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Right: Four Eksell designed trademarks1) For a Danishfrozenfoodfirm. 2) For a woolen mill. 3) For an organization that markets Scandinavian-designed products. 4) For a manufacturer of women's apparel.

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Below : A Mazetti chocolate box. Here, form truly follows function. Eksell has used symbols not only to indicate the contents but also to show placement of candy within the package.

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200 g netto

CA, January '60


17

INDUSTRIAL DESIGN Designing a cover for this month's CA was not a new experience for Ward or Saks. They each create twelve per year for their respective magazines. These covers are usually in the four process colors, occasionally including a special color. None are process separated. The designs are conceived and executed as artist separations in solid color, screen tints and halftones .

• •• ProblemJJ in Package Deeign- th• first of a •oriu Duigning new pUutic1 a.t Morua.nto

CA, January '60


TRIPLE TONES 10%

10%

30%

BLACK

BLACK

30%

10%

BLACK

50%

30%

BLACK

10

30

50

70

100

Black and white, and duotone photograph. Phil Fein, Photographer. 36

CA, J anuary '60


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Entries will be classified: a) Full color b) Two or three color c) Black and white Dear Chairman: This is a one-color printing job, black and ... DuPont's problem exactly. Break the barriers of habit, insert colored paper into the graphic designer's creative thinking.

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Solution: D/C (Design and Colored Paper) a periodical of variable format to demonstrate the creative possibilities of colored paper in graphics. Designer Edward DeMartin and Editor Richard D. Price, Jr. built number one around the theme ''Aesthetic functions colored papers can perform.'' The paper stocks in their order of appearance: Strathmore Black Rhododendron (die cut) and Lido Yellow Beau Brilliant; Green Bay Blue Manifold; Whitemarsh Kraft; Peninsular Violet Wolverine Cover; (die cut); Strathmore Frost Grey Rhododendron; orange-red offset; Pejepscot Rainbow Pattern Pine tree Cover; Frost Grey Rhododendron. The budget was modest; the production simple enough to have been easily handled by any competent commercial printer. CA. January '60


Exhibit

Medal Award

5) Art Director: Arnold Varga Artist/ Photographer: Arnold Varga Copywriter: Robert Cox Advertiser: Cox's Inc. Medal Award

6) Art Director: Charles Walz Artist/ Photographer: Lester Bookbinder Designer: Herbert Lubalin Copywriter: Richard Collignon Advertiser: Abbott Laboratories Medal Award

7) Art Director: Charles Walz Artist/ Photographer: Celestino Piatti Copywriter: Dean Carson Advertiser: Abbott Laboratories Mer i t Award

8) Art Director: Elmer E. Yocum Artist/ Photographer: Glenn Parent, Federman, Adams & Colopy Associates Agency: Ketchum, Macleod & Grove Advertiser: Southern Chemical Corporation Medal Award

9) Art Director: Ralph Eckerstrom & John Massey Artist/ Photographer: John Massey Copywriter: Theodore Roosevelt Agency: N. W. Ayer & Son, Inc. Advertiser: Container Corporation of America Mer i t Award

56

10) Art Director: Arnold Varga Artist/ Photographer: Arnold Varga Copywriter: Robert Cox Advertiser: Cox's Inc.

5

CA, January '60


Potent OPTILETs·

Columbia·Southem, a depencYble aupptter of soda uh to the atass Industry since 1899, tMnuf.ctum Its IOda ash w1th extreme tart to confofm with the chlr.c:tarlstlcs of other ,... mlhtt'illls for suptriof 1lassm.kina

COLUMBIA- SOUTHERN CHEMICAL CORPORATION A"'t.ldialyof ~ "'-teG6naComPM)' • OMo.c-yc.nt.,,PittaburJh:U,I"woltQ'Min.. OISfltiC'TOHICU e-. ~~c--.----Y..... k~...- ..... -~- .. - - - - - .

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Our country calls not for the life of ease, but for the life of strenuous endeavor. The twentieth century looms before us big with the fate of many nations. If we stand idly by, if we seek merely swollen, slothful ease, and ignoble peace, if we shrink from the hard contests where men must win at hazard of their lives and at the risk of all they hold dear, then the bolder and stronger peoples will pass us by and will win for themselves the domination of the world. Let us therefore boldly face the life of strife, resolute to do our duty well and manfully; resolute to uphold righteousness by deed and by word; resolute to be both honest and brave, to serve high ideals, yet to use practical methods.

Theodore Roo.evell: / rfna a IJ'ftell, "TIM St.renuoua l.J(e," tlliiwud ill C,...~ 1~

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COOL, MAN, COOL- THE BIG FASHION VALUES IN COX'S 3-STORE JULY CLEARANCE BEGI NING MONDAY, RIGHT A RED HOT FOURT DBY THE WAY, DON'T A SOUARE. DRIVE SAFELY, BECAUSE WE WANT TO SEE YOU ON MONDAY {10 'TIL 9)

i• Jill

n.. CONTA I NC. COaPOU.TI ON OP AMUICA

9

10 CA, January '60


rn, MATERIALS The 174 halftoned swatches on these four pages have been produced from the major brands of blacks, grays, whites and toning mediums used in retouching and airbrushing.

BLACKS, GRAYS & W[){]~lYrn:~ When a piece of art leaves the studio to be printed, this is usually the last time an artist sees it until it has been reproduced as lines or dots on a press sheet or the final printed piece. If the quality of the halftones are not acceptable, few artists are completely equipped to understand why. Small wonder when the following is considered: it is perfectly possible for a cameraman to take a 50% gray and have it reproduce as light as 20% or as dark as 80%. To do this there are many factors he can manipulate. Exposure time, flash time, the ratio of lens-stop to screendistance. He might use carbon arcs, incandescent light, or fluorescent light, and he can change their angles. He might use a glass screen, magenta screen, or gray screen, each type having many variations in the number of lines per inch. In the darkroom, he has his choice of brands and types of film and developer. He can vary his developing time and either agitate or still-develop the film. He can vary his water temperature. He can manually effect the halftone dot structure by etching with ferrocyanide or other etching mediums. When the platemaker or engraver takes over, another set of factors (plates, exposure, chemicals ) comes in to play. Then comes a multitude of choices in the ink and paper department. Finally, the pressman and his control over water and ink, which alone can make all the difference in the world.

What's the answer? There never will be a perfect answer. But knowing and controlling the halftone dot and the men who create and work with it is a big step. These charts are an attempt to provide a basic set of standard comparisons. By studying and evaluating them, it is hoped that artists and printers ~ill be able to evolve a set of standards applicable to their own conditions.

The manufacturers of the materials used and shown in the photo should be congratulated for their cooperation, comments and suggestions. We sincerely hope that this type of cooperation will continue in other areas of research.

61

These charts are being rerun on heavy vellum and heavy coated stock. They are available from CA at $5 per pair, $2 for each additional pair.

BLACKS (paints, inks, water colors)

CA GRAY SCALE (mechanical)

60%

70%

SO%

90%

100% GAMMA (cake) glossy black

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MILLER'S Brush ivory black

W&N Mandarin black

PRO black

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CA, January '60

SPEEDBALL 路sho路Card black

KODAK GRAY SCALE (photographic)


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