julaugpreview1972

DUGALD STERMER

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51

51 LAM

Ads for Crown Zellerbach. Lam, art director on all of the ads. Small space ads: Janet Boden, writer.

"Gentle reminder": Ron Rosenfeld, writer. " Our ad": Ed Bigelow, writer.

Ads for Transamerica Corporation. Lam, art director; Ed Bigelow, writer.

Keep out Odor. of other food. keep out when you wrap thin&s snugly in Zec Pl astic W rap . All the fla vor and moi.ture stay injUlt where you want them to Itay . Zee Plast ic W rap seals neatly . Slicks to ilRlf-but not t oo much . It co rn ea in bie lOO-foot rolts a nd cost, about • penny a yard .

I

Dry up Not very likely! New Z ee P lastic Wrap keeps moisture in . It seals neatly . Sticks to itself (but n ot too much) Arnone food wraps, we think you'll think Zee lakes the cake.

It comes in big IOO· foot rolls and costs about a penny a yard .

Shut up F lavor and moisture arc .hut up inside. when you wrap thine. for t h e rcfr1eerator in Zee P la.tic W rap. Food odor. arc .hut in.ide. too. Zee Plastic W rap .eall neatly . S tick. to itself (but not too much). It come. in bie 100 ·foot roU. and COlt. about a penny a yard.

I~ ZEE

pIastJc¥'

ThIs_oar ....

You .... it In the .eore.

You throw it away when )'011 Jef home.

A genile (em,noer C'own ZH IS ••'ery soft 100!et friwe

College. I wanted to work there. But when I left school, there was no DDB in L. A. , and no jobs either.

So I went to New York:'

Poor Lam "My portfolio was not the usual slick one. It wasn't pretty.

I kept trying for ideas and let the rendering, the skills, fall behind. I guess I knew then, in some crude way, what I am sure of now. I don't like ornamentation. I like fashion to look at but not to do.

"I used to resent fashion and people who adorned themselves. I thought it was sad that they needed it. Maybe I've changed, I bought some funny shirts recently. But I still reject ornament in ads, in words and pictures, because it hides bad thinking or no thinking. It's cheap 62

decoration , the non-performing part of an ad. M y portfolio reflected my attitude. Nobody rushed to hire me.

"I showed my portfolio to Bob Gage, DDB head art director. He said, 'Keep in touch; and I figured he meant it.

I called him every Friday for twenty-three weeks. Nothing. " Nobody told me that a few hundred bucks didn't last long in New York and it didn 't. What I wanted was DDB , what I got was YMCA. They gave me work in the kitchen and a meal every night: chicken croqs and two vegs.

Every night, same thing, chicken croqs and two vegs.

On cold days I smuggled food out in my overcoat. On warm days I lived on Kretchmer's Wheat Germ. " I didn't like New York much and I still don't. But I like its energy. I like what is generated in advertising, extreme

Small wonder

Left: outdoor board for the Arizona Bank.

Bob Matsumoto and Stan Jones, art directors; Elizabeth Hayes, writer.

Outdoor board for Terminix. Lam, art director; Janet Boden, writer.

Outdoor boards for Volkswagen. These boards have been so much awarded and honored that most of our readers have seen them many times before, but an article on Si Lam would be incomplete without a selection from this extensive series.

Relieves gas pains.

"Small wonder": Lam, art director; Janet Boden, writer.

"Relieves gas pains": Bernie Rowe, art director; Si Lam, writer.

"Poorhouse": Lam, art director; John Annarino, writer.

"Mass transit": Lam, art director; Ed Bigelow, writer.

It ~orlt drive you to the poorhouse.

Mass transit.

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London's

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Ad Busses Some of London's traditionally red urban busses are sporting a new paint job.

Advertising clients are able to purchase the entire surface of a bus on a one-year contract basis. All costs relating to the design and painting of the bus are born by the advertiser, as is the cost of repainting the bus to its normal red when the contract year is up. The Younger's Tartan Beer plaid bus was driven to Scotland for its paint job. Only an Edinburgh painting firm could be trusted to do a faithful reproduction of the Younger clan's plaid pattern and colors.

Six of the busses have been ad-painted to date. Photographer George Hall reports that he found a mixed public and employee reaction. "Londoners are very attached to their big red busses, and many people I talked with were relatively displeased with the whole idea. Tourists thought it was great and young people did too. Actually, the latest idea is quite consistent with the past. A look through the fine London Rail and Transport Museum (below) reveals a long-standing precedent. The busses and trams that have been painted in bright reds, greens and yellows since before the turn of the century also have carried huge and potently designed signing for over fifty years.

"The big, bright busses are all the more delightful when viewed against the predominantly brown-gray texture of urban London. I find them one of the most pleasing and durable bits of urban furniture in the world:' Hall, urban planner turned aerial photographer, flew over the city and recorded the impact of the red busses on the urban background he described.

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HELEN FEDERICO

Christmas card for Pioneer-Moss.

Below: illustrations for "James Beard's Treasury of Outdoor Cooking," Ridge Press/ Golden Press.

Right: poster for Thomas J. Lipton, Inc. Cover painting and two of the illustrations from a feature, "The Empire State," showing rural scenes in New York, The Lamp, Standard Oil Company (New Jersey).

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