jun1960

The Journal of Commercial Art is published monthly by Coyne & Blanchard, Inc. at 809 San Antonio Road, Palo Alto, California . Subscription rates : U. S. A., possessions, and Canada, single copy, $1.50, one year, $12; two years, $22; three years, $30; five years, $45. All other countries, one year, $14. Copyright 1960 ~Y Coyne & Blanchard, Inc. *Trademark registered . Second-class postage paid at Palo Alto , California. Postmaster: Please send 3579 to 809 San Antonio Road , Palo Alto, California.

6

Editorial

8

Letters to the editor

10

The Golden Touch- William Golden

17

Pin register for artists

19

Book jackets - Turck & Reinfeld competition

Change of Address: Notification should be sent to The Journal of Commercial Art, 809 San Antonio Road, Palo Alto , California , at least 45 days prior to effect date. Send both new and old address. If possible, use imprint from CA mailing envelope for old address.

22

Exhibit: reproductions of current and choice

34

World Design Conference in Japan

Editorial Correspondence : No responsibility is assumed by the editors or publisher for unsolicited contributions . Manu scripts or other material should be accompanied by selfaddressed, stamped envelope.

37

Chicago Typographic Show

43

The-time-and-the-place

44

Materials: artists' materials "work-tested" by CA

46

Color: duo tone chart of blue-green and black

48

Print that matters

50

On the Board: shop talk, advertisers' index

Advertising Correspondence : Requests for information or other correspondence concerning advertising may be addressed to David Hartman, Advertising Manager, The Journal of Commercial Art, 15 W. 44th Street, New York 36, N. Y., MUrray Hill2-1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto , California, DAvenport 6-6040.

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Editorial We may have turned on the fan when we displayed an example of plagiarism in the last issue. Incidents have been reported to us in the past, many more in the last week.

HAVE YOU BEEN NOTICING DISSATISFIED EXPRESSIONS AROUND YOUR ART DEPARTMENT LATELY? ...

CAison record as supporting any method of curbing such practice; some suggestions have already been submitted to us.

But we don't wish to bore you, or ourselves, by printing all of the examples that are called to our attention.

It is questionable whether most of these would be legal cases.

Even the designer's indiscretion is questionable. Two almost identical pieces appeared one year apart in major shows held in New York City. Surely no one would deliberately swipe and then enter it in a competition.

The root of the problem was a trend, the fifty or few hundred similar pieces that appeared during that same year.

Trends are too easily established and too readily accepted. Books are being written about them now. Nearly everyone's summation of a show uses the term at least once. Perhaps it is flattering to a show committee to find they have located the "latest" trend.

6

YOU'LL FIND IT EASY TO CHANGE THEM TO EXPRESSIONS OF CONTENTMENT AND SATIS· FACTION •••

A trend to better advertising, or better art, or better thinking is a good thing. A trend to more imaginative and effective use of typography, photography or illustration is great.

Trends usually start that way. But as the band wagon rolls on, specifics often take over. Imaginative use of typography becomes a type face or several type faces used in a certain size and relationship. A good illustration or illustrator is mimicked for his technique, not for his quality of drawing. Creations begin to come from a mold. Imaginations are stirred, in a search for the old switcheroo. Repeats are inevitable, and from a good original mold also comes some very bad work, done in the name of the "latest thing."

When it reaches the point where it's hard to tell the difference, the trend becomes "old hat" and strictly taboo. New trends are under way, probably started by the same thinking artists that began the old ones.

YOUR ARTIST WILL APPRECIATE THE CHANGE TO CRESCENT CARDBOARD PRODUCTS. THEY'LL BE HAPPY WITH THE SUPERIOR WORKING QUALITY OF THESE FINE BOARDS.

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The element of sameness is not predominant, it is only more conspicuous. Fortunately, most of us like to do our own thinking.

The above editorial was set in 10 pt. Century Expanded Italic with 2 pt. leading.

CA, June '60

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Artists prefer GAMMA the universal white that is designed to stay white.

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7

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CA, June '60

LETTERS TO THE EDITOR Man with a problem Dear Sir : I think it's time for a bitch.

Your book is bound to facilitate tearing out sections for filing. Great idea! But what do I do when one section is backed up with another? (I refuse to buy a second issue.)

A good portion of what you print is worth having around, but I want it at my fingertips.

Sincerely,

Sol e Dis t ri buto rs :

USA : JOHN HENSCHEL & CO. , I NC ., N ew Yo rk

J ohn Stem Kenilworth, New Jersey

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In 4 Colors: Fire Red, Ivory, Maroon , Antique, Ebonr

a) Revise your filing system b) Steal a copy from a friend Seriously, don't see how CA can change; there's so much that's good to show and to discuss . ed.

Color-aid

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A backview Write on rour letterhead for 200 pare catalorue of art supplies - " an Enc J c Io p e d i a of Artists Materials."

ARTHUR BROWN & BRO., Inc. 2 W. 46th St., New York 36, N. Y.

Dear Journal of Commercial Art: Just a note to tell you I appreciated seeing my picture in your April issue. I'm the one paying particular attention to our "well-rounded" secretary.

Dave J ohnston Los Angeles

8

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BBDO Young & Rubicam McCann Erickson Walter Dorwin Teague Grey Advertising Corning Glass Fairchild Publications Mel Richman Ellington & Co. Royer & Rogers The Martin Co. Daily News Kenyon & Eckhardt Norman Craig & Kummel

were placed by

JERRY FIELDS ASSOCIATES

An artist is an artist is an ar

AT ALL LEADING DEALERS

Dear Sir: In regards to your article "Artists, Gobbledygook and the Census" in the April issue, I believe I have one answer though it may not be the best.

Color-aid Co. 329 E. 29th st., N .v.c.

Out of the list of tags or labels you put down I was able to find 41 that I have either worked as, in, or about. Thus, because of this fact which has rather taken many artists back, I decided to use the term "Art Contractor." For two years I have done so and only changed it to read Contractors of late as I find I do sub-contract a great deal of work.

The word contractor has become in the last few years a very much respected heading, and so I enter it for my suggestion for those who feel lost with what they have.

Sincerely yours,

(J obs Unlimited) 16 E. 50th Street, New York 22, PLaza 3-4123

Earl D. Dryden, Art Contractor San Diego

CA, June '60

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It was a late May Gentlemen: I have not moved, died, over-eaten, gone on a world tour, been kidnaped by the commies, gotten on a Boston subway with Charley, been employed as a street car conductor, gone anti-art, impaled myself on a sable brush, flown to Cuba, etc., etc., nor sold my subscription. So what happened? ... still waiting for my May issue (first magazine I ever read from cover to cover).

Edwin Bigelow Tulsa

Write Us for free Booklet

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Standard Light

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May's editorial explained it all. May we never see another May-like that one! Meanwhile, thanks to you-and you were hundreds-who missed the magazine enough to write and say "Where?". ed.

Words we like to hear Gentlemen:

Standard Medium

Standard Bold Standard Extralight Extended Standard Light Extended Standard Extended

Standard Extrabold Extended Standard Condensed

Standard Medium Condensed Standard Bold Condensed Standard Extrabold Condensed

AMSTERDAM CONTINENTAL TYPES AND GRAPHIC EQUIPMENT, INC. 276 PARK AVE. SO., NEW YORK 10.

As a designer in my own right, I must thank you for the 8% inches by 11 inches worth of visual and editorial pleasure.

DESIGNERS EVERYWHERE ARE SWITCHING TO SHIVA NU-TEMPERA DESIGNERS COLORS! The Tempera with strength of color ... brilliance and permanence. Seventeen Colors @ 70¢ per tube everywhere. Try it ...

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Your creative publication lends distinction to every outstanding design that is featured in its pages, and in doing so achieves a nearly impossible result: exceptional graphics in a distinguished setting.

Cordially yours, Ben Mayer, ARCA Gentlemen: Being a student at the Art Center School majoring in advertising design, I can no longer do without your magazine.

You have, in my opinion, the finest magazine in the field. I share this opinion with most of the people here at the Art Center. I finally got tired of trying to read the library's graphite-smeared, dog-eared copy, so you'll find check enclosed. I have canceled my subscription to --- --------- to do so, so please rush my first issue.

Sincerely, Donald R. Smelick Los Angeles

•

CA, June '60

Here's a partial list of Companies which used Woodcut Artwork in their 1959 advertising : LIBBY, McNEill & LIBBY •• . PLYMOUTH DIVISION OF CHRYSLER CORP .•.• THE FIRESTONE TIRE & RUBBER CO ••.. JOHNSON MOTORS .•• SWIFT & CO .• • . BAUSCH & LOMB OPTICAL CO ..• • THE PARKER PEN CO .••. INTERNATIONAL HARVESTER CO . . . . WILLIAM WRIGLEY JR., CO ••.• STROMBERGCARLSON CO .••. EKCO-ALCOA CONTAINERS, INC....

SEAGRAM-DISTILLERS CO .••. A. B. DICK CO. and by the following Advertising Agencies: Me CANN-ERICKSON, INC.... BROOKE, SMITH, FRENCH & DORRANCE, INC.. • BATTEN, BARTON, DURSTINE & OSBORN, INC. . . • J. WALTER THOMPSON CO . . • • N. W . AYER & SON, INC. ... TATHAM-LAIRD, INC. and many, many others.

WOODCUT Write for free literature today.

THE SANDER WOOD ENGRAVING COMPANY, INC. Dept. A, 542 South Dearbern Street Chicaco 5, llliuis HArrison 7-2112

9

CA, June '60

This is Will Burtin 's tribute to his friend William Golden.

CA is grateful to him and to Mrs. Cipe Pineles Goldenfor the loan of various pieces of her husband's work.

Golden, Art Director of the Year, died of a heart attack in 1.959.

He was Creative Director of Advertising and Sales Promotion for CBS-TV. Will Burtin, his close and long-time friend, is Professor of Design and Coordinator for Visual Design at Pratt Institute. He also maintains his own studio to act as designer and consultant for many American industrial giants.

THE GOLDEN TOUCH

BY WILL BURTIN

uHave you read B's recent article on design?" uN ot yet, Bill." ccCan you imagine about what this fellow manages to fill eight pages?" ((---?" ccThat it is difficult to keep a design simple."

"Well, isn't that true?" ccNo. It is practically impossible. That fellow must be naive."

This is part of a conversation between Bill Golden and myself shortly before his sudden departure. It is very difficult to think of Bill as not being with us any longer.

His grasp of a problem to be communicated-be it in conversation or through design- became at once so wonderfully intense in its probing, dissecting, comparing, simplifying and, finally, harmonizing stages of thought, that it became an important problem to all people around him.

The professional result of that intensity was an unending flow of beautiful folders, ads and spreads in newspapers and magazines, the ueye" trademark and its many exciting applications, all the calendars and books, which shaped the CBS corporate image.

Bill's designs create the impression of ease and of perfect marksmanship, by which the center of a targetobjective has been contacted.

The ease is deceptive because it hides the long work hours-the hands stained with printing ink-the sensitive understanding, acquired over many patient study years, of the psychological meaning in an artist's technique-the infinite care and attention to detail in handling type, paper, color and space.

This impression of ease is a sure sign of a professional competence, tested continuously at the start of every new design and quietly reaffirmed at its completion. Bill's loving devotion to perfection speaks to us through this elegant CA, June '60

11

GOLDEN (cont'd.)

PLAYHOUSE 90 Television's dlstlnplshed 90 minute weekly dramatic pro&ram opena •

brilliant new season with the thrilllnc

JACK PALANCE SUZY PARKER Produced by Martin Manulls In Television City

9:30 TONIGHT ~_!!! over the CBS Television Network •

ON CHANNEL 2

IUu strator : B en Shahn

12

ease that is so far away from the visual quip of collage, the hectic massing of piggy-back type, or the easy snobbery called abstract self-expression.

Bill's work as a designer stands out by its absence of tricks and distortions, by a respect for positive human values and the 24-hour-a-day awareness of the inspiring potentials, flamboyant shortcomings and basic needs of the new communication giant he was working for-television.

Every bad TV show was to him a lost battle with a built-in appeal to regroup his resources and work harder.

Every success carried for him a built-in obligation to double his efforts.

The perfection in Bill's marksmanship cannot be divorced from the meticulousness of his graphic reasoning.

Yet, it is this perfection which produced the continuity of successes of CBS and Bill. To measure the deep appeal of his designs one must project them against the Madison Avenue horizon of slogans, surveys, ambitions and fronts, the incredible machinery through which our economy accelerates the exchange of products. Bill looked never up to or down on the professionals of this trade. He estimated them to be people like himself-trying to perfect the tools of mass communication. That these tools produced so many ugly things could not deter him because he felt that their ugliness was caused by human beings whom he estimated to be capable of continuous improvement. That he was right in this can be seen in the continuous and grateful enthusiasm with which advertising professionals greeted every new design by Bill, recognizing the work of a master of their trade.

The lasting effect of Bill's work, in my estimate, is the profound change it produced in the thinking of these advertising professionals about the value and accuracy of visual communication. It is here, where Bill emerged as a pioneer.

Certainly, business enterprises like the Container Corporation or Olivetti had used fine art in their promotion. The difference which Bill introduced was that fine art was no longer put in a position of being a decorative and cultured eye teaser- vaguely linked to and blessing a message- but as the vital message itself, for which the text provided the beautifully tailored and precise follow-up.

The complete job worked like a faultless device in which even the seemingly accidental was expertly utilized as part of a planned communication.

Bill's strength as an art director could be seen in his ability to draw in artists of most divergent views and styles -Topolski, Shahn, Groth, Kaufman, Corcos, Balet, Rose, to name only a few-and create a continuity of information about CBS as memorable in its clarity as it was accurate in reaching its estimated objective.

This new precision surpassed any previous European and American example. It has influenced the visual-cultural outlook of American corporations just as much as the appearance of publications. It has made the designerwriter-artist team the focal as well as creative center of planning and management considerations. Having thus achieved a new status, it is now up to the art-directing profession to deepen this penetration. It is up to our art schools to prepare young people for this disciplined and creative approach to a new reality.

Bill was unpretentious. He was impatient and appeared often short-tempered. His affection for people whom he trusted, his enthusiasm for ideas and good things knew no limits, as did his scorn for the ((renaissance man in a hurry," that half-effort man who mistakes noise for activity. What Bill was he was completely.

He departed suddenly. He was the center of a panorama of beautiful things, around him and created by him.

His work is a lesson - a challenge- but most of all, a final gift to his friends.

CA, June '60

THE CORONATION OF POPE JOHN XXIII Today television will bring the coronation of a new Pope within the sight of more people than have witnessed all the coronations in the history of the Papacy II) As the solemn and majestic ceremonies unfold before a massed crowd of 600,000 in St. Peter's Square, Eurovision cameras will broadcast the event over an international network to some 30 million television viewers in seven European nations II) To enable millions of Americans to see the ceremonies the CBS Television Network will present an hour-long nationwide broadcast highlighting the principal features of the event II) Recorded on video tape directly from the Eurovision broadcast, and edited in London with on-the-scene commentary by CBS News Correspondent Winston Burdett, it will be flown by jet plane to America for broadcast immediately following tonight's election coverage by CBS News !I) It will be repeated tomorrow from 10 to II am II) Be sure to see this historic broadcast on the CBS Television Network II) Channel 2

Illustrator: Feliks Topolski

13

IUustrator: John Groth

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edited e'lopKially

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811Jt1isco.,.r,r lnryourse, why HlW5fiL.M h. Amet iU'ti ludlng soluce of new.s '"'home viflwin,t ... ..·ithmoreU. S .subnrl~' ' thoJn any ofh~, tele~> lsio" neM-5 s•rvlc f' ! Caf/th•CBST+!Ietoblon

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typ1r.1tl Nf.WSfiLM ptO~I.tiJI,J NCWSfiLM . product ol CBS News. ls•v•II~Jhlelo ;dlslat•on $.

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Illustrator: Robert Osborn

A CBS TELEVISION PREMIERE

CA. June '60

GOLDEN (cont' d.)

Harvest

"SEEMS

RADIO IS HERE TO STAY"

Illustrator: Ben Shahn

Illustrator: Rudolph Charles von Ripper

14

"THE SECRET LIFE OF DANNY KAYE" io an unforgettable experience marking a moot unuaual television debut in behalf of the United NatiODB International Children's Emergency Fund. Today you will follow tlie joyful trail rL Danny Kaye at his beet as he entert.aina the children rL

Italy, Greece, \'Ugoelavia, Switzerland, Turkey, Nigeria. Spain. Morocco, France, England and Iarael at the requeot of UNICBP. For an hour and a balf through the cameras o£ "SEE IT NOW," produced by EDWARD R. MURROW and

FRED W. FRIENDLY, you will -

GENERAL ELECTRIC THEATER A popular novel· ist fears he is losing his talent and his sanity and nearly ends up losing his wife in an en· grossing tale starring Pamela and James Mason. Don't miss "The Questioning Note," the first presentation of the season's new series. TONIGHT AT 9

the upturned faces of these children tranaligured with delight as Danny c1awna

his way into their hearts on this unique program TODAY AT 5 on CBS TELEVISION

e CHANNEL 2

ALFRED HITCHCOCK PRESENTS-9:30 Tonight Jessica Tandy stars in the strange role of a girl who loves a ventriloquist in "The Glass Key," a deft, droll drama of deception and skulduggery. Don't miss the first in an all·new series of brilliant mystery episodes brought to you by the master himself.

CBS TELEVISION, CHANNEL 2

mustrator: David Stone Martin

CA, June '60

Teleori.klntoct.,yiaMmue:baput.oiAmeric:u

bfeu tba cr-t.t.owboailwen:totbepeop&. ol lt&U.theeameaeeda,briDptheaa~Maeita:Mot

to mon Lhuto 27millioa famlli•-who wtioome lt

FROIVI COAST TO COAST

Butwhet.beraabow...cheeit.audiftK:ebybo.t., by tnin- or e~mapetic l"'ldU.tioD - Uw mc.t. lmponut t.hinr to mo.t. people • t.M quality ol t.heahowltN:lt

And it'a 1M ahow ltMlt that rutt.en mo.t. at CBS TeleviaiOA, wbere 1.-derlhlp in procnm popularity

lathe ...ult or a contiDuoua a«ort to MCUnt ud crNteprocr&m~tbatpleuepeopla'at.&elud

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pi'OII'UIYtolt.aucl.ie:lce ••• ud.urtedtM.-a with a 21'4 hl,her averqa ratiq t.bu &D.f otb.netwon at llicht- &Dd a 3Rt M-el dv..riq \be Uy.' 'nlia~popularityhM..,eciAc~b'

ad•l't'tiMrs\oda,yaNI\omon'OW. Forit'aa_.,. ofnetW'Orkoompetitiotainthema.rnt.wheft)'OU can bMt rMUUJ"': compedtioa ... iD ~ marileta

w!Mn nec.worb compete •.. aod the audino~ bu

it's the best shows that get the warmest welc017W BrinclnJ thia; popu.luhy to more and mor11 ma.r\N. the CBS TelevWon Networlt hM rrown from 74

at.lltionllul year to 1&6 tocby. And our client. an ,uiqana,.,..,.nichttimenetworkthal'a ~

laraer thu a year "10· ThileveTwideninJpopularityhell)llu:plaiDwh,y

.c:lvertialllc billinp em CBS Televiaion aN bict« t.hanonany<KhernetworkdurlnJtheftrstteft

moalhl o/1963 - ud biger than ever belon in teleYWoa hiMory.

IllustratCYr: Robert G. Schneeberg

'11•/t•t·i.,iun

1111'11.~ 1111 ir., f1tllt 't•r

CA, June '60

GOLDEN (cont'd.)

WHO STANDS OUT

COLUMBIA

IN FRONT OF

BROADCASTINC SYSTEM - where 99,000,000 people cather every week !

Tlw 't1rnng- n.orratlw nl courage.lon•,nnd d('ath 111 the

pnm~h Chit \\'or hy

ERNEST HEMINGWAY t•on1l'' to lift• tun1ght 111 the first telev1 ion adaptation of his gr at novel

FOR WHOM THE BELL TOLLS Ill !'art t l1w of''" unprec<'d

nted 2-parl, 3-hnur dramatic program tarring MARIA SCHELL , JASON ROBARDS , JR., MAUREEN STAPL E TON , NEH~MIAH PERSOFF, STEVE HILL and 3<' gu .. ,t 'to~r. ELl WALLACH. Produced by Fr d C and directed by John Fmnk~nht>im r ; adapt d by A. E. Hotchner for PLAYHOUS E 90

9:30 TONIGHT CBS f) CHANNEL 2 IUustrator: Ben Shahn

CA, June '60

in register system Perfect registration has always been a costly, worrisome problem involving artists, cameramen, strippers, engravers, platemakers and pressmen.

The pin register sys~em has come out of the litho stripping room and into the artist's studio. This system gives far greater control than ever before and it is no longer necessary to match marks to be sure of registration.

The technique is extremely simple. All that is needed are two round pins and two holes of the same diameter. The key art and the overlays are prepunched with two holes the same distance apart.

The pins are inserted into the key-art holes and either taped to the back of the art or to the drawing board. Overlays can then be added or taken off and they will always be in register.

Prepunched strips of dimensionally stable material (such as DuPont Mylar) can be used if a sturdy punch is not available or when it is not convenient to punch holes in the art or overlays.

The prepunched strip is taped to the back of the key art and the pins inserted. As overlays are needed, other prepunched strips are positioned on the pins and then taped to the overlays.

Although register marks are not needed while working with the overlays, it is advisable to add them so they will appear on the negatives. Most litho strippers now use the pin system and after they make one careful register, the pins are used from then on.

If are fortunate enough to be able to work closely with a ~ner·aman, he can the same pin on his copy board and 1-.J)as:k:.:teetures of this, sySlte~n: ..,_·

COLOR PlATE.

CA. June '60

17

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Added advantages include excellent salaries, outstanding insurance and retirement plans, company-paid tuition for advanced college study, and ideal living conditions in a channing residential community.

It is often des irable to be able to show alternate color effects or copy changes in layouts or comps. The sketches show how this can be done quite simply and quickly w ith the pin system. Any number of variations are possible.

0

n Turn the key art or photo over and tape a U prepunched strip to the back of it.

PASTEUP .SHEEET

~ Turn art face up and insert the pins into

18

prepunched strip. The pins can be taped to the drawing board if alignment is necessary.

If it is more convenient to move art around, no taping is needed.

For photos and work of similar size, a prepunched strip with holes .!/' on center is recommended. For larger sheets, single pins should be used and spread farther apart. The sketch above shows a production-line technique for multiple-page pasteups. Single pins are taped on an oversize master layout sheet which in turn is tacked or taped to the drawing board or light ·table. A Mylar tab is then placed on each pin. The pasteup sheet is positioned and taped to these tabs. Procedure is repeated for additional sheets or overlays.

For some time we have been using the pin system in our own studio. With the advent of CA and the many tight register problems involved, this system has been a great time saver.

Feeling sure that many of you would profit from this technique, we have requested our supplier to produce sets of metal pins and strips. A set includes six 14" diameter metal pins taped to squares of Du Pont Mylar plus nine 2" x 6" prepunched strips of Mylar with the two holes 4" on center. The set, including instructions, sells for $3.50 with additional sets at $2.50 each. Just fill out the form below, clip a check to it, mail them to CA, and your set will be sent to you immediately.

0) Repeat the first step with overlay and place

@

--, I

0

Please send me _ _pin register sets. (One set $3.50, additional sets $2.50 each. Please add 4o/o tax if you live in California.)

Enclosed is a check for $ _ _ __ -NAME-PLEASE P R I N T - - --

- A D D R E s s - --

-

-

------------

- - - - - - - - - -- - - -- - - - - -

- c i T y - - - - - - - - - - - - Z O N E - - S T A T E _ _ _ __

CA, June '60

I

I'~ I

I I I I

I

-------------------------, THE JOURNAL OF COMMERCIAL ART, 809 SAN ANTONIO RD., PALO ALTO, CAl.

overlay on the pins.

I

I

0

~,)

I I _j

iJ If several overlays are involved it is simple t.;i to take them off and on as needed. They will

always be in register without the necessity of taping and lining up marks.

SAMOTHRACE ExcaVtltioru Coud11cted by the Iustifllte oJFiue Arts, New York Uuiversity Karl Lchmamt, EJiror

Art Director/Designer: Bert Clarke Publisher: Pantheon Books

I The Ancient Literary Sources NAPIJTALI LEWIS

+

Bolliugtn Series XL · J

Pnutheon Books

The Handsome Salesmen: Book Jackets ((Is it good design?" ((Will it display well?" ((Does it have sales appeal?"

The successful fulfillment of the diverse functions of book jackets was evaluated by a diverse jury who agreed upon 50, named them winners in the recent Fifth Annual Book Jacket Competition sponsored by Turck and Reinfeld in New York.

Judges were Garrett Orr, President of the New York ADC and AD for Outdoor Advertising, Inc.; Alfred A. Van Duym, Display Manager for The Scribner Bookstore in New York and Charles B. Anderson, President of the American Booksellers Association.

The winning 50 represent work completed in 1959 by 27 publishers, 23 AD's, 37 artists or designers. Sixteen are in the fiction category, 34 non-fiction. The design excellence is high.

The first jackets' function was a protective one. They were ((dust wrappers" made of kraft paper with only the title and author stamped or roughly printed on them.

Today the book jacket is of vital concern to publishers, authors, agents, promotion people, bookstores. It is a sales agent. Just as the record sleeve and the soap package-it's a point-of-purchase piece. An important one.

The jacket goes to work long before the buying public ever sees it. Salesmen use them as powerful selling tools with the bookstore buyers. In placing his order, the buyer is faced with long publishers' lists heavy with unknown authors. Anything that can stimulate his interest can sway his order. The jacket often does.

Once sold to the store, the book jacket has to sell itself, to a large extent. It competes with other books on

19 Art Director/ Designer: Robert Topor Publisher: Syracuse University Press

shelves or tables. Displayed in a store window it can create sales from the street traffic.

The design challenge to the artist is obvious. In addition, there is an intrinsic demand for honesty. His work must represent the true nature of the book. Misrepresentation leads to alienation and ill will.

The first of the book jacket competitions was held in 1948. George Reinfeld, Jr., VP of the sponsoring company, felt there was need for the event due to the growing importance of the book jacket. They were continued on an annual basis through 1950, when the Book Jacket Designers Guild began, and after a few years dropped, a similar contest.

Several competition-less years passed before Turck and Reinfeld revived it again last year. They intend to continue their annual sponsorship and say, ((Due to the revived interest throughout the publishing industry-it is planned to continue- unless and until some such organization as the AlGA indicates a willingness to sponsor such a contest on a yearly basis."

Jackets were displayed through April in the New York Public Library. In June they can be seen at the American Booksellers convention in Chicago and Fresno State College. Pratt Institute, Brooklyn, and the Brand Library in Glendale, California, will also display the exhibition. Here, CA shows 9 of the 50 winners.

CA. June '60

Art Director: T. E. Mergendahl, Jr. Designer: Sydney Butchkes Publisher: George Braziller, Inc.

Art Director: R. A. Freiman Designer: Sam Marsh Publisher: Random House, Inc.

20

Going for a walk with a line

Across the Threshold A Guide for the Jewish Homemaker SHONIE B . LEVI & SYLVIA R . KAPLAN

a step into the world of modern art

BY DouGLAS AND ELIZ.UETH MAoAGY

Art Director: B. Van Buren Designer: Leo Lionni Publisher: Doubleday & Co.

Art Director: H. D. Vursell Designer: Guy Fleming Publisher: Farrar, Straus & Cudahy

CA, June '60

Art Director/ Designer: Paul Rand Publisher : Pantheon Books

21

.....

tl'i1UIIph

-:~~-

--

-;.-;--_

-- .:---

Art Director: Mrs. Darcy Coyle Designer: Eric Von Schmidt Publisher: Houghton Mifflin

by a peat

ltaliua writer

CA, June '60

Art Director: Sidney Jacobs Designer: Jean Carlu Publisher: Alfred A. Knopf

EXHIBIT A review of things current and choice. Fifteen pages of various goodies.

Macy's and Vogue. Three ADC shows. The gutty words and work of designer Norm Gollin.

This section is fun to put together. Everyone has an opinion on it from the typist to typographer, editor to stripper. Your work makes it fun and so do your words, the ones that explain the problems behind the piece. So keep on. Send us. Tell us. The client or the deadline or the production or the etc. problem.

No headline! That makes it a special retail ad. So does the integration and excellence of layout, typography and art. It is one from a special continuing campaign of full page ads running in the New York Times.

Creative Director, Morris L. Rosenblum; Illustrator, Eric Mulvany.

For the world's largest department store, and that's nobody but nobody but Macy's.

22 1\ischairtsa'twllttitloolulikt.

It looks liko foctorian bntwood, boot il IC!ll~ lyhud·•roall>tiroo tol>i11Coo1'11 co ase. it ottdoors. To mUe il, blackIIJiitJu (dfsctrtdantsofflortntinel!lll· orm)CiliOh<r•l"""lllly, booca"'tltil ila•aiiDOit'ostart.

Cmted II! Macr'• o..;,. Studio, like" ~nwc:hebeoatMworW'a largatfunaitare

When it comes to tripping and trappings, Vogue readers do what Vogue says. That's the basis of these three trade ads. They make a high-fashion bid to get fur, car and travel advertising dollar.s into this elegant magazine. AD was Malcolm Mansfield of Conde Nast.

Henry Clarke was photographer for thefur. Sidney Mehring shot the other two.

loor, O.ischair ispartofu ettdal•tinc tnJUpyoucaab.avti•adouftc*onr.-

••1

white toiyaci1tl lt'a ooe oftM -•adOfi«iuutltiopyoo111ftiaMacy'a

S.•- Coloty, .,..;., !Momlw. AI••·

in•a.tTillyli•anupedeclcombi•atiou.

Rattu with 1 0111p~toly- ud worldly loollldoor-outdoordiaitesetliaiOr· mica,aylot.altminu-.ud c:oeonttiber (i•penioutoj.stabottnerytiial).

U~abnllas,tables,chaiMs,&lidentht

uy n••er . Ciain yoa lirt witi a f•t<r. Aad ~I ia f111h ,..ljpt-hurted celon.l\ero i11't a dieM;. tit< llooaa.

WecaHitl~~~~~terfanitare,bttdOI't~t

tMnllltdeai"Y"· MocllolitkaoWJIO IWOI. 1'11tre are dlaites yoa'd lm ia yoorbol""""w~IIMIToa!UtmiJOiq

iatofot_-aldinincroo•s,chintht will Jit 01 lances ud tht'IIIO" iJto tbtfoyerwiti tiefrosLBtttomeaee loryooneli.Yoo11boodelicJotedll!....,. tltilf,~lyMacy'atltrifiypricetap.

lacy's S.....rc.looyopouto.omwooU..9thloor.

[qui~·-- is tltil: _,.. ... "''""''

Rllllttr fanit•rt. or ur~i.c ebe ill tilt wortd'alartat

stortlortltatutltr,ooth<hiadolrtplar-tlt~

ICCOUt 101'Te aJways wuted at llaey'a. Jut . . ror

whatyoobooy ... aad it'syoon.Wloooyoo-toMacy's Sonuoorc.to.y,h<Rrotoukabootluy's_Slloppi., Acco11t. Or alk &IJ nlescltrk i1a1y Macystort.

CA. June '60

Altrrt.tf-" 1Jill .t/ rJill ' /'tt r J/1 1 trs II'/!(' l'f' i I ll'ill {i11tl its

fJI't'OI f's! frJI!oll'illfJ. Tltffl's ll'h.tt 1110/'f' f'nrfldl't' rlisiJ!fJ l"'.tJf's fJU i11/o

umce f'fttli .tf('(ll'

f/t((/1 f/0 II"Oillf'll's

i11/0 1/N./J of/If'/'

1/ltf!Jff?:illr'.

For

I!Jf' /'lfl' illf.flf,'ll'.tJ /. '110//'S lltlll :],t)()()J)()() //'(J///f'/1

rr11rl 1/w /illf's/ re!ffiler. ·. f(('/'()SS

I Itt' {'()If 1111'.1/

frJ/Iotr mr,.t.'J·: f'or fftt' 1/(J/1' /'It/' ir/f'f/S, /,11.1'1/J',Ij /'II/'S ({ J'f'

fll'f'sli,fjf' ilr>JIIs ill JJJ/(' J'il'((,

f>fll //({'J/1

i11 l'fJI/1'/(s jJ/'f's/ifjf' St' /1 i 1/,fj-lllf' /Iff I If/'(/ I

lllfiJilrtl fiJI' lfl.l'lll'.tj

\ "()GUE

(If/' . Frtsltion's .tJOIII'

sell ill{/,,(),/'('/'...

fltr> f'rtsliiU!I JIOII'f'l' is ...

1111•11

f ,.

- 1

1.1-1<- pj II>\\

I I

ti p

nd111 ~

TAGGED AND DELIVERED: IT'S YOUR BEST MARKET ... , ... rt"ady~to-send t.o the Pacifk-or anywhert> eJ~ in the world: thre£> million familit'll, qll with an c."yt on vocrt.:'s tra\~E"J pa~. nll ready 10 plan a1 rip wherever vo<:L£ IUfW(.'Sl@, in IE'S.' than 1~(.-long·time. :)!)c;; of \'{)(;u£'s tJ'8V(>IIing families. for mstallC(I. ,·lsited places ouUiirle the L'nitt.'tl Stat.~ last ye-.tr. They're the:" families who r~t.ny longer .fi'J days a ycar1 and

CA, June '60

iiJlt•nd mort" $:1,570 a rt'3r :who mvl .and nc\ 00 1 \'O(a.: £'8 t'C•IltiOUOU!'!. t'O\'erage Of 1raYt') In e,·ery iSAlH~. in pecial ft-atUI'lOS like th ~1ght~ page Hawaii ar11de that mn in May H)(it.:E.Iru,i )'t>ar. They'llrc11dnndactonyouradvt't"t1st..n1f>nl t(JO.And\'Ot:trt;brmi(Sthemsu·a,ghtwyourdoor. vot~L£ . . . The Cond1'; Nast Publicat.iona lnr ..

4:!0f.....t>xinJ;1.on A,r~nut',NeY¥ York 17, ewYork.

23

Exhibit

Purpose? "To create an image ofthe client company and through this image to recruit talent for scientific and engineering y'obs."

In creating it? "Artist had complete creative freedom to develop a visual image which would allow the reader to proy'ect his own thoughts or imagination in the creative aspects of the Martin program. '' Approval? ''Management was delighted with the approach, and the entire aircraft-missle industry has commented on its merits." So speaks free-lance AD and illustrator, Willi K. Baum of these trade ads for Martin, Denver Division.

Agency was E. M. Halvorson Co., Inc. CA commends the respect shown by the advertiser for the cultural and thinking level of the prospect which logically should redound to the advertiser's advantage. Or so we hope.

THE

NEW IN VIEW!

At Marti n-Denver exciting and vast new space engineering programs are In progress.

These progran'ls demand unusual creative talent. If you have this talent and want rapid professional advancement, p lease make this known toN. M . Pagan, D ir . of Tech. & Scientific Staffing, (Dept. G-7), The Martin

Co., P . 0 . Box 179, Denver 1, Colo.

OICIVVEE!=f

0/VISIC>IV

To t he c r eativ e engm eer, the r e is nothi ng m ore stimutatmg than to work m a creat iv e e nvir-onment S pace engineenng p rograms now in pro gress at M arti n- D e nver de'm and unu sual creat i11ity and may be your t icke t to the p e r s ona l a nd p rofessio na l achievements whic h you a re seek in g. M ake you r desires and qualificat ion s known toN. M . P agan, O ir. o f Tec h. and Scien tific Staffing, The Martin Company, ( D e p t. AA 7 ) P . 0 . B o x 179 , Denver 1, Colo.

CJI!ENVIER

24

0/VISIC>/"'-J

M A RTIN · OESIGNED CIRCUlAR SPACE COMPUTERS ARE AVAILABLE FREE TO I N TERESTED PERSONS BY WRITING TO THE SAME ADDRESS .

=·:;~Min;;.::=~:!':~':,~~::::::::;u~':~ --------#=W - r '1 I V

•' Mtvlilf-~ffHr. To iltdirkllloU lt'Aof~!UHU tltila-NtiH toleffl Oltllrio~nk lids llilmlliltit:M, tlterw il offered 1M DfJJI(WIIIIIIIy /tN OIIWWJdilfl ffttVffllioff. To ptlflk/pllte

~~

U.tllil/lfTir'fV'f,ifft1ui~im1MdiotelyofN. M. PfiiOII,Dir«ttNo/T«<utiNJMd&Wit- OCIVV~~ ti/kStt~./filv, 1lt.rMwtiffComp~MJ~, P. O. Box J79,( tkpt. X~J), ~,-,n I , ColorotJD.

CA, June '60

0

/V/S/c::>/"o../

Slapp~ ~8\Q

liUp? Your choice is wide .. . world wide .. . when you fly BOAC. Take your pick of jetliners, too! Swift, smooth Britannias! Five hun· dred mile-an-hour Comet4s!-And (starting this summer) giant Boeing 707s jet· powered by Rolls· Royce engines. It all adds up to a full bag of travelling fun in store for you.

TOTAL: ...-. ...-.

You don't pay • penny more to fly by BOAC than by other major airlines. See your Travel Agent or any BOAC Ticket Office for low down-payment fares to 51 countries on all 6 Continents.

'fjQI\LO UAOEI\ II\ ll"' 19).1/tl %~\Wi,\\ INtl\'i>U.'i> ~~~~~'!. tQ~\'1)9).\\01\

\t.l:l\l.'l~\).\.·'ll:l9.1:11\'ll:l

"'""'~~. ~"'ta\Ml

Ray Cattell, Creative Director for BOAC's Canadian agency Pemberton, Freeman, Bennett and Milne Limited of Toronto tells the w hole stor y ofthis beauty. "The objective ofthis piece was to establish in the readers' mind that BOAC is a worldwide airline. At the same time impressing the reader with air travel avai lability and economy. In creating it within these terms of reference I decided the shopping bag is a most familiar item in North America and the sales slip a well-read item when

the week's shopping is cort~,pleted. Combining these two items with the world, down to a purchasable size, seemed to me to have everything we needed. The photographer, Peter Croydon of the New Studio, was given a thorough briefing, a ball-point pen scribble and a maximum amount offreedom .. H1~s decision to keep it in high key with the only real r.olo'Ur appearing on the globe has, I feel, made an or d'inary picture into a high pre.stige adverti.sement. ''

CA. June '60

25

Metropolitan Washington AD Club's 11th The annual show was held early thi s month at the Statler-Hilton. Ju dges Raymond Ballinger ofthe Philadelphia Mu seu m; Walter R einsel of N. W. Ayer and Frank Zachary of Holiday awarded 11 Gold Medals. CA shows four of them -1) Special A ward: Designer, Tom Huestis; Clien t, ADC of Metropolitan Washington ( 3 mailing pieces, 1 is shown below), 2 ) Editorial Art: Art Director, Joseph A. Taney ; Artist, Patrick Lee ; Designer, Charles C. Uhl; Client, America fllustrated, 3 ) Design of Complete Unit, Direct Mail: Art Director, Frank Harding; Artist, Ted Zeigler ; Client, Methodist Board of Temperance, 4) Design of Complete Unit, Posters: Art Director, Richard H. Nachman; Photographer, Don Gidley; Client, National Security Agency.

26

_________ __ _ __ _

,._ .. .._._::::·.:::.::::: . :.~.:.·"::-:::::.:'":".:':.:":.= .. _.,

- - - - - .. ---~ .. u•.- • ••

A ~ood "indic.ltor" of the difficultin we Americanshavecontrollingdrinkin~ and drink· en is the relationship of alcohol to crime. Ac·

cordins to the FBI Uniform Crime Report.. alcoho l·relatedarreaurepreeoent 59.49per ce.nt

of all arre&ts for all o ffen~H- Thia perccntqe ia baaed on ligures from 1.551 Amedcan cities with a total populstion of 41,219,052. 1

Here•retMft«urti -

AIArrests Drunkenness DisordertyConduct

DriviniWhielntoaiclted LiquorlJwViolalions TOTALS

2.070,714 842,415 241,167 104,925 43,471 1,231,171 2,070,794

Doeta k:ohol a~ ule crime? Noone can u.y for aure that drinking precedes crime or vice

verN . Bu t consider this :

1. Criminals consresate and crime ia ohen planned in plaCH when alcohol is told.

2. A conaidenble amount of police time ia spentjultarreetin8drink.era{aeeabove ) . ' fedua18ureauo(laveteiaalton. MU•If-Cnme Bulletin 1956." Wuh •aaLOa, 0 . C.

Repon.-Aaa~&el

April1951. p. l09.

3

4

CA, June '60

Seattle Art Directors Society-11th A photographer, Art Hupy, took the top awards in the Seattle exhibition, which was hung in April in the handsome Museum of History and Industry. It will remain on view through the end ofthis month. With two large breweries in the Seattle area there was, of course, more than a light kiss of the hops. On viewing it, the museum director insisted on last-minute changes, pointing out that beer and the heavy children attendance at the Museum were not a happy blend. Supplementary to the show (and a fine idea) was the exhibit defining and showing in a series of shots the AD at work.

Show chairman was John Divers.

Gold Medal and Special Award to Photographer and AD Art Hupy. Agency: Betts Barber Client: Spastic Childrens' Pre-School Clinic

27

Television: Silver Medal Award Art Director: Marlowe Hartung Artist: Irwin Caplan Animation: Ray Patin Agency: Miller, MacKay, Hoeck & Hartung Client: Bar-S

Editorial Art: Rlustrator, Ted Rand Art Director: James S. Ward Client: Industrial Design

Point of Sale: Art Director, John Divers Photographers: Olin Myers, Earl Pinegar Client: Container Corporation of America CA, June '60

Exhibit

Harry Jacobs is a young Virginian and he's very good indeed. These four pieces demonstrate his skill and versatility. A promotional poster, one of many pieces designed for the annual Greensboro Golf Tournament. Another-cool simplicity-a three color bug. For a Burlingtun hose corporation, Jacobs designed a logoa calligraphic bird plus a serrated circle in a second color, uses it on the company's gray parchment stationery. His two-fold brochure for a trucking firm says service in a light, bnght way. Shown, the cover and the inside spread.

Jacobs is a free lance artist and designer, lives in Richmond.

23rd Aiifiual G.G.O SPONSORED BY THE J UNIOR CHAMBER OF C OMMERCE

28

CA, June '60

Few artists achieve a style as successful and individual as Saul Mandel, New York designer. His work is simple, child-like.

It sells. Life, Post Cereal, Rand McN ally, Sucaryl or any one of his blue chip accounts can attest to that. The trick, and it 's not an easy one, is his isolation of one point to be made. Then he renders it so that it reaches and amuses both the child and the sophisticate. Often so effectively that copy is needless.

Experimental

Pfizer Aa Art Director: Rene Vidmer Agency: McManus, John & Adams

Poster for Rand McNally Art Director: Irving Gruber Agency: Franklin Spier

Outdoor poster for Folger:::. Coffee Art Director: Charles Adorney Agency : Cunningham & Walsh

29

Cover for American Home Magazine Art Director: William Bowman

One at noon, one at night, One along the way ...

You never outgrow your need for Milk, Drink three glaSSeS every day!

A MERICAN DAIRY A SS O CI A TI OI'f Represartttng the dalry !arm•~ tn }'Our erea

National ad for Gulf Gas Art Director: Arthur Seller Agency: Young & Rubicam

National ad for American Dairy Association Art Director : Harry Cordesman Agency : Campbell - Mithun, Inc.

CA, J une '60

2

3

are cordially i:a.vited

to atte:a.d a r ceptio:a. a:ive:a. by

the Museu"' Assaciatio:a. £or Dl.eDI.ber

&Dd aru.ests during the

preview o~ an ezb.ibition o~ works

by

and

the 38th A:a.:a.ual Bzh:lb:ltio:a. o~

the Cali:fornia Water Color Society on

4

5

I became a designer because it was the only job left that didn't require the filling out of a questionnaire, so you can readily understand my reaction when your little form popped open on my desk. But information is what you need ... hope that the following will be of help.

I was born in New York City. Sometime later I came to Los Angeles and studied at the Chouinard Art Institute and Art Center. I was successful in my art studies. I found a beautiful girl to love at Art Center. Quickly took her to France where we spent two years.

In France studied at the Acadamie Julian in Paris and the Conservatory of Music and Art in Fountainbleau.

Illegally worked for several French advertising agencies doing everything including HLe sell dur" (Renault French).

Was exposed to exciting influences such as Andre Francois, Savignac, vin ordinaire and gutty painters.

Back in Los Angeles with my pregnant wife, founded the compagnie, Norman Gollin, Design. Since then my work has appeared in New York and Los Angeles Art Director Shows, N.Y. Type Director and A.I.G.A. shows.

Also had a philosophical write-up in Gebrauchsgraphik and work reproduced in Graphis, Graphis Annual, and Packaging Annual, Modern Publicity, etc. This year I was honored with an invitation to be the Los Angeles Judge of the W tstern Exhibition of Advertising Art. And signs of departing youth, I am now teaching advertising design at Chouinard Art Institute and leering at a new generation of pretty art students. Also act as Consultant Art Director for Dreyfus and Shippee and The Lansdale Company, Los Angeles advertising agencies.

My office now includes several associates, and we produce a wide range of graphic materials ranging from advertising design to exhibition design, including packaging, corporate identity programs and an occasional graphic blast against the threat of atomic bombs.

Have noticed in the last couple of years a change in the attitude of clients and agencies to graphic designersor at least they seem to visit our office expecting more from us than pretty pictures and ornamental borders. Our basic approach to most design jobs is from a marketing and sales angle. We are interested in the Hbig" problem, and once we and the client are in agreement on objectives, we find there is little difficulty in arriving at an exciting graphic solution.

I don't have any particular style. I am especially concerned with effecting a proper marriage between the subject of the ad and its graphic treatment-and I like to use the type in an action that helps make the sales point.

Also try to avoid the pompous and pretentious and especially try to give some stuffy corporations a little humor.

On the opposite page various Gollin-designed pieces.

1) A black-and-white, full-page ad from a

continuing trade campaign for Acme Engraving.

Photographer: Tommy Mitchell. Agency: Dreyfus and Shippee.

2 ) Gollin hides a leg but not the fact that he moved. This mailer opened to a tremendous J,.2x56.

All wood type, printed in red on white stock.

3) Red-and-black package design for the

AJ·ax Hardware Corporation. Agency: Dreyfus and Shippee.

4) A black-and-white trade ad for Media

Agencies Clients. Illustrator: Chris Jenkyns.

Agency: Dreyfus and Shippee.

5) For the Los Angeles County Museum, an outsize announcement of a Daumier exhibition.

Kraft paper printed in black and white.

CA, June '60

Norm Gollin at a judging session this spring for the Los Angeles Art Director's Club exhibition.

31

Exhibit

Part of the problem in developing a corporate image is to humanize the company, and nothing brings out corporate humanity faster than a smile.

My only advice to ccfledgling artist/ designers" is to work hard and live riotously while you're young. The hard work will give you the professional skill every designer needs, and the riotous living will give you an insight into people's motivations that you can't find in a classroom.

Age? 40 years old. And I know more latin names of tropical and sub-tropical plants than any other damn designer in the world!

Sincerely, Norm Gollin

ed. Norm Collin's approach to living is enthusiastic, gusty.

So's his approach to design as can be seen in these samples CA selected to illustrate his look. They're always powerful, often humorous, never fa,int-hearted.

32

Six letterhead designs.

Cal~fornia Litho-Arts.

Bornstein and Brady, general building contractors

CLAUDE MONET SEASONS & MOMENTS LOS ANGELES COUNTY MUSEUM JUNE 14 THROUGH AUGUST 7· ADMISSION 5()c- 25c

An album cover for Verve Records.

Merle Shore was art director.

To announce a Monet exhibition, Collin designed this and several other coordinated pieces.

CA, June '60

., ••• •• • -------

• • • • • •

-- -- --

The April Company, stage and screen productions

Lighting Dynamics, "lighting for tomorrow's man"

Ajax Hardware Manufacturing Corporatiqn

• • •

--

• • • • •

The Democratic Club of the Motion Picture Industry

33

A family affair; Norm designed, Pat GoUin illustrated this party invitation for UPA Pictures, Inc.

For Playhouse Pictures and AD Chris Jenkyns, this 17x22 Christmas greeting.

CA, June '60

vvorld design conference ~~- in japan 1!!:W-'T1J'-1'

34

CA, June '60

based on a report by Susan Karstrom Keig

CA 's contribu ting editor from Chicago, designer for Morton Goldsholl, Inc., attended the Conference, toured Japan and Hong Kong. Learned man y things, including how to talk with her hands, sleep on the floor, cope with a tipsy China Mail r eporter w ho interviewed her at Hong Kong's Kai Tek airport.

it was like this For five days last month in Tokyo's Sankei Hall, over 250 designers and architects from 30 countries met to consider and speak on the theme-The Total Image of the 20th Century, what designers can contribute to the human environment of the coming age.

The idea of the Conference began with the attendance of various Japanese designers and architects in Aspen in 1956. That it was successfully accomplished was due to the work of dedicated committee members plus a generous assist from both Japanese government and industry.

The city of Tokyo was keenly aware of the Conference, first ever held in the Orient. Opening ceremonies were both telecast and broadcast. Press coverage was heavy and continual. Government ministers attended, made addresses. The Conference symbol was omnipresent. Besides being printed on all programs, Conference reports, badges, guides, leaflets, it was on handsomely designed posters to be seen all over Tokyo. Cab drivers immediately recognized the delegates' badge, had friendly words to say. Seventeen exhibitions related to the Conference were held in department stores. (In Japan, the department store does more than sell. Almost all are wired with excellent highfidelity systems, shoppers can hear Western classical music -Chopin to Shostakovich. Worthwhile exhibitions are a standard feature.)

Conference attendance was thoroughly international.

Industrial designer Thank My came from VietNam. Yki N ommi from Finland. Shonah Ray, fabric designer, from India. Escipion Munizaga, architect, from Chile. Bruno Munari, graphic designer, from Italy. Peter Smithson, architect, England. More familiar names- Bayer, Soriano, Pinzke, Bass, Landor from the USA. In numbers, the Italians and Americans were ahead. In profession, architects predominated.

In the amount of materials - printed information, guides, magazines, samples, folders - no one could beat the Japanese! Delegates were loaded daily with handsome graphics to the extent that the hosts thoughtfully provided a neat, well-designed black plastic portfolio for toting the daily haul back to the hotel. One book, Nature and Thought in Japanese Design was especially good. It showed and gently explained, e.g., beside the photograph of a simple wooden doorway, this copy, ((Rather than recognizing humanity in the progress of technique, the Japanese recognize a strong humanity in the existence of material."

The conference staff and physical arrangements were excellent. Manpower is not a problem in Japan, so someone was assigned for everything. A corps of secretaries transscribed and mimeographed each day's speeches, handed them out to delegates on the following day. Engraved invitations to the Governor of Tokyo's reception were delivered, not mailed, to the delegates' hotels. A committee

met planes, gave help in the customs shuffie. Guides, translators, helpful hands were commendably abundant.

The conference room itself had an impressive U.N. feeling. Translators sat in glassed-in booths above the floor. Recording secretaries in the middle. Panelists were seated at one end of the room directly in front of displays showing their work or illustrative materials pertinent to their talk. Delegates, equipped with earphones, were placed around the horseshoe. Press and students sat behind the delegates. Translation was made in Japanese or English.

There were problems. Trade terms such as layouts, logo, curtain walls, slowed down the translators sometimes to the point where they never caught up. A good half of the addresses were accompanied by slides, often poorly chosen, frequently shown too soon or too late to emphasize the speaker's point.

Lunchtime was fun. Conference rooms were in the Sankei Building, a large, downtown office building. Luncheon was served on its ninth-floor cafeteria. Delegates turned in tickets in exchange for food, which was served in neat wooden boxes. Sometimes there were exotic foods, one day it held hot dogs! Atmosphere was completely informal.

There was a double crossing-of professions and nationalities. The contact did much toward furthering understanding of crafts and cultures of other lands. In fact, this personal exposure was one of the more valuable things gained in the five days.

A conference of this extent could not, of course, be afforded by a private group, such as our own Aspen meeting is. Cooperation from every conceivable area and adequate financial backing were provided by the Japanese government and industry. While it was obvious that certain displays and brochures were slanted in a commercial way, the content of the Conference was not. Most delegates were sent either by their government or their firms.

Americans brought themselves, but then, as one said with a wry smile, uwe can afford to."

Impressive sidelight. The tremendous curiosity Japanese youth has in things American. Greater selectivity might be desirable for there are ducktail haircuts, black leather jackets and rock 'n roll. Yet this hunger for knowledge reaches things such as design. Most panelists had evening speaking engagements. Herbert Pinzke was to talk to students for 30 minutes, expected a small group.

Instead he stayed for three hours talking, answering questions to 1500 students jammed in a hall, sitting, standing, crowded together, intent and intensely interested.

Most delegates seemed to feel that the Conference was successful even though no plans were made for a future one. The subject matter was extremely broad; for example, conference subheads were Personality, Practicability, Possibilities. There was agreement that more workshop sessions were needed. The main conclusion- an affirmation of the need to improve communications between crafts and between countries.

CA, June '60

35

they said this

((It is worth noticing that this conference has been organized to study extensively problems of design that may directly affect not only family life but also every aspect of our life such as industry, cities and education ... I hope that the foreign participants will adjust their knowledge on Japan by studying modern industrial Japan as well as traditional Japan."

Hayota Ikeda

Minister of international trade and industry, Japan

((It is the interest and drive to understand the mission of design in the new age and Japan's position in this mission that has brought the inauguration of the World Design Conference ...We earnestly expect there will be a smooth flow of understanding among the participants regardless of their nationality through the discussions on the role of design in the new age."

Junzo Sakakura

Conference Chairman, Japan

36

((The student does not wait until school-time to use his senses; the unfolding of his faculties begins with the first breath and ends with the last. The assistance given to the development is education ... Many art schools teach in grooves to produce immediate results, and they do not educate a person from within into the life we are actually able to lead ... Self-knowledge and no heed to the passage of time brings the student nearer to freedom ... False ambition leads to the wish for early attainment which is always achieved at the expense of development. Rather should the student study the universal law as others have done before him and so participate in the complete scheme of things. I believe that living for constant search and growth, living each day, caring for values developed through the work and employing all one's faculties at one's highest level of performance in the work is a good life."

Hans Schleger

everything in this world, in exchanging the right inventions with one another. The more clearly we communicate with one another, the more clearly this noble aspect of man comes into focus. There lies the culture of man. Not in a multitude of trivia, such as ceramic figurines, paints, sculpture, etc. It does not matter what you call yourselfarchitect, engineer, designer, scientist, poet, the important question is-How clearly have you learned?-so you can apply your knowledge to the solutions of problems and clearly communicate with your fellow man in your society, not just with your next-door neighbor but also with your neighbors in other countries."

Raphael Soriano

architect, USA

((The new scale of the urban landscape has posed countless unprecedented problems of design. Many new physical features have arisen: the limited-access highway, the shopping center with its car deserts, the motel, the drive-in, the roadside eating place, the industrial ((park," the bus or truck terminal, the heliport, the state park. Many of these fill a given demand in a rather makeshift and opportunistic way and have failed to achieve significant form. The challenge to the planner, as scientist and artist, is to find a meaningful context, into which the new urban functions can be integrated and to search for their expression in significant form ...We need a more constructive attitude to art to make the city of the future more beautiful ... We must ask ourselves whenever we design a new facility-whether it be a telephone booth or an apartment house, a residential subdivision or a highway bridge-is this something in which man will like and feel at home? For if it isn't, the horrors of our tawdry, insensitive, unplanned environment will soon overwhelm us all and doom us to the unendurable fate of a life in which art cannot speak to us and in which we, as designers, will have no say."

Christopher Tunnard

city planning authority, professor at Yale, USA

ex-Bauhaus teacher, graphic designer, England

((Messages are not communication unless they are received and understood. If they become the basis for action, they have not only communicated but they have motivated.

And that is the real goal of a message. Today it is urgently necessary for us to realize the full meaning of that fact.

Within this circle of need, the designer-artist can, if he so chooses, contribute substantially to understanding between men. His are the skills and tools with which this can be accomplished."

((Standardization is the result of the determined effort of innumerable brains and hands to create the most perfect thing we know of, the prototype. But this prototype may lead to an infinite number of variations with an individual or a regional stamp which will be our guarantee against dull uniformation. The dull uniformation that threatens the world can be minimized if each of us stick to our regional character, if we from the northern countries as you here in Japan preserve and strengthen a natural and true individuality."

Herbert Pinzke

Eric Herlow

designer, USA

industrial designer, Denmark

((In observing one aspect of our progress, that of increase in speed of communication from the early times onward, by man, by horse, by wireless, and now by satellites, one important principle becomes apparent which we in the arts seem to neglect or perhaps do not like to face. That is the integrity of unambiguity. In learning more abo~t CA. June '60

B

CHICAGO TYPOGRAPHIC SHOW "This he swiped from Mr. Bass."

"The only reason I didn't vote for it was because I couldn't read it, but it certainly is beautiful."

"Some of these were so jazzy, they had to do it twice and explain the jazz to you."

The Society of Typographic Arts' 33rd Annual Design in Chicago Exhibition brought the quotes above. CA shows 14 of the 121 accepted pieces. There were 18 categories.

There were five judges-Frank Johnson, AD for Needham, Louis & Brorby; Charles Walz, AD for Abbott Laboratories; Gordon Martin, designer and teacher; Frank McMahon, artist and illustrator; and Rhodes Patterson. writer and art director.

There were no awards other than acceptance and hanging. And considerable exposure. Last year 11,000 viewed the show at the Chicago Art Institute. This year's exhibition will hang there until June 20th.

John Weber was Exhibition Chairman, James Logan designed the exhibition, Ken Rang created the symbol shown above.

The show is available in 125 slides to students or any graphics group for a nominal rental fee via Lute Wassman, 26 West Chestnut. The show catalogue can be obtained from S T A, 6 East Lake Street, Chicago.

-

37 1t11rt till """ J14" tl•f11.J lf'llttjlll, t• •'" clr'mtt ...... 111/'fHf'l "'• , .

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Art Director: John Averill Designer: John Averill · Illustrator: John Averill Composition: J. M. Bundscho, Inc. Client: Collins, Miller & Hutchings, Inc. Title: 2 little Birds This Christmas w~ asked our ~n directors' children to wish you, for us, the happiest season ever.

Art Director: Thomas R. Gorey Designer: Thomas R. Gorey Illustrator: Children of Art Directors Composition: Runkle-Thompson-Kovats, Inc. Client: Needham, Louis and Brorby, Inc. Title: Christmas Card

So hue in th~ pictures above they wish you in th~ir own subtl~ way all those wonderful real things about Christmas that only childrm can f~l so d~ly. They wish you a happy day - with snow md sunshin~. with friends md fun, with talk md laught~r. with stars at night ~nd ~warm cozy fir~ in th~ grate. They wish you good sledding and snowballs md a big turkey. >80 >80 >80 >80 We can add only one adult id~a. md that is .. a Very Prosperous New Y~ar.

Needham, Louis

(!i

Brorby

CA, June '60

Art Director : H. U. Hoffman Designer : Morton Goldsholl Design Illustrator : Morton Goldsholl Design Composition : Monsen·Chicago Client: Kimberly·Ciark Corporation Title: Texoprint Guide Book

AdMsovelobtilsiO< food born., tools, form 1110Ch,...ry, .., orebeltiSJ pn ntedOfl fellopll"'fbkOVM of riSOII'I(U:II'Ig domemiQnOI uobiloty It bench eo~ on bolt! d.mensoons, Olld It Klllt>~lble !hoi d ri>Odily

odhetestor~Wgh~SUI'Ioceswch<nrugbod~orrough

couugotediMfol le•opt"ll'ltllr<IPfocongdecokOO'I'IOnoosloridentohcohcwrsognsbecouM oflhdurobilotyondespe<oollyi!s~MOfoppii(OIIOII(C

tolhehoghlobofcot.lofdecoloppllcohonJ Adhftove-bod:ed Te.oopronl tse•ceii<MIIOI'sogmbe<:oVHofll1hogh

re .. ~etotheelementsond •tsgreotbf~t.onuofcolotreprod!.lct •on INOie lorrruckondbu;ld.ngp_•ertOrs, bonnef•tftouldbeoncholed wii+I~OIM!etsOtot'-~ocesforpr~tiOIIosteom!lhe w~oct.onoflheWOI'Idl

Te.ooptont!IVMdmost...cceulufvlorii'IOnytypnollobels. SomeOI'e -edd~rectlytorMproductlmomesMS, filloves, ..ciOthersO<e

oppl..cl w1th o preuure-HnSII•Ye odhesJYe (Me oboY.I S.Covseotsbrolloonceofrlti)l'oduchonlosltfftiKhfongerlhonothef moteriolsTe•opront iSbtcomongmoreondln()l'epopuk)r IOI'sognsololllonds fndoots, olcOUI'M, TeaoprWittogn~I'IMCirw)r.pe<:oolhondl.ongO<

prepot"ohonolony l ond

f O< outdoot VH Te.otQPI'onl h.cn hod o wc:ceulul record becOUM ol Its resollonc:e to sleet, W>Ow ond roll'l

~used w othout rog.d bod ong

r ...oprlnlbonners.hovldbt:OI'I(hQ<.clrhrough grommetsOf g iYen otMrp~or•chOI'Iogo onJI'rhtiwhc>PongOCIIOI'Iol the w ond l

food BY THOMAS MARIO

HAPPY HORS D'OEUVRES!

M()N 38

tempting tidbits to complement a new year's thirst OICTIO,AJliL't, AS HOIU o'O!.l' V1lE j

" a rtli..sh or appetizer, .sencd usually at the beginning of a meal," and when owners o£ public eating place< talk about hors d'oeuvr • they ma)' mean an)thing from an am hm•\ to the Gonlincntal hon d 'oeuvrc wagon, or even .m lOrg;u· bonl In popular parlance. how· t\Cr, the phn ha come to mean sompl) <Omething <hat people eat while thcv drink. \t thts time of year. a'~mbling the hon d 'oeu"Te plauer 1J one of the nation's mo r acti\.e andoor por1 It's impos ible 10 imaKme a properly arranged office hind a , fr.uttnityaff:ur, New Year's l-'\-e part)', or JUt a crowd

around a punch bowl, without a di•play of <anape. <hps and dunks \\'hat folio" therdore, IS a table of tip to help } Ott mak.e sure ):our h<n) d'ocu'\,~ turn out to be chekd 'o~u\re .

~~T-c- ,-~·--~t-----t_J

l.)e •ppeal " · of cour~e. o( im· mediate importance, but- and nvt• btM- 1t should be the appeal that tomes from the natutal iKht ol good food. fre hly un patked or fre hly cooked or fr~h1) heed. J u t to see a p<mnd o£ (\'o,·a oua salmon for instance, shced thin. dnppmg iu copper tin ted (a t on the plaller on which

Art Director : Arthur Paul Designer : Reid Austin Photographer: Don Bronste in Composition : M & L Client : Playboy Magazine Title: Happy Hors D'Oeuvres

CA, June '60

Art Director : Paul Sieber Designer : Don Walkoe Photographer: Rose & Mayer Composition : Bundscho Client : Armour Pharmaceutical Co. Title : Chymar Buccal Detail Piece

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39

because Neo-Polycln Ointment

helps clear topical infections promptly

I

pla ns, in fall ' leathers and suedes, in the Mannequin col· lection in Debutante Shoes -Fifth Floor, Middl e

Neo-Polydn provides neomycin, Ucltracin and polymyxin, the three antibiotics preferred for toplt:al use because this combination is effective acalnst ttte enflte ranae of bacteria causinc most topic~l infec.lions ••• hat a low inde1 of sensl· tlwlty .• • and anrts the risk of nnsftiulion to llfeuwlnc antUMotics, since these aaents are rarely used systemically.

And Neo-Polycin prowides these three antibiotl« in the unique Fuzene base, which releases hl&her antibiotic con· centratlons tNn Is possi ble with arute·base ointments. ._.,..,.,..,..,.,.,......,... ti'"-"-...._.IMJ..,.. M .....m"'-'"·*-•b .. llo..w:.trMin-.1 , _ _ ,... , ,..trmrdn• -ttatetnthf_...,..

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Art Director: W. Yale Wilson Designers: Ed and Jane Bed no Photographer: Rose & Mayer Composition: Service Typographers Client: Jordan, Seiber & Corbett Title: Preferred . . . Because

Art Director: Fran Foley Designer: Charlotte Schaeffer Illustrator: Dee Bjorklund Composition : Runkle-Thompson -Kovats, Inc. Client: Marshall Field & Co. Title: Mannequin Shoes

CA, June '60

,..~tnuG.,., , .,...,

. lfi!M'IIIM'OUS '~

Art Director : John Ashenhurst Designer : John Groen Illustrator: Parker Heath Composition: University of Chicago Press Client : University of Chicago Title : An Art A Science A Profession

Management of men and affain in the: world of business is an art, a science, and a profession.

It is, therefore, to taught at the Graduate School of Business of the University of Chicago.

An unusual concept: of this fidd of education, ampted to the f-ut-c:hangmg and unpredict:-

prelude

:~;:f:~~~.::.:::s~~=~-=~t

The atory of this school of business is Prnpk oo tell It is dt<soory of a dcvo<.d group of c.Jucaoon, teaching o group of tdcaed gnduau: stts<kniJ in academic sunoundU>g1 suito:l to their instructioo., ro their pbccmcnc. and to their continued l.eaming.

Kkally

.

1M Ulfiwrsity ojCJric"to, privauly ~pporttJ anJ ~itwtiOMI, WG jotntilH i11 1690 "r John D. R.clrtjtlk<, S•. CLw<sh<gon Octob<r J, 119>- C...noJ~J-IJ~p<JOpo<>-isoM of dtt higMst MW".f pritlat~ uniWTsirits ill tilt Urtitttl St.tttJ. From tN lltrf btgl'..ni"f, tN u,.,·'llfTsity luu btt11 11 pioM.tr i11 4dt~r~nutl UktU of ftlucatiott. It luu «hinttl• JiJtinpisiW tt(Dftl ;,. rrNtlf'cl. 11nilw mMk till iMprwivt m~mbn of imporuttt cofllribtdioru to WOtlJ bow~. T1tt Nin '"'"P'" (shOWfl, in ptttt, btlow) co~s •pproxilfl4ttlttoo .ats •IOttg both riJu oj tltt trtt· lirttJ MiJw•r in tM historic Hplt P~~rk '"'"'"'miry on Chic-,.'s Sotlth SUit:. Tlat: too bwilJi"'s Oft tltt tilmJ»IS, lftOstlrofC.u)tic Jaig,.,~~tt flrr•ngtr/ ;,. ~lllflla 7N Crtttlt.ut~ Scltoolof&sintss ....,foorwi<J(os..,•,...,I'<Jtlw.wsc'-1) in 1891. Tlv Sdooofsj""'lty""' Wpll""' wido Jlw UnitJtrsity, both ;,. tdutt!tiott~~l conctpts 11M ;,. rut~~rtlt. TN Sdtool is Ioc.W ;,. 01tt of tM lftOJI •ttrtlditJt fWM'r4"lln in tltt cmttr of tlte Cllttlptll, .Jj•attt to H"'Ptr MmtorU.t Ubr11f1.

O.ffi«s ".[ tN School .nJ cLusrooms Mt ;,. Ht~SWII Ht~ll. Acro.u tlv F•ngk, ;,. BtUiiVII &ut, 11rt otltn cilwrooms •Ni • rtM4tch librlltf of l'fO.P<'O tJolumu CM bsuirwss .nJ «ffttfffia:.

It is wUqU< h<caux of tiJ pbilooophy and h<catue, through design and circwnstanc:e. it ls part of a great wUveniry which, in rum, is pan of one of~ world's largest and most diverse, u wdl u most dyrwnic, business and indUJtrial commwllties.

It is exciting because of its great faculty. Thac men, gathered &om all pam of tit< coWltry, u:ach tit< basic disciplines and thcU application <0 tit< oolution of business probknu. They teach the student how he may continue to learn for the duration of his business career.

It U rewarding not only because of its program. but Wo because here: one can learn and srudy on a beautiful campus among trca and ivy and gny limestone buildings, yet be: only minutes away from the financial howes of LaSalle Street, great stcd mills. the nation's major trading and transportation facilities, including the world's busiest air termi.nal, and a major inland seaport from which ships WI to the harbon of the world.

to

lifelong learning

DID YOU KNOW Insulation is the only publication in the world that qualHias s ubscribers on the basis of their interest in products for the elec trical and electronic insulation ull8r market?

It's a fact ___ Insulation bas no waste cir culation _ . _ it gats your mas-age to 100'lfo ''effeotJve'' read.en.

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Great Ideas of Western Man -

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One of a Series

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~

40

Art Director / Designer: R. R. Roth Illustrator : R. R. Roth Composition: Hayes-lochner Inc. Cl ient : lake Publishing Corp .

Title : Did You Know

UTABLE LAW OF JUSTICE P HU

OU T TO ALL

LE I LATION. THE VIOL JIO OF THO E L WITH I

• BUT

IT I

0

THE

Art Director: Walter Reinsel & Ralph Eckerstrom Designer: Carl Regehr Composition: Runkle -Thompson -Kovats, Inc. Client: Container Corporation of America Title: Great Ideas Ad-John Quincy Adams

I HT

NATION ( P UBLICOLA,l791)

CA. J une '60

OF

Art Director: Charles Walz Jr. Designer : Norman Perman Illustrator: Norman Perman Composition: Runkle -Thompson-Kovats, Inc. Client: Abbott Laboratories Title: Compocillin-VK Package

Art Director : Ed Bed no Designers: Ed and Jane Bed no Photographer: Rose and Mayer Composition: Herman Typographers Client : American Osteopathic Assn.

Title: You Can't Miss

USE

BOTH BARRELS the Forum of Osteopathy

J ournal of the American Osteopathic Association

41

You can't mia when rot• we both THr. JouaHAL oF THr. AJoflklC.U. On't:OPATHIC AMOCIAnON and THr. foauw OF Osn:orATHV

You cu' l mu1 the depth. the ~e. and the ~adenhip offtted. Yo" c.n'l

mus bccaUK TH& jOVIUIAL is the only official Kientific pubiM:nion and IJ the <»teoptthk phytkian'J fim rd~e for mform<~tion and new devdopmenu in his Held.

Anothnsure hit in thtJ ca1t't mwcomblnation is

THr. foauw b«aute this publication iJ hiJ contact with the Ktivitia ol the tp«ialty col lqu. tu.te I"J'Upl. other Olleopathic I"'OP' aM pott-paduate tninmc KMions. Abo, newt of tchoob, Mudenu. holpiul prosnm• and aus.ihary acuv•tia m THr. foauN captures the auention ol the ruden. THr: FoauM u the ofticial publication b- the affiliated lf'O\IJ» of the Ama-k:an Osteopathic Auoctation and racha all Ol(topathK physicians .. a 1\Ynnt«d orculation ol 15,800. THr. jooMAL rncha members ol the A. 0 . A. and tub... aruannt«dc•rculationoll2,000. In addiuon, yourecciveaddcdvaluefromthe:combiiUition ""'~;bbk Noo;ng~,,,.,..,,.,hkpublkot;on«croupoloot«> ~~L.::::::t

pouh.c pubhcationscanJivt:youbeuft"JUdtnhip, depthandrov- C4.~~

::;,It~:

ila:::l:,l:::~·~::jb~-=-~~~:t·;:U~~ :!!L~~TAO:·:~:.r·~M~~C:.'~

Art Director : John B. Goetz Designers: Sue Allen, Greer Allen Illustrator: Sue Allen Composition: University of Chicago Printing Dept.

Client: The University of Chicago Press Title: The Complete Greek Tragedies

Art Director : Don Alden Designer: Don Alden Composition: Frederic Ryder Client: Ditto, Incorporated Title : Ditto

CA, June '60

ProofsProofsProofsProofsProofsProofsFranklinTypographerslncorporated,225West39thStreetPE6-4708

THE TIME

AND THE PLACE

Herewith a column to call out club activities, exhibitions, worthy doings.

Chicago- Art Institute. 63rd Annual Exhibition of Artists of Chicago and Vicinity.

Through August 14.

East Orange, N.J.-Formation of the New Jersey Art Directors Club. For information contact T. S. Ruzicka, N.J. Bell Tel. Co., 540 Broad St., Newark 1, N.J. Kansas City-AD Club's new officers: president George Moyer, Moyer-Crandall Studios ... vp Barney Newcom, Harmon Smith Inc ... treasurer J o Stockwell, Valentine Radford ... secretary Emma Y ander, designer.

Los Angeles-AD Club's new officers: president Ted Poyser, Gaynor & Ducas ... 1st vp Roy Rogers, The Marquardt Corp . . . . 2nd vp James Merville, Merville Studios ... treasurer Donald Kracke, Max W. Becker Adv't ... secretary Luther Weare, North American Aviation, Inc.... membership chairman Robert Rafn, Fletcher-Richards, Calkins & Holden.

Los Angeles County Museum. Claude Monet Exhibition: "Seasons and Moments" showing 100 landscapes. Admission fee. Through July.

New York City-Whitney Museum of American Art. Selections of sculture,paintings, watercolors, from early 1900's to present. Sculpture: Lipton, Lipchitz, Reden, Roszak, David Smith. Paintings: Eilshemius, Bellows, Bischoff, Albers, Stuart Davis, Marsh, Gottlieb, Maciver, Mitchell, Pollock, Stamos, Toby, Weber, many others. Through September 11.

Museum of Modern Art. "Art Nouveau" exhibition. Turn-of-the-century style integrating architecture, painting, sculpture, decorative arts, industrial design, typography, graphic design. Several hundred examples. Through September 6.

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San Francisco-The Professional Photographers of California's Western Annual Print Exhibit showing several hundred commercial, industrial, experimental, portrait photos by professionals from western U.S. and Canada. Jack Tar Hotel, June 30-July 4.

Copy closing date for this column, 15th of month preceding date of issue.

II

'

i

IN LOS ANGELES AND SAN DIE:GO

CA, June '60

m MARK ANY MATERIAL! ~d ~e ;'/{{ ?t~

CA 's studio-tested review of new and existing materials available to artists.

Kutrimmer and Michael Lightning Desk Trimmer

*FLASHORY INK MARKER NEVER DRIES UP WHEN LEFT UNCAPPED

*It 's a brand-new concept . .. it's the All -NEW FLASHDRY INK MARKER tha t' s always read y for use . Just push down and Preslo l The ink is fl owing again ... no matter how long the cap has been offl • Writes on any surface, includ ing metal • Contains more ink than othe r markers at higher prices !

• 8 brilliant colors • Guaranteed 2-m iles of writing • Can ' t evaporate, completely leakproof • Replaceable t ips and inks mean economy A va ilab le at a ll leading De a lers .

FOR FREE SAMPLE write:

only

69/t V

~:A.:C'--..8 MANUFACTURING COMPANY

~--~-~169 MU . . AY STliiT, NEWA•K S, N. J .

CANADA : Seat -o.matlc of Canada, 2 Matilda St., Toronto

44

WATER COLORS STAY MOIST READY TO USE INDEFINITELY

Paint with colors of incomparable texture month after month The Artesian Palette "moisture controls" all water soluble colors. Ceramic paint well unit absorbs water from reservoir and by capillary action replaces moisture lost by the paint due to evaporation. Your colors are always in prime condition-always uniform quality.

USED AND RECOMMENDED

by America's Most Famous Artists A vai/ab/e in various sizes and combinations to suit every need

OS L E-;-PRODU C T - ; - - - - - - - -~

1894 GLENGARR Y CI RCLE, BIRMING H AM , MI CH.,

I

0 Please send me complete information on the Artesian Pa lette

! Name 1Address

l~t~ -----

The Kutrimmer is an all-metal, precision-built paper cutter with Solingen steel cutting edges. A hand-operated clamp holds up to 50 sheets at one cutting. Precision measuring gauges set and lock for accurate cutting.

Available in 6 sizes with blades from 14¥2" to 3P/s". The larger sizes are table models with foot-operate d clamp. Prices start at $49.50 F. 0. B. New York.

The Michael Lightning Desk Trimmer was developed for precision trimming. Work can either be trimmed by presetting the measuring devices or visually as in the case of cutting repros line by line. Photos, film, stats, etc., are trimmed by placing them on the table and pressing down against a stationary guillotine blade. Comes with 14%", 18", or 26" blades, starting at $34.95.

Both cutters were developed by the Michael Lith Sales Corp., 145 W. 45th St., N.Y. 36, N.Y. and are available from your dealer or direct.

X-Marx

Register marks printed on clear, pressure-sensitive ¥2" tape in four styles: black marks on clear tape, red marks on clear tape, alternating positive and negative marks for process work, and black drill marks on clear tape for color comic printers and engravers. A 100-mark roll with dispenser sells for $1. A larger roll with 372 marks will fit any standard dispenser and sells for $3. Available from your dealer or from Bienfang Products Corp., Metuchen, New Jersey.

Izumi Fountain Brush

FROM $675 UP

r

MATERIALS

I I

I Stat.!_ _ _ ::..J

Similar to a fountain pen, ink is drawn into a slender glass tube. Black or colored inks can be used for brush painting, dry-brush, or calligraphy. The brush heads are removable and come in three sizes. The pen sells for $3.65 with a %" brush, $3.75 with a 1%" brush, and $3.95 with a 1%" brush.

At your dealers or from Y asutomo & Co., 24 California St., San Francisco 11, Calif.

CA, June '60

Densmore " Drawing Chief" Desk

A unique combination drawing table and standard executive desk that can be converted in seconds. One section of the desk top lifts up and the drawing board is elevated into position.

There is sufficient clearance for a permanently mounted drafting machine.

Another section of the top slides out and exposes a tool compartment.

Drawers and storage space provide for drawings, paper, files and supplies.

Various sizes, styles and accessories are available. Write to Densmore Calculator Co., 2003 E. 14th Street, Oakland 4, California for complete information.

Chart-Pak Tape-Saver and Tape-Pen

Chart-Pak's pressure-sensitive charting and statistical tapes are now protected from dust and dirt by rigid, transparent plastic disk-shaped dispensers. Tape ends are always accessible but the remaining tape is exposed only when used. Designed to handle widths from %4 11 to 2", these tapesavers will snap apart, allowing the tape to be removed and inserted in ~ape-pens when precision taping is required. The tape can then be replaced and stored or stacked on spindles.

At your dealers or write to Richard Keating, Chart-Pak Inc., Leeds, Mass., for further information.

Literature for you r f i les " . .. as mentioned in CA" CA invites manufacturers to send literature .for review in this section.

"Woodcut" . .. a 32-page manual describing the history of wood engraving, modern techniques, reproduction information, numerous illustrations. The Sander Wood Engraving Co., 542 So. Dearborn, Chicago 5, Illinois.

"Grifhold Tools" . .. a 22-page catalog of knives and blades used in graphic work, pounce wheels, stencil cutters, compass cutters, etc, etc. The Griffin Mfg. Co., Webster, New York.

"Floored by Deadline Delirium?" ... an 8-p~ge

folder describing the Art-0-Graph opaque projecter. ]. A. Engel Inc., 4837 Emerson Ave. S., Minneapolis, Minnesota.

"Introducing Fluoro-Color" . .. a 28-page brochure describing the process, special effects, the materials and reproduction information. Fluorographic Sales Division, Printing Arts Research Laboratories, La Arcada Building, Santa Barbara, Calif.

YOU'VE NEVER SEEN ANYTHING LIKE IT BEFORE!

HAND llrltRING atVL TYPE S, FMt! S,Si1Kf111! s, ~I

[CfLLo£lAk r

®

TRANSFER ®TYPE Transfers alphabet letters to any smooth surface: Cardboard, paper, glass, acetate, etc •••• simply by rubbing!

ART SUPPLIES • 2220 WEST 7TH ST., LOS ANGELES 57, CALIF. We pride ourselves on carrying all the best lines for the commercial artist. Ample stocks

Perfect for displays, signs, presentations, door and office lettering, color slides, titles, diplomas, etc.

t9 give you fast service. Let us serve your needs on BOURGES Sheets and all your other

Available in opaque Red, White and Black ••• over 50 styles ••• 18 to 144 point.

art materials.

BOURGES

MAGIC COLOR SHEETS OF 1001 USES

This is the title of a new free booklet on Bourges. May we send you a copy? Call or write us today.

45

the on~ about the girl Thursday Oncet there was an art studio with 6 artists, a salesman and a girl Thursday. She had been hired as a girl Wednesday but had done such an outstanding job keeping the coffee cups clean she had been promoted. She had ambitions to be a girl Friday. One day (probably Tuesday) on an errand at the art supply store, she saw a copy of CA and immediately had the man put it on the studio"s &ccount. All 6 artists thought this was a good magazine and she was a smart girl to think of it, so they promoted her to a girl Friday with a $10 a week increase.

Philadelphia Art Supply Co. Philadelphia's most complete stock of art and drawing materials • CRAFTINT • BOURGES SHEETS • KEMART MATERIALS • ZIPATONE • ALL GRAPHIC ART SUPPLIES

Moral ...

Unless you want to increase your overhead $10 a week, subscribe to CA yourself and save money.

With check enclosed:

Or we'll bill you:

13 issues 26 issues 39 issues 65 issues

12 issues 21,. issues 36 issues 60 issues

$12 22 30

45

$12 22 30 1,.5

SEND FOR OUR 200-PAGE CATALOG ON YOUR LETTERHEAD

PROMPT DELIVERY AND MAIL ORDER SERVICE

25 South Eighth St. Philadelphia 6, Pennslyvania Phone MArket 7-6655

CA, June '60

(3, COLOR DUOTONES 10%

30%

10

20

30

40

50

70

100

CA, June '60

50%

70%

One-color halftone

Duo tone

Normal black and white halftone

30%

40%

50%

COLOR

COLOR

COLOR

COLOR

BLACK

BLACK

BLACK

BLACK

20%

10%

Wlrt.IYY~

60%

70%

90%

SO%

CA COLOR CHART COPYRIGHT 1960 BY THE JOURNAL OF COMMERCIAL ART

•

PRINTED

CA, June '60

100%

BY LITHOGRAPHY USING 150-L INE LEVY

SCREEN

PRINT THAT MATTERS Advertising Layout and Art Direction

For better work ... for quality-true color and richness on the brush ... try SARGENT TEMPER-A POSTER COLORS next time. At all art s"upply stores.

AMERICAN ARTISTS' COLOR WORKS, Inc. 200 F1flh Avenue, New York 10, N. Y. Laboratories & Plant · Hazleton, Pa.

The Concept

by Stephen Baker Published by McGraw-Hill, $13.50

Robert Blanchard, publisher

An excellent explanation of who an agency art director is, what he does. Stephen Baker knows his field and-discusses it well. He is senior AD for Cunningham & Walsh as well as a frequently-published author.

Richard Coyne, AD/editor

First section of the book relates the AD's functions as a craftsman. There is an enunciation of layouts, type, composition, lettering, etc. Each major point is pertinently illustrated.

The second part of the book deals with the AD as an administrator-working with the client, copywriters, art salesmen, photographers, research, the running of an art department.

Some of the biggest agencies and best-known art directors in the country cooperated with Baker in supplying both materials and information. It is a fine guide to the beginner-a nice way to compare shops and approaches for the veteran.

The book was designed by the author, runs to 322 pages, is generously illustrated.

Mickey Mulligan, associate editor Ralph Hudgins, associate art director

The Graphics Jay McKendry, typographer Bert Bryce, associate typographer Clarence Philbrook, lithographer Henri Luyckx, associate lithographer

Contributing Editors William Condit, Denver Wendell Davenport, Honolulu Susan Karstrom Keig, Chicago Ruth Long, Houston Tobias Moss, New York

48

The Paperbound Book in America

WITH THE NEW

,CJ-~

''1000''

Its range and performance will save you valuable production time . . . time you can devote to pure creative work. The Art-0-Graph "1000" reduces 5X, enlarges 5X (9 times with inexpensive lens attachment). Projects flat copy or objects. No intermediate steps such as tracings. Quick focusing. Simple manual control. Feather-touch balance. Automatic lock. Adjustable track length for home or office use. Takes no floor space.

All-steel lifetime construction. Beautiful gold hammertone finish. Better all-round performance at a new, lower price.

See Your Art Supply Dealer OR WRITE TO:

ART·O·GRAPH, I N C. 4837 Emerson Ave. S., Minneapolis 9, Minn.

James Peck, Seattle

by Frank L. Schick Published by R. R. Bowker, $7.50

Emile Pirro, Canada

The book traces the history and development of inexpensive paperbound books. They were sold in the 17th century side-by-side with drugs and sundries. And so they are today.

Ted Poyser, Los Angeles

In addition to the history survey there is a look at the operation of many of today's big paperback publishers- Pocket Books, Penguin, Bantam, etc. The book runs to 242 pages, is illustrated.

Leonardo, A Pictorial Biography

by Richard Friedenthal.

A Studio Book, published by The Viking Press, $6.50

In truth, this is one of those books that should be owned. It presents, in pictures and very readable words, Leonardo, the incredible painter, sculptor, architect, musician, engineer and scientist.

Friedenthal's research was extensive. He is able to explore and explain Leonardo as a man, how he dressed, what he said, how he reacted. There are intriguing quotations from Leonardo's own letters and writings.

And there are generous and well-chosen illustrations -109 of them, some in full color.

All plates have explanatory notes. There is a chronology of da Vinci's life as well as a name index. The book runs to 144 pages.

CA, June '60

Harold Quiram, Dallas Robert S. Robison, St. Louis Irwin Caplan, humor editor Graphis 3, photography editors Almonte Bailey, Jack Fields, and Bill Hewitt

Advertising David Hartman, manager, New York Jan Williams, Palo Alto

The Office Carolyn Thompson, circulation Cathleen Ross, Accounting

The Cover Ralph Hudgins

1

1

TRAILMOBILE Illustrator Bud Schumann for Farson, Huff & Northlich

2

OR . LOCKE SHOES Illustrator Norman Wells for Geyer, Morey, Madden & Ballard

3

PROCTER & GAMBLE Designer John Ho usley

4

THE E. F. MACDONALD CD. Illustrator Paul Melia

UV WHIRL NEW i~e V2 GALLON ~

3

1-H

Through these doors pass creative art assignments from leading advertisers in mid-America . We ' re interested in yours, too! Write for booklet "Pattern for Growth."

H H ART STUDIOS, Inc., 134 Zeigler Street, Dayton 2, Ohio

49

ALI~IO

VI.§LIAL

ART§

817 TATNALL ST.

WILMINGTON, DEL.

OLYMPIA 4-4442

Because of the i ncreasing demand of industrial plants for special art materials to meet the needs of their commercial artists, we have added many lines, such as BOURGES SHEETS, to our general stock of the finest in art materi· als. Let us serve your next order-for all your artists ' needs.

BOURGES MAGIC COLOR SHEETS OF 1001 USES This is the title of a new free booklet on Bourges. May we send you a copy? Call or

REPRODUCTION SPECIALISTS for the entire graphic arts

ask for Miss Platt or Mr. Aaron

Mask-0-Neg 142 GREENE STREET, NEW YORK CITY CANAL 6-8440 VELOXES <ALL SCREENS > , COPY PRINTS , CONVERSION PRINTS , PHOTOGRAPHIC ASSEMBLYS , PHOTOSTATING , COLOR FILTERING , PHOTOGRAPHY .

write us today.

CA, J une '60

ON THE BOARD Zellerbach Poster Contest

50

Outdoor Advertising

The gentlemen above didn't just finish a vaudeville routine, they've completed the job of judging 451 posters entered in the Zellerbach Collegiate Advertising Art Contest.

The grand-prize winner above brought $500 to its creator, David Dreschel, Art Center School senior.

Subject of this year's competition was a poster to be designed to encourage people to vote. There were three cash prizes awarded in each of 10 Western regions.

Judging was held in San Francisco late in April. The grins above, from left to right, are Jack Allen, AD for Young & Rubicam; Hugh Smith, Outdoor Advertising Corporation; Paul Hanson, VP for Foster & Kleiser; Ralph Hudgins, Associate AD for CA. Nick Carter, BBDO's AD for outdoor advertising is not shown, also judged.

May, a month of muffs

To Sol Maiko££, author of last month's article on the type face, Baskerville-apologies.

To our readers, an explanation.

Somehow the byline was omitted.

Sol Malkoff, type expert and printing designer, is president of the Typography Shop in Atlanta. He has both composing room and art department experience with typographers, printers and book publishers. Maiko££ teaches and lectures on type, typographic design and calligraphy for art, editorial and graphic arts groups. He is a member of the STA, Chicago; Atlanta Art Directors Club and the Atlanta Club of Printing House Craftsmen.

• We failed to give proper design credit for the brochure announcing the Freeman Craw typography seminar at the University of Utah. Keith Eddington, APRA Agency, Salt Lake City, was the man responsible for this fine piece.

Outdoor Annual, just published by Outdoor Advertising Incorporated, reproduces the year's best as selected by the jury of the Annual Competition and Exhibition of Outdoor Advertising Art, sponsored by the Art Directors Club of Chicago. (CA, May '60).

The Grand A wards and Classification Awards are reproduced in full color, Honorable Mention and Distinctive Merit in black and white. All of the illustrations are large, visually useful in size. The combination of color, size, quality and fidelity makes the Outdoor Annual one of the most praiseworthy graphic reporting jobs seen to date.

In addition to pictures and descriptions of the jury and judging procedures, Annual contains articles by Felix W. Coste, President, Outdoor Advertising Incorporated; Herbert S. Bull, President, Art Directors Club of Chicago, and Executive TV Art Director, ]. Walter Thompson Co., Chicago; James N. Hastings, Foreman, Jury of Awards, and Vice President-Creative Director of Art, CampbellEwald Co., Detroit; and Frank Johnson, Chairman Exhibit Committee, and Art Director, Needham, Louis & Brorby, Inc., Chicago.

An extra feature is an acetate scaling guide for 24sheet and 30-sheet poster proportions. The sheet is removable from the book for use as an art tool.

Designed and produced under the direction of OAI's Ann Noonan, the Outdoor Annual is scheduled for a limited distribution to advertisers, agencies, and selected art training institutions.

• American Artists' Color Works, Inc. 48 Amsterdam Continental Types & Graphic Equipment, Inc. . . 9 Art-0-Graph , Inc. . . . . . 48 Audio Visual Arts . . . . . 49 Chas. T. Bainbridge's Sons . 51 Bourges Color Corp. . . . 5 Arthur Brown & Bro., Inc. . . 8 Cello-Tak Company . . . . 45 . 8 Color-Aid Co . . . · . .

Colorstat Corp. (Authenticolor, Inc.) 43 Crescent Cardboard Co . . . 6 Edstan Studios . . . . . 4 Jerry Fields Associates . . . . . 8 Flash Manufacturing Co. . . . . 44 A. I. Friedman Inc. . . . . . . 9 M. Grumbacher Artists' Material . . 7 HH Art Studios, Inc. . . . . . . 49

John Henschel & Co., Inc. .

Fred Kopp Advertising Art .

Leslie's Art Supplies . . .

Lucygraf Manufacturing Co. Ludlow Papers . . . . .

Mask-0-Neg . . . . . .

John F. Mawson Co ., Typographers National Card, Mat & Board Co. Osler Products . . . . . . .

Philadelphia Art Supply Co . . .

Photo Lettering Inc. . . . . .

Sander Wood Engraving Co ., The .

Shiva Artists' Colors . .

Terrytoons, A Division of CBS Films, Inc. . . .

Harry Volk Jr. Art Studio F. Weber Co. Winsor & Newton, Inc. .

. 8 . 43 . 45 . 8 . 43 . 49 C-4 . 5 . 44 . 45 7 . 9 . 9 C-2 . 5 . 51 . 51

Address advertising correspondence to New York office: David Hartman, Advertising Manager (MUrray Hill 2-1-438) The Journal of Commercial Art 15 West J,.J,.th Street New York 36, New York Palo Alto office: (DAvenport 6-601,.0)

CA, June '60

Jan Williams, Advertising Department The Journal of Commercial Art 809 San Antonio Road Palo Alto, California