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Adfor Metro Typographers.

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

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13

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9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

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Bertrand Russell Common Sense and Nuclear Warfare

Book cover designs .

CA, February '60


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

II.I.IJSTI~ TlJI~S 330 pieces of advertising, editorial, book, institutional, TV and film art make up the show ... here are the ones judged ((best." David K. Stone, of SI, observes ... ((The show this year is primarily made up of very progressive approaches to illustration. It reflects the contemporary preoccupation with design and demonstrates the thoughtfulness, originality and freedom exercised by today's illustrators. Many completely new names are included ... as well as experimental work by both the young and the established artists. Again, Hastings House will publish the show with all entries in the fall.

16

PHOTO COURTESY HENRY DRAVNEEK

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

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

CA. February '60


A ward of ExceUence

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

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

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

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

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

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

21

15

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CA, February '60


Typography (cont'd.)

GOUDY OLDSTYLE

GOUDY HAND-TOOLED

Demands a Lower Rate

WINTER Ice skating

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

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

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

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

GOUDY BOLD

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

TYPE facade on mode

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

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

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

GOUDY HAND-TOOLED ITALIC

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

GOUDY EXTRABOLD

COSTLY Millinery

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

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

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ATF, (14 to 120).

GOUDY OPEN

GOUDY LIGHT OLD STYLE ITALIC

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

MACKENZIE

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

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

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

GOUDY OPEN ITALIC

The Brown Fox Jumped

GOUDY ITALIC

Exhibit of Rare Paintings

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

24 pt GOUDY I TALIC, reproduced from ATF catalogues .

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

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

GOUDY CATALOUGE GOUDY BOLD ITALIC

Produce Many Pages

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

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

ATF, (14 to 72).

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

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

GOUDY CURSIVE

GOUDY CATALOGUE ITALIC

c5\ c5"tCagnificent (?ollectio

C operations dependable

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

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

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

ATF, (14 to 72).

[!]

CA, F ebruary '60


m

cOLOR Here, a working demonstration of how the Color Guide Charts are used inCA's own litho department. The subject is a Christmas card design by Fred Walsh of Seattle ( Exhibit, August '59). A simple piece to reproduce and a clear demonstration of Color Guide use. The black was achieved by multiple line shots to our reproduction size ( lh actual size) . Filters were used to drop out the background colors. These shots were then combined into one complete black line positive. Windows were made for each of the four colors. The combinations of screen percentages were selected from the charts, and the screens stripped into the windows at the proper four-color angles. Result, a precise match of a piece originally produced in six colors.

40

30

10

/ 70

10

10

40

20

10

Numbers denote percentage of color 40

100

CA, February '60


Exhibit

CA. Fefnotu:Jrw '60


57

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

CA, F ebruary '60


febpreview1960