julaug1965

THE MAGAZINE OF THE COMMUNICATION ARTS

Richard Coyne, editor/art director Wendy Gross, editorial assistant Jay McKendry, typographer Bob Bickford, assoc. typographer

Volume 7, Number 4, 1965 On the board . . . . .

8

The time and the place

19

Club news ..

20

George Giusti

24

Chris Arvetis

36

Art director of the year

46

Forms in Japan . . .

48

Czech cinema posters

50

Photographs by Otto Storch

68

Exhibit .

72

Graphica '65, 1st exhibition

76

New Jersey, 4th exhibition

80

Kansas City, 12th exhibition

87

San Francisco Illustrators

90

Baltimore, 15th exhibition

92

Dallas-Fort Worth, 8th exhibition

94

Phoenix, 5th exhibition . . . . .

98

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

100

Materials, avai l9ble literature

102

Robert Blanchard, publisher Gale Oltrogge, circulati on Judy Graham, ci rcu la tion

Editorial offices: 809 San Antonio Road Palo Alto, California 94303 Telephone (415) 326-6040 Advertising offices: Post Office Box 10300 Palo Al:o, California 94303 Telephone (415) 327-5461

CA Magazine is published bi-monthly by Coyne & Blanchard, Inc., 809 San Antonio Road, Palo Alto, Ca lifornia 94303. Subscription rates : U.S. A. and possessions, one year - $12, two years - $22, three years - $30. Foreign, one year - $14, two years $26, three years - $36. Single issues: $2 each. ~' Coyne & Blanchard, Inc. , 1965. All rights reserved. Trademark registered. Second-class postage pa id at Palo Alto, Cal ifornia.

Change of Address: Notification should be sent to CA at least 30 days prior to effective date.

Send both new and old address. If possible, use imprint from CA mailing envelope for old address.

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

Cover design by George Giusti Back cover by Wendy Gross

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On the board

DESIGNERS could be well suited to a new and necessary role of generalist among the specialists. This could have a title or at least a function of "imaginator." It could also encompass the growing necessity of a bridge between technology and people.

Sometimes, it seems, in the increasing complexity of trying to sort out and match up available materials and technical feasibilities to a specific necessity of the people, the people are virtually ignored.

Perhaps the only way I can clarify the preceding statements is with an example.

Take transportation, a pretty universal concern. It's been an especially hot topic here in San Francisco, worth considerable space in every day's newspaper. Under the threat of losing state and federal aid, people are fighting proposed freeway construction, frustrating every effort of the engineers and planners. Organized movements even have been formed to get rid of existing freeways that destroyed the charm and character of the waterfront. Simultaneously, a donnybrook has been occurring in the Bay Area Rapid Transit District. Some counties pulled out. Others are going ahead amid charges, countercharges and innumerable hearings. The end product, when everything is resolved, will be a system of trains, subways and parking lots. Hardly what one would call a contemporary solution. It may move faster than similar systems designed about 80 years ago, but that's probably because the stops are farther apart.

It is not likely to solve the problem or justify itself economically. People have their own viewpoint, a self-centered but valid viewpoint that seems to escape most of the experts.

It isn't that important how fast the public transpm:tation system moves. The individual's transportation system starts at his door and ends at his destination. It's inconvenient, tiresome and time-consuming for him to change vehicles, walk, wait and adhere to somebody else's schedule.

He may get cold or wet in the process, too. He'd rather drive.

Driving is a more efficient and perhaps a more economical system for him. It's even worth the strain and frustration of traveling on high-speed freeways that aren't high-speed much of the time.

This philosophy could be applied to inter- as well as intra-megalopolis travel. Supersonic aircraft and trains that run on cushions of air at twice the speed of the Tokaido Express may be in the offing; but I would much rather hear a plan to get me to and from and on and off airplanes more efficiently. This segment of my own travel is not only tiresome, it is one-third of the total travel time to New York and over two-thirds of the travel time to Los Angeles.

Acknowledging the possible desirability of driving as the principal means of local transportation, more and faster freeways is not an easy or pleasant answer. They take a lot 8

to ordinary traffic. The vehicles could also be driven in regular city traffic during this development period.

Usage of these vehicles (ignition ) would be with a credit card: a need- the most available vehicle. Needs and flows would be constantly computed and regulated.

Daytime urban concentration of vehicles would require storage. The possibilities are quite unlimited and could be pretty crazy- towers, shelves, stacking-or possibly moving them through sewer-like tubes to lower-cost space areas.

Leases and modifications could permit dual use of space not utilized in this time period- stadiums, peak load highway lanes-or in abandoned subway tunnels or something.

Projection and exploration of possibilities should develop far more ideas and a greater sophistication than I've even scratched. It will also uncover a lot of problems.

Change always carries a price tag; you give something for everything you get.

Railroads would certainly be affected, but they don't seem to be too wild about the commuter business anyway.

Conventional transit systems would be hurt in some cities.

Automobile manufacturing would be terribly sensitive to this. Production of the vehicles would buy time to study the market and possibly develop new product areas. Actually, the market may not be affected that drastically.

It's the used car market that would have the bottom fall out as the older second car, the "bomb," would disappear from the highways and the commuter parking lot. A subsidy to protect against losses and perhaps a plan of enforced retirement of older cars would be necessary.

Highway construction would hopefully decrease around the cities, but this employment could be diverted to intercity and transcontinental travel where superhighways belong.

I've seen fragments of this idea in several places but the over-all concept is new to me. I can't recall any official recommendation or debunking of such a plan.

All of my thoughts while writing this-and possibly a great many more- probably exist in somebody's files. That isn't important. I'm far less concerned with transportation than with the pattern of thinking. We must develop a framework and a place for the generalist. And develop the generalists themselves- from whatever the source-who are informed, realistic, able to confront and assimilate new and possibly strange information and intelligently query specialists and computers. Most of all these generalists must have the perception and imagination to suggest new possibilities, direction and stimulation to specialized technology.

The awesome rate of technological development and the problems of population growth, urban growth and change that we face in this decade and the following ones will require maximum amount of imagination that we can interject into the planning.

I happen to believe that many of us in the design and communication field are excellent raw material for "plan-

of space. They seldom enhance the physical appearance of a city and they're destructive to the financial structure as that space is taken off the tax rolls. This will probably be overcome by constructing buildings over the freeways, especially parking garages.

Automated highways have been suggested as a means of moving more cars over the same space but they still have problems to be solved, such as maintenance of the system equipment on private cars and parking space in the city.

Smaller cars help but they don't sell that well.

People can be forced to accept the public transportation, but the price is a fantastic and perpetual traffic jam.

What if commuting cars weren't owned?

This question made me think of the telephone company.

No one owns a telephone. If they did, phones undoubtedly would be quite different per varying public taste. Telephone service, as a result of this laudable attitude of preserving standards and function, is extremely efficient and economical. You pay only a nominal rate for a great amount of basic service and availability. Your usage above that base is recorded and billed accordingly on a system of message or communication units. As a public utility, the consumer is protected to a greater degree than normal market competition might afford.

We could have a system of transportation units.

The vehicles would not intend to be similar to or replace the family car. Their design would be totally functional. They would be small, durable, probably standardized as two-seaters, and capable of being driven on ordinary streets and roads to the user's door. Most of their travel would be on automated right-of-ways. Human error on these would be eliminated by a simple, pre-programmed travel plan for the individual vehicle and a master computer control of the right-of-way that would pick up the vehicles on accesses, blend them into the flow and disperse them per the vehicle's program.

Additional safety provisions would cover such things as requiring a rider signal response before turning the car over to manual. Lacking that response, the vehicle would be diverted and stopped in a safety zone.

The right-of-ways could also offer supplementary services such as telephone communication, news, music, or information timed to and requested from the individual vehicle.

Airports, train stations, taxi stations, etc., would be modified to offer maximum "drive in" efficiency. Trains and planes could offer a system of palletized passenger service utilizing these, but it hardly seems practical or necessary.

Original right-of-way space could be established, or space could be acquired from or adapted to existing highways or railroad right-of-ways.

For expediency, some right-of-ways could also be manual while sophisticated automatic systems were being developed and built in the least disruptive manner and timing

ning generalists." Our experience and our self-education, if not our formal education, serve as the best possible background.

However and unfortunately, our lack of status in the "sphere of power" needs a great deal of correction first. We should shift our vision above the drawing board more often.

· B ILL TARA has been traveling in the in the BalkansCzechoslovakia, Jugoslavia, Bulgaria and Romania-visiting artists, designers and film makers, observing and gathering information and samples for CA. Bill wrote from Prague: "Note the stamps on the envelope. I supposed, prior to my arrival here in the Balkans, that the Czechoslovaks, who share borders and ideologies with the Russians, might tend to favor their mighty neighbors in all matters. Not so! The stamps give equal billing to Glen and Gagarin. The same goes for Beljajev, Leonov, Grissom and Young, no favoritism. Romanians were equally objective; in a graphic display of space accomplishments, everybody got a fair shake.

"It's no pleasure to see photos in local newspapers of dogs snapping at Negroes back home or to view the graphics from Viet Nam, but my hosts are circumspect; they avoid the mention of subjects that embarrass.

"Gregory Peck, on a film poster here, became Gregory Peckem but no mischief was intended; Czechoslovaks conjugate things something fierce. Anna Magnani got an ova tacked onto the end of her name for being female. Fernande! turned into Fernandelem; but Henry Fonda and Chubby Checker, running as names without benefit of such modifiers as 'starring,' came out the same.

"You will see some other examples when you receive the fine collection of film posters I am sending. I hope they arrive safely."

They did, see page 50-RSC 9

it's what you do with the type that counts (more than which type) Just as it takes more than pad and pencil to make a good artist, it takes more than metal type to make good typography! You need the talent of a professional typographer who has taste, judgment and feeling . ..- He'll add his own skill to your creative efforts and come up with sparkling typography! Perfect fit and spacing ... proper usage and punctuation ... correct spelling and capitalization. In short, a professionallooking job that only a real "pro" can prepare. Of course, it helps when a typographer has a variety of soundly designed type faces and the finest metal type to work with.

Like ATF type. It's the wherewithal he needs to bring out the best in him - and in your job. ..- So when you find the right typographer, treat him like the gem he is. Give him freedom to create. And be kind to him.

You need him (and so do we) just as he needs you! ..- American Type Founders, Type Division, 200 Elmora Avenue, Elizabeth, N. J. 07207.

ATF furnishes specimen materials to art directors, designers and artists directly from The Foundry. For quick service, ATF supplies typographers through a network of Authorized Dealers carrying substantial stocks of genuine ATF foundry type.

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The photographic knowledge of most non-pho-

1tographers is largely empirical. Thus, good ways experienced in the past tend to become good for always-to the exclusion of everything else. This is nice and safe. But it isn't very progressive-and not always very wise.

A case in point is the negative-positive way to color. It is comparatively new, but thoroughly reliable. Those who use it continue to marvel at its versatility. Those who don't, have their reasons-unfortunately not always logical.

Try EKTACOLOR prints on the next new exciting campaign. Particularly if the advantages of reflection copy loom large. Read about it first in "On Color and Its Reproduction" if you wish.

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Is our illustration a three-color job? A fourcolor job?

Actually, we've used only two impressionsred and blue. On our Mistie Blue stock, Suede finish.

It's obvious that we've spared no effort in producing this example. But it proves that Atlantic Pastel Offset does give you an extra color dimension. At no extra cost.

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Atlantic Pastel Offset has a uniform, well-closed surface that prints beautifully. It's available in six like-sided shades.

Ask your Eastern Franchised Merchant for samples of Atlantic Pastel Offset in Deep Etch and Suede finishes. Or write us direct-on your business letterhead, please.

How it was done: To achieve the multi-color effect on the reverse side of this page with only two impressions, a dye transfer print was retouched to lighten those areas where the color of the paper was to show through. Two color separations were made from the artwork. Red and blue inks were used to print by offset on Eastern's Atlantic Pastel Offset, Mistie Blue, Basis 70, Suede finish.

Other colors: Dustie Pink, French Cream, Daffodil Yellow, Smokie Gray, Ocean Green. Deep Etch or Suede finish.

PHOTO ON REVERSE SIOE BY KAY HARRIS

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Here's what you do 1. Get a free Atlantic Pastel Offset sketch pad by mailing the coupon below.

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the color characteristics of Atlantic Pastel Offset. If you've already done a job on this unique stock, send it along. It's eligible, printed or not.

3. Mail it in by September 30, 1965. Please -no extensions I All entries become the property of Eastern Fine Paper and Pulp Division, Standard Packaging Corporation.

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The Time and the Place Carbondale The International Center for the Typographic Arts in cooperation with Southern Illinois University will sponsor · an international communications conference titled "Vision 65."

The conference will take place on October 21 , 22 and 23 on the campus of Southern Illinois University at Carbondale.

Morning, afternoon and evening sessions will feature panel presentations in which meanings and implications of new ideas and techniques relative to all areas of communications will be explored. Panels will be made up of leading figures in communications from many different nations. Dr. Buckminster Fuller will conduct a concluding synopsis and evaluation of the conference. Program development is under the direction of Will Burtin. The fees of $85 for participants from Canada and the U.S. and $65 for participants from other countries should be paid in full by September 30.

Hotel accommodations will be secured on request. For reservation form, write to "Vision 65," 305 East 46th Street, New York, New York 1001 7.

New York Pratt Institute has announced that the recently organized Creative Packaging Center will begin its program for graduate and undergraduate students in September. Both the department of Advertising Design and Visual Communications and the department of Industrial Design will offer majors in packaging. The School of Continuing Professional Studies will offer an evening program leading to a certificate of achievement. For further information write to Mahlon Cline, Director of Creative Packaging Center, Pratt Institute, Brooklyn, New York 11205.

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San Francisco "Eyes West 1965," a conference sponsored by the Art Directors and Artists Club of San Francisco and the University of California Extension, will explore "Color." Conference dates are October 8- 10 at Squaw Valley, California.

Tuition is $45 for individuals, $65 for couples and $25 for students. Accommodations at Olympic Village, Squaw Valley Inn and Squaw Valley Lodge are available at a range of prices. For information on registration and accommodations write to either: ADASF, 576 Sacramento Street, San Francisco 11, California; or, University of California Extension, Berkeley, California 94720.

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Vienna "Design and the Community" will be the theme of the 4th General Assembly and Congress of the International Council of Societies of Industrial Design. The event will be held in Vienna at the Wirtschaftsforderungs Institut der Kammer der Gewerblichen W ortschaft Wien from September 20 to 24. For information write the American Society of Industrial Designers National Office, 15 East 48th Street, New York, New York 10017.

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19

The Time and the Place (cont.)

Waterloo Design and Planning 1965, a national ~eminar of international scope, will take place at the University of Waterloo in Ontario, Canada, on September 13, 14 and 15. Under the sponsorship of the Doon School of Fine Arts and the Department of Design of the University in association with the Department of University Extension, the seminar is supported by the National Design Council. Special interest and joint sessions will deal with visual design and communications, product and industrial design, and the management of the design function. U.S. and European designers will participate. A brochure on the seminar may be obtained from Design and Planning 1965, University of Waterloo, Waterloo, Ontario, Canada .

• Club News NSAD At its annual election meeting the National Society of Art Directors elected the following slate of officers: Norm Ulrich, Chicago, president; Tom Young, Dallas-Fort Worth, first vice president; Phillip Goyert, Cincinnati, second vice president; Geoffrey Relf, San Diego, third vice president; Seth Fagerstrom, Rochester, fourth vice president; Don McCarten, Washington, D. C., fifth vice president; Bill Neale, Dallas-Fort Worth, and Bob Blattner, New York, trustees; Ed Wade, New York, secretary-treasurer.

At the same meeting the NSAD named Allen Hurlburt "Art Director of the Year." Vice president and editorial art director of LOOK Magazine, Hurlburt was praised for the continuing excellence of LOOK's visual presentation and for his outstanding contribution over the years to progress in the graphic arts.

Chicago Officers of the Midwest Chapter of the Package Designers' Council for 1965 are: H. David Bishop, Blau/ Bishop and Associates, chairman; Robert Lee Dickens, Dickens Inc., vice chairman; and Herbert Pinzke, Herbert Pinzke Design, secretary-treasurer.

Members of the new Executive Board of the Artists Guild of Chicago are: Ed Fitzgerald, who was re-elected president; Bill Neebe, executive vice president; Jack Strausberg, first vice president; George Nelson, second vice president; Al Darre, treasurer; Paul McNear, secretary; and Hank Ziolkowski, corresponding secretary.

Dallas The Advertising Artists Association of Dallas has elected new officers for the coming year. They are: Phil Martin, president; Jerald Page, first vice president; Ed Jordan, second vice president; Bill McCollum, treasurer; and Harland Wright, secretary.

20

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Club News (cont.)

Dallas-Fort Worth Bruce Griffin has been elected president of the Dallas-Fort Worth Art Directors Club. Serving with him will be: Bill Taylor, first vice president; Jack Unruh, second vice president; Fred McDonald, secretary; Larry Baugh, treasurer; Dick Sloan, program chairman; Joe Ing, membership chairman. The club's immediate past president, Tom Young, was named Art Director of the Year. Mr. Young is vice president of Keitz & Herndon, Inc.

n

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Denver Newly elected president of the Art Directors Club of Denver is Andy Shomsky, art director of May-D&F. Other officers are John Sorbie, Colorado State University Art Department, first vice president; Bob Coonts, Hofiund-Schmidt Artists and Typographers, second vice president; Zane Dover, National Packaging Products, treasurer; Dick Smith, C. A. Norgren Co., secretary.

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New York The Society of Illustrators will show the work of its own members throughout the month of October in the Artist and Book Show. Along with a screened exhibition of illustrations for books, a series of lectures will be held and a special review of the show published and sent to members, art directors, editors and publishers. Call for entries will be published in the next Society of Illustrators Bulletin.

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The Advertising Club of New York has elected the followberg president for the 1965-66 term. Mr. Ettenberg is a can Can Company, president; J . L. Blackledge, Electrical League of New York, and William T. Leslie, TWA, Inc., vice presidents; Al N. Seares, Affiliates in Management Services, Inc., treasurer. Robert A. Cooper, the club's executive director, was named secretary of the corporation.

Harry G. Wielage continues as vice president.

San Francisco

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The Art Directors and Artists Club of San Francisco in conjunction with the University of California Extension will sponsor "Eyes West III: Color," a conference on design, at Squaw Valley, October 8, 9 and 10. The program will offer lectures, visual material, discussions and films.

Adrian Taylor of Johnson & Lewis is chairman. For information write to the ADASF, 576 Sacramento Street, San Francisco 11, California.

I

L-----------------------===--J 169 Waverly Street, Cambridge, Massachusetts 02139

The Type Directors Club recently elected Eugene M . Ettenberg president for the 1965- 66 term. Mr. Ettenberg is a vice president of the Marbridge Press. Other officers elected were: Edgar J. Malecki, Howard 0. Bullard, Inc., first vice president; Mo Lebowitz, Needham, Harper & Steers, Inc., second vice president; Joseph A. Pastore, D'Arcy Advertising Co., secretary; Bernard J. Kress, Philmac Typographers, treasurer; and Saadyah Maximon, Graphic Arts Typographers, governor at large.

St. Louis Marion J . Bardot has taken office as president of the St. Louis Art Directors Club. Donald R. Kidwell and Joel J .

Kurtz are first and second vice presidents, and Louetta Buechler is secretary-treasurer.

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Edited by MORRIS PHILIPSON

24

THE MAN WHO SIGNS HIS W

George Giusti is a designer with international perspective.

He looks at American design through European eyes; and he views European design from an American outlook.

His global view was not acquired in the reading rooms of the New York Public Library. He was, so to speak, born to the international life. His birthplace was Milan. His father was Swiss, his mother Italian. His professional study was in Italy, his early career in Switzerland. Now, after more than twenty-five years in the United States, Giusti is still in close touch with European design, making periodic trips abroad as design consultant to Geigy, S. A., the international chemical and pharmaceutical company based in Basel, Switzerland.

He seems equally at ease with an intricate interpretation of the inside of a Chrysler engine, an abstract engineering concept for Fortune, or travel poster rendition of a rural mailbox for The Saturday Evening Post. His work ranges from representational drawing to non-objective symbolism. Gilbert Tompkins, Giusti's representative for nearly twenty-five years until Gil's retirement in 1962, considers him "the finest technician in the country."

Asger Jerrild, art director of The Post, describes the quality of his work as "intellectual--but with warmth and feeling."

Frank Zachary, who when art director of Holiday initiated the long series of Giusti covers, speaks of Giusti's

"understanding." Zachary, now agency president of Pritchard Wood, Inc., sums up their long association in this way: "If all the relationships between art director and artist were as tranquil as those with Giusti, there would be no need for tranquilizers. Giusti listens, almost immediately comprehends your problem, then goes about attaining the solution. Toward the latter part of our relationship we found ourselves working with such complete understanding that it wasn't even necessary for him to come to the office.

I'd call him on the telephone and explain the problem.

When he came in, it would be with the final art.

"Giusti's covers for Holiday deservedly earned an international reputation; but in my opinion his cartographs were equally outstanding, notably the ones of New York, Canada, Washington, D. C., and the Pacific South Sea Islands."

Asked whether there were any uncompleted missions, Zachary recalled just one occasion when Giusti turned back an assignment- a decorative map of the state of Ohio. "He just couldn't see Ohio," is Zachary's wry explanation.

For almost a year now, Giusti's work has been published in The Saturday Evening Post, on a wide variety of assignments. Jerrild, the Post's art director, explains that at first he had hesitated to use him because he felt Giusti was so thoroughly identified with Holiday, also a Curtis publication.

by Edward 5 . Morse 25

GEORGE GIUSTI

v

This reluctance was overcome by Jerrild last year when he was looking for an artist to illustrate a short story by John O'Hara entitled "Aunt Fran." At Jerrild's suggestion, Giusti concentrated on a symbolic, bookjacket type treatment. The result was a poster-like representation of a rural mailbox for the story revolving around the mailing of a letter.

Other Post assignments followed. The second, "An Infinity of Mirrors," actually preceded the first in publication. Giusti's latest, still unscheduled at this writing, is a stark, black and white illustration for "Who is Nicholas Bourbaki?"-an article about a renowned French mathematician who turned out to be a hoax. Instead of an individual, Bourbaki actually was a whole syndicate of scientists who pooled their discoveries for publication under this pseudonym.

"In upgrading the Post's fiction," Jerrild comments, "it was necessary to upgrade the illustration to an equal degree. We endeavor to match the artist to the author so that there is complete compatibility betwef.n the text and the illustration.

"In practice, we select the illustrator who in our judgment is best suited to the story or article, then discuss the project with him. After reading the manuscript, he will then call us to suggest his concept. If the artist finds that he is unable to come up with a satisfactory concept, he turns the assignment back to us with the knowledge that it is our procedure to offer him another assignment to replace that one. We are better satisfied with an honest 'no' than with a half-hearted solution that he knows, and we know, is not right.

26

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"With Giusti, this procedure has not been put to use.

In all of his assignments he has always come up with a concept. I never tell him how I think it should be done.

I'm careful not to put any limits on his thinking and I don't give him any musts. All I ask is that he develop his own concept."

Jerrild identifies, as a distinguishing trait, Giusti's insistence on arriving at the concept before touching a pencil.

Only when he feels that he has worked out a complete solution does he commit his ideas to paper. Faced with a tight deadline on an assignment, Jerrild is convinced that Giusti spends ten or more days of the allotted two weeks in thinking, then may do the finished drawing in the final twentyfour hours.

Giusti was born in 1908, grew up in Milan and received his professional training at Milan's Reale Accademia di Belle Arti di Brera. The men whose work influenced him the most, Giusti recalls, were Mies van der Rohe, Mondrian and Klee. After graduation, he became an art director in Lugano, Switzerland, then moved to Zurich where he had his own design studio for seven years.

"In Zurich, those days," he says, "there were as many designers as there were accounts. " There he met and married his wife, Margot, who relinquished a promising career as a fashion designer to further her husband's design career. The Giustis have one child, a son.

"I hoped the boy would grow up to be a banker," Giusti remarked. But Robert Giusti, now twenty-seven, re-

Aunt Fran

M

ary Duncan heard herhusbl.nd1tompin1 hisfcctonthcfront~h,heardbim

k.ickin1hi1lhoa1pinstthcporchrail,

and then there was the complaining squeal of the frontdoorbeinapushedinward. ShcdKtnotlook. up from her letter writina,. .. " the pmc overr·

U..Wd. "No,thttc'1abouttcnminutesld\intbelast quarter, but I bepn meezina, so I came home, G. H.S. d ahead, tiahteen 10 ai.L" He took off'

his1renchC01.tandhun1i1on1heclothcstreein thchall,thencamcin thefront room. "Look. I j ult wa nted to show you. Wri nJin1 wet.'' He held outaltnittcdBaLll.Li.vahclmet.

"Wcll,don'twringitouthcre,"shcsaid. "ljus1w11n1edtoshowyou,"hcsatd.

"And you ought 10 act those shoes off," sht saKI. "My fttt are dry.~ shon hckt up. A very aoodbuy,althou&h ldidn'tthinkso1tthctimc. l paidfif\eendollarsforthem inl917. Th.twas

when we wore shoes with letthcrputtce:s. lbcn wcall hadto,etboou.,beforewcwereshippcd overse1s. Had these now close 10 ciJh1 years.

Thiny-five, the boots were. They listed me most of the time in France, then afier the armistke I Sol a new pair to come home in. Siuin1 up in the auic. lfl knew somebody that rode honcblck l'daivtthemaway."

"Give them to Jimmy Malloy," ahe laid. "'Hcl\asaptir,andanywayl don"tthinkmy

When a boy finally gro~ up and he puts aside the rose·colored glasses that have protected him, things are likely to look pretty thorny for a while.

By ALLAN SEAGER H eli~:::=~aoto1Choolnow,''hesa;d.Maybelam.Iwould She said, "You know what a &ood 1thool C05ls."

And he said, "You can't ju!I sit around here. You might as well a:et a job. The alimony, well, you'll a:et the alimony the court awards."

I thou&:ht they would like to see. me walkina:. They fora:et I can walk now. They always think of me stashed away in the chair or in bed IO they talk without thinkina: I mia:ht hear and that is how I found out the word, "alimony." They have coffee on the porch after dinner. I am not allowed todrinkcoffeeyet!IOtheyhadforaottenmeand I hadreachedtheliving room. I waited .

"You'd better leave. Toni&ht," she said. ''Yes. I 'II be Slayin& in town,'' be said. 'loo bad youcan'tmoveinwithher," she said. Bitterly, I Cl\ink. It was a new tone.

I wanted to sit down but I didn't dare. I can't tiptoe yet, IO I just walked into my room and sat down in the chair without thinkina:. Doctor Holz.man says I am not to use the chair anymore, and my father said he wasaoina:totakeittotheholpitaland leaveitfor50meoneelsewhocould uie it. I sat down in it anyway. I knew they were aoing to get a divorce..

27

GEORGE GIUSTI

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ceived a degree from the Cranbrook Academy of Design and is currently an art director with Random House.

In 1938, Giusti brought his family to the United States for what he expected to be a short stay. It has, as it turned out, lasted well over twenty-five years. He had no assured work. Herbert Matter, a fellow Swiss, put him in touch with a project for the U.S. Census Bureau- to visualize and dramatize the hard, cold statistics of the Census for an exhibit at the Golden Gate Fair in San Francisco.

Returning from Washington, Giusti then joined Matter in designing the interior of the Swiss Pavilion for the 1939 New York World's Fair. A short time later, he was introduced to Gil Tompkins and was launched on a career of advertising and editorial design and illustration.

Seen in Giusti's broad perspective, the American designer, in contrast to the European, works with greater courage, expressing his imagination more freely. European designers, and especially Swiss, he considers are masterful with typography, layout and printing processes. He finds them modern in their treatment, but feels that they tend to be somewhat stiff and neat, shying away from what might be considered experimental.

"Over here," Giusti says, "there is no feeling of 'shyness' on the part of modern designers. In this climate there is room for experimentation, for terrific mistakes and for unsurpassed achievements.''

Giusti's work was the subject of a one-man show held recently at Gallery 303 in New York, under the aegis of an old friend, Dr. Robert Leslie. The exhibition provided a definitive statement on Giusti the designer. But what it could not reflect, as no show-nor these pages-can hope to reflect, are the many other Giustis- the sensitive individual, the faculty member of the Famous Artists School, the sculptor in wire, the restorer of an ancient church in Italy, the designer of a modern house to be built for a friend on a Massachusetts farm, and the classical guitarist. His love for this instrument prompted Giusti to do a series of covers and spreads for The Guitar Review, of which Vladimir Bobri is the art director, resulting in what Frank Zachary characterizes as "the best designed small magazine in America."

Giusti is not content to rest on his laurels. As soon as an assignment is completed, he finds it is no longer of interest to him. Asked his opinion as to what phase of his work represented his best achievement, Giusti replied: "The last job is the one I like the best."

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0

CAonC.A. The second C. A. designates Chris Arvetis-artist, designer, vice president of Rand McNally & Company.

Designer type v.p.'s aren't nearly as rare as they used to be, except perhaps in such well-established, well-known firms as Rand McNally. But this is only one of the unusual aspects of Chris' successful career, one that he didn't even choose for himself.

Chris Arvetis, boy piano player, at thirteen was already set firmly in the direction of a career in music. That was before the summer afternoon when he took a short cut to his Chicago home. Running late, Chris decided on impulse to make up a little time by 'hitching' a slow freight opportunely traveling along his route. It turned out to be a fast freight that was gathering speed rather than slowing at the anticipated point of disembarkation. Cost of the ride: his left arm, his musical career and a lot of readjustment. (If you don't think he came all the way back, you should have seen him handle a four-speeds-forward sports car through the mountains of northern Greece. I used two hands just to hold on. But more about the Greek side of Arvetis later.)

Says Chris today, "If it had to happen, I'm glad it happened in Illinois." This reference is to the excellent Illinois State Rehabilitation Program for the handicapped.

When Arvetis first investigated its possibilities for his own situation, he had only a vague idea of what his future should be.

"In considering professions where being short one hand would work no special hardship, I had pretty much decided on law," is the way he put it; "but it was no fixation."

The results of the Program's exhaustive testing revealed no special Arvetis' aptitude in this direction. He was, to his surprise, encouraged to accept a scholarship in art.

Somewhat apprehensively, he accepted and was duly enrolled at the University of Illinois in Champaign-Urbana.

The scholarship took care of all expenses-living, tuition, books, supplies. The only requirement was that he maintain high marks. He vividly recalls the nervous strain he was under, but he got the marks and a Bachelor of Fine Arts degree. Afterward, he went on to the Art Center in Los Angeles for two years of graduate study under Alvin Lustig. This too was covered by a state scholarship.

Left: Arvetis at the Aspen Design Conference;

Returning to Chicago in the summer of 1949, Arvetis began the long translation of training into career. Relatively short stints at Consolidated Book Publishers (promotion design ) and Stensgaard Display Company (display design ) preceded what he considers a significant 13-month association with Albert Kner at Container Corporation's Design Laboratory.

A growing desire to become more involved with typographic design- plus the feeling that publishing offered a more rewarding avenue of development- led Chris to Rand McNally in 1952.

In terms of big moves on the organizational chart, Arvetis became art director of Rand McNally in 1954 and vice president in 1964. In between these official advancements was a solid decade of interaction in which the company and the man left visible marks on each other.

"I'm sure most of the marks are on me," Chris responded to this assessment. "No designer, however brashly disposed, is likely to arbitrarily reshape the output of a company with the background of achievement enjoyed by Rand McNally. In the first place, there was no need for arbitrary actions. What we have here is a large and continuing design opportunity. Such an opportunity should be basic to any substantial publishing situation, but conditions don't always permit it."

The background of achievement Arvetis speaks of is easy enough to verify. The company was founded in 1858, a partnership of Andrew McNally and William H. Rand, described by its first ad as "railroad and commercial printers." While initial production emphasis was on railroad tickets, the business soon expanded to include timetables, travel literature, annual reports (for railroads) and books. Mapmaking didn't begin until 1872, the year following the great Chicago fire. That renowned conflagration, by the way, burned the thriving partnership's headquarters to the ground. But three days later it was business as usual in rented quarters on West Randolph Street.

Rand McNally proceeded to grow up with the nation.

Trade books, periodicals, textbooks and maps poured out

by Rhodes Patterson 37

CHRIS ARVETIS

INDIA AND SOUTHEAST ASIA Ethel E. Ewing

One of eight volumes of book, "Our Widening World" Brochure for Aero Performance, Inc., Rand McNally affiliate 38

2

in great and growing profusion from continually growing facilities. Among other traditions established in these early decades was one for progressivism. In 1883, they were hailed as the first Chicago printer to install electric lights in its pressroom.

Today, the romantic aura attending the ancient art of mapmaking still hovers around its contemporary practitioners. Perhaps this accounts for the general tendency to think of Rand McN ally & Company as primarily mapmakers, virtually ignoring their pre-eminence and much greater sales volume in other areas of publishing and printing. While some of its early periodicals (notably Prairie Farmer ) have been discontinued along the way, Bankers Directory and Bankers Monthly have been published continuously since 1876 and 1884 respectively. Rand McNally textbooks span virtually the entire educational spectrum, from elementary grades through college. Trade books cover a similarly broad range of non-fiction for children and adults, including some of the most opulent volumes available.

As though designing and printing its own highly diversified product line were not enough, the company provides a full range of fine printing services to customers in many fields . The scope of these activities has long since expanded the company's physical disposition far beyond its Chicago base- five plants and four major offices in the United States as well as operations in Mexico and West Germany.

All of this should convey something of the dimensions of Chris Arvetis' design responsibilities. Schematically, they cover all eight of the company's operating divisions. Often they may be more of the nature of consultation and advice rather than the production or purchasing of art. And they can be as unusual as visiting book fairs and companies in Europe in search of stimulation and new approaches.

You might well assume that his department of art and design would be whipsawed by the competitive exigencies of sales on the one hand and the hard lines of divisional procedures on the other. The fact that this is not the case is a tribute to the department's own well-preserved integrity.

Rand McNally's present awareness of design in all of its product areas permits Arvetis to move freely across divisional lines to communicate with responsible executives on equal terms. Anyone familiar with corporate or company situations where design lacks the requisite status to make its point in high places can appreciate this.

"It doesn't mean that the design attitude always prevails," Chris hastens to point out, "but we get a hearing for our recommendations. I don't think anyone here doubts that design can make make real contributions."

As an example, Arvetis cited a revision his department did on a standard English guide, long issued in the traditional straightforward form. Along with the usual contemporizing through typographic restyling, etc., the rather large single volume was split into two volumes of less formidable

Direct mail promotion to history teachers for book "The Adventure of the American People." Upper mailer has English translation of Columbus' f irst report on the new world and enclosed a reproduction of original Castilian printing of letter written aboard the "Nina."

Mailer below enclosed reproductions of tickets for the impeachment of President Johnson

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CHRIS ARVETIS

® RANALLY WORLD 40

JANUARY 196S

bulk. The efficacy of this somewhat radical design surgery was proved by a considerable improvement in sales.

The 12-man department makes its contributions in a variety of ways. These range from something as simple as the design of a brass stamp for an encyclopedia cover to a comprehensive and lengthy collaboration with an outside organization- Life, for example, on the design and production of an elaborate atlas. Above the product considerations, they also create promotional materials and concepts and presentations for sales purposes.

Despite traditional and technical constraints, it is in the cartographic area that Arvetis feels his department has offered some of its most productive benefits for the company.

"I have great respect for cartography and cartographers," Chris asserts, "and I moved very cautiously in this area until I was sure of my ground. Eventually I was certain that graphic and typographic design modifications could improve the effectiveness of maps without in any way diminishing cartographic fidelity. The problem then became one of proving it without upsetting too many people in the process."

Asked to elaborate on some of the design modifications he referred to, Arvetis said that his department essentially concentrates on the look of maps, type style and size, line weight, color, screen percentages, border treatments- always in close cooperation with the cartographers. One specific development was the combination of hypsometric tintslong standard in the industry- with shaded relief. This combination improved map effectiveness so much that it, too, became an industry standard.

Arvetis handles his dual role of designer-executive with the ease and confidence one associates with a situation where man and job are well matched.

"I have no particular philosophy about design or designers," he said, "nor could I subscribe to a universal designer point of view. For myself, I would break it down very simply: I am addicted to order. To translate this addiction into something of value for this company, I have to listen to the ideas of many people, some quite foreign to my own. I try to understand, evaluate and then interpret them graphically. It's an interesting job."

That's a pretty good note to end on, but I promised to expand a bit on the Greek side of Arvetis. Like most Americans whose parents were born in Greece, he speaks Greek fluently. And his love of life, enthusiasm for discourse and penchant for unreserved involvement suggest the character of his forefathers. If a personal note may be admitted to the evidence: I had long been impressed by Chris on and around the Chicago scene; but my association with him for a month in Greece brought an unsuspected latent image into focus. I would characterize the Greek side of Arvetis as something akin to a younger, smoother Zorba.

This is the kind of spirit that makes the difference-in men or designers.

RAND M ? NALLY

BOOK OF

NATIONS

C.u\ (' n• c._·vcr.\ e.;0011t1·~ 11.1 th (~ world

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ABOUT THE LANGUAGE

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Hail Fall

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far fulfillment of Spring's promise of bountiful dividends from tree and stalk and vine

far clean skies crisp with the fuel far vigar, soft with the affmg/,qw of Summer gone

~

far green coolness turned hot with chromaJ.u extrarogancies too bright to belme

SymbolUally, this whole wonderful season is presented to you by the Veritone Company where fulfillment of

~ VERITONE

the promise of fine printing, at sensible prices, is yours far the assigning in all seasons.

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Poster for Rand McNa lly subsidiary, The Ver itone Company Rand McNally letterhead Brochure for 75" geophysical globe Personal Christmas card Engli sh textbook

CORNELIA 7- 6868 {CHICAGO) ORCHA~O

3 · 9100 ( SKOKIE)

43

CHRIS ARVETIS

Each year, Arvetis designs the Rand McNally Christmas greeting around a rare antique map chosen for both interest and visual appearance.

These keepsake maps are reproduced with great care and sensitivity, sometimes requiring six or seven printing colors to duplicate the hand coloring of the originals. On this page is Chris' cover and line plate for a seventeenth century English road map reproduced from John Olgilby's atlas, Brittania . On the facing page are two other maps from this series. Captayn John Smith's map of Virginia was reproduced through the courtesy of Princeton University. The armillary sphere is from an engraving in the cosmographical atlas of Andreas Cellar ius, Amsterdam, 1660.

We proceed then, as m all Direll: Roads, from the Standard in (ornhil, .(O:JX.PO~

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44

45

ALLEN HURLBURT ART DIRECTOR OF THE YEAR A "Golden T-Square," symbolic of the National Society of Art Director's highest honor, will be awarded to Allen F. Hurlburt, Vice President of Cowles Magazine and Broadcasting, Inc., and Art Director of Look Magazine.

His outstanding work for Look has drawn international acclaim, including six gold medals for editorial design in the New York exhibitions. Prior to entering the editorial field, he also received two gold medals for advertising design. Hurlburt has been a consistent contributor to advancement of the graphic arts and the profession as a write r, speaker, officer in the Art Directors Club of New York and the American Institute of Graphic Arts, and program chairman of the Visual Communications Confe rence in 1963. He will also serve as program chairman for the 1966 International Design Conference in Aspen. Allen was the subject of a feature article (CA, Jan '63) and served on the CA-64 jury.

46

Forms in Japan The East-West Center Press, Honolulu, has recently published an English translation of Forms in Japan. If this book contained only the collection of photographs by Yukio Futagawa of characteristically Japanese man-made and natural forms, it would be a remarkable statement of the sensitivity of the photographer's eye. The camera has been used here, however, to illustrate author Yuichiro Kojiro's analysis of the type of aesthetic sensibility peculiar to the Japanese in their respect for form.

Mr. Kojiro, an architectural critic, systematically and effectively arranges elements of form into four groups: "Forms of Unity," "Forms of Force," "Forms of Adaptation," and "Forms of Change." In his introductory chapters he explains his choice of headings and relates them to the functions of "purpose," "idea," "material" and "hand," "time-history" and "climate-space" in an effort to explore the human spirit behind the form. The endeavor is perhaps more revealing than the results, as translator Kenneth Yasuda suggests in his very perceptive preface.

The Japanese, says Mr. Yasuda, "show a characteristic inability to deal intellectually with aesthetic objects ... their approach is essentially intuitive and poetic." Even the Japanese language, he says, has evolved and developed non-logically. To name a form is to create a poem, an effort of sensibility rather than reason. In translating the near-poetry of the main text, Mr. Yasuda, an authority on Japanese haiku, further demonstrates his sensitivity and understanding of the subject. He takes special care with Japanese terms for which there are no simple English equivalents in hopes that "another dimension may be added to our grasp of the aesthetically satisfying."

The East-West Center is a project of the U.S. government in cooperation with the University of Hawaii. Its stated aims are to promote a true exchange of knowledge and ideas from which Asians and Americans will benefit mutually. Forms in Japan is an unusually distinguished step in this direction. It sells for $15 a copy and is distributed through the East-West Center Press, University of Hawaii, Honolulu 14, Hawaii.

48

49

Czechoslovak Cinema Posters No grand marquee marks a movie theatre in Prague; only a modest "KINO" in neon identifies the place. Rather than tear down fine old structures to build cinema palaces, the Czechoslovaks carved them out of the insides of existing buildings or, in many cases, built them underground. And why not? Who needs windows?

These theatres are reached through interior courtyards or through the many arcades that tunnel through Prague buildings from street to street, a blessing to pedestrians when the weather is miserable.

Along with their own product, the Czechoslovaks show films from practically everywhere and produce their own posters for each presentation, partly of necessity because of language differences. But their posters are treated far more carefully and imaginatively than necessity demands.

Though American film producers might learn a lesson from the Czechoslovaks in the matter of how to make a film poster, it is improbable that they will, for they tend to be slow learners, quite content with their generally inferior posters. American film posters are often not posters at all but merely embellished verbiage: Raw terror fiames lustful passions and etc. And the embellishers have dutifully illuminated the cliche phrases with cliche graphics.

Albert Nesveda, Vedouci Propagacniho Oddeleni (Director of Publicity ) , directs the efforts of the independent designers who produce the posters for the Czechoslovak film distribution organization, Ustredni Pujcovna Filmu, Prague.

- Bill Tara

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58

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Hungarian film, "Significant Memories"; Jiri Salamoun, designer Russian film, "Ivan's Childhood"; Karel Vaca, designer Polish film, "Diary of Mrs. Hanka," story of a diplomat's wife; M. Nemecek, designer Right: Hungarian film, "The Year"; J. Vyletal, designer

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EXHIBIT

Three of a series of monthly mailers created

by Robert Miles Runyan & Associates 72

JUothors 'DAU • Jto&ort JUilos JtunyAn f4 Jbsociotos

EXHIBIT

Write your will now!

See Dick run.

See Jane run.

See their mother run and run and run and run and run.

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THE TEXAS BANK

WE DON'T LEND MONEY ON CARS When you get around to improving your property, give us a call.

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THE TEXAS BANK THE TEXAS BANK

Series of ads for The Texas Bank. Art director: Stan Richards; artists and designers : Stan Richards, Bob Lawton, Pat Maloney; agency: Brownfield & January 74

Poster and mailer designed by Lou Danziger for L.A. County Museum exhibition 75

Graphica '65

llow can we straighten the labels oo llewfo•dl11M1'1 Mlt·11lil411

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Graphics in Canada 1965, a new national art directors exhibition, will replace the individual exhibits formerly held throughout Canada and will act as a total reflection of the nation's best graphics year by year. The show is sponsored by the Art Directors Clubs of Montreal, Toronto, Winnipeg and Vancouver.

This year's judges, Lou Dorfsman, Herb Lubalin and Jerome Snyder, accepted 318 pieces out of 3000 entries. A selection of the award winners is shown. Richard Zemnickis acted as chairman for the event.

Cover bottle with labels.

(One of them is bound to be straight.)

1 Award of excellence Art director: Claus Mohr Designer: Tom Hodgson Artist : T. D. F. Artists Ltd .

Copywr iter: William Staiton Agency: Foster Advertising Ltd .

Client : Bennett Brewing Co. Ltd .

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2 Art director: Pierre Garneau Designer: Hubert Tisnon Agency : CBC Client: CBC-TV 3 Award of excellence Art director : Arnaud Maggs Designers: Arnaud Maggs, Gerard Garneau Client: Ant iques & Things Use crooked bottles.

4 Award of excellence Art director/ designer: Jack Parker Artist: Eugenie Groh Copywriter: Ann Hutchins Client: Gazette

Use force. (Show the label who's boss.)

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5 Award of excellence Art director I designer: Theo Dimson Artist/client: Opus International

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GRAPHICA '65

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1 Art director/designer Ralph Tibbles Artist: Huntley Brown Client: Maclean's Magazine 2 Art director/designer: Gene Aliman

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4 Art director/designer: Jack Darrow Artist: Gabriel Csakany Agency: McKim Advertising ltd.

Client: New Zealand Meat Producers Board

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6 Art director/designer: Carl Brett Artist: John Clemmer Client: Howarth & Smith Monotype ltd.

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Librium · an Important aid In the treatment of alcoholism

Art director/copywriter: H. P. Decker Designer: Rolf Harder Photographer: Herb Taylor Client: Hoffman-La Roche ltd.

8 Art director: Jack Kuper Designer/ artist: Donald Grant Agency: CBC Client: Nightcap

79

New Jersey The Art Directors Club of New Jersey received over 1800 entries to its 4th Annual Exhibition of Advertising and Editorial Art. 475 of these pieces were presented to the judges by a screening committee.

The judges were : Robert M . Jones, art director of RCA Victor Records Division and proprietor of the Glad Hand Press; Carl Bobertz, president of the Society of Illustrators; Onofrio Paccione, executive vice president and creative director of Leber Katz Paccione, Inc.; and Raymond A. Ballinger, designer, author and dean of the Philadelphia Museum Art School.

Show chairman was Joseph Golinko. A selection of Award of Excellence winners is shown here.

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1 Trade ad Art directors: Rudi Wolff, Alice Katz Artist: Ed Wallowitch Photographer: Jim McMullan Agency: William Douglas McAdams Client: Roche Laboratories

2 Record cover Art director: William S. Harvey Photographer: John Trotta Publisher: Elektra Records Client: Nonesuch Records

5

3 Company magazine Art director: Harry 0. Diamond Artist: Andre Francois Client: Standard Oil Co. of New Jersey

4 Direct mail art Art director: Ernie Smith Artist: Irv Bahrt Photographer: Bud Simpson Copywriter: Robert Levine Agency: Sudler & Hennessey, Inc. Client: A. H. Robins & Co., Inc.

l(I. . U::~I• ~~r ".111•1q;i m r \!ou ,ll1 rnt ~orurn l ?

5 Magazine ad, two pages or more Art director: Gennaro Andreozzi Photographer (small photo): Horn / Griner Copywriter: Judy Blumenthal Client: After Six 6

7

6 Newspaper ad, R. 0. P. color Art director: Al Scherr Photographer: Edith Marshall Agency: Reach, McClinton & Co., Inc. Client: New Jersey Bell

7 Letterhead Art di rector I artist: Jack Marmaras Client: Fair Housing Committee

81

Don't bring your wife to an Imperial ~O' Motel

NEW JERSEY

2

1

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...,.,,.,o

Ever pull out a litde olipfromlhepocketol

-~~nd:,";~r:~:::: number ia? To stop the aprud of anony. mity, London Fog reveals all: 11 on a slip mean& Thelma Runkle• who bu checked our Maincoatt longer than any other namincr on our Londontown ataff.

wbile it 1land1 up to a doudbur.t, pull out thealiplromyourpocketandaivecredttto Beuie Bailey 12., Delmore Applewhite 13,BarbaraMurray*4, Naomi Boyce,S, Auaustine Bruton 161 Vircini. Dailey Olivia Jones 18, Janie

n,

Eubanks 19, Dora Loe Shel· ton 110, Hazel Unduy Ill,

Ro..marieMidretl12, TheJ. ma Ba1'er #14. De.tie Hall

115,Mildre<l Moaal16,Katle Graves 117, June Mathiu

C1lled "Grandma" by

fl8 1 ldeDDavl1119.Marga.rel

lhectew,Mrs.Runkleahu briaht,glitterinaeyea that

Jackaon 120, Mary Broawell #21, Julia McWay #23, Flora Hineal24,Pecola

miu nothing. She 1tud'6 thettitchinsa.ndaniptany atray threads.

Pores over the fabric for the

nrueat defect.

Scrutini1es all te&.m.1. And when .. the la1t little detail ~ it e>plored,plae., her stamp of appronl in the pock.et ol a perfed MaincoaL Mrs. Runkles is one of twen.ty-eiaht fastidious eu.mintn.And if your London for hta u ii it were custom tailored for you, feet. cNp when you flip the colla.r

and looks trim, orderly and handsome

Odum ns, c...1.

dine Mickle #26, Thelma Mack #27, Elenora Englishl23, Josephine Giord1no 129,orMyrtleOarkf.IO. Mn. Runkle'scu:rrent concern is the Oilton with new lpfit

Blitil~~~ IMPERIALbilMOTELS

3

ahou.lderinourodutiYeC.libreCloth•

of 65" Daaon• polyester and 35~cot· ton, ftuoridizod with ZePel7 Wrth lip-in 1lpaca linin1 by Blumenthal MiUt. In natural olive, black or mic.a. for about $55, rain or thine, your 11 coat.

London Foa, Baltimore 11, Maryland.

1 Magaz ine ad, black and white Art director: Onofrio Paccione Copywriters: Onofrio Paccione, B. Oxsner Agency: Leber Katz Paccione, Inc. Client: Imperial '400' National

2 Magazine ad, three or more colors Art director: Gennaro Andreozzi Photographer: Horn/Griner Copywriter: Dorothy Perillo Cl ient: London Fog

3 Magazine advertising art Art directors: Bill Alderisio, Gerald Bean Artist: Seymour Chwast Copywriter: Bill Parrott Agency: Mccann-Erickson, Inc. Cl ient: Nabisco

4 Magazine ad, two pages or more Art director: Robert Giraldi Photographer: Phil Marco Copywriter: Jack Reynolds Agency: Young & Rubicam, Inc. Client: General Cigar

82

4

Classic Laid really isn't made like this ...

... it just looks hand-made.

Once upon a time, paper was crafted on "moulds" or frames that created an identifiable laid marking. Each paper and its markings were as personal as its craftsman's skills. Now, the charm and personality inherent in early hand-made papers is re-created in Classic Laid.

There's nothing quite like it to lend character to business letterheads and envelopes, invitations, announcements, enclosures, personal stationery . . . anything that deserves a personal touch. Your Kimberly-Clark distributor has samples in five colors and white. When you get yours, remember -

it only looks hand-made.

@ Kimberly-Clark Corporation, Neenah, Wisconsin a dynamic force with paper THIS IS CLASSIC LAID #24, CONTINENTAL BLUE

I

KIM-291

Kansas City A selection of the winning pieces from Kansas City's 12th Annual Art Directors Show is presented here. Jury members were : Don Daugherty, art director of public relations and advertising for the Southwestern Bell Telephone Company, St. Louis; and Robert M . Daniels, art director and assistant editor of Atlanta Magazine.

Dave Majure, club president, acted as show chairman.

1 Medal - Institutional graphics Art directors: Bill Fries, Judy Swafford, Dick Sullivan Agency/ cl ient: Bozell & Jacobs, Inc.

13 I \IO\lllL\ flRUfUIO\ OF BO'ilJ.l & J\COlls

2 Medal - Direct mail Art director: Glen Smith Photographers: Wh ite , Woods, Swanson Agency / client: Meridith Publishing

3 Medal - Newspaper ad Art director : Robert M. Roney Artist : Cheryl Burdette Client: Macy's

2

4 Institutional graphics Art d irector: R. Foster Artist: Lyle Don Carlos Client: Phillips Petroleum Co. 3

4

87

KANSAS CITY

2

3

Northern'• pipelines are helping build tomorrow's akylines. Ouruig thi: p t t i y a.r w<> t''" mvc•led an l\e 3.g<. ot 46 1mllion" year in h 6 ""th ot th< No tho·n Plains. In 1965 we will inve•t ·· 75 million more m plant and facilities expan•ion in ordt•r to assure an llliundanl iupply of natural gas for farms , homes, industries. and to make low cost natural gas a~ailahle lo more and more communities throughout th,. Northern Plains Area. Our mvestment attracts indu•try, <Yeates J lo builds l>1gger payrolls, contribult-.s meaJurably lo the progreu and pr ' P< r ty of tins area•

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4

88

5

1 Letterhead Art director I artist: Ron Scheerer Client: Ron Scheerer Advertising

2 Newspaper ad Art director: Frank Ervin Artist: Gene Roncka Agency: Bozell & Jacobs, Inc. Client: Northern Natural Gas

3 Newspaper ad Art director I artist: Harvey Gariety Agency: Hallmark Cards, Inc.

6

4 Medal - Editorial design Art director/ photographer: Larry Nicholson Client: Reorganized Church of Latter Day Saints

5 Greeting card Art director: Norman Engler Photographer: Larry Nicholson Agency/client: Norman Engler Studios

6

He asked

to see our complete line of cooling towers •1tbt r "" Mll™'f ot to~r ~.... :1....,.1_.

Th.\··· wtt\. \l.ull)' LJ:>«r<.'1'! t>t•n.t .. m...... 11 iM!t-~. "'"'-'~''"' ;.,.

U.•1Ult .. 1U11•·1· 11· up..-1•\.l"oll~ 11IM1o1!.o•\' h·!d-·1' ~ •..ii.,....... 1m.hn,· 100 Allt COOi.CO COtlOutSU 'fh. M,,,1;, IA1-l'.'1~r t<rrivrut Nfl<tt---T fotnr<-.. ruu-t<I ((>n;<.truth,1n, ~ ,.,, ,bl\ rn,,,, lumt1~: l'\ill>l"lln< n• ('Ill• nu ti .-II «i*l"' ~mµ., 1 111,t<J C1pw.;ty "°~' 11 U. Pi l<m

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lVAPORA.f!V( COHOENSLR Milrk'i'' I,,...(\~ t\.11;'> •·""4-l'l*f "l11'f•" •"" Cl:.lll•'1'' >n t>f',,."-'c!l"!t ('UiJ.,. l.l"11liv ~d •ilh ""lllU·· timo_, tiw \\>lu~ iUl!'d In o<Mr ,Ul"Jr"-( "'''lll.1t <l<..-k,; bM11,'l'f'> f""i!l 11>'11>f lo l\.\inif{wm~.n.fllfllt'til<?nJ!<""'Oi.tt•M t-" -h l'(lo1f k~«I

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\\ h#t• Y'"lUI •PM•/-.. "'iLn, 11ol'Oh~ '>I.ht• f<lr •PJ.'f'OP'Nl~ h·~ · ••u.tt Th M;odo·v r~Pl!llY !>Zi! W.-.t Citq• n Bh'<t. X..~ C'it1, M1~1"'

7

Trade ad Art director: Jo Stockwell Photographer: Larry Nicholson Agency: Valentine-Radford Client: Marley Company

7 Package design Art director: Robert M. Roney Artists: Roney, Irwin Client: Macy's

8

8 Package design Art director: John Stith Artist: Mid-West Design Client: Stuart Hall

89

San Francisco The annual exhibition of the Society of Illustrators of San Francisco was a non-juried show offering a wide variety of styles and techniques. George Albertus and Richard McN att were co-chairmen.

A selection from the exhibit is shown.

Top row, left to right: Bob Tamura; John Lichtenwalner; Lowell Herrero Below : John Larrecq; James Sanford

90

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91

Baltimore Shown here is a selection of winning pieces from the Baltimore Art Directors Club's 15th Annual Advertising Art and Design Exhibition. 850 entries were submitted out of which 224 were exhibited. Jury members were: Onofrio Paccione, Leber Katz Paccione, Inc.; Herman Davis, Compton Advertising; George Khonken, Ted Bates and Company; J. Frederick Smith, illustrator and photographer; and Jack Wichert, Point of Purchase Institute.

Kenneth G. Blair chaired the show.

Th•J''r• ahartng one room.

3

2

BQDYG

F~IDER

VARSITY AUTO REPAIR/rnEEESllMAns 4

5

TABLE T\' SET • Fl HING TACKLE • CLOCKS • REFRIGERATOR. • BOOKS • FOOD • DISllWA F.R •JEWELRY• PORTABLE RADIO. • IHSHF-'l • Al lTO UPPLlt:S •LIQUOR • GARDEN TOOLS• Ll.: t ;1 tZERS •COLOR TELEVI ION El'S •AIR CONOITIO, ER •ELECTRIC SHAVERS• GU;'l:S • DEHl_" I\-1101 1 EEING TRIPS • ,TRADl:'liG STAMPS• \\/ASHING MACHINES• VACUUM C .

ERS •AIR PCRIFIERS • E • HAIR DRYERS • Pl • RIC BLA:'liKETS • Dl:'liETTE SETS • El.ECTRIC ORG NS • LAW. t'UR • !\10VIE PROJECTORS • WEEKEND TRIPS • III Fl s1-:-rs • CLOTHIN . OVIE CAMERAS • REC TRE PARTIES • POWt:R MOWERS • Ol'TDOOR GRILi}) • COFFEE MA • POWER TOOLS • RA ,TRIC Bl.A. 'KETS • CIGARETTE LIGHTERS • ~·1.ooR POLISHERS • c NG GEAR • SPORT ,LO ' IS R. CKE1: • TOYS • BARO!\ffTER ' • GOLF CLUBS • WALLETS • TYP ITERS • E\.IERGENCY LI S\\'ARE • BEDDI. '(; • Fl'RS • BATHROOM CCF.SSORTES • Cl.OCK 10· • COOKWARE • GI RECORDER • LA\.IPS • DESK SETS • SHOt:S • Ant fLT GAMFS • SKIS OOR POLISHER • COMP.

,,ht·n you ~n .•11 out

92

6

7

1 Thia la wbatmost people know about tires:

Tbls is what you are often told about tires:

Trade ad, 2 or 3 colors Art director/artist: Stan Paulus Agency: Van Sant Dugdale Client: Marriott Motor Inn

This is what Kimmel will tell you about tires:

2 Car card Art directors/artists: Adler, Schwartz Agency: Raymond E. Finn Client: Varsity Auto Repair

3 Gray Dodson award - Direct mail art Art director/artist: Jane Edmonds Agency: James W. Rouse & Co. Client: Community Research & Development Co.

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Trade ad, black and white Art director: Stan Paulus Artists: Major, Keesey Photography: Blakeslee Lane Agency: Van Sant Dugdale Client: Hamilton

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5 Magazine cover, color Art director: Lionhill Studios Artist: Paul Hagan Client: Round Bay Community Directory

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(~~ [r' In\ 1 o Ln. .J:'\, I" I I)

6 Newspaper ad Art director/artist: Emanuel Herman Agency: H. W. Buddemeier Company Client: C. E. Kimmel & Company

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gets A ll egheny serV"i ce!

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10

11

Promotional literature Art director: Ed Gold Designer: Dave Ashton Photographer: Robert deGast Agency: Barton-Gillet Client: Department of Catholic Education

8 Black and white trade ad Art di rector I artist: George Fondersm ith Agency: Van Sant Dugdale Client: Allegheny Airlines

9 Packaging Designers: Adler, Schwartz Client: Maryland Paper Box Company

10 Trade ad, color Art director: Mario Bognanni Artist: Dodson Associates Agency: W. B. Doner

11 Promotional literature, 1 color Art director: Paul Shachoy Photography: WBAL Agency: W. B. Doner Client: WBAL 93

Dallas-Fort Worth 3 gold medals and 13 silver medals were awarded by the Dallas-Fort Worth Art Directors Club in its Eighth Annual Exhibition of Southwestern Advertising Art. Out of the 943 pieces submitted 300 were accepted for hanging. Entries were judged by Don Kubly, assistant director of the Art Center School; Bill Shields, free lance artist; and Guy Deel, illustrator from Los Angeles. Bruce G. Griffin and Carl Lively were general co-chairmen of the event.

Gold medal - Humorous il lustration Art di rector I designer: Duga Id Stermer Artist: Stermer, Middaugh Assoc.

Copywriter: Anna Jane Wingfield Agency: Goodwin, Dannenbaum, Littman & Wingfield Gold medal - Series of magazine ads Art director/designer: Stan Richards Photographers: George Dawson, Phillip Kretchmar Copywriter: Don Sumner, J. Liener Temerlin Agency: Glenn Advertising, Inc. Client: Fine Jewelers Guild Gold medal - Advertising illustration Art director: Tom Lovelace Artist: Jack Unruh Agency: Tracy-Locke Co., Inc. Client: Nine-0-Nine Apartments

and money makes a cheery S<>1Jnd when ii iammc thaftJingJing 'round

,,..-.····--1 ·~-n ~~ but 011e sound pui~ them all to shame n's someone c:aUin5t me by name!

94

Here's why ...

Warren paper is made with two jobs in mind: light reflection and the base paper forms for ink.

Light reflection Remember - paper is the "sunshine" in a print, the color in a print. And it is viewed under many difterent lighting conditions. A paper that can re flect all colors of light equally well gives the printing a better break under all lighting conditions - and doesn't favor one color over another in the subject matter.

That's why we keep colorbalance in mind - rather than

chasing the curren t shade-fad when we design our papers.

Added advantages Less color correcting and less compensation in plates and inks to gain ac cur ate color reproduction.

The Base for Ink Process color inks are transparent. Light shines through them onto the paper and then back to the viewer. The paper must be able to reflect the de sired color - or a distorted color will show.

To act most eftectively, process color inks must dry in a very thin, smooth, glossy film.

The light can get directly to the paper and back aga in . But if the ink film is rough, light will be scattered by the ink's surface and the color will appear weak ened. In order to dry in a smooth, glossy film, the ink requires a smooth, level base.

That's why we doublekote and triplekote our paper surfaces - to provide the refinement, levelness and smooth-

ness that help ink work most eftectively.

Paper's job isn't done when it comes oft the press - it's just beginning.

This insert is reproduced by oftset Iithography on 100 pound Lustro Oftset Enamel Fa lmouth - a triplekoted paper.

For further information see your Warren paper merchant or write S.D . Warren Company, Boston, Massachusetts 02101.

Papers for the printer who puts quality first