janfebpreview1975

Producing the Company Publication

The Company Publication One of a Warren series on Corporate

One of a Warren series on COrporate COmmunication

Communication

Standard

Oil Company New Jersey

"It isn't land at all , I thought.

It's a green ocean, a great emerald sea . And each little town, moving slowly down there, is a raft of mankind, drifting along into forever."

The writer is a pilot and the scene he is describing, from the open cockpit of a 1929 biplane, is Midwest America.

He and four of his friends decided to turn back the clock and JO barnstorming complete with vintage helmets, goggles, and aircraft - to seek the pastoral America of the twenties.

They hopped from hayfield to hayfield in Kansas, Nebraska, Illinois, Missouri, and Iowa, circling the small towns at eighty mi les per hour before throttling back into a quiet glide down to the land and people that seemed lifted directly from the pages of Mark Twain .

The people came. They came to ride in the three little wood and canvas planes - ten minutes for three dollars and often, at one thousand feet, they marveled at the sudden sight of their own farms. "Sure is pretty down there. You can't see the weeds In the beans like you

can on the ground."

The pik>ts met farmers, and farmers wives, and children who sat fearless in the front cockpit with the wind btow;ng smi les across their faces.

They met a blacksmith, with his shop in a white frame building beneath a chestnut tree, who welded a fitting on an exhaust system for fifty cents. They lived just as the barnstormers did before them, swimming in the rivers, sleeping around a campfire in the open fields, huddling bfoneath the wings of their planes when sudden thunderstorms struck.

They found an America that some people believe is gonebut it isn't gone at all . A lot of it is still there, bright and alive and reaL It is safe to assume that almost two million readers shared the nostalgia of these five fooUoose friends. That's the number exposed to 800,000 copies of The Lamp distributed each quarter by Standard Oil Company (New Jersey) to its shareholders, employees, and "friends of the company." The latter group includes almost 70,(X)() opinion makers in government,

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SOME PEOPLE SAY HE'S AN INSTITUTION. OTHERS SAY HE SHOULD BE PUT IN ONE. Sweet old Len O'Connor. He's been around now for 25 years.

Whining, mumbling, accusing.

Yet, millions upon millions of people have loved this chronic complainer over the years. And tuned him in every night.

They're the great silent majority who silently cheer his every word. Because he dares to speak up for them.

To say the things that should be said. Out loud. On television. For everyone to hear. They can hardly imagine a Chicago without Len O'Connor.

There are, however, those who can. The

folks who've been the subjects of Len's little chats over the past 25 years. The folks who've betrayed the public's trust, who've fleeced the public's pockets and lined their own, who've lied, cheated, and stolen.

They're not so happy with Len O'Connor. They think he talks too much.

What they don't realize is that they could easily stop Len O'Connor from talking about them.

Not by putting him away somewhere.

Just by playing it straight.

LEN O'CONNOR/NEWSfiVE/S&JORM • •

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MICHAEL REID

AMERICAN ARTNOW An 8 sesston senes at The An lnstttute of Chtcago dunng February and March. Thursday evemngG at six or Fnday morn•ngs at eleven begmmng February 3rd and 4th

15 00 for members 25 00 for non-members Send check and sell addressed stamped envelope to Dept of Museum Educalion The Art tnst•tute of Ch•cago MtChtgan at Adams Chtcago 60603

Better Health Care At Lower Cost

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CA DESIGN/PRODUCTION

spacing is more expensive. It can be done. Pictures can even be butted, if you want to spend the money for more double and triple burns and film combinations. In stripping, room to cut and tape means speed. These other manipulations, at $20 per hour or more, plus materials, adds up quickly to a sizeable amount of money that might be more effectively spent somewhere else.

Another advantage of more space is more flexibility to adjust. We try to be very precise on our initial layouts. When we call for a reduction it is always to an even percentage on the wheels, or, below fifty percent where the camera calibrations are farther apart, to a one-half of a percentage.

This seldom gives you an even measurement, but we figure there are seven different measurements within a sixteenth of an inch. As carefully as this may be done, we still find that minor adjustments should be made when the film comes back, and even a change of a sixty-fourth would show on a one-eighth spacing.

Printed tags simplify our instructions to the cameraman.

They have the percentage, line or halftone, black & white or color, and a space for special instructions. Spaces for signature number and page number allow us to rapidly orient the film to our layouts as we check it for both quality and size. If something is wrong, we determine why and go back for a reshoot. Slight variations are adjusted on the layouts.

We never go into paste-up until we are absolutely certain that every window will be precisely right for the film.

On black & white, we make no attempt to gang pieces of art.

It doesn't save that much and generally we'd prefer to have each shot individually for better results. Fortunately, we are working with an excellent cameraman who has years of experience with our particular needs and has developed techniques for shooting the problem pieces.

Conversely, we make every effort to shoot as much color as we can at the same reduction. As layout progresses, each color reduction percentage is listed. Working on succeeding spreads, we look for percentages that are already on the list and might work in an acceptable arrangement. Periodically checking the list, we take the percentages that are fairly close and reexamine their layouts to see if possibly they could be adjusted so we could shoot some or all the pieces at the same percentage. Also, if some of the percentages don't match with anything else, we give those pages or spreads a new look to see if a different layout might be possible. This may sound complicated, but it really isn't that tough. It's a matter of attitude, to think flexibly, remember that a pencil line can be erased, and realize that there are many ways to arrange a given number of elements.

Another means of holding costs down is to shoot as many pieces as possible in printing position. These may be on the same page or on an adjoining page on the press sheet. We have a fixed price for laying down one set of color negatives.

If we can have two, three or more elements in position on this set of negatives, it is no harder to do and doesn't cost one cent more.

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Frequently the use of mechanical screens will offer more accurate reproduction than could be achieved with a standard color separation.

Using color filters, line shots are made to create color masks. The percentage screens of each color are determined by comparison with the process color section of theCA Color Guide.

In this example the box has an orange made with 100 yellow and 20 red, and a blue made with 100 blue, 20 red and 20 yellow.

The crayons, from left to right : PL.irple-100 red and 100 blue; Brown-100 yellow, 60 red, and 20 blue; Orange-100 yellow and 60 red; Yellow-100 yellow and 10 red; Blue-100 blue and 20 red; Red-100 yellow and 100 red; Green-100 yellow and 100 blue; Magenta-100 red and 10 blue.

At right is a sample page from the Color Guide.

10%

20%

30%

50%

70% .

100%

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