISTINE CHAPEL THE DIFFERENCE ETHtCALLY IS NOT IN THE NATURE Of THE JOB BUT IN THE GREATNESS OF THE ARTIST. IN THE MIDDlE AGES THE CHURCH WAS THE GREAT PATRON Of ART; TODAY IT IS BUSINESS. THE MAN WHO HAS BROUGHT THIS ABOUT IS THE ART DIRECTOR . HE IS THE CONNECTING LINK BETWEEN ARTIST AND CLIENT. UKE JANUS HE LOOKS BOTH WAYS. HE MAY BE. AND OFTEN IS, A CREATIVE ARTIST IN HIS OWN RIGHT: BUT HIS GREAT WORK IS TO BEAT A PATH BETWEEN THE MAN AT THE EASEL AND THE MAN BEHIND THE DESK. HE IS ABLE TO PICK OUT FROM THOUSANDS OF ARTISTS AND THOUSANDS Of GENRES THE RIGHT MAN FOR ANY JOB. THE BYPROOUCTS OF ART IN ADVERTISING HAVE BEEN NOTEWORTHY AND FAR-REACHING. GOOD TASTE AND GOOD DESIGN HAVE SPREAD FROM THE AOVERTI~NG TO THE PACKAGE, AND FROM THE PACKAGE TO THE PRODUCT. THERE IS NO QUESTION THAT THE VOLUME OF ART SET IN MOTION BY AOVERTI~NG HAS IMPROVED THE DESIGN OF MANY ITEMS OF MANUFACTURE. ANO THE PANORAMA Of REALLY GOOD DESIGN ON ADVERTISING PAGES, AIDED BY GREAT ADVANCES IN REPRODUCTION AND PRINTING, HAS HAD ITS INFLUENCE ON PUBUC TASTE. WHERE DO WE GO FROM HERE? THE ONLY POSSIBLE REPLY IS· ON. GREAT PROGRESS HAS BEEN MADE. BUT BY NO MEANS IS THE WHOLE BODY OF ADVERTISING ART AS GOOD AS IT SHOULD •. . ANO COULD .•• BE. THE FULL POWER OF ART DIRECTED TOWARD A 0£FINITE END HAS NOT YET BEEN ACHIEVED. AND NEW MEDIUMS Of COMMUNICATION OFFER NEW OPPORTUNI · TIES. THE SHREWD REPlY OF A SIX·YEAR·OLO TO A PATRONIZING VISITOR IS PAT: " MY LITTLE MAN, HAVE YOU LIVED HERE All YOUR liFE r' " NOT YET." FORTY YEARS IS A SUBSTANTIAL AGE FOR ANY INSTI· TUTtON, BUT IT IS SHORT COMPARED WITH THE MANY YEARS AHEAD OF US. IRNUT ELMO CALKINS

Two of the opening spreads in the 39th Annual, the foreword by Earnest Elmo Calkins and George Elliott's photograph of Mr, Calkins.

CA, December '60

8

MORGUE: a building grows This month, from the construction progress record of a building. Officially designated as Bldg. 204, it is one of many recently completed by Lockheed Missile and Space Division in the Stanford Industrial Park, Palo Alto. Photography credits go to Russell Illig and Lockheed Missile and Space Photos.

53

Pouring the slab

The steel

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Drilling the caissons

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Tieing the reinforcing steel

CA. D ecember '60

Tilt-up

Materials

CA . D ecember '60

Catwalk

Mixing roofing material

55

Framing

Hanging the ceiling

CA, December '60

Retouching The beginning of several articles on retouching-this one dealing with qualifications, markets, clients, buying, selling, pricing.

part 1

56

To those who have never had the pleasure of peeling off that last frisket or the frustration of plucking a fluttering moth out of a jar of #3 gray ... retouching has always seemed a rather mysterious occupation.

It's a rare estimator or buyer who will stick his neck out and quote prices before consulting with his retoucher.

Like other problems in art and graphics, it's usually due to a lack of visual communication and it's almost impossible to explain retouching by talking it. Somewhat like trying to discuss counterpoint or muted fifths without music. To an unsophisticated buyer of retouching, it's difficult to understand why it might take two hours ((to bring out those little wires in the shadows" but only half an hour to «knock out that background and halo that gizmo on top."

One of the strongest recommendations we could make to buyers of retouching is to spend an hour or two with a retoucher as he goes through his paces. Time and money could be saved, misconceptions and hours of wrangling could be avoided, and end results would be far more satisfactory.

Few artists ever start out to be retouchers. Becoming one calls for a special type of person ... usually starting as an artist «who can also do some retouching." It demands extreme attention to detail, a great deal of patience, the ability to produce over long stretches of time without sacrificing quality, a willingness to experiment, a delicate touch, a feeling and understanding for light, shadow, form and perspective. In addition to technical proficiency, one's success is in direct proportion to his ability to understand, communicate and work with clients, their products and their problems.

Openings available to retouchers, in addition to free lancing, are found in large art, design or photo studios; with companies manufacturing, selling or distributing a variety of products, usually merchandised through catalogs; some newspapers and publishers; and a few of the larger printing, engraving and litho houses.

Competent retouchers are at a premium, the pay is good, and as long as photos are reproduced,. there will be a market for retouching. This is no reflection on the photographer. He's committed to the product given him. Ex-

cept for certain «make-up" techniques, his job is to use his knowledge of lighting to bring out contrast, form and planes, set his lens stops for maximum detail, retain vertical and horizontal alignment and make the best possible print from his negative. If the product is a prototype, is marred or if proper backgrounds are unavailable, he can't control these and retouching is necessary.

One of the poorest investments a company can make is buying «cheap" photography. The few dollars saved on a series of photos can be gobbled up retouching just one of them. And a poor photo, no matter how well retouched, can never equal the quality of a good photo.

The buying and selling phase of retouching usually starts with a phone call, an appointment and a stack of photos on the client's desk. Before ever looking at the photos a number of facts are necessary in order to answer the almost invariable question, «How much are they going to cost me?" ...

1) How soon will they be needed? 2) Does the client believe in a minimum of retouching in order to retain realism or does he belong to the spread-it-on-with-a-trowel school complete with light slashes and ruled edges? 3) What reduction will be required? 4) Which halftone screen will be used? 65, 110, 133, 150? Litho, letterpress, gravure?

5 ) Are the photos to be moun ted and flapped? 6 ) Are they to be outlined for dropout with Kemart or Fluoro?

Overlay masks? Square halftones? 7) Has a tentative budget already been established? 8) Will the client have the final approval or will others get into the act? If so, who are they?

After these are answered, it's time to talk photos and prices. If the client is knowledgeable and has bought retouching, many of your problems are solved. But beware the new production manager or ad manager. Don't let him come within five feet of a photo with a ball-point pen.

Explain to him what happens to the emulsion when his instructions are written on an overlay with a pen or hard pencil ... that the impressions will reproduce and there's no way of getting rid of them. Although it's possible to repair a cracked or torn photo, it should never be attempted if another print is available. If you've never tried it, it's worth the experience, but that's all. Don't ever hesitate to refuse to retouch a photo. Here, a knowledge of photog-

CA. D ecember '6iJ

raphy can help cement relations. If there is enough time, the item is available, and you know the photo can be reshot properly at less cost than it would take you to retouch it, recommend it strongly. Again, a poor photo, no matter how well retouched, can never equal a good photo.

While examining the photos, if there is an excess of white spots, scratches, little hairs, be sure to comment on them. It could be less expensive to get another set of good prints than spend time spotting the bad ones.

When the client tosses in a comment like, ((Take out that wall plug behind the glass," or ((Highlight the edges

on those gears," be sure he understands what's involved.

If convenient, invite him to watch you in action. Most buyers enjoy an opportunity to tell the receptionist, (Til be back in a couple of hours."

In order to stay in business, keep clients, and make a profit, the ((How much?" answers are vital. A client will usually ask how you charge - by the hour, the piece, or the job? It's usually safer to quote ((by the hour" based on the going rate in the community. Since the budget on most jobs is normally predetermined, what you actually make per hour is your own business.

Physical damage to the emulsion of a photo is almost impossible to remedy.

Certain methods can be used but if at all possible, it is far better to get another print. The following are some of the typical problems a retoucher encounters.

- - - - - 1 - - If it is necessary to clip papers to a

photo, a small square of folded cardboard under the clip will keep this from happening.

There are few retouchers left who --1-...;;=---.~~: can shave the edges of a torn photo and butt them perfectly. Far better to get another print; copy the torn one and retouch the new print; or use a method which will be described in detail in Part 2.

57 - - - + - - When a photo is folded or creased, it is almost impossible to salvage it.

Either another print should be ordered, or if unavailable, a copy can be made of the damaged photo and the crease retouched out.

This is the result of writing - ! - - - instructions on an overlay with a ball -point pen or hard pencil.

...._.:..:...;....,;-+-- To realize the amount of time involved in retouching a scratch like this, count the number of grays, black and white the scratch passes through.

Surface scratches like these are -+--___;common on glossies and even though they may not be visible to the eye, a camera will pick them up.

By tilting the print to the light, they become obvious. Either another print should be requested or a dulling spray used.

If more than a few minutes are needed to spot small scratches, dust spots, lint, it's much cheaper to order a clean print.

CA, D ecember '60

58

If you're new in the community or just starting, find a sympathetic ad manager, agency art director or studio manager and ask what the going rate is. Try to have him show you pieces he has purchased and the prices he paid for them. Depending on experience, speed, dexterity, it's perfectly possible for a retoucher in a $10-an-hour area to make $20 an hour while a beginner may net only $5, or less. In any profession it's bad practice to undercut established rates. The beginner is expected to be somewhat less, but when a pro starts cutting prices, everyone suffers.

Experience is the only answer when it comes to estimating a stack of photos ... a beginner starts learning here and usually has to take his lumps. However, even a pro can never foresee all the problems. A reasonable amount of give-and-take should be established with the client from the beginning. One of the toughest decisions to make is what to do to a photo after the specified area is retouched and the rest of the unit looks sick by comparison.

There are some rules of thumb in estimating that can be of considerable help. The client is normally interested only in one final billing price for the whole job and he knows fairly well what he can spend. One technique that has evolved out of numerous trial-and-error methods is based on a 10-or-15-minute unit system. Forgetting about money for the time being, study the photo carefully in terms of units. In order to give you time to think, bring some sheets of glassine and a grease pencil with you.

Number the photo and the glassine overlay, key the upper left hand corner of the glassine to the photo with an arrow and draw your comments on the overlay, lightly, by circling areas and calling out cclighter," ccdarker," ccdelete," ccfix up," etc. Mentally determine the amount of frisketing,

airbrushing, spotting, final touchup and write the number of units on a pad of paper. After going through the stack this way, add X units for the original conference time, another conference time on delivery, mounting and flapping costs (have a basic unit rate figured out beforehand), overlays, plus a safety factor of X units depending on how tricky some of the work might be. New buyers may wince, but you'll earn every penny of it with the odd hours you'll probably have to keep, the deadlines you'll have to meet and the extras you'll toss in (and should) as a matter of professional pride.

If you find, after it's all over, that you have miscalculated your time in the client's favor, it won't hurt your status if you deduct some from your billing. On the flip side, however, there are three ways of looking at it. If you're learning, this is known as cctuition." If you're on your way up and a considerable amount is involved, try to work it out with the client. If you're a pro, it either wouldn't have happened, or the moment you noticed something that had escaped both you and the client at estimating time, you would have called him immediately and come to a decision.

Part 2 of "Retouching" will deal with photographs, mounting, airbrushing, friskets, materials, glossary ofterms. Part 3 will cover new techniques, new media, overlays and masking, other pertinent information. We invite and would appreciate comments, criticisms, new ideas, "secrets."

Although this is an extreme case, it is quite obvious that the cost of retouching the "cheap" photo at the left would be many times more than the extra amount a professional . photographer might charge to produce the quality photo at the right. When a number of photos are involved, the bill for retouching could be prohibitive.

CA. December '60

CA/60 Editorial J::n.dex Vol. 2 ,, Nos. 1-12 Color Charts Jan.- Purple, orange and black-33 Feb. -4 process colors-45 Mar. -Green and Black Apr.- Blue, green and black-77 May-Red-orange and black-38 June- Blue-green and black-46 July-Green and black-48 Aug.- Red-violet and black-10 Sept.-Green and black-64 Nov. CA-60-Blue and black-24 Dec.-Brown and black-10

Morgue Jan.-Women's feet (in shoes)-34 Feb.-Men's feet (in shoes)-37 Mar.-Good ol' days, The Bettman Archive-57 Apr.- Lumber industry-75 Aug.- Doorways-53 Sept.- Antarctica -54 Dec.- Building construction -53

Personalities Jan. -Olle Ekselle, Swedish designer-S James Ward and Arnold Saks-14 Gjalt Vanderwyck, technical illustrator-30 Feb.- Brownjohn, Chermayeff and Geismar-9 Franklin McMahon -56

Mar.-Stan Freberg-14 Apr.- LA's three ((AD" studios-56 May-Gordon Aymar-40 June- William Golden -10 Norm Gollin-30 Aug.- Arthur Paul of Playboy-14 Sept.- Nick Galloway sketches in the Orient- 38 Irving D. Miller-17 The Globecombers-49 Dec.- Elsa Kula -46

Photography July-8th Western photo exhibition -42 Sept. -Glossy photographs-26 The Globecombers-49

Production Jan.- Retouch blacks, grays, whites-61 Feb. -Color on colored paper-27 Mar.- Line, halftone and color in photoengraving-22 Minimize the muffs in TV art-28 Apr. -Comparing drop-out processes-70 June- Pin register for artists-17 July- An experiment ... textures-40 Aug.-Wood engraving-34 Sept. -Paper: language and cost comparison- 59 Glossy photographs-26 Dec.- Retouching, Part 1-56

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STATOIIOIT Of OWIIOISIIIP, MAIIAGEMENT, CIRCUlATION, ETC. Required by the Act of Congress of August 24, 1912, as amended by the Acts of March 3, 1933, July 2, 1946, and June 11 , 1960 (74 Stat. 208, Title 39, United States Code, Section 233) of The Journal of Commercial Art, published monthly at Palo Alto, Calif., for October, 1960. 1. The names and addresses of the publisher, editor, managing editor, and business manager are : Publisher, R. M. Blanchard, Los Altos, Calif.; Editor, R. S. Coyne, Palo Alto, Calif., Managing Editor, none. Business Manager, J. F. Pickering, Palo Alto, Calif. 2. The owner is : Coyne & Blanchard Inc., 809 San Antonio Road, Palo Alto, Calif. The names and addresses of stockholders owning or holding 1 percent or more of total amount of stock are: RichardS. Coyne, 3033 Price Ct. , Palo Alto, Calif. ; Robert M. Blanchard, 1684 Newcastle Dr., Los Altos, Calif.; Frank Chambers, 2700 Pacific Ave., San Francisco, Calif.; Maurice G. Hanafin, 64 Rebecca Lane, Atherton, Calif.; Robert L. Strattor., 3379 St. Mary's Plaza, Santa Clara , Calif.; Joseph F. Pickering, 3954 Nelson Ct. , Palo Alto , Calif. ; Victor Schmidt, 1174 Lincoln Ave ., San Jose, Calif.; Norman R. Anderson, 19700 Farwell Ave., Saratoga, Calif.; Hans Goldschmidt, 1 Flood Circle, Atherton, Calif. ; Robert 0. Candee, 1

1

~6~r~~ec;~~~e:t~~~:~~:~ .et~~:. :f-~o~:~a£~ ~Y;;~~~~~8~ :~~~e\~:-~d~~;: ~i. ~~~~~ ~:-~ki>~!lil.lio~~!~~-~eH~-r~~i~~r~~~t!n~:~~;aE~S~~il~[~o:~a~~

5, Wash .; Lynn R. Hildebrand & Jeanne C. Hildebrand, Palo Alto, Calif.; Paul H. Swanson or Rose M. Swanson, 432-1117 2nd Ave. Bldg., Seattle, Wash".; Jay A. McKendry & Patricia D. McKendry, 1719 Van Buren, San Mateo, Calif.; Emil B. Pardee, 130 Garbada Way, Menlo Park, Calif.; Wm. H. Arbogast, 820 Loma Verde Ave., Palo Alto, Calif.; Edmond G. Hoffman, 1750 Gravelia Ave., So. Pasadena , Calif.; Leonard Marks, Jr., 4034 Ben Lomond Dr., Palo Alto, Calif.; Paul J. Crabille, 18 Magnolia Ave. , Millbrae, Calif.; C. R. McKendry, 1000 Geary St. , San Francisco, Calif.; Jerry Steimle, 205 W. Floresta _Way, Menlo Park, Calif.; Floyd Langsev, 2121 Sharon Rd., Menlo Park. Calif. 3. The known bondholders, mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages or other securities are: None. 4. Paragraphs 2 and 3 include in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation , the name of the person or corporation for whom such trustee is acting; also the statements in the two paragraphs show the affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner. 5. The average number of copies of each issue of this publication sold or distributed, through the mails or otherwise, to paid subscribers during the 12 months preceding the date shown above was 9000. Joseph Pickering, Business Manager.

Sworn to and subscribed before me this 26th day of September, 1960.

(Seal). Mary Elizabeth Cole. (My commission expires February 5, 1963.)

59

FIRST CLASS PERMIT NO. 12 PALO ALTO CALIFORNIA

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BUSINESS REPLY MAIL NO POSTAGE STAMP NECESSARY IF MAILED IN UNITED STATES

POSTAGE WILL BE PAID BY-

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

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ShO'W'S

Jan.- Art Directors' shows, Part I-20 Chicago Art Directors' show-54 Feb. -Society of Illustrators 2nd annual exhibition -16 Art Directors' shows, Part II -65 Mar.-ADLA's 15th western exhibition-34 Art Directors' shows, Part III Apr.-Good AD shows-13 NYAD's 39th exhibition-23 May-Outdoor Advertising's 28th exhibition -55 NY Type Directors' Club show-61 June- Book Jackets-19 Chicago Typographic show-37 Washington AD Club-26 Seattle AD Club-27 July-8th Western photographic exhibition -42 Aug.- Los Angeles Illustrators show-56 Nov. -CA-60-28 Dec.- Illustration West-24

Special Features

60

Jan.- Interiors and Industrial Design magazines-14 Feb.-Business forms, a design problem-41 Mar.- Freburg, Ltd., Kaiser Commercials-14 Apr.- Artists, Gobbledygook and the Census-68

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Gifts ... Copies of CA'60 are available as gifts at $4 each or $3 each in quantities of 5 or more. We will be glad to include a CA gift card or your own personal note.

May- Dallas market The dirty work ... done in Pa. -58 June-World Design Conference in Japa'h -34 July- Aspen Conference-S Hille of London, a change in image-34 IMC, an integrated image-35 A profile of the Pepsi-Cola Co.-37 Aug.- How 18 airlines said ((jet there" -49 St. Louis market-22 Campaigns ... then and now-55 Sept.- Encore ... multiple use of art-17 Puck's Advertising Contest-40 Record album covers, Capitol Records-42 Dec.- Annual Reports-34 Artist Studio-48 Pacific Tel. Northwest's magazine, Cascades-18 The People Package-50

Typography Feb.- Excerpts form ((Practical Handbook on Display Typefaces"- 39 Mar. -Outstanding typography of the past-57 May- Baskerville in display and body-17 Type Directors Club show-61 June-Chicago Typographic show-37 Aug.- Typography and lettering

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