Marvin Rubin (cont.)
LONGEST LOVE AFF AliR SINCE AUTOMOBILES BEGAN
IN 1955, FOR THE 20TH YEAR IN AROW, MORE PEOPLE BOUGHT CHEVROLETS THAN ANY OTHER CAR Otfic!al and conclusll..oe ngulratton figures prOVt'
Left: Chevrolet ad. Art director was Pat Fitzgerald; agency, Campbeii Â·Ewald. Above: a drawing from a very handsome
annual report designed and illustrated by Rubin for the District of Columbia Tuberculosis Association.
CA, J une '61
Literature of the Month
frame 20-S (IITtl' I)
CLOSEZIPPER, 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 (STlP I)
STITCH THROUGH FOlD AND TAPE ONLY
Withtheaipperfootadjuated toleftoftheneedle,atitchaloas thit fold, .ewins throlJ8h fold and tape only, from bottom to top of placket.
frame 22·S (lltP C)
SPREAO SKIRT FLAT WITH 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 (lltP C)
STITCH ACROSS IOTTOII 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
Chapter I. What Letters Are ~ii5ji.iยงml 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
[ 9 ]
l - -l l-
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 .â€˘ 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.
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 ...... .
Black and white halftone
CA COLOR CHART COPYRIGHT 11:161
BY THE JOURNAL OF COMMERCIAL ART
CA, June '61
BY LITHOGRAPHY USING 150-LINE LEV Y