janfeb1966

LEARN TO HYPNOTIZE! r--:;iiiiiiiii~ Peterson Color Laboratory shows how to gain secret new powers.

Dazzle account execs, gain the trust of copywriters, earn client recognition!!!

To begin with, all you need do is phone Peterson Color Lab· oratory, OR 9·7360, and ask for help with your dye transfers.

This amazing technique is a self.help process any art direc· tor can use, at any time, with the greatest of ease. Using it, you can get all kinds of manage· ment types to nod assent on the beautiful job you are doing with color photography. The impact of your work puts them under your spell.

Here are just a few of the reo markable things the Peterson method will effect for you:

Create a heautiful dye transfer • Vary the color from your original transparency as directed • Make a complete color change to your wishes • Change color in areas to match samples • Make strip-in dye transfers to solve the impossihle • Make duotone dye transfers • Create dye transfers from Kodacolor or Ektacolor prints • Make lock-up transparencies • Supply you with duplicate transparencies • Make color transparencies from color negatives.

Peterson's work exerts a mi· raculous effect ... relieves the pain of headaches ... relieves depressed feelings ... stops nero vous tension. It is a powerful force that lets you laugh at ill· fortune, promotes your chances for advancement, gives you a feeling of joyous relaxation.

N ow is the time for you to take the first step ... simply by raising the telephone receiver and dialing OR 9·7360 you may change your whole life. Go ahead. Make that decision now.

THE MAGAZINE OF THE COMMUNICATION ARTS

Richard S. Coyne, editor and publisher Gale Oltrogge, asst. to the publisher Judy Graham, circulation Daille Rupnik, advertising Jay McKendry, typographer Bob Bickford, assoc. typographer 3975 East Bayshore Road, Palo Alto, California 94303, Phone (415) 326-6040

Volume 8, Number 1, 1966 Time and place

12

Philadelphia, 20th exhibition .

74

Club news . . . . . . . . . . . . ..

14

San Francisco, 16th exhibition

83

On the board . . . . . . . . . . . .

17

Honolulu, 9th exhibition

86

The Graphic Traveler abroad in the Balkans . . . . . . .

Denver, 9th exhibition . . . . . ..

88

22 Illustration West . . . . . . . . . . .

93

Norfolk, 5th exhibition

94

Books. . . . . . . . . . . . . . ..

96

Materials/ available literature

98

Czechoslovakia

22

Bulgaria

30

Rumania

33

Yugoslavia

38

Time-Life Books . . . . . . . . ..

44 Index to advertisers . . . . . . . . . 100

Illustrators '66

58

An image of the future . . . . . ..

68

Cover photographs by Bill Tara

----------------------------~---------------------------CA Magazine is published bi-monthly by Coyne & Blanchard , Inc., 3975 East Bayshore Road, Palo Alto, California 94303. Subscription rates: U.S.A. and possessions, one year-$12, two years-$22; foreign, one year$14, two years-$26. Single issues: $2 each, except for CA Annual at $6.

Copyright 1966 by Coyne & Blanchard, Inc. Trademark registered. Second-class postage paid at Palo Alto, Calif.

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

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

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6

Kona Coral, one of ten impressive Kimberly Colors, adds a background of warmth and vitality to Minaux' fine contemporary print,"Girl': Used with matching or contrasting inks, a background of Kimberl y Colors is the economical and striking way to help bring your ideas and interpretations to life, too. You' 11 find "Girl" and nine other handsome prints in a new edition of our contemporary prints series. Ask your Kimberly-Clark Business Papers distributor for a copy.

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900 ENVELOPE DIES LISTED by their shortest dimensions-from 1% x 2 5/16 inches to 12 x 151J2 inchesincluding flap style, description, and general classification. ~ ENVELOPE STYLES listed by classification: announcement envelopes (square and pointed flap), booklet, square flaps, open end, commercial, business, and many envelopes for special uses.

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BLED, JUGOSLAVIA

The 2nd ICOGRADA General Assembly and Congress on Graphic Design will be held at Bled, Slovenia, J ugoslavia, July 11- 16, 1966. Theme of the Congress will be "Graphic Design Visual Communication Technology:' The first ICOGRADA International Student Seminar will be held during the first three days. General Assembly is open to ICOGRADA member delegates and invited observers; the Congress itself is open to anyone interested. Those planning to attend are requested to register

by April 15, 1966, as the fee goes up after that date.

For information and registration write ICOGRADA 1966 Congress Secretariat, c/o D.L. U. U. U.S., Titova Cesta 21/1, LJUBLJANA, Jugoslavia.

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PRESIDENT AND TECHNICAL DIRECTOR OF F. WEBER CO .

NEW YORK

45th Annual Exhibition of the New York Art Directors Club will be shown at the Park Avenue Galleries, Pepsi Cola Building, April 27-May 21. The awards luncheon will be at the Hotel Americana on April 27, and the 11th Annual Visual Communications Conference will be held April 28-29.

A TRIAL PROVES THEIR npROBLEM-FREE" PERFORMANCE

The Museum of Modern Art presents "Greetings!", an an exhibition of seasonal, personal and holiday greetings by artists from 11 countries, starting February 28.

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The Mead Library of Ideas will show the Los Angeles Art Directors' 21st Annual Exhibition March 14-April 22.

Deadline for the International Type Face Design Competition sponsored by Visual Graphics Corporation is May 15, 1966. Contest is open to students and professional designers throughout the world. Send inquiries to Visual Graphics Corporation, Committee for International Type Face Design Competition, 305 East 46th Street, New York, New York 10017.

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"The Taste of Angels;' an exhibition of art and objects d'art selected from the private collections of art directors, designers and photographers, will premiere March 23 at the Los Angeles County Art Institute on Wilshire Boulevard. Included in the over 250 pieces shown will be outstanding examples of African, New Guinea, Indian and Pre-Columbian primitive art, as well as Greek, Roman, Oriental and contemporary painting and sculpture. The exhibition, conceived and organized by Mario Armond Zamparelli and Company, will be on view through May 8.

PITTSBURGH

The Carnegie Institute Museum of Art will present the 56th Annual Exhibition of the Associated Artists of Pittsburgh, through April 7, third floor galleries.

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13

Club News ASPEN

New president of the International Design Conference in Aspen is Eliot Noyes, industrial designer and architect of New Canaan, Connecticut. Other officers are: Ben Yoshioka, Container Corporation of America, executive vice president-treasurer; Saul Bass, Saul Bass & Associates, Inc., vice president; George McVicker, Chicago designer and illustrator, vice president; Herbert Pinzke, Chicago designer, secretary.

SANTA CLARA

New officers of the Western Art Directors Club are: Alden Erickson, president; Vic Persson, first vice president; Bill Davis, second vice president; Kent Robertson, secretary; Monroe Winston, treasurer. New board members are Bill Harrison, Roger Flanagan, Ric Hugo and Les Peck. Board members remaining in office are Ric Guidice, Hubert Burton, John Allen and Jim Kubecka.

CHICAGO

The Annual Artists Guild of Chicago Editorial and Advertising Art Exhibit will hang in the Chicago Public Library March 1-31.

President of the Art Directors Club of Chicago for 1966 is LeRoy Winbush, Winbush & Associates. Other new officers are: Edward Brower, J r., Alex T. Franz, first vice president; William A. Novy, Henry C. Lytton & Co., second vice president; Marge Fletcher Both, Grant Jacoby, Inc., secretary; George Earl Robertson, Community Fund of Chicago, Inc., treasurer.

KANSAS CITY

14

The "Artist-of-the-Year" award of the Artists Guild of New York will be presented to Alan Cober at the annual award dinner, April 15. Cober has illustrated for publications, advertising accounts, adult and children's books, and his work has appeared throughout the world.

OKLAHOMA CITY

The Art Directors Club of Oklahoma City has elected officers for 1966. They are: Terry Finley, Terry Finley Art Studios, president; Bill Moore, Central Sales Co., first vice president; Frank Fowler, Frank Fowler Studios, second vice president; Rosa Lee Hall, Lowe Runkle Co., secretary; Joe Hobbs, Gordon, Kietzman & Dennis, treasurer.

OMAHA

Recipient of the "Man of the Year" award given by Standard Blueprint Company was Joe Van Hosen of Bozell & Jacobs.

PHILADELPHIA

The Artists Guild of Philadelphia presented its Certificate of Achievement to Robert M. Jones, Art Director of RCA Victor Records and "The Glad Hand Press:' PROVIDENCE

New president of the Art Directors Club of Providence is A. Edward Broomhead, of Creamer, Trowbridge & Case, Inc. SAN FRANCISCO

The Advertising Artists Guild of Kansas City has elected officers for 1966. They are: Ron Scheerer, president; Bert Lundmark, first vice president; Bill Swicegood, second vice president; Dave Baughman, third vice president; Lilian Kupersmith, recording secretary; Pat Taylor, corresponding secretary; Lois Ferrel, treasurer; Robert Stewart, sergeant at arms; Aileene Sikirica, historian; Harry Conwell, parliamentarian.

Officers of the Professional Photographers of Northern California for 1966 are: Fred English, president; Ted Gurney, first vice president; George Selland, second vice president; Frank Chiulli, treasurer; Alice Mackes, secretary. Directors for two years are John Larsen, Proctor Jones, Vester Dick and Harry Johnson. Directors for one year are Don Dulmage, Geri Fry and Jon Wells.

NEW YORK

SEATTLE

New president of the Exhibit Designers and Producers Association is Harold Lightman, Mastercraft Associates, New York. Other officers are: vice president, Rudy Speerschneider, Display & Exhibit Co., Detroit; secretary, A. R. Sauter, Stuart Sauter Co., South San Francisco; treasurer, Sydney Berman, Berm Studios, Inc., Yeadon, Pennsylvania.

1966 president of the Seattle Art Directors Society is David Strong. Other new officers are: Stanley Hudson, vice president; James T. Richardson, secretary; Al Watson, treasurer. New SADS board members are Joe Ireland, Eleanor Smith, Art Pavlich and William Stewart.

Out-going president Marlowe Hartung was named honorary board member.

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On the board B ILL TARA and I first discussed an editorial research trip through the Balkans a year and a half ago.

Though we suspected that something was happening there, it was an area of which we knew very little about the graphics. In fact, it was an area of which we knew very little about the area.

Thumbnail research didn't develop much. The history was a cloudy listing of numerous conquests, agglomerations and empires that had encompassed all or parts of this region. Geographical boundaries seemed to have been created by international committees who also knew very little about the area. Ethnic origin or other logical premise seemed to have played a small part in these decisions. Undoubtably this is why the dictionary now offers a verb Balkanize, "to break up into small hostile states:' Current history seemed just as cloudy from here amid popular images of power blocks, "satellite states" and hostile ideologies (of varying and variable degrees of hostility). A few thin bridges of communication had not been highly publicized. Our own circulation files revealed subscriptions in all of these countries (and the rest of the "iron curtain" nations), limited in number, of course, because foreign exchange is precious, zealously rationed because it is so essential to their development.

Tara undertook some extensive research and developed some contacts and information, often through unusual and unsuspected channels. As he wrote in the introduction to this article, he was advised that it was absolutely necessary to have a preplanned, prepaid travel itinerary. But not knowing where or when he would discover useful information, a rigidly enforced schedule could have been deadly to his hopes of success.

So, sans visas or reservations, armed with a camera and a handful of letters of introduction, he boarded a plane for Eastern Europe. Traveling on border visas, suffering only minor irritations of travel (none of an official nature) and only one night without some kind of a hotel room to sleep in, he moved about freely for nearly two months.

His most serious problem was a growing accumulation of material, much of which he wouldn't risk to the mails. Despite arrangements for things to be shipped to him, and filling notebooks with descriptions and credits of things he'd seen, it still mounted. Often porters were

not readily available and the natives were treated to the sight of a strange American gentleman in trench coat and beret struggling up the street, badly in need of a cart or a wheelbarrow.

Tara returned early last summer, exhausted and arm weary, but loaded down with a wealth of posters, books, proofs and slides, and a number of gifts from artists-original drawings, paintings and prints. Months of pouring over notes, following up requests, interminable waiting for mail and screening material followed before it culminated in this last of three articles. Mean ... while, Bill acknowledged many assists and courtesies with subscriptions to the magazine and books on art.

These are highly prized and difficult to obtain because of both cost and dollar exchange restrictions.

The front cover photograph is one of the rare times that he saw a Russian flag. This one, rather old and worn, was displayed in a shop window during the May Day celebration. Tara's back cover photograph was taken in the Old City of Prague.

I had commercial motivations for sponsoring Bill's trip-to develop new and different editorial content for the magazine. I was well rewarded, particularly by such sophisticated art as the film animation (Sept/Oct) , Czech film posters (lull Aug), Rumanian drawings and others. Also, I acquired information that could be useful in evaluating certain future areas of design activity. I am truly appreciative of Tara's perception and the great effort that he gave to this.

It is only coincidental that this may parallel recent developments in the ICY and some of the thinking in Washington. President Johnson in his January message on the state of the union said: "We follow this principle (foreign policy) by building bridges to Eastern Europe.

And I will ask the Congress for authority to remove the special tariff restrictions which are a barrier to increasing trade between East and West:' When the United Nations General Assembly designated an International Cooperation Year, it sounded like wishful thinking. The future of the U.N. organization, amid the dues impasse and many other problems, seemed anything but rosy. But international relationships do change. The IGY in 1957 was very productive and now it would appear that the ICY might offer hope of accomplishment.

17

T he excellence of a photographic process is of significance only when excellence is coupled with constancy. Dependability may be a promise often bandied about, but we-and photographers - must stake our business I ives on it. Happi Iy, such is the rei iabi I ity of Kodak color fi Ims and processes that photographers may take it for granted, thus freeing their more vital creative juices for the task of imaginative image-making. To learn of the many ways to color in advertising-all dependably professional-write for your free copy of C%r and Reproduction, a brand-new treatise for advertising people. EASTMAN KODAK COMPANY, Rochester, N. Y.

14650

PHOTOGRAPHY: RUDY MULLER REPRODUCTION FROM AN EKTACHROME TRANSPARENCY

ON THE BOARD (continued)

Last November, nearly 5,000 distinguished Americans met in Washington for a White House Conference on International Cooperation to hear and consider reports of numerous committees who had spent months researching and refining ideas. It developed into an enthusiastic conference, determining that our own selfinterests would best be served by our becoming the leader and chief catalyst in international cooperation.

Project orientations were subordinated to the real and immediate need of developing a design for living and thinking in the twentieth century if mankind is to make his way successfully into the twenty-first. Time is of the essence no matter what the area of problems-ramifications of space technology, exploding population, development and distribution of the world's resources or others. For example, the Committee on Population reported: " ... The rate of growth of world population is so great-its consequences are so grave-that this may be the last generation which has the opportunity to cope with the problem on the basis of free choice:' Many of the committee reports offered facts of present and past activity in their subject area that were quite disparate to the public views and opinions, or for which we have had little or no knowledge or comprehension. Sometimes these indicated short-sighted approaches or misdirections in the U.S. aid programs. The Committee on Agriculture and Food reported that "In 1960-62, the U.S. government and international and regional agencies together spent less than $8 million on agricultural research in tropical Latin America. Nearly $2 billion-two hundred and fifty times as much-went into agricultural research in the V.S. during this same period:' The conference was excellently reported by Alfred Balk in the January 22 issue of Saturday Review.

It is not difficult to visualize the role that artists, designers and communicators could play in the future projects that will develop, particularly in the educational programs. Though still only in the beginning stages, we already are actively involved in domestic education.

Many of the textbooks being prepared today would be quite a surprise to someone who has not been conscious of these developments. The outstanding quality of the visual! verbal communication in the Time-Life Books, utilizing some of the best artists and designers available, could reflect the direction of future books and teaching aids.

"New math;' though relying only slightly on the visual in the sense of pictorial presentation, is a good example of better communication in education. The math is not really new, it is only new concepts of vocabulary and visualization that allow the student to understand the theory of mathematics rather than merely

20

practicing mathematical exercises in systems he has hopefully learned by rote. Terminology such as "sets" may drive parents wild, but our kids comprehend what they are doing, have already demonstrated better retention and will be prepared to face algebra, geometry and calculus as familiar rather than bewildering territory.

The real position of the V.S. as a giant of wealth and power is nearly incomprehensible. We can match the total productivity of the next six nations. We produce one and a half times the total of the 13 nations of Western Europe, and nearly double the total of the nations of Eastern Europe. We are currently pulling farther ahead, growing at a faster rate. Our annual growth alone is greater than the total productivity of many of the major nations of the world. And our potential, if the occasion should arise to unleash it, is awesome.

It is unreal that we have done so little as yet to launch a major program of collecting and communicating all types of information intended for the peaceful purposes of less privileged countries. Such a program of education, at the individual level as well as the levels of industry, universities and governments, could have a profound impact on the welfare of the world, ours included. The population could be fed , controlled in growth and prepared to improve its condition.

Our motivations in this could properly be consid~ ered selfish rather than altruistic. Not only do we benefit from the security of better understanding and a lessening of the world's problems and tensions, but we become more powerful as developing nations become developing markets.

Power today, in the age of technological industrialization, is quite different from the days of trade in natural goods-wool, cork, bananas, coffee. With made goods, the rich get richer because they have the wherewithal to produce and market at a lower cost. The world's standard of living will be raised, but an idea of catching up is completely unrealistic under present social and political concepts. The moral and practical balancing of world economics-through trade regulations, further aid, massive foreign travel or other means-will be a continuing problem for world leaders.

This futur~ may well be underway soon. In his state of the union message, the President also said: "We will aid those who educate the young in other lands, and we will give children in other continents the same head start that we are trying to give our own children. To advance these ends, I will propose the International Education Act of 1966:' The implementation of this suggestion remains to be seen. The funds proposed are not nearly enough. But it is a start.

~""S~''''.5 f'!Je le~vesJ fell

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'--_ _ _ _ _ _ _ _ _. . . . gravure or silk screen . Crocker Day-Glo paper also available.)

The GRAPHIC TRAVELER

ABROAD IN THE BALKANS HE ORIGINAL "BEAT" was called a Bohemian. Prague, the capital of the Czechoslovak Socialist Republic, was once the center of the Kingdom of Bohemia.

But do not expect a Czech to do more than amiably acknowledge the coincidence even though the Czechs never were a group to abide the ordinary. Their Tatra automobile is full-sized, rear engined, and has three headlights. Their film posters (CA, July '65) are extraordinary. Their printing is excellent, their graphic design highly individual, their cab drivers a bit rascally and their spirit indomitable.

When they unveiled the statue of the young boy at the dedication of the Children's Castle in Prague, it was widely noted that the figure, while beautiful in most respects, was sans-genitilia. Protests followed. Letters of depreciation were published in the press: "What manner of nastiness is this? Shall we shame our children and ourselves with this obscene omission?" The statue disappeared. Months later it was quietly returned, recast, with everything neatly and emphatically in place.

Old Prague is carefully preserved. Gas lamps still illuminate the streets. The Karluv Bridge, which crosses the Vltava River, Smetana's inspiration for the "Moldau;' was built in 1357. It was modernized, cautiously, in the fifteenth century with the addition of thirty statues. It has not been fooled with since. Art Nouveau and Cubist stained glass windows are

T

22

side-by-side in the Cathedral of St. Vitus.

Prague is the home of the famous theatrical experiments of the "Laterna Magica" and of "big beat;' the local version of rock and roll.

Bluejeans, long hair and the "poesy a jazz" places make some of the old folks nervous. The occasional female nude that appears in the periodicals is tastefully and often inventively presented. And the "Playboy" jokes that enhance the pages of the humor magazines are wholesome enough.

The "Rapid Advertising Agency" stands ready to produce ads for the hoped-for abundance of consumer goods. Esthetes wince at the huge wall signs which are now appearing on the sides of buildings, though they may take some comf<?rt in the location of the newest and largest hotel, the multi-storied Internationals which has been built a 40-minute tram ride away from central Prague where its great architectural dullness cannot impose upon the charm of the city.

For a considerable time, old Joe Stalin was imposed upon the splendor of Prague in the form of a huge stone statue. Stalin fell from favor more rapidly almost than his monument. The sober, diligent and industrious Czechs, as a guide book describes them, built Joe to last. It took months for the workers to jackhammer him down.

Right: Herbert Kisza and friend in Prague

by BILL TARA

When the editor of CA proposed that I peek behind the ((iron curtain" into the state of the graphic arts of Eastern Europe, my friendly travel agency assured me that though it was dangerous, it might be done. Hinting broadly of terrible perils, they proceeded to plan a packaged itinerary that was guaranteed to keep me safely boxed from Los Angeles to Sofia and back. After examining the improbability of seeing much from their well-made box, I decided to go it bravely alone. Without visas, I arrived at the borders and said, ((Hello there:' They said, ((Hello" right back. I saw no remnants of the ((iron curtain:' It may have been melted down for TV antennas.

23

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Book illustration by Rudolf Fabry; stained glass windows of the Cathedral of St. Vitus in Prague; series of book covers by Suylvie Vodakova; wall signs on a building in Prague; poster design by Karel Vaca for an Italian film; humor by A. Born for a Czech literary magazine

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Coloring book designed to stimulate a child's imagination, illustrations by Bohumil Stepan; illustration by Albin Brunovsky for a Czechoslavakian translation of "Hiawatha"; poster for a national museum exhibition of Mexican art; poster by Stanislav Duda for an exhibition of Harold Lloyd films; museum poster; "space" cartoon by Ivana Popovica

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Kddy mil. vMH, co si mMe dovolit. Nejradeji marne ty, ktefi si dovoli jelite mene.

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Trpasllk se odvduje pocbybovat jen 0 jelite menilim.

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PODROBNOSTI

Mnozi lide se mnohem snadneji sefazuji ne! 8Oustfed'uji.

Nekdy je nutno fikat nejen nove, ale i zapomenute.

Nikdy si nie nenamiouvam, nebot si nevi!fim.

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Old rich Hlavsa art directs Plamen, a Czech literary magazine offer ing sensit ive and sophisticated drawings, photographs and humor. Hlavsa's typographic design is bold and original. The pages shown include several of his designs with typographic forms . Plamen illustration (upper left) by Vladimir Tesar; designs by Victor Vasarely (lower left, upper right this page); poster for a glass exh ibition at the national museum

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BULGARIA

CHARLIE CHAPLIN is officially nonexistent in Hollywood, his name does not appear in the terrazzo stars imbedded in the sidewalk of Hollywood Boulevard.

Rod La Rocque is there, so is Baby Peggy but no Charlie. His many fans will doubtless be pleased to know that he exists officially in Bulgaria. At the central post office in Sofia, along with scenic postcard views and reproductions of the prehistoric cave paintings at Magoura, picture postcards of Chaplin are for sale. These are pictures not of Charlie the tramp but formal portraits of Charlie the artist.

In the Varna Hotel on the Black Sea Coast, the waiters are among the best dressed in the world. A lavish tip for them would be a package of Kents for the

30

waiters show, along with other Bulgars, a marked preference for American cigarettes though tobacco is one of Bulgaria's largest crops. And although they might wish otherwise, they are very dependent upon it. Being until recently an almost totally agricultural country, they have been viewed by their richer neighbors, Yugoslavia and Rumania, as country cousins.

Along with their straining efforts to industrialize, thousands of farm people have moved into the cities. Sofia has grown phenomenally. The strain seems to show for Bulgars do not appear to be the jolliest bunch in the Balkans. An artist confided without prompting, "Bulgarians have a national inferiority complex:' An American scientist, recently returned from a conference, said with some puzzlement, "They seem to want to wrestle:' He was equally puzzled and a bit confused by the Bulgarian habit of shaking their heads yes when they are signaling no.

Their alphabet is Cyrillic and the choice of available typefaces is limited. When a designer uses a contemporary display type, he is obliged to begin with a Latin alphabet, modifying the alphabet by cutting and pasting. The facilities for fine printing are similarly limited. Though it is quite expensive, they have recently gone to Italy and Austria for color printing in order to improve the quality of their travel promotional material. In spite of limitations, their postage stamps are of high quality, both in design and reproduction.

Peasant dress shoe; cigarette package; match box; one of a series of postage stamps designed by Milka Peikova and Vessa Vassileva ; street scene showing wall sign in Sofia; cigar box designed by Anna Veleva; poster with peasant art motif designed by Anton Meckuev; two posters by Ivan Bogdanov

1944 1964

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31

BULGARIA

Bulgarian postage stamps (shown oversize). Flower series designed

by Dimitor Russinev; transportation and insect series by Milka Peikova and Vessa Vassileva; folk tale series by Stephane Kantchev, Vladimir Korenov and Lubin Zidarov

32

RUMANIA

IN

BUCHAREST, Rumanians can buy a canned "Coke"; but at 90¢ (U.S.), few do. American culture spread a little further when the new Black Sea resort was named "Mamaia" but the Rumanians stopped right there. They failed to borrow the architectural extravagances of Miami Beach or its delicatessen menus. Rumanians prefer French food, ordered in French. And if more of them could afford it, they would prefer to dine in delightful decadence with wine and the sweet sobbing of Gypsy violins.

The Communists attempted to discourage this sort of thing but they never made it. Rumanians appear to have absorbed Communism gracefully, along with a few examples of stark Russian-modern architecture, and remained what they profess to be, Latins.

Hand-kissing is still evident. A motion picture set-dresser could easily transform Bucharest into Paris with a few Citroens , gendarmes and flower kiosks. Along with an occasional Gypsy mama lurking innocently, having dispatched one of her kids to seek illegal alms, you can expect to encounter a few boulevardiers complete with jaunty hats, canes and a debonair manner which must give the sober social-

ists palpitations, especially the anonymous poet who wrote the Bucharest tourist guide published in 1964. "Look at the bricklayers:' he gloried, "imagine the architects studying their plans, think of the heat of the furnaces in which the clinkers are being baked, of the silvery colour of the steel carcass for concrete turned out by the rolling mills, think of the locksmith who skillfully fits the locks and keys of the new flats. It is they who write the stanzas of the great epic poem .. :' The author of that tract almost succeeded in distorting Bucharest into a dull assemblage of flats, furnaces and factories.

Only a passing mention was made of the beautifully sophisticated Rumanian peasant architecture or of the wildly wonderful architecture of the city, a mix of Byzantine, Baroque, bad Bauhaus, Victorian and a wonderful amalgum of them all, Rumanian.

As the riches of Rumania's great mineral wealth are transformed into consumer goods, that author's talents will be valuable. His transition from "a people's socio-political tourist tract writer" to ad copywriter will be effortless.

33

RUMANIA Illustration by Val Munteanu for a book of Shakespeare's plays; Rumanian architecture; bas relief monument to the Partisans where wags put cigarette butts into the mouths; gymnasts killing time during a halt in the May Day parade in Bucharest (also shown below) that featured a threat to hay fever victims but no appearance by the military; drawing by Geta Bratescu; costume design (right) by Valentina Bardu

A Midsummer-Night's Dream

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Etching by M. Chirnoaga; book cover by Ion State; lithograph by Gheorghe Botan; glass painting by Florin Ciubotaru; abstract painting by Vincent Grigorescu; three drawings and a tapestry design by Benedict Genescu

37

YUGOSLAVIA

THE YUGOSLAVIANS, who tend to thumb their noses cheerily at practically everybody, never had much affection for Stalin. They had a hero of their own and a lot of graphic artists have been kept busy making watercolors, etchings, pastels and oil paintings of him. The image of Josip Broz Tito is everywhere, a genuine expression of admiration for his efforts in helping to glue together this remarkable country.

Yugoslavia historically has been a busy place. It has been an unenthusiastic host to Venetians, Romans, Italians, Austrians, Hungarians, Turks and some others bent upon owning a piece of this valuable real estate. These various intruders left, along with some unpleasant memories, a richness of people, culture and things. Out of this, since it has been more peaceful lately, should come something remarkable in the arts. Some already have. In film animation, they have produced many bright inventive works. They have produced some excellent books and at Portoroz and Kostanjevica, Yugoslavians have made, along with invited artists from other countries, much excellent contemporary sculpture.

In painting they have long since rejected the dogmas of their communist neighbors and gone their own way.

They are still hosting hoards of aliens who sometimes seem to outnumber the natives. But now they come peacefully carrying nothing more menacing than vacation gear. Nearly four million tourists pass through yearly, speaking French, German, Italian, English and other tongues. Their expenditures are welcomed but they add to an already considerable confusion in communication, for Yugoslavs have trouble understanding each other with two alphabets and three lan-

38

guages. When "Ozeha;' Zagreb's advertising agency, prints a trade publication, it is in five languages.

The street signs in Belgrade are in Cyrillic, the neon signs are in Latin. Stores that stay open through the noonday period are designated in English, "nonstop:' German is widely spoken as a second language. Hotel menus are in the local language plus French, German and more frequently now, in English. The radio carries a heavy schedule of American pop music and the Ljubljanski Jazz Ansambel blows Dixieland real good.

Yugoslavs make heavy machinery, automobiles, trucks, cosmetics, color film, motion pictures, fine wines, whiskey and guitars. They also make mottoes like, "One layer of brick, one layer of celebration:' Admen are making ads and they are increasingly evident. Car cards, bus c ards, posters, TV spots, neon signs and even matchbook covers advertise products and services.

The look, currently, of these graphic arts may be something less than thrilling but it must be remembered that the Yugoslavs are new to commerce and newer to advertising. If much of the work appears to have been inspired by the graphics from the "Yellow Pages" of our telephone book, it is quite understandable. A committee of socialists cannot be reasonably expected to be esthetically more sensitive than a similar group of capitalists or any less easily intimidated. It may seem odd to see ads suggesting that citizens save at their local Komunalni Banki, as if there were a choice. But increasingly, choices in consumer products are offered. Brand names are being promoted and more advertising will follow.

Yugoslavian trademarks (facing page); entrance to advertising agency in Ljubljiana; wood sculpture at the artist workshop in Konstajevica; supermarket in Ljubljiana

39

YUGOSLAVIA

40

Candy package display in a store windowj bookjacket designed by Milan Bizovicarj street scene in Kotorj animated film, "At the Photographers," written and directed by Vatroslav Mimfca, designed by Aleksander Marks, animated by Vladimir Jutrisaj package for color film designed by Milan Vulpej Easter eggj graffito in Zagreb recognizes Ringo Starrj children's book cover by Marlenka Stupicaj restaurant sign in Belgrade

SNEGULJCICA NASLIKALA MARLENKA STUPICA

41

YUGOSLAVIA Package design by Milan Vulpe; match box extoling the virtues of saving at the Komunalni Banki; logo for Radio-Television Beograd; stone sculpture by Olga Jancic at the workshop in Portoroz; pharmaceutical mailer by Milan Vulpe; art school in Zagreb

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42

Eastern Europe has kept a lot of cartographers busy recording its changing boundaries. Until World War II, a Rumanian could drop off to sleep and awaken to find he was a Bulgarian, for various armies kept shifting the stakes.

Writers loved Transylvania and Ruritania, a favored spot for thin-plotted mythical-kingdom novels. Peasants posed quaintly in elaborate embroidery for the National Geographic or chorused gloriously from the fields in improbable movies starring Jeanette MacDonald and Nelson Eddy. In 1938, Neville Chamberlain reflected the blurred view of these parts when he said of Czechoslovakia, " ... a far-away country ... people of whom we know nothing~' Until quite recently, the Western view of Eastern Europe remained blurred for most travelers were too obsessed with a new, romantic image of James Bond-like intrigue to see very clearly.

British businessmen began arriving in the early 60's along with Netherlanders and other commercial travelers and trade with the West was begun. Later the Japanese arrived and behind them, peering nervously over their shoulders, came a few Americans. For, not until the State of the Union message of President Johnson in January, 1966, has trade with Eastern Europe been emphatically endorsed in the United States.

Things have changed. The market for paintings and drawings of the "Russian-representational school" is poor.

Rumania has recently opened a new gallery for contemporary paintings and prints and the viewer is free to read whatever he likes into their abstract expressionism. For a clearer view, however, he should look at the drawings of the cartoonists who continue to scratch away at the TRUTH and, inevitably, find some. Their pens point as deftly at their own foibles as they do at ours.

The graphic artists who formerly specialized in worker-worship works now struggle to adapt to the broader view.

Some of the more talented may make it.

Reverence for the traditional art forms, the glass paintings of Rumania, the peasant arts of Bulgaria are evident in a limited way. Understandably, the old may not be enthusiastically encouraged by the ambitious new technologists who may associate the peasant arts with other, and poorer, times.

Happily, these forms have not been forgotten. They recur in films, books, postage stamps and, occasionally, in posters, evidence that while developing their other resources vigorously they have not forsaken these riches.

The graphic artists of Eastern Europe have all the problems normal to their craft, like the Rumanian rascal who enjoyed considerable success to the dismay of his colleagues. He became prominent socially and politically while passing off the work of others as his own. He was even represented internationally as one of the leaders of Rumanian graphics. He has departed. His mail is undelivered.

A talented young Yugoslavian graphic designer winced when asked to show the reproduction of a delightful children's book he had designed and illustrated. Parts of the finished book bore only faint resemblance to the originals.

Someone, for no clear reason, had redrawn them. Nothing was much altered, but the copy was poorly done. The designer hesitated to speculate that this might have been some make-work project at the printer's, or worse, that someone had ambitiously intruded into his graphic act to obtain a questionable sample.

An Eastern European graphic artist may be employed full-time and do a bit of free-lancing at night if he has the

clients. Or, if demand for his services is sufficient, he may free-lance entirely -receiving assignments directly, or through the Artist's Union to whom he pays a commission. If he is fortunate in getting assignments from outside his country, he will share part of the money with the State, directly or indirectly.

Extra income to buy books and materials not locally available is quite as attractive as the possibility of enhancing his reputation outside the borders of his country.

A graphic artist's portfolio most often contains a lot of unpublished work, projects and rejects. The opportunities, especially in advertising-related areas, have been slow to grow. And their socialist clients, like our capitalist counterparts, can be expected to play it quite cautiously and choose the sa/est solutions. The talent most frequently is substantially superior to the opportunities.

Packaging should offer the designers a better market for their work than it does. A trip through a supermarket evidences the growing emphasis upon brand names; but, with few exceptions, personable and distinctive packaging is absent. A Yugoslavian powdered detergent is packaged American-style in the best tradition of brash soap art.

Product design for such available items as TV sets, washing machines and radios has been strongly influenced by the West and is about at the average level of the international-style.

Yugoslavian designers are promoting the establishment of a design center, similar to Britain's. But, for whatever reasons, the designers are late. Design generally indicates that draftsmen, rather than designers, have been the most active in the master planning of the socialists.

•

43

Books that communicate I

O

NE OF THE most remarkable successes in print communications is a new breed of publication which scarcely existed ten years ago. It is a handsome hybrid of magazine and book ranging from picture essay books like The Family of Man and Picasso, published by the Maco Magazine Corporation, to hardbound magazines like TIME - LIFE BOOKS American Heritage, Horizon and VenEDITOR Norman P. Ross ture. Prime specimens of this new variEXECUTIVE EDITOR • Lif Maitland A. Edey ety are produced by the Tlme- e TEXT DIRECTOR ART DIRECTOR Book Division. Last year, this flourishWilliam Jay Gold Edward A. Hamilton ing division of Time Inc. sold over CHIEF OF RESEARCH fourteen million books, placing it among Beatrice T. Dobie the top half dozen book publishers in Assistant Text Director: Jerry Korn Assistant Art Director: Arnold C. Holeywell the United States. They are currently Assistant Chief of Research: Monica O. Horne publishing a new two-hundred-page PUBLISHER book every eleven working days.

Rhett Austell The story of Time-Life Book DiviGeneral Manager: Joseph C. Hazen Jr. sion is as brief as it is spectacular. Five Business Manager: John D. McSweeney Circulation Manager: Joan D. Manley years ago, after repeated success with various one-shot books sold through their magazines and mailing lists, Time's corporate management set up a separate book division. It was headed by Jerome S. Hardy, formerly a vice president of Doubleday and Co. Hardy is now the Publisher of Life and Rhett Austell has succeeded him as Publisher of the Time-Life Book Division.

Reflecting their magazine influence, and in keeping with their new concepts of editorial preparation of books, the Time-Life Books carry a masthead. Also, each book credits the series editor, e.g. Life Science Library, and the editorial and production staff for the individual volume.

Edward A. Hamilton, Art Director of Time-Life Books, has the quiet geniality and intellectual curiosity

by John Peter

of a young college professor. With an extensive background at Life Magazine and as an independent expert, Hamilton's talents are neatly suited to their close-knit, group journalism. Ed is no lip service advocate of the system but an active apostle of its advantages. His contribution can be properly understood only in that context. Striving for a balanced blend of text and pictures, each book series has an editor and chief designer working in tandem. This coordination between words, photographs, drawings and design has produced some outstanding communication and exemplifies the future direction for more effective educational publishing. In many ways, it is more like making a film than producing traditional picture books (pictures with supplementary text) or traditional illustrated books (text with supplementary pictures).

Editor Ross describes Hamilton as an art director possessing "the high degree of patience and the happy faculty for reconciling widely different viewpoints necessary for such a team effort:' Hamilton heads an art department of twenty-four people with a remarkable ratio of top-rated abilities.

It is safe to say that the department also represents one of the largest and most varied art markets in the country. Time-Life Books commissioned over a half million dollars worth of art, photographs and graphics last year. This includes the work of such widely recognized artists as Joseph Low, Ronald Searle, Andre Francois, Austin Briggs, Tracy Sugarman, Jerome Snyder, Jacob Landau, Diane and Leo Dillon, David Klein, Tomi Ungerer and others. Ed has such admiration for abilities like this that he organized, for the American Institute of Graphic Arts Gallery, an impressive exhibition of original art commissioned by the different divisions of Time Inc.

"Growth" in the Life Science Library series succeeds in popularizing a highly special ized subject by means of graphics .

Cover photograph by Arnold Newman.

46

TIME-LIFE BOOKS

PHOTOGRAPHS !!IY ARNOLD NEWMAN

A durable myth which surrounds the Time-Life Book Division is that the volumes are compiled from the files of Life Magazine. Its origin lay in the early one-shot books, and today the myth still may seem easier to understand than the truth. The vast photo files of a picture magazine date astoundingly fast in this rapidly changing world of science, art, style and living. Most readers of CA know how difficult it is to have a specially commissioned photograph capture a given idea precisely-how rarely it can be found in a stock photo. The Book Division counts on Life's resources and bureaus far more than its photo files.

Leading Life photographers are frequently commissioned to do original photo essays for book projects.

Photography is increasingly being employed to achieve new visual effects.

For example, in the Great Ages of Man series, Hamilton wanted to avoid both the lifelessness of plaster casts and the overdramatization of paintings in picturing the Parthenon. He turned to cinema and stage designers to construct a scale model to be photographed.

"This is an attempt at a new medium of illustration combining the art of the set designers ,and the creative interpretation of the photographer.

We hope we are getting the best of both worlds~' Their success with the Parthenon led to the dramatic illustrations of Caesar's Gallic wars with a model by Edward Godschalk and photography by Ben Rose.

The interior of the Parthenon was re-created in a model by motion picture set designer Leo Kerz and photographed by the book's designer Norman Snyder.

Hamilton and model designer Edward Godschalk inspect his reconstruction of the seige of the Gallic fortress city of Avaricum in 52 B. C. The 16-foot model, assembled in minute detail over a period of five months, was interpreted in color photography by Ben Rose. In the bottom photograph, the model is set up to show the over-all Roman battle plan. Caesar, in the foreground, is accompanied by a trumpeter who transmits his battle orders to the troops.

47

TIME-LIFE BOOKS

A number of other photographs recorded phases of the battle and the various Roman weaponry. The largest catapult, upper left, could hurl a 60-pound missile half a mile. The flaming dart is being loaded into a small ballista with a range of 1400 feet. Bottom left,

a detachment of soldiers moves up behind an assault tower as it is slowly rolled into place. Men on top rain missiles on the hard-pressed Gauls. The final attack comes as a drawbridge is lowered from the tower and the Romans engage the Gauls in hand-to-hand combat.

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50

TIME-LIFE BOOKS

Text and art directors have sought rather than avoided visual challenges in producing such series as the Life Science Library, Life World Library, Life Nature Library, and Life History of the United States. "Many of the major problems involve concepts that have never before been done graphically;' says Hamilton, "therefore a good deal of our work is pioneering in the development of a new graphic language for specific problems:' In the solution of these problems, he often calls on the abilities of such top independent consultants as Gyorgy Kepes, Charles Eames, Bradbury Thompson, Will Burtin, Alexey Brodovich, George Salter and a roster of artists specializing in nature and science.

The drawing at upper left, one of a series by Samuel Ma it in, symbol ically illustrates protein synthesis in the book "Growth." Lower left, one of a series of diagrams by David Klein to illustrate the human hearing mechanism in the book "Hearing."

Right , the thematic opening page and one of a series of charts detai ling the growth and development of the various fam il ies of science. Arnold Holeywell designed th is essay for the book "The Scientists" and Diane and Leo Dillon created the illustrations.

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94

51

TIME-LIFE BOOKS

The team approach employing such visual talent is unique in bookmaking. It is also expensive.

Overhead and production costs demand that each title be a runaway best seller. Mail order sales of series subscription offerings have produced this kind of result. A first print order of a quarter of a million copies is average for a Time-Life book.

A liberal portion of the profits is being reinvested in improving the quality of the product. Publisher Austell explains: "We have the philosophy that quality sells. We take the attitude that each book arouses interest in succeeding volumes in a series, and that each book contributes to sustaining the image and reputation of the Division's future publishing efforts.

We always try to give the customer more than he can reasonably expect:' In the drive for production quality, Hamilton works with Time Inc.'s experienced people in New York and Chicago, as well as his staff, headed by Color Director Robert Young. In Young's office hangs the warning sign: PERFECTION OR DEATH. "We have experimental projects constantly going on, new inks, binding methods, etc. For example;' Hamilton explains, "we will develop a special paper stock for a given project. We will engage an eight color press with a crew of twelve men for a day or more in order to test the printing technique on a true production basis.

"The Great Ages of Man series with half cloth binding, rich full color and most particularly the high quality of the double dot, black and white offset reproduction is the handsome result of such research and development:'

Spread from "Classical Greece" in the Great Ages of Man series and the bound book. Victor Lazzarro's pen and ink drawing reconstructs this view of the Agora in Athens of the 5th century B. C.

52

T

o ,"""UtTlJRl a$...,11 as to, tlw 1\.1I,,{. ralt>n.~ ot IK)U'~ ho!Jult'n Il~,ll "s.\.dIGf\.('(cl>nll.l,ghtd);ft~.dtteeltn for punty.dtgal1Ct'

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TIME-LIFE BOOKS

The Puzzling Platypus Sclent lsuofl 50 years ago refused to bc:l lcve In the pla typus It seem«l to be a composite creature- part reptile. part mam· rnaland part bird AClUally the platypus is unique , on a primIIlve body is superimposed a dlVl~~nlly of tools for locomotion. dden~ and feeding 115 flat, muscula r lall (A ), like Ihe beaver's. acts as a Jlablliz(r when It s ~lms and au isu in qu ick

dives BUI it is covered wuh fur instcad ofscalc5 T~c urv«i poison spur ( B) onthcmale 's hindlcgissimilartoa pit viper 's fa ngs Like the viper 's. it is hollow but carries a lcoS! dead ly veno m. lu webbed forc{ool (C) i, lilccthcottcr 's,cllCc pl thai i l ss kin cltlcnd s beyondlhcI0l"5 10malu~ancxlra. largc padd le

It depends on these paddll:s forswimmins:, whtreaslhcotlcr

68

An anatomical analysis drawn by artist Rudolf Freund for Life Nature Library book "Australia" under the direction of designer Paul Jensen.

It sums up the odd anatomical similarities between the various features of the platypus and other members of the animal kingdom, also the difference between its "duckbill" and the bill of a duck.

To illustrate the construction of the Great Pyramid at Gizeh for the book "Ancient Egypt," designer Norman Snyder utilized the gouache sketches of Nick Solovioff and the diagrams of Otto van Eersel. Unlike the reported tales of 100,000 slaves, only about 4,000 workers were employed at anyone time and they were free citizens. At upper right, the two sketches show quarry workers cutting and moving the stones. Lower right, the masons are preparing the foundation. The small sketch and diagram explain the system of using water trenches to level the base, a job so well executed that experts using today's modern instruments estimate that the southeast corner of the 13-acre site is only half an inch higher than the northwest corner.

54

s.... imschlcfl)· b)' unduial ions or u s body On land . the platypus 'excenwebblllgroids under 50 that the strong claws ca n di~ unimpaired lu shoulde r ~Irdlc (0 ) IS a reminder or a remOlerepulianpa"lt BCi:auseorthi"lci umsyconnectionorthe forehmbs. the plat ... pus shufHes close to the ground, but Jl S 51ance is I('usprawling [han a crocodile 's F inally, [h('plaIY·

pus and the duck bot h fo rage on mud bottoms-which accountsrortheevolu tlonorbillsorSlmilarshape Thecompar150n, howe\-er, goes o nly sk in deep In the mammal. which has a stnk lng ly different pron~ed Slructure (E) su pporting a b ill that is act uall y a moist . nene-filled organ, Aexlbk and semiIlv(' 10 vibrallons or touch. unlike a

bird', hard. horny bill

IVOR

BROWN

TIME-LIFE BOOKS

To date, the Division has successfully demonstrated that it can consistently produce high quality books at a surprisingly low price.

Deluxe paperback reprints of the Time Reading Program are only one result of the Division's steady exploration into new publishing ventures. Everyone at Time-Life Books, especially its art director, seems to feel that they are only at the beginning of what Editor Ross once described as "an experiment in excellence:'

Covers for the Time Reading Program, all were art directed

by Edward A. Hamilton.

Top row (left to right): Ronald Searle, Paul Hogarth, Leo and Diane Dillon, Jerome Martin, Seymour Chwast Middle row: Jerome Martin, Joseph Low, Leo and Diane Dillon, Marshall Arisman, Matt Greene Bottom row: Seymour Chwast, IIonka Karasz, Tomi Ungerer, Attilio Salemme, Jacob Landau

57

ILLUSTRATORS '66

SKETCH BY GERALD ALLISON

That illustration today continues to create a unique impact and to extend its uses to new areas and markets is evidence enough of the healthy and stimulating scene of activity. More articulate evidence, though none may be needed, may be found in the eighth annual showing of the work of contemporary professional illustrators held by the Society of Illustrators.

"Illustrators '66 premiered on January 11 at the Society's own galleries with an awards dinner presentation. Then, to accommodate the ever-increasing demand by the public for art, the exhibition moved to the Bankers Trust Company building at 280 Park Avenue where it was on view from February 1 through 25. This is the first time this annual show has been seen outside the Society's headquarters, and this is an indication not only of the public's interest but a growing recognition, as well, on the part of commerce and industry of the great aid in communications rendered through contemporary art and illustration:' Gerald McConnell Chairman, Illustrators '66 GOLD MEDAL

The juries for Illustrators '66: Advertising: David Stone, chairman; Howard Koslow, Homer Hill, Bob McCall, Lydia Fruhauf, Louis Marchetti, John Gundelfinger.

Book illustration Nancy Ekholm Burkert, illustrator Dorothy M. Hagen, art director "The Nightingale;' title Harper & Row, publisher

Editorial: Don Moss, chairman; Walter Brooks, Joan Eby, Shannan Sternweiss, Paul Calle, William Shields, Jr., Wayne Blickenstaff.

Book: Harry Schaare, chairman; Tom Lovell, Robert Geissman, Gerald Allison, Bernard Fuchs, Rolf Erikson, Al Muenchen, Peter Max, Tracy Sugarman.

Institutional: John Moodie, chairman; Bob Blattner, Chuck McVicker, Edward Vebell, Saul Lambert, Wesley McKeown, Clark Hulings.

58

GOLD MEDAL

Editorial illustration Bernard Fuchs, illustrator Allen Hurlburt, art director "If Kennedy Had Lived;' title Look Magazine, publication

59

ILLUSTRATORS '66

GOLD MEDAL

Advertising illustration Henry Virgona, illustrator John S. Marmaras, art director CIBA, client GOLD MEDAL

Advertising illustration Robert Cunningham, illustrator Robert Brandwein, art director Batten, Barten, Durstine & Osborn, agency New York Racing Association, client GOLD MEDAL

Book illustration Robert Shore, illustrator David Glixon, art director "Billy Budd;' title Limited Editions Club, publisher GOLD MEDAL

Editorial illustration Domenico Gnoli, illustrator Louis R. Glessman, art director "Holy Week in Seville;' title Holiday Magazine, publication

60

61

ILLUSTRATORS '66

2

62

Advertising illustration Lynn Sweat, illustrator Jim Ortiz, art director Sukon, Inc., client 2

Book illustration Maurice Sendak, illustrator Dorothy M. Hagen, art director "Hector-Protector and As I Went Over the Water:' title Harper & Row, publisher 3 Institutional illustration Fred R. Mason, illustrator "J et Fighters Over Germany:' title United States Air Force Historical Project, client

4 Institutional illustration Charles Schorre, illustrator Dugald Stermer, art director Harris County Medical Society, client

5 Editorial illustration Harvey Dinnerstein, illustrator Samuel N. Antupit, art director "Truck Entering Ferry at St. George TerminaI:' title Esquire Magazine, publication

5

63

ILLUSTRATOR,s '66

2

3

64

1 Advertising illustration J ames Hill, illustrator Roger Ferriter, art director McCann-Erickson, agency John Hancock Life Insurance Company, client

4

2 Advertising illustration Robert Peak, illustrator Edgar Kestner, art director Meldrum & Fewsmith, Inc., agency Owens-Illinois, client

3 Advertising illustration Donald Silverstein, illustrator Larry Alten, art director Harrison Color Process, client 4 Editorial illustration James Hill, illustrator Arthur Paul, art director "The Goblin of Curtery Sink;' title Playboy Magazine, publication 5 Institutional illustration Ted Rand, illustrator AI Jacobs, art director "March to Save a Seashore;' title National Wildlife Magazine, client

5

65

ILLUSTRATORS '66

2

3

66

4

Institutional illustration Charles Schorre, illustrator Kim Taylor, art director "Dark Cruciform;' title Bulletin of the University Art Museum, publication The University of Texas, client 2 Editorial illustration Charles E. White III, illustrator Lowell Butler/ Mike Shenon, art directors "Westways;' publication Automobile Club of Southern California, publisher

5

3 Editorial illustration Robert Cunningham, illustrator Richard G angel, art director "A Sinkbox Shoot;' title Sports Illustrated, publication 4 Book illustration Milton Glaser, illustrator Harry Ford, art director "Cats and Bats and Things with Wings;' title Atheneum Publishers, publisher

5 Book illustration Joel Rothberg, illustrator Bert Waggot, art director "A Princess of Mars;' title Department of Graphic Arts, Pratt Institute, publisher

67

CONJECTURE !

We live in a prediction-oriented society.

Individuals, at an early age, consider occupational choices and plan for university training and later career life.

Businesses make regular one to five year budgets and 20 year capital, marketing and product projections. The government estimates intentions and capabilities of opponents and makes long-range policy decisions based on these evaluations.

Plans for educational institutions, urban renewal, aid to developing countries, weapons systems and space exploration are made as much as 50 years in advance. Prediction making, in short, is a fundamental part of technological, military, social, 'commercial, political and individual planning.

In this period of accelerated change, reliable prediction could greatly facilitate the struggle to control the direction and pace of change, yet it is surprising how little effort has been made to deal with the problems of conjecture. There have been, of course, some extensive studies on the subject. One of the most outstanding is the Furtibles project, sponsored by the Ford Foundation.

Daniel Bell's paper for this project, "Douze Modes de Prevision," is a brilliant work on the modes, or systems, of prediction. Prediction without explanation is intuition and since the function of prediction is to reduce uncertainty, Mr. Bell's analysis of predictive methodology is an important contribution to the science of social conjecture. His twelve categories are: 1. Social Physics, or ideological doctrines; 2. Trends and Forecasts based on some form of extrapolation. 3. Structural Certainties, or an order of events which are legally prescribed and traditionally reinforced; 4. Operational Codes, implicit rules of conduct; 5. Operational Systems which specify the underlying sources of "renewable power" in a society; 6. Structural

68

By Vance Jonson

Illustrations by Charles White, III

Requisites, minimal sets of concerns of any body; 7. The Overriding Problem, or conflict, of a nation; 8. The Prime Mover or motivation; 9. Sequential Development; 10. Accounting Schemes; 11. Alternative Futures, variables; 12.

Decision Theory: linear programming, uti lity preference, theory, game theory, stimulation, etc.

This report reviews a long-range forecasting study prepared by T. J. Gordon and Olaf Helmer. The method they used was the so-called Delphi Technique which, instead of arriving at a consensus through open discussion, eliminates committee activity altogether. It thus reduces the influence of certain psychological factors, such as specious persuasion, unwi lIingness to abandon publicly expressed opinions, and the bandwagon effect of majority opinion.

Gordon and Helmer elected six groups of experts (150 total), one each for the six areas to be surveyed (scientific breakthroughs, population control, automation, space progress, war prevention, weapons systems). Each panel of experts answered four sequential questionnaires and was exposed to interspersed information and opinion feedback. They also inquired about reasons for opinions.

This inquiry as well as subsequent feedback served to stimulate the panelists into taking into due account considerations they might have inadvertently neglected, and to give due weight to factors they were inclined to dismiss as unimportant on first thought. The results were compiled into medians which represent the respondent consensus. This consensus, presented on the following pages, is not a certainty, but it offers an image of a future which may be possible.

Before we go into the forecast contained in the Gordon-Helmer report, it seems logical to begin with a review of our current achievements. Skipping the

obvious and highly-publicized space breakthroughs, it is significant that today: we can accurately isolate and measure one-billionth of an inch; we believe Cooper landed 22/1,000,000 of a second younger (application of the space-time continuum); we can vaporize tungsten (4800 degrees centigrade) and liquify helium (-269 degrees centigrade); we can produce fu"-color from black and white film (Edwin Land); we have theorized anti-matter; we are activelyengaged in cosmic (Project Osma) and 'animal (Dr. John Li"y) communication; we are studying hereditary eugenics through isolation and analysis of the DNA (deoxyribonnucleic acid) molecule; we are working in new sciences including cybernetics, plasmaphysics and cryogenics; we have created an artificial heart (Dr. Michael DeBakey); we are working with the chemistry of memory and learning through the RNA molecule (Dr. James McConne"); our computers (40 in 1940; 26,000 today) can write poetry (M i Iton Worthy), draw by mathematical coordinates (computer-graphics), sculpture by coordinates (RemingtonRand Numerical Control) and translate language automatically (IBM); we have a Super Speed Printer (Radiation, Inc.) which provides information print-out at 62,000 characters per second; we have a computer-driven phototypesetter (Photon, Inc.) which produces a 600-page, two-million-word document (Index Medicus) in 16 hours including setup, running and correction time. These are just a few of the capabi Iities of our contemporary society.

The information on the following pages of this article will be published in a more comprehensive form sometime this summer by Basic Books, New York City, under the title of " Social Technology, " Irving Kristol, editor.

69

The forecast for population increase in the next nine years is from 3.2 billion to 3.8 billion.

It is also possible that the following innovations will occur: Economically useful desalination of sea water Effective ferti Iity control by oral contraceptive or other simple and inexpensive means New synthetic materials for ultra-I ight construction

1966·1974

Increase by a factor of ten in capital investment in computers used for automated process control

1975·1984

Positive and predictive track on all aircraft for air traffic control Widespread use of simple teaching machines Orbita I rendevouz I ncreased use of near-earth satellites for weather prediction and control Unmanned inspection and capability for destruction of satellites Manned lunar landing and return Rescue of astronauts stranded in orbit Operational readiness of lasers for space communication Manned scientific orbital station for ten men Tactical kilotron nuclear weapons for use by ground troops Extensive use of new devices which persuade without killing (water cannons, tear gas, etc.)

Miniature sensors and transmitters for snooping, reconnaissance, arms control Rapid mobility of men and light weapons to any point on earth for police action Widespread use of simple teaching machinef

Incapacitating chemical and biological agents Use of lasers for radar type range sensors Perishable counter-insurgent arms Orbiting space reconnaissance station Accurate intelligence correlation through the use of computers Advanced techniques of propaganda, thought-control and opinion manipulation

70

Automatic language translation with correct grammar

The forecast for population increase in these ten years is from 3.8 billion to 4.4 billion.

The forecast for population increase in these ten years is from 4.4 billion to 5.0 billion.

It is also possible that the following innovations will occur:

It is also possible that the following developments will occur:

Reliable weather forecasting and earth weather control (ability to cause precipitation from certain types of clouds)

Stimulated emission (lasers) in X- and gamma-ray region of the spectrum Controlled thermo-nuclear power

Reformation of physical theory, eliminating confusion in quantumrelativity and particle theory Implanted artificial organs made of plastic and electronic components Widespread and socially widely-accepted use of nonnarcotic drugs for the purpose of producing specific changes in personality characteristics

Creation on a production line of computers with motivation by "education"

1985·1994

Economically useful exploitation of the ocean bottom through mining Economic feasibility of commercial generation of synthetic protein for food I ncrease by an order of magnitude in the relative number of psychotic cases amenable to physical or chemical therapy

Automation of office work and services leading to the displacement of 25% of the current work force

Biochemical general immunization against bacterial and viral diseases

Education wi II become a respectable leisure pastime

Electronic prosthesis (radar for the blind, servomechanical limbs, etc.)

Widespread use of sophisticated teaching machines Automated libraries, looking up and reproducing copy

Automated interpretation of medical symptoms

Automated rapid-transit Widespread use of robot services for refuse collection, household slaves, sewer inspectors, etc.

Widespread use of automatic decision making at management level for industrial and national planning

Widespread use of computers in tax collection

Development of reusable booster launch vehicle

Availability of a machine which comprehends standard IQ tests and scores above 150 (the word "comprehend" is to be interpreted behavioristically as the abi Iity to respond to questions printed in English and possibly accompanied by diagrams)

Solid-core nuclear reactor propulsion Ionic propulsion Manned Mars and Venus fly-by Permanent base on moon for ten men, indefinite stay

Manned landing on Mars and return Manufacture of propellants and raw materials on the moon

Manufacturing of pseudoatmospheres on moon or planets Long endurance aircraft, possibly nuclear powered Automated tactical capability; battlefield computers, robot sentries, television survei IIance Effective terminal defense by ground-launched anti-missi les Directed energy weapons (electro-magnetic radiation, particle-beams, lasers)

Controlled thermo-nuclear power

Establishment of permanent research stations on near planets Weather manipulation for military purposes Probes (small instrumented unmanned payloads) outside of our solar system Creation of a primitive form of artificial life (self-replicating molecules)

Biological agents destroying the will to resist

71

The forecast for popu lation increase in these ten years is from 5.0 billion to 5.5 billion.

It is also possible that the following developments will occur: Feasibility (not necessarily acceptance) of chemical control over some hereditary defects by modification of genes through molecular engineering

1995·2004

Economically useful exploitation of the ocean through farming, with the possibility of producing 20% of the world's food Evolution of a universal language from automated communication

2005·2024

Automated voting, in the sense of legislature through automated plebiscite Automated highways and adaptive automobile autopi lots Commercial global ballistic transport including boostglide techniques Effective terminal defense by air-launched directed energy beams

NOTE: The Research Institute of America recently published a report entitled "Your Business in the Next 15 Years" which presents an analysis of the major changes expected to confront U.S. industry around 1980.

Economical exploitation of ocean farming

72

Among other things, the report predicts that a "privacy market" will emerge as a result of the population boom; consumer demand will pyramid as national affluence increases; an investment of $100,000 will be required to create one job; leisure, no longer a by-product of the machine, will make time a basic form of wealth; educational installations will be based on television, teaching machines and microfilmed libraries; educators will plan toward the death of the "Protestant Ethic" and for the birth of a new, more "Grecian" attitude toward work and life values.

Biochemicals to stimulate growth of new organs and limbs

The forecast for population increase in these twenty years is from 5.5 billion to 6.1 billion.

The forecast for population increase in these 75 years is from 6.1 billion to 8.0 billion.

It is also possible that these developments wi II occur:

It is also possible that the following developments will occur:

Biochemicals to stimulate growth of new organs and limbs

Feasibility of education by direct information recording on the brain

Feasibility of using drugs to raise the level of intelligence (other than dietary supplements, and not in the sense of just temporari Iy raising the level of apperception) Man-machine symbiosis, which will enable man to extend his intelligence by direct electromechanical interaction between his brain and a computing machine

Competition for planetary raw materials Non-rocket space drive via anti-gravity system

2025·2099

Military forces on moon Pulsed nuclear propulsion Lunar based laser beam for use in space vehicle propulsion

Breeding of intelligent animals (apes, cetaceans, etc.) for low-grade labor

Heliocentric strategic fleet

Economic feasibility of commercial manufacture of many chemical elements from subatomic building blocks

Radiation immunization through pills or other means Use of telepathy and ESP (extra sensory perception) in communications

Control of gravity through modification of the gravitational field Remote facsimile newspapers and magazines printed in home International agreements which guarantee cert~in economic minima to the world popu lation as a resu It of high production from automation Establishment of a permanent Mars base (ten men indefintely) Manned landing on Jupiter's moons Pluto fly-by Long duration coma to permit a form of time travel Manned multi-generation mission to other solar systems Extra-terrestrial farming

Use of domesticated porpoises or dolphins for anti-submarine reconnaissance

Manned maneuverable geocentric bombardment fleet Space hydrogen ram jet

Chemical control of the aging process, extending life by 50 years

Regularly scheduled commercial traffic to lunar colony

Manned Venus landing

Direct information recording on the brain

NOTE: Gordon and Helmer, reacting to the implied warnings in some of the opinions of their respondents, felt it was their editorial responsibility to point out four basic danger areas so that appropriate measures might be taken to reduce the probability of occurance.

They are: (1) The panel's median prediction of war within the next generation. This is intolerable and ways must be found to avert such a disaster.

(2) The possibi lity that equitable distribution of food, energy and raw materials will not keep pace with the population boom.

If not corrected, this could lead to wars. (3) Social reorganization which will make earning a living more of a privi lege than a necessity cou Id lead to major problems. (4) The potential dangers of misdirected molecular genetic engineering (eugenics) are too obvious to require formulation.

Two way communication with extra-terrestria Is Mass-hypnotic recruitment of forces from enemy popu lation Mind reading

73

Philadelphia 350 pieces were selected from 2,000 entries in the 30th annual exhibition of the Art Directors Club of Philadelphia. Judges for the trade category: Harry F. Brian, VanSant, Dugdale & Co.; John Dobran, ITSM Division, McCann-Erickson; William E. Baldwin, Ketchum, MacLeod & Grove. Consumer: John W. Amon, Needham, Harper & Steers; Robert M. Daniels, Atlanta Magazine; Gennaro Andreozzi, Gilbert Advertising. TV and film: Alphonse Normandia, Batten, Barton, Durstine & Osborn; Ron Rosenfeld, Doyle Dane Bernbach; Marvin F. Friedman, Elektra Film Productions. Robert McCullough was show chairman. A selection of gold medals is shown here.

2

3

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Picture of efficiency: Newsweek delivers this many (242) heavy users of gasoline"per advertising dollarmore than any other newsweekly

4

74

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1 Art-trade Art director/ designer: Dick Downes Photographer: Bob Hayman/Ralph Smith Copywriter: William W. Carthy Studio: De Martin-Marona Client: Du Pont 2 Design-trade Art director/designer: Jerry Siano/ Phil Schulman Artist: Bill Barron/ Bruno-Mease Studio Copywriter: Thomas Harris Agency: N. W. Ayer & Son Client: Newsweek

3 Art-trade Art director/designer: Rick Piera Artist: Bob Hayman Client: Du Pont 4 Art-trade Art director: Alan J. Klawans Photographer: Seymour Mednick Copywriter: B. Norris Battin Client: Smith Kline & French Laboratories

7

5 Design-trade Art director/designer: Kramer, Miller, Lomden, Glassman/ Larry Alten Photographer: Kramer, Miller, Lomden, Glassman Agency: Wermen & Schorr, Inc. Client: Robert Bruce Inc.

6 Design-trade Art director: Andrew Schmith Designer: George Sulpizio Client: Merck, Sharp & Dohme

8

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7 Art-trade Art director: Jerry Siano Designer: Jerry Siano/Henry Guarini Photographer: Monte Casazza Copywriter: Dean Crebbin Agency: N. W. Ayer & Son Client: Caterpillar Tractor Co.

8 Art-trade Art director: Jack Siegel Artist: Johannes Regn Agency: Fuller & Smith & Ross, Inc. Client: Yale & Towne, Inc.

75

PHILADELPHIA

4

3

2

"Why didn ' t I see Cary Gra n t having dinner at The Tony George?"

Was he in town' 17 S Bank ' MA 7·0540

Go down Ch estnut . turn left 1st street after 3rd

This week, The Tony George waiters will pretend they look like Cary Grant

17 S Bank· MA 7·0540 Go down Chestnut . tUrn

left lst street after3rd

Any self respecting Art Director would certainly want to try The Tony George for dinner.

Self respecting. hell! The Tony George welcomes any Art Olfector. 17 S. Bank SI. MA 7 ·0540

5

76

6

8

Art-consumer Art director; artist: Anthony Lane Client: Philadelphia College of Art 2 Design-small space Art director; copywriter: Elliott R. Curson Agency: Elliott R. Curson Advrtising Client: The Tony George Steak House

9

3 Art-trade Art director: Alan Klawans Artist: Jack Gregory Photographer: Seymour Mednick Client: Smith Kline & French Laboratories 4 Design-trade Art director; designer: Dick Hess Artist: Ted Carey Copywriters: Robert Brooks; Duncan Osborn Client: Armstrong Cork Co.

5 Design-trade Art director; designer: Les Fried Artist: James Crabb Agency: Ketchum, MacLeod & Grove, Inc. Client: Scott Paper Co.

6 Design-trade Art director; designer: Herman Volz Agency: Erwin-Wasey Client: Caloric 7 Design-trade Art director; artist: Fred Kurtz Client: James E. Foyle 10

8

Art-trade Art director; designer: Dick Hess Artist: Ted Carey Client: Armstrong Cork Co. 9 Art-trade Art director: Andrew Schmith Artist: Dr. Paul Peck Client: Merck Sharp & Oohme 10 Art-TV film Art director: Herbert Armstrong Artist: Effie Armstrong Photographer: Hoedt Studio Copywriter: Hank Inman Agency: Gray & Rogers, Inc. Client: Snelling and Snelling, Inc.

77

PHILADELPHIA

1 Art-trade Art director: William Schilling Photographer: Shelly Roseman Client: Smith Kline & French Laboratories

1

2 Design-trade Art director/designer: Donald Jackson Photographer: Seymour Mednick Copywriter: Sam Michini Agency: N. W. Ayer & Son Client: Du Pont 3 Design-consumer Art director: Don Smith Designer: Aubrey Lee Photographer: Gateway Studios Copywriter: Neil Fisher Agency: Ketchum, MacLeod & Grove, Inc. Client: Commonwealth of Pennsylvania

2

4 Design-trade Art director/designer: Don Solomon Photographer: Robert Barkley Copywriter: Larry Hansen Agency: N. W. Ayer & Son Client: Du Pont

If II bt>c6m~ popular. ,to" can b .. t Wf'U m ak e It prac:U('al.

ulomnlillt Rtfin i .. hln J,: Prudurh

4

3

HOW AN ()I-iD-FASHIONED INTIUSTRIAL GIANT BECAME

THE NA1~ION'S

PRC)FIrr STATE

The V-belt you've been looking for is practicaHy under your nose.

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I; lI'nolq"'i .. . . rwM' •• ~'noM INtll' . . ......, .. )'CKI' .........I Gft.. "p+'IMflW,"- In the MW IfI'lproY4ldt',.'Mlrufh' - Vbltt.

u ......"blttt.'tNnG.t.. RubbotrGo ·. fomo<rr'WfttMrd T"'..... (lnilWf . tGI.I,~belttl)*t).tNtIkltn ."" . . dal'. . tD.~r'"'P'1ltMt"-.rt" D-''''"'' N~./f\t.,.t,,~. '.

"~'M laccMOl wMt. ord~1')' noIbbtt, f.!h. I1.mor. IN .... malClltor hut-oil. _.~ ..... htfo\llO"""'tIOn,

doI.~ott.~ ... tMIt'~

78

IntM"""rufl.. .,.I\.c..f4l," pecJaIIy (;cmpc)lInd~ Ntopt.f\t: ow.r ""It.. tn,

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ofN~ . tM btM~ nlbW.

...... ~.tNaddf'UI .t'.ht.

83

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78

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Tip is the only super fine-line marking pen that comes in an exclusive range of 12 vivid colors ... provides new flexibility for artists and designers. All 12 Tips write on everything, have a larger ink supply, give a longer writeout, have the unique Ionic Tip which won't mush and a

longer open-cap life. Tips are comfortable to write with and easy to use ... require no refills.

Order Eagle Tip pens today. Attractive, quality styling ... and every barrel is colored to match the ink for quick identification.

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83

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78

San Francisco 290 pieces were accepted for the 16th annual exhibition of the Art Directors and Artists Club of San Francisco.

Judges were: Bill Tara, consulting art director; Si Lam, vice president, Doyle Dane Bernbach, Los Angeles; Marvin Rubin, advertising consultant; Keith Bright, Gollin & Bright, Inc.; Stan Hodge, Manager of Industrial Graphics, General Dynamics/Convair.

Marshall Potter was show chairman.

The medal winners are shown.

Newspaper advertising art Art director/ artist: Joseph Allen Hong Copywriter: Louise Garcia Client: Joseph Magnin Co. Trade periodical ads Art director: Jim Whicker Designer: Tom Kamifuji Copywriter: David Watson Agency: MacManus, John & Adams, Detroit Client: Bendix Corp.

Posters Art director: Adrian Taylor Artists: Adrian Taylor/ Bill Hyde Copywriter: Daniel Lewis Agency: Johnson & Lewis Client : Bank of America

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AP IL Friendly reminder: Bank of America tax loans.

83

SAN FRANCISCO

2

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LIVE IN ATREE. FREE.'

~plc."W'th .~etrJc:;fty, 'Yt'tting w.l_t ~ ~I.phoq. C.n.t'J1..t'1dptlOf!"'1'b4n

pol'i ..ti-cian, n. one addicted to, or actively engaged in, politics as managed by parties

Jesse Unruh: definitive politician, strong ambitious dynamic relentless tenacious . flinty dedicated gritty . smooth tough feared polished

J

JUJ! ~'. t.J! 'rOW' t)ft;~.. wher. yoltt'f* bfi: 10 f'iMhl,il~ .f~m ~nfO¥l'n l~~"$l.

Gl> bMiMOOt $. .Wii* itt. tn. !.tutU· &.a. W..1tb' . ";IJtllfl¥.t"$~ Sb,*l~ and .... ~!i)'f>$~. • If 19U' t.., Jooii:#lt ~O( ~~~lntJ ~. dqw~ ....td'l: thtn 3 trffh()U'•• , .ta) m ..

1U:Jlut.,. no.te~ , mOllno ~ C~. 0, ".n»it, PAL p-% fW .,..U! ff"OM $jt'\ 't~~~.t-~ la$t*r ~.A Ill)' o1h., .ttHi1f AM'~ ~Ai', t~ i:{)ltH·t,r.ft4 PtQ9~~l 11.., .. 111 .4<1 1I~'. ja1. Ju.' 10 '1"'04 !It;~U' .I<n>g, (Ab<><rt 1,.1 I'_O~'• • 11 _II fr. .. ~$t Wtltf U\t qf l ..mh(l-a~ AOO htt him 'kf'()~ ywt. eQm~(I' ~

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PHILIPPINE AIR LINES

3

84

4

"Say, have you noticed that these 50. drinks at

Gold Street are practica lIy doubles

Magazine ads Art director: Lee Ruggles Artist: Nicolas Sidjakov Photographers: Cal Bernstein/ Don Shapero Copywriter: Don Staley Agency: McCann-Erickson, Inc, Client: Philippine Air Lines

?"

2

"I'll shay" (Cocktoil Hour 5 -9 . Hot hors d 'oeuvres, 50¢ drinks. Closed Sundoys.)

6

Booklets Designer: G, Dean Smith Artists: John Divers / Henry McDowell Copywriter: George Rodman Client: KGO-TV, American Broadcasting Co. 3 Direct mail Art director/ artist! copywriter: Larry Green Client: Art Directors & Artists Club of San Francisco

4 Point of sale Art directors: Marget Larsen / Robert Freeman Artist: Marget Larsen Copywriter: Howard Gossage Client: Intrinsics 5 Small space ads Art director/ copywriter: Larry Green Client: Gold Street

6 House organ art Art director: James Stockton Artist: Willi Baum Copywriter: Allan Eckert Agency: Fetzer/ Stockton Graphics Client: Fireman's Fund American 7

Posters Art directors: Mars hall Potter/ Hal Ri ney Photographer: Jack Allen Copywriter: Jim Burch Agency: Batten Barton Durstine & Osborn Client: General Brewing

85

Honolulu The 9th Annual Exhibition of Advertising Art and Design of the Artists and Art Directors Club of Honolulu was cosponsored by the Hawaii Newspaper Agency. Judges were Robert Blanchard and Richard Coyne of CA Magazine.

3

2

4

SOUP

86

PORKor BEEF

5

6

HONOLULU COMMUNITY THEATRE presents -I'll;·. BROADWAY H{,()('KDUS''lE n ''

Trademark Art director: George Lenox Client: East-West Center Press 2 Newspaper ad Art director/ artist: Alec Baird Photographer: Robert Wenkam Agency: McCann-Erickson, Inc. Client: Hawaiian Electric Co. 3 Advertising Agency Association Award Design of complete unit Art director: Paul Turley Artists: Paul Turley / John Whyland Photographers: Werner Stoy/Bob Wenkam Agency: Fawcett-McDermott Client: C. Brewer & Co., Ltd.

7

4 Advertising Club Award Advertising art Art director: Tom Lee Artist: Momi Cazimero Client: Young's Chop Sui

5 Poster Art director: Tom Lee Designer / artist: Tom Lee Design Client: Honolulu Community Theatre

6 Advertising art Art director: Paul Turley Photographer: Dave Cornwell Agency: Fawcett-McDermott Associates, Inc. Client: Hawaii Visitors Bureau

8

7 Magazine ad Art director: Clemente Lagundimao Photographer: David Cornwell Client: Dining in the Islands

~

--- -

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...

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8 Direct mail Art director: George Lenox Client: East-West Center Press

-;

87

Denver

2

P. KUn lttTCALP. sox lZ ASPEN, COLOlAnO 11m ... PBCNI 303 m·n42

4

3

88

To belp you drill a good producing well.

5

taking the

~ Jam J out of traffic

The Art Directors Club of Denver accepted 191 pieces from entries from the 13-state Rocky Mountain area in their 9th annual show.

Judges from the Art Directors Club of Winnepeg were: Dean Murdock, Great West Life; Dave Strang, CBC; Jack MacDonald, Art and Design Associates; Tom Powell, Cockfield, Brown & Co.; Bruce Head, CBC-TV. Show chairman was ADCD President Ken Wilmot, KLZ-TV.

Best of Show Art directors: Vance Van Demark/Tom Rogers Artist: Ken Harshfield Agency: Rives, Dyke & Co., Inc. Client: Magnet Cove Barium Corporation 2

Art director/artist: Remo Lavagnino Client: The Crystal Palace 3 Art director: Jim Milmoe/Donna Stine Photographers: Jim Milmoe Agency: Boyles, AUebaugh & Davis Client: State of Colorado

4 Art director/artist: John· J. Sorbie Client: University Theater, Colorado State University

6

THE RESEARCH OIVlSIONS

5 Art director: Laurence Rickards Photographer: Winter Prather Client: Mountain States Telephone & Telegraph Co.

6 Art director : John Silver Artist: Dick Corcoran Photographer: Donald C. Saum Client: Denver Research Institute

89

DENVER

Art director : Bill Neale Agency: Tracy-Locke Co., Inc. Client: Collins Radio Co.

Art director: Andy Shomsky Artist: Lucy Cedillo Client: May-D&F

Art director/ artist: Jon Zahourek Client: Ronn Spargur, Von Frellick Assoc.

Art director/artist: Ken Endicott Agency: Associated Advertising Agency Client: Steffen Dairy Foods Co.

)l>E\ ~ES,\'rF

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ViII .. h,&]l.t is a composite. " is a( once the newc!It, moSl original $hoppingc<:nI~rin construction

and design and. at the .ume rim • • rt'Ot'C1ion 1)( (ht! old", orld d'.arm and cullure heSI t't'vdled in Ih~ .rch lh!('lure and .lInv~pbt!r~

of an halian \illa. lrom Iht ,.. on\'~nit':lH. 5,000 ur pJ.rking lUI, 10 tht! ~b0.pP'!r.arrans:ed ..,)Cern o ( shop", Amcrinn ingcnuhy and dfitic.'ncy ha,·c hCl'n wt-dded f(I lin 0111 wurld dltcor . .i) "merit-an .. today arc In search of tbe past. The traditions) cllsronu, <..'lIhurc o ( Fu rore hold" (",<:ination that filtt!rJ do .... n Ihro1l8b e\-cry dunc", o( our society. A shopping complu ain)('d Itf the (,'('I1(,'r o( Ihis

f,ucinaliun is able lu .turat:1 anJ h u ld cu lomer loy"ltid anJ pn)\kle mt'rcbandising opponunitics un~u.lletl hy :lny shoppIng dcvdoprncnl In :"olorth A merino, ~ A h-a .. ic prellliJI: l'H:hind th

Villa

Italia conc-cpt is ,bill tod.y more and morf' people drhoc more and mort mile.ll In finJ c,dting (ood in • plt.uant ltmosphe-rc at rHsonabl

90

pricf's, \\ h n yClIU of tesc• .n:b in l'llnomcr mOllurion

esh 'Pelleh

Is Warren exaggerating?

Not really.

And if you can spare a couple of m inutes for a little te chnical talk , we 'd

The idea is to make the paper reflect all the colors of light - and in

This is our Casco Enamel , 80-lb.

It's long been a Warren Standard .

their orig inal proportions. When you

Now it's being stocked too - and we've improved it to make it even

like to tel l you why everyth ing looks

do that, you perk up the page. You

like the 4th of Jul y on Warren paper ...

get bright, accurate pictures . Pictures that look like the 4th of July.

Color balance.

You probably know that pure white light contains all visible colors. When

Refined, level surfaces.

light shines on a printed page, it shines through the ink, which is virtu-

In orderto let as much light as possible sh ine through the ink, the ink

ally transparent, and is reflected by

must lay and dry on the paper in a thin, smooth, glossy film .

the paper back through the ink.

Color balance alone is not enough .

This requires paper with refined, level surfaces - like Warren's, with doublekoted and triplekoted surfaces .

better. It's a good dou blekoted paper for volume offset work - econom y priced , with a ref ined, leve l surface.

Try it - and watch your printing look like the 4th of July.

Papers for the printer who puts quality first

Illustration West 165 illustrations were chosen for the "Illustration West" exhibition sponsored by the Society of Illustrators of Los Angeles. Entries were accepted from all states west of the Mississippi. Judges were: Lyle Wheeler, Frank Capra Productions, Studio City; Cecil Birnbaum, Douglas Aircraft Co., Santa Monica; Nicolas Sidjakov, designer, San Francisco; Dick Coyne, CA Magazine.

Editorial illustration Art director/artist: Don Weller Client: Connoisseur Publications Unpublished illustration Artist: Richard Beck

Se... the unusual when the eard "Club! of harp town prs...,,( tat ... Fair Winners at the harpstown Country Club. March 27, 1965. from 2 to 5 p.1ll O""n to public.

Institutional illustration Artist: Keith Finch Art director: GoUin & Bright, Inc. Client: Simpson Lee Paper Company Advertising illustration Art director/artist: Ken Harshfield Client: Sharpstown Country Club

93

Norfolk 76 entries were accepted for the 5th Annual Art Directors Show of the Art Directors Club of Norfolk.

The show was judged by Harold Olsen. vice president and associate creative director of Batten, Barton, Durstine and Osborn, New York City.

Award winners are presented here.

1

Stylized illustration Art director/ designer: Jim Dietrich Artist: La Rue Mitchell Client: Virginia National Bank 2 Magazine ads, one color Art director/designer: Jim D ietrich Photographer: Bob Fishbeck Client: Virginia National Bank 2

problems in the Mid-Atlantic areaL. don't kee p th em und er your hat

3 Trademarks Art director/artist: Cathy Polizos Agency: Arthur Polizos Associates Client: Metropolitan National Bank 4 Booklets Art director: Ben Matthias Designer / artist: Grant Parrish Agency: Bruce, Matthias, Redmond Client: Les Chateau

5 Institutional ads Art director/artist: Ron Primm Client: The Virginian-Pilot

#

VIRGINIA NATIONAL BANK

6 Letterheads Art director/designer: Jim Dietrich Client: Art Directors Club of Norfolk

4

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cadmium scarlet cadmium yellow medium cadmium green ultramarine blue permanent crimson yellow ochre burnt sienna burnt umber cool black titanium white only

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$350 6

GET the New Masters #105 Introductory Artists' Kit Ten brilliant 1/2 oz. acrylic-vinyl copolymer (AVe) colors (a good basic palette) in clear polyethylene tubes; plus: clearly-defined, easy-to-follow directions for using NM quality colors; and a 12-page brochure describing NM colors, mediums, and gesso; and a full-color swatch pamphlet; and complimentary title gummed labels which can be affixed to the rear of any canvas; and a convenient price list/order Only NM acrylic-vinyl copolymer (AVe) colors remain intact, form and inventory blank for brilliantly clear, strongly adherent and permanently flexi- re-ordering any of NM quality ble. Prove it yourself, mail the products. coupon.

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95

Books 44TH ANNUAL OF AnVER TISING & EDITORIAL ART & DESIGN Gus Scheuer, editor Reinhold Publishing Corporation 430 Park Avenue, New York, N. Y. 10022

$16.50

596 pieces are presented in the 44th annual of the Art Directors Club of New York, designed by James Boden and edited by Gus Scheuer. This year's annual also includes reports on the National Society of Art Directors and the 10th Annual Visual Communications Conference.

It is indexed as to art directors and designers, artists and photographers, copywriters and TV writers, agencies, publications and publishers, clients, and producers and production companies.

PAINTING WITH SYNTHETIC MEDIA

by Russell O. Woody, Jr. Reinhold Publishing Corporation 430 Park Avenue, New York, N. Y. 10022

$15.00

Russell Woody has written a comprehensive guide to the characteristics and use of synthetic paints. Beginning with a general history of traditional painting media, he compares the strengths and weaknesses of synthetic media. The structure, characteristics and handling of polymer emulsions are dealt with, including consistency, thinning, drying, application, compatibility with other media, types of brushes, supports and palettes, brand names and relative cost. He demonstrates the versatility of polymer emulsions in the different media of oil, watercolor, tempera and casein, mixed media, textural painting and collage, mural painting, printing, sculpture and commercial art.

A technical appendix by Henry W. Levison, widely respected authority on the chemistry of artists' colors, provides detailed information on synthetic pigments. A glossary of terms, source of materials and index are also appended.

Russell Woody specializes in the study of synthetic paints, and has lectured and demonstrated across the country. He spent a year in discussion with painters using synthetic media in preparation for this book.

PROCESSES OF GRAPHIC REPRODUCTION IN PRINTING

by Harold Curwen (revised by Charles Mayo) Dover Publications, Inc. 180 Varick Street, New York, N. Y. 10014

$6.00

Mr. Curwen's standard work on methods of reproduction has been fully revised and brought up-to-date by Charles Mayo. It is directed to the artist who makes designs for reproduction, to enable him to understand the processes

96

used to get the best results from his work. The different printing processes are clearly described from completion of the design to the finished printed piece.

A discussion of automatic methods includes relief, intaglio, stenciling and lithography. Section two, photographic reproduction, covers line methods, continuous tone methods, electronic scanning and engraving, photgravure and collotype. Bookbinding is also discussed.

The text is supplemented by diagrams and illustrations, plus twelve inset illustrations. A sectional index and bibliography is included.

SWEAT OF THE SUN AND TEARS OF THE MOON

by Andre Emmerich University of Washington Press Seattle, Washington 98105

$15.00

An Inca legend provides the title for this survey of gold and silver work in pre-Columbian art. The most important archaeological discoveries have been made in the last three decades, and this is the first book to include all present knowledge of the art.

Gold and silver work is analyzed in chronological and geographical sequence from south to north, ranging from hammered sheet-gold ornaments of early Peruvian culture to intricate cast-gold jewelry from the Aztecs and Mixtecs. A chapter on technology examines the mining and metallurgy of the different pre-Columbian cultures, as well as forgeries and possible Asiatic influences. An account of goldsmiths and their methods in pre-Columbian Mexico, the Florentine Codex, is appended along with footnotes, an extensive bibliography and index.

More than 200 photographs trace the development and movement of styles and motifs in the various cultures.

ILLUSTRATORS '65 Robert Peak, editor Hastings House, Publishers, Inc. 151 East 50th Street, New York, N. Y. 10022

$15.00

The seventh annual of American illustration, designed by John Van Zwienen, is a handsome book offering an outstanding visual presentation of the 321 pieces accepted in the Society of Illustrators exhibition. Many of the pieces in this cross-section of current work in the fields of advertising, editorial, book and institutional illustration are shown in color, and most are well reproduced and large enough to inform the reader of the quality and technique in the selected illustrations.

The annual includes comments by chairman Jerry McDaniel, designer John Van Zwienen, editor Robert Peak, president Carl Bobertz, and reactions of jury members. illustrators, art directors, agencies, publishers and publications, clients and book titles are indexed.

THROUGH ~

..,

I

AND SPEEDBAlL HAS THE SIZE AND SHAPE YOU NEED!

Whatever your requirements, Speedball offers just the point you need for sharp, precise freehand lettering ... a total of 36 different numbers in 5 styles . . . plus 4 steel brushes! And Speedball gives you 2 ways to use them: in conventional wooden holders or the efficient pushbutton Auto -Feed that handles like a fountain pen without dipping or dripping! Either way, you get clear, clean lettering that's never fuzzy-always under control. When you do lettering, do it right ... do it with Speedball!

•

Send 10¢ in sta7nps for comprehensive lettering chart.

Write: Hunt Manufacturing Co., 1405 Locust Street, Philadelphia, Pa.

POSTER COLORSb, Winsor & Newton

........ when you draw on Crescent wa tercolor board. Prove it to yourself!

Write for free samples.

INTRODUCTORY SET $3.00

At leading dealers everywhere,

CRESCENT CARDBOARD COMPANY 1240 N. Homan Avenue / Chicago, III. /60651

Winsor &Newton Inc. 881 BROADWAY, NEW YORK 3, N . Y. Canadian Agents: The Hughes Owens Co., ltd., Montreal Californian Dist.: The Schwabacher·Frey Co., San Francisco, Los Angeles

97

Materials 48 PT. TIMES BOLD

DEBRIE CX-16 CAMERA

Stephenson Blake & Co. Times Bold is now available in 48 pt. size. From Bauer Alphabets, 305 East 45th Street, New York, N. Y 10017.

16 mm. professional motion picture camera is designed for light weight silent operation in wide variety of assignments. Three lens turret for mounting zoom and wide angle lenses, through-the-lens reflex viewing, variable shutter, interchangeable magazines, quartz crystal controlled motor. Noise level for standard model is 37 db at three feet. Contact Robert J. Harrington, General Manager, Andre Debrie of New York, College Point, New York 11356.

HPI SLIDE SORTER II Slide sorter allows user to edit or view full roll of color slides. Built-in stand is adjustable for proper viewing angle on low table, eye level shelf or hanging on wall.

40 watt household lamp, rotary on-off switch, U. L. approved. $5.95 at camera stores or Hudson Photographic Industries, Inc., Irvington-on-Hudson, New York.

3M BRAND SPRAY ADHESIVE 77

Transparent rubber-base spray adhesive can provide permanent or non-permanent bonds between paper, cloth, cardboard, many plastic films, metal, foil, glass and most painted surfaces. Fast drying, non-curling, non-staining. From Adhesives, Coatings and Sealers Division, 3M Company, 2501 Hudson Road, st. Paul, Minnesota.

"KLEEROFF" NO-STICK "TEFLON" PALETTE

New light-weight aluminum palette has sealed surface of DuPont's no-stick "Teflon" for ease in cleaning. $4.98 for oil paint palette, $3.98 for acrylic paint palette.

Write to Hardie Enterprises, Inc., 3500 Harford Road, Baltimore, Maryland 21218.

MARS 700 TECHNICAL PENS

New Mars 700 01 technical pen has superfine point thinner than .2 mm. New wide style, 700 12, has a 1.2 mm point. Each unit includes barrel, pocket clip. $3.25 each, replacement points $2.00. Write Dept. 22, J. S. Staedtler, Inc., P.O. Box 68, Montville, New Jersey.

COLOR MATCHING SERVICE

New color matching service of Triangle Color Company matches designer water colors, packaged in jars, with paint, ink, or dye sample furnished by the customer. Wet samples furnished to customer for approval. Formula at factory allows short notice order of prematched colors.

Details from Triangle Color Co., Color Matching Dept., 1026 North Water Street, Milwaukee, Wisconsin 53202.

STAEDTLER-NYLOSTICK

New series of nylon-tipped sign pens has steady ink flow, will write, draw and mark on all surfaces. Non-toxic, water soluble, non-fading ink in black, red, blue, green, yellow or brown. $.49 each. Information available from Dept. 22, J. S. Staedtler, Inc., P. O. Box 68, Montville, New Jersey.

98

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

A Typographic Quest 2 ... second of a series of informative booklets is devoted to display types, presents a synopsis of Carl Dair's ideas about the use of type as a focal point in printed matter. Write to Jack Donnelly, Jr., Sales Promotion Manager, Fine Papers Division, West Virginia Pulp and Paper, 230 Park Avenue, New York, New York 10017.

Sorg's Parchtex Swatchbook . .. includes color swatches and availability tables. Portfolio of printed samples illustrates some effects possible with Parchtex. Write to Fred T. Hotchkiss, Sorg Paper Co., Middletown, Ohio 45042.

Folio Type/ace Booklet . .. shows Bauer Alphabet's Folio Light, Light Italic, Medium, Bold, Extrabold, Bold Extended, Light Extended, Medium Extended, Medium Extended Italic, Light Condensed, Medium Condensed, Bold Condensed, Bold Condensed Italic, Bold Extra Condensed. Write Bauer Alphabets Inc., 305 East 45th Street, New York, N. Y 10017.

Lettergraphics Decorative Wall Chart . .. shows a sampling of 2,800 budget styles available on a decorative chart. Write Lettergraphics Photo Process Lettering Service, Studio C, 6107 W Washington Blvd., Culver City, California 90231.

Snoweave Magic Color Selector . .. is a color-selection tool of 14 interlocked discs showing 364 combinations of the 14 Snoweave paper colors. Available through Peninsular Paper Co. merchants.

Paper Honeycomb Brochure . .. describing creative uses of paper honeycomb in advertising is available from Bemiss-J ason, 3250 Ash Street, Palo Alto, California.

\Vhen it comes to the tools of their trade, highly romantic artist can be purely practical. To cut a caper (or a type-proof, stencil or silhouette ) th ey wan t the perfect partner on their drawing board ... one who can follow any twist or turn, whirl or curve,

X-ACTO® PRECISION TOOLS, INC.

Shown : X-acto art ist kn ife #1 with #11 blade, 60¢

48 - 41 Van Dam St., Dept. M-1, L.I. C. 1, N. Y.

o ~$~b. s---. .. (,j1Q,

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FerOCIOUS GOTHICS· Bold Sertfs

c:ff~r;(~ •VruJtrif @ruJ~~OITU®~ dnd &fug 'failed Casuals 1 ~PLV&~ The L atest S t y les o f Type a nd

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no matter how fancy. That's why artists-in-theknow choo se sur gically-sharp, super-safe X-acto knives . If you're still using razor blades, cut out. Make a date to see the entire economical X-acto line at better art supply stores everywhere, or write t o :

2~800 Slgles from

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per word to $2

eall or ~ena for a .p~EE e olorful Wall ehari ~ ~etails on out? Giant 2,)S page ~ing B inaet? ~pe~ Book

Studio 0 · 6107 W. Washington Blvd .

Culver City. California . 90231

New Telephone 870-4828

Art-O-Graph projectors speed up, improve quality 01 art production!

Art-O-Graph 111000" Most versatile projector made. 10diameter range, reduction to enlargement. (Auxiliary lens gives 14 diameters.) Projects opaque copy, art, photos, objects, or transparencies rig ht on drawing surface.

No tracings needed . Counter-bal anced for quick, easy , fine focusing .

Tessar-type lens. FI ip-back, copy pressure plate.

Make photostats, tOO! New Statmaker converts Model 1000 to photostat machine in two minutes ! Makes line copy stats or prescreened halftone prints without negatives. No darkroom needed .

Art-O-Graph !f800" Budget·priced . Ideal second unit for studio or home use . Takes same size copy, uses same lighting system as Model 1000. B-d iameters enlargement to reduction. Easy, manual focusing. Tessar-type lens.

Takes no floor space .

Write for literature and dealer's name

Art-O-Graph Inc. Dept. CA, Sexton Bldg., Minneapolis, Minn. 55415

99

MATERIALS (continued)

YliS IJ')'(»). () I III'() Il'I'S NEW NT CUTTER HAS BLADE WITH LIVES!

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Simpson Lee Dimensions, Volume 8 ... is devoted to "Creating Effective Company Publications;' covers publication shapes, structures, formats and art. From Simpson Lee merchants or Advertising Department, Simpson Lee Paper Company, Vicksburg, Michigan.

Envelope Die Manual ... is a revised reference handbook of envelope styles, sizes and specialities. Includes new section, "Envelopes and the Designer:' Lists over 900 envelope dies by size and classification. Write to Old Colony Envelope Company, Westfield, Massachusetts .

• KNIFE WITH 2

EXTRA BLADES

$2.49

~

SNAP-SHARP BLADE

KEEPS KNIFE ALWAYS SHARP

This new imported cutting and scoring knife has a heavy-duty steel blade that "resharpens" itself 8 times. When blade or point becomes dull, snap off the end and a sharp new cutting edge appears. Each blade has 8 snap·sharp cutting points so your knife can be made sharp in an instant. When not in use, blade slides into handle for safety. Two spare blades come with each knife. Ideal for cutting and scoring matboard, fibreboard, linoleum, carpet, rubber, etc.

7-COlOR PENTEl® PEN SET

Index to Advertisers Amsterdam Continental Types ____________________

Appleton Coated Paper Co. ________________ ___ ____ _ 15 Art-O-Graph, Inc. ________________________________________

99

Charles T. Bainbridge's Sons ________________________

4

Crescent Cardboard Co. ___________________ ________ ___

97

Eagle Pencil Company ___ ________ _______________ ______

79

Eastman Kodak Company __________________________

18

M. Grumbacher, Inc. ______________ _____________ ________ _ 13 Hunt Manufacturing Co. _________________________ _____

97

Kimberly-Clark Corporation, Business Papers Division ___ _____________ ____..

7

Lettergraphics Photo Process Lettering ___ .___ . ___ . _____ .... _.. _................ .....

99

Mergenthaler Linotype Co. _.. ....................... C-3

Amazing fibre-tip Pentel writes bold and smooth on any surface. Leaves strong, lasting impression. Set includes: black, red, blue, green , yellow, orange and brown. Handy vinyl case. $3.50 per set--49¢ ea.

D ealers : send for

~ YASoU~OMa~. & CO. '8'

New Masters Art Division .. ___ .... ___ ._ ......... __ .

95

Old Colony Envelope Company ..................

11

Peterson Color Labs

C-2

Shiva Artist's Colors

5

Switzer Brothers __ .. _........ _.. _..... _... _.. _............

21

VIano Graphic Arts Supplies, Inc ............. _.

13

S. D. Warren Company ._..............................

91

F. Weber Company . __ . __........... __._.................

12

Winsor & Newton Inc . ... _............................

97

X-Acto Precision Tools, Inc. ___ ._ .... _..............

99

Yasutomo & Company .. ____ . ___ _. ___ . ______ .......... 100

Exclusive Agents

24 CALIFORNIA ST., SAN FRANCISCO, CALIF. N. Y. REPRESENTATIVE-ALEXANDER PITKOFF 1375 OCEAN AVENUE, BROOKLYN, NEW YORK

100

6

Address advertising correspondence to Anv. DEPT., CA Magazine Post Office Box 10300 Palo Alto, California 94303 Phone (415) 326-6040