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Volume 3 • Number 6 • June 1961

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, one year, $12; two years, $22; three years, $30; five years, $45. Foreign, one year, $14. Single issues: $1, except for AD show issue $2, Packaging issue $2, Corporate literature issue $2, CA annual issue $4. Copyright 1961 by 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.

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.

4

Guest editorial by Paul Fine

9

Letters to the editor

14

Materials: services, available literature

16

On the board

20

The time, the place, the people

21

Print that matters

21

Advertisers' index

22

70,000 Artists

24

The Illustrator Today, a seminar Robert Pliskin 26

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

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 Hill 2-1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road , Palo Alto, California, DAvenport 6-6040.

ART TRADE SHOP NO.1

Austin Briggs 28 Philippe Halsman 30

32

The Changing Art Director

36

Marvin Rubin, his work

40

Text papers

42

Literature of the month

44

Exhibit: selections of current and choice

50

Moving day, announcements

54

CA color charts

56

CA-61: rules and entry forms

60

Designing aloud: Walter Landor

Compromise

AND THE

a guest editorial by PAUL FINE, Research Consultant

Why is it so widely held that compromise is a ((bad thing" when it is an artist who does the compromising? Isn't compromise, after all, the essence of social life and of dealing with reality? Isn't it only through compromise that dreams cease to be pure dream and become accomplishment in reality? Why, then, should compromise be seen as a noble thing in the art of social intercourse but as an ignoble act of self-destruction for the artist?

4

The answer to these questions lies in the answer to another. What is involved in the act of compromising?

Compromise involves two steps: first of all there is a yielding of some part of one's convictions in order to secure agreement; then there is a ((promise together" (the root meaning of the word) to act so as to make the agreement a reality. Now, since a genuine promise always rests upon the integrity, concern and convictions of the one who makes the promise, any compromiser must beware that in yielding conviction to gain agreement he does not yield so much that his ((promise together" ceases to have a basis in his convictions.

If he does, he will find that he has been ((compromised." But so long as he does not, compromise remains a noble act, and an essential one whenever one's social role requires the seeking of agreement.

The artist, too, makes a promise, and because he makes a promise, he too performs a social act. But the ((pure" artist does not act with or for others. His promise is his alone; it is not a ((promise together" with others.

Further, the act of compromise accepts the facts that happen to exist within a given set of social circumstances.

For the compromiser, these facts are ((reality," and anything else is sheer wishful thinking.

The artist, however, knows that such facts are a very evanescent kind of reality. Indeed, the artist takes upon himself the task of showing to all who will look that it is the social realist who is doing the wishful thinking when he assumes that the momentary circumstances are the essence of reality.

It is true, then, that the ((pure" artist cannot compromise. Not because compromise itself is ((bad," but rather because compromise involves actions which are in conflict with his role and with the function of art in society.

Now, what about the commercial artist? Does his role demand compromise to secure agreement, or a refusal to compromise so that a more lasting kind of truth can be created?

The answer is that his role is another one altogether.

The role of the commercial artist is to use the means of art to project the convictions and promises of others. The commercial artist stands between a communicator and an audience, giving form to the content one wants to convey in such a manner that the other will grasp the intended meamng.

There are two aspects to this role. One has to do with what is communicated. The other has to do with how it is communicated. Is there a place for compromise in either aspect of this role?

With regard to what is being communicated, the commercial artist cannot compromise, for the simple reason that the promises being made are not his to fulfill, nor are the convictions on which they are based his to yield or to maintain. His only choice, then, is to accept the task of stating the promise of someone else, or to reject it. There is no room for compromise in this aspect of his role.

It is the second aspect of the commercial artist's role that raises the problems that trouble so many commercial artists. Is there room for compromise in regard to how the message, how the promise of the client, is to be stated?

Let us see.

The commercial artist has a special kind of powerthe power to express meaning in graphic terms so that the intent (the promise) of the communicator is in fact conveyed. Because he has this power, the communicator hires him.

This power of the commercial artist, however, is based upon (a) his aesthetic convictions; and (b) upon his ability to use the artist's special power of perceiving the intrinsic reality that underlies the momentary surface of things. Clearly, then, if the commercial artist compromises either of these, his aesthetic convictions or his special powers of artistic perception, he cannot fui.fill his role.

There is no room for compromise here either.

Rather than compromise his aesthetic convictions, the commercial artist must become so sensitized to the full meaning of the ends which are not his that he can give them perfect expression through his own aesthetic means.

The role of the commercial artist therefore demands more than an uncompromising adherence to aesthetic convictions. It demands an uncompromising utilization of artistic perception and sensitivity as well, for, in giving form to the convictions of others the commercial artist must see what they do not see, understand their meanings better than they themselves.

CA. J une '61

COMMERCIAL ARTIST Yet the aesthetic aspect of the commercial artist's role continues to raise the problem of compromise. Why? Sometimes it is because the commercial artist focuses so strongly upon the how of communication that he forgets the what of communication. As a result his work is fine aesthetically, but it simply fails to say what the communicator wanted to say. More often than not, the client's complaints which are directed to aesthetics are in reality complaints about content. The commercial artist has utilized his aesthetic convictions but not his artistic perceptions. He has failed to ((see" the essence of what is to be communicated, and so he has not expressed it. If he now compromises his aesthetic convictions, he only compounds the error.

But it can also happen that the commercial artist does see and does communicate the essential content that the client has been unaware of, and is not ready for. And this case is the crux of the problem of compromise for the commercial artist. If he has truly seen the intent of his client and the nature of the client's objects, if he has expressed these with the best of his aesthetic skills and satisfied his convictions-should he then compromise?

This is a relatively rare choice. For it can arise only when the commercial artist has seen truly, and has expressed his perceptions truly. The commercial artist's special role places special requirements upon him to be sure that he has done so. If he has done so, and is then asked to change, no issue of compromise in the true sense is involved. He cannot compromise without destroying his own role. He cannot yield on aims, for they are not his to yield.

He cannot ((promise together," for the means of fulfillment are not his. He is a sensitive instrument for the fulfillment of the aims of others.

In this case, the commercial artist is simply being asked to give up being what he claims to be. The choice is his alone, but it has a consequence. The commercial artist who so yields the base of his integrity loses the right to the ((artist" portion of his title. He has become pure ((commercial." Some will (and some will not) consider this too high a price to pay.

To remain uncompromisingly sensitive in the artist's way; to adhere uncompromisingly to aesthetic conviction; to do these as an instrument for the fulfillment of aims of those who do not understand them, places almost superhuman demands upon creativity. Yet this is what the commercial artist who remains an artist has, uncompromisingly, to do.

CA, June '61

5

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THE CONCEPT Robert Blanchard, publisher

DRY' TRANSFER LETTERING

Richard Coyne, AD/ editor

THE GRAPHICS Jay McKendry, typographer Bert Bryce, associate typographer Henri Luyckx, litho cameraman

THE OFFICE Betty Fairbank, advertising Carolyn Thompson , circulation manager Nancy Gruenwald, circulation Shirley Crosby, circulation Margaret Graford, accounting

It works: rub on letter with Instant Lettering brings you How·pencil . . . lift away sheet the finest, most meticulous lettering in the world instantly -by instantaneous dry transfer from type sheet to any smooth surface. Just press and it's there.

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Perfect on wood, paper, card, glass, metal, film ... in fact any smooth surface. The right answer to the need for highest quality lettering for display Price: $1.50 per sheet panels, roughs, signs, labels, Send for sample and graphs, charts, TV cells. complete type chart

COVER Illustration by Henry Koehler

William Condit, Denver

CONTRIBUTING EDITORS Wendell Davenport, Honolulu J. Philip Jordan, Richmond

Susan Karstrom Keig, Chicago

Tobias Moss, New York

James Peck, Seattle

Emile Pirro, Canada

Ted Poyser, Los Angeles

Harold Quiram , Dallas

Robert S. Robison, St. Louis

Ira Gold blatt, Boston

ARTHUR BROWN & BRO., INC. l

WEST 46th STREET

NEW YORK 36 . N Y.

7

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ARTISFS' MATERIAL 460 West 34th Street, N.Y. 1, N.Y.

CA, June '61

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Well-deserved Punishment mmrrrrrrrrrrrrrrrrrrrrmrrrrrrrrrrrrrrrrrrl!!l!!!!fl!!rrrrrrrrmmnnnnnnnnnrrrrrrrrrrrrrrrrrrrrmrrnwmnrrrrmrrrrrrrrrrrrrrrrrrmrrmr

Why are they stretching the man's neck} mother?

He has done a dirty deed} my darling.

Dirty enough to hang him for?

Hanging's too good for the rascal.

What did he do?

The engineer produced a good product the copywriter wrote some wonderful words about it} the art director turned out a magnificent layout for it} the salesmanager upped his sales quota on account of it} the president bragged J

to his stockholders about better business} then someone loused it all up with botched typography.

Hanging's too good for him} momma.

The poor guy thought he was saving money. He didn't realize he was losing sales.

He just didn't understand that a good job by an ATA member costs no more than a poor job by someone else.

If he ever gets out of this scrape, he'll understand why good AT A typography is really less expensive because it makes the ad more effective.

Why take a chance when your AT A shop can set you right?

It pays to set type right

ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, Inc.

WHY

NOT GET IN TOUCH with the nearest member of the Advertising Typographers Association of America now EXECUTIVE OFFICES: 461 Eighth Avenue , New York 1, N.Y. AKRON, OHIO The Akron Typesetting Co. ATLANTA, GEORGIA Higgins-McArthur Company BALTIMORE, MARYLAND The Maran Printing Co. BOSTON, MASSACHUSETTS The Berkeley Press Machine Composition Co. H. G. McMennamin CHICAGO, ILLINOIS J. M. Bundscho, Inc The Faithorn Corp.

Hayes-Lochner, Inc. Runkle-Thompson-Kovats, Inc. Frederic Ryder Company CINCINNA Tl, OHIO The J. W. Ford Company CLEVELAND, OHIO Bohme & Blinkmann, Inc. Schlick-Barner-Hayden, Inc. Skelly Typesetting Co., Inc. COLUMBUS, OHIO Yaeger Typesetting Co., Inc. DALLAS, TEXAS Jagger-Chiles-Stovall, Inc. DAYTON , OHIO Dayton Typographic Service DENVER, COLORADO The A. B. Hirschfeld Press Hoflund-Schmidt Typographic Service DETROIT, MICHIGAN Arnold-Powers, Inc. The Thos P. Henry Company George Willens & Company INDIANAPOLIS, INDIANA The Typographic Service Co., Inc. KALAMAZOO, MICHIGAN Mahoney Typographers, Inc. LOS ANGELES, CALIFORNIA Ad Compositors, Inc. Adtype Service Co., Inc. Advertisers Composition Company Bisch Type, Inc. Nicholas-Preston Company MILWAUKEE, WISCONSIN Arrow Press, Inc. MINNEAPOLIS, MINNESOTA Dahl & Curry, Inc. Duragraph, Inc. NEWARK, NEW JERSEY Barton Press William Patrick Co.,lnc.

NEW YORK, NEW YORK Ad Service Company Advertising Agencies' Service Co., Inc. Artintype , Inc. Associated Typographers Inc. Atlas Typographic Service, Inc. Central Zone Press, Inc. The Composing Room, Inc. Composition Service, Inc. Diamant Typographic Service, Inc. Graphic Arts Typographers, Inc. Huxley House Ltd. King Typographic Service Corp.

Linocraft Typographers, Inc. Master Typo Company, Inc. Chris Olsen Typography, Inc. Frederic Nelson Phillips, Inc. Philmac Typographers, Inc. Royal Typographers, Inc. Frederick W. Schmidt, Inc. Harry Silverstein Inc. Supreme Ad Service, Inc. Tri-Arts Press, Inc. Typographic Craftsmen, Inc. The Typographic Service Co. Kurt H. Volk, Inc. PHILADELPHIA, PENNSYLVANIA Walter T. Armstrong, Inc. Alfred J. Jordan, Inc. Progressive Composition Company Typographic Service, Inc. PITTSBURGH, PENNSYLVANIA Davis & Warde, Inc. PORTLAND, OREGON Paul 0. Giesey, Adcrafters, Inc. ROCHESTER, NEW YORK Rochester Monotype Composition Company SAN FRANCISCO, CALIFORNIA Griffin Brothers, Inc. ST. LOUIS, MISSOURI Warwick Typographers, Inc. TORONTO, CANADA Cooper & Beatty, Limited

LETTERS TO THE EDITOR Red letter words

Dear Sirs: Please send a trial copy of CA to a client of ours whose name is attached.

We have come to regard CA in our agency as more than a trade magazine of the commercial artist. We show copies to our clients and have made frequent use of CA material in recommendations to upgrade thinking in some industrial firms we represent. Let me take this opportunity to congratulate you for a very significant editorial in the February 1961 issue by Mel Rubin. We agree wholeheartedly that when an artist thinks of himself first as a part of the marketing-advertising team and a craftsman second, he is on his way up the rungs of the management ladder. I know some local artists who are so arty they will still be grinding out hard-to-sell opinions 20 years from now. Likewise, we have used sound business-like artists who not only know the requirements for a given advertisement or literature piece, but have assisted in copy changes. Maybe some agencies abhor an artist suggesting copy. Why? We suggest layout themes and emphasis, suggested treatments and leave the arrangement to the artist. If he can improve a copy theme with his rendering, we are all for it because we are on the same marketing team responsible to management in our client's organizational structure. I think every agency management officer and every commercial artist ought to read Mel Rubin's cogent words.

Secondly, our thanks for the April 1961 issue and the RED LETTER words (they should be) of Raychem Corporation's Paul Cook where he has a director of communications. When a client will turn to his director of communications (and here I quote CA) "before making any move which pertains in the slightest way to the personality which this corporation presents to its interior or exterior public", a situation is created that strengthens the role of the agency and artist in their contribution to client management. In many cases, the advertising agency as an outside firm has this role with smaller manufacturers. We request permission to quote from your fine article to our clients and prospects.

Sincerely yours, Noble de Roin President International Advertising Co. Denver, Colorado CA, June '61

9

TALENTED ARTISTS USE CRESCENT ILLUSTRATION BOARD CHARCOAL BOARD BRISTOL BOARD T.V. BOARD COLORED DRAWING BOARD WATER COLOR BOARD MAT BOARD see your Crescent quality dealer ...

CRESCENT

CARDBOARD COMPANY

1240 N. Homan Ave./Chicago 51, Ill.

Opinions

Gentlemen: For many months, your paper has been saying less and less and, in the May issue, has achieved the ultimate in noncommunication.

Combining an illiterate headline, an illegible subhead, and incomprehensible body, Marvin Rubin submerges himself in a page of meaningless verbosity that sounds like the frustrated screams of a child who has been told he can't have the moon .

The best communication in your May issue is the middle column on page 19 -this tells exactly what you are thinking and what you can contribute to the progress of commercial art.

ANCO equipment for the artist who wants to travel light ...

Cordially, C. W. Metcalf

At home or abroad, the art ist finds an ANCO sketching easel , sketch box and Berkshi re stab ilizer/ sketch box rest ideal travel companions . .. eas ily set up, conven ient and stable.

Engineered Advertising Sharon, Mass.

Illustrated:

ANCO WOOD SPECIALTIES , INC .

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10

CONGRATULATIONS TO YOUR PUBLISHER, YOURSELF AND THAT MASTER EDITORIALIST, l\1ARV IN RUBIN, FOR ONE OF THE FINEST, INCISIVE COMMENTA R IES ON MODERN ART AND ADVERTISING IN THIS AGE. A. FUKAL Industrial Designer Houston, Texas

EASIEST HANDLING ...

"V" Casein is the VERSATILE color that adapts to YOUR style of handling, whatever it may be ..:._ washes, opaques, or piled on heavily. • Dries fast, rub proof layouts need no protective overlays.

Use with Adhering Medium for acetates, vinyls, other plastics.

These are two of a growing flood of letters. Mar vin Rubin's getting them in his mail, too . Very pro or very con, his "Ultimatum" brought a reaction out of almost everyone. We've gone into the story behind this article and Marvin (On the Board, page 16) and shown some of his graphics, satire and straight, on page 36. ed.

Gentlemen: I give up! I'm sure we'll still be subscribing to CA five years from now, so here is the $45.00 subscription fee.

Your magazine has been invaluable to us in preparing our color divider pages for the 1961 yearbook. Year books come, and yearbooks go- forever, it seems. And we'll be needing the type of inspiration provided by CA in all the y~ars ahead.

Gratefully, Sister M. Geraldine, O.P. Year book Adviser and Art Teacher

THE DESIGNERS' COLORS DESIGNED FOR DESIGNERS

32 COLORS

P .S. Please be sure to prick our conscirnce when five years arc up.

complete color

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CA, June '61

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Irking barrage

Mr. Blanchard : Since our subscription to CA takes us through July, we have not been in any hurry to send back our renewal, in fact, we have every intention of renewing, but we are going to wait until renewal date comes a little closer. Since we already have two other reminders on hand, this third one doesn't serve to move us any faster.

Somewhere along the line, there must be a point where publication renewal efforts become so concentrated, that the subscriber gets a bit irked by the barrage. I think that's probably the way we feel right now.

If it makes you feel any better, however, we will put it right on the line that this is, without any question, the most helpful and interesting publication that has ever been received in our art department.

C. Jerry Spaulding President C. Jerry Spaulding, Inc. Worcester, Mass.

Last year we felt the same as you and mailed our renewal notices the month before expiration. We soon discovered, as all publications have, that unless the barrage starts soon enough, far too many subscriptions were due to be cut off before the renewals came in.

We actually started to get "Where's my CA?" letters from some, and the whole operation got more complicated.

Any form of" hard-sell" or pressure is alien to our interpretation of CA's image. Necessity of any of this is personally distasteful, boring, and detracts from time we could better spend on producing the magazine. B ut human lethargy is a reality. Solid business practices are a necessity, and not exactly foreign or new territory to us. As a studio owner you are well aware, as we were in our pre-publishing days, that a successful studio frequently requires and has a much higher control of cost-accounting, cash-flow and other business practices than many of the accounts you are servicing. ed.

Smoothness that wins the top honors!

Leadin g artists everywhere are hailing BA INBRIDGE # 172 ILLU STRATIO N as t he finest surface boar d on t he market. Especially effective for pen-a nd-ink and watercolor . T ry it t oday !

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DESIGNERS WANTED Striking layouts! Exciting typography! Smartly rendered comps! If this sounds like you , get in touch with us. We're a busy agency; sales promotion service looking for new talent. Free· lance work, plus staff positions for right people. N.Y.C. Mr. Tove, OXford 5-7480 POSITION WANTED TV-AD wants advancem ent. Six years experience.

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CA, June '61

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

1961 Lee Copy-fi t t ing Manual and Handbook

A 74- page, plastic- bound, 6~ x 9)i manual including 1730 foundry and machine-set type faces from 4 to 24 point arranged alphabetically. Included is a type gauge with 40 separate scales for layout, Elite and Pica character count, agate lines and number of lines of body copy from 4 to 24 point. Another feature is a group of computation tables for quick figuring of total characters in lines up to 130 characters and from 2 to 25 lines deep. The handbook has 32 pages of machine-set alphabet showings with references to the copyfitting scales. The combined set sells for $8.50 from Arthur B. Lee & Associates, 22 West 45th St., New York 36. # 3-ST X-acto Penknife

14

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Bargain introductory offer proves "Clip Book" art saves you time and money. Top quality ready-to-use art for ads, printing, publications, direct mail, etc. Offset, letterpress, silk screen.

Many art proofs from "Art Director's Clip Kit" and "Clip Book of Line Art"enough for dozens of paste-ups.

Satisfaction guaranteed-no obligation-no strings.

Merely attach $1.00 to your letterhead. (Only one to a customer-and new customers only.)

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A pen-shaped, interchangeable X-acto blade knife with a plastic, screw-on, see-through cap and pocket clip. The barrel is a gold-finished metal. $1 at your dealers or write X-acto Inc., 48-41 Van Dam St., Long Island City 1, N.Y. "Tape - pen " Beam Compass

An aluminum beam compass with oneto nine-inch adjustable radii, designed to hold the Chart-Pak "tape-pen" using narrow "curve-line" tapes. Extra 9 ~ " sections can be coupled to the basic beam. The unit sells for $9.50 (sections at $2 each) at your dealers or write Chart-Pak, Inc., 1 River Road, Leeds, Mass.

Literat ure f o r your f iles "... as me nti o n ed in CA" A request on your letterhead will bring you any of the following pieces ... free unless otherwise noted.

"Text Papers- a guide to their ordering, handling and use" ... a 24-page, 2-color, 9 x 12 booklet published by the Text Paper Manufacturing Group (see excerpts and description on pages 40 and 41). To order a copy, write to John Darrow, Text Paper Manufacturing Group, 122 East 42nd St., New York 17, N.Y. For a copy printed on a specific text paper write to any or all of the following sponsoring paper companies: American Writing Paper Corp., Holyoke, Mass.; Beckett Paper Co., Hamilton, Ohio; Brightwater Paper Co., Adams, Mass.; Chillicothe Paper Co., Chillicothe, Ohio; Curtis Paper Co., Newark, Del.; Fitchburg Paper Co., CA, June '61

Fitchburg, Mass.; Hamilton Paper Co., Miquon, Penn.; Hopper Paper Co., Taylorville, Ill.; International Paper Co., 220 East 42nd St., New York 17, New York; Mohawk Paper Mills, Inc., Cohoes, N.Y.; Peninsular Paper Co., Ypsilanti, Mich.; Simpson Lee Paper Co., Everett, Wash.; Standard Paper Mfg. Co., 1st & Hull Sts., Richmond 12, Va.; Strathmore Paper Co., West Springfield, Mass.; Tileston & Hollingsworth Co., 211 Congress St., Boston 10, Mass.; George A. Whiting Paper Co., Menasha, Wise.; Sorg Paper Co., Middletown, Ohio.

"Color-Supersalesman for your Package" ... a 4-page abstract from Howard Ketcham's "Color Planning for Business and Industry," published by Harper & Brothers. Mr. Ketcham has recently been appointed Color Consultant for the Dyes Dept. of American Cyanamid Co. and has condensed the pertinent parts of his book as they apply to packaging. Included are lists of good, fair, and poor color combinations; color and legibility; color and design; what package color does and how it works; check points for package colors. Write Robert Vivian, American Cyanamid, Dyes Dept., 111 West 40th St., New York 16, N.Y. "M agnyl" ... literature and samples describing a new flexible magnetic tape with innumerable display ·and presentation applications. The magnetic partides in the vinyl tape are uniformly distributed over the entire surface of one side, the other side being nonmagnetic. Available in widths from 5/ 16 to 2 inches and thickness from 1/ 32 to 1/ 2 inch, the tape can be hand- or diecut, printed, embossed, molded, silkscreened, extruded or laminated. Write W. R. Mason, Applied Magnetics Corp., 1 River Road, Leeds, Mass.

"Typit" ... literature describing a new solution to the problem of obtaining odd symbols for standard typewriters.

Greek letters, technical and scientific symbols, fractions, language symbols, brackets, and miscellaneous symbols are available on individual bars that fit into a guide attached to the typewriter. By striking any key, the symbol is typed into position. Write James Hartnett, Mechanical Enterprises, Inc., 3158 Jefferson Davis Hwy., Arlington 2, Virginia.

"Exposed" ... a sample kit of Williamsburg offset papers including color reproductions of six personality studies of beautiful women selected and photographed by Philippe Halsman, each model symbolizing a feature of the paper. Write Union Bag-Camp Paper Corp., 233 Broadway, New York 7.

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On. the Board '' Who is this guy Marvin Rubin?''

Marvin Rubin as seen by Todd Walker.

16

This question has appeared in many letters commenting on his article, "Ultimatum to all Illustrators" (CA May '61) He is an illustrator, cartoonist, designer, art teacher and by nature a gifted satirist. On rare occasions, he also writes. As in the case of the "Ultimatum," Marvin felt if it were worth making a statement it should be worth making a strong one.

To further orient the article, it was originally written for a limited special-

interest audience in the Bulletin of the Society of Illustrators of Los Angeles.

His protest was against the flood of distortion for distortion's sake and design for design's sake that has been prevailing in many of the exhibitions.

Marvin graduated from UCLA as an art education major, got a secondary school teaching credential and then decided public school teaching wasn't what he wanted. Since then he's been in publication design, worked in a studio, free lance design and illustration, ventured into the agency :field and for the last three years has taught at the Chouinard Art Institute.

The Rubin wit is well evidenced in the cartoon below. More of his work, satirical and serious, appears on page 36.

0

Eyes West The first annual ((Eyes West" conference will be held September 15-17 at Carmel on the Monterey Peninsula,

Perhaps with the return of the chivalrous days of dueling we can settle this Illustrator vs. Photographer controversy once and for all.

CA, .June '61

120 miles south of San Francisco.

This three-day meet will center on exploration of the creative process from a variety of viewpoints, presented and analyzed by prominent creative persons from the fields of literature, architecture, advertising, music, the theatre, the graphic arts, motion pictures and television.

The participants will include Stan Freberg, comedian/ ad man unlimited; Howard Gossage, advertising executive ( Irish Whiskey ad fame); Lewis Mumford, philosopher/ critic/ author; Louis Kahn, noted architect; John Houseman, producer/ director for theatre, motion pictures and television; and Ludwig Bemelmans, international author/illustrator.

The conference is being presented by the University of California Extension and the Art Directors and Artists Club of San Francisco, with the cooperation of the ADC of Los Angeles and other similar clubs in the West.

Further information about the meeting, and application for enrollment, may be obtained from the Department

of Conferences, U niv e rsity Extension, University of California, Berkeeley 4, Calif.

0

In this issue ...

Robert Pliskin, author of "The Changing Art Director" on page 32, and speaker at the S. I. Seminar (page 26), wears his medals lightly. He has earned two New York Art Directors Club gold medals in addition to 28 national awards. His work has appeared in Graphis, and is among the "50 best ads of the year." As a seasoned art director he is in wide demand as a judge for advertising art exhibitions throughout the country.

Now Vice President in Charge of Art at Benton & Bowles, Pliskin was formerly art supervisor at McCannErickson, executive art director at Anderson and Cairns, art director at Abbott Kimball and Lester Beall. He studied at Alfred University, Pratt Institute and the Art Students' League.

He also preaches what he practices, as a faculty member of the School of Visual Arts where he teaches Advanced Art Direction. An off-hours photographer, his photographs have been exhibited in the Museum of Modern Art, New York City.

D

Koehler by Koehler

Henry Koehler's theme drawing for "The Illustrator Today" served as brochure cover for the S. I. Seminar, for announcement posters, and for CA's

cover this month. Koehler is an artist who never went to art school; he was graduated from Yale- liberal arts course- then did a seven-year hitch in an art studio. Well known as an illustrator of outdoor life, his work appears frequently in Sports Illustrated, and is represented in the private collections of President Kennedy and John Hay Whitney. Koehler is an ardent yachtsman and plans to leave his top floor studio in midtown Manhattan for a Mediterranean cruise this summer.

(So who needs art school?! ) D

Philippe Halsman, who says he would like to help photographers "deliver their pregnant ideas" (page 32 ) , was born in Riga, Latvia. He studied engineering in Germany, lived and worked as a photographer in Paris for eleven years, learned to speak six languages over the years, came to the United States in 1940. He was the first president of the American Society of Magazine Photographers and served again in 1954-55. Halsman creates pictures for both editorial and advertising use, has done 87 Life covers, and has authored five books.

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17 D

Austin Briggs, seminar spokesman for "art" (see page 28), speaks with the authority of his years at the "top of the heap." Mrs. Austin Briggs, to whom he has been married for 34 years, wrote a biography that says it best: "Austin Briggs has advertised every product from Wheaties to Airlines. Has worked in every medium except fresco.

Has used every surface that will take ink, pencil, crayon, chalk, watercolor, paint or silverpoint including cardboard, wallboard, window shades, blotting paper, brown wrapping paper and ferrotype plates.

"Has drawn or painted posters, billboards, portraits, book jackets, television graphics, murals (on his children's walls), landscapes, walls and ceilings (when he couldn't afford to hire them done). Has designed stamps, clothes and furniture. " Is a member of the faculty of the Famous Artists Schools, the Society of Illustrators, the Players, the West port Artists, the Alimentary Canal Society, the West Redding Volunteer Firemen's Association and a Chevalier du Tastevin."

D

CA, .Tune '61

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Paul A. Fine, author of the guest editorial on "Compromise and the Commercial Artist," is a philosophically oriented psychologist I sociologist who has long been concerned with the many aspects of human communication. Last year he was a panelist at the International Design Conference in Aspen.

He has been an instructor in psychology and sociology at Rutgers University and at Briarcliff College; an associate editor of Motivations, the $100-a-year magazine of the Institute for Motivational Research; an executive vice-president of the Center for Research. In the latter capacity he supervised over 250 studies of problems in commercial communications.

Fine, who lives in Montrose, N.Y., is currently involved in communications strategy planning as a research consultant for such companies as DuPont, General Dynamics, Pillsbury and Visual Research, Inc. 0

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The prospect of being at Aspen for the Design Conference arouses keen anticipation. Getting there is another matter, and reminds us of the old Maine joke that ends up with, " ... come to think of it, you can't get there from here. " But its very inaccessibility is undoubtedly a strong part of Aspen's charm.

In the process of inquiring about travel modes, time factors, costs, etc., we talked, by telephone, to representatives of two airlines, three railroads and one bus line. The differences in the "voice at the other end" could hardly be overlooked.

The corporate images left with us (very favorable for the air lines ) must be shared by many others. All of the b st public relations and advertising assistance that could be purchased couldn't change the others. The comparative tanding in business volume of these travel modes may encompass more than show on time tables.

0

Miss Lola Saltiel, student at the San Francisco Art Institute, displays her poster which won the Grand Prize (and $600) in the 1961 Collegiate Advertising Art Contest, co-sponsored by the Zellerbach Paper Company and the Advertising Association of the West.

Shown in the photo at left with Miss Saltiel are her instructor, Cal Anderson ( right ), and Ken Morgan (left ), assi ·tant ad manager, Zellerbach.

The 362 entries on the theme, Can the Arts Free Men From Prejudice? were judged by advertising executive John Hoefer, and designers Michael Do las and Nicolas Sidjakov (all of San Francisco. Ben Mayer, design consultant for Zellerbach, was non-voting chairman of the judges.

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This strong plea for education in the visual arts (at least one year for all gifted students) comes from the National Education Association in Washington . Their case is presented in a report edited by Edwin Ziegfeld of Columbia University and titled "Art for the Academically Talerted Student in the Secondary School."

The report stresses that concentration on purely verbal / intellectual studies has denied experiences in aesthetic / emotional/ expressional areas .

"In a time when all individuals are subjected to great pressures for conformity, the visual arts, with infinite opportunity for individual expression, take on a new educational urgency.

Pride in selfhood is essential to anyone's sense of dignity and worth; the arts remain as one of the few areas where uniqueness is not only prized, but is basic. In this age of passivity, the visual arts demand intense and personal involvement."

The 112-page report is based on a conference held last year by the NEA and the National Art Education Ass'n as part of a continuing study of the educational needs of the gifted students who will become tomorrow's leaders.

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The Time and the Place Los Angeles Terry Smith, designer/ illustrator, has joined Fred KoppAdvertisingArt. Mr. Smith was previously with FedermanAdams-Colopy of Pittsburgh, Pa.

SARAL PAPER CO., 5 Tudor City Pl., N.Y. 17

Los Angeles County Museum ... Painted and Printed Textiles-designs on antique and modern fabrics applied by various methods of painting and printing- through September 17.

"American Industry in the 19th Century," shown in lithographs and watercolors, continu ing through July.

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New York 9th National Industrial Photograph ic Conference and 70th Annual Exhibition of Professional Photography ,July 30-August 4, Statler Hilton Hotel.

Sponsored by Professional Photographers of America, Inc. Museum of Primitive Art ... ((Traditional Arts of Africa's New Nations," featuring wood sculpture, gold work, ivory carvings, clay portraitures, ceremonial masks. Through September at 15 West 54th St. Museum of Modern Art, 11 W. 53rd ... "Japanese Vernacular Graphics," from the collect ion of Bernard Rudofsky. Representing 250 years of Japanese graphics, the pieces include: a directory of inns, a wrestling match program, an accordion-pleated travel guide, hand-painted village maps, a social register, a libretto, woodcuts, lithographs. Through July 16.

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ALPHABETS

Pepsi-Cola Exhibition Gallery, Park Ave. at 59th ... Physicians Art, collected and presented in cooperation with the American Assn. of Physicians Artists, June 23- July 6.

Philadelphia Newly elected officers of the Art Directors Club are: Joseph Gering, president; Edwin White, vice president; Nathan Berman, secretary; Carl Eichman, treasurer; Warren Blair, exofficio; Barney Line and Robert Bach, executive board- one year to serve; Ray Ballinger and Nelson Steinhardt, executive board, elected for two years.

San Francisco "Printing for Fun," an exhibit of work from private presses throughout the country, done for personal enjoyment by designers and printers. Collected and sponsored by AlGA ... at the San Francisco Public Library, Civic Center, July 12-30.

Jane Oka (seep. 42, May CA), graphic design artist with Patterson & Hall, has been awarded a Fullbright Scholarship for a year of study and travel in Japan.

Seattle 12th Annual Exhibition of Advertising and Editorial Art, continuing at the Seattle Art Museum through June 25.

Schools/Un ivers iti es Colorado State University . .. Institute in Technical and Industrial Communications, July 10-14- designed for editors, writers, scientists, engineers, administrators, information specialists in government research agencies.

Write Dr. H. M. Weisman, Colorado State Univ., Fort Collins.

Gallery 303, 130 West 46th ... Swiss AdvertisingTypography, featuring the internationally famous work of the Gerstner-Kutter agency in Basle, Switzerland, through June.

Georgetown University . . . Writers Conference, August 7-18. Workshops in markets/ methods, novel, short story, article, magazine makeup, school and trade publications, book reviewing, etc. Write Mrs. Cornelia Mar'tinez, Summer School, Georgetown Univ.,Washington, D.C.

Whitney Museum of Modern Art, 22 West 54th . . . Sculpture of Jose de Rivera, paintings of Balcomb Greene, through July 23.

Ivy School of Professional Art . ..

Scholarships open to qualified applicants. Write the Director, Ivy School, 336 Fourth Ave., Pittsburgh 22, Pa.

CA, June '61

•

Print that Matters

;"

I

I

!

by Henry Dreyfuss Publ ished by Whitney Library of Design , 18 E. 50 St. , New York 22 . $4 .95

This (( book," subtitled Human Factors in D esign , is actually a portfolio of facts on figures; specifically ((anthropometric data on the adult male and female figure of the genus homo sapiens," organized and oriented on individual diagrams which should provide valuable reference information for product designers. In addition to 16 notebook-sized ( 8 % x 11 ) reference sheets and a 16-page explanatory and check man ual, two lifesized charts ... average guy Joe and average gal Josephine, suitable for wall mounting ... are included. Joe and Josephine are covered with dimensions (distance between the eyes, length from knee to heel, space between the ears, arm span, etc.) which are clearly readable across a large room, suggesting suitability for a planning team, classroom instruction, or full scale mockup planning and construction.

The industrial design firm of Henry Dreyfuss has a creed wh ich reads:

W e bear in mind that the object being w orked on is going to be ridden in, sat upon, looked at, talked into, activated, operated , or in some other way used by people.

Wh en the point of contact between I he product and the p eople becomes a point of friction, then the industrial designer has failed. On the other hand, if people are made safer, more efficient, more comfortable- or just plain happierby contact w ith the product, then I he designer has succeeded.

In designing to this concept, the Dreyfuss firm accumulated considerable data on the various measures of man and his sensory requirements.

First coordinating the facts into better working tools for their own use, Dreyfuss later perfected the charts for use by others, bringing together data on human factors for design in a graphic form not previously avai lab le.

The 16 reference sheets give, in blueprint style, measurement data having to do with space requirements and movement limitations of standing and seated male and female figures; of heads, eyes, arms, feet, and hands separately; of the smallest and largest humans likely to need designed accomodations whether in space vehicles or in bathtubs. Dreyfuss stresses that the charts are not presumed to be the ((last word " ... will need to be frequently updated by new research.

They are (( intended as points of departure for yo ur own thinking. Unless they are used with imagination, they are all but worthless."

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CA , .June '61

70,000 Artists "During the past two months, I've art directed more artists than any other art director in the world. Over 70,000 artists have been at work ... following my layout."

It all began when the Bolling Company, national TV and radio reps, purchased and absorbed the Headly-Reed Company.

The merger gave them more working offices than any other broadcast representatives.

Arnold Roston, designer, was called in to work on a new company identity. The first considered concept was the development of the «B" to characterize their new stature. The solution was based on the hexagonal beehive form.

The next problem was a display for the NAB Convention.

Seeking a strong and dramatic vehicle to launch the new concept, Roston conceived the idea of a map of the United States constructed of honeycombs, somehow differently colored, with real, live bees in action.

23

The project ran into immediate difficulty. The New York phone books had no listing for apiarists. Then Roston remembered a feature in The New Yorker about a man who had rescued the New York Central from an escaped swarm of bees that had invaded the station. Queried, the editors obligingly placed Roston in contact with this illustrious bee-keeper, Mr. Stanley Einzig.

Plans were laid and the basic display panel (4' x 6') was constructed with an opening cut in the shape of the perimeter of the map. Einzig located the right hive, a very large one in a hollow tree on the grounds of a nearby monastery. This was taken apart and the combs cut in the shape of the states.

Following natural patterns of use and construction, differentiation between the areas of the individual states was accomplished. Then a colony of bees was introduced.

They reacted as to a normal hive, putting pollen, nectar, honey, larvae, eggs, etc. into their proper combs. All of this was under a cover, simulating the normal darkness in the interior of a hive.

Meanwhile, back in the shops of R & C Studios, Floral Park, N.Y., the balance of the display was constructed. The bees met their deadline, completing the hive on schedule. A new, young group of about 2,000 bees and queen (worker bees only last about six weeks) was introduced into the map hive. A plexiglas sheet was placed over that and it was installed in the finished display frame, loaded into a station wagon and on its way to the NAB Convention in Washington.

The impact was as could be expected ... sensational.

"I do many pencil preliminaries before starting a drawing, and I use Blair Spray- Fix ® to hold each one.

My final drawings often embrace several media, from black ink, colored inks and dyes, to casein tempera, and I use Blair Spray-Fix to isolate each stage. I find I can work over it perfectly."

~ Robert Fawcett

Blair Art Products, P.O. Box 8648, Memphis 8, Tenn.

CA . June '61 •

24 George Samerjan was chairman of the seminar. Assisting him on the committee were illustrators Albert Dorn, Frank Lacano, Robert McCall and Ann Wolf; art directors and designers William Duffy, Tobias Moss, Otto Storch , Salvatore Taibbi and Roy Tillotson .

Pliskin

Briggs

CA, .Tune ' 61

Halsman

When art directors and illustrators get tegether, the principal subject for discussion usually turns out to be art vs. photography. The Society of Illustrators undertook a searching analysis of the conflict, sponsoring a seminar entitled

"THE ILLUSTRATOR TODA Y" Robert Pliskin, vice-president in charge of art at Benton & Bowles, Inc., presented the position of the agency art director in ((Art and Design in the Market Place."

Austin Briggs spoke for the illustrators in ((Communication in Illustration."

Philippe Halsman was the exponent of photography in «Communicating with the Camera."

Priscilla Peck, art director of Vogue, led a round table discussion on «Taste-A Definition" with panelists Tran Mawicke, president of the Society of Illustrators, illustrator Jack Potter and art director Roy Tillotson of Union Carbide Corporation.

Ed Zern, vice-president of Geyer, Morey, Madden & Ballard, Inc., discussed the role of copy in ((The Written Word-Motivating People and Sales."

Dress designer Oleg Cassini spoke on ((Elegance and StyleIts Creation" coupled with a presentation of the significant new women's fashions.

25

Attendance was about equally divided between agency art directors, illustrators and designers. Because the capacity of the hall was limited to 125 by fire department regulations, many requests for registration had to be turned down. Comment following the Seminar was so favorable that the Society is planning to repeat the experiment another year.

Peck

Zern

CA, June '61

Cassini

A

Illustration 40

Photography

CHART A From "The Saturday Evening Post" issue of May 23, 1940 and at five-year intervals, counting ads of a full page or more.

30

20

CHART 8 From the New York Art Directors Club Annuals at five-year intervals.

10

1940

1945

1950

1955

1960

240

Robert Pliskin

200

26 160

120

80

40

1940

1945

1950

1955

1960

opened the discussion on art vs. photography by presenting it in terms of a marketing problems. He defined the size of the market as almost 9 billion dollars for print advertising alone in 1960. By 1969, print advertising should reach 13 billion dollars.

Five per cent or 650 million dollars will be budgeted for art and preparation. ((Marketing is the art of moving your product to the consumer," he said, ninstead of some one else's product.

The market in your case (ill ustration ) is the advertising business. Your illustrations or art work constitute the product. The consumer is the Advertising Agency. What it boils down to simply is this: how can illustrators sell more art work to advertising agencies? <<To answer this question, I've done some digging - in other words Market Research. I prepared a few charts and uncovered a few problems. The charts show the development of photography vs. illustration in the field of advertising. (They are remarkably scientific.) ((Using as my criteria The Saturday Evening Post (the illustrator's standby)" he said, <<I counted advertising illustrations at five year intervals starting twenty years ago, May 23, 1940, to date. I divided all illustrations into two general categories - photogFaphy and art. I defined art or illustration as any picture created with a naked hand, as opposed to photography which everybody knows is created with a naked model. (Chart A) <<Then I thought I would find out what the taste-makers think of illustration. What does the Art Directors Club think? I went back twenty years at 5 year intervals and counted ads from the A.D. shows. My criteria for illustration vs. photography was the same - camera vs. hand drawn. (Chart B) «Let's consider what we call (share of market.' As you see, the market is going up, but the illustrator's share is CA, .June '61

Pliskin reveals the Pliskin art director to the world.

going down. When a business loses its share of market in a growing economy it is in deep trouble because pretty soon they're going to be out of business entirely. Things look very bad for illustrators. The camera is simply taking over. " But there is some hope. Gallup-Robinson, the research organization, did a study on this very subject- Art Work vs. Photography. When people are spending 650 million dollar on art and photography it's smart to remove as many unknown quantities as possible. If there's a way in the world of finding out whether photography out-pulls art they want to know. " In their study, (The Impact of Art and Photography in Magazine Advertising,' Gallup-Robinson reported on a random sample of ads published since 1955. The first conclu ion was that whether photography has greater impact than art, or not, there is a definite tendency over the years toward greater use of photography.

USAGE OF ART AND PHOTOGRAPHY

% Usage 1955 1957 1950

% Change

Art

Photo

28 22 18 - 10

58 67 72 + 14

((But has this trend actually reflected an inherent superiority in photography as opposed to art? Do we find that with photography, advertisers have been able to achieve larger audiences than with art work? ((Turning to overall averages, while we note a premium for photography, this difference is not as radical nor as pronounced as advocates of photography might presume.

PROVED NAME REGISTRATION All advertising 10.0 Art 9.5 ( - 00 .5) from average Photography 10.2 ( + 00.2)

"Some art renditions are executed so realistically that it is difficult to tell at a glance that they are, in fact, art work. Art which closely resembles photography performs close to the level of all photography while art that is sketchy or unrealistic suffers a greater penalty.

PROVED NAME REGISTRATION Average Recall Photography Art-Realistic Art-Sketch

10.2 9.8 8.6

((Whether there was any difference in the performance of art and photography depending upon the product being advertised, was one of the first areas we set out to examine in this analysis. Importantly, this examination indicated that there is a premium for photography within all major groups.

"Some art ads do an extremely good job for advertisers.

What, then, are the characteristics of high scoring art ads? ((Cartoon ads perform above the average for all advertising, and above the average for all art. A cartoon literally cannot be photographed.

ART IS A CARTOON Average PNR Cartoon Ads All Art ads All Advertising

11.0 9.5 10.5

"Other high performing techniques that apply to art alone are: 1) Humor, whimsey, tenderness through exaggeration of a sort that cannot be photographed.

2) Diagrams, cut-aways, simplified versions of objects.

3) Showing subjects that cannot easily be photographed.

CA. June '61

27

Pliskin (continued)

28

"Evidence indicates that as a group, famous artists do succeed in reaching greater audiences compared to all art work. Perhaps the most famous of them all, Norman Rockwell, achieves the highest level within this group.

Case studies within Rockwell-illustrated ads indicate that his success is related to the humorous and whimsical situation he illustrates rather than the mere fact that the ad was drawn by Rockwell. ''These tables indicate differences, but these are not critical differences - in fact not worthy of serious consideration. The net of it all is that photography holds no significant advantage over illustration. ''Why then is illustration being excluded from advertising? Not long ago a brilliant research man said a most interesting thing on this subject: 'A picture must touch on human experience.'

"How many advertising illustrations have you seen lately that do that? Not photographic exactness-realism.

There is a great difference. Realism touches human expenence.

"Well, what can you do about it? What can you individually, or as a Society of Illustrators, do? The first thing a market expert would ask is this-Can we improve the product? No product will sell if it isn't any good, and the better the product the more easily it will sell.

"Perhaps you can improve your product. Any good researcher could tell you some things that would make your illustrations more effective in advertising. For example: Bright, warm colors out-pull cool colors.

Dark, rich colored backgrounds are better than pale ones.

One big single element is better than many small ones.

Realism outpulls the unrealistic.

And then of course-babies, puppies and children. " Women look at women in ads-men look at men, contrary to what you may do. Gallup-Robinson, you may remember, said - humor, whimsey and exaggeration.

"Publicize your product strengths. This is what the Society of Illustrators should do on a steady year-in, yearout basis. You should organize a clearing house to publicize every bit of saleable information you gather.

"Learn from the magazine publishers and newspapers who continually promote their mediums to combat TV. Spend a little to make a lot. Hire a research organization to pursue the entire subject of illustration and it's attention values. Learn about research and advertising-then tell the Art Directors.

"If Art Directors don 't care (and they should )- tell their bosses. Tell the creative directors and the account men, and the researchers and the clients. Tell them every time an illustration gets high noting, because right now they are under the impression that illustrations don't attract readers.

"If you change that impression, and I think you can, you will get your share of that $650,000,000."

• CA, June '61

STAN KEITH

Austin Briggs

went in swmgmg.

"I am unalterably opposed," he said, ((to all those who manage to survive in illustration without having an idea of their own. I mean the brain-pickers, the cotton-pickers, the rag-pickers and the nose-pickers. In short, the imitators. ((Almost every month we have a comment from someone on the (trend.' A trend is almost always a stream of imitation. ((The manner should be an integral part of the message the artist delivers -and an imitation of a manner (on the plea that one (is being contemporary') is a superficiality imposed upon a picture without enhancing its capacity to communicate. It is a cord around the neck which strangles the voice. ((Regarding the problem of communication in another light, let's divide it into two parts - first, that part of the message which is fundamental is meaningful for a considerable time; and second, that part of the message which is contemporary, and therefore largely temporary. ((The fundamentals of the illustrator's job are good drawing, good order, good shapes and their arrangement.

Among the several balls the juggling illustrator must keep in the air are the contemporary aspects of his trade, but he must never fall off the (tight wire' of the fundamental. (( Some artists think they deserve special privilege for doing (hand work.' They fail to realize that the public is in no way concerned with this uniqueness as such, but hopes to experience an original and striking and informative message. The artist is, first of all, an eye. ((To imply, as David Ogilvy did in his Advertising Directions, that all photographs are more believable than some illustrations is nonsense. Here we part. Certainly, in speaking of believability, we have the right to question what we are being asked to believe. Sometimes the camera makes us believe a visual fact, but isn't it useful on occasion to allow our audience to believe in a dream? Particularly if a big dream is more true in the profound sense than a fact?

"Consciously or unconsciously, the illustrator is an exponent of his time. He speaks to those who will listen; but the pace is so quickened today in contrast to the past that changes in public attitudes occur from moment to moment. (( Lately, the public desire for an aesthetically valid presentation of a genuine situation is felt. Despite past disappointments, we may be on the margin of a revolutionary break-through for the illustrator. ((I know we have a public which reads comics and watches Westerns, and I'm aware of the bad art in many of our magazines. But we do have a mass audience for good art and good illustration numbering millions.

((We are living in a time when mass taste is ready and asking for change. The public has been exposed to more good art, good music and good reading in recent years than ever before in hisory. More college graduates who have taken art courses are buying products and reading magazines and books than ever before. They are hungry for art and know why they are hungry.

"In order to communicate with the mass, the illustrator must be enough of the mass to feel its needs, but not so much that these needs are unconscious to him. The good illustrator is a man who is constantly torn between what he and his friends like and know is good, and what his audience desires. (((Note that I do ·not say (accept.' The entire problem of the illustrators' performance slides out of focus when (mass acceptance' is substituted for (mass desire.' ) ((More than abundant talent is here to satisfy the mass desire, and to take advantage of it. In addition to improved design, drawing is more descriptive, more deeply felt, more personal. Pictures need not speak as literally as they once did. We illustrators can focus more directly on what we say because we no longer need to say everything. ((We are not less informative when we leave something out, but our message is easier to read because of what we put in. Our people are human for being less cliche ridden.

We need not explain a figure as we once were required to do, and the result is a myriad of new shapes to play against one another. We have more art and a less commercial look. ((We live in a time noisy with competition for consumer dollars and audience attention - a time of critical need to nurture responsible talent- a time for honest, direct communication through arresting ideas presented in pictures and words."

•

CA, .Tune '61

29

Philippe Halsman

30

shared his thoughts

on stimulating creativity, not only in photography but in all areas. These were taken from his forthcoming book, «Halsman on the Creation of Photographic Ideas," to be published this fall by Ziff-Davis Publishing Company.

Originally the title proposed for the book had been !(Obstetrics of Photographic Ideas," which Halsman felt showed his intention to help the photographer who, although pregnant with an idea, was unable to deliver it.

Fearful that the book would end up on the medical bookshelf of booksellers, his publishers induced him to make the change. Reluctantly Halsman conceded, but he had the last word, urging his readers in the foreword to «skip the title and read the text."

Halsman drew a sharp line of distinction between taking a photograph, and making a photograph. The photographers who take pictures belong to the candid photography school. Of this school, he named as the greatest representative the Frenchman, Henri Cartier-Bresson, «who never interferes in the action he photographs and whose unobtrusiveness is so unique that it has created a legend that, at the moment of picture taking, Cartier becomes invisible."

«The analogy with literature is striking." Halsman said, «The photographer who takes the picture is a visual reporter. The photographer who makes one is a visual author."

Halsman confined his talk to the problem of the photographer ((who wants to make his photographs as freely as a writer composes his stories, not depending on what he finds before his camera but deciding himself what to put in front of it." He then proposed six working rules, illustrating them point by point with examples of his own work. The rules he defined as: direct approach; unusual technique; added unusual feature; missing feature; compounded features; literal or ideographic method. ((These rules apply," he said, ((to the rational and logical part of our thinking. Sometimes," he asserted, ((creativeness seems to be completely spontaneous. ((The ideas, the solutions, appear suddenly from our subconscious as if they had been there waiting to be born.

We cannot produce them at will by logical means. However, there are other means of stimulating their birth."

These stimulations he listed as:

Stimulation by brainstorming((Although I have never participated in brainstorming sesJ sions with ten or more participants," Halsman explained, ((I find that as a rule I am more productive when I discuss the problem with someone than when I am alone. One reason is psychological. You are not alone but you face someone who serves you as a sounding board, prods you and expects an answer. ((The second reason is physiological. Your system is stimulated by the challenge of the discussion. There is more adrenalin in your blood, more blood flows through

the brain, and, like an engine that gets more gas, your brain becomes more productive. ((Consequently, discussion with an editor, with an art director, with a friend, and even with my own wife are, for me, sufficient substitutes for brainstorming. Their prodding, their suggestions and objections, their answers, and their waiting for my reply are the stimulations I need."

Stimulation by memory((The roots of most of our ideas draw from the great reservoir of our memory. Each book we read, each play or movie we see, each symphony we hear, each photograph or painting we study enriches our possibilities as an artist and as a human being. But when we put memory to use, often we cannot avoid imitation. ((When imitation means solely copying someone else's work, it is wrong and worthless. But when imitation means stimulation which develops something that exists and adds to its elements something that is new and personal, it is the kind of imitation that is responsible for the entire progress of our technology and civilization."

Stimulation by knowledgeHalsman explained his third point by saying, ((Our mind also contains a different kind of information: knowledge of things whose outcome and effect we can predict. Instead of looking backwards, this knowledge looks to the future for effects which we can use in our photograph."

Stimulation by an object((A photographer sees more than other people do. He is always on the lookout for something interesting. Interesting objects cannot only make our photographs more interesting, but they are sometimes capable of stimulating us to make an unusual photograph. The recipe is: if you have such an object give some thought to it."

Stimulation by the photograph itselfHalsman said the obvious advice was to look for stimulation before it is too late; in other words, try to sketch the photograph beforehand or, at least, visualize it in all its details.

Self-stimulation-

((If you have a problem, don't think about it only during your regular working hours in the belief that then you are most lucid. Remember or repeat your problem when your mind is partly occupied with something else, for instance with driving a car, or eating, or shaving. «you should try to recall the problem while you are tired, drowsy, or before falling asleep. During these periods, the problem is pushed into our subconscious where it germinates and ripens. ((The principle of recalling the unresolved problem periodically at different levels of concentration (driving, shaving) or consciousnnss (tiredness, sleepiness ) is what I call stimulation through your own subconscious or in short, self-stimulation."

CA, June '61

Phil ippe Halsman, on the double, arrives at the Seminar. Photographed by Tom Holloway, this portrait of the photographer by another photographer seems to have caught the authentic Halsman touch.

Priscilla Peck , Art Editor of "Vogue," Jack Potter, illustrator, and Tran Mawicke, President of the Society of Illustrators discuss " Taste-A Definition."

31

Ph ili ppe Halsman , speaker, and Roy Tillotson , committeeman, discuss the stage setting designed by William Duffy of McCann -Erickson and executed by Mrs. Duffy. Haloed head center, Bill Duffy; dark coiffure , left, Mrs. Duffy.

In the background is an exhibition of the work of Austin Briggs.

TO M HO LLO WAY

CA. June '61

The Changing Art Director

by Robert Pliskin, Vice-President in Charge of Art, Benton & Bow les, Inc.

In the course of doing some highly individual and strictly unorthodox research to determine the market for the use of illustration in advertising, the results of which were to be presented at a Seminar at the Society of Illustrators, I was forced to the conclusion that the art director himself was a determining factor in the choice of photography or illustration. It also became apparent that today's art director was an entirely different person from the one who reigned when illustration was in full flower.

In approaching the problem, I decided that a market is nothing but a group of customers or consumers, and that the thing of first importance is to know how the consumer feels about your product. Why should he buy this product (illustration) instead of the other product (photography) ?

32

.. Inert

··· Gin

He is 91% water and 5% booze.

In the case at hand the consumer, euphemistically referred to as a client, is the agency Art Director.

He functions as a purchasing agent for an advertising agency. And since he is the guy who decides whether it will be photography or art, let's take a closer look at him.

Art Directors live by their wits. The wolf at the door salivates impatiently for the unlucky Art Director who loses the knack of turning on a dimeor the capacity for coming through with an idea in the nick of time.

•• ••

..... ............

• t ••

•• •

.•

.

• •

..•• ••

•• • •••• •• •• ••• •

In my marketing study, we interviewed hundreds -well, at least seven- Art Directors and uncovered some vital statistics.

. .•••

The agency Art Director is exactly 5' 10" tall and weighs 161 pounds, wears a 40 medium jacket, a 15 collar, a 32" inseam. His eyes are 74% brown.

He fathers 2 1/z children, is 87% married. Lives in 4 1/z rooms, the 1fz room for the 1fz child.

He loves his work. He draws with skill, renders immaculately, designs with ease, and has no trouble distinguishing Caslon from Caledonia.

He is about 85% art school trained, spends l lfz hours for lunch, and labors 48 hours a week.

CA, .Tune 'fi1

His everyday life tuns to routine. He gets up in the morning just like everybody else. He yawns, stretches, seriously considers climbing back into bed but staggers to his feet under some destructive compulsion and performs the morning ablutions.

He eats a commuter's breakfast and braves incredible obstacles to get to the 12th floor of Benton &

Bowles where he is promptly chained to his drawing board.

It is very difficult to explain to a layman what an Art Director actually does. Like an architect who ((builds" a house without driving a single nail or laying a single brick-the Art Director designs advertising without himself putting a single stroke to the finished product. He supervises it closely and is responsible for the final result.

His motivations are conditioned by his personal outlook-by money-by desire for fame-by pride in his work- by a nagging wife (Mrs. Pliskin excepted).

At 9:15 his phone starts ringing-his day has begun.

Art Directors lead frenzied lives.

Between phone calls he answers questions, judges art work and the potential of the artists who do it.

He talks to copywriters. He makes daily contacts with Account Men, production men, artists' reps and even clients.

He must satisfy a supervising Art Director, a copy supervisor, an account man or two, and of course, a client. He is judged by all of these critics, plus his associates. The ultimate judge, of course, is the consumer-who doesn't even have to like the ad as long as she buys the product.

This is the typical agency Art Director.

He must at least appear to know art, photography and television. He must be able to organize and launch a photographic expedition in minutes, and sometimes he must drop everything to go along.

His day is held together by a stubborn determination to get back to his drawing board where he can produce something tangible and hopefully creative.

Fortunately-at least to date-Art Directors using principles of esthetics and art, plus imagination, put selling components together best. We may be replaced by a machine any minute now, but there is still a high premium on Art Directors who are skilled in vigorous graphic communication.

In the advertising business, creative people are obsessed with one idea- How can they reach their audience (the magazine readers) efficiently? This obsession has changed the Art Director.

When illustration was in its heyday twenty years ago, the Art Director was one kind of personality -but today he is a different creature.

CA, June '61

33

Twenty years ago, Art Directors were measured by their drawing and rendering ability. Art Directors spent the better part of the day in a cloud of chalk, spiked with fixative. ( Fixative, incidentally, came in a bottle and you had to use your lungs and a fixative blower to get it from the bottle to the paper.)

This may come as a shock, but some of the best Art Directors I know can't even draw; and many of those who can, rarely do, because they have learned that there are better, more effective ways to put a layout together.

34

The Art Director of the 40's was educated as a painter or illustrator- probably at the National Academy. He worshipped the "name" illustrators of his day, and couldn't wait to give them assignments. As long as he could knock out a slick rough to a copywriter's specifications, he lived a good life without too many problems. His layouts were exact and specific. Generally speaking, advertising layout tended to be artistic rather than functional.

Well, the ad business has become more competitive since then and advertising has taken on more importance. In some product fields, advertising makes the difference between the life or death of a product.

Instead of relying on personal judgement, clients now hire expensive research organizations to check the efficiency of their advertising.

In short, the business has become more scientificresults more measurable. Consequently Art Din~c­ tion has become more functional-less instinctive - or if you will, less artistic.

Art Directors are more business oriented. They are trained differently- in professional schools where they study business administration, lettering, market psychology and even art.

For example, they frequently don' t do layouts at all; maybe a few scratches and scribbles to get the blueprint of the idea down on paper, but no layout in the traditional sense.

I think Art Directors are more aware than they used to be. They know more about the business of advertising. They are more interested in copy-in the concept of the ad. They know that the ads that really pull are not just skillful assemblies of art and type. Art Directors, more and more, are interested in idea communication.

Successful communication does not require drawing ability, (though it's mighty nice to have) but rather a way of looking at things-turning them around.

Composition, color, form -all of these are important, but they are not essential. What is it that an Art Director is looking for?

An idea, hopefully one that will sell goods or furnish a fresh insight into an old product.

Art Directors have changed, you see, because they had to. Today's Art Director is an inventor rather than an artist.

• CA, .June '61

American free enterprise stands, in principle and practice, on these articles in an unwritten bill of rights:

1. Freedom to compete fairly.

2. Freedom to cooperate voluntarily to advance a common cause, and 3. Freedom to do both at the same time.

Ben Franklin , printer and publisher, declared the second principle when, at the signing of the Declaration of Independence, he turned to John Hancock and said, "We must all hang together, else we shall all hang separately."

•

c Cl)

E

5l

~>

fJJS

"0

"' :c:"' 1-

Jfll (}et Together to'Pronzote 'Pri1zt!

No field of American enterprise is more highly competitive than publishing and printing . Magazines compete with each other, individually and in groups, for reader loyalty and the advertiser's dollar. Newspapers compete with magazines and with each other. Letterpress printers and photoengravers compete with offset and gravure printers and platemakers. Makers of paper, ink, and equipment are also competitive.

This climate of competition has created a dynamic industry which is constantly improving products, techniques and services.

At the same time, this fragmented internal competition has obscured the economic need to promote, by voluntary cooperation , the values of all print media.

More printed advertising is being published today than ever before; but many people, even in the advertising, publishing, and graphic arts fields, do not understand clearly why printed advertising is so essentia l to the health of the American economy. A big educational job urgently needs to be done. It should be done at a higher and broader level than is possible in programs that promote the special claims of competing print media.

Only if this is done, and well done, will print advertising be assured of its proportionate share of the dollars spent for advertising during the next ten years.

An open statement to magazine and business paper publishers, newspaper publishers, printers by letterpress, offset, and gravu re, t ypeset ters, photoengravers and electrotypers, graphic arts trades unions and employers groups, manufacturers and distributors of printing paper, ink, and production equipment, print advertisers and agency production executives.

r9rganization Committee for 'Print Promotion 175 Wtst Ja ckson Boultvard Chicago 4, Illinois-HArrison 7-4494

committee

ERWIN A. MI E SSLE R

L. D. BARBIERI

Vice President, eedham, Louis & Brorby, Inc.

Treasurer, Sterling Engraving Company

chairman HARRY E . COLLINS

Board Chairman, Collins, Miller & Hutchings, Inc.

ARTHUR R. MOTLEY E . BARTLETT BROOKS

President, Ameri can Photoengravers Assn.

DENIS M. BURK E

1st Vice President, International PhotoengraYers Union

vice chairman E . THOMAS MC BREEN

Vice President, ]. Walter Thompson Company

WILLIAM

J. HALL

President, Chicago Photoengravers Union GOVERNOR ARTHUR IJ. LANGLIE

secretary

President, McCall Corporation

President, Parad e Publications, Inc. C. L . PARSONS

Young & Rubicam, Inc.

J. SCHREIBER Executive Secreta ry, American Photoengravers Assn.

FRANK

J. SUTTER Vice President Cunningham & Walsh, Inc.

MILTO

WILFRID T . CONNELL

PAUL LYLE

President, International Photoengravers Union

EDWARD L. TOLLEFSON

Vice President, Western Publishing Compa ny

Vice President, Foote, Cone & Belding, Inc.

A program for the promotion of print has been initiated by a committee, listed at left, of representative publishers, executives of graphic arts employer and craftsmen groups, and production executives of leading advertising agencies.

At the 64th Annual Convention of the American Photoengravers Association held in Buffalo, N.Y. on October 10, 1960, Arthur B. Langlie, President, McCall Corporation, delivered a keynote address on the vital importance of The Printed Word in protecting free civilization. A formal Resolution was passed supporting the print program.

(Printed copies of the address and resolution are available on request.)

The objectives of the program have been clearly defined. A 3-year plan of action has been organized and enthusiastically approved by official representatives of important supporting groups. The plan will be administered through a National Committee, now being formed, to represent all interests. Your interest is invited.

portfolio of Adville types

Marvin Rubin art director Here a1·e a few thing~ that

36

were 5ll.cce5sful in the past.

Besides writing Ultimatum to Illustrators in CA, May '61, the many attributes of Marvin Rubin include illustrating, designing, teaching (Chouinard Institute), and highly developed powers of observing and interpreting the scene around him. Often it's the industry that is the target for the Rubin satire, e.g. the samples at the left and his outstanding illustrations for the Hal Stebbins Advertising Almanac (CA, April '60). Rubin's satire is also effective in other fields, as demonstrated in the drawing at the lower right, one of his illustrations for the book, Standards of Wage Determination.

We've also included some Hstraight" illustration and design on the following spread.

research director

client CA . .June 'fiJ

can I ego down and

r---------~ g~t Some

coffee

1\t

now?

rH rather not

do that problem

rsn't there

mes, than chalk? a~thinf! less

The avant garde. Some experienced observations of students by instructor m. rubin.

,lt/1/111 \ /IIIIlii 37

One of his illustrations for the book,

ATHEIST

" Standards of Wage Determ ination ."

CA , .Tune 'GJ

Marvin Rubin (cont.)

38

LONGEST LOVE AFF AliR SINCE AUTOMOBILES BEGAN

IN 1955, FOR THE 20TH YEAR IN AROW, MORE PEOPLE BOUGHT CHEVROLETS THAN ANY OTHER CAR

Left: Chevrolet ad. Art director was Pat Fitzgerald; agency, Campbeii ·Ewald.

Above: a drawing from a very handsome

Otfic!al and conclusll..oe ngulratton figures prOVt' 11'

annual report designed and illustrated

by Rubin for the District of Columbia Tuberculosis Association.

CA, J une '61

SEABOARD FINANCE COMPANY

ANNUAL REPORT

1956

I

l I\

Right: cover for an annual report designed

by Rubin.

Below: brochure for The Fluor Corporation, Ltd.

39

CA, June '61

TEXT PAPERS '•·

DESCENDANT OF AN ANCIENT ART

40

The first true paper was made in China about 100 A.D. from mulberry bark, hemp and cotton rags, beaten and washed until only the organic fibers remained. This pulp was mixed with pure water, poured into a porous mold and drained so a thin layer of matted fibers remained. For almost 2,000 years, this has remained the basic principle of papermaking. Because each sheet of paper was made individually by hand, each man's paper was different, showing the special character of his particular method and skills.

While much of theWest was still barbarous at that time, in China the artist and the scholar were honored.

Even the scribe, brushing his ideographs, took pride in the fact that he was as much artist as recorder. These artists and scribes were quick to recognize the special qualities that paper offered their skills. The earliest examples of paper we have bear the delicate and beautiful paintings and the graceful writing for which the Chinese are famous.

In the next 1100 years, the art of papermaking slowly made its way to Europe. By the time Gutenberg began printing from movable type in the 15th Century, fine paper was available in Germany and the other European countries. In 1690 it reached the New World when William Rittenhouse opened his paper mill near Philadelphia.

All this paper was still made in the slow, one-sheetat-a-time method developed by the Chinese. It still retained the textures and the individuality which had made it so effective for the work of the early Chinese artists. In fact, these same qualities were employed by the early printers to produce work that-in beauty and artistic quality-often matched the illuminated handwork of the Gothic scribes.

However, as the demand for paper increased, papermakers looked for ways to produce more paper, faster, more economically.

The Fourdrinier brothers' development in 1806 of Robert's machine that made paper in a continuous strip and John Dickinson's first cylinder papermaking machine

in 1809 opened the way. Most of the paper in the world today is still made on refined versions of these machines.

When a practical method of making pulp from wood was developed about 1840, the world of paper we live in began.

The great quantities of paper, which were produced at high speed to satisfy the ever-growing appetites of better and faster printing presses, inevitably lost much of the texture and individuality that characterized the early handmade paper. The qualities that delighted the artists and scribes and helped produce the beautiful early printing have been lost in many papers as they are mass-produced today.

In Text Papers, however, you can still see the craftsman's touch. Here you will find the textures and deckle edges that give fine artwork an "original" look; here you will find the qualities so necessary to fine printing. Produced by machine, economically, Text Papers alone can still give your printed piece the individuality that has characterized fine papers for almost 2000 years.

0

0

0

0

This history of papermaking and the charts at the right have been reproduced from a new 24-page booklet published by the Text Paper Manufacturers Group. The idea was originally conceived by creative printer Robert Hesse jr. of The Winchell Company in Philadelphia and was adopted as a project by the Text Paper Group which assigned various experts to prepare information. A committee then coordinated the elements into a comprehensive "guide to ordering, handling and use" of text papers. Included is a description of text papers, their characteristics (finishes, colors, edges, opacity), weight and bulk, grain, scoring methods, available sizes, quality control tests and checks, matching envelopes, handling and printing, specification information, history and manufacturing, cost comparisons, and a glossary of terms.

The planning committee was headed by R. B. Clark jr. of Strathmore Paper Co. and included George Robinson,of the Mohawk Paper Mills and George Sherwood of Hamilton Paper. Seventeen paper companies sponsored the project; design and illustrations were by the Grey Studio of Philadelphia ; and The Winchell Company printed 90,000 copies. A unique aspect is that although the format and information is identical, each company supplied its own paper for its own copies with the back cover containing individual company information. In order to obtain a copy (or copies), see "Literature for your files" on page 14.

CA. June '61

D OJ

(Single sheet)

SIZES There are six sizes of Text Paper sheets which have become standard over the years because the most popular sizes of printed pieces cut out of them with minimum waste. The chart shows the number of pieces of each size you can cut out of standard Text Paper sheets. The sizes given are all in inches. Where blanks appear on the chart, it indicates that the size does not cut economically from that sheet.

(Long fold)

(French fold)

SIZE OF PIECE

25 X 38

23 X 29

23 X 35

26 X 40

35 x45

38 X 50

SY2 x 8Y2 (Single sheet)

16 out

12 out

16 out

21 out

32 out

32 out

11 x 17 (French fold)

4 out

-

4 out

4 out

8 out

8 out

11 x 8Y2 (Long fold)

8 out

6 out

8 out

8 out

16 out

16 out

SY2 x 17 (Short Fold)

8 out

-

8 out

8 out

16 out

16 out

6 x 9 (Single sheet)

16 out

-

-

16 out

-

32 out

12 x 18 (French fold)

4 out

-

-

4 out

-

8 out

12 x 9 (Long fold)

8 out

-

-

8 out

-

16 out

6 x 18 (Short fold)

8 out

-

-

8 out

-

16 out

8Y2 x 11 (Single sheet)

8 out

6 out

8 out

9 out

16 out

16 out

17 x 22 (French fold)

2 out

-

2 out

2 out

4 out

4 out

17 x 11 (Long fold)

4 out

-

4 out

4 out

8 out

8 out

8Y2 x 22 (Short fold)

4 out

3 out

4 out

4 out

8 out

8 out

9 x 12 (Single sheet)

8 out

-

-

8 out

-

16 out

18 x 24 ( French fold)

2 out

-

-

2 out

-

4 out

18 x 12 (Long fold)

4 out

-

-

4 out

-

8 out

9 x 24 (Short fold)

4 out

-

-

4 out

-

4 out

~

I

(Short Fold)

Most mills cut Text Papers in the standard sizes slightly oversize. This allows the printer to trim the sheets as required. Although the draw .of the knife may tend to cause a slight variation in size, standard Text Papers are trimmed to very close tolerances. In fact, a change in relative humidity may throw a sheet farther off in size than the mill trimming·tolerance.ln any case, the variations can be controlled with minor printing press adjustments.

CA , J une '61

41

Literature of the Month

42

frame 20-S CLOSEZIPPER, (IITtl' I)

TURN FACE UP, PRESS FABRIC AWAY FROII ZIPPER

Ootins the aipper and tu.min1 it face up ruealt a narrow fold in the back team allowanoealonsthe lensth of the Kipper placket.

frame 21-S STITCH THROUGH FOlD (STlP I)

AND TAPE ONLY

Withtheaipperfootadjuated toleftoftheneedle,atitchaloas thit fold, .ewins throlJ8h fold and tape only, from bottom to top of placket.

frame 22·S SPREAO SKIRT FLAT WITH (lltP C)

ZIPPER FACE OOWN ON FRONT SEAII ALLOWANCE

At the aipper i1 turned face-down on front .urn allowance, a small pleat it formed at the bottom of the placket.

frame 23 ·S STITCH ACROSS IOTTOII (lltP C)

AND ALONGSIDE GUIDE UNE

Note that in atitchin1 acrOM the bottom, up alonpide tippe1 suideline, aewins isthroushtape, team allowance and front of sarme.nt.

CA . J une '61

The long range program of the Talon Educational Service, an «education promotion" department of the sales agency handling Talon packaged zippers, is the assurance of a future home-sewing market. .. and potential zipper purchasers. This field of educational literature has many limitations, the principal one being subordination of commercial credit lines. It is generally permissible in student-teacher material to show the manufacturer's name only when there is a logical reason and it is adjudged «tastefully shown."

The problem, as presented to Reiter-Ross, Inc., New York City, was to package three 35-mm strip films and their accompanying scripts in such a way as to avoid violating any restrictions or limitations, assure acceptance by home economics teachers and still present the Talon name and product effectively. The kit also had to make provision for three later strips.

A ((book-box« form of packaging was selected, allowing all of the material to be kept together (including the future films and scripts). This also provided easy bookshelf storage as a reference for teachers and students. Inside, the box facsimilates the appearance of a sewing (spool storage) box. The scripts or manuals, also packed in the box, have cover colors coded to the corresponding film cans.

The mailing carton was handled as a separate unit, designed with the two-fold purpose of giving good protection to the inner book-box, and displaying product identity in a cleverly simple way. Made of coated corrugated, the carton is self-locking and is opened by a special zipper-type device which has been printed and perforated. Here, as in all other parts of the package, the manufacturer's name is shown exactly as it also appears on the product. The limitations of logic and taste were successfully met in a way that is most effective for future brand recall.

An initial introductory mailing of ((Zipper Applications" was sent to a few key people in the home economics field, both at supervisory and at teaching levels. The response was enthusiastic and additional kits were made available to classroom teachers at no charge.

10,000 kits were prepared and distributed. Design and supervision of production were handled by Reiter-Ross.

Other production credits were: boxes, Paragon Box Co.; film production, Wylde Studios; containers, Commercial Corrugated; printing, G.B.S. Lithography. An excerpt from one of the strip films (shown twice size) is at right.

CA, J une '61

43

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Twelve of America's leading graphic arts designers were picked to create the 1961 Tileston & Hollingsworth calendar, breaking the 38-year tradition of printer-designed pages. Each designer had equal scope: two colors plus black on a given T & H paper, interpreting the New England scene. Twelve different printers were then assigned the months to reproduce, limited only by given process and the designer's approval.

Tileston & Hollingsworth (papermakers of Boston since 1801) calendars have become an annual event for the New England Clubs of Printing House Craftsmen. The Craftsmen select a Calendar Critic each year, and also submit their own choices by ballot (months are unmarked as to designer). So pick your favorite, compare your preference with that of the Craftsmen and the Critic, page 4647.

CA. J une '61

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Herbert Lubalin was this year's critic and lecturer at the Calendar Review and Analysis Programs held by the Craftsmen's clubs. Vice president and executive art director of Sudler, Hennessey & Lubalin, New York, Lubalin's design work has been honored and featured internationally.

The Designers (listed by the month ): Jan ., Bradbury Thompson; Feb., Johannes Troyer; Mar., Warren Chappell ; April , Alexander S. Lawson ; May, D. Herbert Dye; June, Alexander Nesbitt; July, Gene Federico; Aug., Freeman Craw; Sept., Alvin Eisenman; Oct., Leo Lionni; Nov., George Giusti ; Dec., Will Burtin.

CA, June '61

Critic's Choice November by George Giusti.

Second choice : September

by Alvin Eisenman , third: Leo Lionni's October.

46

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George Giusti, of Italian-Swiss parentage, trained at Accademia di Belle Arti di Brera in Milan, moved to New York in 1939. He has taught creative design at Cooper U nion, is on the staff of the Famous Artists School, is a busy editorial/ advertising designer and consultant for industry, has done covers for Fortune and Holiday. 1958 Art Director of the Year, National Society of Art Directors.

CA , J une '61

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Craftsmen's Choice September by Alvin Eisenman.

Second choice: April by Alexander Lawson, third: Warren Chappell's March .

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47

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Alvin Eisenman, having graduated with distinction from Dartmouth, is now Director of Graphic Arts at Yale. He was formerly manager of design dept., McGraw-Hill Book Co.; has served as visiting professor of graphic arts, Royal College of Art, London; has designed over a thousand books; and is this year's president of the American Institute of Graphic Arts.

CA. June '61

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Chapter I. What Letters Are ~ii5ji.i§ml LETTER is a symbol, with a definite shape & significance, indicating a single sound or combination of sounds, and providing a means, through grouping, for the visible ex-pression of words-that is, of thoughts.

Originally,letters were adaptations ofnatural forms employed in picture--writing, but by a process of evolution, [actually degradation, ~~~~~5i~~~~ they have become arbitrary signs with little resemblance to the symbols from which they are derived. These arbitrary shapes have passed through their periods of uncertainty and change; they have a long history and manifold associations; they are classics, and should not be tampered with, except within limits that just discretion may allow.

An ornamental form once found is repeated, the eye grows accustomed to it and expects its recurrence; it becomes established by use; it may be associated with fundamental ideas of life and nature and is handed on and on, until finally its origin and meaning are, perhaps, lost. Just so, the picto-rial significance of individual letters is so deeply buried in oblivion that special study and research would be necessary to resurrect their original form or meaning-an undertaking not essential here.

Language itself, as an organized system, was of necessity slow in devel-oping; the next steps, the approaches toward a more or less phonetic al-phabet, were equally lingering; for speech existed long before it was dis-covered that the human voice could be represented by symbols-thus

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G is an invention of the Romans, who at first used C for the sounds of both k & g; but after the middle of the third cent. B. C .• to signify the hard sound of G they converted C into G byaddingan upright barto the lower curve.

_G _G__ _ _ G_ 49

This isn't exactly current but it still qualifies as choice. At left, the opening page of "The Alphabet" by Frederic W. Goudy, published by Mitchell Kennerley in 1918. Above is one of the alphabet plates. Page size is 91;2 x 121;2, shown here reduced one half. The book was set by Bertha M. Goudy, the author's wife, in types designed by the author. Printing was by William Edwin Rudge.

The typography on the page shown at left is reproduced actual size. The title, ''The Alphabet,'' is somewhat similar to Goudy Text with Lombardic Capitals and was hand drawn by Goudy. The body type is Kennerley Old Style, the initial is a Goudy Cloister Initial.

CA, June ' 61

Moving Day One of our best collections of originality and visual excitement is a very large file labeled ((Moving."

Many of these announcements were sent to us specifically for the looking, others have come in merely as change of address notices.

A high percentage of CA subscribers seem to be going upward and onward to something ((newer and better." On these pages are a few, we'd like to show more ... and will in future issues.

50

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Two announcements (mailed one week apart) prepared for The Veritone Company, Chicago lithographers, by Burton Cherry and Associates.

Shown at one-third of size, each piece was printed 36 x 7 and folded to 12 x 7. The last page, showing map and address copy, was repeated in the two mailers. Jay Williams designed the first announcement, Gary Scott designed the second.

our new plant which will continue to provide the finest lithography in the veritone tradition ...... .

52

'

CA, June '61

Moving day (continued) The announcement at left almost fits the category. The name, not the location, is changed. Saddle stitched, one color, 6" x 7".

Two attention-getting announcements with an economical character to their appearance. Top right: Bernard Nagler Advertising Design in Los Angeles used an 8 ¥2 x 11 chipboard, printing in one color and cancelled postage stamps. Mailed as a postcard, it is hand addressed on other side. Below: also on chipboard, also a postcard, 8¥2 x 17. Silk screened in one color, black. Designer was Norm Gollin.

No Sucl1 ~~un1bt~r fostage Due,

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Sa~ big money on posta1e costs .. . by simply noting that Bernard Nagler Advertising Duifn has ~ to 442 Nor~h La Cienega &u.levard, Los Anieles 48, California Telephone numbers remai" IUICI&411fletl . •. OLympia 2-9700/ CReatuiew 5-6842

MlLIOS£ lVlNUE LOS MGlUS 46 OUV£ 3·

CA. June '61

53

m

COLOR

DUOTONES 10%

20%

30%

10

20

30

40

50

70

100

CA, June '61

50%

70%

Black and white halftone

Duo tone

10%

20%

COLOR

~"""OLOR

BLACK

BLACK

40%

50%

BLACK

BLACK

30%

,...

BLACK

60%

70%

80%

BLACK

BLACK

BLACK

CA COLOR CHART COPYRIGHT 11:161

Color halftone

BY THE JOURNAL OF COMMERCIAL ART

90%

•

PRINTED

CA, June '61

100%

BY LITHOGRAPHY USING 150-LINE LEV Y

SCREEN

LUCYGRAF An investment that pays off

J, 485% per annum!

56

Whichever you pref er, a shorter work week or more take home pay, or both, Lucygraf makes it possible and practical. Larger art departments add the full production of another man without the overhead! Save billable time scaling layouts, illustrations, photographs, lettering and logos, keyline strip-ins (no stats needed ) , as well as visualizing reductions or blow-ups and direct tracing to scale from three dimensional objects.

Yo u save at least one half the price you would pay for comparable equipment because only Lucygraf has been a ble to maintain through the years a sell direct policy (no dealers ) . No other "luci" offer s the simplicity, the speed or th e razor- s harp p erformanc e of Lucygraf. E ve1·y unit is sold with an unconditional 30 day m oney-back gua?·antee and shipped immediately u pon receipt of order !

The Second Annual Exhibition of Communications Art sponsored by CA

CALL FOR ENTRIES Deadline: July 21 Entry handling fee: $1 No acceptance fee.

Publication date of the annual:

SPECIFICATIONS

NOVEMBER

LENS, Wollensak Raptar F4 .5 (Same lens as in units costing $300 .00 more and up.); EIGHT DIAMETERS scaling range ; FOCAL PLATE 18" x 24" ; COPY BOARD l?"x 23 "; CABLE CONTROLS of vinyl steel strand ; HOOD, grey vinyl ; DIMENSIONS, 42 " height to focal plate . floor area 26" x 24 "; CABINET of heavy ply construction finished in neutral beige .

$198° ------0

MODEL A (As shown above ) Com plet e, ready to ope r ate.

_..Fu ll payment with o1·der .. ........ $1 98 .00 We will ship prepaid in U.S . A .

PA Y M E N T PL A N ... $1 00 .0 0 p ayment with order. Bala nce in t wo equ a l m onthl y paym ents ( 60 days). Send bank ref. Shipped F. 0. B. Los Angeles.

In Calif o1·nia, add 4 % Sales Tax

LUCYGRAF

CA-61, already established as a major international exhibition, was conceived with one aim ... to promote and influence responsible creative efforts throughout all of the areas of communications art.

It will be presented in an annual (largest circulation of any art annual published in the U.S.) and in special exhibits to display the meritorious art, design and thinking selected for this exhibition.

The Jury for CA will be: Steve Baker, Saul Bass, Dick Coyne, Stan Freberg, Howard Gossage, Bob Runyan, Art Shipman, Bill Tara and Arnold Varga.

MANUFACTURING COMPANY Dept. J, 3268 Motor Avenu e Los Angeles 34, Calif., UPton 0-0071

CA. June '61

0

THE CATEGORIES [D

0

SPACE ADVERTISING single ad, complete unit A. Magazine, consumer B. Newspaper, consumer C. Trade magazine or newspaper

0

SALES AND INSTITUTIONAL LITERATURE A. Product brochures, complete unit B. Annual reports, facilities brochures, institutional booklets, complete unit C. Single unit (cover, page, spread)

0

DIRECT MAIL AND MISC. PROMOTION A. Folders, invitations, announcements, single unit, designed specifically for direct mail as the primary usage B. Sales promotion kits, flip charts, presentations C. Self-promotion for artists, agencies, other organizations directly concerned with the graphic arts

0

TECHNICAL DESIGN AND ILLUSTRATION A. Manuals, catalogs, technical presentations, etc. (complete unit) B. Elements of manuals, catalogs, technical presentations, (covers, single pages, spreads, etc. ) C. Maps, charts, graphs D. Representational illustration of product, facilities, including cutaways, exploded views, etc.

E. Non-representational illustrations of technological subject matter (Please clear everything related to classified material before submitting)

~ ILLUSTRATION CAMPAIGNS A. Series of space ads B. Space ads and other media in a coordinated program C. Direct mail or sales promotion campaign ($3 en try handling fee per series.

Each individual piece in a series must be identified with Form B)

0

TRADEMARK AND SYMBOL DESIGN

0

BUSINESS PAPER DESIGN

A. Space advertising B. Magazines, newspapers, any non-institutional publications C. Sales literature, institutional literature, direct mail D. Books, book jackets, record albums

[!!] PHOTOGRAPHIC ILLUSTRATION A. Space advertising B. Editorial C. Institutional and sales promotion

A. Letterhead B. Form C. Series (Submit with all elements attached together, not paper clipped)

0

POSTER AND DISPLAY A. Outdoor, 24-sheet, paints, spectaculars, etc.

B. All other posters C. Point of purchase display D. Exhibition booths, 3-dimensional other than point of purchase E. Signs, murals, other permanent display (Please send transparancies, photographs or reproductions of nominal size that can be easily handled and sent through the mails )

PACKAGE DESIGN A. Containers, boxes, bottles, etc. ( Please submit empty containers only) B. Labels C. Book jackets D. Record albums CA. June '61

@] CALLIGRAPHY AND LETTERING 1131 TELEVISION, FILM, SLIDES A. TV commercials B. Institutional and promotion films C. Film titles D. Slide series, strip films ($5 entry har1dling fee)

[IT] EDITORIAL DESIGN

57

PROCEDURE FOR SUBMITTING ENTRIES Submit UNMOUNTED proofs, tear sheets or reproductions.

Photos or transparencies may be submitted when reproductions are not practical. If any piece is submitted for more than one category, duplicate proofs and entry handling fees must be supplied.

FORM A must accompany each package of work submitted and be clipped to the check or money order for entry handling fees, and return postage and handling fees.

FORM B or a replica of the information on this form must be firmly attached to each piece submitted. In case of campaigns, each piece must be individually identified. Entries not conforming to these regulations cannot be accepted.

BACKGROUND INFORMATION If you feel that additional information about the background, special problems, objectives of your entry will assist in the evaluation by the judges, firmly attach a brief memo of this to the entry. This is extremely useful and often essential in the evaluation of sales literature, direct mail, packaging.

ENTRY HANDLING FEES Each single unit (ad, illustration, brochure, etc.) must be accompanied by a $1 handling fee. Each campaign (advertising or direct), $3. Each film, television, or slide series entry, $5.

These entry handling fees help def~ay the costs of handling, jurying and later exhibition. THERE IS NO HANGING OR ACCEPTANCE FEE.

NOTIFICATION OF ACCEPTANCE This year, all accepted entries will be notified in advance of publication date. Additional information, name and addresses for award certificates, additional proofs or other material to aid in better reproduction will be requested. This must be answered promptly or the accepted entry will be subject to disqualification.

AWARDS A Certificate of Excellence will be awarded to participants and the client of each piece accepted. The annual will be published in November, 1961, and the certificates will be released during the week following publication.

ELIGIBILITY

58

Any piece produced or published after July 1, 1960.

SEND ENTRIES TO

ACKNOWLEDGEMENT OF RECEIPT OF ENTRY If you wish an acknowledgement of the receipt of your entry,

CA-61 809 San Antonio Road Palo Alto, California

enclose a self-addressed, stamped envelope or postcard. Your entry will be acknowledged immediately, noting the date your entry was received.

Wrap all entries carefully and insure them if you feel it is required. CA cannot be responsible for the condition of any material submitted. There is no time advantage to be gained

by Special Delivery.

RETURN OF ENTRIES No entries will be returned unless the forms are properly marked for return and they are accompanied by the proper amount of postage, insurance and fifty (50.¢') cents handling fee for each piece to be returned. DO NOT SEND STAMPS!

Additional copies of forms are available by writing to CA-61 at the address above.

DEADLINE FOR ENTRIES IS JULY 21

~--····

This form must be filled out (please type or print) and accompany check or money order with each package of entries.

••••••••• PLEASE TYPE OR PRINT

_ _ single units (11 $1 NAME - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

FIRM - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

ADDRESS - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

_ _ campaigns ~~ $3

_ _ film , TV , slides (11 $5

Total handling fees

Retum postage & handling NUMBER OF PROOFS OR OTHER PIECES ENCLOSED - - - - - - - - - - - - - - - - Total am 't check/ money order$

• e FOR CA USE ONLYe • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Date rec 'd _ _ _ __

Return requested

~ ~

Check am 't correct

~ ~

CA, J une 'Ill

Log numbers _ _ _ _ _ _ _ _ _ _ _ __

number

letter

DO

number

If campaign, # _ _ of _ _ _ pieces

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ___

letter

DO

If campaign , # _ _ of _

Submitted by

Art director _ _ __

Art director

Designer

Designer

Artist/ photog. - - - - - - - - - - - - - -- - -

Artist/ photog.

Agency

Agency

Client

Client

0 Return postage enclosed

0 Return postage enclosed

number

If campaign, # _ _ of _ _ _ pieces

letter

DO

Submitted by

.Submitted by

Art director ------------------------------------- -

Art director

Designer

Designer

Artist/ photog. - - - - - - - - - - - - - - - - - -

Artist/ photog.

Agency

Agency

Client

Client

0

Background info. enclosed

number

0 Return postage enclosed

If campaign, # _ _ of _ _ _ pieces

0 Background info. enclosed

0 Return postage enclosed

CLASSIFICATION number letter

letter

DO

_ _ pieces

If campaign, # _ _ of _

_

_ pieces

DO

Submitted by

Submitted by

Art director

Art director

Designer

Designer

Artist/photog.

Artist/photog.

Agency _________________________

~-------

Client

If campaign, # _ _ of _

_ _ pieces

Agency Client

0 Return postage enclosed

0 Background info. enclosed

0 Return postage enclosed

A monthly "thinking aloud" session with Industrial Designer Walter Landorto stimulate rather than answer, to examine problems rather than solve them.

DESIGNING ALOUD

by WALTER LANDOR

FROM TRIANGLE TO TRIO . .. the changing climate in designer-agency-client relationships

A time existed, certainly, when the relationship between industrial designer, advertising agency, and their client was more akin to a triangle than a trioparticularly in regards to package design and corporate identity.

Discords arose primarily from a jealousy of creative authority, a misunderstanding and mistrust of each other's role in building brand success.

60

A new harmony, happily, can now be detected. This warm polygamous state between agency, designer, and client is built on a general agreement on areas of responsibility, an emphasis on teamwork, an appreciation of the essentiality of specialized talent.

Perhaps the initiative has come from the manufacturer1 who experienced the value of specialized talent in other marketing areas.

In any event, with his encouragement, the agency is now more than happy to support the designer's participation in a vital marketing triumvirate.

Some of the positive achievements scored by agency and designer in this spirit of new understanding may be these: An increasing appreciation of a common ground for confidence has stimulated the agency to share (with the designer) its past experiences, marketing secrets, and long-range plans for advertising.

To make sure package designs will work with maximum effectiveness, the designer is spending increasingly more time and energy working with the agency to visualize proposed designs in advertising situations.

The agency and designer have reached such a plateau of understanding that package design often incorporates ideas from the agency, and the agency frequently finds that a new packaging concept will spark fresh creative thought for advertising the product.

More and more agencies are taking the lead in recommending the services of package design specialists.

CA, June '61

··-· i ]';'_ .. ~~--~ T i

DAVENPORT 6-6040 PALO _ALTO