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(A) Art Director: Don Smith Designer: Don Smith Agency: Latham-Tyler-Jensen Client: Ekco Products Company (Color; 13'h x 7)

( B) Art Director: Tom Gorey Designer: Tom Kamifuji Agency: Needham, Louis and Brorby, Inc. Client: Morton Salt Company

( C) Art Director: Morton Goldsholl Designers: Morton Goldsholl!John Weber Agency: Morton Goldsholl Design Associates Client: Frank Mayer & Associates, Inc.

A million salt tablets a day-for customers coast to coast The Morton salt plant in Rittman, Ohio-whose tablet making machines produce salt flavoring tablets to the individual specifications of food canners-is only one of Morton's ten salt sources. When you deal with Morton, America's only nationwide salt company, you have all ten of these sources at your disposal-with service through more than thirty sales offices and warehouses. Because Morton can guarantee two or more sources for any grade of salt you require, you can always count on delivery, even in the event of adverse conditions which might otherwise endanger lhe continuous operation of your plant. Why Morton service saves you money. Morton holds its leadership in the salt in¡ dustry because it is the most progressive company in the field. Morton has the world's most complete salt research laboratory, and also makes every grade of salt. Thus you can always be sure of expert, impartial advice on which grade or grades will do the best job for you. This service alone may save you thousands of dollars a year I If you'd like to know how Morton develops a salt mine, produces and markets its 0

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DELIVERY RECEIPT

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CA, Jul11 '61

19 INDUSTRIAL DIVISION ~~L~~~~~t~~NKAE~C~A~~~¡1i~~CAGO B. ILLINOIS


(A) Art Director: Harold Johnson Designer: Harold Johnson Client: Ekco-Alcoa Containers, Inc. (Color; 81/z x 11)

( B) Art Director: Walter Howe Designer: Doug Lang Cover illustration: George Suyeoka Agency: R.R. Donnelley & Sons Client: Maud Linker

(C) Art Director: Gordon Martin Designer: Gordon Martin Client: Devorah Sherman Gallery ( Size : 41/z x 71/z )

(D) Art Director:. Jerry Buckley Designer: Jerry Buckley Client: The Buckleys (Brown paper stock; 151,4 x 171,4) D

( E) Art Director: John von Dorn Designer: John von Dorn Illustrator: Robert Christiansen Client: B. Heller & Co. (Two-color, brown and black duotone; 81/z x 11)

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REACH IN ANO HELP YOURSELF Our filea are f1i rly bulging wi th thoutan~ ofex-

cellent uuuge formulu and proceuing details, tomeof whichdatehlckhundred1ofyear1.Wehave espcciallypreparedthisbookletto1hareaomeofthi1 information wi1h you. On the followingpagea you will find many popularsauaage fonnulu and proc· euet, plu1completeli1tingsof11lourpoput.ruu-

uge1nd loafaeuonings. Hyou do not see a particular fonnula or proceu you are in1ere1ted in, just let u1 know. Uyou wouLd like to hrive u1 devdopa1peci1l11easoningfonnulaju1t for you, write u1 or di1cuu your seaaoning problem with. your Hellerreptt!!entative.Orifyouwi1h,wecanformul11e your own seaaoning formula uclu1ively for you. Andifyouwould liketotryablockaizefreesample or llllf HeUer aeuoning. ju•I let U9 know. (You will fi.ndahandyreturncardattheeodofthit.booklet for you r convenience.) Now, pleue reach into the peget that follow and help youraelf ... with our oomplim•n~.

CA, July '61


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(A) Art Director: Ralph Seaman Designer: Norman Perman Client: American Hospital Supply Corp. (Size: 6 x 9, one of series of three booklets)

( B) Art Director: Robert E. Vogele Designer: Chad Taylor Agency: Robert Vogele Design Client: Ansul Chemical Company (Size : 9 x 12)

( C) Art Director: Richard A. Thompson Designer: Ronald A. Bradford Agency: Greenleaf Publishing Co. Client: Rogue Magazine

( D, E) Art Directors: Robert Vogele, Robert Kennedy Designer: Chad Taylor Illustrator: Robert Kennedy Agency: Robert Kennedy Associates, Inc. Client: The Red Wing Company, Inc. (Brochure size: 91h x 81h)

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(F) Art Director: Charles Walz, Jr. Designer: Norman Perman Client: Abbott Laboratories (Size: 111h x 6)

CA, July '61


NEWPORT FOLK FESTIVAL

JUNE 24, 25, 26, 1960 FREEBODY PARK, NEWPORT, R.I.

STA Exhibition (continued)

(A) Art Director: Klein/Wassman Design Designer: Larry Klein Client: Newport Folk Festival (Two-color, orange/black; 11x14)

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( B) Art Director: John Massey Designer: John Massey and Norman Perman Client: Container Corporation of America (Envelope, blue stock, die cut. Polyhedron in color; 9" triangles)

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CA, July '61


To this point, the symbol of Full Bleed had been a register mark. Engeman had used it cleverly, e.g., the golf ball on No. 1, a vaccination scar on the model's arm for No. 4. With No. 5, the register mark passed into history as Engeman introduced a new calligraphic symbol-spectacularly. (Stamp designing is very "in" these days.) It was a busy production month for the editor. The covers had to be hand cut from a roll of corrugated, the pages gathered and stapled, the stamps individually hand pasted. Credits for this issue: Harlowe Typography furnished display type for the stamp and the issue; Southern and Standard furnished the stamp engraving; R. P. Andrews donated the paper; Sam Singer contributed the photoprints. Expenditures: one roll of corrugated-$5; offset printing-$120; stamp printing and perforating-$25; postage.

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An outstanding feature of each issue was the calendar. In February, it was done in two parts, each part utilizing a spread. The torch is the symbol for the club's Type Seminar held as a series of weekly sessions. The heart was another hand pasting project by the editor. The second calendar spread featured a typewriter portrait of a gentleman in a real crazy hat.

CA, July '61


No. 6, March, featured the new symbol once more. Th is time it was in sealing wax. D. C. Engraving, Inc. furnished the bronze die at no cost. The seals were hand pressed by Engeman who also hand wrote the entire copy tor this issue. Jon Schoonmaker contributed the photography for the feature story, judging of their 12th annual exhibition. Printing and paper were courtesy of Saul 's Lithography. Expenditure: postage.

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CA, July ' 61

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Silk-saeen


Technically, a duotone is the printing of any combination of the tones of two color s. Common usage has made the term "duotone " synonymous with the process of prin ting a black-and-white photograph as a halftone of two colors . More often than not, this implies a routine use of a square halftone being shot as a duotone to relieve the monotony of all black-and-white pictures . In this article, CA explores the possibilities of du otones- to gain special effects and to improve the quality of the picture reproduction.

duotones There are three basic ways to achieve duotone effects. The simplest is by merely printing a black halftone over a solid of a second color (usually light ). The second color comes through the area of minimum dot in the black halftone (highlights). Contrast is lost in this method but it adds color and can be particularly desirable when a square halftone is called for and the photograph is lacking in background tonal values.

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The second method is shooting a normal black halftone at the usual 45 ° angle. This is printed over a mechanical screen of the second color on a 75 ° angle. The 30° differential is critical to avoid a moire. The third is a true duotone, utilizing halftone dots in each color. It is achieved by shooting the same photograph at the two specified angles; black at 45 ° and the color at 75°. The cameraman will generally make these two shots differently, holding a stronger printing dot of the second color in the lighter tonal areas and giving the final reproduction more color.

PHOTOGRAPHY BY JACK KNOBLE

CA , J uly '61

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