febmar1970

Hyplar can do things for you that the Nikon and Hasselblad can't.

Don't just sit there waiting for the trend to art to come back. Do something! The camera is here to stay, but so are you, the artist! Only the artist can make a completely personal statement without the operational limitations of mechanical equipment.

Hyplar acrylic polymer colors and materials are a technological advance. You name the technique,_Hyplar can do it. Try it on a photostat of your dre1wing; over pencil or marker sketches,

or on any surface you want. It's easy to use, fast drying, permanent and available in a range of 32 colors. Paint any way you like: from transparent water color to heavy impasto oil color stylejust make sure you use Grumbacher trouble-free Hyplar. It's that easy.

M. Grumbacher, Inc., 460 W. 34 St. NewYork, N.Y. 10001

COMMUNICATION ARTS MAGAZINE

Richard S. Coyne, editor and publisher Robert A. Dacey, associate editor and publisher Susan Hobson, production manager Cummings G. Walker, contributing editor Byron Ferris, contributing editor Jean Coyne, asst. to the editor Terrie Lawson, asst. to the publisher Connie Ralston, circulation manager Judy Graham, circulation Barbara Meade, circulation Jay McKendry, typographer Bob Bickford, associate typographer

VOLUME 12, NUMBER 1, 1970

Editor's column

6

Books

12

Oubnews

17

Chermayeff & Geismer

18

United Students Against Drug Abuse

32

Chiat/Day

36

Bill Hyde

46

Robert Miles Runyan

52

The "New" Ayer

66

The Push Pin Style

78

Illustrators 12

86

Survival Faire

90

CA-70, call for entries

100

Materials, available literature

102

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

Index to advertisers

103

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

Cover: Robert Miles Runyan, art director Maurice Yanez, designer Doug Olson, photographer

P.O. Box 10300 200 California Avenue Palo Alto, California 94303 Telephone (415) 326-6040

Communication Arts 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 $9.

Copyright 1970 by Coyne & Blanchard, Inc. Second class postage paid at Palo Alto, Calif.

BAINBRIDGE, THE FINEST ILLUSTRATION BOARDS EVER MADE! #175 Premium Extra Smqoth I #275 Premium All-Purpose Medium.

The ultimate in quality . .. stimulates the creative process. For artists who must have the very best!

At art supply stores everywhere!

Illustration Boards 1 Bristol Boards 1 Fabric Boards/ Mounting Boards/ Show Card Boards / Keeton Kutter CHARLES T. BAINBRIDGE'S SONS Established 1869

Editor's column Preservation of the ecology and improvement of our environment is everybody's concern. It has, in a most official manner, been declared an unofficial national cause. A dedication. However, the small amount of money-over a considerable period of time-and a leniency in both time and standards have established a new and rather original interpretation of "dedication~' The brilliance of this might have totally escaped me if I had not, quite accidentally, experienced a minor involvement with the Department of the Interior.

That statement could be misleading. Involvement suggests something dramatic, like being refused a camping permit in Yosemite Park on moral grounds. The total of my involvement consisted of a Department issued publicity release, a poster and one of those off-to-the-side facts that frequently come up when you're doing the research on an article.

Anyway, it started me thinking. Some degree of the political astuteness of this official unofficial dedication was always clearly evident. (Or is it unofficial official dedication?) The majority is clearly in favor of it. They might even be aroused to action if legitimate leadership (like our elected government) would issue some positive instructions on what action individuals might take. It is not unlike, to paraphrase the late and great Howard Gossage on the subject of another popular cause, "I would be happy to help stamp out V. D. if you would only tell me something I could do without having to get it first~' The majority is wholeheartedly in favor of preserving our ecology and improving our environment. It's pretty hard to imagine anyone being against it, in principle. There is no dedicated, vocal minority protesting our government's official unofficial posture. True, there are dedicated, vocal minorities speaking out on the subject, but they're for the same thing we're all for.

We have been brought together on something. We're unofficially officially dedicated.

Dedicated is not one of those words that can be modified with qualitative or quantitative adjectives. By its definition, you can't be more dedicated or less dedicated. Either you're dedicated, or you're not. Since we're all officially unofficially dedicated, the vocal majority that is more for improving our environment has got to be something else. Like zealous. And everybody knows that means some kind of a nut.

Nuts rock boats, and the waves make it difficult to proceed in a calm, orderly fashion with reasonable deadlines for smog control devices and cleaner engines and

6

things like that. And with gradated standards that will not radically disrupt the normal evolution pattern of engines and gasolines and things like that.

If this sounds like I'm suggesting that our government is not really dedicated, it must be because I'm juggling three balls at once with this nonsense and I temporarily backed into a ·corner. I was attempting to shed some illumination on the ramifications of a new interpretation of "dedication~' And the explanation of this new interpretation could only be made with an examination of such a declaration of dedication that results only in procrastination.

With that now clear and established, let's return to the subject of boat rocking. This is caused by dedicated individuals or minorities with grievances, or problems, or personal beliefs that certain changes in attitudes or rules would be beneficial to the country or to all of mankind. This kind of unofficial dedication, without official sanction, can create dissent.

The important point that I'm trying to focus on is that these movements are always loaded with dedication.

Now, if you won't, for whatever the reasons, attack the causes of these grievances like poverty, discrimination and weaknesses in education; and if you can't contain the results and the dissent keeps growing; what else is there to target on? Dedication.

If being dedicated, via the new interpretation, meant proceeding sensibly and cautiously with a minimum of disruption, it isn't going to rock any more boats than not being dedicated. Only a handful of zealots will still be making trouble, and we'll be more able to cope with them when we know what they really are.

Maybe the concept won't work, but we should at least give proper recognition to this creative idea.

The Department of the Interior has given me reason to be a little nervous. Like most citizens, I only have the vaguest notions of how authority is distributed throughout the various administrative departments. I have a strong suspicion that this may be deliberate. But it only seems logical that, if we should manage to launch a major effort to preserve the ecology and improve our environment, at least part of that authority will rest with the Department of the Interior. Pollution might be the domain of Health, Education and Welfare as well. And both, plus Housing and Urban Development, should have something to say about environment.

I mentioned a publicity release, a poster and a fact that got me started on this. The fact came to light when I was in the offices of Chermayeff & Geismar. I was going

Better Impressions

Mead Offset Enamel

An impression can be physical. It can be intangible ... even emotional. Sometimes explosive. Sometimes subtle. It can be conventional. Or unconventional. Mead combined most all of them to create this insert. D No expensive photography techniques were required to produce the unconventional effect on the opposite side. Just a little innovation. D The yellow printer is a negative line conversion of a black and white print. The magenta was printed from

a positive separation screened to 150 line. A negative separation, also 150 line, was used for the cyan printer. The result is a unique reproduction that commands attention and creates interest. D Your graphics can do the same.

Explore the excitement that can be created by the innovative use of color separations. Then contact your Mead Merchant and select the paper that will make the impression you want. Like Mead Offset Enamel, Embassy Finish.

Lithographed in the U.S. on 80 lb. Mead Offset Enamel , Embassy Finish

A division of The Mead Corporation, Talbott Tower, Dayton, Ohio 45402

through material for their story, asking questions and making notes. The signing program they developed for the National Park Service, a division of the Department of Interior, really impressed me. It was handsome, functional and the most thoroughly researched and developed signage program that I have ever seen. It was disappointing to hear that the design and art was entirely complete, ready to go, but the program had not been implemented. The reason seemed plausible enough, I guess. It had been stopped by budget cuts.

This program, as well as new emblems for the Department and the National Park Service, had been commissioned by Secretary Stewart Udall during the latter part of the Johnson administration. It was a heartening experience to see the government finally showing some awareness and concern for better design.

But it was short lived. Secretary Hickle promptly reinstated the old designs, apparently in the name of preserving tradition.

I was contemplating some appropriate and caustic comments to include in the story when I came across a feature in the newspaper, syndicated by the Times-Post Service and written by Wolf von Eckhardt, the outstanding architectural critic for the Washington Post. He said it better than I could and I'm taking the liberty of quoting a few passages from his article.

"Secretary of the Interior Walter J. Hickel recently tossed out his department's handsome new seal and ordered the old buffalo emblem reinstated.

"And now the National Park Service has also been buffaloed into scrapping its modern image. It has readapted its battered old arrowhead emblem which, in addition to trees, mountains and a lot of reading matter, also has a bug-sized bison on it.

"The symbolism of this change of symbols is depressing~'

Von Eckhardt went on to explain about the creation of the new symbols, with particular praise for the Interior Department emblem that "says without words that the hands of government protect our natural environment~' "That old buffalo, fearfully eyeing the date when the department was founded, March 3, 1849, only reminds us of one of our worst crimes against nature.

"On that date, my encyclopedia tells me, some 20 million buffalo were peacefully roaming the western plains. Today there are barely 5000, which is but a tiny fraction of the letterheads, publications and signs that depict that scared looking beast.

"The mossbacks who threw out these designs are utterly wrong in claiming that the reinstated emblems are "traditional:' That buffalo was drawn up in 1929 and the arrowhead with all its. visual gobblegook was concocted in 1951. The 40 and 18-year-old designs thus hardly represent long cherished tradition. They only represent bad taste.

"And that is what's so depressing. The United States is probably the only civilized country where the questionable taste of politicians dictates the visual image of governmenf'

CU STER BATTLEFI ELD · M ONTANA

A short time ago I received a publicity release and a poster in the mail. The 28" x 42" poster, newly released by the National Park Service, was very good looking, with a Leonard Baskin drawing of General Custer. To my surprise, there was the new Chermayeff & Geismar symbol for the park system.

Puzzled, I called Tom Geismar in New York and asked him what this meant.

"I don't really know;' Tom answered. "They don't tell us what they're doing. But I have gathered that it's on some kind of optional basis, they can use what they wane' The implications of that kind of indecisive direction, as it filters down through the bureaucracy, is staggering to contemplate.

DIRECTION SPORTS is a unique program designed to teach underprivileged kids basic learning skills, positive self concepts and social attitudes, and sports. As could be expected, the program is conceived and directed by one of those rare, dedicated individuals who knows what has to be done and figures out a way to do it. And it has produced remarkable results.

I was exposed to the program when I was in Los Angeles working on the Chiat/Day story for this issue.

That agency is currently preparing advertising to raise

9

funds for Direction Sports. Earl Smith, who is handling the PR end of this public service account, happened to drop into the Chiat/ Day offices while I was there and I was able to corner him for ten minutes to find out more about this.

"Tulley Brown, the executive director, is one of those fantastic guys that you really have to know to believe he's true. He comes from a prestigious background, good job, great education, travel, good family, a lot of money, the whole thing. A couple of years ago, a kid stole his car. He was a ghetto kid that took it for a joy ride. When he was caught and put in jail, Tulley tried to get the charges dropped. 'I'll adopt the kid if there's no other way: The judge gave the kid fifteen months in the slammer.

"Tulley felt this was an unfeeling way to handle the kid, and he found out this usually happened to poor or minority kids, while the middle-class kids usually get released to their parents on probation. So he started thinking of ways to do something for these underprivileged kids. It was natural that it would be connected with sports. He's always been a sports nut, and he was a fine athlete himself.

"He'd already been involved with something like this when he volunteered to hold sports clinics for mentally retarded kids and found he could get through to them.

So he quit his job and started Direction Sports.

"The way this thing works, the kids are organized into teams. They meet 3 times a week and play a game on Saturday. The sessions are organized in three partschalk talks for teaching learning skills, sports practice and group discussions. In the chalk talks they still use the lure of sports. Arithmetic, for example, may be on how to construct your batting average.

"The games start with a session at the blackboard.

Each kid races to the board and works out a series of problems, arithmetic, spelling, any of the basic learning skills. The team with the most right answers gets that many points to start the game. Now I've seen a game of football where one team was just a power . . . L.A. Rams. The other team was not as physically strong, but they went in with a 12 point lead and those big kids had their work cut out trying to catch up in 20 minutes. The incentive is there. They learn.

"Another interesting facet of this is the coaches.

They're usually freshmen or sophomores in college, and from the same neighborhoods as the kids. Before they coach the kids, though, they go through intensive training and coaches school where top coaches like John McKay of USC, football, and John Wooden of UCLA, basketball, teach them the fundamentals of coaching. These kid coaches are paid and it works out like a scholarship for them:' Results? Psychometrists Dr. Stephen Klein of UCLA and Dr. R alph Hoepfner of USC set up cross-validation testing. In the period from September to February, average arithmetic scores went from 54 % to 82 %, a gain of 28 % .. Spelling gained 23 % . This is the kind of R. s. c. communication we need more of.

10

OlLFO~DU~ EmY faM D~AYI

"'" •.,.,,.

Lette-

OfficM

Ottine/ Solomon

C~

828

JU2-4274

Chicago

Frederic Ryder Company • 467-7117

w.J~~!!!o~!~P~l!10 Houston

Jagliliiles-stovii&~·Hiif54 T;mely Tl ! : !hy • GA 1-7520

~

General Type/ Atlanta • 521 -3366

~a]Jas

Jagg~es-Stovalllnc. • 742-1741

Ser~!l!!!!~l!~~i§559 Hawaii TyJif"nol "'" • 538-3965

1i~D~P!~fi94 P!~!~~-0272

Franklin

D•ylonN~~~~~241

Ad Shop/ Forstall Typographers • 524-0822

BUFFALO

Buffalo Type Service Corp. • 853-2890

8t~t~CZH.t f ' !4-6633

Central Typesetting . Inc.

~HIIBHIX

K VANCOiiVEif lillllilll

Paste-Up Services Ltd . • 684-4561

B/ W Type Service Ltd .• 947-0538

TDIIDIITD Cooper & Beatty • 364-7272

MONTRCtit-

Advertising Typographers, Ltd. • 861-7231

Lettergr~i-~!~~02-6141 SWEDEN

Lettergraphics/Sweden , Solna • 83 42 50

Typogrgi~G~!n~ IVSTRI1

5o 47

Typographica Ges.mbH. Wien • 83 91 10

~UBtl\~~I~

Dolling / Lettergraphics . Sydney • 29 34 31

a

OVE~ fltOOO IN CA5N ~~IZE5.

(The largest cash prize alphabet contest-ever.)

We have created this competition to encourage a greater appreciation of the art of letterforms and to stimulate more interest in designing new and distinctive alphabets.

Over $14,000.00 in CASH PRIZES will be awarded as follows - 1st PRIZE $1,500.00, 2nd PRIZE $1,000 .00, Jrd PRIZE $500.00. 12 Merlforious awards of $300. ea., 25 Honorable mentions of $200. ea . & 25 at $1 OO .•ea. .

65 winners in all wt/1 receive international recogmtion.

This contest is open to all students and professionals anywhere in the world! There are no fees . Entry forms may be secured by calling or writing our Los Angeles Main office or any of your 26 local Lettergraphics affiliate offices, nationally, in Cana,da, Europe, and Australia.

All types of alphabets qualify~ Serif, Sans Serif, Casual, Ornamental, Swash, etc. in any combination of caps and

lowercase, all caps, or all lowercase. In choosing your design, just ask yourself "Would it be of value ro the art of advertising and communication?"-lt's that·simple .

Check your entry form for exact requirements. Alphabets will be judged on originality, detail, craftsmanship, accuracy and their contribution to contemporary design.

Contest Closes Oct. 30, 1970, so get your entry form today.

We expect many exciting new designs to come from ·this contest. In the meantime call your local office for our present literature and new style showings. d h.

L h. 1 New styles are an every ay t mg at ettergrap ICS.

.....---rru:rrTHEr11nPHO[$- IIRIIIUI-lllJT!.Ul.l~

. . . . ~~~ ~"""' •._. ~ 8540 W. Washington Blvd ., Culver City, California 90230

Books THE BEATLES ILLUSTRATED LYRICS

Edited by Alan Aldridge A Seymour Lawerence Book Delacorte Press, New York

$5.95

As a subject for graphic interpretation the lyrics written by the Beatles offer a particularly fascinating challenge.

It is no exaggeration to say that this group has redefined contemporary music-not to mention a few contemporary standards-and their songs contain enough ambiguity, humor, multiple meaning and sheer poetry to keep an imaginative illustrator busy for years.

Alan Aldridge, the outstanding young British designer who compiled and illustrated "The Penguin Book of Comics;' first conceived of illustrating the Beatles lyrics in 1967. Art Kane is credited with getting the production started. After selecting about 160 of the Beatles 180 some odd songs, the list was sent to the book's 43 contributors to select the pieces they wanted to illustrate.

The artists included in "The Beatles Illustrated Lyrics" comprise an illustrators show of gigantic proportions.

Their names read like who's who in the world of graphics: Seymour Chwast, Folon, Milton Glaser, Robert Grossman, Art Kane, David King, Peter Max, Victor Moscosso and Tomi Ungerer to name a handful. Each was given

Step 1 Paint Miskit in areas to be blocked out.

the widest possible latitude in which to interpret his chosen subject. The total result is one of the nicest, happiest visual trips in recent years.

Aldridge describes himself as a "visual entertainer:' In his introduction he states, "What I've tried to do is to present a book which is as entertaining to the eye as a Beatles album is to the ear:' He has succeeded.

New Books Available ROWLANDSON THE CARICATURIST, edited by Joseph Grego, Collectors Editions, 400 B/W illustrations, $55.00. The standard reference for the prints of Thomas Rowlandson, a two-volume work, has been republished.

One of England's greatest draftsmen and printmakers, Rowlandson is known for his biting political satire. The book covers his work from 177 4 to 1831, and is of special interest to artists working in the medium of political satire today . . . LETTERING FOR REPRODUCTION, by David Gates, Watson-Guptill Publications, 191 pages, illustrated. The content of this book was drawn from the lettering course in the Department of Advertising Design and Visual Communication at Pratt Institute. It covers the history, theory and techniques of lettering for reproduction.

Step 2 Paint background freely even over blocked out areas.

GRUMBACHER

Miskif MASKING LIQUID FRISKIT WITH COLOR INDICATOR

FOR BLOCKING OUT AREAS WHEN PAINTING BACKGROUNDS.

Step 3 Remove Miskit revealing clean edged unpainted areas.

USE MISKIT WHEN PAINTING WITH: Water Colors Hyplar Acrylic Colors Poster Colors Designer Colors Photo~ Retouching Grays

M. Grumbacher lnc./460 West·34th Street/NewYork, N.Y. 10001 12

S.D. Warren presents an ostentatious demonstration, followed by . an implausible low-price claim.

YOu can actually save money with this paper. Really.

The million-dollar look you just saw wasn't achieved by spending a bundle of money on paper.

It was achieved by using one of Warren's lower-priced papers: Casco Gloss (basis 25 X 38- 80/1-60M).

Bright, accurate reproduc-

tion is easy to get on Casco.

So there's nothing to keep you from getting the millionThe paper is balanced so it won't distort colors.

- dollar look on every job.

And it has a refined WarS.D. Warren Company, ren surface. So you get a thin, A Division of Scott Paper Company, 18 Oliver Street, Boston, smooth film of ink that makes Mass. 02110. the colors shine.

It runs as smooth as it ~ looks, too.

And remember, Warren makes grades of paper for just about every kind of budget.

warren

Club News AlGA The jury for the 1970 Fifty Books exhibition, sponsored

by The American Institute of Graphic Arts, is comprised of Allan Fleming, Norman lves and George Wittenborn.

The show will be exhibited in May, 1970. "The Sign and The City;' the exhibition previously announced as opening in April (CA, Vol. 11, No. 6), has been postponed until the Fall. The exhibition, co-sponsored by The American Institute of Graphic Arts and the Graham Foundation for Advanced Studies in the Fine Arts, will be shown in both Bryant Park and the AlGA Gallery. AlGA, 1059 Third Ave., New York 10021.

ASPEN William Houseman, president of the Environment League, Inc., and editor of "The Environment Monthly;' has been selected as program chairman for the 1970 International Design Conference in Aspen. The theme of the conference will be Environment By Design. Dates are June 14-19.

"Selection of the environmental theme is an attempt to encourage development of a perspective broader than the air and water pollution that has suddenly become a matter of great public concern;' Mr. Houseman said.

Anew tabouret designed to work as good as it looks

Adjustable stainless steel legs.

Large bin holds type books, magazines, directories , etc.

Spacious shelves hold14x17 layout pads in horizontal position .

"We expect to see some sparks ignited by people who regard the whole man-made environment as an exciting challenge for the entire community:' The keynote speaker will be Stewart L. Udall who is currently president of Overview, an environmental planning and developing group. Additional information about the conference may be obtained from The International Design Conference in Aspen, P.O. Box 664, Aspen, Col. 81611.

ICOGRADA 1970 CONGRESS The fourth ICOGRADA (International Council of Graphic Design Associations) General Assembly and Congress is scheduled for August 17 to 24 in Vienna.

This year's theme is The Visual Communicator in the Learning Industry. The aim of the Vienna Congress will be to present the designer's contribution to learning and teaching aids, from textbooks and film strips to films and television, at schools and universities as well as industrial training programs in the managerial and technological fields. Outstanding work in these fields will be selected from the best material available from all countries. Additional information may be obtained from the ICOGRADA Secretariat, P. 0. Box 868, Amsterdam, Netherlands.

Twin drawers 1 V4" deep store pens, pencils , flat objects .

Deeper ~raw ­ er below holds felt tipped markers in vertical posit ion .

Twin 22 3/4" wide, shallow drawers perfect for paints ch k, etc .

Deep double shelves take standard sizes of illustration board, 19x24 padsstock remains flat, clean .

Chipresistant laminated plasti c exterio r standard on both models .

Introducing the "Director" from Studio Craft-a tabouret that 's both functional and decorative. All drawers and shelves functionally designed with today's artist in mind. Qualitycrafted construction features rich-looking laminated plastic exterior with white top. Sits 23" high , full 60" long, 20" deep.

More top space than any other tabouret! In right-hand (shown) or left-hand drawer arrangement.

The Studio

Order Direct

Same dimensions , design and construction as the "Director," but features protective white laminated plastic finish all around. Blends with any studio decor. Also available in right or left drawer arrangement.

Send remittance to Studio Craft. When ordering, specify right or left-handed arrangement and model desired . All tabourets factory crated .

Prices FOB Dayton , Ohio.

Ohio residents add 4% sales tax . Sorry, no COD's.

$21500

Dept. 2, 3071 Vale Drive Dayton, Ohio 45420 Area Code 513, 299-4626

17

a-

co

0

N THE SURFACE NOTHING SEEMS CHANGED. Back in February of 1960, which in the volatile crucible of the graphic arts is at least a billion light years away, CA carried a lead article entitled "The Bold Young Men." There were three of them then, before Robert Brownjohn split for England leaving the successful firm to the Yale School of Design classmates, Ivan Chermayeff and Tom Geismar. In those days it was Brownjohn, Chermayeff & Geismar. Even then, before the Chase Manhattan "beveled bagel," before the Mobil red 0, Expo '67 and all the other successes and breakthroughs, even way back then they seemed to have it made.

Their clients were people such as CIBA and CBS, Pan Am, the Museum of Modern Art, RCA Victor, Time-Life, ReynoldsAluminum. They did things such as a sprawling, undulating Christmas display made of thousands of yule tree balls for the lobby of Pepsi Cola's new building, covers for Harper's magazine, an exhibit for the American Pavilion at the Brussels World's Fair, a sign ten-feet high and two city blocks long erected over Grand Central Station heralding the construction of the Pan Am building.

And they said such things as, "It has to be a design job and the whole job or nothing," which ten years ago showed an exceeding amount of grit, even for bold and talented young men.

Today, nearly ten years later, the clients are still upper-Fortune's 500. The work

by Lionel L. Fisher

Facing page: marks for Massachusetts Bay Transportation Authority; The Chase Manhattan Bank; Diners Club; Graphic Arts U.S. A. exhibition.

Catalog cover for State Department exhibition, "The disappearance and the Reappearance of the Image: American Painting since 1945" (in Rumanian).

Graphic Arts U.S. A., an.exhibition shown in three Russian cities and throughout Eastern Europe.

18

remains varied and interesting, its scope impressive, the delegated responsibility great. At first glance it seems to be merely the same old business at the same old stand. The stand is bigger, of course, the product glossier, the fees greater, but what isn't these days?

So what's new? If at a relatively tender age one seems to have pretty much made it all the way, where does one go from there? What journey has taken place these past ten years when the starting point seems to have been the top? And, as young men still, what lies ahead?

Well, first off, a big difference lies in the definition of the word "client." "Ten years ago," points out Tom Geismar, "we called Reynolds-Aluminum a client because we did a brochure for them. For Columbia and RCA we essentially did album covers and that made them clients.

Our dealings today are on a much broader plain. Also, in the early days we dealt almost exclusively with corporations of one sort or another. Now we work extensively with government agencies, with universities, museums and others unconnected with big business. And we're involved almost entirely with extensive programs that we have initiated, established and are in complete charge of."

"Conceptual freedom," is the way Ivan Chermayeff puts it. "Concept" is one of his favorite words and he uses it often.

"We've become interested in playing an increasingly important role in conceptual planning- in earlier judgments preceeding any design considerations. We lean

E

UJ •

Q)

" 'I 'I

Q)

>a co

E ....

Q) -'= u

.•, •.~'11.. .. 1. · .· .. ·. ~~ -~ OlBii~

:i.l

--

.. ,.

i.'"

19

CHERMAYEFF & GEISMAR

20

toward work that is less-defined than the ordinary. A case in point is the upcoming American Pavilion at Osaka. Initially nothing was set about it except that the U.S. government was the client, Osaka the place, and March 15, 1970 the opening day. Conceptually it's wide open. It's been our responsibility to initiate ideas about what should be included in the Pavilion.

As far as we're concerned, that's every bit as interesting as the designing and detailing of it and all the little bits and pieces that go into solving a complex problem of that sort."

There have been many wide-open projects handed Chermayeff & Geismar lately and much freedom given. Item: The Burlington Lobby. Prior to Burlington Industries' move into its new midtown-Manhattan quarters, a management decision had to be made concerning the utilization of a large groundfloor section of the building.

C & G was asked to make a proposal on the exhibit possibilities of the valuable space; bluntly, you tell us what should be done with it. As Ivan describes it, "Tom and I decided it was all in good faith and that if they were going to pay us to make a study of what to do there, we would make a top-flight presentation of what we felt should be done there and not worry about what it would cost or anything else.

We would simply think up exciting ways of showing just what Burlington and the whole world of textiles is up to and all about, and make the whole thing come alive for students and businessmen and everyone in-between. We drew on our experiences with large crowds and world's fairs, cut out a lot of the story telling, hard sell and fundamentally boring stuff and came up with a presentation that the president thought was terrific. And the decision-making executives said go ahead even though the tab woud run $1¥2million."

With the help of a structural designer, Paul Seiz, Tom and Ivan spent over a year developing the plans and construction specifications and basically what is going to be unveiled in a ten-minute Experience, complete with the first moving sidewalk in the City of New York, seventy Carousel projectors simultaneously producing a cornucopia of colors and images amidst actual textile machinery- the entire rich tapestry of sight and sound seemingly diffused into infinity by two stories of permanently mounted wall-to-wall mirrors.

Item: Signing System for the National Park Service and Department of the Interior. For the past five years, Tom pointed out, the firm has done much work for these two federal agencies, including a series of some fifty pictorial symbols depicting the various functions of the Park Service, and an entire system of signs combining aspects of European road signs with American signing methods. "We've just

Left: marks for the New England Aquarium; Screen Gems Inc. John F. Kennedy Memorial Library Exhibit, a traveling exhibition created to raise funds for JFK Library in Cambridge.

Designed to be transported in one truck, the exhibition appeared in 27 U.S. cities and 19 cities in Europe.

Electric Circus in New York. Design program included furniture, bar, alphabet, poster and many other items.

Right: Tom Geismar and Ivan Chermayeff.

Below: mark for Burlington Industries.

Cross-section drawing of permanent exhibit scheduled to open late this spring in the Burlington lobby at 54th Street and Avenue of the Americas, New York City.

Exhibit includes a 137 x 22 ft. mosaic of fabrics, 155 ft. moving sidewalk passing at 20 ft. per minute past information on raw materials, working machinery for spinning, dyeing, knitting and weaving textiles, uses of fabric in our lives as shown on 70 programmed, rear projection screens. The exhibit is 35 ft. wide, 208 ft. long, four stories high in center section and occupies 9,600 sq. ft. of space on three levels.

Photograph by Norman McGrath

21

CHERMAYEFF & GEISMAR

Woven into the Life of America

Illustration from Burlington Industries corporate book and a spread from Burlington 1969 annual report.

22

completed a large manual on how all the elements work and have gotten involved in all sorts of things such as working with the architects on how most efficiently to bend aluminum and the best ways to weld metals, what the structures of the various signs should be, wind tunnel testing, how to come up with a functionally improved system of signing for the Service, yet one that is unique to the department, with all the graphics fitting naturally into the myriad landscapes in which the signs and symbols will be situated. As you can see, the ground that must be covered unravels endlessly ....

"Yet, we find all of it extremely interesting," Tom states. "It's a long way from designing a brochure or book jacket or record cover, which can be done quickly, is fun and constitutes a form of personal expression. But we find being involved in development stages much more stimulating and we learn and grow from these experiences."

Item: The General Fireproofing Company. Tom and Ivan are presently consultants to the firm which makes and sells business equipment. Their involvement with GF, beyond the normal design guidance on catalogues, brochures and annual reports, has recently been extended to the development of some of the company's showrooms across the country. They recently completed GF's Chicago showplace in the Merchandise Mart, involving $120,000 worth of installation or 10,000 square feet, to be exact. "Pretty exciting," Ivan states matter-of-factly, "and very satisfying because we never had any arguments over the concept of the place. They have faith in our ability and allowed us to do exactly what we wanted, and the result of that kind of freedom is that it increases rather than diminishes our own responsibility.

"The more freedom we are given, the better the results are. It means that they are taking chances and we are taking chances. And anyone who is nice enough and brave enough to give you a lot of freedom, and pay the bills to boot, is not someone you want to lose as a client.

There is a tendency on your part to worry a great deal over such people. Also, there still aren't that many intelligent, understanding clients around who give design top priority. And I don't believe that good design ever comes out of a setup in which design is in a low priority. If it isn't given first priority, usually the level of quality drops in direct proportion to the number of priorities above it. It's a sort of designer's Parkinson's Law." Speaking of clients, C & G have for some time been in the enviable position of not having to go out after them. There is neither time nor energy left over nor the necessity of expending it in such manner. More work is turned away than taken

General Fireprofing showroom in Chicago incorporates 28'6" movable cones and a main showroom carpeted on floors, walls and ceiling.

Cover for first issue of "Innovation," a new magazine on the art of managing advanced technology. C & G act as design consultants for this publication to a sophisticated audience. ($75 per year subscription price would assure that.) Many typographic innovations were incorporated, including merger of the language of figures and words.

1ne 2wo 3hree

4our Sive

&ix 7even Bight 9ine 10n 11even

23

CHERMAYEFF & GEISMAR

Old and new symbols for the Department of the Interior and National Park Service.

Both are shown because Secretary Hickle recently gave the progression a vice versa twist, preserving the "traditional" symbols (and also the glory of some of our worst national crimes).

1929

1968

1951

1968

Turkey Run Area (4)00~

The signage program for the National Park Service is one of the best as well as the most thoroughly researched and prepared programs we have ever seen. Sign structures were designed and subjected to many tests, including wind tunnel testing, and then redesigned as a result of the tests.

The alphabet utilized is a modified Haas Clarendon (although examples from the manual, shown at left, are in the standard Clarendon type face). Modifications included shortening serifs on some letters and general opening of characters to increase legibility. The manual seems easy enough to follow even though it offers extremely comprehensive controls for uniformity and quality of signing to be created at diverse locations . It begins with assistance in formulating messages, limits for the number of words per message, messages per sign and words per sign. Variables are built in for different types of locations and functions of the signs. Letter sizes for various types and speeds of viewing are prescribed, as are the form, size and acceptable positions for arrows and the acceptable and nonacceptable abbreviations. Positioning of lines of type for all the combinations of messages, letter sizes and sign sizes are given (examples below). , The ultimate quality control is offered in preplanned letter spacing. An ingenious system of space units (facing page upper left) was calculated and charts offer widths of letters, space between letterscaps to caps, caps to lower case, lower case to lower case - and conversion factors to convert spacing units to inches. Also, spacing gauges tor the various sizes of letters are included with the manual.

Prepared letter tiles with adhesive backing have printed gauges on the carrier tape.

The program is completed but, due to budget cuts, it has not been implemented.

14"

•

Washington Parkway South Dulles Airport

-+

12''

7'-6" X 3'-9"

9" 49z" g"

~~NORTH

7Yz" 17"

7'-6" X 5'-Q"

24

horizontal score in carr ier ta pe

s pactno oauoe

lilble ot letter widths

Letterwidths I n units

To convert letter- width and t p.5 clno-untts Int o Inches, multiply by thE followtno factors:

37 30

25

b

hori zontal score in b4c k.ino sheet

Letter sh.e factors

Lett erstze

factor

0.38 0.28

22 33

26

30

22 18

34

28

35

26

16

L

l

n

6"

0 . 19

3 3/ 4 "

0.12

2 1/ 4 "

0.07

1 1/2""

0.05

base line

!.!... !.!.. ..

spactno oauoe

21

13

25

15

35

28

6

34

13

'II.

32

28

vertical score ln backlno sheet

1

10

l.--'~ ~,;.--~

Spac:ing guide

Capital Lette r s to Capital Letters A B C D E F G H I J K L M N 0 p Q R ST~

first lette rs

/

AX second letters

~ ~

A

2 3 2 3 3 3 2 3 3 2 3 3 3 3 2 3 2 3 3 2 1 1 1 2 2

B

3 6 6 6 6 6 6 6 6 4 6 6 6 6 6 6 6 6 7 5 3 2 2 3

c

3 6 6 6 6 6 6 6 6 4 6 6 6 6 6 6 6 6 7 7 4

D

1 5 6 5 5 5 6 5 5 4 5 5 5 5 6 5 6 5 6 6 3 2 2 3 12

4 ~

6

6 r.; 8

E

58 7 8 8 8 7 8 8 6 8 8 8 8 7 8 7 8 9 7 5

F

0 5 5 5 5 5 5 5 5 2 5 5 5 5 5 5 5 5 6 5 3 3 3 3 13~

G

1 5 5 5 5 5 5 5 5 2 5 5 5 5 5 5 5 5 6 4 2 1

2 1 ~

H

3 6 5 6 6 6 5 6 6 4 6 6 6 6 5 6 5 6 6 54

"~ "~

I

3 6 5 6 6 6 5 6 6 4 6 6 6 6 5 6 5 6 6 54

J

0 4 4 4 4 4 4 4 4 3 4 4 4 4 4 4 4 4 4 f4 3

3 ~ ~

K

2 4 3 4 4 4 3 4 4 3 4 4 4 4 3 4 3 4 3 2 1

3 ~ ~

'l.oi.Jo ...

...... -~<. 4 4 4 4 4 4

-

"~~

p

n 25

CHERMAYEFF & GEISMAR

Mobil logo, alphabet and examples of literature and packaging.

Mobil

ABCDEFGHIJK LMNOPQRSTU VWXYZabcde fghijklmnopqr stuvwxyz ¢ *% /,:;n" .?- ... ()&$

1234567890 !

Mobil:

su segundo siglo

26

in. A question asked of Ivan was, "What is your criteria for accepting assignments?" "None really," he replied, "aside from, 'Is it interesting?' and 'Can we do anything worthwhile with it?' It's more intuitive now than anything else. A lot of things around may seem intriguing, but experience has shown us they are the opposite because there is so much routine involved. Most designers are involved in interesting details under very boring umbrellas. Making nothing look like something. In short, turning out a lot of exciting crap."

He quickly backpedalled for a minute.

"Yes, we do have one criterion for accepting work and that is if we're going to be subject to committee decision we don't do it if we can possibly avoid it. We like to have clients who are directly responsible for the work we are involved in, which is why we have had little success with advertising agencies. If a man doesn't have the power of decision, then he's in the automatic position of second-guessing all the time. He simply makes work and usually manages to reduce the quality of your efforts through his own irrelevant concerns.

"A good example is Chase Manhattan.

The Chase symbol proved a point in this country . It established an abstract trademark as an idea. It's not a universally new idea , of course; the Japanese have been using abstract trademarks for a very long time. But in this country, there was only the Red Cross and Mercedes Benz. The whole notion of being able to devise something totally flexible that could work as an identifying mark and yet mean much more- this was significant.

"Now you don't sell something like this to six or seven bankers and obviously we didn't. It was David Rockefeller who took a first-hand interest in the project. If he hadn't grasped our notion and been fully behind us, the whole thing probably would have never happened. I seriously doubt that any of the others would have allowed it to go very far or paid for it or anything else. The project progressed through a number of stages on the vice presidential level because that's the way large corporations work, but the decision making really took place right at the top, which is what happens with all worthwhile things in big business.

"It was that way with Mobil. Eliot Noyes brought us in, right to the new president, Raleigh Warner, who was very receptive to the benefits of good design. He understands it, knows the need for it, wanted it and we had his backing. Again, although we worked through several other people at various levels in developing a presentation of the whole image change to the board of directors, we always had a direct line to him and we still do. We don 't bother him about day-to-day operations

Charles Yalem Children's Zoo in St. Louis Zoological Gardens.

Working with Gyo Obata of the architectural firm of Hellmuts, Obata, Kassabaum, C & G created all of the graphics and a number of large scale mythical animals.

Right: annual report for lnterchemical Corporation commemorates their 40th anniversary with a theme of progress in the automotive industry. A market for paints, fabrics and foams, the auto industry is the largest single industry served by lnterchemical.

27

CHERMAYEFF & GEISMAR

0

U)

The U.S. Pavilion at Expo '70 in Osaka is the combined effort of an architectural and two design firms operating as a specially created organization named Davis, Brody, Chermayeff, Geismar and deHarak Associates. Despite the enormous size of the innovative structure, 274 x 465 feet, it requires no pillars or foundations. The vinyl-coated fiber glass roof is supported by cables and air pressure and is both typhoon and earthquake proof. There is 100,000 sq. ft . of floor space on two levels, plus 18,000 more underground for administrative and service facilities .

The traffic pattern allows 10,000 visitors per hour, twice that of the Expo '67 pavilion. The unique design a/so accommodated a different distribution of expenditures (Osaka vs. Montreal). Administrative: $6 million vs. $3.4 million. Structure: $2.6 m illion vs. $5 million . Exhibits: $1.4 million vs. $900,000.

Since Expo '67 was the fair of the explosive film image, and an estimated 1500 films are scheduled to be shown at Expo '70, the U.S. Pavilion will feature other attractions. The largest single exhibi t is devoted to space exploration . Baseball gets major attention, too, since it also is of great interest to the Japanese. Actual lockers of uniforms of Ruth, Johnson, DiMaggio and Cobb are included. Other sports exhibits encompass surfing, sailing, snowmobiles, football, skydiving, golf and basketball. Another section of the exhibit offers American paintings, 18th through 20th centuries. Ten prominent photographers portray the U.S. landscapes, lifestyles and faces. Architecture, folk art and other aspects of American life are a/so displayed.

Top right: photographs of Expo '70 pavilion .

Lower: cover for America Magazine, distributed in Russia. Issue features U.S. writers.

28

29

CHERMAYEFF & GEISMAR

Mark for Seatrain Lines. Photograph shows design of ship and containers .

Below: cover for menu on Pan Am's inaugural flight of 747 to London.

Right, above: signage for Reston, Virginia, a new town 30 minutes outside Washington, D. C. Store fronts are in the first village center, Lake Anne. Street signs, golf course, apartment doors utilize the same typographic system.

Right, below: lobby ·m ural, Pet Incorporated.

Paper bags, sign and banners for Museum of Modern Art. Program included wrapping paper, matchbooks, other items used in museum plus all of the permanent building graphics.

30

but everyone at Mobi I knows that the program has his endorsements and that carries a lot of weight."

Tom Geismar feels the firm has grown in size as much as they care to expand it. The staff presently includes an architect, an industrial designer, five graphic designers, a few mechanical people and some secretaries. All of the contact work is done by Tom and Ivan, helped in this regard by an associate, Bruce Blackburn , a graphic designer. "We feel we're big enough to take on almost any size job and not so big that we have to struggle simply to keep feeding work to the group.

We'd rather just get more and more selective about the work we accept." When the need arises they avail themselves of some of the free lance talent in which New York abounds.

A case in point is the office that has been set up around the corner to handle the Osaka project. With the exception of an exhibit coordinator from the permanent staff, all other personnel were hired by Chermayeff & Geismar with co-designer Rudolph de Harak expressly for Expo '70, and the office will be disbanded when the job is done.

"Back in 1960, we were one of the first design groups. Then there were only the individual pioneers such as Alvin Lustig, Paul Rand, Lester Beall who worked alone and signed their names to their designs like paintings. Today we're no longer a studio but a design office in the fullest sense."

What lies ahead? "I think, basica lly, we both have the continuing desire to dea l with better problems," says Ivan. " Not necessarily bigger problems, but more meaningful ones. Worthwhi le things. I think our goal is to amplify and refine our own pursuits and have them supported by others, whether they be clients or otherwise. The client's problem is space. Our problem, as designers, is a forma l one which we should not have to discuss with him at all. I shouldn't have to explain an abstract painting to a businessman , or try to justify its esthetic worth to him. What I have to explain is where I think such a painting, sculpture or overall design shou ld go."

Embodied in that statement is the designer's perennially intensifying need for greater and greater freedom, which in grahic design is simply the elimination of irrelevant interference. A more polite term might be "client supervision." However, in the graphic arts, such freedom is a luxury seldom bestowed except by the en lightened to a small corps of the elite .

And the Yale classmates would seem to qualify.

Below the surface, ten years later, there is a world of difference.

F: .

T

.. .....

1~~; '

..

~~-~':

~

<J

~ -= ; ~

Fairway Drive to: ~· ' Hook Road Orchard Lane Greenbrier Circle 1Shagbark Circle ~._.

Red Oak Circle South Shore Road Beaver Circle Thornton Avenue

.,, f

.fl t ~

J J ; . . .:

,--~ . :'< ~~·~;..-.' .,~

•.

~......

'-.~{~ ..~

r:

t

31

Sometimes a girl will shoot herself between the toes so needle scars won't show.

Models for this and other ads were students in the class.

Photograph by Roger Marshutz.

The drug scene. Print and broadcast news media investigate, expose, analyze, interview and editorialize on the subject. Public service advertising warns of the dangers.

Well-produced, prepared by adults and aimed at the kids, these messages frequently turn the kids off.

A program which began last June in Los Angeles as a six-week summer school communication workshop has produced some startling and effective advertising. Twentyfive students from six of the city's centrally located high schools participated in the program conducted as part of the Los Angeles City School's Area Program for Enrichment Exchange (APEX). The purpose of the pilot workshop was to have the students pool their talents to design and produce materials to combat drug abuse.

Originally conceived·as a program to provide materials for dissemination in school health education classes, the students determined to establish their own, broader criteria. They felt that mass media is what gets through to the kids. Health class materials come from the school, from the establishment. The students agreed to leave marijuana out of their campaign because they "didn't want to feel like hypocrites." Most believed there was too much confusion over facts among the experts.

The result: a campaign of ads, posters, TV commercials and radio spots. All of the materials were produced within three weeks. The identifying tag line is "United Students Against Drug Abuse."

How did a six-week summer school project evolve into a strong program of mass media materials?

They had a good teacher, Robert Stevens. He was the interface between the students and the school administration. Known as "Bob" to the students, his total invo lvement included serving as cameraman on the "grave" TV spot. This meant lying on a door, with a 16mm handheld camera aimed upwards, as the door was lowered into an open grave.

They also had dedicated volunteer professional help and technical assistance.

The first three weeks of the program involved class meetings to develop their ideas and plans, combined with visits to professional firms and production facilities. The turning point came during a tour of Chiat/ Day, Los Angeles advertising agency. The agency agreed not only to assist them, but suggested that the class meetings be held at the agency at least twice each week, and that various agency staff members be assigned to work with small groups of the students.

united students • aga1nst drug abuse The pressure was on. Only three weeks remained. At this point the students were still thinking in terms of slogans, and they had no experience in producing the materials. At Chiat/ Day, they quickly discovered they had valid ideas. With growing confidence, their ideas flowed faster than notes could be taken. The students set up their own review sessions. Even then, more ideas were accepted than could be produced in the remaining time.

The students wrote their own copy, modeled for the photos and provided the voices for the radio and TV commercials. The agency volunteers produced the work, enlisting the assistance of other services. Once the various suppliers became exposed to the project and to the enthusiasm of the students, they volunteered additional overtime hours.

Although a number of Chiat/ Day personnel participated in the volunteer effort, the balance of time commitments found art director Jerry Box spending much of his time with the students. This included countless hours of his personal time.

Perhaps the words of the students, their teacher and the agency personnel best describe the outcome ...

Student: "Bob, the student teachers and the agency people were great to work with. They encouraged us and advised us, but never corrected us."

Student: "I found out some frightening things about drugs. When I get through talking about it, drug abuse is going to be out of business."

Bob Stevens: "There's some real inside stuff in this campaign , stuff that adults would never come up with.

It's stark, honest and maybe shocking to some people.

Much of it is unpleasant, but so is the drug scene.

Jerry Box: "We had tremendous response for free services. But it all took time. Those kids were so enthusiastic and worked so hard that Bob Stevens and I decided we would get the material completed if it killed us."

Jay Chiat: "It was a beautiful thing. For the first time in our lives we had a head to !:lead dia:ogue with kids17, 16, 15, and not from our own economic environment.

These kids had fresh ideas. They really turned us on."

Student: "It's not going to affect those kids who are already hooked. But, it will definitely discourage those that are thinking about it."

Most of the results of last summer's program are printed here. We believe it contains the most powerful advertising statements ever made on the drug scene.

33

7'

STUDENTS AGAINST DRUG ABUSE

60-sec. commercial has SFX throughout of a casket being lowered into the grave .

Female voice (VO): (fades in) .. . I've known girls who'd been on the habit and then . .. uh . .. had children, and the children had to go through withdrawal when they were born .. . because you know it was in their bloodstream .. . Some kids would many times kick heroin to go on speed because it was easier to get . . . (fades out) Male voice (VO): We was in the bathroom cookin' the dope . .. and . . . uh . .. we got shootin' up and /looked over, and . . . he was dead. He'd overshot. And so I called my friends into the bathroom and we dumped him in a trash bin . . . and right about then, that's when I saw how really heavy the dope scene was . .. (fades out) Female voice (VO): A girl friend of mine freaked out on an LSD trip . .. and they found her body floating in a reservoir with her throat cut . . . she'd slit her own throat ...

Photography by Bob Stevens, class instructor, who lay on a door as it was lowered into the grave. Voices and actors were the students in the class.

Below: one of the many interesting concepts that was not executed because of time limitations.

Bottom: poster, drawings by Marv Newland. This same art was utilized in a 1 O-see. animated commercial.

Right: other ads in the campaign . X-ray effect is a photogram utilizing skeleton's hand from science class. " Today's youth" photograph by Roger Marshutz .

••

)

)

)

,... )

)

34

PO.NT OF NO RETURN!

35

They have been the hottest, fastest growing agency in California. It could continue. Chiat/Day has just added another large account, big by West Coast standards. But their future growth, the principals insist, will have to follow specified guidelines.

Their first criteria: clients that need advertising.

Jay Chiat explained, "The point is that so much advertising doesn't matter. I don't mean that it's bad. It doesn't even matter:' "I would say that most advertisers;' Guy Day added, "maybe not most advertising qollars, but most advertisers really view an ad as a corporate function.

The same as decorating your lobby. You have to have a nice looking lobby.

"Take a fixed per cent of sales. What kind of crazy crap is that? The industry is a two-point-four per cent advertiser, so they are going to spend two-point-four per cent of their sales. Why not one per cent? They don't know. Why not six per cent? That's too much money:' "We'll have to find clients who share our attitudes;' Chiat said, "clients who really want to succeed. It's amazing how many businesses will not pay the price for success, regardless of the lip service they may pay to that intention. They're not that sure of their capabilities and they don't want to rock the boat. It would be wiser for them to put the money in P&L. And that's probably what they'll do the first time things tighten up:' Second criteria: a company that knows what it's doing and understands the marketing planning function.

"If a company has to rely on its agency's marketing instead of its own;' Chiat stated, "it's in real trouble:' "And it's going to be a crummy account;' Day said. "We won't take an account if we think they can't perform the marketing function themselves. Because I'm not going to do it. I'm not that interested, and not that good at it. What they have is a marketing deficiency in

36

their organization and they're looking for some kind of miracle:' Another service they don't intend to offer clients is public relations. "There's always pressure from some of the clients;' Day said. "We even tried it once, as an ancil1ary service, just to keep the squeaks down. But nobody here is really that good at it, and it ended up a marginal PR operation. So we got out of it:' "We're interested in good advertising accounts as much as we are in profits;' said Chiat. "But we are a profitable agency and we're in a position to use that advantageously. We've decided that we can make comfortable livings without doing bad work. When you don't have to worry about survival, it takes the sellout pressure off your back.

"We're not really as arbitrary as that may sound. We don't go in and say 'Now, damn it, we're going to do this' and crank out some wild, "creative" thing.

We are a very market oriented agency.

We go in assuming that the client knows more about marketing his product than we do. If he doesn't, we shouldn't be there. We try to learn first, find out what the facts are, what sel1ing points are available to us and what the client's objectives are. Then we do good advertising:' Chi at/ Day is a profitable agency. The figures are confidential, of course, but they are considerably above what published figures would indicate might be typical throughout much of the advertising industry-figures which most other industries would consider less than satisfactory. One of the reasons is their philosophy of doing business. All of their clients are on a fee basis.

Asked if they were opposed to the agency commission system, both partners answered with an emphatic "Yes:' "The basic system is irrational:' Day stated. "It has been ever since N. W. Ayer started it. You do most of the work up front-the investigation, the planning, making the ads-and there's no compensation. You've stiU got all the pressures

that everybody has that's running a business, so your incentive is to get that client into paid space as fast as you can.

Which is not to claim that's what al1 agencies do. But there it sits. And the more you place, the more you make:' Suppose you acquired some accounts with real1y fat space biUings. Wouldn't you be tempted to view it differently?

"Some of our philosophies have never really been tested:' Day laughed. "I can't te11 you from experience what I would do if I had Chevrolet and somebody said 'Where do you stand on space commissions now?' I would stil1 think they're an abomination. The question should be: would I keep my thoughts to myself?

"Let me turn this around. You have a problem justifying your income on a high bi1ler. The only way you can justify it is to add services which are useful to the client. And that means people, and people to help those people. Which is exactly what I don't want to do with my life. That's when I become a guy sitting on the top box of all these little boxes, pushing papers around:' Do you have minimum and maximum fees?

"Yes, we have both:' Chiat answered.

"Our minimum fee is two thousand a

Ad for Los Angeles County Commission on Human Relations offers booklet exploding myths and telling what really happens when a Negro family moves into a white community.

Ad for Direction Sports. Though 0. J. Simpson is one of the "unreal" people listed in the ad, the concept was derived from a story he told of his own boyhood experiences and impressions. Direction Sports is a communication story in itself, the vital communication with kids at a critical point in their education.

For more about this program and its remarkable results, see "Editor's Column" (page 6).

Jay Chiat and Guy Day.

MY IDOL,THE PIMP. When you're born in a ghetto, odds are ten to one you'll never get out.

What's worse is, you know it. You know it from the first day you step into society and fail.

That first day of school.

So what do you do?

Well, you look down the street at the corner.

And you see a guy with a chick on each arm, a $200 custom tailored suit, and you say: "Man, I'm gonna be just like him.

He was born here. He lives here. And he's beaten it.

He Jives here and he ain't part of the garbage.

I'm gonna be just like him."

Not like O.J. Simpson. Not like Willie Mays.

No~ like Mike Garrett or BiJI Russell.

Because nobody's really like them. At least, nobody you know.

So right then and there you decide. II years old and you decide to place a value on your future.

You' re going to be a pimp.

Because when you're born in a ghetto, that's what you do.

But you weren't born in a ghetto, were you?

And it reaJly isn't your problem.

Right. It's ours.

Then you become part of a team. And you're not alone.

If you miss a basket the first time, you learn how to make it the second time. Or the third.

If you never could understand math, you suddenly become a pro at batting averages.

And instead of being a boy from the ghetto, you're Tommy Brown. FootbaJI player. Number 16.

You're somebody.

Here's where you can help.

We need money. $10. $20. $50.

We need it for helmets, for sneakers, for footballs.

And for whatever else it takes to make these kids feel like pros.

We want you to use the coupon.

In return for your contribution, which is tax deductible, we'Jl send you an autographed picture of one of our teams and a schedule of the games for this season.

If the plight of these underprivileged kids isn't enough to move you, if the little reward

Direction Sports.

ANegro --=-........,... its not Sidney ""•••a•"tt r

We help kids.

Bright underprivileged kids.

Not by recognizing the symptoms, but by attacking the causes.

We're interested in building self esteem. We're interested in giving these kids an identity. And attitudes. And a reason for being.

How do we do aJI this?

As our name implies, with sports. But as our we can offer isn't enough reason, maybe this is: name also implies, with direction.

No matter what your profession is, Quite simply, we took the universal magnetism no matter where you grew up, or who your father of everyday sports and turned it into • • • • • • • • • · • • • · • • • was, no matter if you couldn't a tool for teaching and motivating. : ~;~!',.~0.::.!~ : afford a movie every Saturday, It works.

LooA"""'- c~;r"""""""· • no matter what course Because no matter who you ...,,_," m' '- ~'"'"""" your life may have taken, are, no matter where you come ::,,':'!:.~' "";'"""'"""" '"' oo • or how many fai lures """""'""m'"'""'..,..,...~, you've experienced, from, when you' re II or 12 years old,

:

~~~e~~~·~::o~~~~;~i~.~:~ked.

:

=:.::~,::.':"' ,...,. '"" : ;:~~~~~r ~~~~~~~f>:~o~dpimp.

STATE

ZIP

AUconuibutionlan:tudcductible.

37

CHIAT/DAY

Selected items from the campaign for the Western Harness Racing Association.

The Chiat/ Day approach was a radical departure from previous racing advertising.

Instead of the sports pages and appeals to the horse players, the advertising was directed entirely to the entertainment dollar. Advance advertising was foregone and nothing broke until three days before the race meeting started. Because their approach was so different, and untested, the agency did a little gambling, too.

Hard costs were covered, and a fee was established, but the final determination of the fee was tied to attendance.

The documented results: a 20% increase at the gate. The mutual handle was up too, approximately 14%, proving that few people can be spectators of horse racing without taking a sporting chance.

The ad below, running in West, Sunday supplement of the L.A. Times, explained how the tote board works. Other ads explained the difference between trotters and pacers, facts about harness racing and a few tips on how to select winners.

New arrivals at the track didn ' t have to fee/like uninformed outsiders.

The ad at near right is for one of the many special nights staged at the track.

Center right: two of a series of humorous small space newspaper ads. The real grabber of the campaign was a series of six 1 O-see. television spots run on a saturation schedule, frames from five of these are shown . In each of these, a character actor turned to the camera and blew through his or her lips .

The sound of a horse was dubbed to this video. The script was audio and visual: " Racing tonight at Hollywood Park."

One actor added his own touch to the effect by wiggling his ears. These commercials were such a shock that the whole town was talking about them .

Tomorrow night, harness racing brings back the Roaring 205. Along with the nickel Coke, the 10¢ hot dog and a lot of free razzrnatazz.

More free razzmotazz : hot air balloon ascent, and live Dixieland music with The Firehouse Five + 2, Spencer Quinn And His longshotsand

To the first 5,000 entering the track,

a free skimmer to go wi th your raccoon coot. You do have a raccoon coot, don 't you?

The Young Men From New Orleans to keep your feet busy.

There'll be 9 exciting harness races to watch.

And plenty of places to support your favorite pacer or trotter .

First post, 7A5 p.m.

Night racing now through Dec. 22nd at Hollywood Park.

Whoopee I Reserved seats available ol any Ticketron outlet. Or coli TRS -1000.

How to read the tote board at the harness races.

Total amount wagered to Win. Numbers to the right show dollars wagered on Individual horses to win.

The first set of odds pasted on the tote board before a race is the

Morning line, or Probable Odds, and is the opinion of an experienced

handicapper and oddsmaker as to the possible estimated payoff on each entry, should It win.

Total amount wagered to Show.

Holders of Show Tickets on the 1st, Total amount wagered to Ptace.

Holders of Place Tickets on the 1st and 2nd horses each receive share of Place Pool. Numbers to the right show dollars wagered on Individual horses to place.

24

38

Los Angeles Twnes WEST mogazine, October 12, 1969

2nd and 3rd horses each receive

share of Show Pool. Numbers to the right show dollars wagered on individual horses to show.

4 restaurants.

7 cocktail lounges. !6 rest rooms.

18 snack bars.

9races.

October 18 is Elk•s Night at the harness races.

All moose stay away.

Always something going on.

Reserved seats available at any

Night racing now. Hollywood Park. Rlsttime: 8:00pm.

Ticketron outlet. Or call TR$ · 1000.

Reserved seats available at any T1cketron outlet. Or call TAS· 1000.

This space Is for Photo Finish , Dead Heat. Inquiry or Objections.

The appropriate word appears when such a situation prevails.

The amount that 1st, 2nd and 3rd horses return to holders of $2.00 Tickets for Win, Place and Show.

Since the odds determine the payoff, here are some other approxi mate payoffs for $2.00 Win Tickets: 1-9 1-5 2-5 3-5 4-5

Each night, a Nightly Double Is ru n on the first and second races. The rewards for a successful bet can be rather pleasant, as you can see.

30

8 .,-; 1.1

12:·:·

L-

·:11 ,-··:-,..; -;

6

712

9 ,,,

10

II

12

HMT\

IV .

Z' " 3•

\

..

NIGHTlY lllkl Nn "-

4!!

/

$2.20 $2.40 $2.80 $3.20 $3.60

1-1 6-5 7-5 3-2 8-5

$4.00 $4.40 $4.80 $5.00 $5.20

ORIVERW-515 N!

1.!>.: .. ,

Knowing how to read the tote board increases the fun at the harness races. But there's enough going on these nights at Hollywood Park to have a great time without ever making a wager. Drive on out some night for dinner. The choice of cuisine ranges from a gourmet meal in the Turf Club to a bag of potato chips at one of the snack stands. From a vintage wine to a bottle of beer. The nights are great at Hollywood Park.

Night racing ~ow at Hollywood Parle.

Reserved seats available at any Ticket ron outlet or call TRS 1000.

Los Angeles T1mes WEST mogazine, October 12, 1969

25

39

CHIAT/DAY

month. That allows us to assign the right people to a small account. We've tried to stay away from the junior writer, junior art director thing. We've hired a few young people who are potentially good, but we haven't followed the practice of assigning younger guys to the smaller accounts. The fee is a way of accomplishing this. Theoretically, you can afford to put high priced talent on the account even though it's not spending much money in media. I finished writing a campaign for our smallest account last week, which is kind of ludicrous, I guess, but it proves a point:' What about the fees for larger clients?

"They're determined by the requirements of the account. Also, any fee has to recognize the client's problems which may be seasonal, or require some other appropriate variation:' How do you monitor this?

"It's a computerized system;' Day replied. "We feed in costs and time reports.

It gives us a profit and loss statement, by month and by year, on every account we have. We use this as a basis of negotiation with clients. You go to the client and say, 'Here you are, Charlie. We've either got to do less for you, or you've got to pay us more: Our clients are good businessmen and they love this. All of the problems you think you're going to have with it, they've never happened. If both the client and you agree that you're doing a good job, you just show him the figures. Most clients really want you to make a buck, as long as it's not a disparate amount of money:' The agency was formed almost a year and a half ago by the merger of Faust/ Day and Jay Chi at & Associates.

"It was:' as Guy Day recalled, "one of the fastest mergers on record. We had known each other professionally for several years, but we had only met, casually, a few times. I'd been looking at his work, and saying, 'Gee, I wish I'd done that; and it turned out he was doing the same thing. Then we started to pitch against each other. In two instances, he got one account and I got one. Both clients had admitted that it was a tough decision.

They really couldn't tell the difference in our organizations.

"I was buying my partner out, and I really didn't want to run an agency by myself because I knew I would wind up a businessman, shuffling papers around

40

and not making ads anymore. I was talking to Jay about this one day, and he was afraid of the same thing. Just on the most crazy kind of informal basis we said 'Let's merge' and shook hands.

The lawyers were scrambling around for months getting all the paper work done, but it was really only a matter of a month before we were relocated and introducing our people to each other:' Their combined billing at the time of the merger was about six million. In the next eight months, the billing doubled.

Day described the period. "We had the hot agency image and we fell in love with it. We were getting an account a week and it was really exhilarating. We sort of lost our head. We paid too little attention to the prospective clients and what their problems really were. And not enough attention to the people we were hiring.

It sounds terrible when you say it that way, but we grew too fast.

"Then Jay and I sat down and said, 'Hold on. What are we doing to ourselves?' I realized that I hadn't written an ad for three months. I was morose and my wife was unhappy with me. The kids were cowering. The dog growled at me. I was just a bad guy. I was doing everything I didn't like to do, and was not very good at, just to grow. And we didn't even improve the profits. Only the gross went up.

"So then we really firmed up what we wanted to do, and wanted to be. We had to go through the agony of cutting back, reducing our account list. Very quietly, so it didn't look like we were purging, we resigned 10 accounts. And we found jobs for people, which sounds like a pleasant way of saying we fired them.

But we didn't. We found them other jobs.

They were good people, I'm not saying we had any incompetents in here. But we had created something we couldn't manage and couldn't really live with. So we learned a lesson:' "Right now, with less people, we're handling more billing;' Chiat said, "and it's running smoothly. We have a teriffic staff, really the best pros. And I feel this staff has the capability of doubling our billing without adding anything but cursory support, clerical, secretarial, that sort of thing.

"That would depend, of course, on how we doubled our billing. If you add a lot of 100,000 dollar accounts, you have

an expensive personnel problem. However, that isn't exactly what we have in mind:' Chiat and Day function as creative directors. They also double as writers in art-copy teams.

"If you keep busy making ads;' Chiat commented, "it's amazing how little you have to be bothered with administrative problems:' Hy Yablonka is the executive art director. Mel Newhoff is copy chief. Tom Burr is the director of client services and handles many of the personnel and administrative functions.

No discussion of the Chi at/ Day agency would be complete without a mention of their extensive public service activities, or a compliment for the powerful , moving advertising they have produced. Some of these projects are Green Power, The Los Angeles Commission on Human Relations and Direction Sports.

How do they acquire these involvements?

"We don't go out looking for them;' Chiat said. "They just arrive. They're the kind of people we like, and they have

Commercial for Honda cars, an account that has been launched with success in Hawaii but has not yet been introduced to the U.S. mainland.

Anncr. (VO): How to prepare your town for the new Honda Sedan .

First, you drive down main street.

Since the Honda needs very little parking space, you can make more spaces for parking there.

And the Honda gets up to forty miles a gallon . . . so economy-size gas pumps are another good idea.

Change your two-lane streets into three-lane streets because Hondas don 't need much space on the road.

A couple of more basic adjustments and you will have a perfect town for the Honda.

Honda ... the new little car that is already perfect for your town .

(Video shows price of $1375) One of a series of " story" ads in the Wall Street Journal for Recognition Equipment Incorporated.

Below, another ad for Recognition Equipment highlights the error, cost and time factors inherent in key punching for computer input.

GREAT MOMENTS I

COST ACCOUNTING : PART ill

Manny Kent cures the curse of Wall Street.

EW YO RK, September 7, 1970-Manny Kent, mildmannered reporter for the Wall-To-Wall Journal, tod ay found a logical solution for the market-choking P aper Pla gu e. Whil e cove rin g a m ee tin g of th e Brok e r s' League to E radicate Excess Pa per (BLEEP), he earned the acclaim of the ent ire fin ancial world by as king, "Why don ' t you call Da llas, Texas?" A ticker- t a pe parade will be given in Manny's honor on Friday.

M a nn y Kent was fini shin g a story o n Se ptember P o rk Bell ies when the ca ll ca me in from BLEEP. There was to be a meeting on Thursday morning to d iscuss standard sizes for stock certificates, the paper jam and related market problems.

Manny was assigned to cover the meeting.

He had two days to prepare. He dug into the files on pa per problems and banknote companies and sec urity certifica tes and buy and sell orders. Then he got into reports on keypunching and opt ica l reading and key-to-tape systems and error fac tors.

Then he got into the eleva tor and went to lunch.

Thursd ay's BL EE P mee tin g s t a rt e d promptly at 10 a. m. Brian Bull , the C hairman, was the first to spea k. "We've got to reduce the size of ecurity certifi ca tes so they ca n be ha ndl ed a uto ma ti ca ll y by o ptica l scann ing or reading or something:' " Sm a ll ce rt ifica t es a r e t oo easy t o counterfeit;' Sta nley Bea r protested.

"And, besides, there isn't an optical machine on the market that can handle the large volumes many securities dealers have."

Thi s is th e th ird episo d e in a five- part att empt to convince you to cut your data processing costs in half.

R eprints of th e entire series are available free from R ecog nitio n E qu ipm ent I nco rpo rat ed , 1500 West M ockin gbird Lane, Dallas, Texas 75222 .

"Da ll as, Ma nny? Big D? Home of Neiman-Marcus and Don Meredith ... ? Why Dallas, Manny?"

"Recognition Equipment:'

" Why Recognition Equipment?"

Bull persisted. "They make that large optic;:t l reading system for oil companies and airl ines, don't they?"

"Yes. The E lec tronic Retin a* Computing Reader. Costs upwards of three-quarters of a million. It's being used by banks, credit card companies, the U.S. Army .. :· "Wha t's th at got to do wi th the stock market?"

" They have a new machine. The I PUT 2 Reader," M anny exclaimed.

"Costs about half-a -million doll ars. Leases for about $ 14,000 a month . It could read minia turized stock certifica tes, handprinted bu y and sell orders, di vidend cash receipt form s and probabl y a lot of other things you're still keypunching. It reads documents just the way they come in. Typed, imprinted or handprinted. Then it records the da ta on mag netic tape in computer la nguage a nd fee d s th e info rm a ti o n d irec tl y int o th e computer:· " How d o yo u kn o w so mu c h a bo ut Recognition Equipment?"

"They advertise in my paper:· So Wall Street got an I N P UT 2 Reader, solved one of the biggest paper jams in history and saved a lot of money in the ba rga in. Manny got a bonus from his paper, a ticker-tape parade and an assignment on September Cotton for Monday's edition.

" Wh at 's wr on g with key pun chin g ?' someone asked .

"T oo slow. T oo ma ny mis takes;' Bull sa id. " Look at the problem we're having with buy and sell orders. Brokers write like doctors. Someone has to r e-w r ite eve r y o rd e r b y h a nd so keyp un c h ope r a t ors ca n understand them. Even so, there are still too many errors:' The conversa tion cont inued in circles around the rectangul a r tab le. Sudde nl y, Ma nn y Ke nt asked hi s now-fa mo us ques tion. "Why don' t you ca ll Da ll as , Texas?"

A hush ca me over the room. It was so quiet you could hea r a stock split. Fina lly, Bull broke the si lence.

Watch for the nex t thrilling adventure: "Please Fasten Yo ur Sea t Belt, We're Going T o Audit Your Income:'

Find the mistakes in this picture

and save a million dollars.

We'll give YOt.• u hint : There are ut f(>f\St

80 mi.stukes in the picture. T hi>y're cnlk'C.i lwyJ>Uil<'h opcmtors. They coat you nb()ut :t

million doll nn~a yPar. In 8t~ l ilri<$. l';rrors.

F.quipmEOnt. Erro~ Curds. And e rrors For uboul th•• samP prkoc, you 1;.~n buy

ourromputPrinput mud1ine. It doesn't nlllkE' mistukes. And it S8.\'CS a lut mori• lhnnit.~t.s.

Wecallourmar-hinetheEk'(:tronicR'-'Iirut• Computing Rcud('r. II n:-adl; information from origina l doc'Umt•nts.

Ordinary type fa"'~ from almost. ~my typewrif.t'r oroffi•'<•rn.achjneinthP world.

Complt>te alphabets. l: Pt*r and lower <'tl~ lettf>rs. '!Ypcd or handprink"<lnumbers Syml)()l~. Punctuation . Tim ~·•ork s. TI1en

it l't:'<'Ords the dnta rm magnf>tic.• tupe in computl•r language. And fet><l~ tlw informu~ li<m directly into th~t'OinJ>uter. No human effort. Nu human errors Ourmachineiscullingdata process.ing costs from Ul8 Angt•les to Lh·erpool. At banks, ai rl inf"S. oil companies;. <'red it c.:ard

Recognition Equipment Incorporated

companies, the Library of Congres..c:r;, t he U.S. Anny, a nd dozen" of other orgnni~­ tions. There's no ot hf'r mach ine quit{' like it. Whirh is one reason R.X"Ognition F.(ttlipment is lhc largest manufacturer of opticnl rend ing syslf'ms in the world.

(Every \\t*k. ou r system~ pi"'C"e8S 0\'cr 100 miJlion documcnUJ-morc than all thfo otheroplicnl rearlN-s in u~combined.)

If thi.' is beginning to sound like nnothf> r promisc-thcm-evel)"thing compu Lt-r ad , do usn fnvor. And youn,;cU, too. Go talk to

your data proc't.'&ling rnanager. Ask him

Rhout input Oolllenecks. And overtime.

And sick leave. And t ruince\. Anrl turnover. And all the ways a mjstake can get int.o your compute r. The n l\Sk him to ask ns about our rt•llding machine.

41

CHIAT/DAY

Below: a series of ads had offered testimonials from testing labs using Fairchild semiconductor test equipment.

Follow-up ad reprinted the five ads and offered copies of all the testimonials on one coupon direct to Fairchild.

THE(

Right: ad using four consecutive spreads powerfully introduces Fairchild's entry into power transistor field.

Facing page: Fairchild decided to enter the military semiconductor market where manufacturing requirements are extremely critical for space and military usage.

A new plant was built to provide the facilities and controlled environment for this production. Maintaining the stringent quality levels also requires an outstanding performance from personnel. The concept was developed to supply personnel in this plant with specially colored smocks, a symbol of pride. An ad entitled" The girl in the yellow smock" kicked off a campaign that would reinforce that pride and also present a "We try harder" image to the market. Following ads, as in this example, orient the girl in the yellow smock to market areas.

The durable Leach campaign with Merv Corning paintings of early airplanes still retains its popularity with Aviation Week readers. Strangely enough, Guy Day conceived the campaign 13 years ago when he was with Hixon & Jorgensen . Later, the account moved to Chiat's agency where the original single-page format was changed to spreads with increased copy and better display for the illustration . After Day and Chiat merged, Day and the Leach account were again with the same agency.

.REAT FAIRCt

Redeem

thyself!

IILDPOWERC

missed coupons I thru 5,) ( If you send in coupon 6.

1

Beilrc ~bug ang semlcOOductor test sgstem, send this coopoo to Jack Latour,

If goo're concerned about semiconductor send this coupon to Floyd Klnncg,

Fora candid opinion about scmlcooductor test sgstems. send this coupon to john Leatherman,

--------

!!!!!,__ _ _ ___ _

!!!!!!......__ _ _ _ _ _ _

For some advice oo

lOgctthc

=-t:Jng finding a really reliable semlcooductor test system, send this coupon to Philip Alpern.

~e

test system rellabllltg,

r:.e

~~res

straight scoop about scmlcooductor

test S!JS(CDIS,

1

Coupon 6.

send this coo~ to

1- ::r ___ Gooloo MctcaJ(

,.,.....,J<d<"1, ~Jo,d'1,/ollll 'l, l'fUI'IIIIIIfGor4oa 'l

coupg~ab,» pl-

..u ......,.,u.u:ot•nlb•'•

-TIJanb/Gf»rizt&-•lof:O/IOflql:.

.,.

_.,_

S...d 110 Conb Wnnroo.t, Marlr.tu"' Manace<,

- - - ------

fol.Jdr.lldiAW\lmeaw._t7,letrArq~~e~A"n"'",

Sunarrale.Colilorala~

~ ~ ADI•itloflofhlrcllildCaanaand/_...~cn•Corpof•tlooa.P71latrAt4wtA•nn.. SIInnrrale,C&blonllo91016

42

(QI7J5-50 11 (TWX)91Qo..l.J9.9117

lRAB

~:.:.:.~~><=~·- ~:·~~~::=.:~~";',,. ··-~JIIM'"'''"'

Ho(tlo.Jr,owll.'t"C>" llo>t"'"IIIOI-orlw ....... ,,.

l:o<t•;~..:~=..::~•k"• "t \ - ~l.t t•lfl.,.....•u•·u ... -,.....~~n..

.. ~:=c~r.:~ ,,.~ .. ..._. \/l"""lllot,.,._..,lfdk... ll.-&..

l .. •d.••~-=----W.ll...._ - ' " ' " ' " .. til .........................

I,..,.._,.~·,,....c

l .. <.r•.ul•r,I»WI' ... ,..(.r;ttt ....

--...

._..._.,

You Boat.

If you wear a Fa irch ild Yellow Smock, you toke o very proprietary in terest in the FBM submarine fleet .

The reason is Poseidon. The Navy 's newest fleet ballistic missile system. It's scheduled to be installed in thirty-one of the forty-one Polaris submarines.

Ou r special crew in Yellow Smocks built the special circuitry for Poseidon 's internal navigation system end other components.

Thousands of di screte integrated circuits. Each one worried oxer, tested end quality controlled beyond mil specs. Each one given its own high reliability birth certificate. Each one built like it was the only one.

Poseidon 's circuitry wos manufactured in o very special Fa irchild facility. A place where custom circuits ore produced in volume quantities. Where standard testing exceeds mil specs. Where custom testing is ovoiloble on demand . Where fully tested, fully documented circuits ore on immediate coli 24 hou rs a dey .

And where o lot of spec ial people in Yellow Smocks toke o very special interest in whet happens to every circuit they make.

Fa irch il d Sem iconductor Aerospace and Defense Products

the race that never was The final event of the 1929 Cleveland ati onaJ Air Races was ex pected to be a closely fought battl e be twee n Army Lieutenant R. G. Bree ne in a P-3A and LL mdr. J. J. Clark fl ying a Navy Curtiss Hawk.

Fi ve civilian craft we re also entered in t he 50-mile free- for-all , but none " ' &5 expec ted to have much of a cha n e against the two fro nt lin e pursui t s hi ps of th e military.

More than 100,000 specta tors jammed their " BY int o the gra nds tand at Curti ss Field as th e Charles E. Th ompson-sponsored race began fi ve minutes past two o n the aft ernoon of Septem ber 2, 1929. As expected, Lt. Breene roared ofT the sta rting grid and int o th e lead . He was foll o"' ed closely, not by th e Na vy's Clark , but by a " Mystery S hi(>" piloted

by Doug Davis, a 24-year-old Army Reservis t from

~~~ :je':J'his~;(.~~j~b,a~tem~~a~~f:~~~h~~~ :r·s~:ev~!

0

and int o the lead. The huge cro"d, ~ ho had ex pec ted to see a milita ry-domin ated race , now fell sile nt as Davis' craft began to run a~a y fr om the rest of the field .

After two laps of the five- lap race. the " Mystery Ship's" onl y re mainin ~ challenge r \\ &S Ureene wh o

~·: ~~~d·e~~S~d~~,\,~~ ~hi~l;i~h~~~~~:r~~~~:~r::,~; as Dav is reali zed that he had cut inside th e pylon at th e sta rt of the thi rd lap and \\ Ould have to return and recircle the missed ma r~ e r or be disquali fied. Since the race was half over, timf" was crit ica l. \' ithout hesitation, and sho.,.ing co mplete onf•dcnce in the speed a nd maneuverabilit y of his ai rcraft , Da vis banked sharpl y to th e l("ft , specding full throttle toward th e mi ssed pylon. !leaching it , he ~~~~:. the marker tu·ice before re turnin g to th e In credibly, Davis "' e nt o n tn re- la p th e entire fi eld and fin is h fi rs t, more th an 36 seconds ahead of Breene! An other civilain entry. a Lockheed Vega

~~:; t.la~r~~si~:edi:~lef~~~r~~-d , whil e Clark's Davis had completed the 50- mile race in just 14 minutes, 5.9 seconds. Hi s a ve ra ~c speed (includ in g th e time los t in rt-circlin g thc masscd pylon) was an amazin g 194.9 mph , the fas tes t ever reco rded by a

~~~:;:;:;~:~ea:hC:ta!t~:~o~1~ ri:~o;::,~~~~~~~k:t~~~

military raft in a race. For military avia ti on, it was an e mbarrassin g defea t in a race that t urn ed o ut to be a runaway.

f~~~~;~~b!~~r~hth~oi92~1i:~ae:e~ .ef9~~sh~dt~=~ 1

a another disappointing one for Tra \ ei-Air e ntries, and so co mpan y pres ident \hlt er Beech call ed a meeting in his offi ce to la ment t he fact that his company did not hue a suita ble raci ng plane. The mee t· ing prod uced much ta lk but very fe"' co ncrete plans.

~~~t h~~h~t i~o~~g,h~gJrs~:s~~~~;:d~~[db~~~~~~~· custom-bu ilt raci ng pla ne "' as the onl y answer for 1929. Sin ce there " 85 no budge t se t up by Beech to finan ce the ventu re, Ra"'don enlisted the aid of

~~l~o~:~ t;:,~ ~:!~ ~~lr~l~l:~r~i ~1;, 'h::i~ ~~·,~:d.

1

1

1

Se pt ember 1928. The hroject "' as des ignated Model ~ ~:· &:c~eC~!~. ~fi ~ ~ y the t"' o men that not eve n

1

1

Rav. don and Burnham selec ted a "' ire-braced, lov. .

~~~il~ ~~~p~a:::e~l i~~~~~ ~~~i~ncy~~~td;~,t "~~~-

0

1

cal e ngine as th e proposed po"' er plant. A stress analys is was mad e and worl.. continued be hind closed doors throughout the year.

de~ ii;s~ ~r:a~~~;~: :~5 i~ fu~:n~le:9{9b:::-:•:~~1

11

se nt ed by Rawd on and Burnha m to a very surprised. n• ry pleast.-d Waller Beec h, "' ho ordered the aJrcraft int o immed iate prod ucti on. \\' ith all stops pulled and exci tement at a feve r pit ch, the 1)lane "' as built in just ten v. ee ks!

El'Gil'E PI KE D, t"IRST FLJGIITS

·~;~g~~~~~~op~oo·h~ ~V~~~~~~~1~t~91s ;:~r~; e7l:~~~:

0

~·~~if~/d~~~r~~~~i:~l~ 1ft ~e;~e~?~ped~~;.·.~~c~;J·

3 ~~e a~;a f~~~:~u~~:~o;~~!{>ti~~l:;j;n"~;t·~~1i~'· ~~~~~::: :~:~ ; ::, !~~i~~::~ ~)C~f:rr~at~~ ,;~~­

~eac~i~~!~~\;;:r~Ri~~ ~~~ c~~:i~h~: !~~~~d"~sbe~·t:~

~~ld s~~~ed~~~~~~~~r~=~tec~t:~:~af~~ ~~; ~~~a;

11

t hat he had a winner o n his hand s. And , in the ski es 1

~t'::'Cov:r\~e~;~t ~~a r;eJ'!'::J~aa~l :rlr~::;ni ~nl ~~~: 8

parcd ness fr om a small Ka nsas aircraft compa ny.

ID EA L COMM UI'o! CATIOM MOMTO Ril' G RECO HOt:B

1

BUILT TO WIN

The " Mystery S hip" (a name crea ted by the press because of the ex treme secrecy whi ch surrounded its design) was built by Tra vel -Air, a small Wi chita· based compa ny, specificall y to hea t the military entri es. in ce Bill y Mit chell 's 1925 court -martial, 1

Go\ ernrnent. And, as thin gs turned o ut , it was.

0

~~ft ~i~i~~r~eh:e~ov~~~~!~yl! ~~~~ji~::3r~~a ~!~d: ful of concerned citi ze ns that a no n-military win in 1929 • ould be just the boost need ed by the lagging

~~rd:~s ar;!ilie~ r!~s~)J%~;~~·::.dO:s~gu;~ to meet the increasingly comt ex demands of air

~r~~:f~h~r~.:i·~ts£gar~c;:r';i2~e~:~~~~cuh:~~ h~:~~-

1

of reco rdin g tim e . An o th er ve r ion provid es th e recordin g ca pabilit y of up to 12 tw o-c ha nnel recorde rs in o ne co mpa ct, ru gged pa ckage. Fo r d e ta il s, writ e Leach Corporation, Co rporate Offices, 1499 Huntington Dr., South Pasad ena, California 9 1030.

LEACH

43

CHIAT/DAY

causes we can relate to. Our people enjoy this work and it often results in some of our best ads:' "When we take one of these on;' Day stated, "we set it up just like any other account, with an account executive, art director, copywriter, the whole thing.

Also, we make it very clear to the recipient, I guess you could call them that although we prefer to call them clients, that this is not a forever thing. We'll work with them for six months, and then we're going to step out. If it's an on-going thing, we'll help them find somebody else for the next step. We're trying not to fall in love with any one charity, if you will, but to really bear down as much as we can on a project as it comes through.

We'll put the arm on media, use up all the freebies we can lock people down on.

And then they can go to somebody else with another set of freebie suppliers:' They had the Green Power account from its inception, working with Earl Smith on the public relations. This was an extremely interesting problem. The cause was not popular, and the need was specific and immediate.

"Either they got a hundred grand or they had to close the doors:' Guy Day related. "This is a program aimed at employing the really hard core unemployables. And I mean unemployable.

They've got prison records, they're on dope, they're on bail. They can't get a job, but they're ready to say 'If I can get a decent wage,. I'll try to do something with my life: Well, you can't get federal funds for these people, and you can't get state funds. Nobody wants to give money to a convicted felon, which is just about the highest level of people they were dealing with. Everybody in it has a jail record. So we had to go to the public for the money. And they will come through if you can present your case right.

"It was a delicate marketing plan. We have to do this with free space, but it's got to hit at the right time. Television and radio aren't big money-pullers, but they are big image builders if they tie in with publications. It's a hell of a tough coordinating job. That's why you've got to approach this as an account, with the same discipline we use in our regular business:' According to Earl Smith, the campaign raised 160,000 dollars.

Green Power is now with Carson/ Roberts for a new phase in the marketing program. Chiat/ Day is currently preparing an advertising campaign to raise funds for Direction Sports.

44

.,

.

. .

Commercial for Equitable Savings.

Man (reading Wall Street Journal): I find that getting out is pretty hard, so I handle most of my business by mail.

In fact, I just transfered my savings account to Equitable ... entirely by mail.

Alii did was send in my old passbook and they did the rest. It was fast, convenient .. . and very safe. I was so pleased, I've recommended Equitable's transfer by mail plan to all my neighbors . .. Right, tel/as?

(Sound of cups rattling on bars) A wh imsical commercial, animated by Richard Williams, features Equitable Savings' offer of a free safety deposit box with a new account.

Right: ad in Stanford football program appeals to higher income group.

Below: Ad offering free safety deposit boxes and ad for local branch in Santa Ana.

Howtobea mitlionaire in 5 years Put $768,921 in Eq uita ble Savings today .*

$768,921 grows to $1,000.000 in 5 years at Equitable Savings. Or, if that's a little steep, $7,689.21 grows into $10,000.00. Our new certificates guarantee 5%% per annum interest for a fullS year term-compounded daily and credited to your account quarterly. The only catch is that we can't let you withdraw either principal or interest until maturity. (ActuaiJy, the law will allow us to permit withdrawals on these certificates prior to maturity in the event of an emergency. if necessary to avoid hardship to the saver. In such an instance, the saver forfeits only that amount of interest which would have been earned on the amount withdrawn since the most recent quarterly crediting of interest.) Stop b} Equitable Savings, Home Office, University at Emerson, Palo Alto. California 9430 I, Telephone: (4 J 5) 326-0602.

Equitable Savings and Loan Association of California

•smaller accounts will also be given seriou sconsideration.

Equitable is now old enough to cross the street.

Send in this box top and get a real one free.

Just openandmaintaman Equ1tableSavingsaccount

forSI .OOO.OOor more. and we'll give you a real safedepos1t

box top. Free. We'll also g1ve you a real safe deposit box bottom to go With 1l

Our safe deposit boxes are kept in a fireproof va ult nght in our own offices. They're JUSt the place to keep insurance poiiCtes. w1lls. savmgs bonds. stockcertificates. treasured photos oranythmgelse thai's valuable.

And while your valuables are being kept safe and secure. your savings are earning the nation's highest available rate of interest on insured savings.

Simply fill out the coupon. clip and mail to Equitable Savings. OrbringitpersonallytoeitherourSunset branch at 8150 Sunset Boulevard, o r our Fairfax branch at 310 North Fairfax Avenue.

But hurry. The number of free safe deposit boxes is limited.

~------------------------------------------,,

I I

I

13 years in Santa Ana. By most standards, that's nor a very long time to be in one place. But for Equitable Savings and Loan, it's long enough. And old enough.

With more depositor than ever, we needed more room than ever.

More room for our customers and more room for us.

So, on October 13, Equitable moves to larger, more modem offices.

Directly across from our current office.

And now, we're big enough to hold other things besides money.

Like free safe deposit boxes.

That's right.

Free.

Just open and maintain an Equitable account for $LOOO.OO or more and the safe deposit box is yours.

It's just the place to keep insurance policies, wills, savings bonds, stock certificates, birth certificates or anything else that's too valuable (or too memorable) to keep anyplace else.

All you have to do is come in to our new office, open up your account and we'll hand you a key that opens up your safe deposit box.

Of course, the number of . . . . . . . . . . .-.-J::J-J free boxes is limited.

So you'll have to hurry. ·" ''111l HHl~ : Just be careful crossing the street.

Muitable

~~~!.'" ' "'

45

BILL HYDE In 1960 Bill Hyde created an aspen leaf made of flowing letters, "Aspen Night;' that fit the shape. Then, a lion & lamb composed of "Peace on Earth Good Will Toward Men:' He called it illustration lettering-or an illustration of words. The concept was successful, and it produced a decade of imitators.

Bill Hyde has been a man of letters and lettering for over thirty years. "Design in Lettering;' the first retrospective exhibition of his work was held early in 1969 at the White Gallery, Portland State College. It has since appeared at the Alberta School of Art in Canada, and Chicago's Gallery 500d. Presenting work produced since 1945, with the emphasis on the 60's, the exhibition includes postage stamps and 24 sheet posters, calligraphy and Christmas cards, trademarks and sculpture, letterheads and "early ice wagon" lettering, plus examples of his landmark illustration lettering.

There was a time when every art studio had its lettering man, and every art school taught calligraphy.

The studio lettering man could be called upon to indicate type, to comp a script, or to execute finished lettering from hard-edged gothics to flowing swash initials. Bill remembers those days very well.

They beganJor him in Cleveland in the mid 30's, at the Cleveland School of Art (now the Institute of Art).

His first job was as an apprentice at Cleveland's Fawn Art Studio in 1936. Then, in 1944, on to Detroit for a year before locating in San Francisco. In 1954 it was the team of Butte, Herrero and Hyde. They worked together in a studio that was once the Barbary Coast's Nickelodeon Theater-in the block that had once housed Lonnie Bee, Dong Kingman, Neil Sampson, J o SineI. They worked for Matson and Milky Way. Bill did a poster for Morton Salt, "When it Rains it Pours;' and sprayed water over his lettering until the whole thing looked rained on.

Photo lettering arrived. Glenn Grobe talked Bill into attending the Aspen design conference. A reawakened interest in design followed, and illustration lettering developed.

46

1964 Sheraton-Palace Hotel

Since 1965 he's been free-lancing from his studio in the reconstructed Belli Building on San Francisco's Montgomery Street. He is surrounded by a mixture of history and decorator reconstruction. Recently he's been working on what he calls "early ice wagon" -weathered lettering on weathered wood for Shell and for Del Monte Foods. He is also working in three dimension. Experimenting, carving and casting. Illustration lettering now means combining sculpture, letters, illustration, materials and lighting.

Bill Hyde's environment and recent work reflect his own brief summary of his outlook towards his life and work. ''Preserve the old, but know the new:' 1960 THE Art Directors and Artists Club of San Francisco

1960 Christmas card and poster

47

BILL HYDE

RandyS ?Jtktt purse ... .Jf/J...zt mtfltzt mfJrt trJ JJi:tit tltfltzMtzr!!J rtflliztd

48

Facing page, left: three postage stamps designed by Bill Hyde. Washington, 1966; Lincoln, 1965; Parkman, 1967.

Hand lettering from pre-photo lettering days .

Top and center, 1945. Bank of America, 1956.

Bottom left: 1967, "Luv-in" announcement for the San Francisco Art Directors and Artists Club. Also 1967, a poster for the San Francisco Society of Illustrators.

I

Right: A selection of trademarks designed by Bill Hyde.

I

1968 Khourie-Lawrence, Interior & Exterior Design 1962 Alta Real Estate 1963 Lucky International Open Golf Tournament 1963 Honey Suckle White, Ralston logo for turkey

.....• ........• .....•• ,.

•••••••••, ......••• .;::~~ ~

,

••••••

·::::·~~~ '······~·~ .... .,~.,

LUCKY INTERNATIONAL OPEN GOLF TOURNAMENT 1966 ALCAD, Aluminum-Cadmium Batteries 1964 Presbyterian Church 1968 Nuclear Semi-Conducter, Inc. 1962 Renauldt of France

49

BILL HYDE

SCEN TED UttTAN & s o a ~· LOTION

50

1962 Lettering for Beauty on the Beach package 1962 When It Rains It Pours 24 sheet poster for Morton Salt 1968 Early ice wagon lettering Jack Daniels calendar cover 1968 Unpublished sculpture/ illustration for 24 sheet poster Campbeii-Mithun, Inc., Minneapolis 1963 Early ice wagon lettering on wood Shell Chemical calendar cover 1964 Early ice wagon lettering integrated into a photo/ illustration for Kraft Bruce Butte, designer Charles Weckler, photographer

51

ROBERT MILES

52

memorable reports I've seen. I think they've influenced the content and design of most annual reports since that time.

I have no way of estimating the effect or benefit to Litton, but it must have been substantial, because it had a tremendous impact on the financial community. And I can't recall any report, before or since, that so accurately communicated the objectives and future of a corporation.

Runyan heads a design firm that originated in Los Angeles and now has offices in New York and L.A. This interview took place in the Los Angeles office, in a building he recently purchased in Playa del Rey near the Marina. Elaborate remodeling plans have been drawn, but the staff is currently operating in temporary quarters. The decor consists of thousands of pictures, posters, paintings, signs and objects of widely varying size and description. The conference room, initially suffering from a fifteen-foot ceiling and terrible acoustics, now boasts a false ceiling created with a loosely draped, orange and white, nylon parachute. And it works.

Bob was born in Nebraska, raised in a small town north of Los Angeles, did a wartime hitch in the Marines, studied at Chouinard and the Art Center on the G .I. Bill. He opened his own studio in the mid 50's.

He has been successful, and he thoroughly enjoys that success-to the hilt. High living. Fast cars. Expensive clothes. Unique houses. He is a collector, with a capital C, of art and objects which he displays in extraordinary arrangements and exquisite taste. He is, in summation, one of the more colorful people in this business, or any other business.

His language, too, is colorful, and I admit to a considerable editing of that color for this presentation.

Coyne: That's an interesting thought.

We know that we've gained a tremendous amount of acceptance for design and creativity during the past decade. It sounds like you're saying that much of this is a result of a new kind of creativity coming into business.

Coyne: One thing I'd like to do is look back at the past decade. I know it's been an interesting one for you. Maybe, if we don't wander around too much, we can sort of establish a what happened, where is it, what now pattern. A little more than ten years ago, you designed the most startling annual report to have hit the scene. That one-for Litton Industriesand one Paul Rand did for IBM, just about the same time, are the two most

Runyan: Absolutely. There's no question about it. Let me tell you a story about my early days with Litton that will give you an idea of how these guys operated. I was working with Litton before nine-tenths of them were there.

I don't remember how I got the account, but I was doing a brochure for them. One day they told me, "There's a new guy on the scene. He's in charge now. The guy's name is Crosby KellY:' I said , "What kind

Runyan: Looking back now, I can understand how really fortunate I was to be working with them-a new breed of businessman doing his thing, making his thrust into the whole economy of this country and literally changing the thinking of the business community. I didn't know then what I know now ... and I certainly didn't realize they were going to be the darling of the century in the market. But I knew they were hip guys, and they were fast operators, and they didn't do things by committee. It was a fantastic break for me to get that experience. Since then, as you know, a number of them have moved on to head up other big corporations.

of a crazy name is that?" Naturally, I was nervous. I'd seen too many new guys move into a company and shoot everything down. So I go over to talk to the guy, and he starts telling me everything is wrong with my brochure. I was green then , just a kid , but I know what I know . . . or I had such an ego no one could blow me out of my chair. I ended up telling him he was wrong, that he didn't understand what was happening and J really didn't care about his opinions because I knew I was right. And he kept jabbing at me, telling me this was wrong and that was wrong, so I just walked away. It hurt because I had three guys working for me and I needed the business. I got back to the office and said "There's a job I lost. That guy's stupid.

He doesn't understand anything:' But the truth was I didn't understand him. About four days later, I got a call from his secretary and she wondered if I could spend a couple of hours with Mr. Kelly.

I was floored. I'd had my first lesson-he shot at me because he was trying to break me down. He wanted somebody with the guts to stand up to him and not just say: "Yes, sir;' strong guys to come in and do their thing. And that's how I got started with Litton ... and a relationship that lasted with Kelly. We're close friends .

That's the way these guys operated. They didn't decide things by committees.

Things were just done. They were fast moving, accurate, articulate, bang, bang.

That's the breed I grew up with.

Coyne: Looking back, if it wasn't Crosby Kelly, wouldn't you have followed somewhat the same road with somebody else?

Runyan: No doubt. I was hell bent to do my thing.

Coyne: But success in those days was Photograph by Marv Silver

ROBERT MILES RUNYAN

Examples of Runyan design and lifestyle.

Photographs on this page, courtesy of Look Magazine, are his house in Palm Springs. Bedroom, above, has gold wall with bas relief made of fashion mannequins . Bed spread in gold lame continues color scheme. Living room, center, is a "traffic pattern."

Other features include 30's bar with beer can stools and liquor cabinet in a baby carriage, dining room wall papered with a VW 24-sheet with life-size figures of " the gang".

Yard is entirely a pool deck painted in orange and cerise psychedelic pattern. Vehicles, below, include dune buggy, street roadster, Lamborghini.

Upper right: preparation and start of the race in Baja California .

House in Playa del Rey is showcase for many hundreds of paintings, prints, sculpture and objects d'art. Niches in walls hold many smaller pieces.

Two views, center, are of basement wine cellar and informal party room.

Thousands of souvenir objects and brightly painted service pipes add to the festivity.

54

55

ROBERT MILES RUNYAN

highly dependent on who you had to work with. Let's say that you were lucky ...

Runyan: If there's one word I really disagree with , it's "luck:' You know what luck is? It's working I 8 hours a day for something. I worked day and night. I worked 72 hours straight, did all kinds of crazy things in those days. That's not luck. That's working like a dog and not compromising. If it hadn't been Crosby Kelly, it would have been somebody else.

Coyne: Okay, Baby, I'll buy that. Let me switch the subject a little. There was a time when we used to hear the term "West Coast Design:' Remembering some of your work , particularly orne of the things you did for your own promotion that were ... flambuoyant shall we say.

You, as much or more than any of us, may have epitomized whatever was meant by that term. I'm sure when that Litton annual report hit so big, it wasn't understood. It was probably attributed to "West Coast Design:' Runyan : That's a complex subject that I could probably cover in a few hours.

It involves the difference in clients, designer relationship with clients, levels of contact ... mostly what a designer really did in those days. At that time, of course, I couldn't care less about the geographical thing. The annual report for Litton was really just having a profound knowledge of the problem in order to determine the solution. I wasn't following any school or anything, I just developed that myself. But there was a difference in the design here, I think, more reason and opportunity to do your thing. That's changed now. Whatever difference there is, it's along individual or philosophical lines, which may be partially but not entirely regional.

Coyne: In those days , it seemed like a few guys were doing most of the good work. Today, it seems to be more broadly distributed. Was it easier to stand out then?

Runyan: That's another complex one, and I'm going to answer in this way.

No, it wasn't easier. In fact , the competition when I got out of school was super fierce . Why? Because all of the WW2 guys out of the war, millions of guys, and they're all going to school.

Everything at school became fiercely

56

compettttve. We weren't out protesting.

We weren't drop outs. We were trying to join the scene. We didn't know what the hell we were joining, but we were competing. Now when that kind of competition sets in, you get keen craftsmen out there, man , creative cats that really know what's happening ... at that time. There were jobs around , but the competition for the jobs was fierce. 15 guys would show up for an interview.

12 were considered. And they kept narrowing it down. Today, and this is literally true, I wouldn't hire one out of every fifty portfolios. Most of these kids can't do anything, and they have no idea of what it's all about. No interest in how business works or what a client's problems are.

Coyne: Maybe the art students aren't interested in going into design now.

Runyan: That's right. Part of this is that the recognition of collateral material has greatly depreciated in the professional world , even though it has greatly appreciated in the business world. By that I mean television and ads have become far more important in the shows, especially the New York show, even though the collateral groups that are hip are doing a hell of a lot more work with the clients than the agencies are, percentagewise and in the net profit scene. I'm not bitching about it, I just think that's the facts. So the young guys think there's nothing to it but sitting around dreaming up snappy concepts for commercials.

Anyway, and I got sidetracked, we lived in different times when the desire and competition was fierce.

Coyne : You mean we were used to leaner fare and were motivated by the desire to eat a little better?

Runyan: Maybe ... I don't know what motivated everybody. My reaction . . . when I got turned on I had exactly the opposite reaction. You know, I was in a partnership at first, and the reason it broke up was an opportunity to really make some dough. Overnight, in effectin a small community called Los Angeles -we became kind of "Hey, you'd better watch those guys, they look pretty hot:' Agencies started to call and try to give us production. Sometimes they were trying to help us , but other times it was just to say, "Yeah, we're using that Runyan

outfit:' We were offered a production thing that was going to run to two grand a month. That was a lot of money then.

But I said "No. Screw the money, I've got an objective. I won't touch it:' Society takes care of those who are successful , who reach the top. All you have to worry about is getting there. Because when you get on top , the bread's coming this way and it meets you there. There's the bread , and you're on top. Right?

Coyne: Right. Where's top?

Runyan: Okay, you smart ass. I mean successful , big time, doing really good work. There's no real top. If I decided I'd got there, I've got it made, I'd be bored to death. If I can't make the next big break through , what I know has to happen to keep me interested , I'll get out of the business. I know a lot of guys who are good that may run out of gas, start drifting. You just can't sit there doing your one thing after you've already been there a million times. You vegetate.

You've got to have new involvements, bigger involvements.

Coyne: Let me ask about a few of your current ones, the stock market, real estate, design center, opening a restaurant, building dune buggies ...

Runyan: Being involved in as many things as I am definitely gives me more information and knowledge of creative problem solving. And there's something else to it. There's always a design problem involved or I'm not interested. I want to come up with the concept and design a restaurant. I want to design my own design center. I want to desi gn my automobiles. I want to design my uniforms.

I want to de ign the Palm Springs house and my other house. A design motivation is always there ... other than the stock market. And even that ha design innuendoes. You can't do a job in fin ancial communication without understanding the market. I have the background to understand their problems. I can sit down and talk to guys about their priceearnings ratios. Anyway, since I started

Spreads from annual reports for Norton Simon, Inc., and Teledyne.

G

PHIC SYSTEMS

NORTON SIMON INC

McCALL PRINTING COMPANY's soles lor fiscal 1969

McColl Printing Compa ny is one of the notion's largest commercial printers, with J 2 plants across the

were ahead of the prior year, although profits d id not

country. It produces more than one billion copies annually of JOO notionally circulated magazines, among

keep pace with the growth in soles and reflected competitive price pressures, production problems, and a delay in the revival of the textbook market. The com-

which ore many of the most influential and respected publications, plus of course McColl's, Redbook, Saturday Review, and McCall Patterns. It is developing advanced concepts in applied electronics, photography, plotemoking, color printing and computer applications for tbe graphic arts.

pony acquired three new major magazine accounts Forbes, New York Magazine, and Lad ies' Home Journal, and strengthened its position a s a major producer of catalogs, telephone directo ries, encyclopedias and textbooks. McColl Pri nting also continued lo enjoy advantages resulting from the geographic deployment of its ma i n printing plants . The newe st plant in its notional nelwork, the M id -Atlantic plant, located just outside ofWoshington, D. C., become fully operational during the year. It is the lead ing printer of magazines and newspapers for many notional lrode and union organ izations whose headquarters ore in the notion's capitol. The McColl plant near Atlanta , Georg ia , is the largest and most efficient in the rapidly growing southeast region of the United States. During the post year, it achieved a full capability as the first printing plant in the country to provide a complete si ngle-source moiling facility, including oconveyorsystemwhich channels materials d irectly into Post Office trucks. The company's Graphics Research Laboratory mode advances during the year in the development of wrap -around plates lo r letterpress printing. Significant progress was al so mode in the field of computerized photo-composition .

PAGE

I2

FROM ,SAND

-TO-THE REACTOR Wt!lll~ tal>Q•atory O.O~t'll Q<ll>yti~>­

""o

Fcfm! t~1'14 h .. a~·a• ll\ 110!1 ~ ~ fUIMbil fy Qlll WGIA·tl"'d nud.ar Itt· !!ell reacbQrt, 1'11.n f:Qhlle<t •~ .-.a ol PfWN •f!Mral.ott Wllti!>ijl mf'•nlnghll l*lllll IM lil<t mtl$l <11M< ruodt"'<'nW lltl· att!lf•c d~QVtf(M, •Ill vwt~ Jtp!lf ~;WIQn llfllltanded not ~nly 1,.,.. ~NUll$ of lhe v-r• ti~ ))~"'<-'~'• but fl ~ev<!lQCOrti('At (I{

(II<> '"ll'"""""'llecnnot(>gy •"'ll'lllllfl !>*t$ for 1 l)flle\1(!11 JJtjtllA!lo4 a• Wfi!J

On" illc:ll tl "'"'IJIIZ,rtonwfl'l,tM nll'lll>

I!IOtt abuni,IM!t flll>-ttl ln tt>e tartll'.s

c:rusl.

•

*"'" found ptinC:•P<JIIy Jn beaU•

t<~l><l$ Oil ~ m~t>e;al me<Ut II t ""*'~I'll'· 11\'Ul'\Q COtiiC~e !~'lit utAIW!'l t~ flt s•o~>.Wifl lufll ~$td !(I 9Jihtrt~ ru!Cl•

&l'eq;n•. and .ltlftorvum Ill# prefetrtll ttrutt<Jral~!lotlloicli"9thell'llnl

reactor CoO•• "WI!

'IIIII wHWfl ihe nutlNr tlll!l'()~~r.;d fH Ill<! sl<TI~ il'IM

pt¢11). ttl

100-.anlfl ,-N tr&rl W•lh ~he ,.Qild'J c~~tm•lt jr11;;t._.

,

•nf •ndijtltta'tJ.4fi<>ll tM J:;Otrutx>nd•nf ' t:Of'I&Umr>!IC!>olpw1!t', !h WI (lbl!rtyol .-.u;tl,..rr-gyi&JI!Mh' AUotliftr-rQY .;e;J<,<>s. oo• m v•d ••• 1tm1t~d ou• \flt>lllll\lld com t•$-Ov•r-• 'Nill t>11 df'P'~Ktd 11111>0111 ~rtMIII<iHaflto.pt-1 re\t 1>! cons<JIIlpi>Qn 011 anlf nllhlrat (;!W te•

*''

-.r•.n, wr.na ~»•no cot~tinv«l!y fli<P4'\:i<r<~

b y - d•S()cw~•.s •'"' cillle. l!l<fri"Uon lflei~Cd$ I'IIU$t ~lt•mlll'iyPIH•t!laustltd ••en f>ydrot~\tl:ltiC P9W!lt 1$ I 11111.0 bf Cli!'r! he I:QMHiQJi«#l1$rl'lltl\l~~i<>IMaH

Aawou!d be Ol<PI!I't!RI 111 lll\~y ~

57

ROBERT MILES RUNYAN

New mark and examples from presentation to Crown Zellerbach.

Below: spread from a corporate book for Norton Simon, Inc .

Right: spread from annual report for Stop & Shop food stores. Each spread featured a decorative graph illustrating a facet of their growth.

Right, below: photographs of a store designed for Stop & Shop.

FOOD SERVICE

Norton Simon, Inc. is a major producer of packaged food products through HuntWesson Foods, Inc .. a subsidiary.

The names " Hunt" and "Wesson" are two of the most widely known tradenames in the American supermarket. The company operates 10 canned food processing plants and seven vegetable-otl refineries; it contracts for the cultivat•on of tens of thousands of acres of farm land: it contributes importantly to the economic health of dozens of United States communities.

The Hun t name is identif•ed primarily with tomato sauce, tomato paste, and catsup, ma1or components of a total tomato products market that e)(teeds $500

million a year. Hunt's pos•tion in that market can be judged by the fact that in the single product area of tomato sauces, Hunt accounts for 50% more volume than all the other brands combined. The dollar sales of 1ts tomato-flavoring products have increased in recent years at an average annua l rate of 11 .5%. Hunt's Tomato Sauce and Hunt's Tomato Paste today rank f~rst 1n their market categories; Hunt's Catsup is in thlfd place.

A similar situat1on exists In edible fats

58

and oils, which represent a $1.5 billion U.S. market. Vegetable oil 1S the strong· est segment 10 the enh re fats and oils f1eld, and Wesson is not only the largest producer of vegetable oils in the nation but is growing faster than the market.

A UNIVERSAL FLAVORING

Next to salt and pepper, tomato is the most universal flavoring used in ma1n d1sh cookery. In more than SO'/, of Amencan households, tomato sauce 1s regu · larty used as a recipe ingred1ent for meat, f1sh, spaghetti, and macaroni d1shes. A measure of its widespread use is the fact that an average of more than two million cans of tomato sauce are purchased daily throughout the year, and well over half of these carry the Hunt label.

Hunt-Wesson led in bu1ld1ng the origInal market for tomato flavorings and continues to add to its line of tomato var· iations. Rece nt new products 1nclude salad tomato wedges, wh1ch closely match the taste of fresh tomatoes, and tomato sauce combined with tomato bits, with cheese, and with onions.

Wesson's edible·oll products also rep· resent a large and d1vers1f1ed market.

They are used in the preparation of many

Mini·pricing is now a way of life for us and is basic to today's merchandising as well as tomorrow's env1ronment. We expect that it will

\IALUEAOOEO.MERCANTI LE,

BY A RAP IDlY GROWING

continue to contribute to our growth in the future.

In the past year, sates of Stop & Shop food stores averaged more than

$3.3 million per store, more than twice the U.S. average in 1967 .

One indication of the success of our food marketing program in the past year was the award of Good Housekeepins magazine's citation to Stop

& Shop. The award is made for outstanding customer service, promotion of national brands and other merchandising activities.

In 1967, our company·wide expansion program centered around t he addit 1on of 15 new stores, includ•ng eight new "Supermarkets of Tomorrow" and seven new Bradlees department stores. These stores, some of them combinatiOn supermarket·department stores, are all large units in high traffic shopping areas. They bring our operations to a total of 134 supermarkets and 46 self·service department stores. We also expanded and modernized 17 food stores and one Brad lees department store.

In the coming year we plan to add 10 new food stores and four or five more department stores, and remodel about 15 food and mercantile units. Our expendttures for lhts program will be approximately $13 million, bringing our investment for capital tmprovements and additions to a total of $26 million during

1967 and 1968.

Our food stores opened in the last year averaged 18,400 square feet of selling space, compared to the industry average of 12,000 to 13,000 squa re feet. Stores planned for 1968 will be slightly larger, averaging

19,400 square feet of selling space.

Supermarket of T omorrow In building our "Supermarket of Tomorrow", we are creat1ng an interesting and visually·appealing modern atmosphere. Our objective is to support our merchandising efforts with the ultimate in design, layout and customer service.

These expansion stores feature distinct1ve and specialized departmental shops within the overall food store.

For example :

Deli·Huts , in·store delicatessens w1th a wide variety of domestic and international products, lull·time counter service and special decor.

Florist Shops, in stores in selected neighborhoods, altering a full range of flowers, plants and accessories.

Snack Shacks, providing several categofles of party and snack foods to stimulate the appetite.

The Mini·Mart, an eKperimental store within a store, selling fast -moving convenience items and using its own eKpress check·outs.

Customer telephones throughout stores to obtain information on the location of merchandise and service.

Banana Huts, Nut Huts, Farmer's Markets, large bakery departments, and other individualized sections with unique decors and irKJepth selection of merchandise.

We offer our own line of prepared foods sold under the Caterer's Kitchen label and provide the customer exclusive convenience products, including roast chickens, meat pies, meat loaf, sa lads, pi zzas, custards and many ot her foods.

59

ROBERT MILES RUNYAN

in the market, ninety percent of my investments have been betting on a LIDO, and betting on myself because I'm doing his design, putting my money where my mouth is. It worked out well enough to run sixty thousand into a million seven.

Coyne: Is getting into building and selling of cars what's really important about this?

Coyne: What did you mean by designing my uniforms?

Coyne: You're going to have fun and inadvertently, maybe, make some money.

Runyan: Racing. We've got our own uniforms , trademarks, the whole scene.

We've got the wildest looking machines in the world.

Runyan: That's the plan now.

Coyne: I thought your scene was going to be building and selling dune buggies.

Now you're in racing cars?

Runyan: We started building dune buggies and decided we could perfect them and got all excited about this as a wild commercial venture. What happened was . . . when Billy died , which was most unexpected and I won't go into that, then I had to change my tact. I decided to build my own racing cars and go out and win some races. Then I'd go into selling racing-type cars rather than go the dune buggy bit because it takes too big of an organization.

Marks for Republic Corporation and Equity Funding Corporation of America.

Right: logotype for The Mosler Safe Company. Brochure for Mosler Harbor System of cabinets and storage files .

Since the sales points of the system are flexibility and increased efficiency, all of the color photographs were shot with the models in motion.

Right, below: Kitty Hawk Restaurant designed for Horn & Hardardt.

Coyne: This is off the road racing, isn't it? You're not going into formula racing?

Runyan: No. I'm only interested in the off the road racing.

Coyne: Can you afford to risk your neck racing?

Runyan: Why not, man? Living on the brink of disaster is the thrill of life ... for me. In fact , I think that's why guys race.

Coyne: But what about all the people that are dependent on you ... employees, kids, you know ...

Runyan: That kind of responsibility you feel , but not when you get there because, man, that kind of stuff is personal. If you want to race, and you want to risk your life, that's a very personal thing. I'm getting ready to run this Ascot in a couple of weeks. Steve McQueen and these guys are down there and I've got a car that'll run right over those mothers if they don't get out of my way. It's exciting, I just don't know anymore I can tell you about how it is.

60

Runyan: When it comes right down to the nitty-gritty, I guess I'd rather race than make the profit.

Coyne: What about the Mexican 500?

Were you driving your own car?

Runyan: Yes. Coyne: I know you didn't win. Did you finish?

Runyan: No. What happened is ... a lot of guys have some crazy idea that to finish the race is a big honor. I think that's stupid. I go to win. I don't go down there to see if I can get in under the thirty hours. So we got to a point where we'd blown the left rear tire and both rear shocks, and lost our front steering arm.

We were in trouble, but we could have finished. So Larry says, " You want to finish?" I said , "The hell with it, what'll that prove?" I was really disappointed because we had wanted to win, worked at it. We went down two days early and drove the whole course to insure that we had a good chance. But we'd had it, and I couldn't see any point in beating the car to death and beating ourselves to death just to say we had finished. There's no thrill in that for me. But, man, I tell you , what a thrill it is to be in there driving over that desert and all that rough stuff. I drove the first two checkpoints. We were running well , passed forty-four cars.

Coyne: How many cars are in this?

Runyan: About two hundred. Anyway, I passed forty-four cars and then I made a dumb error. I got conned into going down a road .. . visually conned. It was a short stretch that looked smooth. And there were about five of us running together, bunched up. And I'm going to get these mothers and I went racing down the . . . Hell , I hadn't gone fifty feet when I realized what I'd done. We'd gone over this very area two days before.

But I was going so damn fast that I jumped about a ten-foot ditch and dove

Mosler " The System"

by MoslerHarbor

61

ROBERT MILES RUNYAN

Mark for City Investing Company and photographs of corporate offices. Design program included murals.

Right: Matte/ annual report was based on Matte/logo (not designed by Runyan organization) using the letters as illumination for subject divisions.

Packaging for Stop & Shop.

S. S. Independence, cruise ship of American Export lsbrandtsen Lines. Design program covered exterior and interior design , including all staterooms, bars, lounges and restaurants, swimming pool, furniture, accessories and all graphic materials.

62

~.

...("~

......,.M'II..

:Oid""'Yi~tkf"'.V.f//1(11~ ..

•IWOii9"ttw.equ..a....... ot•-•w,h•"'·n8*'N,jHf\_r.,..,~

lOC~~··""'<i'Mih*'•"•l)l-:t..:ot~'Q<;4'fl~<i"'~''~l(>

t""'{'W-«~'"'~G.....,..tQd~lorbO'<Itf!,riDutl«g•lll'l'l•·i:'otM-1..,

ii.~JE§~:;;::~:;:~::::::.-.! fnop>t~th<>eoo<-ht"".,...~"""'_....dW..,.-..l'*"~'"'r:wi.•lt.t.-

=~~:::le:_~~:;;:~E1:Z:~-?~-41!t>1ibi110MIII<'>~fi'O'I"!hln .... '(~<t'l'.._..

Alhi..,.~I'WI'<>_.,h,."!:!O..Oii"C""'! .. w;al~l!.t-">~~ll~t~...S

~~f~~~~"t~ .. tse.o;,.4aNitlleNOII'I~tfw~.lfWYIJ.Ik>41rnri..cl_.-.,hur..'l

::~~-:.~~~~!::!::= 7::,:~'~~~:~;_:::""~ lO!"\MM11Wi...,,_~~!¢1da~cfiW •.moi•~tv•<~<>.,~<S

h•uS.....t!'l>l"e.t....,_,lt(0""{:4"oKINII«itl*'f"•'·-ty'fdoti;.>~~•ID

::;:::::~~~~:~=~::-::::~=...

• ....S~b.ftt."""*"<f

ii'IP:..III><.a~-1'4"~

.,.,..o:ol~ff'.<>'!4"*1u-

=.~~~::=:::-:~~~~~~":,,~~~=~s=

:~::~:~~~'!!=:':::!~=1>'-.ai).U\\~~~

ANNUAL REPORT FOR THE YEAR ENDED FEBRUARY 1,1969 13

63

ROBERT MILES RUNYAN

1968 Litton Industries annual report had copy on the cover and a grid system for product photos.

Right: City Investing Company 1968 annual report had a theme of "The Management of Change" and was supported graphically with news events on dates within the fiscal year being reported.

1969 City Investing Company report had financial growth chart on the cover and growth charts inside pertaining to the different areas of operation .

into a fifteen-foot ditch. I thought, "That's the end of the race:' Oh was I depressed. And Larry's calling me every four-letter word he can think of. Then he jumps out, picks the car up and says: " Put that S. 0. B. in reverse:' And you know something? It shows we built a helluva car. It didn't do a damn thing to the front suspension. It didn't even knock it out of line. So we put it back in reverse, got up the bank, got around the ditch we'd jumped over, and were back in the race. By this time seven cars had gone around us, the five we were running with and a couple more got by. Now I'm really sore. I've turned into something, I've got blood in my eyes. I just floorboarded that sonuvabitch. You psyche a guy out in this kind of racing. If a guy sees you coming, he can tell whether you mean to drive through him. And f would have, I think I would have crashed us all. I drove like a maniac and they got out of my way. I got every one of them before we got to the next checkpoint.

Runyan: When the exodus started, I didn't know what was going to happen.

In fact, I was apprehensive about seeing all of these guys I was close to leaving Litton, new people taking their place.

But I should have expected them to become my clients. All they wanted was to rely on winners. I was a winner, so they started calling me.

Coyne: This formula works for other designers. Executive move a lot more today, and they' re going to think first about the designer who did a good job for them. You could build your whole new business scene from just this kind of contacts.

Coyne: How could you have finished with a blown tire?

Runyan : No question. And it goes beyond just LIDO's. I just picked up a new account, a two-billion company that is headed by a second generation LIDO. What I mean by that is a guy who wasn 't necessarily a top executive when he was with Litton , or somebody who was a n executive of a company run by a LIDO and then moves out on his own.

Runyan: It has an inner liner, a tire within a tire. You can't go as fast, but you can still go.

Coyne: You make it sound simple. Like success is just having one good account and then you've got it made.

Coyne: There's always the 100 coming up.

Runyan: Obviously, it's more complex than that. But everytime a guy moves, it's a matter of pride with me , I guess, I'm going to make damn sure I get that account.

Coyne: Your partner just sat there?

Runyan: Oh, he got a little nervous.

Runyan: You know, I'd like to put together a film on that. An entertainment film, and really tell it like it is, what happens in this racing thing. Really wild things can happen. You're running twenty-four hours straight over the roughest terrain in the world . Your running at night, a hundred miles an hour in the middle of the desert and might jump off a 400-foot cliff. Most cars don't finish, they turn over, crack up, roll.

One guy just looked down at his ignition for a moment, going a hundred, and the next thing he knew he was airborne.

Demolished the car. But it didn't hurt either one of them, just bruised them a little.

Coyne: They sat down hard though, I bet.

Runyan: They hit smartly. Some guys aren't that lucky, but that's part of the thing.

Coyne: This is great fun, but we'd better get back to the design business. You had mentioned the LIDO's. I think it was Tim e Magazine that coined that term, Litton Industry Drop Outs. The work

64

you did for Litton must have been terribly significant to the volume of work you're doing now, with all those exLitton men heading their own companies.

Coyne: At least they know you, and what to expect.

Runyan: All the stories that get around aren 't true. I've had all kinds of things attributed to me that I absolutely did not do. Jack Roberts once asked me, "what the hell do you do when you get up before the chairman of the board?" He couldn't understand me, how I can talk and act the way I do. I told him it's like being an actor, you play the part you've got to play. It depend s on the guy whether I come on strong or cool it. This happened at Zellerbach. They'd heard of this crazy image and they were apprehensive , like maybe I'm going to come on a finger-popping hippie. At the first meeting I sat there coolly and calmly and talked about design and product and objectives. And I think they were amazed.

Coyne: Maybe so me prospective clients are disappointed. They really want you to do something wild. (continued on page 94)

CITY 1NVES11NG COMPANY ANNUAL REPORT1969

\

\

' \

15

65

THE ''NEW'AYER Edward G. (Pat) Gallagher, Executive V. P. of Creative Services, N. W Ayer & Son, spoke of the "new" Ayer in our recent interview. So, we felt no compunction in using the term to suggest how drastically and dramatically that agency has turned itself around. Since "new" is relative-as in "new as compared to what?"-it implies all was not well in Philadelphia with the "old" Ayer. It wasn't.

That was not always the case. Ayer had enjoyed days of glory. There are so many Ayer "firsts" on record that its I 00-year history is virtually a history of the advertising business. The first advertising contract, in 1876, charging a client a commission on the net cost of space.

The first formal market survey made by an agency as the basis of an advertising recommendation. The first appointment of a full-time copywriter. The first hiring of a commercial artist. The first sponsored series of music and entertainment on the radio. The first sponsored network radio broadcast. The first sponsored television program (for The Atlantic Refining Company in 1941).

It was not that long ago that their highly visible, often awarded advertising attracted many of the brightest young tal.ents to Ayer's neatly structured creative department in Philadelphia. That was what creative departments were and how ads were made in those days, and Ayer made them as well or better than most.

To reaffirm our recollection of this, we took out the 1949 New York Annual (a random choice because it was the only one of that period we happened to have in our library). Ayer had produced 25 of the 169 accepted entries in the advertising categories, including a medal and two awards of distinctive merit. Their total was more than twice the number of the next agency. Incidentally, that was Weintraub with 1 1, entirely the output of Paul Rand.

66

Ayer's ability to meet the advertising requirements of their clients was evidenced by a remarkable longevity in account relationships. Steinway, only recently resigned because of an account conflict created by an agency acquisition, had been with Ayer for 75 years.

Then the advertising business began to change. The "creative" shops captured the attention and altered client attitudes.

Under reexamination , many long and friendly advertising relationships began to melt. Some of the older, established agencies were hard pressed to meet the challenge. N. W Ayer & Son, solid as a rock, began to crumble around the edges.

They lost Hills Brothers and their West Coast position deteriorated to almost nothing. A year later it was United Air Lines. Then Plymouth. Domestic billings dipped below $110 million. From their high position, Ayer had slid down to around 20th in the agency rankings.

Then they were in deep trouble with AT&T. The account was opened to presentations from other agencies. At least one was sure they were going to get it and began to staff up for the account.

At that point, it seemed very possible that Ayer might be through as a major national agency.

Facing this possibility, Ayer inaugurated some change in policies and attitudes. In short, they let their creative people do their thing.

In most cases, agencies have found their creative showcase in a new account, usually one that was dissatisfied and had moved in search of a fresh and different approach. Ayer had no such account in the offing. They had to launch a creative surge on accounts that had been with the agency for many years. AT&T did offer an abnormal opportunity. Perhaps " incentive" is a more appropriate word.

When an account is about to be lost, it's easier to pull out all the stops.

Ayer held the account and produced some very bright advertising for AT&T. It proved to be a healthy experience.

They had successfully stripped away old taboos , traditions and methods that had developed and hardened over a long period of years, and they had produced fresh ideas and concepts. The door was opened to reassess the creative work for all of their existing accounts , and it produced positive results.

Jerry Siano defined the increasing importance of this attitude: ''Today, if you don't consider that annual presentation as a total reselling of your company to that client, you can wind up not having the busine s pretty quickly. And this is true, not only for Ayer, I think it's also true for Doyle Dane, for Mary Welles, for everybody. No matter what you did last year, I don't care how good or famous it was, if that job doesn't repeat itself the next year, you're out. It's a different business now. The old loyalties don 't exist anymore as far as the clients are concerned. They don't care about what you did last year. 'That's great.

That's wonderful. We paid you to do that. Now, what are you going to do for me today?"

"Another way of stating that;' Pat Gallagher added , " is that the whole business ha become more businesslike, both on the client end and on the agency end:' Paralleling their new approach to creative activities, Ayer instigated a major

DuPont ad. Boris Todrin, creative director; Dan Tamkus, writer; Wing Fong, A. D.; Bob Barclay, photographer.

Series for the Magazine Publishers Association. Robert Dunning, Jerry Siano, creative d irectors and A. D.'s; Deanne Dunning, Blake Hunter, wri ters; Charles Gold (Art), Carl Fischer (Richard), Reid Miles (21,000), photographers.

Venture: Purify water with the fiber that made men whistle.

Nylon. Reverse osmos1s.

A fiber that started mak1ng g~rls' legs more beautiful some 30 years ago.

And a process that's been around a lot longer.

But when Du Pont sc1ent1sts and engineers look at them in a new way, they combme into an idea that canchangetheworld.

Reverse osmosis is a purification process that requires no phase change. It's potent1a11y the cheapest way to desalinate water.

Du Pont's innovat1on 1 Hollow, semipermeable nylon fibers much finer than human ha1r. Symmetncal,

w1th an outer d1ameter of .002 inch and a wall th1ckness of .(XX)S inch, w1th an accuracy of manufacture ma1nta1ned at close to 1000/o.

Twenty-five to XI m1lhon of them encased in a prec1sely engmeered un1t 14 mches m d1ameter by 7 feet long.

The result : a semipermeable surface area of about 85,00) square feet-the s1ze of a 2-acre lot-and up to 10,000 gallons of desalted water per day.

So far "Permasep" • permeators have been used expenmentalty to punfy brackish and polluted water, and in various industrial separa-

hans. But the potential to desalt seawater, too, 1S there.

So Du Pont SCientists and engi· neers are even now workmg toward improved f1bers, un1ts and plant des1gns that should make t! possible to get fresh water from salt at a pnce that any town or nahan can afford. lnnovatton-applying the known to dtscover the unknown, mvenhng new materials and puttmg them to work, using research and engl neenng to create the 1deas and products of the future-th1s IS the ven ture Du Pont people are now engaged in.

Ventures for better l1v1ng.

67

N. W. AVER & SON

restructuring of the agency. This had been in planning before that time, but the critical AT&T presentation expedited the implementation. The entire account group was moved to New York before the presentation and it was undoubtedly a positive factor in retaining the account.

The consolidation of creative and media departments in Philadelphia has been broken up. Ayer now has full agency services available in New York, Chicago and Philadelphia. Some functions, like the computer center, are still contained in Philadelphia. But that is immaterial to client servicing because all the offices are plugged in with consoles.

Bringing these services in closer contact with the clients has not only reinforced Ayer's position with many of the existing accounts, it has been a major factor in securing important new business.

Each of the regional offices has its own creative staff headed by a senior vice president as Director of Creative Services. Robert Dunning holds that post in New York, George Parker in Chicago and Theodore Regan in Philadelphia.

Each of these men is responsible to the regional general manager, but they also report to Gallagher, the overall director of the creative services. Two others on Gallagher's staff, Jerry Siano and Robert Bach, also carry the title of Senior V P. and Director of Creative Services. Siano works with Gallagher on the evaluation of the agency's overall creative output

and on new business presentations. He is also available for assignments with the regional creative department heads on specific projects or campaigns. Bach works with Gallagher on staff assignments and also has a creative responsibility with Ayer's West Coast offices, but not in an operational role like the other regional directors.

A new foothold was established on the West Coast by the acquisition of two agencies. These were Hixon & Jorgensen in Los Angeles, now N. W Ayer/ Jorgensen/ Macdonald, and Frederick E. Baker Company in Seattle, now N. W. AyerF. E. Baker, Inc. They expect this to eventually develop into an Ayer/Pacific region similar to the other regional operations and incorporating all of the offices on the Pacific Coast and Hawaii .

The rebuilding necessitated extensive staff changes. Over the past three years, according to Gallagher, the turnover in creative staff personnel was about seventy percent. In the last year alone, over onefourth of the creative staff is new.

"That is not unique to Ayer;' Gallagher said. "I think Y & R went through about the same turnover.

"It was necessary for us to bring in new people, fresh people. But what is also significant is that many of our key people were already with the agency. That includes all of the regional department heads and many of the creative directors at the level just below them. We have

built most of the action around a cadre of the best people who were here before.

This hasn't been because we were reluctant to make a replacement at that level.

It's that there always were good people at Ayer. What we've done is to hang the new Ayer on the best of the good people, and to build under them. And around them. We have brought in creative directors from the outside~' A significant statement on the change that has occurred is that creative people now want to work for Ayer. A few years ago they could not attract the best talent.

"I think they're feeling that there is an opportunity to do some good work;' Bob Dunning said, "and that they'll be supported in the work they do. I don't promise them we' re going to sell all the ads, but I can promise that we're going to do our best to get the good ads out of the house~' The picture is considerably brighter now. Not only were the losses stemmed, Ayer has been rapidly acquiring new business. Their total domestic billings, including several accounts added in the past two months, have reached $150 million, pulling them back up to about II th in the agency rankings.

The advertising product is considerably brighter, too, as evidenced in the examples shown here.

R.S.C.

Right: First Pennsylvania Bank newspaper ad series. Ted Regan, Howard Grant, creative directors; Charlie Tyson, writer; Frank Campana, A. D. INA ad. Phil Eitzen, creative director and writer; Hank Guarini, A. D.; Peter Papadopolous, photographer.

Boeing 747 ad. Chuck Mackey, creative director; Chuck Mackey, Dan Ortolani, writers; Jim Jarratt, A. D. Puget Power ad. Les Meyers, creative director and A. D.; Herb Liedle, writer; Steve Marts, photographer.

Canadian 0 . F. C. ad. Phil Schulman, creative director; Mel Ciciola, writer; Paul Filler, A. D.; Stettner I Endress, photographer.

Left: (left to right) Jerry Siano, Senior V. P.; Edward (Pat) Gallagher, Executive V. P.; Robert Dunning, Senior V. P., Ayerl New York; Robert Bach, Senior V. P.; George Parker, Senior V. P., Ayer I Chicago; Samuel Zurich, V. P. and Manager of Commercial Production; Theodore M . Regan, Jr., Senior V. P., Ayer I Philadelphia .

68

Ignore il and it will go away.

YOU DESERVE ALOT OF CREDIT. And we've got just the guy to give it to you.

He's the Quick Loan Counselor In our Bensalem Office, whose only job is to lend you money---any amount up to $5,000.

When you 're ready to add a few points to your credit rating, come in and see him at Street Road north of Hulmeville Road.

He's there from 9 to 5 MondOrt~~~~~~,:~u~~~y, and from 9 to 8 on Friday.

639-7302

First Pennsylvania Bank Bensalem Office

Qua~t la~r' h.t·r~r • n s!opf s \\ tit nptn ptu fl Cf a.natr \\t \f'll 'ftttaUfor rAoh·dtnr !tun~ tl wtJI Jouf fn;t•\t:r Rut WJth on fJ( tht highut growth tilt~'" thr

$0 km8 ~

nahon, our J~ 1 ' I Sound t-o~mh) It f<u ttlJ an.

1th:·v1 t•.hf• ht.c1n1 Vou (~n Gf't" 1t h&Jlr(•ninlil on lht\ ftr(>Wif)'J.. ln ltw .-uburb1 On tht t.7tt\\ d,.rl bhv:h.,•t and U\ thfl busv parh Our 5padnu• l:>t-autt will dl!klpp• .tr unlt·r.t \\ '' mah ;1 (,ons< t11us dfort IIJ prt lf'r\t II whilf' "-O ,gro"' lt r•n bt"i dcm~ 8u1 it t•k· plann.na in ttlid ot pr*~ rl\ftn.auon \Chfln ra.lhtr th.tn apath~

C:Ommunlt) lOHliVf~trwnton thf piiirt ort'\l•f)()l' Othtf'"•' \H !'hmd tr'l lo"'r; on of our mOJI

bftuhful wuons for lh-ing hrrc

PUGETPDWER

Pull thi~ on yow~ b st fri nd .

69

N. W. AVER & SON

Commercial for the U. S. Army opens with music behind scenes of rran fishing .

Anncr. (VO): Your man in Savannah, Warrant Officer Jay Porter, instructor in advanced helicopter training, United States Army. Jay takes good pilots and makes them better, adding his own hard won experience to what the book says. This teacher's classroom is a cockpit. His blackboard the sky.

At night Jay trades in his flight suit for good friends and a cookout on a stretch of Savannah beach . Whether it's fishing, flying or just plain fun, the Army gives you the time and the place.

Warrant Officer Jay Porter, your man in Savannah.

Talk to your Army recruiter, your future, your decision . Choose Army.

Jack Bidus, creative director; Howard Simpson, writer; Steve Bennett, producer; Kaspar, Badenhausen & Doud, production .

Animated commercial for AT& T, low-keyed persuasion for personal weekend calls, opens with a jingle: Take a favorite number and dial it this weekend.

Long distance will bring you close to someone you've been wanting to talk to.

Girl: Hello?

Boy: Hello .

Girl: Bill?

Boy: Sounds like I'm there. How you doing?

Girl: Fine .

Boy: You'd like Los Angeles.

Girl: Are you thinking of living out there?

Boy: I don't know, if you come out here . . .

Girl: Uh huh, uh huh. Well, I would be interested.

Boy: Tomorrow, get here tomorrow?

Girl: What?

Boy: Could you fly to L.A. tomorrow?

Girl: I don't know . .. No, I have school.

Boy: Well, it's the weekend you know.

Girl: Oh, the weekend . . .

Boy: Well, yeah , maybe we could look at engagement rings . . .

Jingle: Dial a favorite number this weekend.

It's the next best thing to being there.

Ted Kandle, creative director; Barbara Kaplan , writer; Jim Cherry, A. D. and producer; Faith and John Hubley, animation; Storyboard Inc ., production .

Right: one of a series of AT&T ads based on case histories of companies using the telephone as a communication device for other than conversation, such as on-line contact wi th computers.

Ted Kandle, creative director; Dick Golden, wri ter; Chuck Davidson , A. D. ; Ed Gal/ob, photographer.

AT&T institutional ad. Ted Kandle, creative director; Dick Golden, writer; Ray Litzenberger, A. D. ; Jean Folan, illustrator.

70

71

N. W. AVER & SON

60-second, cinema verite commercial for AT&T. Footage covered the real activities of an installer in Georgia. He is to install phone for an elderly couple that has moved. She wants to have her old number and he patiently tries to explain that they are now in a new district and it is not possible.

Husband tries futilely to explain this and then resignedly turns and stares out window. Episode closes with the installer still trying in a friendly and patient manner despite the obvious frustration he must be feeling .

Anncr. (VO): Our people, very much a part of your life.

Ted Kandle, creative director; Dean Crebbin, writer; Sam Reed, A. D.; Ted Schulte, producer; Nel Cox Films, production .

60-second commercial for Illinois Bell.

Salesman: Well, hi there. Congratulations, you lucky lady! You've just won one of our free simulated, genuine paperette ... Hello? Hello?

Anncr. (VO): If you ever get a call from someone who won't take "no" for an answer ...

Salesman (with British accent): You see it's the best, actually (voice continues under) Anncr: there's only one thing you can do. Hang up.

Salesman: You've hung up . ..

Anncr: To most people who sell by phone, no thank you means just that. They know that this kind of pressure makes enemies, not sales.

Salesman (in fake Southern accent): You try this for seven days or one week, whichever comes first, then you'll find . .. Hello? You're gone.

Anncr: Maybe some day he'll/earn that nobody likes to hear from a pushy salesman.

Salesman: Mother? Leon . Listen, when you take my shirts to the laundry, tell them not to . ..

Mother? Hello?

Anncr: Illinois Bell. We're a lot more than just talk.

Lee Cirillo, creative director; Neal Ragin, writer; Don Jackson, A. D.; John Eqing, producer; Screen Gems, production.

DeBeers advertising is multi-targeted. Ad at near right is campaign to explain what a diamond is, how it is cut, how prices may vary. Purpose is to alleviate fear of the unknown in diamond buying and uphold the traditional value of diamonds .

Jerry Siano, creative director and A. D.; Deanne Dunning, writer; Allen Vogel, photographer.

Upper right: ads to reinforce the traditional role of diamonds as the stones in engagement rings.

Jerry Siano, creative director and A. D.; Deanne Dunning, writer; Mike Cuesta, photographer; Paul Davis, illustrator.

Lower right: campaign suggesting diamonds as gifts for anniversaries or other special occasions.

Robert Dunning, creative director and A. D.; Deanne Dunning, writer; Saul Leiter (April 5th) and Reid Miles (Start) , photographers .

f"la.na~Af:.,Jt.t~· >ClJmM.r-rf...,

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

.alutlllllmll' r•t

ht

UU.ptr.Uli.!A

...-!

l)t~l'!~iU't~l(

""lyalol.t.Andoho•h.ofo<«•<l.> ~It~

1tamll'ltl<tfu (Arill lf<~wrtl)\hr~""c'pc'tw­

bw~J:

~~~~~tn•u

...-.•••r.rrr

_,. m Ht'lildJdcd.1: -htttwr !he tsllt.&ftiNJ'=m~kfbtf'.....ttw(. (l\al., J"''.il' •h;Jf%', ttnttaki '-"Ul. (If DIM quiM: ndbt~~~o.Upba!htnlt th.l

unal~bb&a:"'f~ C'~lt:dUithcf4'

72

'*'

A di:tmond rs a secret place that remembers your dre<uns and rc:-flo::L-. your lo"e

Tho: prnl\:e 111' 1h... I.'P\\ho.l) ••f the "''mc"'-xh ~l"\\J m.·~~.·r !\1ld .m~b.xh .1h.lut v.hL'll \• ou \\eft' .r ~.:hlid r' ... uJJ~nl\ n·.d ·\ ntl Vlfll·n: cwnc lnm.rrn hnn ~J •

\ JM!lhlmt r\ lJtr('\,~1

73

N. W. AVER & SON

Two DeBeers ads in a series oriented to the use of diamonds as fashion jewelry. Robert Dunning, creative director and A. D.; Deanne Dunning, writer; Reid Miles (frog) and Silano (Ole), photographers.

Trade ads. Deanne Dunning, creative director; Fran Osborn, writer; Ed di Benedetto, A. D.; Dave Langley, photographer.

One of a series of Caterpillar ads that feature socio-economic problems or projects and include Caterpillar equipment in the illustration and copy.

Lee Cirillo, creative director; Jack Hartgen, writer; Don Jackson, Jim McGuire, Dave Doty, A. D.'s; Jim Carl, photographer.

Ad for Cannon Mills, Inc. Phil Eitzen , creative director; Barbara Appel, wri ter; Cam Noel, Phil Eitzen, A. D.'s; Lynn St. John, photographer.

Help the help.

74

He's tearing down New Yorks crime rate.

Crime g row s on ignorance and

poverty. Crime grows on fru strated dreams and hopes.

Crime grows in slum s.

It's one of th e most critical probl ems facing American cities. And it's growing worse. By 1975, when our population reaches 235 million,

30 million people will live in slums.

Then what will the crime rate be?

Crime is but the visible sign of the cancer growing in our mids t. It is a symptom, not th e cau se, of th e unrest seething in our crowded,

decaying cities. Unless we provide a c rea ti ve environment for people to live in, our cities arc doomed . And so

are the hopes of the people crowded within them .

Today, 591 American cities have picked up the challenge. Ru gged machines like thi s track-type loader are tea ring out the rol , preparing sites

for new neighborhood s. Building a new life. But progress is slow.

Much remains to be done.

Urban renewal is n't, of course, the only answer to a growing crime rate.

But it does lie at the heart of the problem. For as living conditions are improved , the crime rate will wa ne.

Ju st compare suburban c rime rates

with urban rates.

There's a job to do. In yo ur city.

We can do it. We must do it .

All of America will be richer for it .

Wt ca 11 makt tlrt wo rld a bt tltr plact ltJ grow up m. Caltrprllar machmt ~ u'ill htf}l.

rn

CATERPILLAR

N. W. AVER & SON

Dr. Sholl's products are associated with corns, bunions and, all too often, with the very aged.

To alleviate this image, Ayer launched a campaign accenting other Dr. Sholl's products with more interest to younger generations (who may a/so suffer foot maladies but would prefer to be reached in terms of aids to foot beauty.) The commercial has the theme of "On your busy days, your feet need more than a quick rest . They need a cool dip in Dr. Sholl's Foot Refresher Spray." Sam Michini, creative director and writer; Dick Thomas, A. D.; Frank Spinozzi, producer; MPO, production .

Dr. Sholl's " beauty products" ad. Sam Michini, creative director; Paul Morand, writer; Dick Thomas, A. D.; Dick Stone, photographer.

Right: commercial for Sea/test Light n' Lively Milk opens with all the character of the Miss America contest, legs and body shots, music, crowds, judges and nauseating singing by the MC. The product is poured, "99% fat free, yet with all the cool, fresh taste you want from milk.

Light n' Lively. Good for anybody ... at any age."

The camera pans slowly from legs up to faces of well-built women of thirty, forty and fifty .

Jerry Siano, creative director and A. D.; Barbara Appel, writer; Mike Cuesta, cinematographer.

Ad for French Line. Robert Dunning, creative director; Deanne Dunning, writer; Conrad Vogel, Robert Dunning, A. D.'s; Charles Gold, photographer.

Ad for Action Philadelphia. Chuck Mackey, creative director; Frank Cunningham, Bob Lasson, writers; Bill Oliver, A. D.; Shelly Roseman, photographer.

for your feet.

C<~•l ren

ntlorputhu&}VUr ~~ !t..,tfo,....nrd

th1-t~umrner

Tht• l 'll<h Wht:ther •wunmmg, ourn g. or sunmn · VCJtJr :k~t will be \\herto the dchon' Sand~tl$. 1'ht~ m¢rf .., nu revN.l th bl-ttt•r 1t oil •houkilook

M··n 'Th~y look (it)lf. T(>nnts A\> hard <m ycwr J~t a

th~y &r~

on vout t•&o•

Dr &!toll'

a h•·lv yw nd your 1ut

get the mrbt out of th1 ~;urumcr Now, daring Dr S<hulh f 0<11 Comfort M nth .. a &ood Umt- tQt~rt 1bout fvot..::.:J<rt; Andceolebrut

your f~t commv. out.

76

[).:Scholl

The French have a way of doing things.

Youknowthefrench. Thcy're theartitts.

Thcloversofbeauty. Andfun. Thconeswho'drather absorbaspringafternooninasldewa\kcafi than

doanythinae:Jse. They'retheromantics.Evcrybodywritasongs

llbootthe:ircity. Andfablesabootthetrfood Wh:lldoesallthat havetodowithcruisi ngto

Europe or the Caribbean?

J ust this. TheS.S. France isaJI Frcnch .

Tehtloelee4.

AboardtheFrancearcllkitchendepartmcnu.

Oncforcverythingfrommeautopastrjcstoswcels.

~~~;~~ :;r;:;,:,',~ noc usy to find on Our 180 chefs create thr« marvelous meals a day,nolmclud• nJbou•llonatll AM,Kecream

at4andonionsoupatdawn .

..,wiH. Thelovcofevcryfrenchman. Atlastcount,our cellarmduded483sclcctcdFrenchwincs. Ared

andwhJtegrcetsyouatcVC'rymeal,complimcnll oftheCaptatn.

, ........., ,... ..,..k•• Partofthe fun ofgoingtoafincfrench restaurantisthewattcrs. Theyfussoveryou. Worry aboutyoureating. PickoutspecialtitSandinsist younyeachone TheS.S. Fr.ance•sfilledwithFrenc:hwaiters.

THMI•sses l•tlterMs•ib.

They'reunforgeuablyS.S. Franceand practicallyraisedontheshlp. Theirpbistowait fOfyou towantsomcthing.

Afttr. .... rs.

Whenil'sreallylate,everybody dnftsto"leclubH in timatc,dim,romantic.

AndveryFrenc:h

'"······

Evcrythmgyou'llplayaboardtheFrancehas afrenc:h twist. Betyou'veneverbec.natacotton ball throw before.

TIMHMi•t· Discothtqueisafrenc:hword. Needwe say more.

TloojMel,.

Theb•kimwasbornontht:Frenc:hRivicra.

Our sh•p swimmmg spots have the same spitil.

Tlootolk. lt'saii Frcnc:h . Tryoutafewphrases.

TIM~~Ji rit. lt's•nfectiOUs. Aftcrall,whobuttheFrench would 1mmortahze l!Omcth•ng 115 momentary as a kW?

Tnt•.....•tic CniM V.ati.s

Aro~;s:~:~J.~~I~"

ontheFr~ . $Silup.Oct.landl6.

l.,olorSolliotstelor.,.

S.S. FrarccdepartsNcwYOfkOct. laDdl6, plusNov.IJtoBrcmerhaven.

~:!,~·v~:.IMI

S.S. France

Oct. ~;~c;:..so;.s:;i:r.

~· : tg:::::~=~!~~~:

Jan. l9-1Sdays,6ports.S6JOup S.S. AntillesfromSanJuan(EverySat.) Nov.B,IS,22,29,Dn:. 61MIJ-

Dn:. l0,

N~~t~:yr.~~~ils up.

TIMUiti. .teCrwise

33

d•u,tr::.~S~~.~~us.~·F~.!'!. r~~,,.:~~.~~~:r~~·Oft Feb. 14. $1490up.

DoyouwantLondon,Paril..thcCiribbtan

~':;~~~~~: !~~:c~:~r;~c~t!:P

our Corsican rcsorll.) Or wriiC 111.

·-------------SAmY CHfORMAfiOH: The S.S. FRANCE and S S. ANTILLES, registered in France, meet lnrcmationa\ Safety Standardsfornewshipsdev~lopcdin 1960and 1948,rcspecuvely,andbothmec:tthel966tiresafctyrequirements

Race you to the office.

Philadelphia: 1he Uveable Gty

77

It was during the following conversation, recorded last August, that I first learned of the Push Pin exhibition at the Louvre. Milton Glaser, Seymour Chwast and myself were talking in their third floor conference room.

The Push Pin Studios are located in a converted brownstone on East 32nd Street. "Converted" is not entirely accurate. I have yet to visit them when some process of conversion was not underway. Their offices, like their approach to design, would seem to be in a state of continual change.

New York Magazine occupies the first floor of the building. Push Pin Studios have the second floor and part of the third. All of the artists work in one large room on the second. That day, as I stood in the adjoining reception lobby, the noise-telephones, a client group, supplier deliveries and carpenters-bordered on the oppressive. I asked Seymour how he was managing to get his work done and he just smiled and shook his head.

In the quiet of the upstairs conference room, I opened the conversation with a question about Filmsense, a company owned by the Push Pin Studios.

... maybe " Yellow Submarine" helped stimulate it.

Chwast: It really happened before that. Probably a lot of guys thought they'd gone about as far as they could with live action . . . sort of got through with a certain stage and then they saw something new in animation.

Coyne: I agree. But I wanted to bring up "Yellow Submarine" to see what your reaction might have been.

Chwast : Well it may have been ... like the end of an era. I'm so tired of color explosions that I can't . . .

Glaser: We've been doing that stuff for ten years.

Coyne: I know.

Glaser: I think what happens is that something that has been used in one medium is transplanted into another medium and everybody says "Thafs new:' So, the same kind of drawing and color that we've been using in print is applied to animation and it suddenly looks very fresh.

But the form isn't new. To practitioners who have been dealing with it for a long time, it s not any more interesting.

Glaser: It's just our means of getting into the film area.

Same personnel. Same physical plant. Same everything, except a different name.

Coyne : The film was too long for just one technique and no plot development, but I still enjoyed it.

Chwast: A lot of people didn't think of us in terms of film , so we created the idea with the name and sell our services through it.

Chwast: I thought it was beautiful, but it was kind of surfacy .. I don't think it moved anybody. Five minutes after I left the theater it was aU done for me.

Coyne: Do you have production facilities?

Coyne: How much are. you involved with New York Magazine?

Glaser: No. It's what they call a paper company. {Laugh) Actually, it's a means of establishing a different corporate structure-for various reasons-and to promote ourselves in the film area as an entity that has a slightly different orientation from what we do in print. As such, it has been very successful for us. But there is a certain amount of confusion. People think we're a production company, which we're not. What it really involves is styling material , the same way we style materia) for print. We do titles, trailers , commercials, whatever. The actual execution and production is taken care of by any number of production companies that we work with.

Coyne: Both live action and animation?

Glaser: Oh, so did I.

G1as.er: I'm the design director and I'm involved on a day to day basis with the editorial and graphic material.

Coyne: I think ifs developing into a real magazine.

Glaser: It's becoming something. It's been a very difficult magazine to establish. Partly because it had its own history which, in a curious way, acted against the new magazine ... the rebirth, and partly because it's a difficult problem putting out a magazine that is. essentially a magazine of reportage. It's very hard to make it look good becaus.e it can't look designed, in a sense. It has to look casuaJ, and immediate, and . . .

Chwast: Authoritative.

Glaser: Yes. We use photography and/ or drawing, whatever happens to be appropriate for the problem.

Coyne: It does seem to be establishing its own character.

Coyne: There seems to be a new interest in animation

Glaser: It's beginning to have a voice you can identify.

79

PUSH PIN STYLE

We've done a few nice things ... and a lot of bad things too. But considering the nature of the problem, and the staff we have, it's sort of a miracle that the magazine comes out every week.

Coyne: Just the idea of a weekly publication date gives me chills.

Glaser: If you've ever worked on a weekly, you'd know that it's really pure insanity. The thing here is we have no reserve. There's nothing left over. There's no second choices. We assume that everything is going to work.

One thing along the way-a minor error like four extra hours in the photo lab can be an extraordinary crisis for us. But somehow we've lived with that problem and the magazine is coming along in an interesting way.

Coyne: Why does New York have to be a weekly?

Because of its predecessor in the paper?

Glaser: I think that's the key to the whole success of the magazine. It's a weekly. And it answers one profound need, which is the desire of people to read about themselves in a local kind of way. There are very few magazines in the city that talk about the city. There are some small ones, with highly specialized circulations. The Village Voice , which is a kind of newspaper-magazine, talks directly to a community of interests in a local way, but it's really focused on only one community. It has great vitality. It's a wonderful newspaper-magazine, and we are, in a certain sense, a variation of that idea on slick paper. A weekly newspaper-magazine that talks to people about what's happening to them at that time.

The focus is very hard and narrow-to segments of New York, about subjects that are of interest to them. It is acutely parochial in that sense. We never look outside to any great degree. It has to be on an immediate basis to have any intensity. People want to know what's happening, and you can't do that in a monthly or a bi-weekly.

Coyne: How did the exhibition go? (Push Pin exhibition at the Mead Library of Ideas). I wasn't able to see it, although I did see the catalog.

Chwast: It was a terrific success.

Glaser: Yes, it apparently was the best attended exhibition they've had, three or four times the attendance of any other show.

Chwast : I went up there a couple of times. Loads of people. A lot of students.

Glaser: You'll have a chance to see an even bigger version of it because we're having a show at the Louvre.

Coyne: The Louvre?

Glaser: Yes. It's going to be the most comprehensive exhibition we've ever had. Everybody connected with the studio. So if you'd like to come on our charter ...

Coyne: You're going to have a special charter flight?

That's a swinging idea.

80

Glaser: One week charter. It's going to be very cheap.

Coyne: When is the opening?

Glaser: I'll know in a couple of weeks. Sometime in the spring. Around Easter time, I think.

Coyne: You're going to compete with Expo 70?

(Laughter) Glaser: Well, we'll get the overrun.

Chwast: If you don't go to that, come to ours.

Coyne: 0. K. , it sounds like fun . . . and it would seem to be one more thing that contributes to your distinctive ... unusual, position in the business.

Glaser: I've never quite been able to understand that. In a curious way, we've never been part of the design establishment, whatever that means. You know what I mean?

Coyne: Yes, but I'm not sure I could explain it easily.

You've had a fantastic influence, everybody digs, maybe they envy, but no one really seems to feel competitive ... like you're not in their same bag.

Glaser: When anyone talks about design , or writes about design, in a certain sense design is over here and Push Pin is somewhere else. Design has something to do with corporate images and Swiss . . . there's a certain thing that's called design. And whatever design is supposed to be is a very independent discipline from what we do on a day to day basis. It's very peculiar, because that's all we really do. While we've done a lot of illustration, what we really are is designers , and we deal with combining a variety of images with type, and designing things . . . of any sort. Still, we seem to exist in a curious kind of limbo as far as our relationship to the profession. I think part of it is the fact that we first presented ourselves as illustrators. This history goes back 17 or 18 years. Even though we were designing at that time, in one way or another, we were people who did funny pictures or humorous drawings, or whatever you want to call it.

And that was our main body of work in terms of income for the studio. In the last 8 to 10 years, we've got more into packaging, and signage, and annual reports, and other things that don't necessarily have anything to do with the ability to draw or illustrate.

Chwast: That's right. We started out doing styling and drawings. We're getting more involved in concepts now.

What might tend to separate us from other designers , even though we all work with ideas, ours here might be more literary than other designers' ideas. The way we design, the way we conceive things , the character comes out differently. Actually, I think the range of work we do is broader than most designers.

Glaser: Since I've been involved with the magazine, I've finally realized the intensity and durability of early impressions. There is a terrific desire that exists in all of us to stop growth and resist change. Once you've parochialized somebody, and you say "he's over there;' he'll

Present and former members of the Push Pin Studios represented in the Louvre exhibition

2 3 4 5 6 7 8 9

10 11

12 13 14 15 16 17 18 19

20

Jerry Smokier Vincent Ceci Edward Sorel Cosmos Sarchiapone Tim Lewis Milton Glaser George Leavitt Sam Antupit Norman Green Jerry Joyner Paul Davis Jason McWhorter Herb Levitt James McMullan Reynolds Ruffins Barry Zaid Loring Eutemey Isadore Seltzer Seymour Chwast John Alcorn

81

PUSH PIN STYLE 1

Examples from the Push Pin exhibition

1. Milton Glaser CBS

2. Milton Glaser New York Magazine

3. Seymour Chwast Evergreen Review

4. Tim Lewis New York Magazine

5. Seymour Chwast McGraw-Hill

6. Milton Glaser 7. Sam Antupit A&M Records

- , .. ;.:.

I

v

'

\V

~,

{

'--·~

82

i.

.

!· :' ..

-·

/

j

3

4

REMEMBRANCE OF CHRISTMAS PAST

By Judith Viorst They let the children out of school too early.

I left the Christmas shopping till too late.

Each day we had a holiday excursion,

Which gave us the entire week to wait in line For movies by Disney, G i ft-wrapping by Lord &. Taylor, And everyone's restrooms.

On Christmas Eve we slarted to assemble

The easy-to-assemble telescope And fire truck with forty-seven pieces.

By midnighl it was clur there was no hope without An astronomer, A mechanical engineer, And two psychi atrist.! .

We rose at dawn to three boys singing " Rudolph ...

We listened numbly to their shouts of glee.

The killen threw up tinsel on the carpel.

The fire truck collided wilh the tree, requiring One rug shampoo, Several Band-Aids, And Scotch before breakfast.

I bought my husband shirt.s- wrong size, wrong colon, And ties he said he couldn't be caught dead in.

I'd hinted maxi coat or something furry.

He bought me flannel gowns to go to bed in? abo A Teflon frying pan , A plaid valise, And the W~ight Watchers Coot Book.

The turkey was still frozen at eleven.

At noon my eldest boy spilled Elmer's &lue.

At five 1 had a fierce Excedrin headache , The kind that lasrs till January two . . . but Merry Christmas And Happy New Year.

I think.

5

6

7

83

PUSH PIN STYLE

be there forever, regardless of what he does or tries to change.

Coyne: That's very true.

Glaser: One interesting thing that's relevant to the broader aspects of what we're discussing here, is what's happening in the schools to the young people who are training to enter into the applied arts. We've interviewed some. We're always looking for someone to work here, and it takes months to find anybody, mostly because many basic skills are simply never learned anymore. This sounds like the old guard revisited, but it's the truth.

Because the interest is so focused on conceptual things, the kids are not interested in developing their muscle system. They don't want to learn how to draw. They don't want to even learn how to paste up or use a ruling pen, or anything like that. They don't think that's where it's at. The thing to get into is the conceptual end, coming up with a clever line and a photograph that can be put together by somebody in the bullpen . . . and they can win a gold medal in the art directors show.

So you have a lot of people coming up with pages of tissue roughs for ideas and headlines. Now what happens, if you haven't got the muscle systems and the skills, the understanding of the formal values in a traditional way, you're limited to one kind of work. You depend on other people's hands and other people's abilities to essentially articulate your conception. And what that also means is, stylistically, you have a whole generation of people doing the same thing, clipping from the same sources, combining the same photographs, using the same photographers and the same renderers. So there's a universality of style . . . because all these people can't do anything with their hands. Literally, they cannot. It stunts the possibility of creative growth because you only think in terms of what you physically can do. And if you can't do anything, you can only operate out of a circle that's that big. Our training is very fortunate. We've had good training as basic equipment, a good understanding of typography, ability to draw, basic old-fashioned skills, and we don't have to put ourselves in the hands of others to express an idea. If we want to do something of a guy flying, we can draw the guy flying if we want, and draw him in a way that becomes at once personal and also expresses the idea. Now that started out, not as a powerful lever, just as a slight advantage over people who had to call someone else in. But what has happened, in the course of our personal development, is that it has become an enormous factor in the difference between us and everybody else in the field who can't represent their own ideas.

84

and become a victim of it. When your one thing is phased out, you're finished. This is not just on an artistic level but on a spiritual level as well, in terms of the way that any person develops , uses life. Not only in his work but in terms of his psyche. If you don't start with a very fundamental, solid grounding, at one point in your life, when your environment changes you will not be able to change and respond to it in an appropriate way.

Coyne: You said that in the early days of the studio you were primarily illustrators, so at least your income came from illustration. That would mean that while you were coming up, big, it was the same time that illustration was going down.

Glaser: Yes, that's true. Because we unified. We didn't believe that because you were an illustrator you couldn't think. That was the convention of an illustrator, to be a renderer of someone else's ideas. Remember, the illustrator would say how he worked: The editor outlines the scene in the manuscript. Bob hits Joe in the nose.

Then the illustrator did layouts showing how Bob hits Joe from this position here, or from over there, and the cocktail table was here. They developed enormous skills for doing this, and they atrophied their brains. They couldn't think. It was always shocking to see how illustrators misunderstood the nature of a problem unless someone explained to them what the problem was. But what we started doing was essentially the starting point of the designer ... structuring the problem. Then we'd design something and we'd give it to ourselves to illustrate. That has always been the tremendous advantage we've had as a studio. And I think it also contributed to a misunderstanding of what we really do here.

Chwast: When the old time illustration was going down, old time photography just replaced it with something that was practically the same. At the time our kind of illustration was coming on, there was also a new kind of photography that had its own strength, a concern with design and content and not just articulating someone else's idea.

Coyne: I guess that's right, and it's had a drastic effect on people that couldn't get with it. Your term of "our kind of illustration;' Seymour, reminds me of a panel discussion in one of our earlier issues. There was an interesting point brought out of how "Push Pin" is no longer just the name of a studio but a term to describe a certain type of work.

Glaser: It's become generic.

Coyne: Like "linoleum:' (Laughter)

Chwast: We have greater options. We can go in many different directions.

Glaser: Linoleum block, oil painting and Push Pin. (Laughter)

Glaser: The whole thing has to do with building a foundation to support certain expressive content later.

If you haven't got that kind of base, you can never really move. You have to accept the tyranny of the situation

Coyne: There's bad Push Pin as well as good Push Pin. Glaser: Even from here there's bad Push Pin sometimes. (continued on page 98)

New AlexisVl g.

The last thing · you'd W3:Dt to use.

.

You know Its high translucency makes it easy to bring forward your best happens. You can get that . brilliant idea just about anyplace. idea. It's toothy enough for You might scribble it down on a pencil, but smooth enough so your paper napkin during lunch. Then · dye-marker solids aren't mottled. do a thumbnail on a memo pad as And it's so white that you won't soon as you get back to the office. · even have to back it.

Next, you'll try it a little tighter We put Alexis Visualizing in on a layout paper. (Strathmore side-opening pads to make things makes a pretty good one, by the . a little easier for you. Available way.) Finally, you're ready in 13, 16, and 20 lb. weights. And for Strathmore's new Alexis sizes from 9x12 to 19x24.

Visualizing paper. We created it New Alexis Visualizing. just for that last step.

At last.

~

Strathmore Paper Company, West Springfield; Mass. 01089 I The only mill that makes, marks, and markets its own artist papers.

ILLUSTRATORS 12 Six Gold Medals and thirteen Awards of Excellence were presented in this year's Society of Illustrators ExhibitionILLUSTRATORS 12. From over 3,000 entries, 543 were selected for display at the Society's New York galleries.

The judgesAdvertising: Andrew Lessin, chairman ; Alan E. Bober, Robert Crozier, Jerry Donovan, Doug Johnson, Sanford Kossin, Roxanne Lowit, Murray Tinkelman.

Books: Robert Geissmann, chairman ; Raymond Ameijide, Marshall Davis, Dean Ellis, Richard Harvey, Leonard Jossell, Arnold Hoffman, Howard Koslow.

Editorial: James Spanfeller, chairman; Etienne Delessert, John English, Milton Glaser, Albert Gold , Harvey Kidder, Jacqui Morgan, Arthur Shilstone.

Institutional: Donald Hedin, chairman; Gerry Gersten, JeanPaul Goude, Robert Handville, Saul L a mbert, Jerry McDaniel , Miriam Schottland , Gilbert Stone.

Gold Medal , advertising Joey Cavenaugh , i llustrato r Kirk Hinshaw, art director Young & Rubicam , agency Mclouth Steel Corporation , client

86

Gold Medal , book John Steptoe, illustrator Ursula Nordstrom , art director Harper & Row, publisher Gold Medal , editorial Gilbert L. Stone, illustrator Tony Oliveto, art director McCall 's, publication

87

ILLUSTRATORS 12

Gold Medal, editorial Charles Bragg , illustrator Arthur Paul, art director Playboy, publication Gold Medal , advertising Milton Glaser, designer/illustrator Poppy Records, client Gold Medal , book Ken Dallison, illustrator Charles Mikolaycak, designer Time-Life Books, publisher

88

..

This rather heavy impasto was built of LIQUITEX® acrylic paint. It dried in a matter of days .

Using another medium, it would have taken a year. · Once dry, LIQUITEX paint becomes waterproof. Incredibly durable. And so flexible you could crumple . it without damaging it.

TheLIQUITEXpaint system

permits the widest range of techniques, frotri delicate washes to impastos as . heavy as this. And the color.s are deeper and more brilliant than ever before possible. ·Thinning ·and cleaning are done easily with water.

Little wonder that more and more artists are painting exclusively in this medium.

LIQUITEX acrylic paint is part of the LIQUITEX paint system, which includes polymer, matte and gel mediums, matte varnish, modeling paste and gesso.

· Once you've made ·your first heavy impasto and seen it dry before your eyes, you'll know why we've given LIQ~ITEX paint such a big build-up.

Permanent Pigments, Inc. 2700 Highland Ave., Cinn., Ohio 45212

'THE LIQUITEX®

ACRYLIC PAINT SYSTEM.

SURVIVAL FARE Ecology. Pollution. Smog. Population. Hunger. Today's words of crisis and concern. A humanities class and a graphic design class at San Jose State College in California joined forces to communicate their concern.

They staged a week-long ~~survival Faire."

The Fa ire was a concept of the students in Humanities 160, a one-year course in contemporary issues taught by Dr. John Sperling. The course subject was to research the relevancy of subject matter and teaching methods in higher education. This research lead to a curriculum plan which would introduce ecological concepts into all departments of the college.

At the same time students in Sam Smidt's advanced graphic design class, some of whom were in Humanities 160, had formed 11 • • • a non-profit advertising agency specializing in selling the preservation and restoration of the only environment we have that supports human life, Earth." Several professionals were also enlisted, and the organization was named Survival Limited.

Smidt, a leading West Coast designer, has always believed that his course material should have relationship to the problems and realities of the world outside the classroom.

As the humanities students' plans for Survival Faire gained support and began taking shape as a reality, Smidt and his students became increasingly involved in the publicity and graphics for the event.

Survival Faire opened on February 16 in the large San Jose State student union building. Both floors were filled with a hodge-podge of displays, paintings, collages, murals, sculpture and sound montages, all illustrating the problems of survival in a polluted world.

Films and stage plays were shown in adjoining rooms, and a ~~survival Diet" (rice and water ... with few takers) was served in the nearby cafeteria. A Hunger Room, Population Room and Pollution Room, designed

by Smidt's class, dramatized these subjects of concern.

90

The Survival Limited room at the Faire displayed fourteen full-page ads designed by Smidt's students.

The theme of the ads, created for public service use in newspapers, was 11 lt's Your World. Save lt." Each c:td contained a coupon addressed to President Nixon, appealing for strong anti-pollution legislation now.

Proofs of the ads were sold as posters, and the sale raised several hundred dollars which helped cover expenses. Also in the room was an oversized petition signed by the many visitors. So many signatures accumulated that names were signed over names.

Due to the highly professional publicity efforts of the students, the Fa ire drew extensive press, television and radio coverage . Attendance was estimated at between 15,000 and 20,000. Each day, busloads of high school and elementary students viewed the exhibits. A number of out-of-state teachers photographed the entire affair in order to organize similar events at their own schools. The publicity highlight of the week was the controversial burial of a never-driven 1970 car.

Now, with the Faire over, the students are exploring follow-up plans, including the production of films for the educational system, an ecology magazine and the formation of a permanent organization to help other schools create Survival Faires.

Ads created by Survival Limited to stimulate awareness of the serious pollution problem facing San Jose, the San Francisco Bay Area and the entire world.

One of the ads had an illustration of a plain, black square with a headline " San Jose 1984. " That city, destined to be the second largest in Californ ia, already has smog problems on a par with Los Angeles and the many other seriously threatened cities of the nation.

The poster, with the discarded can symbol, hung in the Survival Limited room at the faire . A gigantic petition, lower right, collected thousands of signatures.

Tourist 'Ihlps.

lfyouarethinkina ofafamily vacation to Typhoid Bay, Hepatitis

lt'syovworid. SAYt: lt.

HarbororOi!Bay, thinkagain. We

T.W..-,..olr.,.__,_-w..l. • ,_,~-··

continueto dump insuffictently

Tllllill•_,...,. s-JIIIII_,_,_,.,....,NU.~-

treatc:dsewage.oilandchemk:alslilce

DDT into our oceans. In a few years, the soil or water ecoloc;y will break down and create a new kind of epidc.micthathumanbelnp cannotraisl. We're eliminating the naiUral pleasures we now enjoy.

We're.killingoft'sc:alife,andatara.te

,..,..,... . . . . . .7 .. ..,.....,_ . . . .,.,.

.diM.,diM..-............ .....,......,.

..... .. ,.... ,.,....a. ........... - .

thatcanmakeileJUinetwithintbe thenellttcnyetrt. Dosomething;the leutdwhichistofillinthecoupon andsendittodty. Jointhehumao race ... forsurvival.

-

...... . . .

::::-..:.;:;-:::::.."":'.:=-

------------

\=:..::.;:=:::.....:=;-

I:=:_.____ ,_;:

91

SURVIVAL FAIRE

Below: sculpture made of refuse .

Population Room . Viewers couldn 't enter this room, the door opened inward. When you pushed on it, pads of rubber behind the door created the sensation of i t pushing back at you.

Hunger Room, actually a series of three rooms.

From the room of today, viewers walked through a " time tunnel" with strobes, electronic music and visual effects to a room of the future with family about to begin a synthetic meal of pills .

Pollution Room . Since gas masks or other air purifying devices were not available for this exhibit, viewers were given symbolic, surgical masks stenciled "Smog Kills. "

92

ROBERT MILES RUNYAN

Continued from page 64

Runyan: Yeah, maybe I should put on a wild performance. But I've got to get their confidence first, to assure them I know what I'm doing. After that it's cool.

I went to a meeting with one of my clients, he's the chairman of the board and president of a big company, I won't use names, and there's about six other guys there. He turned to me and said, "Tell me something, before we get this meeting started, what the hell are you doing these days?" I knew him very well and knew what he was asking me, so I said, "I've just bought a motorcycle and I'm chasing rabbits in the desert:' He said, "Oh, Christ;' and then he wanted me to tell him about it. You're right, they don't want me to show up and be Straight Arrow. But this is after I've got their confidence. You know, most of these turn into very personal relationships. I dig these guys and usually we can groove. Sometimes they come down to Palm Springs for a weekend riding dune buggies or some other pretty far out stuff.

Coyne: These businessmen really want these kicks? · Runyan: Absolutely. Are you kidding?

Coyne: They're probably performing roles they'd rather get out of too.

Runyan: Of course they are. They'd probably rather do what I'm doing, but they can't do that because as chairman of a half a billion dollar corporation they're honor bound not to do reckless things.

At this point, Bill Tobias walked in to say "Hello:' I was surprised, since this was Los Angeles and Bill heads the New York office. He explained that he was traveling more now, becoming more involved in the total creative output of the organization. I invited him to sit in on the rest of the interview.

Coyne: Let's take a second to orient you to the company. You were here with Runyan and then you moved to New York.

Tobias: Yes I started with Bob in '60 and then went to New York in '64.

94

Coyne: You left Runyan at that time, didn't you?

Tobias: Right. This was a good operation, but I was a little tired of L.A. and I wanted to go back to New York.

Coyne: Go back to New York?

Tobias: Yes. I was born in New York.

Coyne: One of the leading designers there told me that you had made a statement-during the time you had left Runyan-that if a top California design firm came to New York, they could take that town apart.

Tobias: Yes. And I still think that's true.

Coyne: Why? Is there really any difference?

Tobias: The design experience is different in New York. The working problem, the production problem , everything is far more complex. As is the pricing.

You spend a great deal more on the execution and production of a project.

And it's getting more complex and expensive as time goes by. The reason I said that, however, is the prevalence of systemization, almost a standardizationthe influence of "form follows function" or the Swiss orientation in design. This is occurring far more in the east than it is on the West Coast. As a result, I think the design out here has remained more colorful, more flavorful and more Involving to the people who see it.

Coyne: More relevant?

Tobias: Relevant? Maybe. I can't make a judgment on relevance without knowing all of the problems and objectives involved. But if I were to question the relevance, I would be more inclined to question the "functional " solution to all design problems.

Runyan: I just read something this morning. One of the top annual report designers in the country has adopted a philosophy, and even put it in print, that "as long as you're designing at a high level, it's okay for everything to be structured on the same formula:' I have to disagree. I can't accept that one look,

no matter how well it's done, fits everything from soft goods to hardware, from electronics to you name it.

Tobias: Even if you were to accept that someone could evaluate design and pinpoint precisely those elements in typography, or photography, or graphics which communicate best, he still could not take that information and establish an irrevocable design principle. That would have to be based on the assumption that design has an independent role from business, or any other entity with a need to communicate something. It does not.

Design is in the service of communication. Saying that A, B and C corporations can be serviced with the identical design tools has to be an inaccurate statement, as far as I'm concerned . It does not give a corporation the essential thing it needs, something tailored to its individual appearance, its needs and its requirements for growth.

Coyne: You said that the designer is beset with growing production complexities. Isn't a design formula a way of simplifying his problems?

Tobias: Not necessarily. It costs the same amount of money to set Helvetica as it does to set Times Roman. It isn't a question of economics. There may be some economy of effort for the designer, but I don't believe that's the real motivation. It's a case of the designer subscribing to a rigid theory which he truly believes can function for everybody. It can, and usually does, raise the visual level and increase legibility, but it also standardizes the appearance so the company becomes just like everybody else.

And they really don't want to be like everybody else.

Coyne: Are you including the corporate identity programs in the look-alik e problem?

Tobias : Yes. Most corporate identity programs have a tendency to make companies look alike. But they aren't really that important to many companies, and I have less quarrel with corporate identi ty elements than I do with the standardization of sales literature and promotional

literature such as annual reports, facilities brochures and all that. There are systems that can be developed and are useful-I'm referring to systems for one company, not one system for every company-that have more flexibility. The grid ain't new. It's been used in the U.S. for a long time, by every designer who ever became aware that when you turn the pages of a brochure the viewer has to have a conceptual relationship of where elements fall , to orient him to reading as opposed to alienating him.

Runyan: Of course. Everything we do has a structural system, a grid if you want to call it that. We literally did use a grid on the Litton annual report. It was a products annual report and it worked.

What could be as diverse as that and the .. . uh, Mattei report, for example. That theme was "international" and "children" and called for a totally different visual concept, but .still executed within a system. It would be completely unrealistic for them to come out looking alike. And that's never going to happen here. If we could be criticized, and we have been by some designers, it's that our reports ought to look more like the same company every year. Perhaps we're overreacting to the idea of standardization, but each year the theme has changed, maybe the problem has changed or the figures have changed . Over a period of time the company may have changed.

Our attitude may be part of what they refer to as "West Coast design~' And I think we've beaten this subject to death.

Coyne: Okay. Let's talk about the future. What are some of the things you see ahead, for you and for the design business?

Runyan: We're going to put together a super heavyweight creative organization, the strongest, most creative design group ever seen in the United States.

Coyne: Are you serious? You're serious.

Is this the next big breakthrough you mentioned?

Runyan: Yes, it is, and we' re very serious. We have the concept fairly well developed and we have some of the best

Bill Tobias

this will happen will have to be determined later. There's an initial formation and building period, and then a period of operational evaluation to get a clearer picture of what we can do and where we can go with this. The best time and method will be determined then.

That's why we're already discussing and planning this with top financial and investment management counselors.

Coyne: How will you capitalize this?

financial planners in the country working on it. What we hope to do is bring together extremely capable, creative individuals and groups into one potent organization with multi-discipline capabilities. These will include industrial design, film, multi-media, product design, packaging, interiors, display and exhibition design, graphics, marketing services and environmental systems design.

Coyne: That's a tall order. Where is all this high-powered personnel going to come from? Good designers aren't running up and down the street looking for jobs.

Tobias: They're going to come from wherever we can find them. Where that talent is, we'll go after it.

Runyan: Steal them , acquire them, merge them.

Coyne: This could be built like a conglomerate?

Runyan: I'd rather not use that word, but it could be called a mini-conglomerate. It can't, and won't, just be an expansion of our operation. We'll have to sacrifice our own egos. We have to attract good people with stock options and other positive benefits they could realize from this, and we'll have to give them their heads. We can't go in with an operational plan that's too tightly structured, that might restrict creative development.

Coyne: This will be a publicly held corporation?

Tobias: Eventually. In order for the whole concept to succeed, it's got to be publicly held. Just when in the future

Runyan: We have several options. We have private investment capital available.

Let me point out something that could indicate the extent of interest there is in what we are doing. Over the past couple of years, we've had five major companies come to us and say, "Hey, what about acquisition?" We've said, "No. It isn't the right time;' or "We're not interested~' Because we wanted to get in a position where we could put this together ourselves. Something has come up recently, however, that offers a new twist on this.

Without going into details, it would be a high level, multi-dimensional service corporation. Instead of ~1::1r 20 million dollar company concept, this is ten times that size. We would be a division within that corporation and go ahead with our same plans. We have to give this some serious thoughts because it offers two plus benefits, super management and greater economic muscle.

Coyne: Obviously we're circling around confidential information, and apparently you have confidence that you can arrange the substantial financing this would require. Now, this is a business where the inventory goes down in the elevator every night. How are you going to attract and hold this high-powered personnel?

Tobias: Money, interest and satisfaction.

Let's take an example of an individual we can easily define, a Grade A-1 graphic designer. He is doing a gross volume around 100 thousand and he's coming out at 50 thousand or somewhere around there. He has a lot of potential but he's a small operation, a production man and a secretary and he does all the work himself. He works from 18 hours on

95

ROBERT MILES RUNYAN

down, depending on how efficient he is in the profit end of his business and how well he can schedule his work. He'd be interested. I know, because we've already talked to some of these guys. There's no way for him to make his money grow.

It's just taken out in a certain kind of way. Money to live on, taxes, and a nominal amount for investment. Here, there'd be more going on ... beyond the money he's generating in his service group where he should be more efficient and productive. Around this you build a series of outer rings which are product oriented. First, products that you package for other people, meaning either conceptual packages or actual product items developed for other people. You sell those on a design development basis, or design development plus royalties.

You also develop some products which are proprietory, very possibly in the printed product area, which are managed as investments for the corporation.

triple our present volume without adding a single new client. That's the key to this, client relationships where you can service all their design needs. None of this stuff where you sell them a 125 thousand identity program and then run.

nificant things because we'll have two things going for us that you've got to have. We'll be a powerful communications entity, and an economic entity. If you don't have that, you haven't got a voice, nobody wants to listen to you.

Coyne: Bill mentioned "outer rings:' Is that some terminology you've devised for your operating structure?

Tobias: The third thing that you've got to have is a developed interest in the problems that exist in our environment.

In order to be able to make a significant contribution, one has to be able to open one's self up to the logical extensions of what you're doing and the limitations of what you're doing currently. We are a company that is in design , and design that is sold for communications purposes to corporations. Our intuition tells us that the next step we'll take is an evaluation of: What is our relationship to the corporation? What is the corporation's relationship to the environment?

What is the state of the environment in which the corporation is thriving?

Coyne: Are these product designs assignments or speculative?

Coyne: The personnel will have a piece ofthis action through stock participation?

Runyan: Both. If it's a good product idea, we can probably sell it. We have contacts or account relationships with so many diversified companies that one of them markets, or could market, almost anything you could come up with. And we have the wherewithal to expose them at the right level in order to sell them.

We've even discussed a product bank, not just for our own designs, but other people too, where we'll set up the deal for a fee or a piece of the action. Of course, our prime source of business will come from studying the product lines and potentials within our own clients.

Usually, you just look around and the ideas start popping. Unfortunately, we've had a bull by the horns just keeping on top of our present business and we haven't had the time or capabilities of following through on any of these ideas.

Runyan: We can have this set up where a guy can get his money in different ways. Salary, profit sharing, stock options. We can arrange for him to buy stock. We're working with very sophisticated financial management and we can establish systems where he can have his money handled for him, in astute investments. The objective is the maximum, retainable return for his abilities and efforts. Along with this, he'll get other, less tangible but positive benefits.

A chance to work in broader areas, exposure to and the chance to actually cross over into other disciplines. Maybe we'll have a program of sabbatical leaves.

Why not?

Coyne: That sounds like a good source of business for all the other disciplines you're planning to include in this.

Runyan: You're so right, man. If we had the capabilities, we could easily

96

Runyan: Yes. It's a basic structuring we've used to describe this and project our planning. The core, or first ring, is the individual disciplines or services we have to sell. The second ring is multidiscipline programs for specific assignments. The third is products and the product bank which will also include conceptual packages such as entertainment films, educational films, educational systems and space planning concepts.

The fourth ring is proprietory products, patents, publishing and maybe certain distribution systems of our own.

Coyne: Are you suggesting that you could get some of your clients to sponsor ...

Runyan: Definitely. This will be one of our objectives.

Tobias: It's the only direction that makes sense.

Coyne: Yes, it could be beneficial to the corporation.

Coyne: That touches the bases of money and interest. Bill also mentioned satisfaction. I would guess that means you have some plans for "meaningful" work.

Tobias: There's no question about that.

Corporations are going to have to begin to relate more thoroughly to their environment. And they have to become more oriented to what they can give or produce for people as benefits to living their lives. This will affect a corporation's growth, because they will be increasingly susceptible to favorable or unfavorable attitudes of customers and the capable people they need to work for that corporation. How stockholders will react to this kind of thinking is a question that still has to be answered.

Runyan: Definitely. We're planning to allocate a certain percentage of our time to non-profit, public service, whatever you want to call this kind of concerned activity. And we'll get involved in sig-

Runyan: Today, it may only look like they're accepting their responsibility, but it can be economically justified as necessary and even profitable down the line for the corporation.

1\ typr fnr rurry typr 7

Visitype graphics are of- \- Pl;a;e-s;nd ~;y~u~ 56-p~g~ fered to you in a variety of \ catalog and generous 1 type faces at low factory ' product samples . / \ I prices like Visicolor and Visi- 1 CJ ~ ~ ~ / tint sheets for 50¢ and 9Y2 \ ~ ro 3 3 I \ ~ ""2 CD I x 14% Visitype transfer sheets , 5 ,' for $1 .00. Visitype graphics cut \ -< the prices but no corners have \ 1 been cut in producing this quality \ controlled product. Visitype is avail-\ / able in the most contemporary type \ / faces as well as many old standards : / on sheets that will not peel or crack. ' 1 Visitype graphics have a type face / : I for every type as well as/ : --z=z·~~~ l...i!~:lllr:• ~creens, patterns, and ,' 1 symbols, with factory 1 1 distribution as near as : / your phone maii-Q\ ,' '' b OX. 1I /

!

1

\ \ I

I I •-,,

I

~

,'

I

' "-,

I

.........

II

'I ,,'

I

I I \

I

'-----~

,

~---,~~---~

I

,

I I

I

~sitype Graphics, a divisi~n of Williams and Heintz Map Corporation 8119 Central Avenue , Washington , D.C. 20027 Telephone 301 -336-1144

PUSH PIN STYLE

Continued from page 84 I guess there really is a kind of school, a Push Pin style, which in TV commercials and various kinds of advertising is completely recognizable. It's funny for an institution that started as a sort of extreme and perverse kind of little shop ... you know, we did weird stuff that people would use because they were eccentric. But now we're selling everything from beer to travelers checks.

I mean there seems to be no limitation to what can be sold in this style.

Chwast: We let a lot of curlycues loose on the world.

Coyne: Is it satiating the field?

Glaser: For us it's oppressive. It's so boring to get the feedback.

Coyne: Don't you do it better and with more meaning than most?

Glaser: We don't always do it better. That's the most positive aspect of this thing. Anything that you do, if you're a designer, belongs to anyone who can use it.

There's no way you can patent it, or copyright it to keep it to yourself. The fact of the matter is that you want to be understood, and imitation is an index to the way people understand you. If we were really in a position where we were penniless and other people were exploiting our style and making millions, that would be something else. But we have been well rewarded for what we've done.

Coyne: Unless you keep moving, you could be "understood" by half the people in the business.

Glaser: But that's the great part of it, the challenge of it.

We're forced to maintain an interest in our work, to keep moving. Our boredom threshold is such that we're willing to abandon what has become successful and pervasive and see where else we can go. I think that's great, a very healthy manifestation, and one that is going to become increasingly familiar at a time when everything is imitated.

Nothing can exist without imitation. If it's not imitated, it dies.

Coyne: Then it dies either way, imitated to death or not imitated.

Glaser: Right, but it lasts longer if it's imitated.

Coyne: It's a tremendous tribute to you guys, to be invited to show your work at the Louvre. The applied arts are rarely exhibited to the public, there or anywhere else for that matter. This could even be the start of something new. I wonder if any critics will offer a reaction or an appraisal.

Glaser: Probably not, unfortunately.

Coyne: Then you feel there should be this kind of criticism.

Glaser: Definitely. There really should be a development of the notion of criticism applied to the popular arts,

98

or commercial arts, which is to say that everything that comes under the heading of forms that exist in everyday life such as automobiles, chairs, magazines, lamp posts, whatever, should be subject to the same kind of investigation as the fine arts. In fact, it's far more important.

The galleries are seen by a very small percentage of sophisticated, highly cultivated people who can accept or reject the kind of information they get out of the galleri~s.

But all around us the environment throws up matenal that is not easily rejected by the unsuspecting. We're forced to live surrounded by ·this material that has the capacity to brutalize us. If there were an opportunity for all of these forms to be intensely criticized in terms of what they do, we would at least get some idea into the culture that certain forms, by themselves, can brutalize us and make living less pleasant.

Chwast: Yes. If enough people were annoyed by the lousy signs in the subway, and if they were made aware of how well designed signs could be, maybe something would be done about it.

Coyne: Where would the critics come from?

Glaser: That's one of the problems. You're going to have to establish a tradition before you can get people to train to fulfill that tradition. In the case of the applied arts, the only people who really could successfully do it are those who have some background in the applied arts, and in most cases the practitioners don't have the capacity to be critics.

Chwast: The only exception is the movies. They've always been criticized.

Glaser: There's always been a tradition there because of the theatrical similarities. It was easy for someone to move over into movie criticism from theater criticism.

And that was the way that most bad movie criticism started. Just now we are beginning to have a generation of people who really criticize movies as movies. At least there was a precedent for a kind of criticism in the theater that could be applied. But in the area of applied arts, how do you get somebody who specializes in criticizing sculpture to criticize the Buick Riviera? It shouldn't be that hard, but it raises many questions. Why should he do it? Where would it appear?

Coyne: Or with what validity would it be accepted? The only criticism of the Buick Riviera that exists is one of the mechanical working parts in Consumer Research or automotive magazines.

Glaser: There are a few tentative attempts at criticism by these people who say "It's a nice looking car;' or something. But there's no tradition, and the people who make that criticism. are not solidly grounded in an understanding of the visual world. They happen to be an expert in auto mechanics and they say they like the way a car looks. It's just an addenda and not crucial to their criticism. It would be good if there were a prevailing

idea that everything, all this stuff that surrounds us, is subject to criticism, that it's not beneath anybody to take a look at an automobile and say that's a beautiful sculptural object, or that's an unfortunate sculptural object.

Our life couldn't help but be improved by virtue of this.

Coyne: It might be easier to find the critics than getting the criticism placed in mass media who are virtually owned . . . controlled by the producers and advertisers of all these products.

Glaser: Of course, that's one of the basic problems. If you're in the magazine business, you're not likely to run an article criticizing General Motors for their product, even if it is an esthetic investigation. And that, perhaps, comes under the heading of another necessary investigation.

Coyne: What about New York? Have you ever tried it?

Glaser: You're right. It would be good for us, and one of the things we wanted to do in the magazine was precisely that, to subject various aspects of the city to that kind of hard look. We've been planning several

articles, but it's very tough to get people to write on that subject . . . again because of the absence of convention for this kind of criticism. We've had things started and thwarted. But maybe we will be able to do something on it.

Coyne: Someday, maybe, if I ever get the magazine out on time ...

Editor's note. Subsequent to this conversation, the dates of March 18th to May 18th were established for the exhibition at the Louvre. Arrangements have also been made for the exhibition to be shown in Amsterdam and London.

CA prepared the catalog for the exhibition, and we have also published the entire exhibition in book form.

The examples shown with this article are selected from reproductions in the book. "The Push Pin Style" is now completed and available. More information is shown on the inside back cover.

Quite simply ... we're looking for an advertising artist. We don't know his name ... but we do know who he is: A good designer whose heart beats to the sound of copy and the squeak of felt-markers. An artist who considers important the aesthetics, as well as the techniques and limitations of a solution. A communicator who can not only see and conceive but can verbally express to others what he has seen and conceived. A total person, whose convictions and insights create respect for himself, his job, and his way of life. A man, finally, who finds the Midwest ecologically invigorating and not just a hearsay prairieland. Basically, we have an opening for a communication problem solver ... could the name we're looking for be yours? Inquire: Richard Frybarger, Director of Visuals, Deere & Company, John Deere Road, Moline, Illinois 61265.

advertising artist opening

99

CA7l©J THE ELEVENTH ANNUAL EXHIBITION OF THE COMMUNICATION ARTS SPONSORED BY COMMUNICATION ARTS MAGAZINE

CALL FOR ENTRIES A distinguished national jury will select the CA-70 exhibition from the year's outstanding examples of the communication arts.

Any work produced or published between July 1, 1969, and July 1, 1970 is eligible.

The entire exhibition will be published in a single CA-70 Annual (Vol. 12, No.5, $9).

Awards of Excellence certificates will be issued for each entry selected for the CA-70 exhibition.

Deadline for entries is July 1, 1970.

CONSUMER MAGAZINE ADVERTISING

1A 18

Single ad , any size, including spreads Campaign-limit of five pieces ( $7)

CoNSUMER NEWSPAPER ADVERTISING

2A 28

Single ad , any size, including spreads Campaign-limit of five pieces ($7)

BUSINESS PAPER

ILLUSTRATION

8A 88

13A 138

COMPANY LITERATURE

9A 98 9C 9D 9E

TRADE / BUSINESS ADVERTISING

(Including trade/ business advertising which appears in consumer magazines and newspapers) 3A Single ad , any size, including spreads 38 Campaign-limit of five pieces ( $7)

9F

1OA

PosTER

48

Outdoor, 24-sheet or larger, including painted All other posters, including car cards

RECORD JACKETS

SA 58

Single record jacket Series of SA-limit of five pieces ( $7)

100

llA 118

15A 158

TV commercial, 16mm ( $7 ) TV commercial series, 16mm, maximum of four commercials, spliced together without leaders ($15 )

RADIO ADVERTISING

16A

Complete unit Cover of jacket

Radio commercial, magnetic tape, 7t ips ($7) Radio commercial series, maximum of four commercials, spliced together, magnetic tape, 7t ips ($15)

MISCELLANEOUS

12A

17 A

128

12D

Indicate company name and nature of business under mark

FILM

EDITORIAL

6A 68

7A

14A-14D Same as category for illustration

168

PACKAGING/ LABEL

TRADEMARK

Promotion for artists, studios, agencies, printers, photographers, paper companies, others Series of lOA-limit of five pieces ( $7)

Advertising Series of 13A- limit of five pieces ( $7) Editorial I institutional Series of 13C- limit of five pieces ($7)

PHOTOGRAPHY

BooK

12C

Single package or label Series of 6A-limit of five pieces ( $7)

Annual report Facilities/ institutional booklet or brochure Product/ service booklet or brochure Folder/ announcement Series of 9D-limit of five pieces ($7) Catalog

13 C 13D

SELF-PROMOTION

108 4A

Letterhead/ envelope Complete program ($7)

Consumer magazine page/ spread I section Trade magazine page/ spread I section Company/ association pub. page/ spread I section Company/ association pub. complete unit

178

17C

17D

Greeting cards, including Christmas cards, birth announcements and invitations Miscellaneous company literature (data sheet, sales presentation kit, sales promotion materials, etc.)

Display (point of purchase, trade show exhibit, lobby display, etc.)

Anything not covered in previous categories

Submit unmounted reproductions, photographs or transparencies. All film entries must be 16mm. TV commercial series should be spliced together without leaders. Radio commercials must be on magnetic tape, 7 Y2 ips. For posters, displays, etc., over 18 x 24, submit only photos or transparencies. Campaigns and series entries should be limited to a maximum of five pieces for print materials, and a maximum of four commercials for TV and radio. 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-70.

P. 0. BOX 10300

FORMA

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 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.

•

200 CALIFORNIA

•

CITY

PALO ALTO, CALIFORNIA 94303

STATE

ZIP

_ _ _ _ Single Units

. @ $ 3 Each $ _ __

_

. @ $ 7 Each $ _ __

_ _ _ Campaigns/Series

_ _ _ _ 16MM Films

. @ $ 7 Each$ _ __

_ _ _ _ 16MM Film Series

. @ $15 Each $ _

_

_ _ __ Radio Commercial Series

@ $15 Each $ _

[ DATE

RECEIVED

_

CORRECT REMITTANCE

ACKNOWLEDGE

ELIGIBILITY

Any piece produced or published after July 1, 1969 is eligible. Any entry accepted in a previous CA Annual will not be considered for a repeat appearance.

ACKNOWLEDGEMENT OF RECEIPT

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

B

Attach this form or facsimile to back of each piece submitted to CA-70.

c.-:~r:J

No RETURN OF ENTRIES It is not possible to return entries. The only exception

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

SUBMITTED

of _

pieces submitted

BY

will be on 8 x 10 transparencies or film reels which can be returned if entry is accompanied with a $2.50 return service fee for each item to be returned.

ENTRY FEES

Single units ... $3 each. Campaign or series ... $7.

TV commercials, film titles and radio commercials ... $7 each. TV and radio commercial series ... $15.

THERE Is No HANGING OR AccEPTANCE FEE.

B

Attach this form or facsimile to back of each piece submitted to CA-70.

If this piece is part of a submitted

["""c.':I=J

campaign or series, this piece is No. _

of _

pieces submitted

NOTIFICATION OF ACCEPTANCE

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

Additional proofs or other material to improve reproduction will also be requested at that time.

AWARDS

Award of Excellence certificates will be issued for each entry selected for the CA-70 exhibition.

B

Attach this form or facsimile to back of each piece submitted to CA-70.

CATEGORY]

MAIL ENTRIES To:

CA-70 P. 0. Box 10300 200 California A venue Palo Alto, California 94303

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

[ NUMBER

I LETTER

No. _

of _

_

$ _ _ _ Total Fee

_ _ _ _ Total Entries Submitted

D D

_

. @ $ 7 Each $ _ __

_ _ _ Radio Commercials .

FoR cA ·usE]

_

pieces submitted

Materials THREE-DIMENSIONAL GRAPHICS SYSTEMS

The Recordamat 1250, a new electronic system for digitizing, storing and reproducing two and three-dimensional graphics, has been introduced by Perspective Systems, Inc., of Seattle. The Recordamat is designed as a companion system to the company's Illustromat 1200.

Together they form an automated plotting system with many applications to the graphics field, especially in the area of film animation and design evaluation. The basic device will market for approximately $55,000. Perspective Systems, Inc., 4400 Seventh Ave. South, Seattle, Washington 98108.

100 MARKERS Ad Markers are now being made available in the new "Centurion Set" of 100 different colors including a wooden chest for storage. The newest colors are: citron, chartreuse, plum, saddle brown, sea blue, coral and goldenrod. A full assortment of greys and blacks are also included. Complete set of markers costs $90.00. Cooper Color, Inc., Butler, N.J. 07405.

MODULAR DISPLAY SYSTEM

WANTED Resident Graphic Designer to work with

A completely modular design for dimensional display has been developed and is being distributed by NormanBuffet Co. Employing a basic 24" x 30" module/frame that accepts panels on one or both sides, "System 70" displays can be used in a wide variety of configurations.

As few as three modules can constitute a table-top display, and nine units can be used for a free-standing ''island" display (18 panels; 80 square feet of display area). The modules are constructed of a rugged, light plastic material, accept a wide variety of panels and cost $16.80 for the basic frame. Norman-Buffet Display Industries, 44 Pittsburgh St., Boston, Mass. 02210.

Advertising Manager

on Corporate and Product Promotion Programs.

Send resume to Howard Sutton.

TIPPING DIRECT MAIL SAMPLES

"Tipping" is simplified by Tapeler Corporation's new tape applying systems. Tapeler's new equipment will automatically measure, cut and apply a 11/<J inch strip of double-faced tape to any direct mail piece so that samples can be firmly attached for mailing. This equipment eliminates the need for glue, staples, die-cut slots or pockets, thereby reducing mailing costs. It is claimed that the possibility of mail loss is negligible. Production rates are as high as 3,000 per hour, and equipment prices start at $29.95. Tapeler Corp., 180 Needham St., Newton, Mass. 02164.

LITERATURE FOR YOUR FILES A request on your letterhead to th e followin g companies will bring you the literature described ... free, unless oth erwise noted.

HERMAN MILLER INC. ZEELAND MICH.49464

102

A sample . . . of S. D. Warren's new Flokote coated paper is available from local paper merchants or the company's home office. Warren claims that Flokote has

20% more bulk than ordinary coateds of the same basis weight. In other words, a specifier can get the heft and feel of an 80 lb. glossy coated by using 70 lb. Flokote.

Flokote allows ink to gloss brilliantly, and should be particularly significant to specifiers who are being squeezed by increased mailing costs. S. D. Warren Company, 18 Oliver St., Boston, Mass. 02110.

A full color catalog ... from Fidelity Products Company outlines a broad line of inexpensive corrugated fiberboard files for office and home storage. The 64-page booklet may be ordered from Fidelity Products Co., 705 Pennsylvania South, Minneapolis, Minn. 55426.

A wallchart . .. has been issued by Tactype, Inc., manufacturers of dry transfer lettering and symbol sheets.

The new chart provides a handy reference guide to all the type styles and sizes, and symbols in the Tactype catalog. Write: Tactype, Inc., 43 West 16th St., New York, N.Y. 10011.

Electronic typesetting . . . by the Lathon System is explained in a twelve page, four color brochure. The system is particularly useful in setting booklets, directories and manuals. Write: Latham Process Corp., Lathon Division, 200 Hudson St., New York, N.Y. 10013.

The Day-Glo Designers Guide ... which describes how flourescent colors are used in all forms of advertising and promotional material is being distributed by the Day-Glo Corporation. The guide contains graphics by many of the country's leading designers and is printed on a variety of paper stocks. A new tone chart and a four-color chart are also included. The guide costs $10.00 and is available for 30 days free examination. Day-Glo Color Corp., 4732 St. Clair Ave., Cleveland, Ohio 44103.

0

Index to Advertisers Chas. T. Bainbridge's Sons Deere & Co. .

M. Grumbacher Inc. Lettergraphics International Mead Papers .

Mergenthaler Linotype Co. Herman Miller Inc. .

Permanent Pigments Statmaster Strathmore Paper Co. Studio Craft .

Visitype Corporation S.D. Warren Company Winsor & Newton Inc. X-Acto, Inc . .

4

99 C-2, 12 10, 11 7 C-4 102

The X-acto Mat Machine We know. When you need a mat, either you send it out to be done and agree to pay the price or else you decide to cut it yourself. If you decide to cut it yourself you either settle for a 900 angle or you try to bevel it by sight, get disgusted and send it out after all. With this tool, you can make beautiful mats yourself. With perfect bevelled (or straight) edges every time. Ask to see it where you buy your art supplies.

No.110 $9.00. X-acto,Inc.,48-41 Van Dam St., L.I.C., x·acto® N.Y. 111o1, Dept. 2

Changing your address?

Your change of address can be processed smoothly and quickly if we have your account number and zip code as well as your name and former address.

If you can provide your address label, that's even better. Please allow six weeks for completion of a change of address.

89 5 85 17

Our thanks

97

13 102 103

103

CA Color Guide This book was designed for designers. Our basic concept was to create a compact, usable reference source for making color comparisons and decisions-a maximum amount of information available with a minimum amount of searching and effort.

In a thumbnail description, the book has three sections: (I) Color charts of 75 colors, their screen tints and com-

binations with screen tints of black (2) Four-color process guide (3) Text on planning and preparation of color printing.

The 75 colors were painstakingly selected as a very complete range of functional colors. That is, they work as screen tints or in combinution with black. It's about twice the number of such colors that we could find as swatches in any of our ink books. However, all the colors we have shown can be formulated from the basic pigments of virtually all ink systems.

The process guide is designed for quick reference and

can, we believe, easily be interpreted to any variations of the "standard" process colors. It's a duplication of the guide we created for the preparation of CA Magazine.

The text section clearly presents planning and production information, including an intensive study on the use of duotones. This covers the earlier concepts of duotones as a means of getting color into a printed piece , but it is most heavily accented toward the current developments of duotone techniques and camera variations as a means of achieving better halftone reproduction.

TheCA Color Guide is printed on coated stock, sewn and bound in a durable cover. For those that desire a guide to printing on uncoated stock, we have reproduced the color chart section on uncoated paper. Either or both books will be shipped postpaid, but we can make no shipments before receipt of payment. If you're not completely satisfied with the CA Color Guide or the Color Guide Supplement, return it and we'll refund your money promptly.

CA Color Guide ... $18.50 (postage prepaid) (printed on coated stock)

Color Guide Supplement ... $11 (postage prepaid) (printed on uncoated stock)

PLEASE TYPE OR PRINT

Please enter my order for -~- copies of CA Color Guide at $18 .50 each. _ _ _ copies of uncoated supplement at $11.00 each .

Enclosed is my check for$, _ _ __

Name ______________________________________________________

Address ---------------------------------------·--------------City ______________________ State _________ Zip _ _ _ __

Date ______ Please sign --------------------------------·-----

California residents add 5% sales tax