febpreview1962

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Gold Medal Advertising (A) Mia Carpenter, artist Marvin Fireman, art director Regina Ovesey, Inc., agency Joseph Love, Inc., client

Award of Excellence Advertising (A) David Blossom, artist J. Walter Thompson Co., agency Pan American, client

CA, February '62

ILLUSTRATORS '62

Award of Excellence Advertising (A) Van Kaufman & A. M. Fitzpatrick, artists James E. McGuire, art director MacManus, John & Adams, agency Pontiac Motors Division, client

Award of Excellence Advertising (A) AI Parker, artist Frazer Purdy, art director Young & Rubicam, Inc., Agency Travelers Insurance, client

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CA, February '62

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ILLUSTRATORS '62

Award of Excellence Institutional illustration Frank Mullins, artist Lt. Col. R. Bales, art director U. S. Air Force, client

48 Award of Excellence Institutional illustration Austin Briggs, artist Suren Ermoyan, art director BBDO (NYC), agency Famous Artists Schools, client

CA. February '62

ILLUSTRATORS '62

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Award of Excellence Book illustration Roger Duvoisin, artist Eleanor Nichols, art director The Happy Lion's Quest Whittlesey Books, McGraw-Hill, publisher

Award of Excellence Book illustration Edward Sorel, artist Ole Risom, art director Gwendolyn the Miracle Hen Golden Press, publisher

CA, February '62

By George Tscherny

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SIGNS communicate through words 1, pictures 2, or a com¡ bination of both 3. While pictures communicate with a compelling immediacy 4, they lack the authority which is conveyed by the use of words 5. It is for this reason, that we rarely rely on picture communication alone in our public signs 6.

CA, February '62

While the primary function of a sign is to inform, the ability to impress is a crucial factor in the success of a sign 7. It is an unfortunate fact that signs and public lettering have degenerated on both these counts in this century. On one hand there is the attempt to impress with no concern for communication 8, on the other hand there is the concern for communication with no attempt to impress 9. It is this attitude that produces not only the minimum, but also the semipermanent 10. This is the price paid for abandoning the sign to the "do it your selfer." Though frequently the work of these primitives contains ideas 11 and attitudes 12 which are preferable to much of the dull and expressionless work of professionals, the admitted charm of this kind of vernacular lettering 13/14 does not make up for the too frequent disregard of environment or application 15.

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CAQ VASU 15 CA. February '62

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The primitive will paint over mouldings 16, corrugation 17, and even other lettering 18. This lack of consideration is, in turn, thor¡ oughly matched by the industrial designer who, for instance, makes no allowance for the fact that nearly every truck will have to accommodate some lettering. 19/20. While the resultant chaos 21 may be a reflection of our times and therefore of psychological and even historical interest, as a communication effort 22 it is on a level with scribbles on walls 23, tree-trunks 24, bathrooms, and other media of the 20th Century caveman.

CA, February '62

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