janfeb1963

LAWRENCE OF / ARABIA? Not actually. It's me, Lawrence of Carson/Roberts.

I'm not quite sure about this get-up. I write fashion copy for Carson slant Roberts slant Inc., and burnooses are as dead as snoods on the Dior-Chanel beat. Perhaps I am getting my just deserts. Our Mr. Roberts thinks so, and he is adapted from a movie, too. About those slants,

pure symbolism for the fresh slant we work at in advertising. I mean, chic or shiek, it's all part of having a happy day. We call it involvement. We enjoy it. Our clients appreciate it, too. Even my mother's happy. If you should see her, ask her to show you this picture.

It sits on the piano, inscribed "My Daughter, The Arab."

C/R

Cover design by GoUin, Bright & Zolotow

VOLUME 5 NUMBER 1/2 ]/FEBRUARY 1963

30

Gollin, Bright & Zolotow

40

Illustrators '63

52

Allen Hurlburt of Look

60

Hoffman's science fiction ads

64

Chicago tries a business/ art jury system

71

Animation, whence and whither

78

The new Alcoa mark

80

The wildlife art of Arthur Singer

86

Philadelphia's 27th exhibition

88

Pittsburgh's 6th exhibition

90

Type in color

96

The Lytton Center of the Visual Arts

98

Northrop drops its trademark: Jim Cross

104

Design '63

110

Annual index, Volume 4

Time and place 9 ·Print that matters 13 • Club news 14 On the board 24 • Materials 108 • Index to advertisers 109

CA Magazine is published bi-monthly by Coyne & Blanchard, Inc., 809 sa·n Antonio Road, Palo Alto, California. Subscription rates : U. S. A. and possessions, one year, $12; two years, $22; three years, $30. Foreign, one year, $14; two years, $26; three years, $36 . Single issues: $2 each, except for CA annual at $6. Copyright 1962 by Coyne & Blanchard, Inc. Trademark registered . Second-class postage paid at Palo Alto, California. Postmaster: Please send 3579 to 809 San Antonio Road, Palo Alto, California.

Change of Address : Notification should be sent to CA, 809 San Antonio Road, Palo Alto, California, at least 30 days prior to effective date. Send both new and old address. If possible, use imprint from CA mailing envelope for old address.

Editorial Correspondence: No responsibility is assumed by the editors or publisher for unsolicited contributions. Manuscripts or other material should be accompanied by self· addressed, stamped envelope.

Advertising Correspondence : Requests for information or other correspondence concerning advertising may be ad dressed to the Advertising Department, CA Magazine, 809 San Antonio Rd ., Palo Alto, California, Phone 415-326-6040.

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• The Time and the Place

DALLAS, TEXAS Jaggars-Chiles-Stovall, Inc. DAYTON, OHIO Dayton Typographic Service DENVER, COLORADO The A. B. Hirschfeld Press Hoflund-Schmidt Typographic Service DETROIT, MICHIGAN Arnold-Powers, Inc. The Thos. P. Henry Company George Willens & Company INDIANAPOLIS, INDIANA The Typographic Service Co., Inc. KALAMAZOO, MICHIGAN Mahoney Typographers, inc.

MIAMI, FLORIDA Norman Typographic Service, Inc. MILWAUKEE, WISCONSIN Arrow Press, Inc. MINNEAPOLIS, MINNESOTA Dahl & Curry, inc.

Duragraph, Inc. NEWARK, NEW JERSEY William Patrick Co., Inc. NEW YORK, NEW YORK Ad Service Company Advertising Agencies' Service Co., Inc. Artintype, Inc. Associated Typographers, Inc. Atlas Typographic Service, Inc. Central Zone Press, Inc. The Composing Room, Inc. Composition Service, Inc. Diamant Typographic Service, Inc. Huxley House Ltd. King Typographic Service Corp. llnocraft Typographers, Inc. Master Typo Company, Inc. Chris Olsen Typography, Inc. Fredaric Nelson Phillips. Inc. Philmac Typographers, Inc. Royal Typographers, Inc. Frederick W. Schmidt, Inc. Harry Silverstein, Inc. Supreme Ad Service, Inc. Tri-Arts Press, Inc. Typographic Craftsmen, Inc. The Typographic Service Co. Kurt H. Volk, inc.

PHILADELPHIA, PENNSYLVANIA Walter T. Armstrong, Inc. Alfred J. Jordan, Inc. Progressive Composition Company Typographic Service, Inc. PITTSBURGH, PENNSYLVANIA Davis & Warde, Inc. H & H Typographic Service PORTLAND, OREGON Paul 0. Giesey, Adcrafters. Inc. ROCHESTER, NEW YORK Rochester Monotype Composition Company ST. LOUIS, MISSOURI Warwick Typographers, Inc. SAN FRANCISCO, CALIFORNIA Griffin Brothers, Inc. TORONTO, CANADA Cooper & Beatty, limited

Brockton, Mass.

The Brockton Art Association announces their 6th annual show April 8-April 27. Categories include painting, watercolor, graphics, sculpture, pottery, silversmithing and weaving.

Full details and entry forms may be obtained by writing the association at Box 533, Brockton, Massachusetts.

Deadline for entries is March 23.

9

Detroit The Art Directors Club of Detroit will hang their 2nd Annual Illustrators Show March 15 through March 30 at the Scarab Club.

London The London Chappel of Private Press Printers has sent out a call for entries for their International Private Press Printing exhibition to be held in June.

Called Private Press Printing-A Fine Art, the exhibit will include ephemera, books and folders. Entry deadline is April 15, specimens to be mailed to: John Mountford, Merrythought Press, 19 Wimborne Gardens, Ealing W13, London, England.

Los Angeles Los Angeles County Museum: Treasures From Versailles. March 13-April 28.

CA, Jan/Feb '68

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The Time and the Place (cont.)

ENLARGE OR REDUCE UP TO

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The 18th Annual Exhibition of Advertising and Editorial Art, sponsored by the Art Directors Club of Los Angeles may be seen through March 3 at the California Museum of Science and Industry at Exposition Park.

New York The Museum of Modern Art: Le Corbusier- Buildings in Europe and India, and exhibition of the great French architect's postwar work, shown through more than 150 enlarged color transparencies will be on view at the museum through Aprill5.

The exhibition selected by Arthur Drexler, Director, Department of Architecture and Design, includes the four capitol buildings at Chandigarh and other work in India, the church at Ronchamps, the monastery of La Tourette, and the apartment houses at Marseilles, Nantes and Berlin, together with museums, houses, a factory, and a report on the new Carpenter Center for the Visual Arts at Harvard, Le Corbusier's first work in the United States.

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The Museum of Modern Art: Emil Nolde, a retrospective show devoted to one of the founders and-leaders of the German Expressionist Movement.

The exhibit will include more than 180 paintings, prints and watercolors.

March 6- April 30.

Design '63, the 8th Annual Visual Communications Conference sponsored by the Art Directors Club of New York will be held May 1 and 2 at the Waldorf Astoria in New York.

Charles Eames, Eliot Noyes, Henry Wolf, Robert Osborn, Gyorgy Kepes, Stephen Frankfurt are among the notables scheduled to take part in the conference.

by Miller for CBS, IBM, International Paper Company and Sanforized.

On exhibit through March 13.

The Museum of Modern Art: The Intimate World of Lyonel Feininger, an enchanting land of fantasy, wit, and sometimes pathos, peopled by creatures real, extraordinary and always human. This selection of 60 watercolors, drawings, comic strips, and prints, mostly from the artist's estate, has never been previously exhibited.

In addition, 40 small wooden sculptures, shown in Berlin in the spring of 1962, bring a third dimension to the intimate world of Lyonel Feininger.

Through March 12.

Julius Wile Sons & Co., importers of Benedictine D.O.M., is sponsoring an art competition which offers a first prize of $1000. This will be awarded for the best oil, watercolor or casein, depicting the Benedictine bottle within its content. All judging will be under the supervision of The American Federation of Arts. Information and entry blanks for this competition, which runs through March 31, may be obtained from the Benedictine Art Awards Committee, 415 Madison Avenue, New York City.

The 2nd Annual Campus Graphics Exhibit, sponsored by Mead Papers' Library of Ideas, will again focus on the increasing graphic excellence in colleges and universities. With the support and cooperation of the American Public Relations Association a call for en tries has been mailed 'to schools across the country. Judging this year's show will be: Bud Blake Design and Advertising, Chicago~ James Cross, Northrop Corporation, Beverly Hills; Ed Gold, Barton-Gillet, Baltimore; Tony Palladino, Papert, Koenig, Lois, New York. The exhibit will be on view in both Mead Galleries (230 Park Avenue, New York and 20 North Wacker Drive, Chicago) from March 4 through March 22.

The Art Directors Club of New York will hold a preview of their 42nd Annual Exhibition of Advertising and Editorial Art and Design on April29.

Awards will be made at a luncheon on April 30 at the Hotel Roosevelt and the exhibition will be open to th~ public May 1 through May 10 at the Park Gallery of the Pepsi-Cola Bldg.

The Art Institute of Chicago ... Mark Tobey Exhibition, February 22March 24. Lithographs from the Tamarind Workshop, March 1-31.

Gallery 303: cc Four Corporations by Irving Miller" will display work done

Boston University ... University faculty exhibit, through March 16.

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Print that Matters Illustrators '62 Edited by Austin Briggs Hastings House , Publishers, 151 East 50th Street New York 22 , New York $14

A handsome book which chronicles the notable changes in illustration as well as the lasting styles that remain dynamic and usable.

William Cadge, commenting on editorial illustration says, cci find that illustration today is being greatly influenced by cfine art,' both contemporary and classic. This is a direction that illustration has been taking over the past ten years or so, with increasing momentum. Fortunately, illustration has been returning to its strongest weapon - good art-with an infinity of forms, sensitivities and expressions that only great drawing and painting can produce."

A total of 344 pieces are shown, with four Gold Medal and five Award of Excellence winners reproduced in color.

Stan Galli comments on advertising illustration, Robert Hallock on institutional advertising, Barye Phillips on book illustration, and Robert Handville on experimental illustration.

Included is an index of artists. 223 pages excluding advertising.

Polnische Plakat Kunst (Polish Posters) Edited by Jozef Mroszczak Printed in Germany George Wittenborn Inc., American Distributors 1018 Madison Avenue, New York 21, New York $15.75

This is the first publication on a highly regarded aspect of Polish art.

Starting with the poster for the 1898 exhibition of posters at the Krakauer

Museum fur Kunstgewerbe, and ending with 1962 posters for American films, the book represents a wide cross section of work being done for merchandise, shows and products.

Many of the posters were photographed in their ((working" surroundings - in market places, on buildings, posts, outdoor bulletin boards. When seen in this manner the aggressive, fresh, and artistically strong qualities are quite apparent.

There are 377 reproductions, many in color, by over 50 artists whose biographies and current addresses appear in the appendix. Text and credits are in German.

Advertising Art: International 1962/63 Modern Publicity Volume 32 Hastings House , Distributors, 151 East 50th Street New York 2l, New York $11.50

Published in London by Studio Books, Longacre Press Ltd., this annual collection of international graphic art displays the current work of designers, art directors, photographers and artists from 28 countries.

The pieces have been selectively chosen with the help of correspondents from around the world. Reproduction is good, with a number of the pieces shown in color.

Great Britain and the United States lead in representation, followed by Japan, Italy, Switzerland, Denmark, France and Germany. All credits are again prefaced by the country of origin.

The book includes a foreword by Erwin Halpern on ccTrendsofToday's Advertising Art," and a complete index. 184 pages.

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13

Club News

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en

Activities and coming events of clubs, societies and other graphic art organizations. Announcements for future events in the March/ April issue will include only those events and show entry dates scheduled after April 15.

Deadline for submitting these or other club news is March 20.

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15 nominees for the NSAD's 16th annual ((Art Director of the Year" award have been named by 17 of the member clubs. Voting by the members of the Society will take place in February and March. Announcement of the winner and presentation of the gold T-square will be made at the annual meeting of the Society in New York on April 29 and 30. James E. Sutton, Art Directors Club of Phoenix, is Chairman of the N SAD Annual Award.

The nominees: James I. Bernadin, Creative Director for Chevrolet print advertising, Campbell-Ewald Company, Detroit.

George Campbell, Art Director/ Partner of Campbell, Emery, Haughey & Lutkins, Inc., Boston.

Robert M. Daniels, Art Director of Atlanta Magazine and partner in Adgraphics, Inc. Ralph E. Eckerstrom, Director of Design, Advertising and Public Relations, Container Corporation of America.

Morton Goldsholl, Morton Goldsholl Design Associates, Chicago.

Allen Hurlburt, Art Director and Member of the Editorial Board of Look.

Joel Kurtz, Art Director of Stix Baer & Fuller Co., St. Louis.

George Lois, Creative Director and 1st Vice President, Papert, Koenig, Lois, Inc., New York.

David R. London, Executive Art Director, The Griswold-Eshleman Company, Cleveland.

Leslie W. Meyers, Art Director, Fletcher Richards, Calkins & Holden, Inc., Seattle.

Ty Nelson, Art Director, BBDO, Minneapolis.

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Frank Zachary Holiday Magazine

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Club News (cont.)

Tom Ross, Vice President and Creative Art Supervisor, Ketchum, MacLeod & Grove, Inc., Pittsburgh.

Bill Tara, Advertising Consultant, Los Angeles.

Henry Wolf, Art Director, Show.

Frank Zachary, Art Director, Holiday.

NATIONWIDE ACCLAIM!

Boston The Art Directors Club of Boston has announced their 9th annual exhibit, with presentation of awards made at a combined luncheon of the Art Directors Club and the Advertising Club, March 19th at the Statler-Hilton.

Chicago The 23rd Annual Fine Art Exhibit, sponsored by the Artists Guild of Chicago, was hung at the Visual Arts Center Gallery from November 30 to December 20. Norman Boothby, Dean, School of the Art Institute of Chicago; Frederick Sweet, Curator of American Painting and Sculpture, Art Institute of Chicago; and painter Mary Gehr Ray judged the show, selected these: Artists Guild Award to Jack]. Freeman for-The Third of July; Monsen Award to Charles Wood for Moonlight; Container Corporation Award to AlexY aworski for Composition # 9; Grant/ Jacoby Award to Lou Dickens for Wheels; Whitaker-Guernsey Award to Franz Altschuler for The Righteous; Hoskinson Rohloff Award to Virginia

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Kemper for Untitled. Two award winners are shown. Committee Chairman Bill Neebe was assisted by Franz Altschuler, Richard Frooman, James Paulus, Dan Siculan, Norbert Smith, and George Suyeoka.

The Art Directors Club of Chicago, sponsors of the 31st Annual Outdoor Art Competition, has announced plans for the 1963 exhibit. Judging of the outdoor advertisements, according to president Norm Ulrich, will be based on the <<value of the idea to create sales or promote a cause, plus the effectiveness, and excellence of design, composition and technique."

Awards will be presented at a luncheon to be held at the Sheraton Towers, May 27. Award-winning posters will be reproduced in full color in a hard cover book, which will also contain editorial features by leading authorities in the poster field. Chairman of the Competition Committee is Richard Naugler, art director for N. W. Ayer & Son.

Dallas The Dallas-Fort Worth Art Directors Club's 6th Annual Exhibition of Southwestern Advertising Art accepted entries from the seven Southwestern states: New Mexico, Arkansas, Arizona, Kansas, Louisiana, Texas and 0 klahoma. A wards will be presented at the annual awards dinner, April13 at the Sheraton-Dallas Hotel.

Kansas City The Kansas City Art Directors Club is celebrating their lOth anniversary PHOTOS : DENNISON & BOLDT

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Club News (cont.)

26 letters PLUS

with an enlarged mid-west exhibition, opened to include entries from Kansas City and the Kansas/ Missouri areas.

The awards dinner will be held March 23 the exhibit will be hung at Trader's National Bank Building. To commemorate the event, a special exhibition annual including all accepted entries will be issued by the club.

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Los Angeles Awards for the 18th Annual Exhibition of Advertising and Editorial Art, sponsored by the Art Directors Club of Los Angeles, were presented at a luncheon held January 23 at the Statler Hilton Hotel. 450 pieces were chosen from more than 5000 entries gathered from all of the United States west of the Mississippi, including Alaska and Hawaii, as well as part of western Canada. The exhibit will be hung at the California Museum of Science and Industry at Exposition Park through March 3. CA will reproduce the medal and award winners in our next issue.

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_

-------------------------------------CA, Jan/Fe b '69

The Society of Illustrators announces the 1963 Art Student Scholarship Competition which will be directed toward encouraging intensive research by art students. Classifications cover a wide spectrum of creative opportunity. The first category calls for illustrating an excerpt from Franz Kafka's novel, The Trial. Category two requires an illustration from any fairy tale by Hans Christian Andersen.

The subject in the third category, demanding research in Americana, is an excerpt from a novel by Horatio Alger. Deadline for submitting entries is May 1. Full details and entry forms can be obtained from the Education Scholarship Committee of the Society of Illustrators, 128 East 63rd Street, New York 21, N. Y. All inquiries should be in writing.

Philadelphia In speaking to the Art Directors Club of Philadelphia, Herbert Mayes, President of McCall's Magazine offered the following 10 rules for ad men to keep in mind about their art directors: 1. Don't hire an art director without expecting trouble.

2. There's nothing incompatible about prize winning art and sales.

3. The art director should work under conditions best suited for him.

Give him the hours he wants. The art director doesn't like to come in early ... but he doesn't mind staying late.

4. Never put an art director under contract.

5. If you know what you want ... tell the art director ... If you don't know what you want ... shut up.

6. Let the art director win 10% of the arguments.

7. Talent needs financial support.

Friendship only goes so far.

8. Praise the art director.

9. Make recognition to the art director more tangible. One day a year give him complete control over copy.

10. Don't let the art director out of your sight. If you go shopping ... take him with you. If you go to Philadelphia ... take him with you.

(With this ... he introduced McCall's art director, Otto Storch)

AProoosal to

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In the Artists Guild of Philadelphia's Reporter, designer Edward G. Cullen, partner in Dixon, Swanson & Cullen commented on the bashful, tonguetied art brethren: ((One afternoon a Roman Emperor was entertaining himself at the Colosseum by feeding Christians to the lions. Several Christians were sacrificed and the crowd screamed for more. ttThe next martyr said something to the lion, and the beast slunk away.

Then a second lion; same result. And a third. The amazed throng began to shift its sympathies to the Christian.

The Emperor announced that the Christian's life would be spared. He insisted, however, that the martyr appear before him: tt ti am sparing your life,' said the Emperor, tbut before I release you, I demand to know what it was that you said to those beasts.' tt t I merely said to each lion, of course, after dinner you'll be expected to say a few words.' uLast week, twenty members of the Art Directors Club of Philadelphia completed a ten week course in public speaking under the intensive tutelage of Dr. Bob Haakenson of Smith, Kline & French Laboratories. If nothing else

19

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Club News (cont.)

came out of these sessions one thing was self evident. The artist or art director truly has something to say. (( His need to communicate grows more obvious as he finds himself involved in selling to industry and agency alike. His need to communicate is reflected in community life, the P. T. A., civic associations, the schools, the church, etc. ((Why do most artists think of words primarily in terms of typefaces and type size rather than in terms of content? Simply because they have left the written or spoken word in the hands of the copy or account man. If the copy writer and account executive are entitled to an opinion about the size of the headline or the quality of the art - isn't the artist (if this is a team) entitled to suggest words?

You're darn right he is! ((Management looks to the total person for leadership and in the art field the total person thinks, reads, writes, draws, and also speaks. Speak out brethren!"

The Art Directors Club of Philadelphia awarded six gold medals and seven silver medals in their 27th annual show. 1500 pieces were entered, 96 were chosen. Show Chairman was Philip M. V eloric. A selection of the winning pieces is shown on page 86.

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Pelikan means insistence on perfection. For example, every nib of the Pelikan Graphos pen is measured for accuracy by projection against a magnified calipered image.

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Pittsburgh The Art Directors Society of Pittsburgh's 6th annual, judged by two juries (one for film, one for print), awarded Club Medals for best in show to one piece selected by each jury.

Awards were made at a dinner held Jan. 12 at the Penn-Sheraton Hotel.

A total of 198 pieces were accepted from more than 1100 entries. In print, the judges selected 35 pieces for first place awards, 11 for second place and 6 for third place. Five film entries were accorded first place, four awarded second place, one received third place. Chairman of the Exhibit Committee was Bob Eganhouse. Others on the Committee were Ed Hall, Irv Tapper, Bill Pensyl, Pete Gianni, Bill Coyne, Pat Taylor, Tony Saris, Jack Lindsey, and Brady Stewart, Jr. Some of the winners are shown on page 88.

CA . J an/ Feb '69

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Pelikan means painstaking care. For example, to assure maintenance of the company's uncompromisingly high standards, Pelikan even makes the machines that make Pelikan colors.

Despite their superb workmanship, Pelikan art materials are available at standard prices in this country. Sole U.S.A. Agent: John Henschel & Co., Inc., 425 Park Ave. South, N.Y. 16, N.Y.

Club News (cont.)

(Italian for gouache)

Portland Portland's Art Direction Group has a new slate of officers for the year, with Don Condit heading the club as president. Other officers include: Don MacGregor, vice president; Charles Politz, secretary/treasurer; Miki Holsinger, executive secretary.

San Diego From the Art Directors Club of San Diego comes word of the election of new officers. Chosen to administrate club affairs for the next year were: Stan Hodge, General Dynamics/ Astronautics, president; Richard Prochaska, Ryan Aeronautical, 1st vice president; Bill Clark, Image Studio, 2nd vice president; Gil Rice, Central Typesetting, secretary; Doris Steward, H. L. Benbough Co., treasurer. Directors are Dan Longueuiel, James McGowan, Bill Noonan and Tom Suzuki.

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San Jose New officers of the Western Art Directors Club have been elected with Ron Gerst of Link Division, General Precision Inc. installed as president.

Other officers are: William E. Maywood, Menlo Research Laboratory, vice president; Ken Michaelsen, Monarch Advertising and Art, secretary; E. M. Wentzel, Art Production Clinic, treasurer. Chosen to serve on the board of directors were: Vic Persson, Forrest Horn, Dick Cole and Lloyd Wall ace, retiring president.

St. Louis The Art Directors Club of St. Louis has elected Blythe Baebler, art director at Batz-Hodgson-Neuwoehner Inc., president for 1963. Other new officers are: first vice president, Marion ]. Bardot, representative, Centaur Studio; second vice president, Kenneth Meng, art director, Gardner Advertising Co.; secretarytreasurer, Harvey Brown, vice president and executive art director, Krupnick & Associates. Elected to the board were Richard Brunell, instructor at Washington University School of Fine Arts; Joel Kurtz, art director, Stix, Baer & Fuller; and Neil Sauer, head of Neil Sauer & Associates, photographic studio. The club, founded in 1954 has a current membership of 175 members.

CA, Jan/F eb '69

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On the Board Coincidentally, Look art director Allen Hurlburt turned up three times in this issue. Once as the subject of a feature story, ((The Making of an Art Director," on page 52; again as the author of ((Design '63," a discussion of the coming Communications Conference in New York; and the third time as one of the nominees for the NSAD Art Director of the Year. One more mention is all he gets. We saw this unusual postcard pinned up on his bulletin board, and couldn't resist sharing it. The card, postmarked from Van Nuys, California, was hand-lettered in all caps. It read:

24

MR. HURLBURT 5/ 23/ 61 THE LAST TWO (2) ISSUES OF LOOK ARE SO CLUTTERED UP THEY ARE NOT ONLY ALMOST UNREADABLE, THEY DISCOURAGE ANY DESIRE TO KEEP TRYING TO FIND THE ARTICLES AS DISTINGUISHED FROM THE ADVERTISEMENTS OR WHATEVER THAT SPREADING MESS IS THAT OBSCURES THE CONTENT. YOUR MAGAZINE IS LIKE THIS POST-CARD. LIKE 246 BROKEN EGGS RUNNING TOGETHER- NO DIVISIONS - VERTICAL, HORIZONTAL, LEFT TO RIGHT, FUNCTIONAL, CONTENT-WISE (UGH!) OR ANY OTHER HARMONIOUS SEPARATION, GET WITH IT BOY-WHAT ARE YOU GETTING PAID FOR? ]. HARRISS

While it may not meet the specifications as fan mail, it classifies as reader response. Hurlburt keeps it there just in case he should get to feeling too cocky about his work.

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One of the most frightening thoughts to us is that a piece will be left out completely when the offset flat is stripped.

That's the hardest kind of mistake to catch on the brownline. We run an automatic check, one credit for each picture, when we're reproducing an exhibition. Sometimes, though, the picture is on one side and the credit on the facing page. Every sixteenth page (the usual size of our press signatures) there is the possibility that the picture and the credit can be on two entirely different brownlines.

For four years now, we've been careful. .. and lucky.

It finally happened in CA- 62. We goofed. The credit is there, but no picture. It was the poster shown below. The art director and designer is Ben Spiegel. Howard Zieff is the photographer. The agency is Doyle Dane Bernbach and the West End Brewing Co. is the client. Our most sincere apologies to all.

0

We don't have to abide by any ((equal time" rules, but we do recognize and respect differing points of view on some subjects. In our August '62 issue, we published a speech

by William R. Duffy, Senior Art Director in Charge of Television, McCann-Erickson, Inc. His speech, ((New Horizons for the Illustrator in Television," was delivered at the Society of Illustrators Seminar 2, and offered the

C UT ON DO TTE D LINE AND PLA CE A T TH E TO P OF PA G E 13 7 . C A - 6 2

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50_years behind ___

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On the board (cont.)

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thought that the illustrator had not risen to the challenge and foun d his place in television.

W e received a reply to Mr. Duffy's speech from Donal d Mo ss. It presents an illustrator's view, quite different than Mr. Duffy's, of why things are the way they are. Without comment, we'll introduce Mr. Moss and publish his reply.

Donald Moss is a member of the Society of Illustrators, and serves on their Professional Practice Committee.

Currently an illustrator and free lance art director, he has been art director with Francis Blod Design Associates, art consultant for Warner Brothers Records, and is responsible for the conception and basic design of ABCTV's corporate image. He has been an artist for BBDO, and art director for Chilton Publications Trade Magazines.

His 24-sheet poster, ((Hot As A Pistol," for DeSoto, was included in the Chicago Art Directors Club's ((100 Best Posters," won an award from the New York Art Directors Club. Moss's work has appeared in a number of national publications, his paintings hang at the Pentagon and the Air Force Academy. The Question and Answer Book of Nature, with 140 full color illustrations by Moss, was published by Random House in March, 1962.

His statement follows: I have not been asked, but I would like to reply to William R. Duffy's speech entitled ((New Horizons For The Illustrator in Television."

I am taking exception to his wild, illustrator thrashing oratory on the topic of their ((near fatal neglect of the television medium ."

There are, in the United States, about 3500 advertising agencies (approximately 650 in New York) with thousands of art directors. In the larger agencies, art buyers as well as art directors look at the sketches, drawings, renderings, illustrations and what-have-you, of over a thousand illustrators in the New York area. Art directors also have unlimited access to modern and traditional museums and galleries, the National Academy, the Society of Illustrators.

Art exhibits hang daily in most of the leading agencies, and have been hung for over the ((14 years" in which TV has been active as a commercial, educational and affa chaffa force. Art directors are admitted free and allowed to inspect everything from Japanese Sumi painting to furious forays with a palette knife on gesso panels.

I know of no illustrator or designer worth his salt who <<sat back" and waited for TV to ((go away." I think some art directors got tired climbing that hill, plucking cartoons and photography, and neglected to reach the top for the <<New Horizons" of illustration available all around them.

According to Mr. Duffy, some illustrators have expressed a desire to <<get into TV ... tinted more by financial necessity than by creative dedication."

The motive is tinted because of the economic situation, the result of higher production costs, diversified budgets, and the use of inexpensive photography. These same illustrators, for years, have shown their work, have CA. Jan/ F eb '69

Test HI-ART #69 yourself ...

had exhibitions, and their representatives have exposed their illustration in all of these TV agencies.

Most of the art directors I have known are extremely bright, able, creative men. They work long hours, many times having their creative efforts frustrated beyond recognition. They are creative directors, developed in all of the varied skills of layout, type selection, photo direction and, specifically, in visualizing story boards for television.

The soap box article I am replying to then is, in effect, a slap at any unimaginative art directors who have anything to do with the television picture.

We were right here when the medium needed us!

We were here when our past audience needed us!

We were here when our past clients needed us!

Where were you? What were you doing? What were you looking at? How? I would suggest that, like Rip Van Winkle, you awake and re-visit your agency galleries or art files and really look at the diversified art in portfolios.

You are the men who talk with the account execs who talk with the account supers who talk with the clients.

Not one constructive suggestion came out of the barrage of Madison Avenue doubletalkese. Granted that we have ((one more chance," and we mustn't allow ourselves to ((pass it by." Should we by-pass the art director, account exec, etc., and go to the client?

Why hasn't illustration been used in the movies (excluding graphics, Walt Disney and promotional material)?

Perhaps we missed the boat there too. The assumption is absurd, with few exceptions, that television is our ((visual medium."

If we were the ((planners of shows, commercials and visual concepts" we would not, as a group, be illustrators.

Of course we can be used in some realms of the graphic scope of the medium. We're here and we have been here for some time.

Dust off those horn rimmed glasses! Climb a little higher and study the ((Horizon!" It's all around you!

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27

D

Roy Gjertson, free lance artist from San Pedro, California has an extra $500 in his jeans. His design for the Battle of Gettysburg commemorative postage stamp topped the entries in the recent Post Office Department Competition, the first of its kind.

Gjertson, a Civil War Buff, placed two designs in the finals, both based on the theme of a Union and a Confederate soldier in hand-to-hand combat. The award winner,

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CA, Jan/ Feb '68

On the board (cont.)

shown here, embodies Gjertson's conv1ct1on that war produces agony in victory as well as defeat. Victor and vanquished are equally benumbed and begrimed.

A designer, not an orthographer, Gjertson omitted the ''i" in the word "centennial," and when his design was printed on the cover of This Week Magazine, distributed by nearly fifty Sunday Newspapers, the Post Office Department received a flurry of mail. One paper reported receiving some 400 calls pointing out the error. Correctiqn will be made on the engraving plate.

Planned for production in blue, gray, and black on white paper, the 5-cent stamp will first be issued with special ceremonies July 1st at Gettysburg, going on nationwide sale a day later. The date of issue marks the lOOth anniversary of the beginning of the bloodiest battle of the Civil War.

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Minnesota born Gjertson is a graduate of the Art Center School in Los Angeles, later studied at Chouinard Institute. His work has been exhibited by the California Water Color Society, the Society of Illustrators and the Los Angeles Art Directors Club.

Judges of the competition were the Citizens' Stamp Advisory Committee, a 12-man group of experts in history, art, philately, and printing processes, who assist Postmaster General J. Edward Day in selecting designs and subject matter of new stamps .

0

The PROGRESS

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Folio Medium Extended has a new look, courtesy of Joseph Armallino, director of typography for BBDO. Bauer Alphabets Inc. cast the Lower Case characters a e m n r the same height as the Cap characters. When using these Lower Case letters in combination with the regular Caps, they make a fresh and modern typographical picture.

These special Lower Case characters are available in all sizes from 18 point up.

CA, Jan/ Feb '63

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They know that its quality is dependable-always the same, always the best.

For magic results try Bainbridge # 801

Mailed crumpled up in a plain envelope, this change of address announcement for the Dale Healy Studios produced some unexpected results. The studio received : a) $1,000,000 in bogus currency. b) A check for one million clams. c) Several antique coins. d) An in-the-flesh call from two bona fide FBI investigators.

Art directors were Lloyd Chase and Roger Kennedy.

The agency, West Associates of Los Angeles.

0

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II IIIII A recent letter from a subscriber voices a plaintive plea for help. He says, ~~several years ago I purchased a remarkably useful device called the Typographer . .. a slipstick type of gadget. Several weeks ago I tried to buy a new one and addressed my order to the name and address printed on the original." The firm has moved, left no address, and the only clue available is the notation on the rule, ((Patent pending, CR 1952, William L. Braun."

The subscriber goes on to say, ~~one of the great virtues of the device is that the reverse side of the slide carries complete instructions on the use of the device in deriving index numbers for any type face, while ·the reverse side of the sleeve lists the appropriate index number for about 130 of the best known type faces from six point to twenty-four point sizes."

Anyone know where the rule can be obtained?

CA, Jan/ F eb '63

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CA, Jan/Feb '69

Referring to Gollin, Bright & Zolotow as a <<new" or «up-and-coming" group seems a little incongruous, even though the organization was just formed in 1961. Each of the principals had previously achieved a notable individual recognition. This is particularly evident in the exhibitions where they have had voluminous representation (and faced staggering annual budgets for hanging fees). It has been a valuable asset in getting their names known, but there are times when it also could be a liability. Gifted as they are with a great sense of humor and a flair for the exciting idea, all three have seen a predominance of this type of entry consistently make the shows. This could belie the strong analytical attitude and solid planning they can and do bring to bear on their clients' problems.

T31110M 30UAJ8 2TV.3MOM ~ 2lli02A32 f.A:.J!I2'JM. '{Ti'! 08 2:-J.EIOi'!A 20.1 >lS ·~ 1101<'211/.0A ·~ 'TG'J\YJA H()'JORHT ~I 3V.'Jl

Graphic design is the primary product of the group, but it has opened the doors to some highly complex projects that have ranged as far as 28 designs for store facades in a shopping center. Busy typewriters, motion picture projectors and rolls of blueprints have often dominated the art tables in their rambling quarters on LaCienega Boulevard in Los Angeles.

The present form of GBZ is a corporation owned by the three principals.

This is actually the last step in a chain of three. Initially, the three designers shared offices merely to dispel loneliness and cut down the overhead. Soon they found themselves meddling in each others work. This meddling was then dignified by the meddlers charging each other fees. Step two was the formation of a partnership operating under the arbitrary name of «The Desig Group." In deference to traditional incentive systems, a commission was pai1 to whomever brought the work into the shop. This arrangement worked for a short while until it became impossible to determine whether work had been attracted by the individual or by the collective power of the group.

All three feel that the present relationship offers more satisfaction and each has increased his individual earning power.

Norm GoUin was born in New York City and migrated to California.

He studied at Chouinard Art Institute and at the Art Center. In the early post-war period, he studied at the Academie Julian in Paris, the Conservatory of Music and Art in Fontainbleau and free-lanced to French advertising agencies. Returning to the U.S., he founded his own company, Norman Gollin, Design. His work has appeared in every major show and has been reproduced in Gebrauchsgraphik, Graphis, Graphis Annual, CA, Modern Publicity and the Packaging Annual.

Keith Bright, youngest member of the group was born in San Francisco and educated at UCLA. After a brief apprenticeship in a design studio, he launched a free-lance practice in 1956. One of his clients, Economy Lithograph, led to a deep interest and involvement in printing that was eventually culminated by the installation of a private press in his garage.

In 1960 he achieved dramatic prominence with 13 certificates and two awards in the Los Angeles (Western) exhibition.

Milton Zolotow was born in New York City. He studied at the Art Students League of New York, the Design Laboratory, the Cavanaugh School of Lettering, and at the Escuela de Pintura y Escultura Mexico. He apprenticed in a New York studio and worked for a short time under Paul Rand at the William H. Weintraub Co. His interests turning to easel painting and print · making, he left commercial graphics for a period that included a two year stay in Mexico. Moving to Los Angeles, he returned to advertising as an art director for Atherton, Mogge, Privett and was later represented by Fred Kopp Inc. His work has won awards in both the Los Angeles and the New York shows.

CA. Jan/ F eb '63

31

stamp out bare leet! buy llenKamp's shoes 32

The painted board above is one of a series that parodied the GallenKamp Shoe Stores' long-time slogan "More miles to a GallenKamp." The lower board was a new idea that became a radio spot campaign and later picked up visual images as it moved to TV and in-store promotions with buttons and banners. Illustration by Chris Jenkyns.

Other GBZ projects on this account include the packaging and posters for Matisse, GallenKamp's nylon stockings.

CA , Jan/ Feb '68

Samples from a series of catalog sheets for Waste King. This ''first use'' on these dealer sheets of the tie-in between stoves and beautiful food illustrations soon set a pattern for the industry. Dale Healy was the photographer.

GBZ also supervised 3-dimensional displays of this material and consult on other Waste King graphic problems.

33

CA, Jan/ F eb '63

~OLLIN, BRIGHT

& ZOLOTOW

34

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" Broad Spectrum" is the name of a new publication for Simpson Lee Paper Co . promoting their line of " Broad Spectrum " papers. Taking their lead from the name, GBZ plans to cover a broad spectrum of human activity. Each issue will vary in idea and format, will contain some new adventure in printing technique . The first issue was a notebook on a relaxing day at the beach .

It featured facsimilated polaroid shots taken by the visitor and his ' 'd iscoveries, '' shells and bits of intriguing debris. The printing would challenge the imagination of the most seasoned production man. Two coats of wh ite ink were printed on the pale blue stock . Over this, the shells, etc. were reproduced in brown and black duotones, the brown in 150-line screen and the black in a 300-li ne screen. A fifth impression , blue, was made fo r the lines of the notebook. Roger Marshutz was the photographer. The second issue, just being released suggests, " feel the paper," is a collection of flip books ·of classic silent movie scenes. The subject of the th ird is the Wild West with paintings of notorious characters such as Billy, shown at right, reproduced in techniques that will suggest ancient photographic prints.

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Around Academy Award time , the campaigning gets pretty th ick in Variety and the Hollywood Reporter. For years, Rita Moreno had been presented only in slick fan photos. GBZ chose to reveal her as a dramatic actress by having Dale Healy photograph her under dramatic conditions . Glenn Otto shot the Ersatz ad . Both clients walked off with Oscars.

-

CA. Jan/ Feb '68

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35

ja!

" erailtJ" the sub1titut1~ il deU~hUuJ cartoon ntbJect to be shown to Yotlng mC'ntbers only Ac01demy Award Tht!.ure Sunday C'¥1!nln~e, F'ehruary 1S, •••z a Heru · Uon Internation a l presentathut

CA, Jan/Feb '63

What's down under the tea? Hostile

with the stars can penetrate lesa than

acoustics, currents, presauret, sea floor

tubmarinet? New food sources? Bio-

100 feet of itt depth.

contours. New undersea propultion

logical wondert like the archaic coela-

Westinghouse

scientists are among those working to

methods under investigation at West-

In many ways, we know

unravel the aea't mytteriet. A new

inghouseinvolvefuelcells,thermoelec-

more about the turface of the moon

Westinghouse depth gauge gives under-

tric generators, thermionic converters,

thanwedoabouttheaeaaroundut.The

canth fish?

sea navigators up to five times the ac-

cryogenic propellants. Strange words ,

teaguardsitstecretsindarkneaa,with

curacy at five times previous depths,

str•ngeworld.Youcanbeaure ... ifit's

presauresthatcrush steel like an egg-

Westinghouse isperfectingnewpreci-

shell. Radiowaveathat put us in touch

sian instrumentsforme.. uring salinity,

Westinghouse

Coming February 1 Accident Insurance for Students of L. A. City Schools!

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Occidental Life ·--·~·

LOS .ANqELE.S LITHO CLU1l

: CA, Jan/ Feb '69

Left: Westinghouse ad for Ketchum, Macleod & Grove was painted on a real jigsaw puzzle.

Occidental Life Insurance ad for Fuller & Smith & Ross announces a new insurance plan for school students. Glenn Otto photographed the apple.

Pre-distribution poster for the movie "Young Man," produced by Jerry Wald.

Cover for the Los Angeles Litho Club publication , photograph by Peter James Samerjan .

Right: comprehensive from a current packaging study GBZ are conducting for a fashionable bakery contemplating expansion into a chain .

Trademark for the Hillside Press.

Two spreads from a brochure for a real estate developer, part of a program that included signs , ads and all promotion materials.

II II The students in tM locally controlled Palos Verdes Pmlnsula Unil'i~ School District consistently pl.1ce far above aver~ ase In n~~tiorwl tats ... clur proof th•t

the quality of curriculum and faculty on •

the Peninsula are second to none. Con-

@

Bec•u,. of Its rkh history, """" tod•y

~:,:~~r:: ~: ::;:.1.~:1~::':::~:~ munity activitin. RtprtHnttd are tn.tny faitht In quiet picturrsqut mvirorunents.

Of p&rticulu note 1s the populAr Way·

stantly e:xpandins and improving, the School District hu just

fuer's ChApe:l known as the "Gins Church" whkh is euily

completed a nst nrw hi&h school plant just flvt minutts from P.a.los V~es Monaco. Of equal note are the KVtul priv,ate and parochial schools In the vicinity, among th~ the Chad· wick School and the new M.uymont CoJiqe c.ampus. School

and plantings thAt surround thtse plactS of worship have done much to further the Mediterranean atmosph~t. Their lush frowth is chuu1eristk: of tht aftil where a sarckntt'S bi&&tst

bus Hr'Yia to both public and priv1tt tchools Is readily

problem is prunin.a;.

avail•ble. Proof of the academic climate iJ the selection, aft~ careful survey, of the penlnsala for the home of the Palos

Vtrdes Rae:arch Puk, <41.0 acres of beautifully landsaped, umpus· like facilities which will provide ide•l workln& and studyins condHionJ for the greatnt Kitn.tiflc and creative t«.hnic.tl personnel in tocby'• industry.

CA. Jan/Feb '69

recogniubl.e from Palos Verde Mon•co. The uchitecturt

'

GOLLIN, BRIGHT & ZOLOTOW

Opening in the latter part of March

ii> THE BEVERLY RODEO HOTEL ii> Beverly Hills' newest & most elegant.

ii> Featuring the CHEZ VOLTAIRE ii> intimate restaurant & cocktail lounge 360 North Rodeo Drive, Beverly Hills Telephone : CRestview 3·0300

A few of the projects executed in the graphic design program for the Beverly Rodeo Hotel. These began with the decoration of the barricade around the site and included everything from keys to the rooms and rugs for the lobby to ads and menus for the restaurant.

H

A painted board for Sunset House. When this direct mail company opened retail outlets in Los Angeles, GBZ were retained for all areas of design including ads, boards, signing and interior design including display cases.

T

E XTRA ETHING SUNSET HOUSE 9383 WILSHIRE BEVERLY HILLS

CA, J an/Feb '68

Advertising is the voice of free choice!

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Advertising is the voice of free choice!

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39

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Above: two ads from a national campaign to improve the image of advertising. Their conception and execution of these ads was complimentary. The glory, too, was limited. Somewhere between assembly and engravings, their credit line disappeared.

Two trade direct mail pieces from an advertising program for Miss Pat, Southern California dress manufacturer.

CA, Jan/Feb '63

ILLUSTRATORS '63

GOLD MEDAL Institutional Illustration Artist: Ray Prohaska Art Director: Stevan Dohanos Client: Lezius-Hiles Company

GOLD MEDAL Unpublished Illustration Artist: Birney Lettick

CA, J an/Feb '68

CA, Jan/ Feb '63

ILLUSTRATORS '63

42

It goes without saying that any chairman of an exhibition will and should feel proud of the show once it is hung.

This chairman is no exception. He speaks for the membership of the Society of Illustrators when reviewing the outstanding accomplishments of illustrators during the past year.

Many viewing this fifth annual exhibition will be surprised to see not only exciting use of color, but an inventive and imaginative show. Others visiting the exhibition will not be surprised but rather will have anticipated the direction in which illustration is moving. Students of the past exhibitions couldn't help but conclude that clients are permitting and encouraging ((highly personal" statements. The groundwork for this renaissance in American art and design was established by outstanding artists encouraged to work for advertising and editorial clients by alert art directors. The great success of the application of the ((personal statement" to the needs of the market place gave impetus to others. Interestingly enough, while some of us have witnessed this transition, many of those exhibiting are unaware of the past problems and obstacles with which illustrators were confronted.

The days of the ((hard sell artist" as compared with the showing of the ((subjective artist" appear to be numbered. One can draw his own conclusions. Perhaps photography can be thanked for compelling the artists of the moment to be artists rather than camera lucidas. If it be true that clients are truly grateful for this new and fresh approach, we will be seeing less and less of the ((slick" and more and more of the ((personal." One might comment that much of the work shown -that is, the assigned work, is handsome in its own right and hangs with a dignity once identified with easel painting. I merely excluded the mention of unpublished because much of it is easel type art.

Illustrators '63 is the definitive exhibition and presentation of American illustration today. The exhibition is a showcase of outstanding examples of published and unpublished illustration. The jurors selected 307 exhibits from the largest number of submissions yet received. The total number selected fell short of a possible quota of 350 as the jurors exercised their discriminating tastes of selection to insure an exciting show. The chairman extends thanks to them for their sincere effort while sending regrets to those failing to have their work accepted.

The jurors represented virtually every phase of illustration, design and art direction. Few exhibitions can boast of a panel as distinguished and qualified as the men and women who spent countless hours judging. Without attempting to second-guess their selections, or attempting to speak for them, many fine works failed the test for no apparent reason. In the opinion of the writer, one of the finest groups of editorial art created during the past year failed to make the show. While this hasn't been discussed with the jurors, it may be clear to those with experience in matters of this kind that individually jurors may express a distinct liking for a particular work only to abandon it when reviewing the same work in a body. Then there are those who can recall exhibits that fail to make one show yet go on to win prizes in another.

The judges are certainly entitled to their opinions as reported. The complaint that ((everybody who should have been there wasn't," is hardly fair to those taking the time, trouble and effort to submit their work. An exhibition of this scope required that the. work be created during the past year.

Illustrators '63 contains a great deal of work reflecting the assignments made by clients with broad and sophisticated taste thus allowing the illustrator wide latitude.

The conflict between those working with clients whose needs are more restrictive than the foregoing is easy to understand. The established craftsman with long years of apprenticeship is inevitably the one assigned problems requiring a responsible and disciplined practitioner. The very nature of expensive space and the commitment of other tie-ins demanding dependable sales results will tend to curb experimental directions. It is easy to recall ((names" identified with consistent performance in the pages of our leading publications. It's not so easy to unequivocally assert that the work contains the same qualities of interest, freshness, and imagination exercised by artists addressing themselves to album covers, book jackets, etc. The advertising illustrator can learn a great deal from this exhibition.

He can readily see that his own associates acting in a body censure that work failing to explore and/ or invent.

Sincerity may be an overworked word-it somehow best describes what many sense and feel when looking at the work selected for Illustrators '63.

George Samerjan, exhibition chairman

CA, Jan/ Feb '63

(a)

(b)

(c)

43

(d)

(e)

(a)

(b)

(c)

(d)

(e)

UNPUBLISHED JURY Dione Guffey Jack Leonard AI bert Dorne Jack Tinker Howard Munce

ADVERTISING JURY Anthony Lasala George Porter Dean Ellis Robert McCall John Jamison

EDITORIAL JURY Joe Bowler John Gannam Kenneth Sneider Suren Ermoyan Bob Peak

BOOK JURY Hardie Gramatky Robert Cheney Gyo Fujikawa Harry Carter Lorraine Fox

INSTITUTIONAL JUR1 Roy Tillotson Norman Kent Henry Koehler Bradbury Thompson John Moodie

CA, Jan / F eb '63

44

GOLD MEDAL Book Illustration Title; The llliad of Homer Artist: Leonard Baskin Publisher: University of Chicago Pres!i

CA, Jan/Feb '63

45

GOLD MEDAL Advertising Illustration Artist: Peter Max Art Director: Kenneth R. Deardorff Client: Riverside Records

CA. Jan/Feb '68

ILLUSTRATORS '63

Philadelphia

. . lt'lflt'l.-.:ll n=l L~O,D!AIIC;f/J (1)

(3)

CA , Jan/F eb '63

(5)

(4)

AWARDS OF EXCELLENCE

(1)

Advertising Artist: Paula Powers Art Director: Merle Shore Client: Reprise Record Company

(2)

Advertising Artist/ Art Director: David Klein Client: Trans World Airlines

(3)

Institutional Artist: Arthur Shilstone Art Director: David Watt Client: Allstate Insurance Companies

(4)

Advertising Artist/ Art Director: Milton Glaser Client: Riverside Records

(5)

Advertising Artist: John Gundelfinger Art Director: Mike Germakian Client: Bankers Trust Company

(6)

(6)

Institutional Artist: David Blossom Publication: Pontiac Safari Magazine

CA, J an/ Feb '69

ILLUSTRATORS '63

48

(1)

(3)

·(2)

HOLIDAY

CA, Jan/Feb '68

(5)

(6)

(4)

49

AWARDS OF EXCELLENCE Editorial Artist: Robert Andrew Parker Art Director: Richard Gangel Publication: Sports Illustrated Editorial Artist: Austin Briggs Art Director: Richard Gangel Publication: Sports Illustrated Editorial Artist: George Guisti Art Director: Frank Zachary Publication: Holiday Editorial Artist: Andre Francois Art Director: Frank Zachary Publication: Holiday Editorial Artist: Bernie Fuchs Art Director: William Cadge Publication: Redbook Magazine Editorial Artist: Harvey Schmidt Art Director: Robert Benton Publication: Esquire

CA, Jan/Feb '69

ILLUSTRATORS '63

50

(1)

(2)

(3)

CA, Jan/ Feb '63

(4)

(5)

(6) AWARDS OF EXCELLENCE (1)

Editorial Artist: Tom Allen Art Director: Richard Gangel Publication: Sports Illustrated

(2)

Book Title: The Aeneid for Boys and Girls Artist: Eugene Karlin Art Director: Hilda Scott Publisher: Macmillan Company

(3)

Unpublished Artist: Robert Cunningham

(4)

Book Title: Books!

Artist: John Alcorn Art Director: Frank Metz Publisher: Simon & Shuster, Inc.

(5)

Unpublished Artist: Bill Shields

(6)

Book Title: The Immense Journey Artist: Seymour Chwast Art Director: Edward A. Hamilton Publisher: Time Inc. ; Book Division

CA, Jan/ F eb '68

THE MAKING OF AN ART DIRECTOR For nearly ten years now, Allen Hurlburt has quietly, but persuasively, given the Hurlburt look to LOOK. Originally he came to LOOK Magazine as the promotional art director. This was in 1952. A year later, he was named editorial art director and a member of the editorial board.

In April, 1962, he was elected a vice-president of Cowles

52

OF LOOK

important to LOOK's phenomenal growth. During this period, the circulation has more than doubled; the advertising revenue has nearly quadrupled.

In Bridgeport, Connecticut high school Allen Hurlburt decided that he wanted to be an art director. It was not a popular decision in his home. Though he now has been an art director for 25 years, Hurlburt confesses that he was never completely successful in describing the nature of his work to his New England family. ((Phrases like graphic design and visual communication held little meaning for my father, and he was never completely convinced of the legitimacy of my profession, conceding only that probably (it was better than stealing.'"

When he approached his decision on art education he considered the possible avenues carefully. Finally, he decided that he wanted a college education, and he enrolled at the University of Pennsylvania. His major was marketing and he graduated with a degree of Bachelor of Science in Economics from the Wharton School. He was conscious of his lack of specialized art training, and he has compensated for it with a continuing process of selfeducation. At the University he took courses in art history, life drawing, mechanical drawing and architectural rendering, supplementing it then and since with study and night classes when possible.

At the low point of the depression when he was graduated, Hurlburt had to surmount the usual difficulties

CA, Jan/ Feb '69

in gaining a foothold. He drew cartoons for Judge and Colliers, studied Gebrauchsgraphik and classic literature at the public library. Then an ad in The New York Times led to a job with the Robbins Publishing Company at $16 a week. Less than a year later, when the art director left, he found himself art director of six business publications.

Fred Kendall, editor of one of the magazines, the highly respected Advertising and Selling, recalls young Hurlburt as «quiet, modest, but brilliant-with a terrific sense of design."

Another of the magazines, The American Printer edited by Lawrence Siegfried, offered Hurlburt an unusual educational opportunity. It was their practice to publish each feature in a different type face. In each issue he would be working with a dozen faces, with different measures and different leading.

«I learned a lot in this period," recalls Hurlburt, «I also got some bad typography out of my system." Apparently some of his work was very good because it was in this publication that he received his first recognition from Europe and the Art Directors Club of New York.

In 1940, George Benneyan, who was then head of the Bureau of Advertising, ANPA, offered Allen a job as art director of the Bureau. This began an association and a personal friendship that proved to be a decisive influence in his career. At a later point, it was Benneyan who brought Hurlburt to LOOK as promotional art director.

Hurlburt was drafted by the Army in 1943, and served three years with the 42nd (Rainbow) Infantry Division.

He worked up to master sergeant, then received a battlefield commission and the Bronze Star in France in 1944.

He was in Munich when the war ended and spent the following year in the Army of Occupation. This provided still another opportunity to continue the learning process.

In Vienna, he made weekly visits to the Kunsthistorisches Museum and its magnificent collection of Brueghel paintings. He also managed occasional trips to the Louvre, Uffizi and Bibliotheque Nationale. This extension of his art education helped to prepare him for decisions on art features that he was to make a decade later at LOOK. In 1946, out of the Army, he was again on the prowl for a drawing board when Charles Hammond, a former associate at the Bureau, offered him a job as art director of NBC. Hurlburt accepted. ln five years at NBC he produced some exciting work that brought him wide recognition and numerous awards.

Among them were two medals for advertising design from the New York Art Directors Club.

James Nelson, who succeeded Hammond as promotion director at ANPA, remembers that ((Hurlburt brought style and flair to NBC ... those were the days when we were trading punches with CBS, backed by a million and a half dollar budget."

ALLEN HURLBURT

54

In 1951, he left NBC to take the job of administrative art director under Paul Rand at the William Weintraub advertising agency.

Hurlburt credits three artists with having had a major influence on his work. They are Paul Rand, Stuart Davis under whom he studied at the New School, and Alexey Brodovitch whom he met only a few years ago, but whose work Hurlburt had followed from Arts et Metier Graphie in Europe to the present. He considers Brodovitch the finest magazine art director of our time.

Though the influence of Davis and Rand may not be easily discernible in his style, Hurlburt credits them with upsetting his preconceived attitudes toward form and color and guiding him toward a free and positive use of space.

He explains it this way. ((Davis used to throw seemingly unrelated chunks of orange (a color I despised) into my well ordered designs, forcing me to seek new directions and new solutions. For me the influence of Paul Rand was not his style but his uncompromising search for perfection in design and clarity in expression."

The LOOK of today bears little resemblance to the LOOK of ten years ago; but the magazine has never undergone a revamping with sweeping format changes.

In 1954 Hurlburt explained ((I decided that the best line of improvement and the best way to meet the changing visual climate in which we operate was to set up a program of gradual and continuous change. Any issue of LOOK will differ only slightly from the issue before it; but on a year to year comparison the changes will be of considerable significance."

The Hurlburt strategy of change and improvement has its source in two oversized drawers in his filing cabinet labeled ((Experimental-covers" and ((Experimentalformat." He always takes great satisfaction when an article or a series conceived in the experimental category becomes the format of a published feature of the magazine.

Some of the material in these files is suggestions for specific but unplanned editorial features; but the balance of it is more truly experimental. It includes photographic

concepts that he has held in abeyance, or that the editorial board has decided is not right for the time.

The files also include some format ideas that might well prove to be a preview of the LOOK of the future.

The content ranges as far as a whole new conception of a magazine cover that is perhaps seven years away when changing production economics and facilities could make it feasible.

A major function of the LOOK editorial board is to meet periodically with Gardner Cowles, known also as ((Mike," to preview a new issue. This occursa pproximately two months before publication date. Full size comprehensive layouts for the entire issue are placed in a wall rack that circles the room. Each page is color coded to indicate how it will fall in the signature pattern of the magazine and on what type of press equipment it will be reproduced.

The total concept of the issue is given a critical evaluation that may result in minor changes or could cause sweeping revisions. Once the format of an issue is approved, however, only minor changes are allowed to occur up to two weeks before publication. Such changes or substitutions of articles must conform to the approved structure of the issue.

With the possible exception of Gardner Cowles, Publisher and Editor of LOOK, there is no person on the staff in a better position to evaluate Hurlburt's work than Daniel D. Mich, the Editorial Director, whose name immediately follows that of Mr. Cowles on the masthead. ((I inherited Allen," Mich says, ((when I returned to

LOOK in January, 1954 after a stretch of three and one half years at McCall's. I hadn't hired him, but just the same I thank God for him. ((In my opinion, he's the best in the business. Not only is he a fine art director but he has exceptional sense of design. Equally important, he has great editorial sense also-he reads a piece before he starts to lay it out. ((His design aids in carrying out the idea of the text, rather than getting in its way. Because he has an appre-

CA, Jan/Feb '63

These Look layouts show the range of material that a magazine art director must cope with. Contrast of color, size, shape and mood are used to enhance the effect of the editorial idea.

HANS CHRISTIAN ANDERSEN Thnfngh~rDtdiKrl<'mbl)'l.nd•>nnlt'd l<ldrm•oltlhtftJ~.b."rhc-yR•d r~tt \hc\Oft'otthM...,d,.lull-,butl~

,htor-h:..Jarownfutrohnf~So<>f•tw: ~.~ndoKWMdro~,O'Itf

ftrld• W1d lnnlklw1., 11> nm and _,elllt", bflbymdb)n,Pr

Shr&.ccdm10the:

"f'C'I rhurthv~rd, but dlt 4nd dod noc jOPth.tr.Uocr lihr,.wantnJri~ial>dlllJ clw~mk-Fwh~~~:roba•ndwonl'wh~h t('a<;n..df~nrhulhoulokr,rolhtsrOIInd

HufiCl'W"l'Sta~lfldlrcm,.mdin

Mllmdhthddabnw!Uid\hmanatword.

'Dmtty<)U,holl'''wowilw "You r.han d:..n«on}'OUI'mltrhoriuli)'O'I.,..Pikand culd .YouWit~&ofl!"'rndooc".laDdw~yoofindproud, "uncb,ldrro . . "~.hoaklfe hrrrhrouJhihc.sant~nltllhef~~:lds,

~nJ CM:Trwdw•flo""d path..

On ar.d

I:'Wl'QIIIbtd~ll«d O~onctWui<Ul,

("(1'1~&htlwd.or kn>ch~

CA, Jan/ F eb '63

1940: Magazine cover for a journal of the printing arts.

1942: Cover design in three colors for a promotion book for newspapers prepared for the Bureau of Advertising.

ciation of the power of words, he adds power to a piece through his design.

«In his ten years with LOOK he and his work have matured. He has grown with the magazine, and in turn he has helped it to grow."

Hurlburt, for his part, has deep respect for the editorial side. He believes that good art direction can be achieved only by working with a good editor. His association with Mich, whom he considers to be a great editor, has been one of the most important factors, he feels, in his career at LOOK. In 1952, with a circulation of 3,280,548 LOOK was third after Life and the Saturday Evening Post. LOOK's advertising revenue was $20,911,000. In 1962 advertising revenue had climbed to $76,122,000, and LOOK's circulation is now «in excess of 7,300,000."

Hurlburt was awarded the New York Art Directors Club Medal for editorial design in the exhibitions of 1955, 1961 and 1962, and numerous Awards of Distinctive Merit. In addition, he has received awards from the AlGA, the Type Directors, CA-61 and CA-62. His work has been published in Graphis, Graphis Annual and exhibited here and abroad.

Inevitably Hurlburt, the art director, finds himself facing mounting pressures from Hurlburt, the administrator of the art department. He partially solves the problem by shoving the bulk of the administrative work into his attache case to deal with on the train trip to and from his home in New Canaan, Connecticut.

«Perhaps," he says, «the wisest thing I did when I moved into my office was to have the desk moved out."

The furnishings now consist of a large drawing board, an oversize taboret, a long stand-up-height counter and lots of storage space for layouts and books.

«My administrative work is handled standing up. My creative time is divided between sitting at the drawing board, working on the floor, and standing up to face the inevitable and invaluable debates with writers and editors.

«I have an unusually talented staff of designers: associate art directors Charles Crandall and Verne Noll, assistant art directors Philip Sykes and Joseph Tarallo, and an able administration under art department manager Bill Townsend and quality control director Bill Rosivach.

«This art department could run itself, but to maintain LOOK 's personality and its singleness of purpose I try to take over three or four issues each year and do the complete cover-to-cover layout. In this way identity is maintained and each of these issues is planned as a turning point for our program of continuous change and improvement.

Explaining his philosophy of art direction, Hurlburt says: «A magazine is as personal a line of communication as a conversation. No matter how large the audience is, the significant exchange takes place when a single reader picks up his copy. This personal attitude grows out of human understanding, experience, and intuitive judgments of its editor, and it is the duty of an art director to comprehend and project this personality."

Next to the art direction of LOOK, his great interest is book design. Hurlburt finds it a natural transition to go from one to the other.

CA, Jan/Feb '69

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1949: Cover design from an NBC promotion book with three color illustrations by Joseph Low.

1946: A direct mail folder from a medal winning campaign for the National Broadcasting Co. Artist: Joe Kaufman.

1950: Cover and title page fo ( a booklet commemorating a Toscanini concert performance. Relieffigures rendered by Fred Chance.

First network television identification designed for on-the-air use in 1947.

1951: Cover for a promotion booklet for Look Magazine with drawings by Jerome Snyder.

ALLEN HURLBURT

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58

He was the art editor and designer of "The Story Behind the Painting" published by Cowles. It was produced by the editors of LOOK, with text by Leo Rosten.

Doubleday & Company, Inc. were the distributors to the book trade.

Another Hurlburt-designed book, "The Stars," was published by the Dial Press. Written by Richard Schickel with whom Allen had collaborated on articles for LOOK, the book received excellent reviews. The N ew York Times reviewer singled out the design of the book for special commendation . Hurlburt s approach in this was to treat the old photographs of Hollywood stars as though they were current photos, with all the modern effects achieved by cropping, enlargement and focus.

Despite his degree in economics, Hurlburt admits that his spelling is not too good and he has trouble in keeping track of dates. Preoccupation with his work often blots out matters of lesser consideration. Two women make it their concern to see that Hurlburt receives such gentle reminders as may be necessary for his efficient functioning within a complex business and social world.

One of the two is Leemarie Burrows, Hurlburt's assistant, who has been with him at LOOK continuously from the time he was named editorial art director. Lee was trained in business as executive secretary to the president of Fairchild Camera and Instrument Corporation.

With a background in art, photography and social work, she runs the office operation with brisk efficiency. After ten years of day to day association, she is still a staunch admirer of Hurlburt's talents.

"He has all the qualifications for an art director," she says. "He is highly creative and a marvelous designer.

And he is a fine business executive as well, with a great understanding of people.

"Allen's office is the eye of the editorial needle through which editors, staff writers, photographers and illustrators pass. there are frequent briefings of non-editorial per0

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sonnel ... numerous requests for articles and lectures ... the museum directors and gallery owners who want their exhibitions covered. Sometimes the demands are so great that I feel as though I were working the information desk at Grand C ntral.

"In addition to his work as art director, he gets involved with editorial matters. LOOK has no art editor as such, so Allen masterminds anything that has to do with fine art- selecting the works of art to be illustrated, working with the writer and supervising the captions."

Hurlburt's other mentor is his wife. He becomes so engrossed in thought over his work that she has established a wallet-and-watch check-up and a top-to-toe inspection before allowing him to leave the house for the railroad station.

It was during his short stint at the Weintraub agency that Hurlburt met Regina Rowe. They were married in May, 1953 after Allen had transferred to LOOK. Mrs. Hurlburt continued her work at the agency for about a year after their marriage and then decided that commuting and housekeeping didn't mix. The Hurlburts, with their three year old daughter Susan, live i:n a contemporary fieldstone and glass house in New Canaan which they designed together with the architect, Roy Binkley.

Regina tells a story on Allen and herself that happened early in their marriage. She was going home from New York and she met Allen at the train gate. Because of the crowd, they had to find seats in adjoining cars. At Stamford, true to form, Hurlburt snapped his attache case shut, jumped in the car parked at the station and headed for home. As he drove into his driveway, he had a feeling that something was missing.

Meanwhile, back at the station, Mrs. Hurlburt with only 17c in he~ pocket, waited on the platform, serene in her conviction that once Allen stopped thinking about his work, he would return to pick her up. Finally, the family car rolled up. Allen leaned out the window and called: "Hi, Kid! What's new?"

CA, Jan/Feb '63

~HUR~UILL ~P.SNO\l These designs demonstrate the simple clarity that is characteristic of Allen Hurlburt's format for Look.

The effect of the layout is drawn from the inherent strength of the material and the results are often disarmingly simple.

In two current books Hurlburt has applied a modern visual approach to material often approached with too much tradition.

CA. Jan/ F eb '63

No. l in • .. , , .. of Klenc.e -llctlon orl1lnats c.ruttdupruslyforHoffm•n Electronics Corporation.

We've often wondered how well some of the ads chosen for the exhibitions really pulled. CA followed-up on one from CA -62, an industrial ad campaign for Hoffman Electronics Corporation with

Science fiction advertising Hoffman Electronics Corporation faced a serious problem of an inaccurate corporate image. Hoffman had been a respected name in television receivers and other consumer-oriented products. In 1961, however, they were virtually out of the consumer field and concentrated in advanced industrial and military electronics. Some of their principal areas of activity were communications, navigation, electronic countermeasures, semiconductors, and the conversion of solar energy into electricity.

Their past reputation could almost be considered a liability. To many people who could quickly place the brand name ((Hoffman," the corporate name was strange and unfamiliar. To others, the present interests of the company were overshadowed by an assumed prime interest in consumer manufacturing.

In the late summer of 1961, Hoffman appointed Carson/ Roberts/ Inc. of Los Angeles as their advertising agency.

The account included the advertising programs of the several divisions plus a contemplated corporate institutional campaign aimed at correcting this mistaken image.

The themes generally followed in such programs are case histories or achievements, current research and development, or the availability of personnel and facilities. None of these ((solid"

ITSELFI 112Er~i

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Itself, king of the Phillipine Deepthat awesome canyon where the sea goes down six miles-woke from his recharge period, and looked around suspiciously.

His Alter Ego said, "Well, how is it with Itself today?"

The Alter Ego was a booster, a goader, a stimulant to action, and, in his limited way, a companion.

Itself did not answer. During the sleep period, he had drifted over a ravine, the walls of which dropped steeply another thousand feet. Suspiciously, Itself glared along the canyon rim . . . . Not a visual observation. No light ever penetrated from above into the eternal night here at the deepest bottom of the ocean. Itself perceived the black world, which surrounded him , with high frequency sounds which he broadcast continuously in all directions. like a bat in a pitch d~rk cave, he analyzed the structure of the things in his watery universe by interpreting the returning echoes. And the accompanying emotion of suspicion was a device which impelled Itself to record changing pressures, temperatures and current flows . Unknown to him , what he observed became part of the immense total of data by which computers far away estimated the inter-relationship of ocean and atmosphere, and thus predicted water and air conditions everywhere with uncanny exactness.

approaches seemed to offer the dramatic potential that would be required. Adding to the challenge was the essential recognition that Hoffman's repertory of achievements in many of the areas singled out for future growth had been comparatively sparse and of marginal significance, in themselves, as advertising theme material. The company's capability story fundamentally lay in demonstrated innovation in a handful of very specific areas of somewhat limited scope.

Even many of these, for reasons of military security, could not be related in detail.

A different approach was called for.

Carson/ Roberts came up with science fiction.

Though this later seemed to be an obviously suitable solution to the Hoffman problem, it wasn't arrived at easily.

CA, Jan/Feb '69

Several initial explorations were abandoned as not being potentially strong enough.

Back to the plans board, the Hoffman campaign was reconsidered. No one is certain now who first mentioned science fiction, but everyone reacted to the idea immediately. As they discussed it, their enthusiasm grew. This would not be tales of ((bug-eyed monsters" but the taking of a known fact or theory of today and carrying it as far as the imagination could take it. Each story would be keyed to a different phase of the Hoffman activities.

The relevance of this kind of science :fiction to Hoffman's present business could not be seriously challenged; but how about the readership appeal of science fiction to Hoffman's desired audience? They had always heard that engineers and scientists liked science

His was almost perfect perception .

Clearly and unmistokobly Itself mode out the intruder in the far distonce of that twisting rovine. A ship! Anchored to rock at the very edge of the canyon .

The Alter Ego goaded , " You're not going to let somebody invade your territory, are you?"

Instantly, Itself was furious. He acti· voted the jet mechanism in the underslung belly of his almost solid metal body. In a flash, a nuclear reactor heated the plates of the expansion chamber. The sea water which flowed through the chamber burst into hissing clouds of steam, and he jetted forward like a missile.

Arrived at the ship, Itself attacked the nearest of four anchor lihes with the nuclear-powered heat beam in his head .

When he had severed it , he turned to the second cable, and burned through it.

Then he headed for the third cable.

But the startled beings aboard the alien ship had spotted the twenty-foot monster in the black waters below.

"Analyze its echo pattern!" came the command . That was done, with total skill. " Feed the pattern back through the infinite altering system till the recorders register a response;• The significant response was : Itself forgot what he was doing. He was drifting blankly away, when his Alter Ego goaded, "Wake up I You're not going to let them get away with that, are you?"

The defeat had galvanized Itself to a more intense level of rage. He became multiples more sensitive . Now, he simply tuned out the alien echo copies.

The new greater anger triggered a second weapon. ltselfs echo system of perception, normally monitored to be safe for all living things in the sea ... suddenly strength· ened. It became a supersonic beam . Purposefully, Itself started towards the ship.

Watching his approach, the enemy decided to take no chances. "Pull the remaining anchors in!"

Itself headed straight for the nearest part of the vessel. Instantly, those ultrasonic waves started a rhythmic vibration in the hard wall, weakening it.

The metal groaned under a weight of water that at these depths was thousands of tons a square inch. The outer wall buckled with a metallic screaming.

The inner wall trembled, but held.

At that point, the appalled defenders got a counter-vibration started, nullified the rhythm of ltselfs projections, and were safe.

But it was a sorely wounded ship that now drifted helplessly in a slow current.

The aliens had so far used no energy that might be detected from the surface. But they had come to earth to establish a base for invasion . Their instructions were to

accumulate enough data about underwater currents, to enable them to leove the Deep, and eventually to be able to drift near land, lounch atom bombs, and drift awoy again . For this purpose they were mightily armed, and they refused to die in these black waters without a fight.

"What can we do with that demon?"

"Blast it!" someone urged.

"That's dangerous!" the commander hesitated. " We can't be in greater danger than we olready are:• "True;• said ·the captain, "but frankly I don't know why )le's armed ot oil, and I con't believe he has anything more:• His command when it came held a restriction : "Set up a response system . If he does attack with anything new, it will automotically fire back. We' ll take that much of a chance:· The second setback had driven Itself completely berserk. He aimed his nuclear pellet gun, and fired twice. The next split second a blast from the invader pierced his brain.

The Alter Ego yelled, " You're not going to .let them get away with that, are you?"

But the king of the Phillipine Deep was dead, and could not be goaded .

In due course there came a report to weather headquarters : "Computer Center shows no recent data from Itself. It therefore seems as if another of the war-time antisubmarine water-weather robots has worn out. You may recall that these electronic monsters were programmed to suspicion, anger, and the idea that they owned part of the ocean . After the war we could never get these creatures to surface ; they were too suspicious of us:' The ocean of water, like the ocean of air far above, flowed and rolled and moved, a ceaseless, dynamic, driving motion, many, many times more powerful, however, than any comparable air current. Yet, in essence, the quadrillions of water movements solely and only balanced each ·other out.

Through the Phillipine Deep there began presently to flow an enormous balancing river. It carried the invader vessel in a long, slanting, upward direction . But it wos many weeks before the drifting ship octually broke surface, and another day or so before it was seen.

A navol patrol boarded it, found aliens dead more than a month from concussion , and-after examining the damage- correctly onolyzed what had hoppened. And soA new king "woke'' to the first "day" of his reign , ond heord his Alter Ego say, "Well, Itself, whol's the program?"

Itself glored with a royal suspicion.

HOW SCIENCE FICTION BECOMES SCIENTIFIC FACT We at Hoffman are in the business of converting science fiction into scientific foct. We've been at it for more than 20 years. And, we're still doing what we set out to do from the beginning : innovate and pioneer in new fields and new things.

The underwater area-hydrospace-is a good example . Just 10 years ago nuclear submarines were a· kind of ITSELF. Then , two years ago, the Navy handed us this problem : " We need a wide-range antenna for Polaris subs. It has to be short, retractable and able to take the beating of high underwoter pressures:' Nothing like it had been done before.

We did it. And they tell us it's the most efficient retractable antenna yet developed.

Here's another kind of problem. One we decided to assign ourselves. Ever had a flat on the freeway? Then you know about that awful , helpless feeling .

Our solution to this is something we call the Highway Emergency Call System. It's wireless. You push a button to call for any one of four different kinds of service. A receiver at the other end displays your problem and locotion. sending help on the run. A bank of Hoffman solar energy converter~ keeps the transmitter batteries charged, so maintenance is minimal.

This, then, is the sort of thing we do in military and industrial electronics. We specialize in trying to solve " impossible" problems within the specific areas we know most about : communications, navigation, electronic countermeasures, solid-state devices and solar energy conversion to electricity.

It's a business of converting science fiction to scientific fact.

And, even though we haven't come up with the real ITSELF yet, we have succeeded in producing a simplified pocket model designed to help you make up· your mind when faced with basic, everyday decisions. If you'd like one or our limited run of this unusual device, write Corporate Offices, 3761 South Hill Street , Los Angeles 54, California.

Would you like your own pocktt model of"ltselj"? Su column ut right.

fiction. Was this true in a broad enough sense?

Jim Donovan, a. e. on the Hoffman account, instigated a serious study of this. Research showed that the list of science fiction fans reads like a Who's Who of scientific authority; e.g. the late Albert Einstein and Enrico Fermi, Nobel Prize winner Herman Muller, celebrated rocketeer W ernher von Braun.

Many of the writers of science fiction are themselves well-known scientists who like to stretch their imaginations on paper as a change of pace from their routines in the laboratory. Dr. Isaac Asimov, Boston biochemist, Dr. R. S. Richardson, solar specialist at Mount Wilson Observatory, and Dr. John R. Pierce, head of electronic research at Bell Laboratory, are a few.

Science fiction appeals mainly to

readers of high literacy and I. Q. 85% of the readers of Analog, leading science fiction monthly, have a college education. An astounding 40% have completed graduate school. In terms of occupationby-industry, the No. 1 category among Analog readers is uAircraft, Missiles, Rockets and Propulsion." This is followed by uElectronics," uResearch and Development," ucomputers and Control Systems" and uNuclear and Atomic Energy" in that order.

This was exactly the audience they wished to reach. Their conclusion had to be that the concept of associating Hoffman with the ultimate in advanced electronics via science fiction would create the image they sought to project.

Furthermore, this could be advertising with an individual personality for Hoffman and so distinctive that it could be nearly imitation-proof.

CA. Jan/Feb '69

Carson/Roberts began working up their presentation of the campaign to Hoffman by searching through anthologies of science fiction to find an appropriate sample story. Besides being related to an area of Hoffman's activity, it would have to be in the general range of 1200. to 1400 words.

They drew a blank. A story would have to be created.

Their first contacts with science fiction writers spotlighted the problems they would face. A story that short in length would not be an easy one to write. It was a parallel situation to the anecdote of u I wrote a long letter because I didn't have time to write a short one." Also each writer would have to be very well informed in the chosen field that would relate to an area of Hoffman experience. They could not afford to offer a story based on a doubtful scientific premise. This campaign would necessitate a most careful selection from among the best writers.

They arranged a meeting with A. E. Van Vogt, one of the most respected of the science fiction writers. He felt that the length would not present too serious a problem and he assured them that he had done a considerable amount of research in underwater detection, the chosen theme for the pilot story. So valid were his assurances that Dr. Lloyd T. DeVore, the head of Hoffman research who later checked this and each of the succeeding manuscripts for scientific accuracy, did not question one word or idea expressed in the story.

They decided that the campaign would best be presented to Hoffman management in.a form as close as possible to the final appearance of a printed ad. Confident of the validity of their approach, Donovan ordered the pilot ad put into production.

Designer Vance Jonson developed a layout that he felt would attract attention and be flexible enough to be easily adapted to future stories of possibly varying length. He selected Chuck Wysocki to illustrate the story. Type was set. The art and mechanical were put through camera and a set of 3M color

SCIENCE FICTION

MY ON.IHE PHYSI IST!

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back. ''Your mother'!" "Yes:· "Should she be here?"

"Right now, no. but I'll vouch for her.

She can't even read a thermometer so nothing of this will mean anythina to her. Now look. General. They're on Pluto. You sec'! They arc . The radio sianals can't be of natural origin so they must originate from human beinas. from our men . You'll have to accept that. Of all the expedition we've sent out beyond the planetoid belt, one turns out to have made it. And they've reached Pluto:· "Yes. I understand what you're saying, but i n't 11 impossible just the same? The men who arc on Pluto now were launched four years ago with equipment that could not have kept them ahve more than a year. That is my understanding. They were aimed at Ganymede and seem to have gone eiaht times the proper di lance:· " Exactly. And we've aot to know how ctnd why. They may - - - just - --have

- - - had -- -help:·

by ISAAC ASIMOV Her hair was a light apple-green in color. very subdued. very old-fashioned. You could sec she had a delicate hand wit h the dye. the way they did thirty yean ago, before the streaks and stipples came mto fashion .

She had a sweet smile on her face, too, and a calm look that made something serene out of elderliness.

And. by comparison. it made M>me· thina shriekma out of the confu.s•on that enfolded her in the hua:e government building.

A girl passed her at a half-run, stopped

" What kind':' How:"' Crcmona clenched his jaws for a moment a s thouah praying inwardly .

"General:· he said, "I'm puttina myself out on a limb but it is just bare ly possible non -humans are involved. Extra-terre trials. We'vegottofindout. We don't know how lona contact can be maintained:' "You mean:· (the General's aravc face twitched into an almost -smile). "they may have escaped from custody and they may be recaptured aaain at any time:· "Maybe. Maybe . The whole future of the human race may depend on our knowina exactly what we're up aaainst. it 11011': ·

and turned toward her with a blank stare

of astoni hmcnt. "How did you get in., ..

The woman smiled. "I'm lookm& for my son. the physicist:' "Your son. the - - -" " He's a communications enameer, really. Senior Physici t Gerard Cremona:· ' 'Dr . Cremona . Well, he's-- Where's your pas., .. ''Here it is. I'm his mother:· "Well. Mrs. Cremona, I don't know .

I've got to- - - His office is down there .

You just a k someone:· She pa sed on. runnina.

Mrs. Cremona shook her head slowly.

Something had happened, she supposed She hoped Gerard wa all nahl. he heard votees much further down the corndor and smiled happily She could tell Gerard's . he walked 1010 the room and sa1d, " Hello. Gerard:' Gerard was a bl& man, w1th a lot of ha1r sull and the gray JUSt beainn10a to how because he d1dn't usc dye. He aid he was too busy. She was very proud or him and the way he looked.

Right now, he was talking volubly to a man in army uniform . She couldn't tell the rank , but she knew Gerard could handle him .

Gerard looked up and said, "What do you- - - Mother! What arc you do10g here?" ''I wa coming to vis1t you tO<by:· "Is today Thursday1 Oh Lord.l foraot .

S1t down. mother, I can't talk now. Any seat. Any scat. ---Look, General:' General Reiner loo~ed over his shoulder and one hand slapped against the other in the reaion o[ the small of his

"All right . What is it you want?"

"We're aoing to need Army's Multivac computer at once Rip out every problem 1t's working on and SHirt proaramm10g our acncral cmantic problem . Every communications engineer you have mu t be pulled off anythmg he's on and placed into coordination with our own:· "But why ? I fail to see the connection:· A gentle voice interrupted. "General. would you lih a piece of fruit'! I brought some orunges:· Cremona sa1d. "Mother! Please' Later' - - - General, the point is a s1mplc one.

At the present moment Pluto is just under four billion m1les away. It take six hours for radio waves, travcllina at the l!.peed of light. to reach from here to there. If we say somcthina. we must wait twei'Ye hours for an answer . If they say l!.Omcthing and we m1ss it and say 'what ' and they repent - - - bana. goes n day :· "There's no way to speed it up'!" said the General. " Of course not. It's the fundamental law of communications. o mformation can be tranl!.milled at more than the speed of light. It will take months to carry on the l!.t~mc conversation with Pluto that would take hours between the two of u right now:·

'HOHHIM _, ... - ... ----·-·--....--·-

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CA, Jan/Feb '68

HOW SCIENCE FICTION BECOMES SCIE CE FACT

" Yes. I see that . And you really think extra-terrestrials arc involved?"

"I do. To be hone t. not everyone here aarees with me. Sull, we're strain· ina every nerve, every fiber, tu devise some method of concentrating communication . We must act in as many bits per second as pos iblc and pray we act what we need before we lose contacl.

And there's where I need Muh1vac and your men . There mu t be some commu· n1cations strategy we can use that will reduce the number of s1gnals we need send out. Even an increase of ten percent 1n efficiency can mean perhaps a week of time saved:' The aentle voice interrupted aaain . " Good grief. Gerard. are you tryina to get orne talking done?" " Mother! Please!" " But you're aoin& about 11 the wron& way. Really:· " Mother:· There wus a hysterical edge to Cremona 's voice .

"Well. all right, but if you're aoinato :.ay somethina and then wail twelve hours for an answer, you 're silly. You shouldn't:' The general snorted. " Dr. Cremonu, :.hall we consult---" "Ju t one moment, General :' said Cremona. "What are you gellln& at . mother'!"

"Wh1le you 're wauina for the answer:· 3i8id Mrs. Cremona. earnestly, " just keep on transmittina: and tell them to do the :.a me. You talk all the time and they talk all the lime. You have someone li tenina all the t1me and they do, too. If e1ther one of you says anythina: that needs an answer. you can slip one 1n at your end. but chances are, you'll get all you need without askina:· Both men stared at her.

Crcmona wh~pcred , "Of course. Con· tmuou.s conversation. Just twelve hours out of phase. that's aii.- - -God, we've got to get aoina:· He strode out of the room . VIrtually draaaina the general with him. then 'It rode back m. " Mother:· he said, "1f you 'll excuse me . thi will take a few hours. I think .

I'll send in some airls to talk to you . Or Hike a nap. 1f you'd nllher:· "I'll be all right. Gernrd:' :.aid Mrs. Cremon:1.

"Only, how did you thmk of this . mother'! What made you suaac t this?" " But. Gerard. all women know it. Any two women- - -on the vtdcophone , or on the :.tratowire. or JUSt face to face - - - know thut the whole secret to preadina the news i , no matter what . to Just Keep Talking:· Cremona tned to smile. Then, his lower lip tremblina. he lurncd and left.

Mrs. Crcmona looked fondly after him. Such a fine man , her son , the physi· cist. Big a he wa and important as he

was. he Slill knew lhat a boy always listen to his mother.

hould

We at Hoffman arc in the business of convertma sc1encc fic1ion mto scientific fact. As a matter of record, we've been at ll for more than 20 years - pioneerin~ and innovatina in new field and new thinas 1n industnal and military electron1cs .

But. unlike many of our contemporane.s. we direct our efforts towa rd the handful of broad areas we know most about - hke communications. where we ' ve done a aood deal of problem solv10a.

One such ,roblem : how best to com~ mun1cate to the peoples of small. isolated villaacs- many of whom can't read 10 underdeveloped countries where clcc· trical power is scare or non..cx1stent.

Our answer IS CLEAl , Hoffman's new Commun1ty Listening, Educat1onal and Rccreattonal system , whteh is made up of a comb1na1ion radio receiver / pubhc address system powered by sili· con solar cells that also charge a 1:-attery for n1ghttime operation.

Compact and relatively inexpens1vc.

CLEAR brinas news. educational mate· nal. music and entertainment fc:.tures 10 people unreachable by any other means of mass communteation-etrcctively and at minimum cost. We're proud of it.

Another, more sophisticated, system our , pcople have devised i the complete htgh frequency transmittin& sct· up now operational aboard our avy's Polarislirina nuclear subs. It includes what we've been told is the most powerful transmitter of its kind available for mobtlc application . as welt as the most effic~ent tunable. telcscopina antenna yet developed . We concc1vcd , des1aned. developed and produced it a1 prime con· trac1or to Bu h1ps.

This, then . 1 the sort of thing we do 10 mdustrial and military electronics.

We specialize in tryina to solve .. imposSible" problem within the broad areas we know most about : communications, naviaation, electronic countermeasures, solid·state devices and the convenion of solar cncrey 1010 elcctromcs.

It's a business of convertina science fiction into scientific fact .

This is CLEAl , sun·powercd solution 10

a humanistic problem in mass commu· nM:ations.

I.J......tt._an/ ttor•m co•~o .... T•o• a&.aC T IIO.IC a

3161 South Hill Street, Los Anacles, C. lir.

keys were made, literally duplicating the final appearance of the ad. A number of stats were made for multiple viewing and reading of the copy and Carson/ Roberts was ready for the presentation. ((There was an agonizing ten minutes of silence," Donovan recalls, ((while they read every word of the story and the commercial copy. Then the response ... unanimously enthusiastic. We ran the pilot, without a change, as the first ad in the series."

The last column of the spread, set in the same type face and style as the story, was the advertising copy. At the bottom of this column, again without any typographic attention device, was an offer of a pocket model t(decisionometer."

The ad was scheduled in the January issue of Scientific American and the February issue of Fortune. Since the goals were similar to the corporate campaign objectives, the Military Products Division ran similar ads with slight copy changes in several vertical media including Aviation Week and Armed Forces Management.

The waiting for a response was short lived. Requests for the ccdecisionometer" began pouring in. Even more amazing than the number was the fact that 70% of these requests were letters on company letterheads. Most of them carried comments about the ad, the kind of comments that ad makers seldom see. ccAt last a company has broken the established line of avionics advertising

HOWSCtE~FICTION

IECOMESIOENT!FtC,ACT

... has shown ingenuity and original thought in presenting its corporate image to intelligent, curious readers." (( ... combines interest and information in a manner seldom encountered. ((Congratulations for your excellent contribution to intelligent corporate advertising."

Over 5,000 inquiries were received, 3,356 were attributable to the ad in Fortune and .Scientific American, the balance from the vertical publications.

The ccdecisionometer" was, in fact, a coin with ((Do it" embossed on one side and ((The hell with it" on the other.

Both sides also carried the Hoffman corporate name. These apparently covered a lot of ground after the requests were filled.

A Washington Post feature story by Robert C. Albright carried a mention of Senate Majority Leader Mike Mansfield's walking out .of the talk-bound Senate, flipping a coin and clapping it on his wrist. ccThe coin," the story related, ccwas a gag cdecisionometer' presented to him in a gay moment by Senate Republican leader Everett Dirksen of Illinois. ccOne side read cDo it,' the other (The hell with it.' en Do it' turned up on Mansfield's wrist. The Senate leader chuckled and passed the coin around for his colleagues to inspect."

Prior to the first ad insertion, Carson/ Roberts requested Fortune to conduct a recognition survey and provide ((benchmark" data on the awareness of

STARLIGHT!

and attitudes toward Hoffman. The response to the questionnaires was in line with what they had expected.

A year and six ads later, Fortune conducted a similar survey. The change in the response was considerable. In one area it was amazing. This was from the

The Decisionometer

category of top executive and technical personnel in military contracting firms, a prime Hoffman market. To the question ccHave you ever heard of Hoffman Electronics Corporation?" 32.7% checked yes on the first survey, 67.3% checked no. On the second survey, a year later, 85.6% answered yes and only 14.1% said no. ((These changes are both unusually large," states the Fortune survey report, ((exceeding any occurring in recognition surveys conducted in the past by this Department."

That is advertising fact.

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Chicago's 30th The annual exhibition of the ADCC, employed a two jury system, was judged on separate dates in separate cities. 14 of the pieces agreed upon by both juries are shown here.

First judged in Chicago by a jury representing business, the show was assessed a week later in New York by a panel of art directors. Judging was by blind ballot using a point system. Each judge scored each piece as he saw it. A score of 72 out of a possible 90 qualified. The Chicago club hoped that in the final selection of good graphic design and good writing, the opinions of ((business" and art directors would be similar.

64

Approximately 1500 pieces were entered in the show. ((Business" selected 96 pieces, the art directors 78 pieces. The scores of all entries selected and voted on were audited, with art and ((business" agreeing on 33 (14 print-19 collateral). From 176 TV commercial entries 22 made the show. The show includes all of the selections by either ((business" or art directors and displays the respective scores of each jury.

In Chicago: Geddes Carrington, Ted Ledder, Richard Hodgson

Showing some sharp contrasts in the opinions between business and art, and also some areas of definite agreement, the dual judging process provides material for provocative thought. In Outlet~ the visual and verbal commentary of the show, the club says: ((One thing is certain, however, and that is this 30th ADCC Show Committee is bracing itself for the inevitable barrage of comment directed our way both in praise (we hope) and in criticism. We are sure this show is more than skin deep."

In New York: William Cadge and Harry Olson Lou Silverstein Ed Graham and Steve Frankfurt

Chairman was Emil Cohen, executive art director of McCann-Erickson, with Arthur Paul of Playboy magazine as co-chairman. The jurors representing business were: G. W. Carrington, Morton Salt Company; R. H. Hodgson, R. R. Donnelly & Sons; William Hagenay, Jr., Wrigley Company; R. W. Kissel, Sears Roebuck & Company; Ted Ledder, Abbott Laboratories. The New York art directors were: Charles Adomey, Cunningham & Walsh; Ed Graham, ]. Walter Thompson; Stephen Frankfurt, Young & Rubicam; William Cadge, Redbook magazine; Lou Silverstein, New York Times; and Harry Olson, BBDO.

CA, Jan/Fe b '69

JOliN D. ROCKU' ELLER'S StCRtTWEAPON loy A.L&U.T 7.. CARR K.,.,.a.s,lotlfl 0 . 1\oc\:efcl\ct, wi\lul\ a f~-;tan' lUl\t,manaat to nM rrom a ~Pifllltl'llilfi\CTCI.Rliltbll$ind' .. toi!Uolof\M.JtU.IUlO\OI\Opol)'tht.

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a. Roger Wilder, art director Chuck Smith, artist JoAnn Thomas, copywriter Young & Rubicam, Inc., agency American Can Company, Marathon's Northern Products Division, advertiser

"w~:.!~~:u! :~~r ~IA~:~.t!~:'':!:-1-~:~:! l\lllhh•"t<ofJ>i;Ono.<.!"l)ot<oii\'OII<'Iool.ih"'lill..

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b. Robert Becker, art director Stephen Deutch, photographer Laurence Arnold, copywriter Earle Ludgin & Company, agency Union Tank Car Company, advertiser

'"'"' b•t>t>~h l•ul'ri>+•l n.c•.o M.oldl

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(c)

c. Lou Frosh, art director Bob Kresin, artist United Air Lines, advertiser

CA, Jan/ Feb '68

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CHICAGO

a. David London, art director Denny Harris, photographer Dean Lierle, copywriter Griswold-Eshleman Company, agency Cleveland-Sandusky Brewing Co., advertiser

b'. Bernie Nosbaum, art director Bob Keys, artist Dr. Edward Teller and James Schmidt, copywriters Kenyon & Eckhardt, agency Whirlpool Corporation, advertiser

(a)

(b)

66 Sclenc:eetwltKIIIMIIeeJI'Itwtt,_llltlllttHIIIIItewMI...,.IItollooNII. . flttyltiCIH'ItllllltfttiDOIOWWitltlf>tlletiHI!IICIII'IP-ettllllllll floot.,ofli .. Mtllf ..., Clty-llldO U liM CHIIIVC:Iollfl of lltOCte.l ttKIOfa, t•jtlenl- ef l,aet, 1/IIIIII'II ... VC:IItOnllffwtiiiiKI~h!CIIOOft*lll-lltlhiiCOIII•IItrM ... tttC\1111

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c. Richard Howe, art director Mort Goldsholl, designer Bill Garnett, photographer Lawrence Holmberg and Dwight Bohmbach, copywriters Lawrence Holmberg Company, agency International Minerals & Chemical Corp., advertiser

You caa toll a rood beer by the way the auda eli.,.The better the malt ud bops, the better the body.

A rood body keepa the fizz ill the foam. So with each drink of really rood beer, a aew rille of auds fo11111oa the rlus. Otto Kalsea, our Germaa brewmuter, makes a beautiful beer. Otto's suds di.,.

611

d. George Schneider, art director

New aborty bottle: ao deposit,ao retura. ~

...... c....~ow.

Bill Hyde, artist John Winter, copywriter Needham, Louis & Brorby, Inc., agency State Farm Insurance Companies, advertiser

e. David London, art director King Beach, photographer Bill Schlinder, copywriter Griswold-Eshleman Company, agency Penton Publishing Company, advertiser

CA , Jan/F eb '63

(d)

(c)

~PAOOU~ ~lAliOM WAOOM ... mnVtnliDlt lOP... PtntrU (OM DillOn --------------------.--.~ -couple -----------------------driven slowly- bg careful-driving ... complete with whip, double lante rns, and gingham interior ... must sacrifice due to sudden change of plans after driving through Orm"lgc County-.

ALSO FOR SALE: Limited number of insurance policies being offered by State Farm ... low cost ... broad coverage ... complete with 10,000 agents and claims men for service coast to coast, plus complimentary bumper emblems ... company now providing policies for over 470,000 Southern Californians ... but willing to provide a few more for Orange County people. · · (We're prejudiced!)

SOUlHERNCAllrOIIHIAOHIC£: 17:17WUT17TM5TIIEU,!ANTAANA,CAUrDIINIA HOI4£DHIC£S >. IL00M1HGTOH, ILUHOIS

67 ORASGE COU:"''l'Y, U.S.A.

(e)

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CA, Jan/ Feb '63

FRESH FRO/flllf/IOTOROLA ••• luAu{~ U...~~tvr1-~~.5

These pieces were selected by the business jury but not by the art directors Motorola' Stereo Hi-Fi

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right in every room .......sounds _..,. ____ . . . ... ______ ____ ..

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Howard Andersen / Paul Dezell, art directors Oleg Stavrowsky, photographer Lou Kennedy, copywriter Leo Burnett Company, Inc., agency Motorola, Inc., advertiser James Black, art director Dan Romano, artist Robert Natkin, copywriter North Advertising, Inc., agency Oakbrook Center, advertiser Charles Torosian, art director Tom Tome, artist Wendell Abern, copywriter Edward H. Weiss & Company, agency Caradco Inc., advertiser

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68

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

RAIJ,ROADS

These pieces were selected by the art directors jury but not by business

*****************

HOW GENERAL AMERICAN BUILDS Wrrn T HE INDUSTRY THAT BUI LT AMERICA lf,..... ~~~w.._,. .,...._,..,,.... ..................._.~.

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----y -·---- -

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John Massey/ James Miho, art directors Harold Altman , artist Boris Todrin, copywriter N. W. Ayer & Son, Inc., agency Container Corporation of America, advertiser Richard Howe/ Mort Goldsholl, art directors Bill Barnett, photographer Lawrence Holmberg/ Dwight Bohmbach, copywriters Lawrence Holmberg Company, agency International Minerals & Chemical Corp., advertiser

a. David Edmunds, art director Frances Hook, artist Margaret Ludden, copywriter Young & Rubicam, Inc., agency American Can Company, Marathon's Northern Products Division, advertiser

b. Sy Lachiusa, art director Jerry Kearns, photographer Chuck Felt, copywriter MacManus, John and Adams Inc., agency Standard Oil of Indiana, advertiser

(a) c. Sy Lachiusa, art director Jerry Kearns, photographer Chuck Felt, copywriter MacManus, John and Adams Inc., agency Standard Oil of Indiana, advertiser

(b)

this one wiU sWI be lon& on mlluje. New AMOCO J20 Su,.,. Tiro. ",._., -

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(c)

put this in mothballs.

put this on your car. New AMOCO 120 Super Tire. Down wlfll l•cb and dirty hands.,

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CA, Jan/ Feb '69

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b. Robert D. Dunning, art director Dennis Gripentrog, photographer George R. Staperfene and Charles D. Mackey, copywriters N. W. Ayer & Son, Inc. , agency Plymouth Division, Chrysler Corporation, advertiser

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CA, J an/Feb '63

ANIMATION WHENCE AND WHITHER

by BILL MELENDEZ, Producer/Director, Playhouse Pictures uwhat is a cartoonist-animator?" uHow did all this business start?" ((Whose idea was it?" uDisney's?" These are questions I've been asked, nearly every day during my career in the animation industry. Whether student, artist, or just an average television or theater viewer, the public is fasdnated with the animated cartoon.

Animation, as a developed medium, is really only about a generation old. Most cartoonists can trace the development of animation through their own association with it-particularly in the American film cartoon-because it is recent history. The industry was and is even now a small one, which at its peak employed perhaps 1500 artists. In a small industry with many medium-sized or small studios and during a period covering the last twenty years, it wasn't difficult to get to know many of the great creative contributors. It is their impact, their creativity that really advanced the animated cartoon. But the books which trace history or explain the art of animation place emphasis on the artists and cartoonists only as inventors or discoverers, with little or no mention of their artistic contributions or careers. It is from my standpoint as a cartoonist-animator that I'd like you to take another look at a brief history and some personalities who have influenced the development and progress of the animation industry. To begin-a definition:

The animated cartoon is uA series of drawings with slight progressive changes, made and arranged to be photographed and projected like a motion picture"Webster's Dictionary.

Since a motion picture is made up of an action broken up into a series of still photos in progressive stages of that action, one could say that live action also is animation, photo animation. However, when we refer to animation now, we usually refer to a graphic artist recreating, on paper or celluloid, separate phases of movement which gives the illusion of continuing action when they are projected in sequence on a screen.

The artist, the sculptor or the painter, isolates a mood or movement and creates the illusion of life and movement in a still picture on his easel or in a three dimensional solid shape. In turn, the animation artist observes the model or subject in a completely different light. He sees the before and after of motion; the frown changing to a smile; the flow of drapery over the moving limbs; the anticipation and completion of a jump. His subject, literally, is always a succession of poses. Fortunately for the animator, the development of photography, which followed closely on the heels of graphic animated art, attempted animation,

which relieved him of having to precisely animate humans and animals with the realism, say, that the old masters sought to portray from the life they saw around them.

Animation on the screen or for the ((Phenakistoscope" or uKineograph" immediately meant that some degree of graphic stylization was in order. I prefer to refer to it as cartooning. Cartoonists, God bless them, entered the field very early and in short order had built up an industry.

The animator is, therefore, continuously studying movement, the walks, attitudes, mechanical gadgets around him, and the movements of animals. He gradually must build up in his mind a dictionary of motion which, if he is a competent animator, is combined with his knowledge of film technique and mechanics. What makes us artists, of course, is this particular ability to transform what is essentially static into something alive.

In order to trace the career of the cartoonist-animator and his impact on the animated cartoon, it is necessary to examine the development of the animated film. For the purpose of clarification, I like to classify the history of the animated film in four main phases: 1. The initial period, physical discovery and trick-work.

2. The cartoon as an entertaining short subject film.

3. The period of the feature-length entertainment cartoon and artistic experimentations.

4. The present period where there is a considerable expansion of the animated film into many different fields: educational, television commercials, highly specialized technical, scientific, industrial and promotional films, and television entertainment shorts and programs.

As early as 1825, Peter Mark Roget discovered a singular fact. The retina of the eye had a faculty for retaining a visual image for a short time after it had been removed from its view. He called his finding ({Persistence of Vision." To prove his theory he constructed a small apparatus called uThaumatrope." It was a disc or square on a string, with a cage drawn on one side, a bird on the other. By spinning the disc the illusion of caging the bird was created. It immediately opened up the possibility of depicting continuous motion by the simple procedure of using a series of drawings in progressive stages of an action.

Roget's findings resulted in the experiments of two gentlemen, who almost simultaneously, in 1832, invented successively different pictures that appeared to move when revolved on slotted discs. The observer spun the disc with the picture side facing a mirror and viewed the images through the slots from the back. The illusion is that the figures move, not the disc. These two men were Joseph

CA, Jan/ Feb '6S

71

ANIMATION

72

Plateau of Ghent and Simon Ritter Von Stampfer of Vienna. Plateau called his invention ttPhenakisticope" and Von Stampfer called his the ttStroboscope."

In 1834 W. G. Hornen, an American scientist of English birth, applied the principle of the Phenakisticope to another device demonstrating persistence of vision, the Zoetrope or Zootrope. The modification consisted of changing the wheel from a vertical to a horizontal position in a drum-shaped cardboard box. The drawings of the figures were now on a strip inserted in the cylinder and the viewing slits on its side. By looking through them, the viewer could see the amazingly animated figures jump or run. The ttZoetrope" soon became an extremely popular amusement, advertised as ttdemonstrating living images."

Not long thereafter, in 1868, some unknown genius invented the flip book. It became known as the Kineograph.

In 1877 the first formal attempt to build a device showing an entertaining illusion of motion was made in France by Emile Reynaud. He called it the uPraxinoscope Theatre." It was an ingenious adaptation of the PlateauVon Stampfer disc principle. By the use of mirrors and optics that we still apply in the film industry, he was able to project changes in backgrounds and locale.

In 1880, Reynaud presented Praxinoscope projections at his ttTheatre Optique." These performances featured animated images projected from the reflections in a Praxinoscope. There were several variations of the ttPraxinoscope Theatre" during the years left in the 19th Century in Europe as well as in the United States. This ended the first period in the development of hand drawn figure strips in animation. Let me reaffirm that all of the experiments were conducted generally by scientists and inventors interested mainly in the illusion of motion and it was not until the second period, or during the development of the short subject, that artists finally took an interest in the use of animation as an art form and a creative medium of expression.

The second period was launched by the capable hands of a French artist, Emile Cohl. To all historical intents and purposes he animated the first cartoon film. The year was 1904, and by 1908 he had produced a humorous fantasy using white stick figures against a black background.

He not only used stylized characters such as we now often see in very avant-garde television animated commercials and cartoon ttart" films, but he did them identically as we now make pencil-tests for the critical eyes of advertising agency art directors and producers.

The amazing thing is, as so often happens in other fields, within a year after Emile Cohl's successful cartoon short, the American Winsor McCay, produced his classic uGertie the Trained Dinosaur." This film was laboriously done; a complete picture of the action at a time when both the background and the characters were included in each drawing. uGertie the Trained Dinosaur" was in reality a feature, but for the obvious economic reasons of the times,

the distributors chopped the film up into a dozen or so short cartoons.

McCay was quickly followed by several other artistproducers. John Bray and Earl Hurd started ucolonel Heezalier;" Ben Harrison ucrazy Kat;" Max Fleischer uKoko the Clown;" and Pat Sullivan uFelix the Cat." During this period from 1908 through 1917 it is interesting to note that all these shorts were created and produced by artist-animator-producers. These pioneers worked over a hot drawing board to create the films, as well as handling the business problems of selling them.

In the years between uGertie the Trained Dinosaur" and Pat Sullivan's uFelix the Cat," the technique of animation developed very rapidly. Earl Hurd, of the team John Bray and Earl Hurd, introduced the idea of using celluloid sheets instead of paper for the purpose of simplifying the problem of photographing more than one character at a time and to allow the background to be seen without the need of retracing all the complicated elements each time.

Earl Hurd patented the process of eel animation and he obtained royalties from the entire animation industry until his patent ran out in 1940.

This invention of Hurd's was revolutionary! It caused a division of work which was alloted to specialists. Originally, cartoonist-animators were one man armies; producer, director, animator, camera man. They created all phases except the laboratory work to make a film. But in the search for additional hands to help their artists fill the demand for more cartoons, the industry went through a very rapid change in the different studios.

The change might be called u Phase-Animation." As the tempo of production increased, work became departmentalized and specialists were hired to do layouts, backgrounds, and inking. Animators could now pay more attention to the development and movement of their characters and to experiment with innovations.

One of the most inventive animators was Bill Nolan, who first used the moving panoramic background. As I remember, he first introduced the refinements and formulas for animating walks including the follow-through and rubbery action. It was Bill Nolan's knowledge of the principles of animation that made possible the convincing dialogue of ttFrancis the Talking Mule."

These early American animators, as opposed to their European counterparts, soon began using more and more stylized drawings in a comic-strip sense rather than lifelike form. They also used stylized timing set to movements, more suitable to the design of a specific character as opposed to the even tempo of reality.

Soon animators found that they could move characters at tremendous speed, or arrest the movement completely. This was refined to a lamentable degree at Walt Disney Studios in the late 1930's in an action called uThe Breathing or Moving Hold"!

CA. Jan/F eb '69

The Zoetrope, invented by W. G. Hornen in 1834, and samples of some of the cylinders with action drawings.

Various designs for Phenakisticope from "Fares's Moving Panorama;" a schematic of a Phenakisticope by J. Dubosq, Paris optician.

The Praxinoscope Theatre, developed by Emile Reynaud in 1877, and samples of action strips.

PHOTOGRAPHS COURTESY OF THE BART LYTTON COLLECTION, LYTTON CENTER OF THE VISUAL ARTS , HOLLYWOOD .

CA, Jan/F eb '63

ANIMATION

With the growing specialization, the animators began losing control of their medium as a business. Studios were forming where the producer owned and operated the business and the cartoonist-animators became employees.

74

Walt Disney, Hugh Harmon, Rudy Izing, Max Maxwell, were all artists from Kansas City Film Ad, who migrated to Hollywood and proceeded to form studios and hire animators. This group, for the purpose of distinction, I refer to as creative producers. They sought and achieved a phenomenal development of the animated cartoon short for theater entertainment during those ten or fifteen years of the 20's and middle 30's. During these years, however, there was a growing antipathy between producer and artist as the artist suddenly found himself with no recognition for his creations. A notable exception, and another alumnus of the Kansas City crowd, is Friz Freling, at present perhaps the best animator-director in our business.

An anecdote of this period occurred after a preview of some forgotten HMickey Mouse" cartoon. The producer, displeased at the reaction of the audience to his picture, called his surly animators into a huddle in the lobby of the theater and proceeded to give them all, individually and collectively, a loud and embarrassing dressing down.

Noticing one of the animators thoughtfully scowling at the floor, the producer asked, HWell Rudy, have you something to say on the matter?" His answer was a scornful, ttTell me Walt, what is it that really makes them move!"

The truth of the matter is that the studios had become similar to the atelier of Peter Paul Rubens. He, like other old masters, had a tremendous staff of apprentices and artists to help him execute his many commissions.

In a later century all we know is that Rubens received all the screen credit.

UB Iwerks, a very creative animator, was the top man on the ttJulius the Cat" and ttAlice in Wonderland" series. It is said that Columbia had soured a bit on the series and had suggested to Walt Disney that perhaps he should try a different character. Walt asked UB to think up a few other possibilities. UB happily set to work and designed a frog, several cats, a mouse, etc. He suggested that ttFlip the Frog" would be the best one. He felt it had real possibilities as an animatable shape and character.

The drawings were sent back to Columbia Studios in New

York and the models came back with a circle around just one, a mouse, ttMickey Mouse." UB was very disappointed and soon quit to start his series, HFlip the Frog." Disney went ahead and produced HSteamboat Willie" and history was made.

HSteamboat Willie" is often historically credited for being the first sound cartoon. Hugh Harmon, by perhaps a year earlier, had made a speculative pilot film whimsically titled ttBosco, the Talk-Ink Kid," but he never received the credit for this innovation. Also Oskar Fischinger had already experimented with the first abstract designs set to music. ttMickey Mouse" drove the live action short comedy out of existence. From 1928 to 1938, Walt Disney and his artists reached the golden period of achievement with the HMickey Mouse," ttDonald Duck," and HSilly Symphony" senes.

The 30's also saw great experimentation, especially in Europe, in the use of the animated cartoon as an art form. Anthony Gross and Hector Hoppin in France made a famous cartoon t]oi de Viore" in 1934. Viking Eggerling, Walter Ruttman, Fernand Leger, Francis Picabia, MoholyNagy, and Oskar Fischinger were all active animators and experimenters. In England, Len Lye experimented with color as early as 1933 and perhaps created the first models for Norman McClaren of Canada. The stimuli of these European animators lay in the art world a·s opposed to the Americans whose stimuli came from the comic strips and popular magazine illustrators.

The third period in animation began with Walt Disney's production of the feature length cartoon. This brought the cartoon film to a new level of maturity as theater entertainment. Animators became even more departmentalized. Like actors they were now typecast. One was a character animator; another did effects; another did fast action; another was a personality animator. This system, with all its ills, produced fertile ground for raising a new batch of creative animators. Almost all of our present animation studios in Hollywood as well as in New York, can look back thankfully to those days.

During this third period the goal at Disney Studios became an increasing effort to duplicate real life movements, as close to live action filming as was physically or artistically possible. In certain instances, the films ceased

CA. Jan/Feb '63

Jose Cuauhtemoc uBill" Melendez was born in Hermosillo, Sonora, Mexico and was educated in the public schools of Arizona and California. Night art classes at Los Angeles City College and Chouinard Institute triggered his interest in animation and, in 1938, he went to work at Walt Disney Studios as a messenger.

This was his start and he made the most of it, absorbing and learning as he talked with animators, technicians and directors on his daily rounds of the studio. One day, while shuttling animation scenes between departments, he sat down and did the in-betweening on a sequence. A unit director spotted his talent and put him to work.

Since that time Melendez has worked continuously in the animation field. At Disney as an assistant animator, he worked on Fantasia and Pinocchio.

He left this for a four-year tour in the Army and returned as an animator for

Warner Brothers Cartoon Studios where he worked on uBugs Bunny" cartoons and 51 short subjects. His credits include Gerald McBoing-Boing and 24 other short subject cartoons as an animator and assistant director at UPA Pictures Inc. Then he directed 12 industrial films for John Sutherland Studios.

Since 1953 he has been a producer/ director at Playhouse Pictures, with over 2,000 animated TV commercials to his credit.

Melendez was a nominee for the NSAD's uArt Director of theYear." Be is a two-time medal-winner from the New York Art Directors Club; also a medal-winner from the Los Angeles Art Directors Club; and the recipient of innumerable other awards. Out of 20 winners in the American TV Commercials Festival held in New York in 1960, Bill alone directed 18 for Playhouse Pictures.

In international competition, his Ford ushaggy Dog" commercial won first prize in the 1959 Cannes International Advertising Film Festival. In 1960, Melendez' direction of two TV commercials and a TV series won the three top animation categories in the Venice International Advertising Film Festival, bringing the Venice Cup to Playhouse Pictures as the outstanding television producer. This was the first time a United States producer had ever won the Cup in the festival's seven years.

The Venice Cup.

CA, Jan/Feb '69

Sharing his know ledge and training, Bill has taught animation courses for the Screen Cartoonists Guild and at the Department of Cinema, USC. Melendez lives in Hollywood with his wife, two sons and a gun collection. He is a sports car enthusiast, a skier, and has a propensity for jazz and contempory art.

Playhouse Pictures was formed in 1952

by Adrian Woolery, longtime partner and co-owner of UPA Pictures. His background in animation dates back to 1936 with Walt Disney Productions and Columbia Pictures (Screen Gems).

Specializing in film production for television, theater entertainment, industry and education, the studio has a permanent staff of 20 artists, representing an average film industry experience of 18 years uon the lot."

In 1954, ten television spots for Ford won national recognition and started the light-sell commercial technique for which Playhouse is noted.

The studio entered industrial film production with ((Energetically Yours," a fully animated ten-minute cartoon designed by Ronald Searle for Standard Oil of New Jersey. This was followed by two abstract experimental films for IBM, designed by Saul Bass.

Recent productions include the entertainment cartoon short, ((The Raisin Salesman," for national theater distribution, and titles for ((Boy's Night Out." Program opening credits include uSmall World," ((Ford Show," ((Follow the Sun," uGroucho Marx Show," ((4 Just Men," ((Peter Loves Mary," ((P.M. East/P.M. West."

ANIMATION

76

to have spontaniety and fun and became laborious and boring. I believe that this tended to kill the initiative of men who were initially very creative artists. Resentments over technique grew, and inevitably reactions occurred that still plague the technique of animation.

World War II ended this third period of animation.

It also heralded an animation revolution in the United States. New developments utilized advanced forms of design, the better kind of commercial art associated with advertising and the highly individualistic art and caricatures of the more sophisticated cartoonists.

Although John Hubley at Screen Gems with uTall and Small" and Chuck Jones at Warner Brothers Cartoons with ((The Rover Boys" tried to stylize and modernize the cartoon short, I like to credit United Productions of America, Inc. (U.P.A.) with forcing this direction. They vociferously rejected the dogmatic traditions which Walt Disney Studios, through their great success, imposed upon animators. The battle cry was stylization, an avowed decision to animate no more animals in human form and to be cartoonists in the New Yorker contemporary sense rather than the uMickey Mouse." U.P.A. used the art and humor of Steinberg, Thurber and Bemelmans.

Their success at the cartoon box office clearly demonstrated that the public was ready to accept and enjoy entertainment in the new graphic styles. At long last the film cartoonist was once again encouraged to discover and develop his own personal style.

The Canadian Film Board also increased the public desire for new techniques and styles by exhibiting the wonderful abstract films of Norman McClaren. I could devote a feature-length article to the work of this one individual who, though obviously influenced by what had been done by the American animator, took off on his own and charted unexplored paths. His delightful abstractions, animated directly on 35mm film, as well as his use of stop motion in live action and of animated sounds, have created a classification of animation all its own, second to none.

Cartoon animation is rapidly developing in many countries. Exciting films have been seen from France, Yugoslavia, Japan, England, Italy and Czechoslovakia.

Most of these are produced in State supported and subsidized studios.

Alas, the wonderful impetus given to us by U.P.A., this new freedom for the American cartoonist-animator was short-lived. It lasted only about five years. The impact of television on motion pictures and theaters, coupled with rising costs, caused this calamity. Pure entertainment animation has become too expensive, except for the most carefully planned, limited-animation films.

Television now seems to be the only outlet that can supply relatively steady work for the animator. It should

be recognized that a television commercial is of necessity a restricted form of film making. But, if taste and imagination are used, an animator can bring artistry to it.

In recent years, however, animation studios have experienced an incr~asing reluctance on the part of agencies to allow any part of the creative process out of their hands.

The animator has become an animation mechanic. Rarely, if ever, is he given the free creative hand of the good old days of television, say 1953 to 1956.

There is, of course, the increased use of television cartoon entertainment programs. These are in no way comparable to the high level of development of the cartoon theater short subject in the late 30's and early 40's.

All I can say, as a very sad onlooker, is that it is difficult to accept the fact that present television cartoon entertainment is animation!

In an article about animation, it seems I've dwelled very little on the giants of animation industry such as Walt Disney, Fred Quimby, Paul Terry, Steve Bosustow, etc. The reason, of course, is that in this present day a producer is perforce not an animator! Some will contradict this by pointing out John Hubley, Saul Bass, Stan Freberg and Ernie Pintoff. My answer is that these, and others like them, are very creative producers; but they are not cartoonist-animators. Hubley, who has produced outstanding films, is primarily a writer and designer. To make an animated film, he must call on the animator, usually the best talent available. This is also the case with Saul Bass and Ernie Pintoff. Stan Freberg happens to be a writer and comic, though he's a creative producer in every sense of the word.

To end on the positive side, let me affirm that animation is a relatively new art form for which there is an expanding demand. The sponsored film is a bright, new field for the creative animator. Generally, the sponsors of these industrial, public service, institutional or public relations films allow the animator a freer hand in designing and animating the film. Some very fine films of this type have been produced.

And there is still the animated uart film" which, when money is available, it is possible to produce.

Television commercials, television cartoon series, occasional features, limited short entertainment for theaters, industrial advertising films, educational and scientific films will provide expanding opportunities. Each will continue to offer its own type of challenge to the imagination of the animator.

It is also my hope that the sponsors, as well as the viewing public, will eventually allow the animator as much freedom in style and story as they usually accord to the painter, sculptor or writer.

CA , Jan/Feb '69

•

Commercial for Ford Dealers.

Wife leaves room. Girls jump out of set, dance about the room in a wild profusion of loud music, Ford flags.

Wife returns and asks, "Did I miss anything dear ... " "Just the commercial."

Right: scenes from two of the "Peanuts" Falcon commercials produced in collaboration with Charles Schulz.

77

Announcer: You sir, what are you doing?

Dog: I'm polishing a Ford.

Announcer: Oh, are you a Ford Dealer?

Dog: (scratches head quizzically, hops in car) No, I'm a dog ... but I !hink everyone should be a Ford owner. Don't you?

Scene from one of the nearly one hundred "Old Pro" commercials for Falstaff Beer.

CA. Jan/Feb '63

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ALCOA

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CA. Jan/Feb '63

A new mark for Alcoa Alcoa has just replaced its old mark (created in 1955) witli. a new combination of mark and logotype.

The former mark had been effective, scoring very high in recognition surveys. It also represented some problems. It lacked design flexibility. It could not be patented. The components were so classic that they were considered public domain. Also, the company had created a marketing problem. The customer support label, offered to manufacturers using Alcoa aluminum, was too similar to the trademark. Potential customers for Alcoa's broadening line of consumer products were mistaking competitive products, made with Alcoa aluminum, as being Alcoa's.

The new mark was developed by Saul Bass, design consultant to Alcoa's 19-man graphics committee. In the form of an abstract ccA", it retains the relationship of red and blue triangles in the former mark.

After the design was approved and legal searches indicated that it probably could be registered, the long, hard work of establishing a set of rules began. They worked at this backwards. Bass's organization simulated hundreds of applications of the mark.

These were studied to find generalizations that could cover what had been done. From these, a set of rules were drawn to provide safeguards but still permit a practical design flexibility. Then more applications were developed, following the rules, to test both the protections and inhibitions that the rules enforced.

More reviews. Then a design manual was prepared.

Some of the permitted usages are shown. The red triangle and blue field is the official color handling.

The logotype must always appear with the symbol which can be used in either of the two proportions shown. It is permissable to use the symbol as a one-color unit in any color, but blue is preferred and urged. Justifiable violations of the rules will be permitted with special dispensation of the graphics committee.

Bass also consults on other activities of the committee, including company-wide reviews of Alcoa's graphics.

He created the show opening for ((Alcoa Premiere" before the new mark was established. The opening will shortly be modified to include the mark, which will appear in all ccgraphic expressions" of the company.

ALCOA

ALCOA 79

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ALCOA mALCOA

Upper left: a TV commercial introducing the mark with alternating cuts of highway signs and road marking as seen from a moving vehicle.

The narration establishes an analogy between these signposts (an indication of what is up ahead) and Alcoa as represented by its new trademark (sign).

An introductory ad in the Wall Street JournaJ. The Alcoa alphabet.

The set for the "Alcoa Premiere" show opening. The atmosphere of the ''Premiere" is expressed as a symbolic city, suggesting the tempo of the First Night theatre event. The camera sweeps up the walls of the city and overhead, revealing the geometry of the tops of the buildings. The word "Alcoa" is formed by a group of these. Then the camera moves down and into the "0" to a lap dissolve into the first scene of the story.

Bottom right: The new Alcoa Customer Label for use on products of selected cutsomers . It retains the familiar triangles of the old Alcoa symbol.

CA, Jan/Feb '63 1

T

WECHOSE ALCOA ALUMINUM

the wildlife art of

New York City seems an unlikely breeding ground for a top notch wildlife artist but the city has always been Arthur Singer's home. His first contact with birds and animals was made at the zoo. Captivated by its inmates, he returned again and again. By the time he was twelve he was sketching his subjects from life. He was selling his paintings while still in high school.

At Cooper Union, the direction of his talent was brought into focus with his introduction to the Audubon folios. ((The impact of Audubon fell upon me with almost physical force," he states. ttl can never forget it." For the first time he saw the blending of art and the natural sciences, with beauty, design and document as an integrated whole.

Singer graduated from Cooper Union, with honors, in 1939, and found that the commercial world was not exactly crying for wildlife artists. Needing meat and potatoes, he joined an agency, working as an art director until the Army called.

He returned to the agency after three years of service, taught at Cooper Union until illness forced him to resign.

so

He continued to study, to paint his animals and birds, and his work began to gain recognition. He was commissioned to do a genealogy of 119 dogs for Sports Illustrated.

Working with Robert Cushman Murphy, dean of American ornithologists, he produced a thesis on the plumage of birds. These were followed by Th e World Book Encyclopedia and a portfolio of bird and flower prints for American Home magazine. The response to this was so enthusiastic that Singer was asked to extend the series and reproductions were offered to American Home readers at 50c a print.

Illustration of a red headed woodpecker, red shafted flicker and white breasted nuthatch for the World Book Encyclopedia.

CA , Jan/F eb '69

Singer's major work to date is the result of four years of intensive research and creative effort. The Birds of the World, published by Golden Press, presents the major bird families - 155 of them in 750 paintings- by depicting the full range of each species in its natural habitat. This monumental work is an extraordinary contribution to ornithological literature and to the natural sciences.

Spot illustrations and the cover illustration for a Sports Illustrated feature, "Bird Watcher's Guide."

CA . Jan/Feb '68

ARTHUR SINGER

Singer

He is currently directing and designing a 16-volume nature encyclopedia, also for Golden Press, and is illustrating the volume dealing with birds.

Singer's singular contribution to the art field was recognized when he became the first recipient of the Augustus St. Gaudens Medal For Professional Achievement, the highest award given by the Cooper Union to an alumnus. The award has been made only twice.

Married to former classmate Edith Goulfine, Singer lives in Jericho, Long Island, has two talented sons, is a consecrated jazz buff with a colossal knowledge of his hobby.

He sandwiches in occasional ornithological expeditions to Florida, where he first discovered the t(Ardea Occiden talist."

82

Decorative painting done about 1940.

Wallpaper design for Schumacher Co., 1950.

Singer recently fulfilled a lifelong dream-to observe the dramatic wildlife of Africa in its native habitat. Armed with film and cameras, he joined Dr. Robert Ashley on a 21-day safari arranged by John Williams, director of ornithology at the Coryndon Museum in Nairobi.

Their first stop was Amboseli National Park. ((With magnificent Kilamanjaro as a backdrop," Singer recalls, ((the park was like a wild paradise. The enormous herds of animals don't exist anymore, but we could usually see game in clusters in almost any direction we looked. Bands of zebra, wildebeest, gazelle, buffalo, rhino, elephant, lion, cheetah, warthog, waterbuck, baboons and many others roam the park. I particularly was thrilled by the many species of birds that were plentiful there, birds that I had only before seen in captivity. ((I took hundreds of pictures. Unfortunately there was little time to sketch or paint and the rules insist that you remain in the vehicle. This is your only protection since no firearms can be brought into the park area."

One of natures greatest spectacles awaited them at their next stop, Lake Magadi. The sight of over a million

CA. Jan/Feb '69

flamingos stretching for miles. ((I used plenty of film," Singer said, ((although we never could get very close to the birds. They would move off when you came within fifty to a hundred yards. I also photographed them from a Piper Cub piloted by the Game Warden of Southern Kenya. This is the same colony that was featured in dramatic newspaper reports and a LIFE article only two months later as the largest bird rescue operation in history."

Third leg of the trip took them past Mt. Kenya to Isiolo and lodgings in the former home of Elsa the lioness of Born Free fame. Here the gerenuk, giraffe, impala, and the rapidly dwindling Grevy's zebra made absorbing studies.

Lake Naivasha was their next stop, where waterbirds are numerous and hippos live in the papyrus beds. The bird-watching highlight of the trip occurred here when Singer got a view of the African Lammergeyer. This great vulture is rarely seen now.

The safari stopped next at Lake Baringo, seldom seen by visitors. The waters teem with crocodiles and there are huge colonies of egrets, herons, snakebirds and cormorants. ((We also saw two large pythons," Singer added, ((the only snakes that I saw on the entire trip."

The final leg of the trip was to Kakamega, the last tropical forest in Kenya. ((The denseness of th'e forest is too good a hiding place for the birds and animals, so our cameras, for once, were not too active. I did manage to see the Great Blue Plantain Eater though," he stated. ((It's one of Africa's most spectacular birds."

A brief look at Lake Victoria, and a final day in Nairobi National Park ended Singer's safari. ((I would have liked more time," Singer summed up the trip, ((but I was satisfied. It was a very worthwhile and stimulating experience. ((It's truly unfortunate that the wild game is decreasing at such an alarming rate. I'm happy I could make this trip before it was too late."

CA, Jan/Feb '68

Pencil and watercolor sketches of the rare African Lammergeyer. He sketched this great vulture by looking through the tremendous magnification of a Questar lens. The bird was perched on a cliff about 400 yards away and looked like a pinpoint with ordinary binoculars.

This information will supplement his photographs as a reference for future painting.

ARTHUR SINGER

Illustration of a polar bear for the Golden Book Encyclopedia of Natural Science.

Painting from the private collection of the artist. © 1962 Golden Press, Inc. The Golden Book Encyclopedia of Natural Science

Right: ruby throated hummingbird for the World Book Encyclopedia.

Illustration from "Birds of the World," published by the Golden Press.

84

CA, Jan/F eb '69

© 1961 Golden Press, Inc. Birds of the World

CA, J an/ F eb '63

Philadelphia's 27th The Art Directors Club of Philadelphia awarded six gold medals and eight silver medals in their 27th annual show. 1500 pieces were entered, 96 were chosen. Judges were: Robert Cato, director of art and design for Columbia Records; William Taubin, art director and vice president of Doyle Dane Bernbach; Robert Benton, art director of Esquire; George Tscherny, free lance designer; Onofrio Paccione, creative director and executive vice president of Leber, Katz and Paccione.

(1)

SK&F PSYCHIATRIC REPORTER

(3)

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CA, J an/Feb '63

GOLD MEDALS (1) Packaging-Individual Package Andrew Schmith, art director Schroeder / Lewis, designer Seymour Mednick, photographer Schroeder/ Lewis, agency Merck, Sharp & Dohme, client (2) Magazine Ad Illustration-Color Philip Eitzen, art director Jeanne Jackson, designer Harold Halma, photographer N. W. .Ayer & Son, agency Pharmaceutical Industry Adv. Program, client (3) House Organ-Company Magazine Alan J. Klawans and Warren Blair, art directors Alan J. Klawans, designer Alan J. Klawans, Walter Webb, Seymour Mednick, Betty Klechner, Alice Lineman, Edward Gallob, Gordon Kibbee and Alice Kasdin, artists Smith Kline & French Laboratories, client

(7)

(6)

(4) Magazine Ad-Black and White John McCullough, art director William Oliver, designer George Faraghan, photographer N. W. Ayer & Son, agency Bell Telephone System, client (5) Booklet or Direct Mail Piece Barbara Paone, art director/designer Peter Paone, artist Grippi Gallery, client

SILVER MEDALS ' pars t e 1in s- 2'

for the psychiatric office patit'nt who~>e dPpressive state is complicatf~d

by elements of amc:iety and agitation

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(6) Magazine Cover-Drawing/ Photograph Kramer, Miller, Lomden & Glassman, art director/ designer/ artist Poor Richard's Almanac, client (7) Booklet or Direct Mail Piece-Color W. B. Williams, art director Mel Richman Inc., designerj artist Holiday Magazine, client (8) Direct Mail Illustration Samuel Maitin, art director / designer Seymour Mednick, photographer Congregation Adath Jeshurun, client

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(9) Booklet or Direct Mail Piece-Color Margaret Hawley, art director Margaret Mary Menseck, designer Smith Kline & French Laboratories, client

Sold! (by t«>lcphone)

(11)

(10) Direct Mail Illustration Margaret Hawley, art director Emile Laugier, designer/ artist Smith Kline & French, lnternat'l, client (11) Trade Periodical Ad Peter Fellin, art director/ designer Fred Carbone, photographer N. W. Ayer & Son, agency Bell Telephone System, client

(10)

CA. Jan / F eb '68

Pittsburgh's 6th Two juries, one for print and the other for TV and film, selected the 6th annual exhibition of the Art Directors Society of Pittsburgh. The film jury: Samuel Magdorf, president, Elektra Productions; Stuart Garner, executive producer of television, Foote, Cone & Belding; Jerome Kates, president, Creative Cinema. The print jury: Bert Steinhauser, art director, Doyle Dane Bernbach; Gus W avpotich, head art director, Ogilvy, Benson & Mather; Carl Regehr, designer. One medal was awarded by each jury. Thirty-five 1st place awards were given in print and five in film. A selection from these is shown.

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(6) CLUB MEDALS (1) TV, live action Art Ross, art director Creative Cinema, photographer Ketchum, Macleod & Grove, agency Calgon, client (2) Ad campaign , black and white Elmer Yochum, AD / designer Roy Kane , photographer Ketchum, Macleod & Grove, agency Scott Paper Company, client

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(7)

1st Place Awards (3) Art, color F. R. Esteban, designer/ artist Francis & Doris Esteban, client (4) House organ Dick Slater, AD / designer Pitt Studios, artist Gulf Oil Corp., client (5) Newspaper ad, color Arnold Varga, AD/ designer A. Varga j Gateway Studios, artists BBDO, agency United States Steel, client (6) Display Don Smith , art director D. Smith/ Jim Baker, designers Cliff Price, artist Ketchum, Macleod & Grove, agency Westinghouse, client

(9)

(8)

(7) Ad campaign, color Frank Perry / Vic Boero, art directors Win Prother/ Ben Spiegle / Bror Hanson/ Paul Wing/ Clyde Hare, photographers Fuller & Smith & Ross, agency Alcoa , client (8) House organ Ed Fisher, AD / designer Barbara Jackson/ Tech art students, artists Herb Barnett, photographer Carnegie Tech, client (9) Ad campaign Tom Ross, art director Carl Ramirez, designer; artist Ketchum , Macleod & Grove, agency Westinghouse, client (10) Full color ad A. lee, AD / designer Barbara Jackson, Federman/ Adams; Colopy, artists BBDO, agency United States Steel, client

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CA, J an/ Feb '63

ALC OA A L UMINUM

IN COLOR?

Type in color is a delicate area offering both 90

interesting design possibilities and opportunities for unpleasant surprises. What seemed like emphasis on the comp has sometimes turned to de-emphasis on the printed job. Strength and readability are difficult to determine from looking at a color swatch in an ink book. It has been pointed out to us that CA had dealt extensively with color in articles, color charts and a book, but never with this particularproblem. We hadn't. Now we are. Here is a capsule "type in color" guide in a range of six selected colors. These should offer, with some interpretation, an evaluation of a number of other colors. Anyway, it's a base for a file. Perhaps you even have a friendly printer who could tack a test strip on some of his runs with a 2" or more "waste strip" on the end of the sheet.

CA, Jan/Feb '63

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CA, Jan/Fe b '68

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Lytton Center of the Visual Arts

96

T he next time you're in Los Angeles, set aside a couple of hours for a worthwhile visit out at the eastern end of the ((Sunset Strip." The place is the Lytton Center of the Visual Arts at 8150 Sunset Blvd. It's literally ((a million dollars worth" of cinematic and graphic excitement.

The Center was initially conceived to house the world's finest collection of artifacts, optical devices, slides, engravings, and books recording the ancestry of today's cinema. These objects represented a 30-year collecting effort by Mogens Skot-Hansen, Danish director/ producer.

Bart Lytton, President of Lytton Savings and Loan Association, purchased the collection and began arrangements for cataloging, restoring and housing it. He contacted an old friend from his motion picture days, Film Director Herbert Kline, who accepted the task of developing the 1500-odd items into a cohesive, interesting exhibition available to both scholars and the general public.

As the plans got underway, they expanded and the concept of the present many-faceted Center evolved. As well as the permanent display of the artifacts, it includes a 209-seat auditorium with the latest projection and sound equipment and many interesting innovations; art galleries; a 75-foot mural, designed by Eliot Elisofon, depicting a comprehensive history of motion pictures in still photographs; and a display of the ((ten best films of all times," as selected by the world's foremost directors.

Even with fine facilities and unique material, a museum such as the Center needs something more to be successful.

Like the ball club in the musical, ((It's gotta have heart."

This it has, primarily supplied by it's attractive, darkeyed Curator, Josine Ianco Kline, wife of the Center's Director Herbert Kline.

Josine's initial function was to examine and catalog the objects for display and the 271 rare books for the Center's library. She drew heavily on both her knowledge of art and her mastery of languages including German, French, Rumanian, Hebrew and English. Her art background had an early beginning. She is the daughter of Marcel Jan co (he changed the spelling to conform to early errors in art books), noted Rumanian architect and painter and one of the founders of the Dada movement. The Ianco family migrated to Israel in 1940 where Josine graduated from Balfour College, served in the army women's corps and then spent two years on Israel's leading independent daily newspaper. In 1948, she came to New York, studied at the Art Students League, worked on a fashion magazine and then for an organization that made replicas of famous sculptures.

When the Center opened in July of last year, she sensed that ((the spark" was missing. She gave up what she described as a ((peaceful and comfortable existence doing research" and proceeded to breathe some real excitement into the Center.

One exhibit, for example, had the theme of ((The World of Children." She reviewed a hundred or more films and selected six for a film festival in the theater: Moonbird

by John Hubley; A Christmas Film by John Urie & Associates; Parade by Charles and Ray Eames; A Fable by Bob Pike of UCLA; The Purple Turtle produced by the American Crayon Company; and Tubby the Tuba by George Pal. She also borrowed the miniature dragon used in the special effects for The Wonderful Wo rld of the Brothers Grimm.

The galleries featured children's art-paintings, collages, mobiles and sculptures from the Los Angeles School System. This was augmented with paper sculpture by students of the Pasadena Art Museum and the Monterey Park Public Library Junior Workshops.

Incorporating toys into the exhibit, she searched through stores and shops, selecting imaginative examples of contemporary toy design. In one, she found some delightful Mexican primitive toys. Another unexpected bonus came from Mr. D. P. Litwin who heard of the exhibit and volunteered some antique Chinese children's books, hand painted on rice paper. Expanding the exhibit in this area, she arranged for a loan of antique toys from the collections of Ward Kimball and of Charles and Ray Eames. Sister Mary Corita of Immaculate Heart College volunteered their art department's collection of antique toys from India, Peru, Brazil and Formosa.

The presentation of the Center's exhibits adds much to the charm and excitement. In this one, many of the objects were small and were set on large wooden bases.

The bases were brought into the theme with gay colors and pages from the Giant Coloring Books. Further decorative atmosphere was supplied by paper sculpture trees and foliage that originally had been created for commercial film sets by Joanne Norman and Charles Frazier of John Urie & Associates.

Examples of her ((touch" are always evident in the exhibits. In the current one on ((Space," ·she has added a decorative element with the suns from the special 100th issue of Graphis.

Other exhibits have featured such diverse themes as ((Motion Picture Costume Design" and uThe Civil War." In the latter, she played on the contrasts between the movie

CA, Jan/ F eb '63

versions and the authentic as recorded in the photographs of Mathew Brady and woodcuts of Winslow Homer, both from the private collection of Stephen Longstreet.

The next exhibition, opening in April, will be uThe Changing Faces of Beauty."

Bart Lytton, sponsor of the Center, is more than an ample subject for a story, and has been in consumer, business and advertising magazines. He is a paradigm of the rugged individualist. All of his areas of activity and interest, business, art, philanthropy and politics have been surrounded w{th controversy. His business methods, as he mixed showmanship with financial acumen, have been heavily criticized .. . and copied. In answer to criticism of his competitors on the size of his advertising budget, he stated: ((We're not courting our competitors. It's their customers we're after."

A former screen writer and PR man, Lytton acquired a half interest in a small mortgage brokerage business in payment of an advertising debt. From there, he was off and running. By 1954 he was in the savings and loan field and in 1958 he was president and chairman of the Lytton Savings & Loan Association. In the past five years, his Association has grown in size from number 6300 on the national list to 65. Along the way, he has set profit as well as growth records and amassed a large personal fortune which he has utilized lavishly, as well as his time, for his other interests as philanthropist (City of Hope; cancer research; muscular distrophy; multiple sclerosis; mental health; Red Cross) and as art patron (personal and business collections; $750,000 to the new Los Angeles County Museum of Art; $100,000 to the new Music Center).

His role as art patron has drawn both praise and criticism.

One bit of praise went astray with unusual and amusing results. A woman in the public relations field once wrote to Lytton because she wanted him to know that he and his wife had done so much for the community's art and culture and that she was certain that it did nothing but good for Litton Industries. (Litton Industries is a large, Southern California-based electronics firm.)

He wrote in reply: (!Dear Miss D ... lou have hurt me to the quyck. Yf iou don't know whi, then one of us has slypped veri badli yn our publyc relatyons. And methynks yts iou .... Sadli but syncereli iours ... "

•

The World of(h',\df\

THE ENCHANTMENT OF THEIR ART, THEIR TOYS, THEIR FILMS. ~

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SHOW HOURS: MONDAYS~~:~~:~::SFTROE: P. M./ FRIDAYS TO 0 P.M. SEE ANTIOUE TOYS from valued private cotlectlona, on loan for this edtlbit

TOYS Of TODAY from all OOter the world. FOLK ART TOYS, ptlmltf'te playthi~a from Me!tlco, Peru,lndla.larael CHILDREN'S ART, a deltghtful eahiblt of p~~•ntlng, sculpture, mobiles and ceramicl: created by the children In elementary grad.. of the L01 Angelea City SchooiL CHILDREN'S FILM FESTIVAL, FREE, Dally ahowlngaln the Lytton C.nterTheatre. Bring the whole family and friends and fr1endsl

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98

((A company-wide review has been made of the design, style and format now being used by the various organizations of the corporation with respect to stationery, product literature, proposals, signs, vehicle insignia and other forms of visual identification. This review has revealed a great diversity in the design, style and format now in use. This lack of uniformity has the undesirable effect of weakening the company identification both internally and externally."

So reads a corporate announcement issued by Mr. Thomas V. Jones, President of Northrop Corporation.

The announcement continues: ccAs the stature and scope of the company grows, and as we move into new technical areas, new markets and into expanded international operations, there is a growing need for a stronger and clearer identification. ((It is the policy of Northrop to design its visual communications in such a way as to contribute to a uniform and cohesive image ofthe company that accurately reflects its identity. ((To this end, the Corporate Director of Public Relations and Advertising will create a uniform style of company nomenclature and standardize graphic design elements for all stationery, product literature, proposals, advertising, exhibits, signs, vehicles, and other forms of visual company identification. Proper emphasis will be given within this framework to divisional and other company organization names. Proper recognition will be given to special requirements that organizations within the company may have."

CA visited the Northrop Corporation to report the story behind such a clearly stated, positive mandate for a corporate identity design program. ((Problem: a confused Northrop identity" was the title card of a presentation made by Norman Warren and James Cross to the top management of Northrop Corporation.

Five causes of the problem were then listed: (1) a profusion of logotypes; (2) inconsistent use of the trademarks; (3) lack of design continuity; (4) subordination

of the Northrop name; (5) inconsistent quality of the graphics. These were documented with displays showing examples of the existing visual impressions presented by the company. Excerpts from two, architectural signs and letterheads, are shown on the facing page.

The presentation was the end result of Warren's and Cross's careful study of the Northrop visual identity. All of the printed samples and photographic records that they had collected and selected from for the displays had been exposed to all or segments of Northrop's customers. Many of these were seen, through normal working channels, by only small fractions of the total company personnel.

Even the most progressive executive could not be expected to have more than a minimal awareness of the volume and variety of graphics created throughout a corporation of this size and range of activity; nor could he relate their image-confusing potential without such a review.

Faced with this compilation of visual facts, however, the executive reaction was immediate. ((Do something about it."

The second phase of their presentation did recommend a direction for solution: corporate- wide design standards, including (1) adoption of a single logotype and style of nomenclature; (2) establishment of a graphic design manual; ( 3) tighter design supervision and coordination.

In recommending a single logotype, they posed a question, ((Why have trademark symbols?"

The problem of the many corporate and divisional symbols and their inconsistent use had been demonstrated earlier in the presentation. Now, a new display was shown with a Northrop symbol and the marks of fourteen other companies in the aircraft and aviation field. Each of these marks utilized the same theme, a bird in flight. Most of them were visually similar to the Northrop trademark.

Then the executives were asked to participate in a simple test of trademark identification. Fifteen other marks were shown, each representing a company with an advertising budget of a million dollars or more. The average recognition score was three!

CA, Jan/ Feb '69

•

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Their recommendations were accepted. A corporate design program was authorized.

An unusual facet of this program is that it was instigated and is being implemented from within the company, in contrast to most such programs that are developed by outside design consultants.

Norman Warren joined Northrop three years ago as Director of Public Relations and Advertising. Six months later, he hired Jim Cross as Northrop's first Corporate Art Director.

Like many other large companies, Northrop has advertising and graphic projects that are classified as ((corporate" in nature. This is the derivation of the ((Corporate" in Cross's title. He has no administrative responsibility for the ((divisional" graphics that are handled by departments within the individual divisions or subsidiaries, but these units of the company have shown their eagerness to cooperate in all segments of the design program.

The first step in the development of the new program was the determination of a system of nomenclature that would, in turn, offer direction to the development of a logotype. A list of possible combinations of corporate and divisional names was drawn up.

NORTHROP CORPORATION- NORTRONICS DIVISION NORTHROP- NORTRONICS DIVISION NORTHROP / NORTRONICS NORTRONICS DIVISION - NORTHROP CORPORATION NORTRONICS, a division of Northrop Corporation NORTHROP NORTRONICS NORTHROP- Nortronics NORTHROP CORPORATION/ Nortronics Division NORTRONICS DIVISION OF NORTHROP CORPORATION Northrop NORTRONICS

The sixth style on this list was chosen. It was felt that this placed the proper emphasis on the corporate name, without undue subordination of the division. The shortened version of the name was considered appropriate since the company is normally referred to as ((Northrop" rather than by its full corporate title. Also, the brevity would allow easier adaptation to a multiplicity of graphic uses.

In developing a letter form for the logotype, Cross concentrated on strength and clarity rather than seeking a uniqueness of style. In the interim period before adoption of the logotype alphabet, they utilized a bold type face with similar characteristics to the direction they were working.

After adoption of a logotype, work began on the design, coordination and purchasing planning for the stationery. Organization and the development and testing of criteria for the design manual also got underway. Cross and designer Ken Rang, who joined Northrop a year ago to aid in the program, began adapting the logotype and other suggested design standards to various forms of basic visual material. The largest adaptation, in planning, is three 210-foot signs to be seen from the flight patterns of the Los Angeles International Airport. The individual letters on the signs will be 25 feet high. ((Merely having a unique trademark and applying it to stationery, annual reports and building fronts is not enough to achieve a visual identity," Cross philosophized, Hnor is just having (good design' enough.

HI certainly don't approve of (bad design,' but it could be possible for all of the visual elements to be poorly designed and the company still might have a strong identity.

(Good design,' if we relate the term to esthetics, can improve the impression, but it does not necessarily improve

CA, Jan/Feb '69

101

Requlrementsforoceenleunch

"Poroballoon"for-IPickppo?

A Case for HlaMift Rt·ontry

R.coverlnla&treyutelllte

Parachute Operat ions on Ma rs

Earth as Seen from Deep Space

Aprobeofthe'"IR" spectrum

Moon Data inRoekRadiltlon7

Eatty Manned Renduvout System

Newyardstlckforaerialphotos

Breakthrou&hlnBerylllum

How to Me-sure a Missile's Miss

Nbrthrop Technical Digest

Northrop Technical Digest

Northrop Technical Digest

Cross demonstrates his "creativity within a corporate look and format" in the Northrop Technical Digest, published bi-monthly with press information for technical editors.

Northrop Building, Beverly Hills, California, U.S.A.

NORTHROP CORPORATION

Telephone CRestview 4 ·8001 Cable NORCOR

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NORTHROP VENTURA

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1515 Rancho Conejo Boulevard, Thousand Oaks, California

Thomas V. Jones

NORTHROP CDRf'DRATIOII 974-4 Wilshire Boulevard . Beverly H•lls, Cahforma CRestview 4· 8051 BRadshaw 2- 8581

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Contract Number

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NORTHROP CORPORATION NORTHROP NORTRONICS NORTHROP NORAIR NORTHROP VENTURA NORTHROP ARCHITECTURAL SYSTEMS NORTHROP INTERNATIONAL In the system of nomenclature, "Northrop" always appears in strongest color in two-color combinations; solid with 60% screen for the division in one color treatment. In the shipping label, lower left, the white reverse is considered more visually powerful than the black.

the identity. It might even be damaging if the <good design' bears too much of the designer's personal thumb print.

What is important is continuity.

«Call it a <family resemblance' if you wish. There must be a thread that binds all of the corporation's visual communications together. It might be achieved most easily by having one designer create all of the visual elements for a company. This is hardly practical when the company is large and diversified, so we have to have standards and formats for a corporate style or feeling. This is difficult to establish, and to control, with many people working at it and with so many different audiences- employees, customers, the neighboring community, the government, the financial community and the international community.

We must communicate to each of these on different levels and in different terms. But, a brochure can bear a corporate look and format without hindering innovation or creativity, or the correct slanting of the message. ((The designer may collect a large sampling of the pieces and hang them on his wall, and they may look a little monotonous because of the sameness in feeling. I think this is good. No one but the designer sees them like that anyway. Others see each one separately, with time intervals between. It is important and desirable that every piece has a resemblance to the others. ((All of the stories describing the continual friction or lack of understanding between design and management disturb me. It doesn't have to be that way, and I don't mean the designer has to compromise. I think the problem exists because the designer too often interprets the character or uniqueness of the company in his own terms and not in the terms of management. ((Management is the force that enables a corporation to function. Therefore, I believe it is the job of the designer to understand and reflect their ideas and their goals and

NORTHROP SPACE LABORATORIES NORTHROP PAGE COMMUNICATIONS NORTHROP S.A.

103

Jim Cross (right), Corporate Art Director of Northrop, is a graduate of UCLA. He later taught advanced design for three years at his alma mater. Cross was an art director for the System Development Division of the Rand Corporation.

Later, when the division was organized as an independent corporation, he became Corporate Art Director. He joined Northrop in 1960. Cross is the Secretary and a member of the Board of Directors of the International Design Conference in Aspen. He is active in the Art Directors Club of Los Angeles and a member of the STA and AlGA. Ken Rang, Assistant Art Director, is a graduate of the Institute of Design, Chicago. He was with Container Corporation as assistant to the Director of Design and then came to California to work for Charles Eames. Rang joined Northrop in 1962.

not the interpretation of character and goals that he has formed for himself by looking at the company from the outside. ((I think this is a plus value of internal design direction. The design director is exposed to top management and has access to their ideas as the company grows and changes daily."

CA, Jan/F eb '63

Allen Hurl burt, art director of Look Magazine and chairman of the Eighth Annual Visual Communications Conference~ writes in defense of the often misunderstood~ sometimes maligned word that constitutes the theme of this year~s conference, which will be held at the Waldorf-Astoria on May 1 and 2.

Designl63

104

Anyone who makes his living as an art director has probably encountered it at one time or another. It happened to me for the first time many years ago. After one of my earliest agency account meetings, a fellow art director called me aside to remind me that we never mention that word in front of management. Some time later, in a meeting of art directors, I heard it expressed in another way. <~We don't want to be regarded as designers. We want management to think of us as business men or professionals."

What is wrong with the word design? Is it really a red flag to management? Should it be a chip placed precariously on the art director's shoulder? Or is it finally our reason for being? Isn't this the word that really describes our talent, our training, our work and our unique value to management?

Does this negative attitude toward the word design originate in the dictionary definition? I don't think so.

My dictionary uses these positive words to describe the verb design: <~create, produce, delineate, form an idea, project." Nowhere in Webster's definitions do I find ttembelish, obscure, or distort" - words so often found in the lexicon of its detractors.

Each year for the last seven years the Art Directors Club of New York has held a visual communications conference. These sessions have assembled some of the most able men in design and its related fields. But here too the word has somehow been avoided. This year, conference director William Duffy and I decided (at the risk of disturbing the ground where angels fear to

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Probably no modern American designer has received greater international recognition than Charles Eames, the keynote speaker of the Eighth Annual Visual Communications Conference. His chairs have established all time sales records and their form has influenced design from California to Tokyo. His advance audio visual presentations have been show-stoppers from Moscow to Seattle.

CA, Jan/ F eb '68

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tread) to face squarely up to the word and call the conference ((DESIGN '63."

The conference, which will be held at theWaldorfAstoria on May 1 and 2, is building its program around men who have achieved international recognition for

Designf63

106

their talent as designers and for their success in solving important communications problems. This two day session will be no ivory tower tour through the ((way-out."

It will be a tough, provocative and exciting reaffirmation of the contribution design can make to the challenging time in which we live.

Every age creates forms and images symbolic of its spirit, and it has been said that Charles Eames' functional chairs in moulded plywood, metal, and plastic, may be identified by future historians as the classic silhouette of the mid-twentieth century. Certainly these chairs have had a commercial success rarely matched by other product designs. But Eames, the keynote speaker of the conference, is much more than a designer of chairs.

He is a noted architect, inventor and a designer of products that range from toys to medical splints. His advanced audio-visual presentations at the U.S. Pavilions in Moscow and Seattle became high points in these important exhibits. These presentations and his extensive experiments in cinematography have had a far reaching effect on film making and television effects.

The success of his uncompromising loyalty to design is a matter of record and his comments will be important to every designer regardless of his area of work.

More and more American companies are becoming aware of the tremendous value of coordinated design.

Perhaps the two most important examples of these projects in corporate identification are I. B. M. and Westinghouse. The team responsible for this restyling is Eliot Noyes, architect and industrial designer, and Paul Rand, graphic designer. At the conference, Eliot Noyes will discuss the development of these programs that range from plant architecture and product and equipment styling, to trade-marks, graphics and advertising.

The program for DESIGN '63 which at this writing is still in the formative stage, will use advanced visual techniques to demonstrate design in all its phases. It will cover projected and printed advertising with the participation of such speakers as Stephen Frankfurt, executive art director of Young and Rubicam. It will explore publications. Henry Wolf, art director of nShow" and formerly art director of Harpers Bazaar and Esquire, will discuss design and the making of a magazine.

Robert Osborn, author, cartoonist and free-wheeling critic of the fads and foibles of our time, is preparing a special illustrated discussion called ((Reality and You." Anyone who had the good fortune to hear his talk on ((Leisure" at the Aspen Conference a few years ago, or encountered it later in book form, will agree that he has few peers in this type of visual presentation.

1963 brings us to the threshold of what may well be the most challenging period design has ever faced.

As we move outward toward space and inward toward the atom, our old reliable view of reality is being replaced by new dynamic concepts that we cannot afford to ignore. Gyorgy Kepes, noted painter, sculptor and photographer and Professor of Visual Design atM. I. T. will explore some of the forms that constitute this challenge, along the lines already projected in his provocative book ((The New Landscape."

The conference will also examine the changing perception of the new generations raised in the environment of modern schools and subjected to new teaching methods and advanced visual techniques. Will children raised on the quantum theory and the electron microscope be content with communication ideas rooted in the limited background of McGuffy's Reader?

This article which started as a defense of the word design has become a frank pitch for DESIGN '63, The Eighth Annual Visual Communications Conference.

This is because I believe that the conference can be a better answer to the critics of design than any article could ever be. I believe this conference could be a turning point in our attitudes toward communications, and I hope it will teach our critics to judge design by its successes and not its excesses.

CA. Jan/F eb '68

The answer to the challenge of modern design will not be solved in the ((rat-race" shown at the left in Robert Osborn's biting sketch, but in an understanding of new images such as the diffraction pattern from Gyorgy Kepes book ((The New Landscape" and the seeking of new design solutions such as the Westinghouse trademark by Paul Rand and the I. B. M. typewriter styled by Eliot Noyes.

PRESURMARK

3 8X

(PRESSURE TRANSFERS) FEET

FEET

From the graphic arts research laboratory of Kaumagraph Company comes a new "decallike" transfer. This unique PRESURMARK pressure transfer can be production produced in a range of standard sizes from 4 1' x 4" to 16" x 24" or in custom super sizes as large as 8 feet x 3 feet.

PRESURMARK transfers are designed for a multitude of point-of-sale uses and easily and safely transfer to glass, wood, metal, or any hard surface by simple ~ressure.

There is no need for water, no sticky adhesives, no film carrier and no difficult peeling of backing sheets. Merely place the Transfer in position and rub the back. .

PRESURMARK transfers come m one, two, three, four, or more brilliant colors (including fluorescents) and are as eas~ to remove as they are to apply. The super s1zes are ideal for display windows, murals, posters, and back bar installations; the small sizes have thousands of sales stimulating uses on show cases, racks, windows, and even on products themselves.

For samples, suggestions, and price information, write to New Products Department, Kaumagraph Company, Dept. CA, 14th & Poplar Streets, Wilmington 99, Delaware.

108

Materials CA's studio-tested review of new and existing materials available to artists.

Zebra Carbon A specially treated red carbon paper imprinted with a striped pattern which will produce a dotted or dashed line for reproduction when a stylus or ball point pen is ruled over it. By placing the translucent carbon over a repro on a light table, dotted lines can be ruled into exact position. By angling the carbon, dash~s of any length can be ruled. 10 sheets $5, 50 sheets $20, or a sample sheet from LithoType Company, The Courtyard, 2118 Massachusetts Avenue, N.W., Washington 8, D. C. Color Match A design- paper system comprising 219 classified colors available in 18 x 24 sheets including 16 yellows, 24 oranges, 40 reds, 24 violets, 48 blues, 40 greens plus 8 shades of warm gray, 16 tints of cool gray, black, white, and living red. Four tints and three shades of each basic hue are included. System includes a swatch book, inventory list, 6 x 9 sampler kit, sheet packs, and a specially designed six-drawer studio cabinet. At art dealers or write The Craftint Mfg. Co., 18501 Euclid Ave., Cleveland 12, Ohio.

Pelikan Inking Powder A powder designed to prepare and clean all drafting surfaces including drafting film, plastic sheets, transparent paper, tracking cloth. Dusting on, rubbing in, whisking off will remove fingerprints, smudges, other dirt and prepare the surface for better ink adhesion, preventing feathering and bleeding. Can also be used after inking without affecting the ink or reproduction. At art dealers or John Henschel & Co., Inc., 425 Park Ave. South, New York 16, N.Y. Literature for your files 11 . . . as mentioned in CA"

Instant Letterin~ is an incredibly . simple method of lettenng-anyone can d~ 1t. Sel.fadhesive letters, printed on ~ spec1al. plast1c sheet are just rubbed down mto pos1t1on on any a'rt or drawing, wood, paper, glass, acetate, even crackle finished metal.and rough textured papers. The finished result IS super~-:-t:~o background film to letters, clean defm1t1on. and sharp color. Letter sizes .range Jrom 8 p~mt to 1112 mch display letters m a w1de select1on of type faces. 10" x 15" sheet only $1.50 Send for somple and complete type chart

ARTHUR BROWN & BRO., Inc. 2 W. 46th St., New York 36, N. Y.

A request on your letterhead to the following companies will bring you the literature described ... free, unless otherwise noted.

uType Specs" .. . information and sample sheets from new 500-page 17x 11 loose-leaf type book with over 2750 faces a~d sizes of standard and currently popular styles. Type Specs Co., 119 West 23rd St., N.Y. 11, N.Y. CA, Jan/ F eb '63

((Cosmographs" ... a 4-page folder illustrating 62 unique free-form line designs available for reproduction from SpectraKrome color prints or black and white glossies. Cosmographs result from an invention by sound physicist Edward Lias and are the visual records of patterns produced by interfering sound waves. Each motif is developed from a harmonious musical chord or triad. Photo-Lettering Inc., 216 E. 45th St., New York 17, N.Y. cc TAW Progress Report" . .. a broadside showing selections from 8 films prepared by Trinkaus, Aron & Wayman. If interested in viewing a sample reel of their work, indicate which of the following categories are of interest: TV commercials, show titles, industrial, slide films. Trinkaus, Aron & Wayman, Inc., 3 West Ave., South Norwalk, Connecticut.

((Day-Glo 77" .. . literature, swatches, technical bulletin, and printed samples of eight newly developed oneimpression fluorescent inks suitable for either letterpress or litho. Switzer Brothers, Inc., 4732 St. Clair Ave., Cleveland 3, Ohio. ((Buckeye Miniatures" ... a package of eight originally designed covers, menu, table tent, direct mail pieces, all done in miniature using 25% rag Buckeye cover stocks which are available in 2 whites, 14 colors, 4 weights, Antique and 9 embossed finishes.

From Beckett merchants or The Beckett Paper Co., Hamilton, Ohio.

Write for Free Samples & Prices

CLIP BOOK of LINE ART The Leading Ready-to-Use Art Service

HARRY YOLK JR.

PLEASANTVILLE 6, N.J.

goa Fttt b Avenue , D e p t . CA N ew York 10, N .Y .

MUrra y Hill 3 ·2327

dittributort wonted tetritorieJ open

uNeg- 0- Weld" .. . literature describing a new electrical, litho stripping tool that heat-welds masking paper to film. Neg-0-Weld Mfg. Corp., P. 0.

Box 421, Spring Valley, California. uFormatt" ... a 68-page illustrated catalog (designed by Burton Cherry just prior to his death) showing available alphabets, arrows, numbers, symbols printed on pressure-sensitive acetate sheets. Robert Serafin, Graphic Products Corp., P.O. Box 94, Arlington Heights, Illinois. <<Rule-Pak Rules and Borders" ... an illustrated folder showing examples of 73 styles of decorative borders, hairline to 24 pt. rules, dotted lines, circles, stars, etc. Presensitized strips are precision-cut with a protective backing on 6x12 sheets containing up to 1000 linear inches, depending on width.

Fototype Inc., 1414 Roscoe Street, Chicago 13, Illinois. uLinton ~s Bristol Idea Kit No. 17" ... includes a number of commercially produced pieces run on Linton's Bristol cover stocks with examples of die-stamping, blind embossing, litho, silk screen. Advertising Dept, Linton Division, Crocker, Burbank Papers Inc., Box 601, Fitchburg 17, Mass.

"ACS Tapes" ... a sample folder with 20 strips of both glossy and matte transparent colored tapes available from 1 j 32" to 1" wide. Includes a listing of sizes, colors and prices. ACS Tapes Inc., Newton 58, Mass.

l01theparlicularartill SEND FOR CATALOG

Index to advertisers 8,9 Advt. Typographers Assn. of America 15 American Type Founders 7 Amsterdam Continental Types 10 Art-0-Graph, Inc. . . . .

29 Charles T. Bainbridge's Sons 23 Berube-Salkin Studio . .

14 Bourges Color Corporation Arthur Brown & Bro., Inc. 108 Carson/Roberts/Inc. C2 9 Coast Book Cover . . .

Crescent Cardboard Company 6 Dicar Letter Company 23 Dry Stik . . . . . . .

23 Eberhard Faber Company, Inc. 5 Edstan Studios . . . . .

17 Esterbrook Pen Company 4 19 A. W. Faber-Castell Pencil Company A. I. Friedman, Inc. 10 Grace Letter Company, Inc. 108 Graphics Four, Inc. 28 M. Grumbacher, Inc. . .

4 John Henschel &Company, Inc. . 20,21 C. Howard Hunt Pen Company 6 Iddings Paint Company, Inc. 23 Kaumagraph Company 108 Fred Kopp Inc. . . . . .

C4 Lectro-Stik Company . . .

18 Lucygraf Manufacturing Company .

13 Maker Products, Inc. . . . . .

109 Mask-0-Neg . . . . . . . .

109 National Card, Mat & Board Company .

27 C. A. Parshall, Inc. C4 Permanent Pigments, Inc. . . .

29 Potlatch Forests, Inc. . . . .

25 Progress Hanson Progressive Group 28 Shiva Artists Colors .

109 Steig Products . . . . .

23, 108 Stik-A-Letter Company 109 Strathmore Paper Company . . 11, 12 Strozer Typographies .

18 Thayer & Chandler 109 Type Specs Company .

16 Harry Volk jr. Art Studio 108 F. Weber Company . .

26 Martin J. Weber C2 Winsor & Newton Inc. 23 X-Acto Precision Tools, Inc. 27

quikstiCk Jf!_!Zlfadhesive on

FAST and EASY. Spray it papers, plastics, photos, ll1d they stick to lilY smooth surface-can be removed and put back many times.

12 . . . . . . . ,, I oz. an en1J IIC

109

Number 52 331 SOUTH PEORIA ST., CHICAGO 7, ILLINOIS

Address advertising correspondence to Publisher, CA Magazine 809 San Antonio Road Palo Alto, California Phone: 1,.15-326-60.40

0

TRY SHIVA ..

PROFESSIONAL LETTERING TECHNIQUE Write for literature

Stik-a-Jetter Co. Rt. 2, Box 1400, Escondido, calif.

HELP WANTED Oklahoma corporation expanding nationally needs a competent artist with some knowledge of preparation of art for filmstrips. Merit raises. Send complete resume, salary requirements, and samples to Robert Rainwater, Art Director, Esteem Associates, Inc., Box 832, Stillwater, Oklahoma.

CA, Jan/Feb '68

SIGNATURE

OIL COLORS ...

INDEX CA MAGAZINE • VOLUME 4 • 1962

110

Schwartz, Bert-'That $2-Million Rembrandt": Feb, 31 Shields, Bill-"A sketching trip to Mexico": Sept/ Oct, 100 Shipman, Art-"5 years of newspaper color advertising'': Sept/ Oct, 29 Storch, Otto-"Comments on Editorial Design": May, 44 Storch, Otto-"Editorial Art Reborn": Aug, 38 Thollander, Earl-'.' A sketching trip to Mexico": Sept/Oct, 98

Features

Illustration

The Annual Report: Aug, 12 The Antique Press: Aug, 50 Art for Artists: June 50 Art Directors Club of Chicago, a needle for members: June, 49 The Art Machine: Feb, 35 Atlanta Magazine: June, 36 CA-62: Nov/Dec, 1 Campbell's Soup on canvas: Sept/Oct, 68 A Child's Primer to Advertising, Chapter 1: May 55 A Child's Primer to Advertising, Chapter 2: Sept/ Oct, 81 Christmas Cards: Sept/Oct 52 Company Publications: Sept/Oct 85 Experimental Illustration in the schools: Aug, 43 Bill Fetter, Boeing graphic designer: Feb, 41 S. Neil Fujita: Sept/Oct, 60 Rolf Harder: Sept/ Oct 76 Stan Hodge, corporate design/ communication: March, 31 Herb Lubalin, art director of the year: May 28 The Market Place, Society of Illustrators Seminar 2: Aug, 34 McGraw-Hill, design for business publications: June, 58 Howard Munce: Sept/Oct, 70 Neiman-Marcus, newspaper color: Sept/Oct, 29 New Orleans ADD slide presentation: Sept/Oct, 72 The Push Pin Studios: July, 26 St. Louis, 100 neediest cases: June, 54 St. Louis' unique exhibition hall: Jan, 42 San Francisco nude auction: March, 24 Seattle World's Fair program: May, 34 Nicolas Sidjakov: June, 32 A Sketching trip to Mexico: Sept/Oct, 95 Mel Sokolsky shoots McCall's: Sept/ Oct, 45 Bill Tara, how he got that way: Jan, 26 George Tscherny views public signing: Feb, 53 7th Visual Communication Conference: May, 59 World's Fair Posters: July, 8

The Art Machine: Feb, 34 CA-62, advertising illustration: Nov / Dec, 150 CA-62, editorial illustration: Nov/ Dec, 155 CA-62, experimental illustration: Nov/ Dec, 162 CA-62, technical illustration: Nov / Dec, 165 Experimental Illustration in the Schools: Aug, 43 Illustrators '62: Feb, 42 • St. Louis, 100 neediest cases: June, 54 A sketching trip to Mexico; Sept/ Oct, 95 Society of Illustrators Seminar: Aug, 34

Editorials/Opinions/Contributions Avakian, George-"Jazz in our time": Aug, 36 Booth, Pete-"You heard what the man said": June, 44 Coyne, Richard-'Total Design Program": March, 28 Dorfsman, Lou-"Tiger"-Herb Lubalin: May, 28 Duffy, William R.-"New Horizons for the Illustrator in TV": Aug, 40 Eckerstrom, Ralph-"Design and Managements": June, 56 Gossage, Howard- "How to become the world's greatest unrecognized art director": April, 101 Landor, Walter-"Designing Aloud": Jan, 59; Feb, 28; April, 34 Lois, George-"A few rules (8) for good advertising": Nov/ Dec, 14A Moore, Dick-"A sketching trip to Mexico": Sept/ Oct, 96 Munce, Howard-"After five o'clock": Sept/ Oct, 70 Nocito, George- 'That $2-Million Rembrandt": Feb, 31 Olken, Hyman-"Effective Technical Illustration": Jan, 53 Papert, Frederic-"Advice to Art Directors": April, 38 Pensyl, William E.- "What this business needs": Sept/ Oct, 108 Roberts, Jack-"A judge's eye view of judging": Nov/ Dec, BA Samerjan, George-"The Market Place": Aug, 34

Photography CA-62, advertising photography: Nov/ Dec, 166 CA-62, editorial photography: Nov / Dec, 172 CA-62, experimental photography: Nov/ Dec, 178 Professional Photographers of California, lOth exhibit: Aug, 30 Professional Photographers of Northern California, experimental photography: May, 40 Mel Sokolsky Shoots McCall's: Sept/ Oct, 45

Production CA Color, brown and black: May, 24 CA Color, orange and black: June, 22 CA Color Guide Charts of Duotones and triple tones, yellow, green and black: April, 36 CA Process Color Guide Chart: Jan, 45; Feb, 59 Color Reproduction, excerpts from Photomechanics and Printing, by ]. S. Mertle and Gordon L. Monsen: Sept/ Oct, 101 Effective Technical Illustration by Hyman Olken: Jan, 53 Sick dots, notes on halftone problems: April, 41

Typography The Antique Press: Aug, 50 Chicago Society of Typograghic Arts 35th Exhibit: May, 52 Excerpts from Manuale Typographicum: March, 58 The Society of Typographic Designers, Montreal: May, 42 Otto Storch: Comments on editorial design: May, 44 Type High, New York Type Directors Club: June, 26 Typography '62, Canada's 5th exhibit: Sept/Oct, 74

Shows CA-62: Nov/ Dec, 1 Campus Graphics: May, 48 Chicago Artists Guild: March, 48 Chicago Artists Guild Fine Arts Exhibit: March, 40 Chicago Society of Typographic Arts: May, 52 Cincinnati Art Directors Club: Jan, 40 Denver Art Directors Club: May, 50 Los Angeles Art Directors Club: April, 105 Los Angeles Society of Illustrators: March, 54 New Jersey Art Directors Club: March, 50 New York Art Directors Club: .April, 46 New York Society of Illustrators: Feb, 42 New York Type Directors Club: June, 26 Professional Photographers of California: Aug, 30 Professional Photographers of Northern California: May, 40 Society of Typographic Designers of Canada: Sept/Oct, 74 Wichita Advertising Artists Association: Aug, 32 CA. Jan/ Feb '63