feb1960

The Journal of Co

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

Ed itorial Correspondence : No responsibility is assumed by the editors -or publisher for unsolicited contributions. Manuscripts or other material should be accompanied by selfaddressed, stamped envelope.

Advertising Correspondence: Requests for information or other correspondence concerning advertising may be addressed to David Hartman, Advertising Manager, The Journal of Commercial Art, 15 W. 44th Street, New York 36, N.Y., MUrray Hill2-1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto , Californ ia, DAvenport 6-6040.

umber 2 • February 1960

2

Letters to the editor

5

Print that matters

9

BrownJ"ohn, Chermayeff & Geismar

16

Society of Illustrators 2nd

27

Taking stock of stock colors

37

Morgue: men's feet (in shoes)

39

Typography

41

Business forms-a design problem

44

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

45

Color: demonstration using the 4 process colors

49

E xhibit: reproductions of current and choice

64

The art director's show, part 2

72

On the Board: shop talk, advertisers' index

Letters to the Editor (continued) The color line -from 2 sides ...

Sirs: You guys make me ill! When are artists going to learn a little bit about art preparation? What makes you think a printer will be able to match your silly color charts, unless he himself makes up the charts.

This is like asking him to match to chalk. I'll take the chalk layout any time. I can at least alibi myself for the variation.

And anyhow, what the hell difference does it make whether the color is puce or not!

D. Malsman Adver-Graphic Co. New York City Gentlemen: Having watched the progress of CA since the first issue, it occurred to me you might be interested in an ink man's reaction to your color charts. As you know, matching the overtone color from a swatch is a fairly simple operation, but trying to second-guess the halftone effects has always been a touchy problem. There are so many directions that an ink man can take, that any indication at all is of tremendous help.

Being able to compare tapouts to your screen percentages gives the ink man an opportunity to check the tone values all the way down the scale. A point worth mentioning is by using these charts, artists see the color as it will look when it is printed instead of expecting a chalk or similar color swatch to be faithfully reproduced. Glad to see that you are making the charts available on glossy stock, also. Keep up the good work.

Walter Petri Walter Petri Ink Co., San Francisco, Representative for- A. E. Handschy Inks 4

Re: AD shows ...

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Dear Mr. Gill: On the subJ"ect of Art Directors Shows, will you tell us ...... ?

Editor The Journal of Commercial Art Dear Sir:

~

I should like to comment on the question of The Art Director's Club Exhibition, et al.

There are four major graphics shows in New York every year; but there is only one Mother's Day, only one Thanksgiving.

Originally commanded by Queen Victoria for her own use, and since recognized as the world's finest water color brushes. Made by craftsmen for the craftsman: commercial artist-illustratorretoucher-engraver.

902 Broadway, New York 10, N. Y. Canadian Agents: THE HUGHES & OWENS CO., LTD. Head office: MONTREAL California Distributors: THE SCHWABACHER·FREY CO., SAN FRANCISCO See your local dealerl

I am aware that the entrance and hanging fees collected for these four exhibitions sustain the various organizations in their less profitable activities; but that does not change my conviction that one show a year, while eliminating the duplication of exhibits and the not inconsiderable expense to exhibitors, would be sufficient to titillate clients, to allow Madison Avenue its artistic aura, to enhance the reputations of art directors, illustrators and designers, and to record the faint progress in genuine communicative problem-solving.

I suggest that painters and sculptors can teach us much about the organization of large comprehensive exhibitions. Generally, the leading practitioners show one piece of work, by invitation, and a jury selects additional work from younger or unknown artists. Why not this procedure in graphics shows? The results, I believe, would be more representative and less competitive.

I have chosen not to enter any of the shows this year, in spite of their receptivity to my work in the past. I am not ungrateful. I t}:tink it more to the point that my gratitude should take the form of this criticism.

Sincerely, Bob Gill New York City

• CA, February '60

need no solvents to position • You and re-position your layouts

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Spreads evenly and smoothly

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5

p

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The 1nost i'Tfformative alphabet style book ever published.

Convenient 9"x12"size-786 pages divided into four 1najor sections. § 1. Introductory material and indices § 2. Weight comparator & style selector § 3. General listing of styles in family relationships

*

~

§ 4. Complete display of supplementary services with illustrated glossary

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The entirely new general listing shown at left displays all styles in

family relationships with expanded, condensed and obliqued derivations of each; copiously annotated with informative marginal notes, crossreferences and footnotes.

Professional Edition published by Photo-Lettering Inc. 82Q

Reference Edition published by Reinhold. Publishing Corp.,N. Y 810.

PHOTO-LETTERING, Inc. 216 East 45 ·NEW YORK · Mu 2-2346 CA, February '60

Letters to the Editor (continued)

and now from Italy:

torino

Guilty! A boo boo ...

Gentlemen: We, here at the factory, have done it. We've discovered a boo-boo in your magazine. It was inevitable. You couldn't have turned out such a high quality publication month after month and kept it perfect.

I refer to the article on Olle Ekselle in your January issue. The halftone of the drapery seems to have been stripped in upside down. Or do the eyes in the Mazetti logo have bags under them?

Guess I'm just one of those guys that looks for faults in other person's work. But, let's face it. Some of the jobs that you reproduce are enough to make some of us (artists) throw away our layout pads. How envious can a fella get?

I hope that I'll be able to find another mistake someday. It shows that you're human, too. Before I sign off, let me compliment you on the absolutely beautiiul color work. You publish our bible.

Sincerely, Les Ibanez Ibanez-Hemingway Artists Chicago ~

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Nice eye, Mr. I. Those drapery eyes were upside down.

Thanks for your kind words. We're trying to do justice to the impressive work we reproduce. Work from professionals in graphics. So don't throw out that layout padlet's see what's coming ojfit!-ed .

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6

A special offering of fine booksall choice volumesincluding art and picture books of unusual beauty and interest!

All marked way downamazing bargain prices.

A. I. FRIEDMAN

conceiv.ed for award-winning design. 'l,here's a sud-

Write for your free copy of our current book-sale, ar·t newsletter ... today. (Dept. CA)

INC.

QUALITY ART MATERIALS

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den drama about rrorino: the vigor of original Bodoni, the delicacy of Didot, condensed and lengthened for grace and impact. 8 to 48 point, Roman and Italic. Send for beautiful specimen sheets, printed at the Nebiolo rrypefoundry, rrurin, Italy.

CIRCLE 5-6600

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CA. February '60

,

PRINT THAT MATTERS Book reviews. Source material information.

Art in America Visual Communications: Number Four 1959, published quarterly by Vision, Inc. 136 pages. $2.95 a copy or $10 a year.

ccAll graphic design records with word and image the experience and attitudes of a time" -these words by Mildred Constantine open the foreward: Art- Visual Communication. Artist Printer by Leonard Baskin, Book Design

by Arthur A. Cohen, Calligraphy by Oscar Ogg, Magazine Design by C. Bruce MacKenzie are only a few of the fine, illustrated articles included in the visual communication section. He Lives Well by John D. Morse should fascinate anyone earning his bread and butter in the creative fields.

How much does an artist make? How does he spend it?

How does he live? All questions with surprising answers.

The reader is given a look at some of the problems confronting American history museums in an article Collecting for the Public by Frank 0. Spinney. Four pages have been devoted to reproducing pieces of decorative art from our two new states, Alaska and Hawaii. Reproductions of the welded steel sculpture of David Smith, three of them in color, are nicely handled in the Exhibition Preview by E. A. N avaretta. Preview of 1960 is extensive and includes works to be shown in museums and galleries throughout the United States. All in all, a well balanced book, both informative and entertaining.

UNDER THIS NAME, ITSJU.WAYS THEs.ME

since 1868 . .. always perfect/ •.. famous for high quality.

And that's not true of ALL names on boards. When you see BAINBRIDGE #80 or BAINBRIDGE #172, you can be sure you're getting the finest In illustration boards!

So since your professlpnal standing depends on the BEST In every detail, It pays to be brand-conscious. Specify BAINBRIDGE •.• Insist on BAINBRIDGE ... Accept only BAINBRIDGE. Then you're sure you're getting America's leading illustration board.

Perfect in every detail.

At all art supply stores - in most popular sizes • Illustration Boards • Drawing Bristols Mounting Boards • Show Card Boards • Mat Boards

CHARLES T. BAINBRIDGE'S SONS

A Practical Handbook on Display Typefaces

12 Cumberland St., Brooklyn 5, N.Y.

Kenneth B. Butler and George C. Likeness, published by the Butler-Typo Design Research Center, Mendota, Illinois. $7.50 Library edition, $5 Utility edition.

176 pages illustrated with approximately 1500 specimens of typefaces. For the printer, typographer, layout man, art director. It's an excellent guide to display typefaces in use in the United States, including many not seen in previous collections. Suggestions are made for use in achieving more vivid effects in publications ... layout men will find the handbook an excellent visual aid, idea source. The limitations of many faces are explored, recommendations made for the choice of printing media and paper stock.

Foundry sources are indicated under each specimen. Quality and quantity of European versus American design is discussed. See page 39, this issue, for more on this subject.

Nothing Photographs Better than

l@ ~ :(!)1 REPRODUCTION WHITE

Advertising Directions Published by Art Directions Book Co. $10.

A reference book of visual advertising containing some 800 reproductions representative of the work reproduced for advertisers in this country. Designed by Ken Saco, edited by Edward M. Gottschall and Arthur Hawkins.

While the major portion is concerned with contemporary advertising a comparative look is taken at ads as far back as 1922. Henry Wolf, Garrett Orr, Herb Lubalin, Charles Coiner are among the top authorities whose commentaries cover the many trends in product advertising, media, design, illustration, photography. The edition makes an important contribution to the coverage of developments in the graphic arts field. The quality of reproduction is not up to the caliber of the editorial content.

CA, February '60

Weber Reproduction White photographs true, that's why it's the favorite of photo-engravers , retouchers and illustrators! And it contains no lead ... is opaque ... stays white indefinitely . . . is perfect for air brush work.

Ava ilable at all &Dod art supply stores .

F. WEBER CO.

PHILADELPHIA 23, PA ., ST . LOUIS 1, MO. Manufacturing Artists ' Colormen Since 1853

7

The Graphic Arts Buyer of Chicagoland

Time ....

Published bi-monthly by Richard G. Milford and Associates 161 East Grand Avenue, Chicago. $4.50 per year

and your

A new magazine in the field, the first issue appeared in September/ October 1959. Contains accurate, easy-to-read information organized for the graphic arts buyer ... be he advertising manager, sales promotion manager, production manager, artist or art director. Technical developments are followed and reported in concise terms intended to save the buyers hours of research.

HANDS

Pitman Parade Published by Harold M. Pitman Co.

A new publication which CA recommends to its readers ... of special interest to printers and the printing industry.

Informative and well presented for all those involved in preparation of printed material. New processes and methods, domestic and foriegn news, marketing information are included. If you wish a recent copy and would like to be placed on their mailing list, write to: Pitman Parade, lOth Floor, South. One Gateway Center. Pittsburgh 22.

HI-ART Illustration Board saves you creative time that might otherwise be wasted in extra work due to indifferent materials.

HI-ART is consistently right ... a fine surface for each medium. Start with the finest ... start with Hi-Art.

CA Blacks, Grays and Whites The Journal of Commercial Art, $5 per set

NATIONAL CARD, MAT and BOARD CO. 4318 CorroJI Avenue.# >Chicago 24, Utt"ots

11422 South lroadway1 lof An"t.t 6J, Colltqndo ht Canodot Cord. POJMr WorkttU~'~- Pet•rborOuflt, Ont.

8

SOMETHING NEW IN WHITE OPAQUE!

Reprinted from the January issue of CA on heavy vellum and heavy coated stock, these charts are reproduced from 174 airbrushed swatches of the major brands of blacks, grays, whites and toning mediums used in retouching and airbrushing. They provide a basic set of standard comparisons to the Kodak photographic and the CA mechanical gray scales.

CA Color Guide Charts The Journal of Commercial Art, $9 per year

Available on an annual subscription basis. Printed on 100 pound coated, 100 pound vellum, punched for loose leaf filing. Each month you receive both sets of charts showing a combination of 2 colors and black. They are specially reprinted from this magazine's monthly color chart feature.

All colors are coded. At the end of the year you have 4200 color patches, 48 examples of photographic duotones, 12 demonstrations on color chart use.

Worth pursuing ...

' ~~

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NOPAKE is rapidly becoming .a "must" item on every artist's taboret.

For details, ask your dealer or write: Litho Art Products, Inc. 3409 No. Janssen, Chicago 13, Ill.

The January issue of Gebrauchsgraphic. International Advertising Art. Their spread on Herbert M. Meyers, AD for graphic design Mead Packaging Inc. Shown, covers for the paper sample books.

Meyers used typographical designs exclusively. A fine display of creative typography in the hands of a type/ design master. • Type and its Relation to Paper.

A 20 page, 3-color brochure from Kimberly-Clark Inc., Neenah, Wisconsin. Written by R. Hunter Middleton, type design director of Ludlow Typo graph Co. It is a discussion of Type- the symbol of printed communication, and Paper -the receiver of type impressions. There is a demonstration of the evolution of type f-aces as well as a page on current creations. The brochure is yours by writing to Kimberly-Clark.

•

CA. Feln'uary '60

NANCY SURMAIN TRAVEL CONSULTANT

DAGASSO TRAVEL BUREAU

220 W. 42 ST., N.Y. 36, N.Y.

ILOii4!7580I NANCY SURMA I N

U . S . PAVILION , BRUSSELS

-:&

HARPER ' S MAGAZINE

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CONCERT ASSOCIATES

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BROWNJOHN, CHERMAYEFF & GEISMAR

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... COLORCRAFT LITHOGRAPHERS

MICHAEL TRAIN/LEN GITTLEMAN , MOTION PICTURES

THE BOLD YOUNG MEN In New York in 1957 there was one large room, one large window that CA. February '60

Creativity (cont'd. )

Streetscape.

10

opened on a large brick wall and in it three young men with large talents: Robert Brownjohn, Ivan Chermayeff, Thomas Geismar.

These were the components of a new design firm fiercely dedicated to the proposition: ((it has to be a design job, and the whole job or nothing."

Brownjohn and Chermayeff realized their compatibility of outlook and talent during 1956 when both were free lancing and occasionally collaborating on the art direction of Craft Horizons magazine and the associated Museum of Contemporary Crafts. The two men designed several exhibitions, the museum graphics as well as the typography used for the museum interior and exterior.

Tom Geismar and Chermayeff had known one another in New Haven at the Yale School of Design. As soon as Geismar completed his service with an exhibition unit in the Army, he joined the organization per plan.

Direct advantages of their association: ((we liked working together; having partners to try ideas on; the speed-up of work; valuable criticism; working for ourselves; working directly with clients; being able to choose jobs we felt we were interested in doing."

All had experience and inclinations toward dimensional design, especially as it related to architecture. So a fine feather in their cap came with the request that they do a section called Streetscape in the American Pavilion at the Brussels World's Fair. It is shown on this page.

The problem - decorate typographically the various areas around the typical American city street of shops and stores. The signing could say nothing, only suggest the big-city atmosphere and flavor. The shops had merchandise on display, but all were closed; only the newsstand and drugstore in Streetscape were open.

The B-C-G solution: fragments of city typography were shown rather than a complete word or message ... a duplication of reality since other people, taxiis, other signs~ constantly interupt a city dweller's line of vision.

Streetscape was the largest problem the firm had taken on. Today their biggest job is a sign for Grand Central City, the office building to be erected over Grand Central Station- it will be 10 feet high and two city blocks long!

The three partners now have a staff of five. Their clients include: Aetna Steel, Charles Antel, Chase Manhattan Bank, Ciba, CBS Radio & TV Receivers, Columbia Records, Masterset Brush Company, Herman Miller, Pan American World Airways, Pepsi-Cola, The New York Times, Museum of Modern Art, Radel Leather Manufacturing Co., RCA Victor, Time-Life, Reynolds Aluminum, Skidmore, Owings & Merrill, Schlosser Paper, Hechinger Company.

During 1958-1959 B, C & G collected five Art Directors Show awards, twenty-three AlGA awards and eight Type Directors Club awards. Demonstrating their sincerity to the profession which has offered so much to them, all three partners devote a part of their busy time to teaching, perhaps to some of the ((bold young men" of the future.

A road sign stu dy towar d basic simplification and standardization .

CA, F ebru ary '60

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-Nancy Surmain is mo ing to Travel Bureau Inc porated 630 Fifth Avenu New York 20 New York lephone Judson 6 54 54 Moving announcement for Nancy Surmain.

Front and back of the card are shown, type reads around the card.

Logo designs for: Radel Leather Mfg. Co., (colored leathers), American Exporter (magazine of exporting), Kelly & Gruzen (architects and engineers).

Christmas display made of thousands of Chrismas balls for the lobby of Pepsi Cola's new building.

CA. February '60

11

12

Letterhead for Raymond Jacobs, photographer.

Package design and counter display for Wash Up!

CA, February '60

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Logo designfor Malacandra Productions Ltd., stereophonic recording company, Florence, Italy .

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Bertrand Russell Common Sense and Nuclear Warfare

Book cover designs .

CA, February '60

Creativity (cont'd.)

14

Album cover for TI-CO Records. Size 121/2" x 121/J/.

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Full-page ad, 9" x 12", for Colorcraft Lithographers.

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This rag cleaned the presses that printed the finest Annual Reports, Brochures, Displays, Posters, and Magazine Insert Pages for America's most discriminating Printing Buyers. In the hands of our Craftsmen it helped us s~rve the.American Th~ead Company; Curtiss Wright Corporation; De Laval Separator Company; National Lead Company; Pan American World Airways; Pepsi-Cola Company; Singer Sewing Machine Company, and others. Colorcraft Lithographers, lnc./175 Varick Street/New York 14, N. Y./CHel~ea 3-2100

CA, February '60

Two of E-G-G's cover designs for Pepsi Cola's house publication, Pepsi World. Reproduced in !,.-color process, 81/2" x 11".

~ Album series of the Newport Jazz Festival for Columbia Records.

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CA, F ebruary '60

SPECIAL FEATURE Award-winning work from the Society of nlustrators second annual exhibition, which closes in New York at the end of this month.

II.I.IJSTI~ TlJI~S 330 pieces of advertising, editorial, book, institutional, TV and film art make up the show ... here are the ones judged ((best." David K. Stone, of SI, observes ... ((The show this year is primarily made up of very progressive approaches to illustration. It reflects the contemporary preoccupation with design and demonstrates the thoughtfulness, originality and freedom exercised by today's illustrators.

Many completely new names are included ... as well as experimental work by both the young and the established artists.

Again, Hastings House will publish the show with all entries in the fall.

16

PHOTO COURTESY HENRY DRAVNEEK

Harry Carter, chairman of Rlustrators '60, past president of the society, advertising illustrator.

As you may have noticed, people who carry the ball carry The New York Times

CA. February '60

3

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17 Gold Medal

1) Illustrator: Tomi Ungerer Art Director: Jack Steinau Client: New York Times Agency: BBD&O Category: Advertising Illustration Gold M edal

2) Illustrator: Tom Allen Title: Country Music Goes To Town Art Director: Robert Benton Publication: Esquire Category: Editorial Illustration Gold M edal

3) Illustrator: Ben Shahn Title : Hamlet Art Director: William Golden Client: CBS-TV Category: TV Illustration Gold M edal

4) Illustrator: Harvey Schmidt Art Director: Anne Adams Client: Standard Oil Company Publication: The Lamp Category: Institutional Illustration

4

CA , February '60

II.I.IJSTI~'i(JI~S <cont'd.)

THE ORACLE IS .FULFILLED

18

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19 Gold Medal

5) Illustrator: Alice & Martin Provensen Book Title : Myths and Legends Art Director: Ole Risom Publisher: Artists and Writers Press Category: Book Illustration

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A ward of Excellence

9

6) Illustrator: Miroslav Sasek Book Title: This Is Paris Publisher: MacMillan Publishing Co. Category: Book Illustration Special A ward of Excellence

7) Illustrator: Stephen Perry Art Director: Faculty, Dept. of Graphic Arts & Illustration Publication : Adlib Publisher: Pratt Institute Category: Institutional Illustration

Gome with me the~ SSIJ, and Iwill show you thE worldand all rts ways bu+lwould rather be

Special A ward of Excellence

a:s tmder as a child

8) Illustrator: Sue Mellon Art Director: Faculty, Dept. of Graphic Arts & Illustration Publication: Adlib Publisher: Pratt Institute Category: Institutional Illustration

lor all m!I days, m.all my ways~

bringing joy tathose Ilove.

Special A ward of Excellence

9) Illustrator: Lew Friedland Art Director: Faculty, Dept. of Graphic Arts & Illustration Publication: Adlib Publisher: Pratt Institute Category: Institutional Illustration Special A ward of Excellence

10) Illustrator: Jeannine Apostal Art Director: Faculty, Dept. of Graphic Arts & Illustration Publication: Adlib Publisher: Pratt Institute Category: Institutional Illustration 10 CA, February '60

II.LIJSTI~'i(J I~S ccont' d.)

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14 CA , February '60

A ward of ExceUence

11) Illustrator: Jack Gregory Client: St. Elmo Club of Philadelphia Category: Institutional Illustration A ward of Excellence

12) Illustrator: AI Parker Art Director: William Fink Title: The Alibi Publication: Ladies Home Journal Category: Editorial Illustration A ward of Excellence

13) Illustrator: Jack Potter Title: How Shall I Tell My Daughter Art Director: Henry Quell Agency: Young & Rubicam, Inc. Category: Advertising Illustration A ward of Excellence

14) Illustrator: Domenico Gnoli Book Title: Domenico Gnoli's World of Fantasy Publisher: Horizon Category: Book Illustration A ward of Excellence

15) Illustrator: Paul Harvey Client: Capezio Category: TV and Film A ward of Excellence

16) Illustrator: Jane Sai Title: Misalliance Art Director: Robert Tyler Lee Client: CBS-TV Category: TV Illustration

21

15

16

CA, February '60

II.LIJSTI~'TIJI~S ccont'd. )

22

·.r. .

·...·.

-~

.,.•

.. '

~...

..,:.. .-

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17

A ward of Excellence

17) Illustrator: James B. Howard Art Director: Arthur Shipman Client: Neiman-Marcus Category: Advertising Illustration A ward of Excellence

18) Illustrator: David Renning Art Director: Arthur Shipman Client: Neiman-Marcus Category: Advertising fllustration Experimental A ward of Excellence

19) Illustrator: Roger PontbriaridCategory: Editorial Illustration

19 CA, F elJruary '60

NOW. ..

The First Annual of American Illustration Pub li shed for the Society of Illustrators and present ing almost 350 outstand ing selections from their First National Exhibit ion, this big book is an exciting crosssect ion of American illustration today . Includ ing the work of talented younger members of the profess ion as well as that of established " names," here is a fresh and stimulating look at our leading illustrators, their techniques and solutions.

The five main sections are introduced by special commentaries such as

23

Editorial Illustration by Harold Von Schmidt Advertising Illustration by Bernard 0' Andrea Institutional Illustration by Harry Carter Book Illustration by Lynd Ward The Television Artist by Howard Munce

Robert Fawcett has a provocat ive "Evaluat ion ," and Henry Pitz sets today 's work in its h istorical perspect ive in h is " Illustration Has a Past. " Throughout the book , too, are many sparkling drawings specially prepared by some of our top illustrators.

ARTHUR HAWKINS, Editor ROBERT HALLOCK, Designer ILLUSTRATORS '59 has more than 350 illustrations, 240 pages, 9" x 12". Only $12 .50.

Order from your art book dealer or from :

, ra t

......................... ........................................... ~

1

HASTINGs HousE, PUBLISHERs 151 East 50th St., New York 22 , N.Y. Plea se send on -approval cop ies of LUSTRATORS ' 59 @ $12.50 , postpa id .

20

D Check

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IL -

D Money Order e nc lose d

Na me A ward of ExceUence City

~

~

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Address

20) Illustrator: Henry Koerner Art Director: William Golden Title : Diary Notebook 1959 Client: CBS -TV Category: Institutional Illustration

~

..... .... ..... Zone .... . State .. .. .......

GUARANTEE - Books may be re t urn ed in 20 days if not comp le te ly sa ti sfac tory .

~

~ ~

L .... .._..~.._...._,..._...._.....,..._...._...._...._.....J CA, F ebruary '60

EVER SEE APURPlE COW?

* ALLIED'S

LINE*

IMPULSE COLORS- Bright and vibrant to stimulate reader action and response.

Ideal for mass market direct mail selling to gain attention ... to get returns.

Flame Pink • Sulphur Yellow • Pumpkin • Summer Green • Indigo INFLUENCE COLORS- Subdued, yet having rich appeal to create an impression or mood.

Best for giving your products or company the "feeling" you want it to have.

Sandstone • Rosewood • Smoketone Blue • Aspen Green • Buckskin *Includes bond and offset stocks in popular sizes and weights-envelopes in all colorscard and cover stock-and Colorcraft text and accent ink colors are available from I Pl. *Reg. Pend.

CONTACT YOUR NEAREST COLORCRAFT DISTRIBUTOR FOR DETAILS AND PRINTED SAMPLES Carpenter Paper Company Whitaker Paper Company Carpenter Paper Company Stanford Paper Company Carpenter Paper Company Carpenter Paper Company Forest Paper Company Chatfield Paper Corporation Cincinnati Central Ohio Paper Company Cleveland Central Ohio Paper Company Columbus Carpenter Paper Company Dallas Central Ohio Paper Company Dayton Carpenter Paper Company Denver Detroit The U n10n Paper and Twine Company Carpenter Paper Company Des Moines Carpenter Paper Company Duluth Carpenter Paper Company El Paso Carpenter Paper Company Fort Worth Carpenter Paper Company Grand Island, Nebr.

Carpenter Paper Company Great Falls, Montana Carpenter Paper Company Harlingen, Texas Carpenter Paper Company Houston, Texas Central Ohio Paper Company Indianapolis Bermingham and Prosser Company Kalamazoo Carpenter Paper Company Kansas City Albuquerque Atlanta Austin Baltimore Billings, Montana Chicago

ALLIED PAPER CORPORATION Kalamazoo, Michigan

preferred printing papers

Lincoln, Nebraska Carpenter Paper Company Los Angeles Carpenter Paper Company Louisville Chatf1eld Paper Company Lubbock Carpenter Paper Company Milwaukee Standard Paper Company Carpenter Paper Company Minneapolis Missoula, Montana Carpenter Paper Company New York City Schlosser Paper Corporation Oklahoma City Carpenter Paper Company Omaha Carpenter Paper Company Pittsburgh Central Oh1o Paper Company Pueblo, Colorado Carpenter Paper Company St. Louis Butler Paper Company Salt Lake City Carpenter Paper Company San Antonio Carpenter Paper Company San Francisco Carpenter Paper Company Seattle Carpenter Paper Company Carpenter Paper Com[Jany Sioux City Topeka Carpenter Paper Company Washington, D.C. Stanford Paper Company Yakima, Washington Carpenter Paper Company In Canada Montreal T. B. L1ttle Papers Toronto Whyte-Hooke Papers Vancouver Columbia Paper Company, Ltd .

m

PRODUCTION

The increasing use of color is a trend acknowledged by everyone. The effectiveness of color in selling is well proven. Now it has become a necessary good or evil of keeping up with the competition.

Therefore, the logic of a rapid swing to more colored paper would seem indisputable.

Paper mills are highly conscious of this, and many are now producing a much wider range of colors in a far more sophisticated selection than ever before. Advertising support has been placed behind this, and the trade publications in the printing and art fields have been overloaded with publicity articles extolling the virtue of colored paper and praising the mills for developments they have made in their availabilities.

The potential for exciting new approaches to design as well as budget assistance is very real. Why then is a trend to colored paper, if there is a trend, developing so slowly?

Surveying the graphics industry for an answer, CA came up with these highlights: 1) "Selling" paper is a relatively new experience for the paper industry. Only recently, the mills have faced the need of marketing the output of the new large machines which can produce more paper than is currently consumed.

This has helped instigate their interest in colored stock for which their marketing, in many cases, has been highly unsophisticated.

2) Printers are not going to promote the use of colored stock, and efforts to sell them couldn't have generated much less enthusiasm.

3) Designers are inhibited by habit and lack of information.

4) The awareness of a greater availability, range of colors, and better selection of colors is growing, but it is not widely believed. Past experience and the spotty inventory and production practices of paper manufacturers and merchants has left an "air of caution."

The DuPont company conducted a comprehensive national survey. It included 88 questions for printers and 70 questions for art directors and artists. This detailed the specifics of the subject and basically substantiated our highlights of the situation. Quoting from their publicity release about the survey: "Creative use of colored paper stock as a basic printing tool can result in more effective and eye-stopping printed pieces, but lack of knowledge about, or confidence in, the techniques and effects of using colored inks on colored stock has hampered its widespread adoption."

To describe the importance of this knowledge and confidence requires a closer look at the buyer elements, the designer and the printer. What are their problems and position?

The acceptance by business and industry of more and better design has brought increasing responsibility and authority to the designer, artist, art director, whatever his title may be. This, plus his natural tendencies of exploration, has led him directly into the field of production.

Today, production knowledge has become an essential part of his stock in trade, and the responsibilities he assumes encompass the finished piece-from creation through reproduction.

He is experimental by nature, but he is highly conscious of what he is here for. He is employed or commissioned to produce a piece that will be effective. Normally this means performing a selling or marketing function for his client. He is expected to be creative and original, but practical, to accomplish the most for the expenditure.

Though the process is entirely custom, he is allowed no margin for error and certainly no tolerance for an experiment that went wrong.

Generally, time and budget do not afford his making extensive research into production subjects such as colored stock availabilities or to do a great deal of testing or color

CA, February '60

27

28

proofing to discover what happens when blue ink is printed on yellow stock by the trial-and-error method. He must therefore draw on his experience or readily available information to plan the layout and production of a printed p1ece.

Lacking good information on stock availabilities and at least pilot information on what to anticipate in the way of effects, he can't be expected to do more than approach colored stock cautiously.

The printer is even less likely to embark in the dark.

His business is putting ink on paper with the combination of efficiency and quality he determines is best for his success in a low-margin, highly competitive field. The percertage of cccreative" printers is small, and in many cases, the term cccreative" is often confused with ccquality craftmanship." When the creative does apply, it also implies a direct or indirect association with a design staff. This should really place such a firm in the designer category.

Printers admittedly do not anticipate difficult production problems in printing on colored stock. It is the appearance of the finished product that makes them uneasy. Their customer relationships are built on price, quality and delivery. Recommending and experimenting with colored stock is not easily visualized as compatible with this relationship. The DuPont survey also found that 64% of the printers believed that customers who asked for cccolor" really want color printed on white stock, not colored stock.

The need, then, is for a strong informational and educational program, probably best directed at the most creative elements of the industry who will furnish the examples for others to guide by. Also, the ready information of color and stock availabilities and the assurance that these availabilities exist in the paper merchant's inventory or are deliverable within reasonable time periods.

Some good information is in existence. DuPont has produced cccolor Criteria," a series of demonstrations showing basic yellow, red, blue and black inks on specially made white, yellow, orange, red, green, blue and violet papers. They are also publishing a periodical, ccDesign and Colored Paper" (reproduced in CA, January, 1960).

The Allied Paper Corporation has prepared ccAllied Colorcraft Portfolio of Color Ideas" with an excellent demonstration of colors and effects including halftones, duotones, tints, and four-color process reproduction on their Impulse and Influence lines of colored stocks.

Wider circulation of demonstrations like these and other educational information such as pricing comparisons, sales effectiveness research, good samples of creative use of colored paper would be of benefit to the entire field of graphics, advertising and sales promotion.

On the following eight pages CA offers its contribution, a set of basic demonstrations designed to answer a few questions and stimulate some thoughts.

CA, February '60

Production (cont'd.)

CA GRAY SCALE (mechanical)

CA 10~ BLACK

CA 20~ BLACK

CA 404J. BLACK

CA GO~ BLACK

CA 70~ BLACK

CA 80~ BLACK

CA 90~ BLACK

CA 100'l BLACK

CA, F ebruary '60

10%

30%

10%

30%

10%

30%

50%

30

28

30

50

100

CA, February '60

70%

100%

10%

30%

10%

30%

10%

30%

30

SO%

30

28

30

so

100

CA, February '60

70%

100%

Production (cont'd. )

CA GRAY SCALE (mechanical)

CA 10~ BLACK

CA 20~ BLACK

CA 60~ BLACK

CA 70~ BLACK

CA 80~ BLACK

CA 90~ BLACK

CA 100~ BLACK

CA. February '60

10%

30%

50%

10%

30%

50%

30

70%

100%

30

.

..,

.....

50 .

.

10%

30%

50%

30

50

100

CA. February '60

.

. . .. ·~ '

Production (cont'd. )

CA GRAY SCALE ( mechanical)

CA 10~ BLACK

CA 20~ BLACK

Above : normal duotone. Below : mezzotint.

Glen Burroughs, photographer.

CA 60% BLACK

CA 70~ BLACK

CA 80% BLACK

CA 90% BLACK

CA 100% BLACK

CA, F ebruary '60

10%

30%

10%

30%

10%

30%

100%

CA, F~bruary '60

m

MORGUE

CA takes another step forward with footnotes for your scrap file-men's feet .

Photography: Bill Arbogast.

37

--

CA, February '60

38

CA, February '60

TYPOGRAPHY CA shows four pages from Butler and Likeness', "Practical Handbook on Display Typefaces, '' their sixth book related to publication layout. The authors spent a year of intensive investigating . . . their book shows several thousand faces.

The authors say, "We are now resigned to the fact that the list may never be complete." It is an excellent, comprehensive handbook. It shows clearly and quickly new faces, old faces, historical facesif they're available, and where.

It is reviewed on page 5.

·I .N"

c .~

t~s IE A .ll ~ •oF

I.TIY n, ·~E

iypefaoes exhibited in tht panel above a re: 1. Sapphire (Stempel); l. Weiss Initial Series Ill (Ba uer); 3. Mlcrogramma Bold (Socitta Nebiolo); 4. Romulus (Ensohede); S. Cnw Clartodon Book (ATF); 6. Rustic (fyptfounden); 7. Columna (Bauenche Gitsstrel); 8. Astu r (FfN); 9. Neuland lnline (Bailotype); 10. Fry's Ornamented ( lephenson·Blake); 11 . Le ChampJ..e (Stephenson-Blake); ll. Post Title Medium (Berthold); 13. Ondlne (Debemy et Pelgnot); 14. Goudy Forum (Monotype).

For a dditional showings ol thee faces, see the Library of Mood Typefaces and Compendiu m of Display Typefaces.

NO MATTER how objective your intentions, it is impossible to delve even lightly into the world of type without being mesmerized by its sorcery.

And that is exact ly what happened to your authors as we explored specimen books, catalogues, showings, directories, textbooks, in fact , every source we could unearth in our search for data to be included in this Handbook.

While our approach was that of the practicing layout man seeking the ways in which type can best serve modem typography, the quest was one which involved hundreds of bewitching by-roads, and we can now understand , in the fullest sense of the word, why men have for centuries devoted their lives to the study of type.

NO ONE VOLUME can encompass the whole vast subject

of type. Its fascinating history has already served as thematic background for hundreds of works ; its evolution and classification has been similarly explored.

Here our single aim is to examine the faces available to today's printer, typographer, layout man and art director, and suggest how these faces may be used to make publication and advertising layout more vivid , more-<:ompelling. In such an examination , the artistic worth of a particular face is often secondary to its utilitarian worth. In scrutinizing each face , then , we have asked first , "What can this face do for you?", ignoring, for the most part, esthetic considerations.

In such an evaluation, then, funct ional usages often emerge for faces which may bring agony to Jhose who are striving to uplift the artistic standards of type design . If, however, a homely face will evoke from the reader a desired response, we cannot logically discard that face until the type craftsman can offer us in its place another design of perhaps greater elegance which will produce the same or superior effect.

PREPARATION OF THIS HANDBOOK has been,

for all its excitement, a Herculean project.

The Compendium of Display Typefaces, embracing several thousand faces, includes many not seen in any previous collection, and the information concerning each is as thorough as .was possible to obtain in an intensive year-long investigation. Many times we thought the list had reached its obvious maximum, only to discover additional faces and sources; we are now resigned to the fact that the list may never be complete, although we will always welcome further information concerning faces and sources not previously uncovered in our exhilaratiAg and exhaustive quest.

3

39

REGINA : Shades of scarlet, velvet, or royal blue . the crown and the scepter .. the king is in the cou nting house , counting all his money .. . Old King Cole was a merry old M>ul, a merry oiJ soul was he . . . the blue bloods . .. creme de Ia creme .

Berthold's UGINA is an outline interpretation of NORMANDE, and is qualified to serve in display in situations where a suggestion of nobility and elegance is sought .

:J:?1ease :E:X.T~.A..

LATIN WIDE : The isles of the Caribbean .. wildlyftailingcalypsodancers . .. whirling. multi-colored skirts . . banana bouts ... secret voodoo rituals ... Jamatcan rum ... the mambo ...

LATIN wtOE is a 19th ceniUry typdace. and ca n be found in most specimen

books of that era . frequently under othe r names. Its Caribbea n connotation is not so much inherent in the faceasbecauseofthe fact that its sudden revival occurred simu ltaneously (in the middle '50s) with the ca lypso-mambo craze .

~.o ~~~.~~~ City of Mane~ eater JESSEN : A votce of hope in the dark ages . . the monastery. the monk , the friar ... vespers chanted at twilight ..

St. Francts of Assisi .. . the hush of the cloisters . .

Rudolph Koch's immaculate JESSEN was designed origi nally for a private edition of the Bible, and , like so many black-letter faces, is a type with definite religious associations. It is especially useful in church printina: or for literature of solemn and dignifiedcha{acter.

CREATE PRINTING

,. " • SO*)u t.r- ,.,,.,..,, .....,._.,. ._,.,..

w-• ,_,......,, - - .,...

E RBAR INITIALS : A siesta in the blazing sun . the chimes of a mission ... Pa ncho Villa . .. Juarez ... the bandidos ... a say ranchero ... sombreros and serapes ... thebravebulls .. . the cacti , the mesquite:, a nd the yucca ... sarsparilla and tequila . . .

WhHe the: UIAR initials do not appear to have been designed with a Mexican ftavor in mind. the quality is very much there , prompting at least one: typesetting house (Warwick Typographers) to rechristen the face SOI'IOitA .

37

CA, February '60

Typography (cont'd.)

GOUDY OLDSTYLE

GOUDY HAND-TOOLED

Demands a Lower Rate

WINTER Ice skating

24 pt No. 11 LIG HT, rep roduced f rom Som e Ludl ow Typef aces.

24 p ~ GOUDY HA ND-TOO LED, reproduced from the 1923 ATF ~ pec i men book .

Monotype No. 394, 14 to 36; ATF, 14 to 36, (42 to 72); Ludlow No. 11 LIGHT, 14 to 48; Intertype, 14; Fotosetter, 14 to 36; Pro-type No. 1740-G, 18 to 90.

ATF, (14 to 120); Baltotype and Monotype No. 383, 14 to 72; Pro-type No. 0346-K, 18 to 90; Multigraph, 14 to 72 ; Barco, 14 to 36 ; Los Angeles, Detroit, M / C, Castcraft, and Acme, 14 to 72.

GOUDY BOLD

m Hand-tooled Roman faces are not in vogue at the

TYPE facade on mode

moment ; Goudy 's hand-tooled faces were among the favorites when this type of display was at its crest. (see also NARCISSUS and GRAVURE)

24 pt GOUDY BO LD, reproduced f rom t he Intertype catalogue .

Monotype No. 294, 14 to 72; ATF, 14 to 72, (84, 96, 120) ; Intertype, 14 to 36; Ludlow No. 11 BOLD, 14 to 72; Multigraph, 14 to 72 ; Pro-type No. 0371-G, 18 to £0 ; Barco, Detroit, Castcraft and Acme, 14 to 72; Los Angeles, 14 to 36.

GOUDY HAND-TOOLED ITALIC

Responded after lunch 24 pt GOUDY HAND-TOOL ED ITALI C, reproduced from the 1923 ATF specimen book.

GOUDY EXTRABOLD

COSTLY Millinery

Monotype No. 3831 and Baltotype, 14 to 72 ; ATF, (14 to 72); Barco, Los Angeles, Detroit, Acme, and Castcraft, 14 to 72 ; Pro-type No. 0288-K, 18 to 90.

24 pt GO UDY EXT RABOLD , ; eproduced from the ATF catalogue .

40

ATF, (14 to 120).

GOUDY OPEN

GOUDY LIGHT OLD STYLE ITALIC

24 pt GOUDY OPE N, reproduced from the MacKenzie & Harris catalogue .

MACKENZIE

Goudy Light Old Style Italic 24 pt GOUDY LIGHT OLD STYLE ITALI C, re produced from a Mooolype snc;w ing .

Mono type No. 381, Detroit, Los Angeles, and MacKenzie & Harris, 14 to 36.

Monotype No. 291 and Baltotype, 14 to 36; MacKenzie & Harris, 14 to 60 ; Pro-type No. 1626-K, 18 to 90 ; Multigraph, 14 to 72; Detroit, Castcraft, and Acme, 14 to 36 ; M / C, 14 to 48.

GOUDY OPEN ITALIC

The Brown Fox Jumped

GOUDY ITALIC

Exhibit of Rare Paintings

24 pt GOUD Y OPEN ITALIC, reproduced from a Baltotype of Chicago show ing.

24 pt GOUDY I TALIC, reproduced from ATF catalogues .

ATF, 14 to 24, (30 to 72); Monotype No. 3941, 14 to 36; Ludlow No. 11 LIGHT, 14 to 48; Intertype, 14; Fotosetter, 14 to 36; Pro-type No. 1741-G, 18 to 90.

Detroit, Acme, Castcraft, M / C, and Monotype No. 2911, 14 to 36 ; Baltotype, 18 to 36 ; Multigr aph, 24 to 36.

GOUDY CATALOUGE GOUDY BOLD ITALIC

Produce Many Pages

ERECT philanthropist 24 pt GOUDY CATALOGUE, reproduced f rom the 1923 ATF spec imen book .

24 pt No. 11 B1, reproduced from the Ludlow catalogue.

ATF, (14 to 72).

Monotype No. 2941, 14 to 36 ; ATF, 14 to 48, 60, 72); Intertype, 14 to 36; Ludlow No. lls1, 14 to 72 ; Protype No. 0372-G, 18 to 90; Los Angeles, 14 to 36; Barco, Acme, Detroit, and Castcraft, 14 to 72.

Although obsolete, GOUDY CATALOGUE (and the name suggests the intent of the design) can still be used to advantage in quiet display, either in magazines or newspapers.

GOUDY CURSIVE

GOUDY CATALOGUE ITALIC

c5\ c5"tCagnificent (?ollectio

C operations dependable

?.4 pt GOUDY CURSI VE, reproduced from t he Warw ick Typogra phers speci men book.

24 pt GOUDY CAT AL OGU E ITALIC, reproduced f rom the 1923 ATF spec i men book.

Monotype No. 324, 14 to 36; ATF, (14 to 72).

ATF, (14 to 72).

[!]

CA, F ebruary '60

SCHEDULE CHANGE

FROIIf

•A'

Size: B1f2" x 11" Colors: Gray-green and black

UIIIT

COUIIT

TO

The relation of design to business should be a necessity rather than an adjunct. The natu1·e of business is complexity and that of design is simplicity.

The validity ofthis approach is all-encompassing whether it be post cards, trade marks, posters, ,or the innumerable printed pieces indigenous to business. Corporations too often conceive of their internal designing only in terms of stationery and calling cards. Business forms, their bloodstream, often suffer from lack of thoughtful design, for function and for ''corporate impression.''

41

· Clarifying, Simplifying and Dignifying

BY H ER B E R T M . ROSENTHAL

People on a business level are constantly deluged with advertising and printed promotional material of every kind.

They have become aware of the details of refinement such as paper stock, company logos and typewriter ribbon colors.

These are the criteria employed by businessmen to judge, to see if someone "cared enough to send the very best."

A corporation contradicts itself if it spends large sums of money to interest a potential market with a corporate look, and then approaches a more positive market with business forms that were set by the local job printer. With all due credit to the printer of these work-a-day forms, I believe that he can do no more than set up business forms in the easiest way for himself, with material on hand, in a way that he knows has been tried and accepted. He is the printer, unless he turns designer, sits down and thinks the problem through, as a designer must, with relation to its function and how it will represent the company.

On the other hand, a small business that doesn't have a large advertising budget can get a "big advertising budget look" through the use of well designed business forms.

What is a business form? How shoold it be designed?

A business form is any sheet of paper or card, that provides space for information, to be supplied by someone, for company transactions and/ or records. One definition will cover almost every conceivable form, but the physical appearance of the form is dictated only by its use.

Business forms often originated with a company's start and these forms have not changed to accommodate the developing needs of a growing business. Many of these old forms exist because of the repeated use of a format that once satisfied simpler needs or simply because ccit was always there." When the company altered its methods to accommodate a more complex operation, the forms have lagged behind. In other instances they are wanted because of specific business needs.

Unfortunately, in many instances a company official trying to work out a new form takes an old form, crosses out a word or two and substitutes his required information.

He then gives his new form to a printer. The new form is then printed, repeating old errors and creating new ones.

CA. February '60

Herbert Rosenthal's career began in the CBS Television Advertising and Promotion. Department after his gradu ation from Cooper Union. This was followed by two years in the 4rmy where he wound up doing posters and design for UNKRA (United Nations Korean Reconstruction Agency).

After the service he returned to CBS as art director for Television Spot Sales. Currently, he is art director fo r Sam Groden Incorporated, New York City.

WCBS -TV 48. MADISON AVENUE. NEW YORK 22, N.Y. PLAZA 1 · 2345

ORIGINAL SALES ORDER

®

1-:-: 0A::-::TE-::-::--:=:-::-::--- - - - - - t ORDER NUMBER

UNIT COUNT

COST

ACCOUNT (WILL ) (WILL HOT) PICK UP DISCOUNT HOLDER AT EXPIRATION OF SCHE.OiJLL ( 8U. U

( DO HOT BILL ) ACCOUNT AT E.HD

RATE

Size: Blh " x 11 " Colors: Gray-green and black

Confronted with the design problem of a business form, I pose several questions to the client: What does the form do?

Where does it go, how many copies are needed and how are they filed or distributed?

Is it internal, or will it be sent to other companies or individuals?

Who fills it out and how complete is their understanding of what they are posting to the form?

Are the entries written or typed, and with what machine?

The last question has, in actual case histories done more than point out the disregard for typewriter spacing, or even the differential space requirements of pica or elite type. Firms have actually modernized to electric typewriters with a line spacing of 5, or 5 Vz-to-the-inch and continued to print forms on the standard pica or 6-to-theinch spacing. Surprisingly enough, the person least often consulted is the one who actually fills out the form.

Another concern in the overall consideration of the form is the budget. Should the type be hand-set or machine-set? Can one or two colors be used? Should it be printed letterpress or offset? Should I specify manifold, bond, offset or onionskin stock? Is the budget realistically plotted? That is, have preparations, handling, filing time factors been weighed carefully enough?

In designing a new business form I don't try for ostentation. It should be the softest sell that can be conceived.

It is not an advertisement, it is a calling card. As a calling card it should have the same "feel" as the firm 's stationery.

There is a limited graphic vocabulary in designing business forms. I like to take full advantage of whatever I have in the way of type, stock, printing, color and rules.

Generally, the use of rules is limited, uninspired and poor although rules are practically a by-product of business forms. Rules are available in every conceivable weight,

CA, FeiYruary '60

NEW YORK KEY STATION FOR THE CBS TI:&.£VISIOH NETWORK • CBS OWN£0 485 MADISON AVEifUI( HEW YORK 22, N£W YORK PLAZA 1·2245

AMENDMENT CBS TELEVISION STATIONS WCBS-TV

Agreement made as of the day of , 19 , by and between CBS Television Stations, a division of Columbia Broadcasting System, Inc., 485 Madison Avenue, New York 22, New York, and {hu•in call•d "Ag•f!£)1"/,

I

acting as ag•nt/or {hu•in call•d "Advutis•r'),

I

who hereby, in amendment of that certain agreement (hereinafter referred to as "Original Agreement") by and between the parties hereto and relating to the broadcast of announcements and/ or programs over television station WCBS- TV and dated , 19 . and given the number , all as the same has heretofore, if ever, been amended in writing duly signed by both parties thereto, agree as follows: I. Effective with respect to the period or periods covered by the dates set forth in the exhibit or exhibits annexed hereto, the schedule of broadcasts under the Original Agreement as heretofore so amended for said period or periods and the charges to Agency in connection with such broadcasts and other items shall (subject, of course, however, to all the Terms and Conditions set forth in the Original Agreement except as heretofore or hereby specifically amended) be as shown on the exhibit or exhibits annexed hereto, which are hereby made a part hereof.

II. All the provisions of the Original Agreement, as heretofore and herein so amended, are hereby ratified and confirmed in all respects by CBS Television Stations and Agency.

Size: 81f2" x 11'' Colors: Violet and black

AQR I(I£0 1

(Ag•ncy),

AGRI£1£ M E N T N U M BI£R

AMENDMI£NT N U MBER

43

AS AGI£ NT F OR

(Advutiur) ,

CBS TELEVISION STATIONS , a division of Columbia Broadcasting System, Inc.,

pattern and combination. They have all the potential for exciting two-dimensional designs and at the same time can make an extremely lucid statement. I like to use them as thought dividers as well as writing guides.

The particular area for each item should be ((weighed" for space allocation and position in accordance to its actual use. In many forms now in use I notice an unnecessary and very disturbing conflict with the type style of the printed form and the typewriter materiaL I feel that the printed material on the form is solely a guide (with the possible exception of a contract and the like) and when the form has been filled out one should read only the typewritten materiaL Using a simple device of a second color, or Ben-Dayed type or a type radically different from typewriter type, i.e., Franklin Gothic, I eliminate this conflict in my designing.

Business forms are very often done in triplicate, quadruplicate, even more. The filing of these forms and dupli-

cate carbons can be confusing. It could be less confusing if the simple expedient of color is used. A second color may sound extravagant, but would not be were it measured against the time saving facility that it offers. This second color can often be accomplished with colored stocks.

When filing business forms the tendency is to turn the form on its side. I find the use of a small color block in the upper right-hand corner or the device of running the name of the form lengthwise on the right-hand side facilitates its location in a file.

Design has saturated many blocks in our mosaic of visual impressions but it has only scratched the surface of business forms . Business forms can be as gratifying as a two-color magazine ad. They show a concrete example of abstract design applied to a difficult problem, perhaps the most exacting demand of a designer's powers of analysis.

It makes the function of design a necessity for, rather than an adjunct to, business. It clarifies, simplifies and dignifies.

CA. February '60

mMATER~!,~=tested QUIK-STIK A pressure-sensitive spray adhesive

review of both new and existing materials available to the artist.

YELLO-JACKET MARKERS Colored felt markers

HI-FI GRAYS Gray stick pastels

CA's comments ...

CA's comments ...

CA's comment ...

A spray adhesive that will stick to any smooth surface. A light application is tacky, a heavier spray makes a stronger bond. Can be used for repros, photos, flaps. A fast way to prepare friskets by spraying it on thin acetate or cellophane. As with any pressure spray, use it in an area where the spray won't drift on to other work. Manufactured by Maker Products, Inc., a division of Hudson Photographic Industries Inc., Croton-on-the-Hudson, New York. Available at art stores at 98c a 6 oz. can, $1.69 a 12 oz. can.

An easy flowing felt marker with a plastic case and color-coded bands.

Will write on any surface including glossies, acetate, glass. Can be used for layouts, comps, identification. The 12 colors are a good assortment and quite vivid. Includes black, blue, red, green, brown, light brown, purple, pink, light blue, yellow, orange, and light green. The ink cartridge is refillable. Distributed by A. Langnickel, Inc., 115 West 31st Street, New York 1, N.Y., the set of 12 sells for $3.48 a dozen, 29c each.

A set of graduated grays in a white plastic tray. Includes black, white, five warm grays and five cool grays. The chalks measure 7h611 x 2%", have a soft texture and blend smoothly. Manufactured by Weber Costello Co., of Chicago Heights, Illinois, the set sells for $1.

PHOTOGRAPHY .

BILL ARBOGAST

For further information concerning this department, write to: Materials Editor, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California.

44

TOP QUALITY TOP

". . . the best art zs. better with Grumbacher Designers' Colors"

TALENT...

. .. used by the artists and designers at award -winning Lester Rossin Associates.

Designers' Color Sets with large diameter round cakes26·26 ..... 24 colors ... . $4.95 26·13 ..... 12 colors . ... 2.50 26· 7 . . . . . 6 colors . . . . 1.40 Tubes-% " x 4 "-45¢ Refill cakes-25¢ Gold & Silver-50¢

CA, February '60

m

cOLOR Here, a working demonstration of how the Color Guide Charts are used inCA's own litho department. The subject is a Christmas card design by Fred Walsh of Seattle ( Exhibit, August '59). A simple piece to reproduce and a clear demonstration of Color Guide use.

The black was achieved by multiple line shots to our reproduction size ( lh actual size) . Filters were used to drop out the background colors. These shots were then combined into one complete black line positive. Windows were made for each of the four colors. The combinations of screen percentages were selected from the charts, and the screens stripped into the windows at the proper four-color angles.

Result, a precise match of a piece originally produced in six colors.

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CA, February '60

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CA. February '60

70%

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CA COLOR CHART COPYRIGHT 19S9 BY THE JOURNAL OF COMMERCIAL ART

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PRINTED

CA, February '60

BY LITHOGRAPHY USING 1SO- LINE

LEVY SCREEN .

TRIPLE TONES 10%

30%

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TRIPLE TONES 10%

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CA. February '60

EXHIBIT Leading off CA's Exhibit section of things current and choice ... four pages of travel posters from the recent show ((The Graphics of Travel."

::nrrrrr.

..

Mead Paper's graphic reference center in New York, ''The Library of Ideas," recently sponsored an exhibition of printed materials related to travel. Surface and air carriers contributed, so did hotels, foreign tourist bureaus, resorts. The result was a wide assortment of brochures, maps, menus, ticket envelopes and posters. From this international collection- there were 400 posters- CA selected 18 and reproduces 11 of them here as examples of graphics designed to make people move. The entire group of 18 posters is available on request to Mead for exhibit in schools, art groups, organizations.

9

Left. The invitation: a 12 x 18 sheet folded twice, printed in one color, fastened by a bright red seal. Wheelwright Potomac Cover, antique finish. A Mead paper, of course.

Yo. an COI'dillllf U.viUd to IMit .. uM/11/Wnt

THE GRAPHICS

OF

._

TRAVEL .. _.. ____ .,._........ .,_, ....

--·--·-·--..

TIIo ........... -

... -

•

Below left. Helen Loring and Dwight Rockwell, Jr., of Mead, assemble the travel graphics .

Below. The Library of Ideas, 230 Park Avenue, a highly useful service center, i.e., last fall it sponsored a two month exhibit of annual reports.

.. · - · - - - - -

---·---·-~~~-·--

/

CA. February '60

Exhibit

CA. Fefnotu:Jrw '60

AFRICAB, SCANDIIYAVIAIY AIRLIJIIE$ SI'ITEAI

Exhibit

AMERICAN AIR/.INES DESIGNED BY LOWEREE

52

DESIGNED BY DONALD BRUN

CA. February '60

DESIGNED BY BOBRI

DESIGNED BY A . GAMES

53 DESIGNED BY GATES

eC OLOII AD 0

DESIGNED BY PAUL LOUCH

COLORADO

W1 M f~ll

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CA. February '60

Exhibit

"We want it good ... but cheap." A common cry. A common struggle. Here, an uncommonly good answer. Art Director Bernard Scheidl "substituted standard 4-A colors for normal process colors and with judicious use of screens achieved similar results.''

This is a working demonstration of just exactly what CA is showing and explaining in the Color Guide Charts (see page 45) . By mixing screen colors, plate costs were reduced at least 50o/o, and AD Schiedl has 10 colors in his trade ad. Lando Advertising Agency, Inc., of Pittsburgh.

54

knowledged leader in the field. Convenient warehouses assure prompt service and quick delivery anywhere in the country. Balch offers free promotional material, too. Just write.

Change your ice creams from the ordinary to "something special" by adding eye-appealing, taste-tempting Ripple flavors . Ready-to-use Ripple Sauces give color and variety to your promotions in any season, anywhere. And . .. you'll add dollars to your sales with Balch's "customer-approved" flavors, . "rippled" into your own good vanilla ice cream.

BALCH flavor co.

When you buy genuine Ripple Sauces, you know they're right-made by Balch. the ac-

CANADA : Rose & Laflamme. 555 Davenport Rd, Toronto • AUSTRALIA : Balch flavor Co, 19 Queen St, Melbourne ENGLAND : Balch flavor Co. Ltd. 210 York. King's Cross. London· EXPORT OFFICE : R. A. Auerbach. Easton, Pa .

"Ripple" and "Wave" are the registered trademarks of

1300 ADAMS ST., P ITTS BURG H 33, PA.

CA, February '60

once upon a weekday dreary, while I pondered, eyes all bleary, over many a quaint and curious problem left by A. E.'s at my door, while I doodled to keep from napping, suddenly there came a rapping, as of someone gently tapping, tapping at my office door. " 'tis some copywriter," I grumbled, "tapping at my office dooronly this and nothing more." ' ....--. . ~

ah, distinctly I remember feeling worse than bleak december, as like a burning ember lunch sat on my stomach's floor, and wishing for tomorrow, I vainly tried to borrow relief from luncheon's sorrow from the pills within my drawer, from the panaceas nestling within my tabouret drawer, only this and nothing more.

------~ and with loud persistant rumbling, my innards kept on grumbling, filled me , instilled me with indigestion I had never known before; so I sat there just repeating, "some one's copy needs deleting, 'tis some copywriter entreating entrance at my office door, a heedless copywriter entreating entrance at my office doorthis it is and nothing more." ~

presently my health grew stronger; hesitating then no longer, "sir," said I, "or madam, truly your forgiveness I implore, for a campaign I was mapping and so softly you came rapping and so faintly you came tapping, tapping at my office door, I was not sure I heard you"- here I opened wide the doorfound a bird and nothing more! ~

black he was and so ungainly that I struggled , all too vainly to suppress the laugh he gave me as he stepped across the door. not the least apology made he, not a minute stopped or stayed he, no attention to me paid he as he perched upon my file, with no outward trace of guile, perched upon my well -stocked file, perched and sat, and nothing more. ~

"surely this is some invention of the day's increasing tension and it is my firm intention to eject him from my door." not a feather then he fluttered as I fussed and fumed and muttered, but a single phrase he uttered, "Art Dimension," then no more! "what was that I heard you mention, tell me, tell me I implore. quote your message as before."

-.......--.~

and the black-bird sitting bravely on my cabinet just said gravely, " Art Dimension, Art Dimension , Art Dimension," as before. then I shouted, "what's the number?" but the bird just seemed to slumber, like a piece of sculptered lumber, till I pleaded as before. only once he gave the answer, only once, then never more, "Dunkirk 2-1234." ~

and the black-bird never flitting, still is sitting, still is sitting on the overflowing file just inside my office door, feathers brushed and feathers gleaming he is happily dreaming, and the sunlight o'er him streaming throws his shadow on the floor.

I am joyful, I am singing as I dial forever more Dunkirk 2·1234!

Purpose: ''To experiment with new materials, stock, colors, visual and verbal concepts and to coordinate them into an inspirational piece of advertising for ourself, and, we hope, to others, too.''

Resu lt : A wild melange that comes off. Purple tissue paper, silk screened in black and light green, Edgar Allen Poe, a brooding bird. A direct mail piece (delivered by vampira?) designed by and for Art Dimension, Los Angeles.

Art director, John Jezak; illustrator, Lois Jezak; copy, J. Chase and E. A. Poe.

Copy in original was set in Cloister Oldstyle Italic, set o.ff by ornamental headband, Chic Decorator.~ . tailpiece.

CA, F ebruary '60

55

Exhibit

From Chicago, Franklin McMahon, artist. On this page he is artist-reporter . .. interpreting, not just representing. For LIFE, McMahon makes us see the fire in Chicago's Our Lady of the Angels School.

Below, again from LIFE, he makes us see what Faulkner takes many pages to say . . . subject, the Till trial in Mississippi. Besides magazine illustration, McMahon does advertising, book illustration and fine art. Wash drawings, oil, ink. On a trip to Spain he did a series of pen and ink drawings, beautiful distillations of the very essence of the country as is readily evident on the facing page. They're proof, too, of his own words, "Design must grow from inside the artist and his interaction with the subject. ''

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CA, February '60

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Franklin McMahon likes to work on the spot ... ''in this method of working, the design grows out of the subject matter rather than being superimposed in the studio." Here, "Guardia Civil," ''Toledo'' and ''Grapes.''

CA, F ebruary '60

Exhibit

58

Of his 32-page book for Caltex, designer and artist Lawrence Gaynor says, ''one of those pleasant problems that moved along smoothly. '' Purpose: Tell the story of the great investment potential of Indonesia.

Approach: ''I felt there should be graphic suggestion of the rich natural resources yet unexplored. I wanted to use motifs suggestive of the area for illustration (Balinese shadow pu ppets above) . In keeping with the colorful surroundings of the country, large blocks of color were used. '' The text is relieved pleasingly by photographs in both black and white and in color.

These show the ancient land and its modernization.

MASA LAH EKONOMI DAN KEMUNGKINAN. K.EMUNGKINANNJ A. Dalam D.hl.lft 19"'7 r-. rintab~lahtnenjUIUIIRcntjanaKuimo,dinamabniJXIlW\Itpcri&\IIUinja, lpatiu.Kuimo,Kmll h.m.i

Kadlolik dan lana ~nab rmndjadi MtrK~. Mabudnja pmamaama ialah aapa}a lndonala fUIMUP mentjulrupi Ubutuhan sendiri dalam bU1&n malunan dan bcbcrape. kepcrluan-kcpcrluan Wm)A. dan mcnaikbn rinJku hidup rakjat mcWui maa ian& il:bib patwi.Ja.na. llall:jaoa. Ku&mo n:ld.ipuN ba:ber.pt. w.ahapokokunhlkmentjap&itudju..nitu: 1) mempuhw dan mcmprFJiat pmOaian laoah jans dap~~: dUanami ; l) mcmpcttirui lwil taD&I:I:I&II dcnpmtmpctbaikiiripi.~b.otau.bklopwd&opmjakir:~ana~Daa.lebihbiUijalt~ Rbukdanbibitjan&beik ;) )madirikanrempatl&tibaapem.ni.&Dclida.mahdani:DIIdddaa~ ;

41) trammipui bhwp dati Dja.. dan IIUd.u.a. kcpu.lau·pWau lain; '} mcrnpcrbd:i ltaabdt buiJ

,............ ..,...,...,. ""'..,., 6) .....,.,.,.a; p<rilooondon,._...,, ) kajudenpntitadabnpmaa-.nhutan.

....,..,....i,."""

Walaupuntidakpanah~pat~rami,~JWimoiNcknpn~ kcmudiul,~elamaxpuluhWa~o~n;..n,laha,lldahbedaedab.m.pidulrt.,ibabapic:iod.&bahmr­

rintahtan&tfdtti(dilapanpnpertN!Un.Bea}ll-beaja be.stdabdikd~WlNkpcrlpin,a.term&Nk

....

CA, February '60

penmilcinan ..d~·wadllk di D;awa dan Kalimantan. Bubapi pmdjtmul a.nk tMpn tdU dibcribn unruk munbanpa kanba.li ~rbbwun. Denpl prn;a-ptojdt panbWan ll.nah, pubailtan iripi dan patiCII Jcbi.h dJ.tj MN bJi, pcn&lwiltn bttf.s ibn lbpN rnocnddoti fjita-tjita, ~ mentjuhJpi

CA, FelYruary '60

Exhibit Don'tforget. An invitation. A friendly hand. They're all comprehended from a glance at Dale Puckett's design for Security First National Bank, client of Donahue & Coe, L os Angeles. This, an eight column, 93,4 inch newspaper ad. ''Purpose of all material produced for the bank is to create a warm, friendly, people-to-people corporate image. ''

ERPETUA Perpetua is an alphabet of classic origin. Some fine examples of letters resembling Perpetua can still be seen on columns carved

by Roman sculptors more than 1000 years ago.

Eighteenth and nineteenth century stone carvers used similar letters for 4tscriptions on memorials and tombstones. It was from these early memorials that designer Eric Gill received inspiration for the type face that he named, Perpetua.

It was cut as a monotype face in 1'32 and has since achieved the distinction among contemporary designers as representing the first original type design of the twentieth century worthy of a permanent place in the history of typography.

60

Perpetua is one of twmt.J·snm distinalve Ensfuh Monot,rpe faces deslsned to elJ!lch the selection of t_rpe for the Art Dlreaor, DWsner and Prlnur.

WLSTCC)TT & TIIOJ\1SON 1027 Arch Strut, Philadelphia 5

432 Fourth Avenue, New York 16

Consistently Superior Typography and Printing Plates for More Than a Century

Purpose : Stimulate inter est in imported type faces .

Aim: Emphasize quality and dignity.

R esult: A quiet blend of copy, mood, design. Art Director Charles J. Reed indicates both age and origin in the symmetry of this layout, in the artwork. 2000-year-old letters resembling Perpetua may still be seen in R ome. Black, brown and olive inks were used on one side of a single sheet of H amilton Andorra Text, grey, basis 80. Client, Westcott & Thompson, Philadelphia.

If the design of a record album cover doesn't sing with sock, it won't sell, so they say. Chicago designer Emmett McBain moved in hard and fast on this Max Roach record for Mercury. "Tried to capture an instantaneous visual interpretation of the album's content; to appeal to the buyer's emotion rather than reason. " It's printed in black, red, ochre, blue on a white stock, highly varnished.

CA, February '60

SECURITY FIRST NATIONAL BANK

61

m

CA, February '60

Exhibit

Liberation and finesse. They both lie behind this four -color, two-page consumer ad on copper. Liberation? "The client encouraged new thinking," and "the agency's creative department had great freedom."

Finesse? ''Copy was presented on tape by leading announcer to insure effective reading at presentation.'' Art director, D.P. Eldridge; agency, J. M. Mathes, Inc.; artist, Reynold Ru.ffins. New York.

round tones, deep tones, sharp tones. fiat to nes. copper makes brass, bells and bugles, trumpets and trombones. copper makes bronze for a beethoven bust.

COPPER and copper makes wire. wire, wire, printed wire.

MAKES wire for radio, wire for stereo. wire for telephony and tv.

BEAUTIFUL music. modern music. copper's the conductor.

MUSIC without copper . .. how still the air.

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CA, February '60

63

~ For information about Copper and Copper Alloys, write Copper & Brass Research Association, 420 Lexington Avenue, New York 17, N. Y.

CA. February '60

CA, February '60

m

SPECIAL FEATURE Part 2 of the hows, who's and when's ofthe big (commercial) art event of the year, The Art Directors Show. Here, a close look at judging, words from judges, a calender of action and timing.

The Sensitive Area: Judging If a crucial moment of truth exists in mounting and staging an art directors show, it occurs in the two or three days devoted to judging. Hanging in balance are-recognition for the submitting artist-the success of the show itself-the burden of decision on the men who J·udge ~It is a cool, appraising eye. An engraver's proof A decision. A show steward bending to place the proof in an "accepted" bin. Or in the one labelled "reJ·ected." Much discussion. Balloting. A few medals~~ CA. Feln-uary '60

65

SPECIAL FEATURE (cont'd.)

66

Electronic device used during judging ofthe Western Advertising Show, Los Angeles

There are constants with almost all clubs in the selection of judges. One: they are from out of town. Two: they are men eminent in varied fields of advertising. For example: an art director, a designer, a photographer, an artist, an agency executive. Jury panels range from 3 to 33.

It seems that in only three clubs do members themselves screen any entries. In the few places where judges do not see all work, the screening is done by out-of-town screening judges.

CA wholeheartedly supports the plan where the judges see all, though this places a tremendous burden on the show committee. Entries must be carefully organized and assembled. The judging procedures and working area are precisely planned. And, this is highly important-submitting artists should be urged to rigidly prescreen their own entries.

Chicago divided its judges into teams for Print, TV and Collateral. They waded through 2300 entries and selected 137 for hanging. Here the entire jury voted on medal winners.

New York had 14,000 entries, accepted 487. Los Angeles had 5000 and selected 419. Omaha had 216, hung 141. Dallas, 1150 entries of which 330 were accepted.

So there is no set ratio between pieces submitted and pieces selected.

Where a categury ucks an entry sufficiently good to warrant an award, no award is made or medal given. In other words-prizes are not given simply because they're there. This dictum is followed by the majority of clubs.

The number of categories vary, too, i.e., Toronto has 40-odd, Cleveland 24, Denver 14.

The actual mechanics of the judging: St. Louis and Richmond place poker chips on all work to be considered.

Omaha and Kansas City don't judge for awards until moments before the show is ready for hanging. Cleveland has a set number to be accepted for each category, and judges eliminate until that number has been reached. Iowa places all entries for each category on one wall, and judges then eliminate.

Los Angeles carr.e up with an electronic device, designed by Dick Tauber of Systems Development Inc., that performed admirably. Seated comfortably, each judge had a control on which he indicated his positive or negative reaction to a submitted entry. A special dial assessed the proportionate quantity of these opinions immediately. The judging steward, observing the dial on the receiving unit, out of sight of the judges, could signal whether the piece was accepted or rejected. The entire process was quiet.

There was no influence from one jury member to another.

Smaller clubs could do much the same thing with a simple set of lights. Christmas tree lights, for example. For awards and medal winners in LA there was secret balloting. Often, award winning pieces are agreed upon through judges' discussion.

Good idea. Cleveland taped judges' comments as they they evaluated the show, what they saw, how it compared with work in other parts of the country. The tape was played later at a club meeting.

CA. February '60

CA wrote eminent men who have judged: "We want to approach the very delicate area of screening and judging. You've J'udged, you know what's involved, what makes an award winner.

We'll welcome anything you have to say on the subject of judging. Include, please, any pet ideas.

Also, do you want the club to pre-screen or do you think judges should see everything?"

Here, the judges speak ...

Howard C. Imhoff, Jr. Art Director, Doremus & Company, New York

Obviously, judging is a matter of individual tastes and opinions. There are no rules and, certainly, there should be none. However, I feel it is important that those judging a show remember that the exhibition finally selected should not be merely a show of the best in art trends. More important, it should be a show that reflects the best in art as judged on the basis of creative and effective advertising that sells. In this way, the Art Directors Shows will become more beneficial to its members and will be more seriously considered by the rest of the advertising community.

Secondly, you asked about pre-screening. I feel that to pre-screen is to pre-select. I think it would be better where shows become too large-to split the categories and use more judges. In this way, all entries within each category are judged equally and by the same standards.

Earl English Dean, School of Journalism, University of Missouri, Columbia

I believe that each judge should work somewhat independently in the preliminary appraisal and judge each entry on an ((in" and ((out" basis, rather-than being exposed to the judgment of others in the course of making a preliminary decision. Later, I believe it acceptable to pool opinions in selecting the winners.

So far as possible, an effort should be made to obtain uniform presentation (mounting, etc.) of entries in the various categories.

Douglas A . Murray Vice President, Creative Director, Botsford, Constantine & Gardner, Seattle

I think that Art Directors Shows should not be prescreened by Art Directors Clubs, but that the judges should see all the work submitted. I further think most Art Directors Shows accept too many pieces for exhibition and have too many awards. Regarding awards, I think that a few best of show awards, regardless of category, would have more meaning. The idea of awards by category frequently causes the awarding of prizes for mediocre work simply because it was best in its particular category.

The judging of Art Directors Shows, in my opinion, should be done by one, or at most, three art directors.

It frequently happens that when there are more judges, there is a greater chance of a compromise selection being made in an effort to satisfy everybody.

Here is my pet project. I personally would like to see Art Directors Shows, as such, replaced by creative advertising shows, because I feel that advertising art is important only insofar as it relates to the specific purpose of the advertisement.

For years, art directors have battled to become equal partners with copywriters on the agency creative team.

We have maintained that a good ad is usually the result of an inter-relationship of copy and art. At Art Directors Shows, we are frequently judging the artwork out of context, or we are crediting an art director when he may have been responsible only in a minor way for the basic appeal of the ad.

CA. February '60

67

SPECIAL FEATURE (cont'd.)

Medal Award for each category, Art Directors Club of Denver

68

A creative advertising show, judged by creative people, both art and copy, would be a show of the best ads that have been done, and, after all, we are in the business of making ads.

Robert E. Blackburn Vice President, Creative Director, Clinton E. Frank, Inc. Advertising, Chicago

Isn't it axiomatic that judges should see everything entered in a show?

It would, of course, be a convenience to pre-screen entries, but this certainly qualifies the promise in the invitation to submit work. The artist has the right to assume his entry will be judged fairly-which is to say impartially-against the work of his contemporaries and against more abstract values.

I would like to present an issue which has to do with the classifying of entries. Most persons who have served as judges have found entries which in their opinion are in the wrong classification.

Where the work is of insufficient merit, this poses no problem. But what does one do, for instance, when an advertisement entered under Institutional appears to be a particularly fine ad for Goods and Services?

You can't give it an award as entered-that would penalize the deserving Institutional entries. If you throw it out altogether, you are judging the artist on his ability to classify entries.

It may be suggested that the entries be checked for proper classification when received by the club. But isn't

this tantamount to pre-screening? In a case such as this, it should be left to the discretion of the judges to change the classification of the entry and give it proper consideration against others of its kind.

If this seems to be making a mountain out of a molehill, let's remember the hours the artist spent on his entry and the high hopes he has for it.

What makes an award winner? In judging you can set standards so high only the very, very few will qualify.

Or, you can evaluate work on such elastic standards that the winners seem to number more than the losers-out!

I don't think either of these courses serves the purpose of the Art Directors Show. ·Isn't the purpose rather to encourage talent, as well as to recognize excellence?

Where the work shows initiative, brings freshness in design, shows the courage of experiment or restates an old theme in new terms, it deserves recognition by the judges. It may not be of medal quality, but there is always the honorable mention. And the more of these mentions that can conscientiously be given, the more entries of medal quality there will be in shows to come.

Medals should be given sparingly-and in general, probably are. They attest to exceptional achievement. They mark an entry as outstanding from its fellows in its commercial performance and superior when judged by aesthetic standards. (It would seem less than intelligent to award a gold medal to an entry that is judged better than others in its classification, yet is found lacking in one way or another. )

CA, February '60

If some or all of these observations are ones that have been stated before, let's hope they are re-stated again.

Probably everyone - certainly all who have entries in a show-would be happier and the judges could judge more judiciously if there were one accepted set of rules.

N. F. Lawler Executive Vice President, Foster and Kleiser, Detroit

In judging art I try to look at each entry through the eyes of the person for whom that artist intended his work to reach. In order to be fair, we who are judging must remove our coat-of-position and become plain John Doe. This is not easy to do. However, as most commercial art finds its use in advertising, the artist has to create a selling image.

When judging I look for this selling image.

The next step is over-all composition -layout, use of color, etc. This morning I saw an advertisement for a food chain. It contained three illustrations - a mother and two children. Now men like to look at good-looking women.

Women do, too. Mothers like to imagine good-looking healthy children as their own. This advertisement missed the basic elements playing to human behavior. This ad will never get a second look from either the judges or the public for which it was created.

The last show I was asked to judge was in St. Louis.

The Art Directors Club did a grand job. They had everything classified. We were given a list of the classifications.

The judges were made up of men from TV, radio, agencies, media and the university. We screened carefully-keeping only those that would qualify for awards. Then we selected the winners. When we completed our judging, I couldn't

help but feel that we had recognized the winners but had done nothing for the losers. That's the way it has to be ... some win, and others lose.

Now try this on for size ... suppose each entry had a check sheet attached so that the judges could check what they didn't like. Will the artist, agency and creative people resent it, or will they be «pros" and profit from such a bold venture?

Joseph C . Huot President, Huot Studios, Pittsburg

I prefer to have no less than seven nor more than nine on a jury panel. A good jury in my estimation should contain the following - an advertising executive; a competent art director; a designer of repute; a name illustrator; a typographer of note; a nationally known photographer, and a top notch printing executive. If possible there should be one woman (who is competent) on the panel.

I prefer to have the jury screen the entries, then choose the awards from their own selections. This results in a better show.

Any show having more than 1500 entries should not be judged in one day. Judging should start promptly at nine a.m. and should be terminated no later than seven p.m. - with a two hour rest period for lunch.

Judging is very hard worK, and panelists cannot do their best when they are fatigued. Generous rest periods should follow sessions of three and one-half or four hours.

Three three-hour sessions is the most any jury should be subjected to in one day's time. (An ideal daily schedule.)

CA, Febrv.ary '60

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SPECIAL FEATURE (cont'd.)

I suggest that, lacking an elimination of awards altogether, let's have a lottery-and at least give them fairly. (Draw me-earn big medal. ) Another fair direction would be to have all entries for an exhibition screened (within a pre-stated premise ) fr~m beginning to end by the same jury-and so thoroughly that final acceptance constituted exhibition excellence and award.

The pre-stated premise, or purpose of an exhibition should be clearly articulated in announcement literature and should have direct bearing on the exhibition chairman's selection of and directions to his panel of jurors.

When this panel (as in the A.I.G.A.'s ((50 best") concentrates on the screening and content of the whole, and is.spared a gold-med&l-guessing-game, the A/ D exhibitions will improve ... in form, in content and in purpose.

Garrett P. Orr Art Director, Outdoor Advertising Incorporated, New York

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I also believe that a jurist who tries to influence or dominate the other members should be politely requested to withhold his opinions until such time as a fellow panelist requests it.

Jack Roberts Carson/ Roberts/ Inc., Los Angeles

It's altogether within the cliche of The Artist, I suppose, that he should devote so much time, thought and energy to the creation of a thing and not care less for the manner or measure whereby it is judged. For so it is with most major exhibitions ... it takes a truly tremendous effort to bring an exhibition to a stage wherein a casual afternoon of judging may grant merit to misdirection and medals to mediocrity.

It's not the fault of the judges, nor necessarily that of the exhibition committee. Rather, as in the case of the Western Exhibition, the responsibility for medal-madness rests with exhibitors whose needs are not satisfied by mere acceptance, and who would not participate without stronger motivation. Like gold medals.

Aside from the massive mistakes which result from this blue-ribbon roulette, its most serious consequence is the focus of attention it gives to certain pieces of the whole.

Occasionally the focus is clear, but too often it's fogged-up.

Whereupon the viewing public is misled, the exhibition contributors confused, and a great deal of otherwise purposeful parchment is endlessly embossed.

There seems to be some agreement amongst A/ D club officers that awards are nonsense and that awards banquets would never be missed; yet they're still with us.

It is difficult to set down rules universally applicable to every Club since there are so many variables to be considered. Conditions governing the selection and judging of a show of national scope may differ widely from those of a more local nature.

Of universal importance is the choice of categories to be included and the wording used to describe such categories in the Announcement or Call for Entries. Confusion at this point will almost always lead to trouble later on when wrongly classified entries must be reclassified by the Committee or Jury at the time of judging.

Broadly speaking, if a group of jurors is listed in the Announcement, everyone submitting entries and paying the submission fee is entitled to review for selection by the listed jury. If there are separate juries for selection and for awards, this should be made clear in the Announcement.

If certain categories are to be judged for design of complete advertisement while others are to be judged for Art, or if idea or sales effectiveness are to be considered, this should be plainly stated and at the time of judging, the jury should be so instructed.

As to the actual judging, we in the New York Club have tried many different techniques. We have called on our entire membership (we were smaller in those days ) for selection and judging. We have had Selection Committees elected by ballot from our membership, the Awards being selected by our Advisory Board, consisting of past Presidents. We have had Selection Committees from membership as above, while awards were selected by a picked jury of top artists and designers. We have had entire juries picked outside the Club membership.

More recently, it has been the custom for our Exhibition Committee to nominate a panel of judges of at least 30 men consisting of not less than two-thirds Club members, the remainder composed of top designers and artists, for approval of the Club Executive Board. This jury is then asked to both select and make awards. With the addition of a balancing committee appointed by our Executive and Advisory Boards to prevent duplication or one-sidedness, this is our present system. It seems to work very well, but if anything can be said without fear of contradiction, it is that there will be changes.

CA, February '60

Show Calendar This is a basic operational plan indicating when-and-what. For convenience sake the Show is placed at the end ofthe calendar year. Action begins 11 months earlier.

January

June

Chairman of Show is named.

Chairman sends members questionnaires to determine qualifications, willingness to help.

Chairman with Club Officers determine basic philosophy of show, approximate dates, places for exhibition, for awards dinner/ luncheon.

Chairman names Committee Chairmen and with them blocks out calendar of events.

Mailing list for Announcement Brochure is checked for accuracy.

Show Chairman sets up schedule of meetings and announces same.

Entries begin to come in, are sorted, entered in Show Record File.

Checks are turned over to, and entered by, Treasurer.

Judges are invited by President, arranged for by Chairman.

July All entries are in, sorted, checked, recorded, readied for judging.

Physical arrangements for judging arranged.

Physical arrangements for show itself determined, i.e., number of rooms, etc.

February

August

Chairman calls first of regular series of meetings with Committee Chairmen to: 1. Define and refine philosophy, objectives of show.

2. Outline procedures, plans, timing for all committees.

3. Read reports of previous years' chairmen to illuminate duties, pitfalls, etc.

4. Determine geographic area for announcement brochure mailing and categories to be included (categories vary, range from 14 to 47).

Chairman, Club Officer, Graphic Materials Designer agree upon visual symbol of the show.

All entries are assembled where judging will take place.

Queen of show selected, photographed, etc.

Judges arrive, hosted by the club, proceed with judging, usually 2-3 days are needed.

Accepted entries are photographed, re-recorded.

Show Chairman sends out "not accepted" letters.

Show Chairman sends out congratulatory letter to entrants accepted. Lists instructions for submitting final entry, deadline, hanging fee (this varies from $5 to $35).

Exhibit Designer submits sketch/ model of exhibition stucture indicating traffic flow, placement of categories, etc.

March Chairman and Committee Chairmen decide upon details of the Announcement Brochure which makes known: all instructions for entrant, entry fee (this varies from 25c to $2.50), deadlines, awards, date of award dinner/ luncheon, names of committee chairmen.

Work begins on Announcement Brochure.

April

September Final entries arrive, are checked, recorded, prepared for hanging.

Publicity prepared on award/ medal winners.

Work begins on exhibition structure.

Exhibit Book Designer begins layout using photos of accepted entries taken after judging.

October

Chairman and Exhibit Book Designer make initial contact and set up rough procedural outline with printer/ magazine that will reproduce Exhibit Book.

Publicity mailing is made to club presidents within area covered by Announcement Brochure (so they can announce same to their members).

Local and trade press notified as to what, where, when, and why of the show.

Club Treasury assessed for out-of-pocket expenses of Committee Chairmen, President.

All Graphic Designers are thoroughly indoctrinated in show aims, philosophy (so that visual material will support same).

Photographic Committee named to photograph judging procedures, accepted entries, publicity.

Envelopes for Announcement Brochure are addressed.

Final entries continue to arrive, are processed.

Details of the Awards dinner/ luncheon are settled.

Exhibit Book goes to press (so as to be ready for award function).

Award certificates and medals are inscribed.

Preview party invitations go out.

November Structural units to be used in the show are completed, installed.

All materials (show symbols, directional signs, entries, credits, projectors, etc.) are assembled.

Show is hung.

Preview party is announced and held.

Awards ceremony held (preceded by advance rehearsal of ceremonies).

May Chairman with Club Officers compiles list of possible judges to be invited.

Announcement Brochure completed, mailed along with return envelope for entry fee checks.

Designs for all graphic elements involved are submitted discussed, approved, go into production. '

December Show opens (runs usually 2-3 weeks).

Show is dismantled, materials returned to entrant.

~~~ CA. February '60

71

m

meeting of the newly reorganized club. Events of the meeting included adoption of a new club symbol designed

by Cy Snyder and the installation of Wayne Mayfield as president.

ON THE BOARD

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This month at the 303

Gallery 303 in New York is showing CIBA: USA; The Formation of a Corporate Design Program. The exhibition opened February 1, closes the 29th.

It presents a cross section of the many areas in which design works to achieve uniform and effective visual image.

Ciba has done a uniformly excellent job in graphics. Among things shown - advertisements, booklets, business forms, packaging, house organs.

•

Don't call us -we'll call you!

And we're calling for three things: 1) book plates, 2) calligraphy, 3) graphics on colored stock. We would likeplease - samples of work you've done in these areas as possible illustrations for these articles.

A show on the road

72

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20th Century Design: U.S.A. - It's an exhibition of the articles of our time, the paraphernalia of everyday life as they have developed in this country. It can be seen at the San Francisco Museum of Art until March 13th; then it moves on to the museums of Dallas, Portland (Oregon), and Dayton.

The exhibit was organized by William Friedman, designer and visiting curator of design for the Albright Art Gallery in Buffalo where the exhibit was first shown.

To be seen- tools, tables, appliances, kitchenware, business machines, furniture, leather goods-almost everything involved in everyday living. There are 2500 handsome, useful and often familiar pieces taking up 12,000 square feet of space. The show catalog contains photographs and credits for all items in the exhibit.

•

New museum graphics project

Instead of the typically staid announcement of museum activities, last month members of the San Francisco Museum of Art received an attractive two-fold, two-color calendar of events printed on oatmeal screening, designed

by James Robertson and Bruce Montgomery. It was first evidence of a program instigated by Museum Director George Culler, who intends to <<demonstrate the character of graphic design as a contemporary art form" to the sizable museum membership.

Museum publications will be handled by a Graphic Design Group of 12 bay area designers. Basic problem for each is to be a monthly calendar. In addition, there will be other projects such as posters, catalogs, invitations.

Gene T epper is coordinator for the group, Arnold Fujita, Gene de Christopher, Bruce Butte, Jack Allen, Nicolas Sidjakov, Jacques Overhoff, Jim Robertson, Tom Kamifuji, Marget Larsen, Bruce Hopper, Dick Snyder, and Cal Anderson.

Museum Director Culler's interest in San Francisco designers is a mutual affair. The Art Directors and Artists Club of San Francisco tabbed him as speaker for the first

Under the tent in '60

The Corporation and the Designer: an inquiry into the opportunities and the limits of action for innovators in the 20th Century technological society - this is the title and the scope of the 1960 Aspen International Design Conference as agreed during a meeting of the executive committee held in San Francisco on January 31.

George Culler, program director, explains the broad outlines of the Conference program: ((The corporation is the active force through which today much of the designer's work reaches the public. The present condition and future situation of corporations is of critical importance to designers and the future of design. For this reason the Conference will look into the conditions for creative action as they may exist now and in the future within the corporate structure. (( Large and complex organizations invoke pressures toward order, uniformity and self-perpetuating systems, while the internal and external pressures of technical, social and economic change require of the corporation the creative adaptation to new needs and active participation in social and technological progress. ((What is the synthesis that will resolve these conflicting needs? Can the corporations increase their capacity to achieve innovation within order; creative freedom within useful discipline? What is the future of design in a corporate order?"

Speakers to deal with these questions will be outstanding corporation heads, leading designers, economists, sociologists, writers. The tenth Conference will be held in Aspen June 19 through the 25th.

Those attending the executive committee meeting in San Francisco were Bill Tara, Jack Roberts, Hy Hoffman, Burton Cherry, Saul Bass, Bruce Beck, William Friedman, Ted Rand, George Culler, Brian Heath, Carolyn Blair, James Cross, James Real, Eugene Bielawski, Herbert Pinzke, W. M. de Mayo, Ned Pratt.

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New contributing editor in St. Louis

There's a new name on CA's masthead this mon thRobert S. Robison, head of the Design and Illustration Department for Washington University and our new contributing editor for the St. Louis area. He promises among other things- a look at the University, one of the few that offers a fully professional program in the arts at an undergraduate level.

Index to advertisers

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Allied Paper Corporation . . . 24, 25 , 26

Hastings House, Inc..

Amsterdam Continental Types . . . . 6

John Henschel & Co ., Inc . . . . . . . 2

. .. . . . . . 23

Chas . T. Bainbridge's Sons . . . . . . 7

Litho Art Products . . . . . . . . . . 8

Columbia Cement Co ., Inc. . . . . . . 5

National Card , Mat & Board Co . . . . 8

Crescent Cardboard Co . . . . . . . . 2

Photo-Lettering, Inc. . . . . .. .. .

Eberhard Faber Pencil Co . . . . . . . 3

F. Weber Co . . . .. . .. . . ... .

A. 1. Friedman, Inc. . . . . . . . . . . 6

Winsor & Newton , Inc. . . . . . . . . 4

M. Grumbacher, Inc. . . . .. . . .. 44

CA. FelYruary ' 60