febmar1969

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CA MAGAZINE THE JOURNAL OF THE COMMUNICATION ARTS

Richard S. Coyne, editor and publisher Cummings G. Walker, associate editor Newell Alexander, associate publisher Byron Ferris, contributing editor Vance Jonson, contributing editor Jean Coyne, assistant to the editor Lillian Markkanen, asst. to the publisher Sachi Manabe, circulation Jay McKendry, typographer Bob Bickford, associate typographer

VoLUME,11, NuMBER 1, 1969

P. 0. Box 10300 200 California Ave. Palo Alto, Calif. 94303 Telephone (415) 326-6040

The scene .

4

Club news

14

Materials, available literature

16

Lithopinion

20

Tom and Teresa Woodward

30

West Magazine

43

Illustrators 11

50

Harlem On My Mind

62

Greetings .

66

The American Thought Combine

73

Send change of address notification at least 30 days prior to effective date, include both new and old address.

Icograda Congress 3

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No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by self addressed, stamped envelope .

Call for entries, CA-69

80

Cleveland exhibition

82

Outside New York exhibition

84

Western Art Directors exhibition

86

Books .

87

Index to advertisers

88

CA Magazine is published bimonthly by Coyne & Blanchard, Inc. Subscription rates: U.S.A. and Canada, one year$15 (US), two years - $27 ; foreign, one year $16 (US), two years-$28 . Single issues: $2.50 each , except CA Annual (No.5) at $7 and CA Merit Awards issue (No. 6) at $4.

Copyright 1969 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, Calif.

Cover by Tom and Teresa Woodward

The Scene A new organization of graphic artists and photographers has been formed. Called the Graphic Artists Guild, its structure and function is similar to that of the Screen Actors Guild.

This organization, initiated in Detroit, is registered as a labor organization with the U.S. Secretary of Labor and has the strength of a labor organization in that it has the right to negotiate and bargain collectively, and to strike or boycott. Some of the areas of concern to the Guild will include: establishment of minimums for compensation for various types of work or assignments; residuals for reuse or resale of art; better working conditions through such means as premium compensation when extraordinary service is required; a code of ethics and standards of practice to govern fees, contractural and business arrangements; performance, payments, etc.; benefits of group participation in insurance, credit, retirement, etc.

Since the members empower the Guild to bargain collectively for them, this sounded very much like a union.

We asked Martin C. Anderson, president of the Graphic Artists Guild, to explain the difference between a guild and a union, if any.

"If you are speaking of the operational strength, the 'teeth' of the organizations, they are alike in that both have the strike sanction and right to negotiate collectively for their members. However, there is an important difference which reflects the nature of our profession.

Graphic artists, like actors, are individual talents and certainly wish to remain so. Our professional status depends upon our individuality, the unique differences which have always made an artist's name his or her valuable asset.

"A guild, therefore, is an organization of individual professional people as contrasted to a labor organization made up of shop groups. Many graphic artists are self employed (independent contractors is the term applied by the National Labor Relations Board) and cannot be a part of a union type organization. As individuals, all persons actively engaged as professional graphic artists are eligible to become members of the Guild regardless of the conditions or situations of their employment. All elected officials of the Guild must be professional graphic artists. None are paid a salary by the Guild:' The standard problem and downfall of any past attempts to organize artists has always been the resistance to standardization of rates and fees. Anderson felt this was not a problem.

"A range of fees will still exist among artists, as it always has, because of differences in ability, experience, etc. An artist's freedom to negotiate fees for his services should never be restricted unless, by continuous price cutting, the whole profession is harmed. We believe that,

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by raising the bottom rates, the whole scale of rates and fees will be raised:' The Guild defines a graphic artist as "any person engaged or employed in the creation or production of originaJ creative works of art intended for graphic presentation either as originals or reproductions. Creative works of graphic art include, without limiting, pictorial designs, drawings, and painted or photographic illustrations:' In actual practice, the membership of the Guild currently consists of illustrators, photographers, designers and retouch artists. Though it has not yet had the appeal to photographers that it has to the board artists, a number of the leading Detroit photographers have joined the Guild in that city and it is anticipated that photographic memberships will increase. A ratio of Board of Directors seats has been established to insure that photographers will have a fair voice in the policies of the Guild.

The Code of Ethics and Standards of Practice adopted by the Graphic Artists Guild follows: 1. Orders to graphic artists or their agents shall be executed on a standard purchase order form including price, fee, or rate and special compensation when required, due date, and a summarized description of the work and the use for which it is ordered. When no price, fee or rate can be established at the time the order is issued, a guarantee shall be given that no artists involved shall be paid less than his established fee or rate.

2. All changes not due to the fault of the artist or representative shall require a supplementary order form and shall be billed to the purchaser as an additional or separate charge.

3. There shall be no fee for revisions made necessary by errors on the part of the artist or his representative.

4. Alterations to artwork shall not be made without consulting the originating artist, when possible, and the artist shall be allowed the first option to make all alterations.

5. A review board consisting of agreed upon representatives of the Graphic Artists Guild and clients shall arbitrate disputes.

6. Work, in progress, cancelled by a buyer shall be delivered immediately and billed according to the time, effort and expense incurred. Work temporarily stopped by a buyer shall be considered cancelled after a reasonable period of time.

7. Payment is considered due the artist and/ or his repsentative within 30 days from the date of receipt of invoice. An invoice, to the buyer, unpaid after 40 days from receipt shall be increased a given percentage and increased additionally monthly thereafter. Where extended assignments are involved, partial invoicing shall be honored.

8. Nonconformance with agreed upon standards of performance or failure by the artist to deliver the contracted

THE SCENE (continued)

work when due, without prior consent by the buyer, shall be considered a breach of contract and shall release the buyer from obligation.

9. No artist shall render free services on speculation.

However, any work originating with the artist as personal promotion shall not be considered speculation, but, if such work is purchased, the agreement shall be in accordance with these standards.

10. There shall be no rebates, discounts, gifts or bonuses to buyers by artists or their representatives.

11. Wherever the original graphic art is purchased for reproduction purposes only, and is not used as art in its original form, the original work shall remain the property of the artist and may be sold by special agreement only.

The reproduction rights and any other rights purchased must be stated in the purchase agreement. Any further use of original art shall require additional purchase agreement. All rights may be sold by agreement of the artist for no less than three times the established minimum compensation.

12. A question of plagiarism shall be taken upon request to the review board for arbitration and recommendation prior to action by due process of law.

13. N arne credit shall be given the artist for all editorial work. The right of name credit on advertising work shall be by agreement between the artist and buyer and shall be indicated in the purchase agreement.

14. Any business agreement between an artist and representative shall be in writing and may take any form agreed to provided that it does not violate the Constitution and By-Laws, Rules and Regulations, and this Code of the Graphic Artists Guild.

15. The graphic artist shall always have the perogative to decide when and where his samples are to be shown and no work may be shown by a representative anonymously or without expressed agreement and authority to do so.

16. Upon termination of a business agreement between an artist and representative, any work under contract shall continue under the terms of the agreement until the contract or purchase agreement is fulfilled.

17. Minimum fees, prices or rates are the standard bases upon which assignments are to be negotiated. No fee or price as such is established for any individual artist. Any deviation from the minimums negotiated or established by the Guild requires a higher figure than the minimum.

18. Interpretation of this Code shall be the perogative of the Board of Directors of the Graphic Artists Guild which shall have the authority to make alterations or additions at its discretion.

To this point, the Guild has not been involved in any bargaining. Their primary function has been gathering information and building the organization. The Guild in Detroit has been in operation a little more than a year

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and has 300 members. A Guild Branch has been formed in Cleveland with 90 members and another is being organized in Pittsburgh. Contacts have also been made in some other cities. Their plan is to eventually establish Branches in 15-20 major art centers and offices in other locations requiring Guild services. (The Screen Actors Guild has two Branches, Los Angeles and New York, with offices in other major cities.) The Graphic Artists Guild will be governed by a Board of Directors, representing all of the Branches, who will determine location of their headquarters and places of meetings.

Anyone wishing further information about the Guild should contact them directly: Graphic Artists Guild, 40 West Bethune, Detroit, Mich. 48202.

The New York Communications Conference will operate under a different format this year according to Conference Chairman Walter Kaprielian, Creative Director, Ketchum, MacLeod & Grove.

The two-day conference will be divided into four sessions, each dealing with a different phase of advertising and design communications: graphics, copy, film and broadcasting, management. Speakers will be leading people from the various disciplines and each session will have a different moderator.

The speakers roster had not been completed at this writing, but the list will include: Bill McCaffery, deGarmo, McCaffery, Inc.; Ed McCabe, Scali, McCabe & Sloves; Peter Max, artist; Tony Schwartz, New Sounds, Inc.; Herb Lubalin, Herb Lubalin Inc.; Sam Magdoff, Elektra Film Productions; Peter Greer, Greer, duBois, Inc.; Hiro, photographer; Jerry Della Femina, Jerry Della Femina & Partners; Neil Calet, Delehanty, Kurnit & Geller.

The 14th Communications Conference will be held May 1-2 in the American Hotel. Registration fee is $9 5 per person. For registration contact: The Art Directors Club, Inc., 642 Fifth Avenue, New York, N. Y 10019.

As vice-president in charge of development for the International Executive Service Corps, Wallace W. "Wally" Elton is an exponent of the art of how to retire without being retiring. Formerly an outstanding creative director as Vice-President-Director of J. Walter Thompson, he withdrew from advertising in 1966 to join the newly organized IESC. The Corps was defined by David Rockefeller, president of the Chase Manhattan Bank and chairman of the board of the IESC, as a "managerial task-force of free enterprise:' Frank Pace, Jr., president of IESC, explained its function as: "It is a new, practical and dynamic way to assist private enterprise in developing nations by providing

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THE SCENE (continued)

professional management know-how. IESC is a businessto-business operation. A non-profit organization, it sends seasoned business executives on short-term assignments abroad to counsel companies which have requested assistance on management and technical problems.

"These advisers may be either retired men, or executives in mid-career who are able to arrange leaves for a few months. (The average assignment is for three months).

They are all volunteers, receiving only travel and living expenses for themselves and their wives while overseas:' The Corps is regarded widely as an outstanding example of successful cooperation between the business community and the Government. Financial support is received from private business sources in the United States and from the U.S. Government through grants from the Agency for International Development. In addition, each overseas client firm makes a contribution to the direct costs of the project.

Elton undertook his first assignment for the Corps in 1965 when he was Executive Vice-President in charge of Thompson's New York office. He was granted a leave of absence to conduct a six-weeks series of advertising workshop seminars in Taiwan. Twelve small independent advertising agencies, not able individually to afford an overseas consultant, cooperated on a group approach with the assistance of the Corps. Wally spent the first 21 days of his stay in making two-day evaluations of each agency, with the remainder of the time devoted to a series of general training sessions on design, writing, TV and radio advertising.

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After joining the Corps as a full time executive, Elton conducted marketing seminars in Poland, Austria and Czechoslovakia under the auspices of the U.S. Department of Commerce and the United States Information Agency.

The following is an abridged version of a talk given

by Mr. Elton at the Awards Luncheon of the Society of Illustrators entitled "Exporting American Communications to Developing Nations:'

"Years ago, when I was a practicing art director, I had the pleasure of attending many awards occasions, similar to this one. While a number of years have intervened, I remember clearly one reaction which was shared by many art directors and illustrators. I always wondered why the real stars of such a meeting as this-that is the graphics people whose work was being recognized-had to suffer through rather lengthy remarks by an outsider. The memory is suff ciently vivid to influence me today. My rem ~· Ks w1ll u r.: brief. ".. f-: th~" ;.ust few years, working with the International Executive Service Corps, I have participated in offering training in U.S. business procedures to more than forty developing countries. I would like to make an observation about what we have to offer to developing countries-

Tony's latest contest entry is on Oxford's new Solitaire.

It has to be~ Tony has a lot going for him.

Mustache. Sideburns. Flowery tie. 250 felt-tip pens. And a wall that's destined to fill up with awards.

That's why Tony "spec'd" Oxford's new Solitaire for his latest entry. Solitaire is a medium-priced paper that looks, feels, and runs better than anything in its class.

It has the whiteness and opacity of many higher priced grades.

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And a lot of clients would be a lot happier if more of their pieces were award winners.

Take a tip from Tony. Call your Oxford merchant.

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~

THE SCENE (continued)

particularly in the various fields of communication. Most especially, what we have to offer· in the way of guidance toward developing a better use of the graphic arts.

"One thing we have to offer is a sense of organization in using available talent or creativity. Although talent and creativity exists everywhere in the world, a sense of direction in how to organize these attributes is often lacking.

"For instance, I went to a small but remarkably successful Chinese nation as an advertising and marketing advisor. It quickly became evident that I was expected to disclose the magic secrets of American creativity. Can you imagine anyone attempting to tell the Chinese how to be creative!

"What they really lacked was a sense of organization in advertising and selling. There was no business planning to relate the efforts of manufacturer, salesman, artist, designer, publisher and retailer. The illustrator worked in a

planning, purchasing, reproducing and distributing the work you create.

"For instance, let's take this annual show of yours as an example. In most of the developing countries there has not only never been such a show, but no one would know how to organize one. In fact, our Executive Service Corps requests for assistance in the developing countries of Asia, the Near East and Latin America have included requests for the basic procedures in organizing such exhibits. Even in the more developed countries like Japan, Brazil and the nations of Western Europe, there is a great demand for art exhibits organized in and representing the United States.

"Why should so many overseas countries look to the United States for guidance in graphic communications?

I can think of at least three reasons based on my own experience overseas.

"First: it's a simple fact that everything the U.S. does is exciting and attention getting. Not popular, but wellnoted and appraised. What we do may be criticized, scoffed at, belittled-but it is most thoroughly scrutinized, evaluated and usually copied.

"Last summer, after I had finished a week of marketing seminars in an Eastern European country, the local M. C. -a Party Member of course-opened his summation with a diatribe against the "materialistic Americans:' He decried our lack of culture and our pursuit of the dollar.

Then, with even greater fervor, he launched into an appraisal of the week's work. He reviewed the subjects we had covered and pointed out how they could be applied to solve local problems. Specifically, he noted the major part played by graphics in our commercial communications.

Mission to Taiwan: Mr. and Mrs. Wallace Elton, on their arrival at Taipei Airport, are met by Roger W. T. Chow, president of the Taiwan Advertising Association.

vacuum which was generally abhored by the businessman, who unwittingly operated in his own particular vacuum.

"In the western world, as business developed, such problems were at least partially solved long ago. In varying degrees, most of you operate as a part of modern business. Business management depends on you for a big share of its communications. Further, U.S. business is one of the best organized systems or procedures for keeping peace with the needs of an expanding world population. It works-whether you are producing soap, or automobiles, or better communications.

"This sense of organization and direction is evident throughout the career of anyone who engages successfully in the business of design or illustration. It starts with the art schools and goes right on through the procedures of

10

"Second: the U.S. design and illustration on view in the developing countries is good. Thanks are due the United State Information Agency and the shows it organizes, the excellent U.S. pavilions in the national trade fairs and, of course, the international advertising of U.S. firms.

"My third and final observation is that our graphic output in the U.S. is uniquely effective partly because it is noted and assembled and recognized by organizations like the Society of Illustrators. Business-like organization is not a substitute for talent or creativity, but it helps in making the individual output more effective and more influential. The presentation of U.S. graphic art inevitably in influenced by the U.S. talents for organization:' Following his talk, Elton gave the Society members some examples of the projects in the field of communications carried out by volunteers for IESC. These included assignments of Doug Murphey, former Young & Rubicam vice-president, in Colombia and Nicaragua; of Tom Santacroce, former vice-president, marketing and consumer products, of J. Walter Thompson, in Chile and

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THE SCENE (continued)

the Dominican Republic; and one of Marvin Pierce, retired president of McCall Corporation, for Editora Abril Ltda. of Sao Paulo, Brazil.

Editors note: Any readers of CA considering retirement and having a yen to travel abroad expense free-but willing to work hard-can write for copies of the ((blue form;' the application for such volunteer assignments. The address: /ESC, 545 Madison Avenue, New York, N.Y. 10022.

ERRATUM

On page 112 of the CA-68 Merit Awards Issue, illustration number 2, the mailing piece for the Art Directors Club of Boston titled "Congratulations, You'll be Hung in the Show" should have been credited to R ichard Kerstein as art director/ designer.

CALL FOR ENTRIES: TYPOMUNDUS 20/2

The International Center for the Typographic Arts has issued an invitation to participate in its competition and exhibition, Typomundus 20/ 2. It is the successor of the first competition, Typomundus 20, which was judged in Toronto, Canada, 1964, and exhibited in New York.

Entries will be evaluated by an international jury in September, 1969, and exhibited in Stuttgart in October.

Publication of a book and further exhibitions in major cities of the world will follow.

Accepted entries will become part of the Archives of the ICTA and will be made available to organizations and educational institutions.

Outstanding examples of work done between 19 50 and 1969 will be accepted for consideration. The work should be predominantly or partially typographic (type lettering, or calligraphy). Work done between 1900 and 1949 can be submitted without an entry fee. The deadline for entries is June 1st, 1969. Entry forms may be obtained by writing: Typomundus 20/ 2, c/ o The Cooper Union School of Art and. Architecture, Cooper Square, New York 10003.

ASPEN CONFERENCE

Ivan Chermayeff and Henry Wolf have been named cochairmen for the 19th International Design Conference in Aspen to be held June 15-20, 1969. Mr. Chermayeff, who has been a member of the IDCA Board of Directors since 1966, is a partner in the New York design firm of Chermayeff & Geismer Associates, Inc., and in the architectural firm Cambridge Seven Associates, Cambridge, Mass. Mr. Wolf was a speaker at the 1966 IDCA, and is a partner in Trahey / Wolf Advertising Agency in New York. In 1968, Mr. Wolf was the chairman of the Communications Conference sponsored by the New York Art Directors Club.

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Club News

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CHICAGO

Shown above is the newly elected staff of the Chicago Society of Communicating Arts. Stand-ins with facemasks were used for the four officers who notified the club in advance that they couldn't make the sitting.

Harvey "Jack" Lund (front center standing), Chicago Tribune, president; (clockwise) Rollin Binzer, Hurvis, Binzer & Churchill, Inc., vice president; John Vollbrecht, John Vollbrecht Company, secretary; Hugh Lambert, William A. Robinson, Inc., treasurer; and directors Wil1iam A. Novy, Garritt Beverwyk, Frederick Stenger, Richard White, John Rapala, James McGuire, Jane Ellen Murray, Dean Lierle, Jr., George E. Robertson, Michael Sisson; and Robert Snyder, Arthur Meyerhoff Associates, Inc., vice president.

OKLAHOMA CITY

New president of the Oklahoma City Art Director's Club is Bert Seabourn, art director of OG&E's publications.

Other new officers are Paul Ringler, vice president; Granville Barnes, vice president; Sue Works, secretary, and Bart Ward, treasurer.

SAN DIEGO

The Art Directors Club of San Diego has changed its name to the San Diego Society of Communicating Arts and adopted the National Society's concept of membership to include people in all areas of creative communication. President of the newly named group is freelance photographer, John Oldenkamp. Nicky Kronick, San Diego Magazine, and Don McQuiston, Chapman McQuiston & Michetti Advertising, were elected vice presidents. Other officers are Bob Nichols, Barnes-Champ/ Advertising, treasurer, and Larry Smith, Advertising Design, secretary.

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The LIQUITEX® paint system is the most advanced and versatile combination of products ever created for the artist. For the first time, the mind is truly free to explore. The System will follow.

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Materials NEW DRAWING LEAD AND DRAFTING FILM ERASER SET

Koh-1-Noor, Inc. has recently made two improvements in their line of products. The first is the new line of Glidomatic 2222 drawing leads which come in 18 degrees (9H through 7B) and are described as being blacker for each degree of hardness than the blackest standard leads for cleaner, sharper reproduction. The second is the Koh-1-Noor drafting film eraser set which includes one # 48 large diameter Koh-1-Noor universal holder for the eraser strips, three eraser strips for erasing drawing ink and pencil lines from plastic film and one sharpener. The eraser strips sharpen to a fine point enabling artists and draftsmen to clean up drawings containing closely spaced details. For information on either product, contact a Koh-1-Noor dealer or write to Koh-1-Noor, Inc., 100 North Street, Bloomsbury, N.J. 08804.

from 10° through 80°. Each series has an isometric ellipse template. For complete information request bulletin 504A, The Lietz Company, 330 Corey Way, South San Francisco, Ca. 94080.

PRINT AND MAP/ROLL CARRY-ALL

The Ekono Carry-All carries and protects blue prints, drawings, paintings, charts and printing negatives. The vinyl finish guards material from water, acids and alcohol chemicals. Light weight with an unbreakable handle, the tubular Carry-All comes in a variety of sizes: 5" x 25", $9.95; 5" x 37", $12.95; 5" x 43", $13 .95. Shorter or longer cases can be made to exact requirements. Ekon Manufacturing Co., 177 Mott St., N.Y. 10013.

LARGER COLOR TRANSPARENCY VIEWER

A new transparency viewer with a viewing surface of 15" x 16" is being produced by the Macbeth Corporation.

The viewer, called the model PL T -516, conforms in all respects to the new requirements for graphic arts color viewing published by the USA Standards Institute last year. It features a lightweight, single-piece body and a carrying handle, and is available from dealers or from the MacBeth Corp. , Newburgh , N.Y. 12550. The price is $129.50.

COLOR COATED ART PAPER

PHOTO LETTERING SAMPLE BOOK

Lettergraphics International is currently offering a 264 page ring bound sample book which fans much like an ink sample book. Type styles are all shown by sections such as serifs, swash and scripts, and page numbers correspond to Lettergraphics custom indexes which are available from any of the company's ten offices. The ring opens to easily slip pages under layouts for headline tracing or luck sizing. "Do a Comp" books are free to Lettergraphics clients. A $4.00 charge to other interested persons , is credited on the first order. Contact local Lettergraphics offices or write to Lettergraphics International, 6107 W. Washington Blvd., Culver City, Calif. 90230.

Letracolor, a duplex art pager-color coated on one side, white on the other-is now available from Letraset, USA. The new paper comes in a range of over 50 colors (including fluorescent) and is non-pressure sensitive. Letracolor readily accepts all art materials , and paint, even when air brushed , doesn't crawl on it. The paper can be typed on as well, and the matte surface doesn't wrinkle when wet. Letracolor is obtainable through art and stationary dealers. For descriptive literature, write to Letraset USA, 2379 Charleston Rd., Mountain View, Calif. 94040.

LITERATURE FOR YOUR FILES A request on your lett erh ead to th e foll owing companies will bring you th e literature describ ed . .. free, unless oth erwise noted.

EXTRA LARGE ELLIPSE TEMPLATES

A new series of eleven templates is now available from the Lietz Company which enables the draftsman, engineer or artist to draw ellipses ranging in size from 4" to 10" and from 10° to 60°. Known as the "Extra Large Series;' it complements the already existing small and large series and expands the line to a total of 44 templates which will handle all ellipse from Ys" through 10" and

16

The ninth edition of "100 Books on Advertising . . . has recently been published by the School of Journalism, University of Missouri-Columbia. The listing includes 48 new books and several books that have been revised since the 8th edition appeared in 1965. The 34-page booklet, edited by Dean Earl F. English, was compiled and annotated by Robert W. Haverfield, associate professor of

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MATERIALS (continued) journalism. In addition to the bibliography, the new volume lists advertising agencies, publishers, organizations and advertising publications. This valuable booklet is available free of charge for single copies from the School of Journalism, Jay H. Neff Hall, Columbia, Mo. 65201.

changeable Nikkor lenses and technical data for them, and the electric motor drive and accessories. The booklet may be obtained from any Nikon dealer or by writing to Dept. AD, Nikon, Inc., 623 Stewart Ave., Garden City, New York, 11530. Request booklet# F344-1265/125.

"Where Shall I Go to College to Study Advertising?" ... edited by Dr. Billy I. Ross of the Department of Marketing at Texas Tech and Dr. Donald G. Hileman of the Department of Journalism at Southern Illinois University is now ready for distribution. The directory lists the institutions, addresses, types of degree majors and emphases, accreditation, number of advertising graduates, number of faculty and scholarships available, entrance requirements and approximate costs of attendance. The introduction is of value to anyone considering advertising as a career. The booklets are available for 35 cents each from Advertising Education Publications, 3429 55th St., Lubbock, Texas 79413.

A 200 page catalog ... of training, convention, institutional equipment and meeting aids is being offered by International Display Equipment Associates , Inc. , of Boston. The book shows where one might obtain such items as lecterns, easels, instruction boards, exhibits and other furnishings required for seminars, conventions, press conferences and demonstrations. Write to International Display Equipment Associates, Inc. , 71 Lansdowne St., Boston, Mass. 02215.

A revised and updated booklet ... on the Nikon F system, including the new photomic FTN meter/finder, has just been published. The 28-page, two-color booklet describes in detail the Nikon F camera and its features such as the interchangeable finder system, the inter-

18

The 13th edition of "Clip Tips" ... is now available from Mead Paper Merchants. The portfolio contains 39 sheets of camera-ready artwork and is broken down into 23 categories including cartoons, holiday and religious subjects, calenders, bulletin heads, scrolls and initials. Altogether, there are 595 individual subjects, printed primarily for same size reproduction. The price is $1.25 from Mead merchants or Mead Papers, Talbott Tower, Dayton, Ohio 45402.

Stop eating stat bills.

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Either way, buying or leasing, you the compact mobile stat camera. get a fully-equipped, ready-to-operate, At a cost of pennies per stat for American-made camera. With no extras materials, Stat King delivers line, to buy. You also get thorough halftone, matte, glossy, enlargements instruction, and a one-year warranty or reductions, negatives or positives. on parts.

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Mail the coupon for more inforAnd all in seconds. mation or a demonstration of Stat Unlike other stat cameras, Stat King. You'll s~e how it can make King works in broad daylight-with no your stat bi lis a lot easier darkroom. And there's no plumbing, to stomach. special wiring, or fooling around with chemicals, either. We can train your of- Visual Graphics Corp., fice boy to work it like a pro in half a day. 305 East 46th St., The average owner pays for Stat New York 10017

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0 Forward your illustrated brochure.

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Your Name _ __ __ _ _ __ Compa ny Name· _ _ _ _ _ _ __ Address_ _ _ _ _ _ _ _ __

City_ _ _ _ State/ZiP·- - - -

"TM

U.S. Pat. Off. Vis ual Graphics Cor p

ILillrEOPINION The best way we could think of to describe this unique "general interest" magazine was to list the contents of just one issue: "Housing and the Good Life;' a roundtable discussion with August Heckscher, Dr. Martin Cherkasky, Hortense W. Gabel, Peter Blake, Dr. Herbert J. Gans, Jack Tworkov, Roger Shafer and Robert Hallock, associate editor and art director of Lithopinion.

"Down with Nostalgia" by Ben J. Wattenberg. This article was supplemented with illustrations by Noel Sickles and the art of Sickles' father, pictorial remembrances of places and events of his lifetime that James Sickles recorded after his retirement, at 65 , from the B & 0 Railroad.

"The Retirement Explosion" by Gereon Zimmermann.

"Could Einstein Find a Job Today?" by Fredric C. Appel, an article pointing out that commitment to relatively directed research toward specific problems seems to be the modern scientific fact of life.

A portfolio of photographs by Ralph Breswitz (reproduced on pages 28-29) based on the opening paragraph of Dickens' "A Tale of Two Cities:' "Automation" by John Diebold.

"Atomation" by William L. Lawrence.

"Aspiration" by Samuel Grafton, editor of Lithopinion.

An interview with W. Willard Wirtz, with questions by Samuel Grafton.

"The Dollar" by Jean Shepherd, a humorous narration of the author's experience-in his depression-period childhood and today-with the value of money.

Completing the issue was an editorial by Edward Swayduck, president of Local One, Amalgamated Lithographers of America on the subject of technology and their union's position that automation is a blessing-if it means lower prices, better wages as well as industrial growth and profits for management.

This issue was an unusual 9" x 9" in size, 96 pages, printed on dull-coated white stock and the typography utilized Trump, Helvetica, Primer, Palatino and Melior.

We mention these production facts of this particular issue because the typography, paper and even the size of the magazine will vary from issue to issue.

20

The contents listed above were from Lithopinion 2.

The first issue was not that good, but this is both understandable and justifiable. Seldom does a publication "hit its stride" that rapidly, and many never do. The following issues in the three-year history of this quarterly publication have maintained a lively and varied content, often dealing with the most pertinent challenges and problems of our times.

A few of the articles are reprints or condensations from books, but most of the content is original material prepared for Lithopinion. A list of the diverse and capable contributors includes: William 0. Douglas, Harold Rome, Robert F. Kennedy, Barry Goldwater, Dore Schary, George Mikes, Theodore Irwin, Herbert Mayes , Victor Borge, Peter F. Drucker, John W. Gardner, Elmo Roper, Arnold M. Auerbach, James Boylan, Michael Harrington and many others.

Lithopinion carries no advertising and copies of the magazine cannot be purchased. It is the public affairs journal of Local One, Amalgamated Lithographers of America, the lithographic union of the Greater New York region. 22,000 copies are distributed, approximately 10,000 to members of the union and the balance to libraries, educators, editors, opinion leaders and users of the graphic arts.

What axes it has to grind, it grinds most subtly, a truly unique standard and stature in the labor press.

Occasionally articles will deal with labor concerns , but usually this is approached by dealing with subjects that concern labor-and others-such as technology, education, youth, urban living and planning, charity, politics. Lithography is promoted by the varied and excellent examples of lithographic printing in the magazine itself, and always there is an underlying enthusiasm for living, working and doing business in New York City.

Most of what is directly related to the labor movement, and Local One, appears in the editorials by Mr. Swayduck or other officers of the union; but these are anything but heavy-handed. Swayduck seems more prone to discuss union responsibilities, weaknesses and misleading public relations than he does to air grievances.

Undoubtably it is this type of leadership that has allowed Local One to avoid a strike for 46 years and still achieve one of the finest labor contracts in existence. It has also allowed the union to build a strong financial base, and to

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NEW CHALLENGES: TO EDUCATION , TO EMPIRE, TO POLITICS-AS-USUAL A SPECIAL ISSUE ON TENSIONS IN A DECADE OF REAPPRAISAL

21

LITHO PINION

support such progressive activities as their outstanding laboratory and training facility for keeping members abreast of the newest equipment and technology available to the industry, the Quarry Workshop where artists can experiment with lithography and modern litho equipment, cooperation with the EAT (Experiments in Art & Technology) ... and Lithopinion.

Samuel Grafton, editor of Lithopinion, formerly wrote a column, ''I'd Rather Be Right;' for ten years. It was syndicated in 75 newspapers. He also has written numerous articles for McCall's, Look, New Republic and other major magazines and currently publishes Youth Report, a confidential newsletter for communications, business and education executives. He works with Lithopinion on a consulting basis, but it is his principal interest and involvement.

Robert Hallock, associate editor and art director, is a free lance designer in New York and Lithopinion is also his principal involvement.

The staff is small, only five people, and the editorial planning and coordination is handled on a very informal basis.

"Sam has a keen eye for graphic art;' Hallock states.

"When I first knew him, unrelated to the magazine, we used to have long discussions about prints and art, things like that. And I've always been very interested in ideas and communication:' "We get along very well ;' Grafton added. "I'm not a barbarian about art, and Bob has a very sharp journalistic sense of what's an article and what to do with it.

Ideas just explode, that's all-usually we have notebooks full of them:' Most of the articles, Grafton indicated, are originated this way. Very few are based on submitted ideas. As much as possible, they find someone to research and write the articles. Sometimes, by choice or by lack of an outside source, they prepare the articles themselves.

Hallock calls on many of the leading artists to work on magazine projects. "I would like to find artists with dimension. There's a lot of good artists around, and they're locked up with doing a certain routine thing.

Most good artists have other ideas that they would love to have an opportunity to do; so I try to find this aspect in an ·artist's personality. One example of this was Al Parker's wanting to do an exploration of magazine covers. And that's exciting-the artist gets excited and we often get something very good out of it:' Both Grafton and Hallock attested to President Swayduck's strong, personal interest in the magazine, and the support of the union membership. They also praised the editorial freedom they are allowed-to explore new and frequently controversial ideas. Some of these that they described, in the works and in the future, foretell of many valuable, exciting issues to come.

22

Above: illustration by Noel Sickles for an article on "The Lobbyists" by James Deakin .

Right: cover by Andre Francois.

Illustration by Savignac for an article on the underground press in occupied Paris.

Spread from a feature on the history of the Rhebus

by Ruth and Joseph Low.

Perwn.1llettr.rs lend lht>.fll· M'IVH buutlfully to lhf' rt'~ bu.s form. r'Mt of or.~ lt"tler wnitt'-n ~ M,ark Twain to hi6 wift' Ltvla. wu as a rebu!o Thtsletterilh:stra.tt<cllsfrom a father to h1s wn .lrour.d 1340, obviously " mort l~a­ suuly time. followmg is tht> translation Dew O!aver: I knotD you wlrt not bt jladJer to IU !fOilr piapllthtmltour11ok'lmt l thowJIIt yow would be delighted to set~ piCture letter fromonewholuw:~~numorl'

th:m 1 can trli)lou .lthmk )'OU wowld not want tohattt

A g<tOSi!i~ not u f,Rt 1ron tho' 11 trnlcr'f ir.1n i•~t goc:t~t·.But tthn'rlt<.allyouagoolt')lif you c-.a1J 1:•1: rto~d thi~. for I dp n;.~! bdirve. I c-tmld, 1! I h:Jd ~101 mrrdl· :t up. Tht dy!,. u r:o~ t•ery grnct{u/1 udorut; bu.t it /.tlilJ Appt'lltf f"ltllr tO you u•J1f!n you ilflt'• cauglll !hell!:ueof,t.ltt"i/lbt'no 1tigma 1( you do not ln!uprttlt,unJlwow!dr;ot let it frtt me nor spit upon 11 l>e~ cause you~""" not pe-rcl!it•e ih m~nnmg.

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23

LITHOPINION

.;1 time robe lx>rn

and a time to die

a time to plant. and a time to pluck up tlwr which h planted;

Left: one of a series of still life compositions by Robert Hallock illustrating Ecclesiastes Ill, 1-8. Photograph by William Joli.

An "architectural fantasy" by Homer Hill. Each of the bleed-page illustrations of food shops faced an appropriate ethnic recipe.

24

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25

LITHOPINION

26

Left : "The Individualist" by Hans-Georg Rauch.

One of a series of paintings of The City by Austin Briggs. The accompanying verses are translations from Laotzu, a Chinese poet that lived before Christ.

Right: title page for a feature on collections for charity in the U.S.- "Buddy, can you spare thirteen and half billion dollars?"

Illustration by Bernard Simpson.

Opening spread of a story by Victor Borge on the difficulties of the Nazis in their efforts to control occupied Denmark.

A master Dan ish joke mith tells how Danish schools. teaching the value of humanity, gave Danes the strength they needed to laugh Hitler out of countenance.

When you know what a man is worth . you know how funny a tyrant truly is.

Th,., D.m~<•h (h.H.-u t('r now .trn t5 the \\CirlJ's ath:ntum \\hy th s n.thc•n•l, thl uni t('d, thl:!'l u' tul o.Jt 1.-tn~t' o( th G("'.t.trt' .1nJ } h mmln J~nJ lhth r o~nd lh.hm.tnn .md the whl'le dt gust ngml.., "'\\'hvth€'0olnt'?

Th .an cr lie in o1 le>ng 4.Qt1110ulng J,.vcJ<,pmrnt of Jcm.,..

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27

LITHO PINION

Above : page from an early " teaching mach ine" with an 1894 copyright by The Diamond Litho-Publishing Co . of Minneapolis.

The editors of Lithopinion found this set of 28" x 42" lithographed wall charts in an old book shop . The series of 24 charts covered the principals of numbers, measures and arithmatic with pictorial and verbal explanations that had remarkable similarity to the new communication approaches in the " new math " courses.

Right : portfolio of photographs by Ralph Breswitz based on the opening paragraph of Dickin 's " A Tale of Two Cities." " It was the best of times, it was the worst of times , it was the age of reason , it was the age of foolishness , it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven , we were all going direct the other way- in short, it was like the world we live in."

28

II 29

Tom&Teresa

WOODWARD "We find working together easy and productive. Our point of view is usually very similar, our talents very different ... so that our options in any situation are more varied than if we were to approach a project individually:' The considerable talents of Tom and Teresa Woodward do indeed create a multiplicity of options for any design assignment. And the intimate collaboration they have developed as a husband-and-wife design team works toward constantly expanding those options.

In extreme cases, this has gone as far as both of them working on the same illustration; but normal procedure is limited to mutual exploration of the overall concept and specific phases of a given assignment-stimulating each other to go a little further, to approach something a little differently. "This may not always seem to be a blessing;' Tom admitted.

"Too many options can complicate a project:'

Photo of Tom Woodward by Cummings Wal ker

One obvious example could be Teresa's approach to illustration. She is such an excellent draftsman that she can carry almost any technique or stylization successfully ... including absolute realism if the problem should call for that. Their exploitation of this versatility generally results in a variation from past styles, which frequently evolves into a completely new style. Many of the currently "in" illustration techniques can be found in Teresa's past work.

Whether it be graphics, film or dimensional design, the Woodwards prefer projects that are adaptable to "art oriented" solutions. Both trained for careers in the fine arts and still devote a portion of their time to painting and sculpture.

30

TOM & TERESA WOODWARD

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• ••• ••••• ••••••• ••••••• ••••••• ••••••• Left: pages from a price list for Stat House/Colortone House/Halftone House; design and photography

by Tom Woodward .

Trademarks for ASIFA West (West Coast chapter of an international film animation society); Sandcomber of California; Radio Advertising Representatives ; Rain Records; Art Museum Council; Colortone House ; Halftone House. Roger Kennedy was art director for the Sandcomber trademark.

Right: Christmas cards, 24 x 20, for Stat House.

32

ThiiChrinmn,u m p..st ye.ars wt hope tom•kt tht hohd•y happier for undtrpnvileg~ children. We art send1ng con tribut ions to the Flyins Siiimillnt•ns. the doctors •nd dt'nt1sts of Southtm C;~hforniil whocontrlbutt thtir services to tht people of BaJ• Ciiihfornlil, .and to the St. Ann Indian School, Turtlt' Mount1in Indian Reservation, North Dakot• Joyous Greetings of thcSt•son! Stat House. Halftone House and ColortOnll' Houioe

33

Tom Woodward was born in Kansas City.

He studied painting and design on an art scholarship to Carnegie Tech , graduating in 19 53. After two years' service in the Marines, he began his professional career in Southern California while continuing his education at the Art Center School , Chouinard and USC where he worked in the film department.

TOM & TERESA WOODWARD

Teresa's parents were Mexican , but she was born in San Diego, California. She studied painting under Wayne Thiebaud in Sacramento and later attended Chouinard, USC, the Art Center and UCLA. It was in night drawing classes at the Art Center School where Tom and Teresa met in 1959. Six months later, they were married. Three months after that, they opened their own studio.

Two years ago, the Woodwards moved from their original location on La Cienega to more spacious studio quarters on Wilshire , not far from the Los Angeles County Museum. Their home is in the Pacific Palisades hills and has a beautiful view of the ocean. Designed for relaxation , with spacious patios and open living areas, it provides plenty of running room for four-year-old Scott. One large bedroom has been converted into a studio so that the Woodwards can paint and sculpt at their leisure, away from the pressures of business.

Left: Teresa's illu'stration of Mephistopheles for Southern California Gas Company; Tim Bridger, art director ; McCann-Erickson , agency.

One of a series of color posters for Ventura Savings and Loan Association .

Right: one of a series of small space ads for How to Murder Your Wife ."

Design and illustration by Tom Woodward , copy by Klein/Barzman .

Gorilla Milk package designs for Pillsbury. Hal Silverstein , art director, Silverman & Einstein, copy , Tom and Teresa Woodward , design .

CLASS ROOMS A.ND UVINC ROOMS Srr tlw llwlltwtJ 5« tltt ldtools 5N llw s.wWn,._, "' WtiWI!'" Rtw. Vt/1111,. Co.~nty, filii f-s/tr By lt7S. ~·11 lvrorJ.SO,OOO lffti"Omt'rt. 11.5,000 .wwltoiMI, III'IITJ00 _,,,ll,.ry••NI~rytrltooiJ, ,tUI 4 -((Ill~ A lo.>l •I ¥"'" nmnty'J (wlwrr, (f)ttnm~IOrlt'd "v Vr11h111f S.t~ngf •11d U.11 Astoc•IIOII

34

Newspaper ads for KFWB Radio, Group W. These ads were prepared daily for four weeks on a grueling schedule. At 9 a.m., the stations publicity manager would give them a tentative subject for the ad .

By 11 :00 this would be confirmed or changed . Art was due at the engraver by 1 :00 and final engravings to the paper at 5 :00 for the evening editions.

To alleviate the time pressure , Tom and Teresa monitored- with Polaroids- the late news on two TV sets. Frequently they were able to successfully anticipate the next day's assignment.

Pratt le, prattle .. . clean the attic .. . prattle, prattle .. . take out th e garbage. prattle, prattle . .. fix the faucet .. prattle, prattle . pick up Mother .

PIUJIUm 101 IIIUifiiT fOI IWIIIOI

~~™ IIISTIIIT BREIKFIST

You never know what's going to happen next•

You never know what's going to happen next.

.----~~

Lefrwmg students battle wHh riot police in West Germany's most wadespread civil dis turbance since th e 1930's. In th e midst of this spreading rebellion , Group W corresponde nts today file a speciaJ se ries of reporcs on rhe seething scudem unrest. That's why we broadcast news 24 hours a day.

All news . All the time .

GROUP

I(FWB~mow The only station in L.A. broadcasting all news, all the time, 24 hours a day.

The largest underground nuclear explosion ever conducted in the U.S. will be set off under the Nevada desert tomorrow at 6 a.m. KFWB listeners heard that billionaire H oward Hughes fears it will contaminate underground water and cause earthquakes. The Atomic Energy Commission says such fears are groundless, though the big explosion is expected to be felt in four Western states. KFWB reporters in Nevada, Washington, D.C. and Cali· fornia are following the story. You can, too. On KFWB, tomorrow morning at 6!

GROUP

Allnews . AIIthetime .

KFWB~

010

W

The only station in L.A. broadcasting all news, all the time, 24 hours a day.

W~stmgh ouse Broadcasung Company

Wcstanghouse Broadcastang Company

35

TOM & TERESA WOODWARD

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Left : piece of statuary Teresa painted as a birthday gift for Sid Avery.

Teresa's interpretation of L.A. for a Westinghouse brochure.

Appointment calendar for Group W with illustrations selected from art by the children of Group W employees.

Right: Two of a series of posters for KDKA, Group W, Pittsburgh.

Invitation for Stat House , designed and illustrated by Tom Woodward, copy by Klein/Barzman .

Stuffed animal toys designed by Teresa Woodward.

Illustration for " The Lombardo Years" for Capitol Records .

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37

TOM & TERESA WOODWARD

"YESTERDAY THE IIREATEST QUESTIOI WAS DECIDED

GREATER PERHAPS IEYER WAS, lOR WILL BE, DECIDED AMOII MEl. A RESOLUTIOI WAS PASSED WITHOUT DIE DISSEITIIG

2nd of July studio mailer, designed and illustrated

by Tom Woodward.

Catalog for L.A. County Museum exhibition of "The Ceramic Work of Gertrud and Otto Natzler".

Photographs by Julius Shulman Right : Teresa's cover illustration for Planning Research Corporation annual report.

Ted Pittenger, art director.

MOST MEMORABLE EPOCH II THE HISTORY OF AMERICA. I AM APT TO IELIEYE THAT IT WILL BE CELEBRATED BY SUCCEEDIU

Illustrations for quick-cut movie intro and a ten-second station ID for Westinghouse Broadcasting Co. Tom Woodward , art director/designer, Teresa Woodward , illustrator, Klein/Barzman , writers, Bill Melendez Productions, Inc. , producer

AIIIIVERSARY FESTIVAL. IT OUGHT TO BE COMMEMORATED AS THE DAY OF

Pages from Champion Paper publication, Printing Salesman's Herald . Lionel Fisher, writer.

I

GUERATIOIS AS THE GREAT

I

DELIVERUCE, BY SOLEMI/ ACTS OF DEVOTIOI TO GOD ALMIIHTY. IT OUIIHT TO BE SOLEMIIZED WITH POMP UD PARADE, WITH

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THIS TIME FORWARD FOR EVERMOIIL" JOHI ADAMS. LETYER TO MRS. ADAMS, JULY 3, 1711

lui¥ been our v ued fnends

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38

TOM & TERESA WOODWARD

Kinetic sculpture designed for New York corporate offices of Group W. Exhibition designed for L. A. County Museum , the Tishman collection of African sculpture.

40

ride the wind

43

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@ Kimberlq•Ciark BUSINESS PAPERS

Th is is Kimberly Opaque, Vellum Finish, Sub 80

It has been said many times- and not without validity- that the United States must be tipped in a sou'westerly direction because everything loose seems to tumble into Southern California. Over 500 people pour into "Greater Los Angeles" daily, and change, in the here-today-gone-tomorrow sense, is the only true constant.

Sociologists, city planners and culture buffs wince when they observe the results of this ongoing phenomina, but Los Angeles is very likely the bellweather of the American way of life, and as such is one of the more exciting places imaginable in which to create and publish a free-wheeling, weekly, general interest magazine.

West Magazine, a Sunday supplement of the Los Angeles Times, is scarcely 2V2 years old, but in that short time it has taken on many of the characteristics of the region which it represents.

Experimental, highly contemporary, and artistically unformulated, the magazine, like Los Angeles, has gone through a few changes of its own.

West was originally conceived as a male oriented companion to the Times' other supplement, Home Magazine, and was slated to touch on such topics as men's fashions, sports, travel and pretty girls. To some extent, this is still West's editorial format, but gradually the concept has expanded to include any topic relevant to Southern California. And what isn't?

It is a well known fact that Angelino's wear almost anything and will travel anywhere by any means available. Recent West articles have discu'ssed the dress habits of Carson/Roberts, Inc., the new European fashions, hunting in Canada and excursions on the coast of Ireland. Pretty girls and athletes abound in the area, and LA has all the major sports events: baseball, basketball, football, hockey and

soccer. But it also has the "cultural sports"- surfing and the car life, for example- around which whole living styles and mystiques have sprung up. All of these activities have been treated in West, as has the greatest spectator sport of all- the movies.

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Any entertainment personality or activity is fair game for a West feature, and stories have appeared on everything from Janis Joplin and hard times on the Burton's yacht, to nostalgic treatments of the history of M. Mouse and Tarzan. In fact, pop nostalgia is about as close as West ever gets to history of any sort.

Along the way, West has published some pretty droll commentary on contemporary life and values by such authors as Tom Wolf and Burt Perlutsky. Men who have risen to the top are of interest to readers in success conscious Southern California.

The trade secrets of men like Howard Hughes and J. Paul Getty have been examined in West, sometimes seriously, sometimes humorously. Any political discussion is usually in a light vein (e.g.

HHH's vital statistics, and photographs of Nixon as a boy). West seldom delves into the serious social problems of our times.

As one gets into a number of back issues of West, it be€omes apparent that the magazine is striving more for variety than depth, more for surprise and action than shock in its editorial content. In general, West has relinquished controversial subjects to the rest of the Sunday paper, although it has inadvertently stirred up a little controversy of its own.

An issue on Rock music and an article on the1 Playboy playmates from Southern California (the old specters of dope, hippies and "nekkid girls") attracted negative mail, but the stories on Big Foot (California's version of the Abominable

So leap with joy, be blithe and gay, Or weep, my friends, with sorrow, What California is today The rest will be tomorrow.

Richard Armour

43

WEST MAGAZINE

Snowman), Mickey Mouse and Coca Cola signage seem to have struck the right response from the Los Angeles audience.

West is attempting to tread that thin line between attracting the young readers and not alienating the older ones. So far, it has been quite successful.

For a weekly supplement, West has a substantial art and editorial budget, roughly equivalent to some of the mass magazines. All art work, photography and articles are done on a free-lance basis.

With a wide range of talent to draw upon, West has been able to keep both its verbal and visual material fresh and unpredictable. The magazine uses editorial color extensively.

West has no editorial board as such , and everyone, including the art people, makes suggestions for articles. The average age of both the staff and the contributors is 30.

The magazine is staffed with only eight people: three artists, four editorial personnel and one versatile lady who picks up all the loose ends. Considering that West is a weekly publication with an average of 40 pages per issue it is remarkable that a crew this small can meet the rigid deadlines.

" Fa ll Shapes Up ," photographs of Jack Roberts , Ralph Ca rson and staff by Guy Webster " All You Need is Love ,·· photography

by Bernard Nagler.

Football shots by Leigh Wiener and James Flores illustrate West's unusual approach to sports photography.

Humphrey diagram designed by Mike Sa lisbury and Gene Ranwater.

Howard Hughes illustration by Robert Grossman .

I

Girls photographed by Ron Mesaros.

Nixon photos by photographers unknown .

44

Hubert RHumpbrey: TheVitaJStatNlcs

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45

WEST MAGAZINE

Marshall Lumsden, editor of West, has been with the magazine since its inception -unusual longevity for the chief of a new publication. His background includes 13 years with Life Magazine as a reporter and as bureau chief in Atlanta, and 3 years as photo editor of Post. Marshall's perception and editorial talents are among West's greatest assets. He has taken the magazine from a narrowly conceived man's periodical to a lively general interest publication. By selectfvely using young but promising writers, Marshall has caused West to be widely read and discussed throughout California.

Mike Salisbury, the present art director of West, has been with the magazine for a year and a half and has played a significant role in its development.

Mike grew up in Los Angeles and knows his home base well. He is a contemporary of the surfing scene, the hotrod cruising scene and the psychedelic scene. More important, he understands the attitudes of people who make up LA's myriad of cultural enclaves. His formal education took place at Orange Coast College, USC and Chouinard Institute. Mike worked with Phil Lansdale, Playboy Magazine and Carson/Roberts before coming to West.

"Happy Birthday, Mickey Mouse," designed by Mike Salisbury, photographed by Rod Dyer.

Cars/girls photographed by Roger Marshutz.

Computer illustration by Dave Willardson.

Mickey Mouse spread lettered by Bob Zoell.

Art from Disney Studios.

Mike Salisbury photographs for article by Tom Wolfe on "electro-graphic architecture" in Los Angeles.

46

Vq~andindd"lDitc:atrll1t. Dutil: Jrt:Wanda~n~andpnr. Andfinally

On October 21. 1961. Mickey Mou~otwillbt40ycarsokt ; 40years

to the day StftVflbot.tl Witt~. the fU'It Mic.tey Moutt cartoon to ~ distributed, optoed at New York's Cobty Thta~er. But M.ictcy Mouse was born, if thai is the word, on a train. ride from Nnr York to Los

Aft&dtstheyearbtfon:.

Walt Disney. 26. four years in Hotlywood and a JOina mm orpnt. ution to his crt<lit. had Fot to New York to see tht man who was distributin&hiscal'100ftshorts.Oisnc:y was then-as he alwaJ1 woukt

ri&hts to tht aubjc:ct of thole cal1oon$, one Oswald Rabbit.

lt'sno~tthatDisncynamcd hil character Mortimer. One: ~tory

CUTtoWaJtOisnty. wife.inttrior

of r~~ilroad C<MK:h as tn.in pusn Kansas City, Dis~t~Cy 's home. Rou of wh«lsint.ckJround. Disney,cominat.ckto HollywoodStJtUconti'IICI or propeny, is moody and pensiw.

MBut was I downhc:antd'?" ht asktdhimselfinal934artick:that cani<d his own byline.

- Not: I bil! I washappyathean.

ForoutofthetroubAtandconfustofl Rood a mocl:.ina. merry liult fipre .

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huJtpr:artbuuons, c::ompc:Medthe

lnOnC)', ondw~fromDilneyaJI

sou,tlta~uerconti'IICIInda.,OO..

siztdbonussohtcouktimprovc:tl'lt quelityofhispnw:luct.

Thtdistributors.aidnotothe

Mickey, or Oisnc:y himlt:tfdwtp:d the mouse's name.

Andit'sdoubdUiifDisneydreaed

his ..dream rnQU5It in a pair of red ve:lwt peniS with two huae pearl bunons.," siace Mickey wu desipcd

Disney, reasoninatbatiffc:acwa coukt~.~~esyncfl(s11tCIIroniud)

IOUDd,c:artoom:c:ouldabo.,started workoa St~Amboot Willie, tbt fina cartoon dr11wn for synch 101.1nd.

andfntdn.wnbyUblwr:rb,anold Kansas City friend who wu then

Already heavily in&o two car1ooos and with nobuye.rin liJht,hc:k"new work oa a third was a tremendous

canoonsandcomicstript. lnfact,as

oocolorandoo'Uiimatedfeat~

lwoc.rbre<:c:ived pmbk. But it wu this kiad of A,...,"""'""""" ..Disnc:y'sdUrfartisl. drawn by .. credits on the: rtm

whistle scrctthc:tl it. it wailed. By the: time my tr11in hid ruched the MidcUc: West I lulddrnKdmyd.reammouaeina pair of m1 wlvet ptnll witll two

004U4' ,

firstscc:narioandwasalltet ...

Pretty JDOCY stuff, ~n for HoUywood whtrt 100 is more tN.n a household word---tfsawayollife.

The lnlth is undoubtedly mort prouic. havin& somnhinato do with Oisney's kcepinJIOOltft!tttaspc:ts durin& his lean Kansas City days. ud.asa laterDilneyprnsrdcase admits. the fact that cats and dop andn.bbitshadaJn:Miybttntahn.

be-an innovatOI', a pcrftctionist andasticklerfordttail, andhe

.

anived-a moose. A rompina. roilickinJiittle moux.

111c idea rompkttly enautfcd me:.

Tht wbtt:ls turned to the tunc: of it 'Chwr. rltuf, mcHut, cltMf, dJ"''· mows.r' the tnin~Cemed to say. The:

hasitthatMrs.OisDty. OGthattn.ift ride, felt Mortimer was too pompous a name for a mouSot and sugttttd Mickey. Another, mort bel~tMt still. has a distributor-the Holly.

0

~ r~~ba~t.e~ ':: turned Marprita CansiDOS into Rita Haywonhs-liking the idea but balklna at Disney's choiot for a name. This story has two endinp: eithtrthedimibutorsuaaestc:d

pmble--pmbtin& on IOUIKI. later

Richa.rdSchickelpoinhoutiahls ucc:llcnt, and unaulhoriz:td bfoan· phy, Tlw DisNy Yn:tioft , WaJt never could dnw Maty Mouse. But DO matter. WaJtDisneywe~~aninnov•

toc,apcrfcato.Dst.andastickltrfor

detail. HewasaJOOCipamanand u c:xcdknt story editor. He was a producer. and his products would make him a ltJmd.

l....astyea.raquanerotabillioa people saw a Disney movie. 100 million a Disney TV show, Dearly a billion rud a Disnty book or mapziDc::, KWft mlllion paid hofn.. qr:atDisotylaod. "And all," Dis-ney wu fond o( sayinJ, ..because of a mouK ...

BackfromNewYork.Dimeydid JO riJht to work on his new charKttr, and was boardiDJ and shoodna two Mickey Mouse car· toons whtn Wamer Brothtn opened Tlw Jt.tu Sittf". The }tiC Sl~, if youremembtr, didn'trnllytiJ/l, but it did sina. And you .maally heard Jotson sine whm .vot~.NW hillitu mow. Fanwtic:!

that made Disney.

And Mickt7

Mouse.

SIHmboot W111k hu a limplt story. MM:kcyMouseisahiredhand Ollarive:l'bc:*captaintdbyoktPeJ'kJ Pet~.,. and the cartoon ttvolws atOUftd a musical number. A p i catssomeotMiruUt'ssbedmusK. MM:key cranb the pi's tall ud an orzan.pindy Twk.•JI" tht Strftl coma out of the: pi's mouth. the urin& of it.

Mickey playi•a .....~disbes.po<s.pus, and a tliz.arR amy of b.myard animals who become musical ialtnlrntnts (a p;~~e btcomes a baapipt). lt'scak:hyandfunayin

acu nuo

1968. 1nl921itmuathave:bemjuat shortof\Krtdiblt.

BUO)'td by Willie's artistic and aomrncrdal suc:cas, OisDty lidded JOUndtotbefinttwocan~

PllaM C~ ud GGllopilf6 Gt.lf«''to

-and M'ac:key Mouse was on his wty to makin& mea mHiioaaitts; 10 btc:omia&to much a part of lht

American culture his name became pe.noltht / CmtUtU#dortl'./4

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47

WEST MAGAZINE

Salisbury has a greater involvement with West than just as an art director. Many of his photos and illustrations have appeared in the magazine and he has strongly influenced its editorial policy. Recent articles on Mickey Mouse and the history of soda pop art have grown out of Mike's penchant for collecting Disneyana and old beverage signs. Mike is not afraid to experiment, and has brought many bright innovations to the design of West.

,...,....,......._. c.ll,.,..-.."'~tkW •ltt~tM.-..ts.t-*et

_ ltdu~rrt.'Suf••~·

The placement of ads has been his biggest problem in designing the magazine. "Hemorrhoid ads", which seem to populate all Sunday supplements, often appear at the last minute to play havoc with his carefully laid out articles. He has now developed a flexible formating system to alleviate some of the difficulties, but as the ad volume grows so will the problems.

Because West is financed and circulated by the Sunday Los Angeles Times, it would be difficult to measure the success and impact of the magazine as a separate entity. Surveys indicate that West has a high cover-to-cover readership and that it hits the garbage can long after the rest of the newspaper. Although West has not yet reached all the financial goals set for it, it is now paying its own freight and the advertising revenue from special issues has been substantial.

Editorially, West has successfully captured and transmitted the unique vitality of The Los Angeles area.

Cover and cars with actor-models photographed by Marvin Lyons.

Hunting illustration and sculpture of William Buckley by W. T. Vinson.

News clipping cover designed by Mike Salisbury and Robert Lindbeck.

Boat cover photograph by Cohen/Dobbins.

To make this shot, a motor-driven Nikon with a long cable release was attached to the top of the mast. One camera was lost overboard in the process.

Spread from an article on soda pop art.

Photograph at right by Mike Salisbury.

48

west

49 _

ILLUSTRATORS 11 ILLUSTRATORS 11 continued the high quality of past exhibits while showing the best of what is happening today. The juries pored over more than 3,000 entries, the most ever submitted to this show, and scrupulously gleaned an exciting, individualistic show.

Jurors seemed eager to weed out the copyists and stylists. Trends did not appear, but each artist doing his own thing. Painting and drawing used in more ways than seemed possible. Artists speaking their own language, finding their own symbols, solving the problem in a fresh way. The juries were amiable, no fist fights, but tough. Not all awards possible were given. The balancing jury had an easy time.

It was already a tight, well-balanced, swinging show.

This year the show returned home and was exhibited in the newly redecorated gallery at the Society of Illustrators. It was exhibited in two parts. Editorial and Advertising art were shown from January 20 to February 7. Book and Institutional art from February 10 'til February 28. An Awards luncheon was held in conjunction with the opening of each half of the show. On January 21 gold medals and awards of excellence were given in the Advertising and Editorial categories, as well as the unpublished awards. The guest speaker for this luncheon was Wallace Elton, vice-president of International Executive Service Corporation.

On February 11 awards in the Book and Institutional categories were given. The guest speaker for this second luncheon was Ole Risom, art director of Golden Books.

ILLUSTRATORS 1 f started the second decade of annual exhibits that continue to be more vital and exciting each year, because the members of the profession it represents are themselves exploring, stretching and developing as perhaps never before.

-Chuck McVicker Exhibition Chairman

50

(

Gold Medal , advertising " The Ark" Charles Bragg , illustrator John Berg , art director Columbia Records, client

51

Gold Medal , editorial " Dirty Books Can Stay" Jean-Paul Goude, illustrator Samuel N. Antupit, art director Esquire, publication

Gold Medal , editorial- unpublished " Sister of Loneliness" James Barkley, illustrator

53

ILLUSTRATORS 11

Gold Medal , book " Notes of a Native Son " Eric Von Schmidt, illustrator Leonard Leone , art director Bantam Books Inc. , publisher

Gold Medal , editorial " Top Hunt in the Top End ' Gilbert L. Stone , illustrator Richard Gange! , art director Sports Illustrated , publication

@TIME INC.

54

Gold Medal , book " Beowulf" Alan E. Gober, illustrator Jane Bierhorst, art director Hill & Wang Inc., publisher

ILLUSTRATORS 11 JURIES

Advertising

Book

George Guzzi , Chairman ; Thomas Allen , Samual Antupit, Harry Bennett, Abril Lamarque, Mary Mayo, Frank McCarthy, Jerry Pinkey.

Robert Handville, Chairman ; Bernard D'Andrea, Joan Eby, Bernie Fuchs, Robert Greenwell, Charles Long , Isadore Seltzer, Nicholas Solovioff.

Editorial Robert Blattner, Chairman ; Austin Briggs, AI Catalano , Louis Glanzman , Forbes Linkhorn , Bob Peak, Charles Santore, Miriam Schottland.

Institutional David Passalacqua, Chairman ; Lena Bernbom , Harry Carter, Joe DeMers, Phil Hays, Don Hedin , Herb Mott, Wilson Mclean.

Balancing Jury Awards to unpublished work were made by the Balancing Jury, composed of the chairmen of each category, the Exhibition Chairman and the Assistant Chairman , Alvin Pimsler.

55

ILLUSTRATORS 11

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Robert Pepper, illustrator Bill Harvey, art director Nonesuch Records, client 2 Charles White Ill , illustrator Vern Gillum, art director McCann-Erickson Inc. (L.A.), agency Lockheed Aircraft Corporation , client

EDITORIAL

3 Mark English , illustrator Pasquale Del Vecchio/Werner Kappes, art directors McCall 's, publication

4 Gilbert L. Stone, illustrator Samuel N. Antupit, art director Esquire, publication

4

ILLUSTRATORS 11

2

58

3

BOOK

William Pene duBois, illustrator Dorothy M. Hagen , art director Harper & Row, Publishers, Inc., publisher 2

Phil Renaud , illustrator Hal Kearney, art director Scott Foresman Co ., publishers 3 Etienne Delessert, illustrator Etienne Delessert/Eieanore Schmid , art directors Harlin Quist Books, publisher 4

Eleanore Schm id, illustrator/ art director Harlin Quist Books, publisher INSTITUTIONAL

5 Lorraine Bodger, illustrator Ernie Smith, art director Herb Lubalin , Inc. , client

4

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59

ILLUSTRATORS 11

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INSTITUTIONAL

Isadore Seltzer, illustrator/art director Harvey Kahn Associates, client 2 Edward Sorel, illustrator/art director Jane Lander Associates, client INSTITUTIONAL, UNPUBLISHED

3 Paul Calle, illustrator William Everhart, art director National Park Service, client 4 Robert A. Heindel, illustrator Gery Colby, art director Detroit Red Wings, client

5 Donald M. Hedin, illustrator

5

61

MEDIA MIX ATTHE MET "Harlem On My Mind" : The Cultural Capital of Black Amf!rica 1900- 1968

A maelstrom of press verbiage has created a remarkable awareness of the Harlem exhibition at the Metropolitan Museum of Art. Not just in the New York papers-national media and local papers across the country have detailed the protests, picketing, angry accusations of racism and the unforgivable act of defacing paintings.

We have neither the inclination or the qualification to add anything more to the political evaluation of this controversial exhibit. As for the narrow-minded criticism of holding this kind of an exhibition in a museum-it's dumb.

This is not the first time a museum has strayed from the "straight art" function , and we expect it to happen more frequently in the future.

Within the voluminous reportage and commentary, there has been minimal discussion of the mixed-media form of the exhibition. Some of this has been lightweight critical commentary such as " you can find more interesting lighting in the discoteques:' There are those, apparently, that have accepted the obsolescence of linear media andguided only by abstract allusions to the brave, new media -really believe that the future information/ education techniques will be rock/ light shows.

"Harlem On My Mind" was obviously a very difficult exhibition to compile and present. To better understand

some of the problems faced by the directors and designers, one should see the exhibition catalog (withdrawn from sale at the Met because of "anti-Semetic" statements in the introduction, but available in bookstores). This interesting book, edited by Exhibition Cordinator All on Schoener, is organized into six time periods: 1900-19, 1920-29, 193039, 1940-49, 1950-59, 1960- 68. Each of these divisions has its own title page, photographs from that time period and a selection of articles from newspapers and magazines.

The articles are arranged in the chronological order of their original publication.

With the use of multi-media and imaginative gallery arrangements, the linear structuring of the exhibition was not quite as positive, but it was the same as the book.

Despite Mr. Schoener's statement that "No attempt has been made to describe the sixty-eight-year history of ~ Harlem as a continuing sequence of events;' that's the way it was accepted.

There were more than 2,000 items-and we spent over two hours going through the exhibition-but the size and complexity of the subject precluded in-depth exploration.

The linear, historical structuring placed unfortunate emphasis on this weakness, as well as gaps and imbalances in the coverage, and left the exhibition wide open to accusations of "superficiality" and " political distortion:' With a less immediate and less controversial subject, this would not have been a serious problem. The monumental effort of compilation and the outstanding presentation would have been praised. Though the designers were faced with environmental limitations, particularly in the use of sound, the exhibition worked very well. Viewers seemed to take the experience easily and seriously.

There was , unfortunately, no painting or sculpture included in the exhibition, but there was some graphics and poetry. Hearing the voices of the poets, their tonal interpretation-and even the liberties they took with their own words-was an enlightening experience.

The tremendous scale given to many of the photographs added dramatically to the experience. One very exciting communication technique was the life-size repeat -again and again and again- of a segment of a 1931 UPI photograph of an unemployment registration line.

The exhibition staff included: All on Schoener, exhibition coordinator; Reginald McGhee, photographic research director; Donald Harper, associate research and media director; Robert Malone, exhibition systems designer; Martin Moskof, exhibition graphics designer.

Right: poster by Reynolds Ruffins.

Photographs of the exhibition by Vance Jonson .

62

ON

MIND

THE CULTURAL CAPITAL OF BLACK AMERICA 1900-1968 January 18-April 6 The Metropolitan Museum of Art 82nd Street at Fifth Avenue Hours: Mon.-Sat. 10-5 Tues. 10-10, Sun. 1-5 Admission Free

63

HARLEM ON MY MIND

Photos of exhibit by Vance Jonson

64

rOt ,JlJ.fTI££ .A!IiJ M.INIIOtJP T~

POU. TAX

Aaron Siskind

Culver Pictures, Inc.

Schomberg Collection , NYPL

Aaron Siskind

Aaron Siskind

G. G. G. Studio

65

GREETI EVERYWHERE

Happy Hart was working when he was six. In Everywhere, his residence and birthplace of record, he would go around stealing food for Beware, his bad dog.

would bring home a big sack brimming with corruption , jealousy, despair, greed and bigotry, and Beware would gobble it up no questions asked.

Beware's favorite, if he had his drulhers, was Curried Klansman , but this delicacy was pretty hard to find. So life went on , without a hitch, for the bad, bad dog and the sibling snitch 364 days a year. ,..-J

Christmas Day was another story.

Try as he might , Happy couldn't find anything atrocious enough for Beware to eat there was a bad shortage. And when a bad dog doesn 't get enough misery he's not all that easy to live with. ,..-J

Bevvare was probably the baddest dog in history , (on a 60-point Bad Meter, Beware was about a 59) and he wouldn't eat anything that \vasn 't horrible. Other than that, Beware wasn't picky.

Happy would filch a frown or pilfer a pout, and top it off with a dish of dovvn in the dumps and Beware loved it.

He also liked to eat deceit, devour depression and snack on sadness. Happy ,..-J

66

He'd mope around all day, growling, and giving Happy a look that said, 'A day without hate is like a day without sunshine': This made Happy sad, but there was nothing he could do.

The day after Christmas , Everywhere was full of wretchedness once again , and Beware continued his bad eating binge.

The cards created and sent by artists today rarely carry the traditional greetings of the season.

Instead, the year end holidays have become the occasion to get things off our chests, or so one would guess from the yuletide graphics received here at CA. Most of the cards expressed a wry dissatisfaction with the ·c urrent state of the world, and only a cautious note of optimism for the future. Maybe '68 was just that kind of year ...

·-

Soon, the inevitable happened. He ate up all the bad. From then on it was all downhill. Happy got sadder and Beware got smaller. Shrink. Shrink. Shrink.

Finally, Beware just disappeared.

Then, every day was like Christmas Day in Everywhere,.._, because all the bad was gone for good. After Beware vanished , no one could say anything bad because he had taken it all with him. And when Happy saw everyone in Everywhere living and working in love and peace and harmony, he didn't feel sad about losing his dog.

John Gilbert, designer/client Left: Creative Directions, Dallas, presented an original story in a 15-page, 4" x 6" book.

The entire story and a selection of the illustrations are shown here.

Jerry McPhail, art director Jerry McPhaii/Barbara Ziller, designers Pat Enright, writer Creative Directions, client

When he fully realized what Beware had accolJlplished, he looked happily into the sky and said with a wink, " Y a done good, bad dog."

Christ-mas Day .

Every Day . Every Month .

Every Year . Everywhere .

Creative Directions , Inc.

67

GREETINGS

Read Viemeister/David Battle, designers David Battle, photographer Vie Design Studios, Inc. , client

2 Bill Wurtzel , designer The Lampert Agency, client

3 Pat Lyons, designer/client 4 Arthur Eckstein/ Bernard Stone, art directors Arthur Eckstein , designer Eckstein-Stene, cl ient

5 Two pages from 8Yz x 11 booklet in which each page was a different color or type of stock. " Xmas is Santa, a tree (artificial tree printed on aluminum foil) , decorations, snow , music, toys (gun) , family gatherings, dinner (packages of prepared food) and Christ. " Don Trousdell, art director/writer Don Trousdeii/Ron Mabey, designers George Macalla/Nancy Dukovnik/ Ed Ripicky, illustrators Pitt Group/Pitt Studios, client

2

3

t

Burn, baby burn • 68

4

5

69

2

GREETINGS

3

Jay McKendry, art director Dick Coyne, designer CBM Type, client 2

Accordian-fold card , 6V2 x 39 Bruce W. Smith , designer/client

Praybr Marys Baby.

3 Bill Biderbost, designer/client 4

Larry Ross, designer/client

6 pmnt PEA C E ON EARTH , GOOD Will TO MEN

Bill, Joanne and Ann.Biderbost 1968.

8 pomt

PEACE ON EARTH , GOOD WILL TO MEN

tO pomt

PEACE ON EARTH, GOOD WILL TO MEN 12 pomt

PEACE ON EARTH, GOOD WILL TO 16 point

PEACE ON EARTH, GOOD W 18 point

PEACE ON EARTH, GOO 24S pomt

PEACE ON EARTH, 24L po•nt

PEACE ON EART 30l pomt

PEACE ON EA 60 point

PEACE CBM TYPE

70

4

Story and photos by Vance Jonson.

The concept of collective thinking is as old as the first tribal council. By tradition, it is a vertical process involving minds of similar orientations.

The idea of lateral collective thinking is relatively new and unexplored.

The American Thought Combine has expanded collaborative thought in a lateral dimension by successfuly mixing remote and diverse contemporary disciplines into a powerful problem solving group. Structured around an architect-designer nucleus, the group includes an associated physicist and a psychologist, as well as specialists in light, sound, film, music and color.

This diverse intercommunication entity, which uses knowledge from the avant-garde sciences like cybernetics

Jeffrey Metzner and Harold Lindahl, principals, American Thought Combine

and cryogenics, was assembled to serve the individual and corporate worlds with original solutions to problems. They work in collective harmony, apparently free from ego conflicts, in any area requiring the fusion of creative and scientific energy.

The next four pages trace their conceptual and executional processes as applied to a recent assignment given to them by Bert Stern, well-known New York photographer. His objective was, simply, to create an environment and modus-operandi for the retailing of household items created by leading contemporary artists: Roy Lichtenstein wall-paper, Stanley Landsman lamps, Gerald Laing paper plates, James Byers underwear, etc., as well as his own Marilyn Monroe scarves.

This beautiful idea, calculated to offer a choice between mass production expediency and esthetic beauty, was effectively articulated and implemented by the laterally-structured Americall Thought Combine.

73

The name is On First. It was designed as a vehicle for the rediscovery of Art as Objects. It adds to the general stature of the Art shown as well as providing the touch-and-use appeal of Objects to be purchased there. As such, the American Thought Combine conceived On First in two parts: A Gallery, to show, and a Store, to sell.

The Gallery concept is the creation of an area devoid of visual orientation which allows the objects to be shown without distraction. The area was designed as a Golden-Section rectangle (an infinite geometric form) with curved corners. The attitude of infinity was emphasized by using a single color and texture on the floor, walls and ceiling. Blue was selected, by a psychologist, as an infinite color because it has a tendency to disappear after exposure to the retina (as happens after visual exposure to ocean and sky.)

To provide a flexible system from which to hang objects or display accessories, a grid of steel tracks was suspended a few inches below the carpeted ceiling. Near the perimeter of the room, these tracks turn down to support the thirty four 400-watt quartz-crystal spotlights that encompass the gallery. In each of the fifty two bays formed by the grid system there is a mirror which can be rotated in any direction. This provides a spotlight-mirror-object lighting system that makes it possible to illuminate any object to any intensity from any direction while the light source remains unknown. Art as Objects are virtually the only thing seen in this infinite space and seem to be their own source of illumination.

There are twenty hidden speakers situated around the room in the curves

74

of the ceiling and floor. The sound is conceived as a medium to bring a desired definition to the space. Audio attitudes of massiveness, transparence, fragility and proximity help to establish desired moods in the Gallery area.

In this complete!;' enclosed stage there is no contact with the street.

Inside to outside communication is made through a closed circuit television system which also serves as a live display window. Nine television monitors deliver a panorama of interior views to the outside world. Monitors and cameras can be interchanged at six locations inside the store providing flexible reporting or viewing.

Prerecorded video tapes are used to show an artist being interviewed explaining his ideas.

The lighting system, sound system and closed circuit television are all controlled from a semicircular instrument console which also doubles for cash receiving. At the click of a switch the sound begins to rotate from speaker to speaker around the room or can be stopped at any given speaker and can be made to have an echo or tremolo effect. All spotlights are on "dimmers" operated from the panel allowing an object to be brightened when a customer is interested. The ninety eight push-button switches which control the television system allow any monitor to receive any camera or video tape or regular Top right: drawing of Gallery showing console and lighting system.

Exterior showing two-ton Sven Lukin sign sculpture.

Interior of Gallery.

Control console for audio-video monitoring.

Detail of grid system.

home programs. Colors may be selected at will for the outdoor sign or it can be set to rotate through a preset series of color changes. The exterior surface of the console is painted "candy apple" giving it a deep water, infinite feeling consistent with the rest of the room. The person on duty behind the console is in complete charge of this assorted audio-video phenomena.

The downstairs store is entered by means of a circular staircase, a descent from the deep blue of the Gallery through an optically calculated spectral experience, I ike walking through light. Here all is red to above eye level where the walls then graduate through violet to a recollection of the Gallery blue on the ceiling. The shelf counters are huge red blocks that can be reshaped as required by the Objects to be displayed. There is an eight sided dressing room of two way mirror that provides the strange sensation of seeing out from the inside while from the outside you see a reflection of yourself. It is a delightful area with a warmth and ambience conducive to looking and buying.

The concept works. From the moment of entering On First past the giant "0" with nine television monitors in the center and through the entrance doors flanked by the two legs of the equally giant " N" , one experiences a different world. From the total disorientation of the Gallery, with objects suspended in space amid changing light beams and sounds, to the Store area, with its graded wall colors, one is conscious that we are just beginning to tap the creative possibilities of marketing and merchandising.

Left : drawing of Gallery area showing relationship of console and staircase.

View down the staircase and up the staircase.

Right: objects for sale in the store.

76

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77

ICOGRADA CONGRESS 3 A REPORT BY KEITH MERGATROYD, FSIA, FSTD

In mid-summer 1968, members of twenty-six of the world's graphic design organizations met for the third time. This is the sixth year for ICOGRADA, the International Council of Graphic Design Associations. Representatives came from every continent to Eindhoven in southern Holland, a vigorous industrial town dominated by the huge Philips organization. (Norelco shaves enough American faces every morning to make U.S. manufacturers wince.)

Editor's Note: Keith Murgatroyd is a Fellow of the Society of Industrial Artists and Designers of Great Britain, a Lecturer in Graduate Design at the Manchester College of Art and Design, and Consultant/Typographer to leading British industries. He is Chairman of the ICOGRADA Audio/ Visual Archives which collects and preserves notable current work of the world's leading designers in tape and slide interviews. This collection has been established internationally so that the work of our time will not be lost to design history as were the immediate ideas and attitudes of the Bauhaus group when the Nazis destroyed that institutions records in the 1933 attack.

Design Director for Philips Eindhoven is Norwegian Knut Yran , President of ICOG RADA. With so varied a group of delegates, project committees, the business meetings, translation to three languages, exhibits, and a major Conference to arrange, the host design organizations of the Netherlands and Belgi urn faced a tremendously complex task. It was difficult at times to decide whether the organizers had objectively decided to change the familiar pattern of design conferences and pep things up or whether the whole thing was enjoyably out of control.

The Congress theme " Design Destinations" was hit bluntly by keynoter FHK Henrion asking " where the hell are we going?" ~ reminded the Council of the way they had changed their professional titles from commercial artists to commercial designers through to graphic designers and now visual communicators. If the change of hats didn't also mean a change of attitudes and performance, we are going to be in trouble. For thousands of years, communications had been a simple matter and then within the last 150 years came a change which meant we have almost too much information to cope with. Now, during

ICOGRADA's week long Congress was held at the Eindhoven Technical High School. The International Board included Norwegian Knut Yran , President, British FHK Henrion, President Elect, and Swedish Stig Bark, Treasurer. Noted European designers attended. Among them, Anton Stankowski , Will Sandberg, ICOGRADA motivator Willy de Majo, shown talking to students.

78

th~

TV era, we are confronted with the phenomenon of communication taking place without any message being imparted. " Four fifths of time is now concerned with the displacement of silence." Henrion continued by saying that the artist could adopt the attitude of not caring what his message was if that suited · his purpose. But the designer- a different animal- must make sure his communication is effective and accurate.

Presentations of work by designers demonstrated the path toward " Design Destinations." Benno Wissing , of Total Design, Amsterdam, showed the work for Schiphol Airport, directional signs and symbols tied to international standards, but with the fullproject involvement of a " graphic " designer solving the concrete and abstract problems of the flow of traffic: and people. It gave an indication of the kind of mind the designer develops and the " non-art" attitudes which he must come to terms with.

Wolfgang Schmittel , of Braun AG , showed the identity program of the German company and pointed to the new states of mind which must encompass a " wall to wall " design activity to take in every aspect of the visual manifestation of a company ; product design , product signatures,

product information and advertising; all parts of a cohesive program that has given great merchandising personality to Braun.

Massimo Vignelli, Unimark, U.S.A., defended his view. "The independent consultant, in my mind, is confining his role to a very limited audience, because of his impossibility of overcoming the subjective approach which fascinates and traps him, and precludes him from exactly playing the role which he might claim in our society. Corporations do not like to talk with individuals. They only like to talk with Corporations. So if that is the way, 0. K., let's set up a Corporation; and immediately the mechanism works, and what is even more surprising is that only then will they listen to the individual within the corporation. As a designer, I feel a new awareness in our profession in the direction of management, as the only means which can guarantee and control the development of a systematic approach. If anyone would ask me where the design profession is going to be in the next ten years, or even where it is today, my answer would be: ' it is in business.' " Jerome Gould, U.S. A., spoke on " Influence of Design on Sales and Marketing" and showed his work. Mr. Gould was not deterred by the fact that his approach seemed to run along rather different lines from other presentations. Students had their chance here, to ride idealistic chargers into battle, but Mr Gould took them all in his stride. Not even such remarks as "Sienderella Moderne" seemed to worry him overmuch.

The conference was preceded by many other parts of ICOG RADA organizational wurk. The second International Student Seminar saw the founding of "Design Students International." The first seminar at Bled, Yugoslavia, had been strongly criticized by students who objected to being "talked at" and wanted more participating opportunities. These they got at Eindhoven. The "old men" bowed out and the students got under way with slide show presentations of the activities of their own colleges, highlighted by the audio/visual experiments from the "revolutionary" · college of Hornsey, London. DSI, which includes both graphic and industrial design students internationally, with a 1967 conference held at High Elms, Kent, England, under its belt, now has a full constitution and full prospects. The U.S. A. Faculty Advisor to DSI is Prof. Herbert Roan, Department of Design, Southern Illinois University, Carbondale, Ill. 62901.

The heart of ICOGRADA is its continuing projects and commissions.

Student Project 3 produced 25 films submitted from ten countries supporting the United Nations Human Rights Year on the subject "Equality of Man," working with UNESCO. ICOGRADA projects number 18 in all, bringing the many national graphic design organizations together to solve mutual problems. Professional practice, international standardization, education, and international signs and symbols are evaluated with. Informational projects to tie the design community together include compilations of Graphic Design Terminology, In-

ternational Competition Controls, Design Organizations, Design Schools, Typographic Unification, Design Publication listings, and an Audio/Visual Library and Archive.

The ICOGRADA meetings each two years (Zurich, 1964; Bled, 1966; and Eindhoven, 1968) are marvelous taxdeductible gatherings for professionals, but they also accomplish important work. When this organization of national organizations was planned in 1963 by British designer Willy de Majo, it was questioned as being a somewhat unnecessary structure. It has found its strength in need. Twenty-six national organizations are active. Fmm the U.S., three groups are represented. Herbert Pinzke, STA, has served as a member of the ICOGRADA Board of Directors and Carl Zahn has been appointed as Liaison Officer for AlGA. Willy de Majo, in 1966, pointed out, "The United States, a powerful nation, feels somewhat self-sufficient."

ICOGRADA's new-term President, FHK Henrion, asked the assembled designers, "Where the hell are we going?" In America, the contributions of the designer have been accepted by business and industry as part of marketing. That is the view from Europe. Does this acceptance by business make the designer complacent, prosperous, indolent? We know the vitality and dominance of American business.

In ICOGRADA we know that designers from many nations must still continue the fight for acceptance. It is a proper pocketbook challenge. Is it the design vitality of the world?

International graphic design displays were featured in the auditorium lobbies.

At mid-conference, delegates traveled to Belgium to visit the Brussels Design Centre and Film Museum, with side visits to the Grand Place as highlights of "Belgium Day."

79

Ck69 THE TENTH ANNUAL EXHIBITION OF THE COMMUNICATION ARTS SPONSORED BY CA MAGAZINE

CALL FOR ENTRIES A distinguished national jury will select the CA-69 exhibition from the year's outstanding examples of the communication arts.

Any work produced or published between July 1, 1968, and July 1, 1969 is eligible.

The entire exhibition will be published in theCA Annual issues.

Deadline for entries is July 1, 1969.

MAGAZINE ADVERTISING

lA IB

Single ad Campaign ($6)

EDITORIAL

8A 88

12A

Letterhead / envelope Complete program ($6)

NEWSPAPER ADVERTISING

CoMPANY LITERATURE

2A 28

9A 98

Single ad Campaign ($6)

TRADE ADVERTISING

3A 38

Single ad Campaign ($6)

PosTER

4A 48 4C

Outdoor, 24-sheet or larger, including paint Internal company poster All other posters

POINT OF PuRC HASE

SA

58 5C

Record album cover Display, ha nger Series of 58 ($6)

PACKAGING

6A 68 6C 6D

Single package Series of 6A ( $6) Label Series of 6C ($6)

TRADEMARK

7A

80

BUSINESS PAPER

(Indicate company name and nature of business under mark)

Annual report Facilities/ institutional brochure 9C Product / service brochure 9D Catalog 9E Folder, announcement 9F Series of 9E ( $6) 90 Data sheet 9H Sales presentation kit 91 Exhibit

Consumer magazine page/ spread I section 128 Trade magazine page/ spread / section l2C Company/ association pub. page/ spread I section 120 Company I association pub. complete unit ILLUSTRATION

l3A 138 l3C 130

Advertising Series of 13A ($6) Editorial / institutional Series of l3C ($6)

SELF-PROMOTION

PHOTOGRAPHY

lOA

l4A-14D

lOB

Promotion for artists, agencies, printers, others Series of lOA ($6)

Same as category for illustration

FILM BooK

II A II B

Complete unit Cover or jacket

15A 158

16mm TV commercial ( $6) 16mm film title ($6)

MISCELLANEOUS

l6A 168 l6C

Christmas card Other greeting card Anything not covered in previous categories

Submit unmounted reproductions, photographs or transparencies. All film entries must be 16mm. For posters, display hangers , etc., over 18 x 24, submit only photos or transparencies. Please do not send original art. CA cannot be responsible for damage or loss of any entry.

A

This form and remittance must accompany package of entries submitted to CA-69.

P. 0. BOX 10300

200 CALIFORNIA

•

PALO ALTO, CALIFORNIA 94303

NAME

COMPANY

FORM A

Form A and the remittance must accompany your package of entries. If more than one package is mailed, indicate on the outside wrapping : " Package No. _ _ of _ _ packages:' FORM

•

PHONE

ADDRESS

CITY

STATE

_ _ _ _ SINGLE UNITS .

B

This form (or a facsimile of it) must be attached to each entry. If the entry is a campaign, a Form B must be attached to each piece. If a piece is to be entered in more than one category, a duplicate with its own Form B and entry fee must be submitted.

. @ $2 EACH $. _ _ _ __

_ _ _ _ CAMPAIGNS/ SERIES @ $6 EACH $. _ _ _ __

_ _ _ _ 16MM FILMS

. . . @ $6 EACH $. _ _ _ __

_ _ _ _ TOTAL ENTRIES SUBMITIED

FoR cA ·usEJ D

ELIGIBILITY

Any piece produced or published after July 1, 1968 is eligible. Any entry accepted in a previous CA Annual will not be considered for a repeat appearance.

[ DATE

D

RECEIVED

$ _ _ _ _ _TOTAL FEE

CORRECT REMITTANCE

ACKNOWLEDGE

ACKNOWLEDGEMENT OF RECEIPT

If you desire acknowledgement of your entry, please enclose a stamped, self-addressed envelope. No other acknowledgement can be made.

No RETURN OF

ENTRIES

It is not possibl e to return entries. The only exception will be on 8 x I 0 transparencies or film reels which can be returned if entry is accompanied with a $1.50 return service fee for each item to be returned .

B

Attach this form or facsimile to back of each piece submitted to CA-69.

INUMC~:~c:J

If this piece is part of a submitted campaign or series, this piece is No. _

SUBMITTED

of _

pieces submitted

BY

COMPANY

ENTRY FEES

Single units ... $2 each. Campaign or cries ... $6.

Film titles or commercials ... $6. There is no hanging or acceptance fee .

NOTIFICATION OF ACCEPTANCE

All accepted entries will be notified in advance of publication and complete credits will be requested.

If additional proofs or other material 'to improve reproduction are required, they will also be requested at that time.

B

Attach this form or facsimile to back of each piece submitted to CA-69.

c~:I~~J

If this piece is part of a submitted campaign or series, this piece is No. _

SUBMITTED

of _

pieces submitted

BY

AWARDS COMPANY

Award certificates will be issued for each entry selected for the CA-69 exhibition.

MAIL ENTRIES To:

CA-69 P. 0. Box 10300 200 California A venue Palo Alto, California 94303

ZIP

B

Attach this form or facsimile to back of each piece submitted to CA-69.

CATEGORY]

[ NUMBER

If this piece is part of a submitted campaign or series, this piece is

I

LETTER

No. _

DEADLINE FOR ENTRIES IS JULY 1.

SUBMITTED

COMPANY

BY

of _

pieces submitted

CLEVELAND A tqtal of 1,154 pieces were submitted to the 20th Annual Exhib ition of Advertising Excellence of the Cleveland Society of Communicating Arts. The judges were Shep Kern it, Ron Barrett, Art Paul and Sal Audi tor. A selection from the Gold Medal winners is shown.

1

It costs more to keep a kid in prison than to keep a kid in college.

If you've ever complained about the high cost of higher education, consider the facts.

Four years in college cost le (about $8,000) than four years in prison ($10,760).

So why don't we send all our kids to college?

Perhaps because we won't spend the money to keep them interested in going to school.

One out of three high school students doesn't stick around to graduate.

The dropout is ten times as likely to become a juvenile deli nquent.

And the juvenile delinquent is perhaps a thousand times more likely to become a criminal.

It doesn't have to happen.

Good schools, with good teachers, and good facilities, ca n hold any youngster's interest, and turn the bad apples into good citizens.

Can we afford to spend the money for good schools?

Can we afford nor to spend the money for good schools?

The answer will be, one way or another, a life sentence for a lot of young Americans.

Thrs meuage is spomorcd by the Copier Ouplic:a to r and VariT) per divisiuru o( rhe AddreNCllr<~Ph

Muhianph Corporalion.

As bu>>n<Mn><n v.hohavcastllkc '" educauon F1rst , because ,.c arc deeply mvolved m "-I)'S to usc commurucatiOI"'S technolo&y to 1mprovc the qUIIbty o( Amcnean educauon (for U\stance, the Muluhth offsn preu has been UMd '" Pf"'Ol"&""S that KrVt to recapc.urc: the lntcrc:M of poc.cnual htah sc~ d ropouts and help pnparc them r~ gamful cmploymmt ) Second, because -. c believe Am«w:a s future and ours 1s no better than the future of Amcncan educauon If you •••ould hkc more 1nformauon on how c:ducaton arc usm11 the producu of the Copter Dupl•cator and VanTyjXr d•v•s•ons to Improve thc• r schools-or,( you"d hkc repr1nts ol th•s meuliC ,.rue AddtCSSC~if&ph Mult•graph CorporatiOn, 1200 Babbitt Road, Clcvdand, Otuo 44117 (lnformatton.J,OUrtCI on rcquat )

The trouble with a cheap education is that we never stop paying for it.

Consider the roots of poverty.

Half of the kids in the primary grades won't finish high school. In America today, one out of three high chool students won't graduate.

If the dropouts don 't wind up as delinquents or criminals (and their chancc:s are ten times greater than average), they'll wind up with a family.

But with less chance to earn the money it takes to support a family.

The chances are two to one that a man with less than eighth-grade education will ea rn $3,000 or less. Too little to support a fami ly.

So while we can skim p on dollars for education, we'll pend the money we save-and more-supporting the people who don't have the education they need.

Good schools with good teachers and good facilities can prod uce good ci tizens.

Which is why money spent on education represents the best investment we can make.

An investment that never stops paying.

82

nus meuage IS sponsored by the Copier Duplicator d ivltion of the AddreMOiraph Muhianph Corp.

As busi!"'e55n"'en who kavea stake'" edutauon Fu-st, because 'lift are d~y Lnvolvcd 1n ways to UK commurucations technokJ&y to improve the qut~llty o f Ameran cdua~t10n (For Instance, the: Muluhth offset press has bem used '" PfO(;rams that suve to rccapc:urc the 1ntuest of poc.ent111 high sc~ dropouu and help prepare them for jpunful m1p&oyrnmt ) Second, becausc •c behcvc AITICf"ica's future and ours 1s no bettu than the future of Amutean educauon If you would hke more mformauon on 00.. educators arc usang the producu o( the Cop.cr Duplw:ator

A:::raph

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Mulugraph

2

an art form in itself fou eAll it riee pAper.

But •s A.,J •Ame, it's tbe fi•est, most verSAtile pAper i• tbe worl.t.

Gold Medal, campaign and photography Tom Gilday, art director/designer Jim Johnston , copywriter Jan Czyrba , photographer Curilla & Associates , art Griswold Eshleman Co. , agency Addressograph-Multigraph , client 2

TV, Gold Medal Michael Rogers , art director/ copywriter Denny Harris, Inc. , production house Fuller, Smith & Ross, Inc. , agency Central Cadillac , client (Baroque theme music in background) Man. (VO): Hey, do you remember Majorca?

Woman. (VO): No, but I remember the photographer.

Man . (VO): Do you want me to put some sun tan oil on your back?

Woman. (VO): Hmm uhh. I remember the last time you put sun tan oil on my back.

Man. (VO): Look. It's small enough you could put it in the ash tray.

Woman. (VO): You don 't like my bikini.

Man. (VO): Oaah , I love your bikini, but not for playing golf.

Anncr. (VO): A used Central Cadillac has a history.

We're counting on you to carry on the tradition.

Enjoy a car for once in your life.

There are more than 500 varieties, designs and textures of handmade papers in white and assorted colors. For example: Ko•o is ideal for brush drawings; water and oil painting; engravings, stencils, offset lithographs ar'!d block printing; screen making; sto.ne rubbing; and stencil, tie-dye or block dying. Ksokusbi -a vellum paper-is used for all forms of painting; pen and brush drawing; engraving, etching and dry point printing; and precision drafting. Hosbo is popular for ink wash drawings; offset lithographs, etching, block and dry point printing; and water painting. CiAse• is perfect for orthodox calligraphy; inkwash drawings; watercolor paintings; and stone rubbing.

HosokAWA may be used for all forms of printing; brush drawings; and watercolor paintings. Available where fine artist and stationery supplies are sold.

83

OUTSIDE NEW YORK Concept 68, The Outside New York Art Directors Show (formerly the Southeastern Art Directors Show), was judged in Greensboro, North Carolina by Marty Lipsitt, Dick Richards, Sid Myers and Charlie Moss.

2

3

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Gold Medal, packaging Henderson Art Department, art director Betsy Sykes, designer Henderson Advertising , agency Texize Chemical, client

2 Henley Paper Award , direct mail Rosa Cann , art director Nancy Vaughn , copywriter Cargill , Wilson & Acree , agency American Machine & Foundry, client

3 Gold Medal Harry Jacobs, art director Nancy Vaughn , copywriter Ibid , Inc ., photography Cargil l, Wilson & Acree , agency Planters National Bank, client

84

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4

ILLUS TRATION SMALLER ThAN ACTUAL SIZE .

Introductory Set of 10 tubes

DESIGNERS' GOUACI-IE Wate1· Colours

FOR MORE BRILLIANT RENDERING Nothing can equal W & N Designers' Supe!:_fine Gouache Colors ... the finest opaque water colors made. For brush, airbrush, ruling pen, or lettering pen.

Introductory Set of 10 popular colors .. .only$ 6. oo Complett! range of 80 colors.

Winsor & Newton Inc. 555 Windso r Drive, Secaucus.

.J. 07094

CanadllnAgents: Tille M•gfllu OwensCo., Ltd ., Montrtal

Californian Distr ibwton . n.e Scftw.Jt)acfter-frerto .. San franc i&eo

4 Best of Show Gold Medal, TV Dave Brewer, art director Jim Cole, copywriter Focus Presentations, Inc., studio Cargill, Wilson & Acree, Atlanta, agency Columbia Nitrogen Corp., client Anncr. You can plow ... and harrow ... and seed it . . . and spray it ... and worry about it . .. and . cultivate it .. . and weed it ... and get angry with it ... and water it ... and pray over it but if you don't fertilize it properly ... you can forget it. Tell your Columbia Nitrogen dealer your goals ... and he'll tell you what has to be done to meet them. It just doesn't make sense to underfertilize.

Not after all that work.

85

WESTERN ART DIRECTORS Shown here are the outstanding pieces from the Western Art Directors Club's Fourth Annual Exhibition of Communication Art, Portfolio 4. Judges were Maxwell Arnold, Mike Bull, Bob Pease and Dean Smith.

2

4

Best of Show, editorial illustration Dugald Stermer, art director Steve Osborn, designer/illustrator Truman Nelson, copywriter Ramparts Magazine, client

Hope For Re1arded Children &Aduhs, Inc.

2

Jury's Award for Concept and Execution , point of purchase Sam Smidt, art director Art Kirsch, designer/illustrator Sam Smidt Associates, agency American Housing Guild , client

3 Distinctive Merit, brochures/ books Sam Smidt, designer/illustrator Jim Graham , copywriter Sam Smidt Associates, agency Wadsworth Publishing Co. , client 4

Distinctive Merit, open classification Ira Stone, art director Ira Stone/Richard Cork , designers Ira Stone Graphic Design , agency Hope for Retarded Children & Adults , Inc., client

86

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Books ART IN ARCHITECTURE

by Louis G . Redstone McGraw-Hill Book Company 330 West 42nd Street, New York, N . Y 10036

$19.95

"This book is written with a fervent hope that all the arts will take their rightful place again in the total environment of our reborn cities. The geometric patterns of our buildings, so characteristic of our machine-age period, more than ever demand the human touch of the sculptor, the painter, and the craftsman:' With this statement, Mr. Redstone opens the preface to his one-man campaign against urban ugliness. In text and in pictures the book is an eloquent appeal to incorporate art in all forms into our man-made environment. The author does not content himself with simply calling for increased cooperation between architects, city planners and artists: " ... the groundwork has to be laid at the elementary education level to prepare a young generation to become receptive to the benefits of art in everyday life:' Shown in the book are examples of collaboration between artists and architects from all over the world. The projects range from large federal, state and city buildings to office centers and private homes. New artistic uses for standard building materials are discussed and a section at the end of the book deals with commissioning the artist and choosing appropriate works of art.

Louis G. Redstone is both a prominent architect and a fine artist. He has long fought to integrate the two disciplines in which he himself is involved. "Art in Architecture" -obviously a labor of love-should be read and studied by all who have the responsibility for making our cities more livable.

: ('

Block out areas on watercolor paintings, I ,, I, HI \('H'' artwork, photos, etc., for subsequent ap· , Miskit plication of color with brush or airbrush. I ' • {j LlfjUI'J r: " Miskit then peels away or rubs off leaving the protected area unstained. Color in ,,_ Miskit may be stirred for greater visibility on photos.

M. GRUMBACHER, INC. NEW YORK, N. Y. 559 MISKIT in 1Y2 oz. plastic bottle $1.40 1

DESIGN BY ACCIDENT

by James F. O'Brien Dover Publications, Inc. 180 Varick Street, New York, N. Y 10014

$3.00

We've all seen the old cartoon about the painter who labors for hours over a canvas and then throws it away in favor of the dribblings on his pallette. To the trained eye of the artist, this may not seem particularly ludicrous.

Often the visual effects produced as by-products are more exciting than those which are carefully planned.

The purpose of "Design by Accident" is to help the artist prepare conditions which are favorable to producing " unplanned for" images. The end results are limited only by the experimenter's inventiveness and imagination.

The book is full of such tips as how to form crackle patterns in layers of glue, paint or ink, how to let different materials interact with one another, ·and how to apply pigments in uncommon ways. Most important, it attempts to explain which patterns are real designs and which are best rejected. 194 annotated illustrations are presented as guide lines for the reader.

Illustration and art techniques today embody many new concepts.

Artists, therefore, demand much more variety when selecting illustration board.

HI-ART saw the trend coming and perfected illustration board items you may have never seen.

Check with your art materials supplier, or write us for free samples and test ideas. Hi-Art is great illustration board.

NATIONAL CARD, MAT & BOARD CO. 4318 W. Carroll Ave., Chicago, Ill. 60624 11422 S. Broadway, Los Angeles 61 , Calif.

Canada : Card & Paper Works,.. Ltd ., Peterborough , Ont.

87

BOOKS (continued)

New Books Available PERSPECT!VE: A GUIDE FOR ARTISTS, ARCHITECTS AND DESIGNERS, by Gwen White, Watson-Guptill Publications 96 pages, illustrated (diagrams), $8.50. A highly detailed outline of how perspective is achieved and the geometrical and optical causes which bring it about.

Individual sections of the book are on: Parallel and Angular Perspective, Oblique Perspective, Shadows, and Reflections. A feature of the book is the use of semiopaque paper, whereby the author shows simultaneously a succession of perspective drawings and the skeleton of lines of which the perspective itself is composed ... THE ART OF CREATIVE ADVERTISING: A VISUAL/ VERBAL PROBLEM-SOLVING APPROACH, by Michael Antebi, Reinhold Book Corporation, 433 ad samples, $18.50. A fine source of advertising ideas, this book reproduces over 400 print ads produced during the past 40 years. The ads are arranged so that the reader can compare different treatments of the same basic approach (e.g. humor, animation, coupons, diagrams, etc.). Captions describe their original use and analyze the visual /verbal concepts involved ... CAMILLE GRAESER, edited by Fridolin Muller, Visual Communications Books, Hastings House Publisers, Inc., 89 pages, illustrated, color, $10.00. For many years, Mr. Graeser has been recognized as one of the foremost practitioners of "concrete art" in Switzerland. The book presents a comprehensive survey of the artist's work from World War I to the present, and discusses his contribution to modern painting.

Index to Advertisers

CRESCENT CARDBOARD COMPANY Dept. F-2

1240 North Homan Ave . • Chicago, Illinois 60651

88

Chas. T. Banbridge's Sons Bauer Alphabets Inc. Champion Papers Inc. Chartpak-Rotex .

Cooper Color .

Crescent Cardboard Co. M. Grumbacher Inc. Kimberly-Clark Corp. .

Letraset USA Inc. Lettergraphics International Mergenthaler Linotype Co. National Card, Mat & Board Co. Oxford Paper Co. Permanent Pigments Inc. Strathmore Paper Co. Visual Graphics Inc. Winsor & Newton Inc. X-Acto, Inc. .

Yasutomo & Co.

5 13 11 14 85 88

7,87 41

17 18 C-4

87 9 15

71 C-2, 19 85

88 8, 83