marapr1964

Cover by Ray A. Schwalm 10 The time and the place 16 Club news, exhibitions 40 Lester Beall 56 Pittsburgh Quote 62 Illustrators '64 73 The Magazine of the Communication Arts

VOL 6- NO 2 MARCH/APRIL

1964

The Searching Eye

83 E xhibit 89

Trademarks I USA

95

Call for entries-CA '64

98 On the board 107 Print that matters

Richard Coyne, AD/ editor George Opperman, associate AD Carolyn Thompson, assistant editor

109 Materials, available literature

Jay McKendry, typographer G. McKendry, associate typographer

111 Index to advertisers

Henri Luyckx, litho supervisor Robert Palacio, production manager

112 Design '64

Jerome G. Steimle, president Robert Blanchard, publisher Subscription service: Gale Osborne Judy Graham Janice Matsumoto David Powell, mailing service

CA Magazine is published bi -monthly by Coyne & Blanchard , Inc ., 809 San Antonio Road, Palo Alto , California . Subscrip· lion rates: U. S. A. and possessions, one year, $1 2; two years, $22; three years , $30 . Foreign, one year, $14 ; two years, $26; three years, $36 . Single issues: $2 each. c· Coyne & Blanchard , Inc., 1964. All rights reserved. Trademark regis· tered . Second -class postage paid at Palo Alto , California.

Po stmaster: Please send 3579 to 809 San Antonio Road , Palo Alto , California, 94303.

Change of Address: Notification shoul d be sent to CA, 809 San Antonio Road, Palo Alto , California, at least 30 days prior to effective date . Send both new and old address. If possi ble , use im print from CA mailing envelope for old address.

Editorial Correspondence: No responsibility is assumed by the editors or publ isher for unsolicited contributions. Manu· scripts or other material should be accompanied by self· addressed , stamped envelo pe.

Adverti sing Correspondence: Requests for information or other cor re sponden ce conce rning advertising may be ad· dressed to the Adverti sing Department, CA Magazine , 809 San Antonio Rd ., Palo Alto , California , Phone (415) 326-6040.

A PAINTING COMMISSIONED FOR A CALENDAR

~~In preparing for this assignment, I did considerable research before starting preliminary sketches. When I finally had sufficient data, I finished certain sketches and prepared a canvas.

In this case it was 38" x 50". I prepared the canvas with Hyplar Gesso, which dries rapidly. Then, conducive to the mood of the painting, I loosely scumbled a ground of a middle tone of Burnt Sienna.

The large areas were then freely traced onto the ground. Flat areas of color were painted loosely into the ground until the color mood was right. I then drew into the areas with compressed charcoal over the painted areas. I applied Tuffilm Spray to each area as the drawing progressed. Finally, to enhance and equalize the tonality of the colors, I used thin glazes of Hyplar Colors. Some areas, I re-worked by simply painting them out, using the original Burnt Sienna ground, and started over.

As a final varnish, I applied Tuffilm Spray, but I often use the Hyplar Gloss or Matte Medium.~~ RAY PROHASKA

HYPI.AR

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Too many brochures reach the wrong prospects ... and deserve to They may start with a brilliant idea.

Yet they end their days at the bottom of a wastebasket, unnoticed and unmourned.

We don't pretend that Oxford papers guarantee you a brochure that is an award winner.

Life isn't that simple. But we do know that the right paper will enhance the most striking design, add sparkle to the most lavish illustrations, and increase the odds in favor of selling -substantially.

The next time you consider any printing job, put first things first.

Begin with a paper made by Oxford.

LASTING IMPRESSIONS BEGIN WITH OXFORD PAPERS OXFORD PAPER COMPANY, 230 PARK AVENUE , NEW YORK, N.Y.10017 • BOSTON • CHICAGO Printing Papers for Books, Magazines, Commercial Printing, Business Forms and Packaging ©1964 Oxford Paper Company

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HUNG UP drawings, etching and some almost-watercolors. All for ale. These never used before and nicely framed small works are nailed all over my studio-gallery walls to allow leisurely looking. They can be un-hung any/ and only Monday evenings from 7 pm to 11 at prices from $60 with frames to even les for framed etchings. 7 40 Y2 North LaCienega Boulevard, Los Angeles 69. OL 5-7496. Lot prices arranged. GENE HOLTAN, distributor.

Castell answel's a pointed question about "Slide Rule accul'acy 11

11

What makes A. W.Faber-Castell #9000 the world's finest drawing pencil P"

There are many answers, but one incontestable feature is all-important in drawing and drafting. Through A. W. Faber's exclusive microlet process, Castell's 20 degrees, BB to 10H, .are milled, refined and held to rigid standards of slide rule accuracy. This means that you can go back to an unfinished drawing months or even years later-and get the same solid black unfeathered lines, identical in width and density.

Architects and engineers, designers and draftsmen prize other features, especially the grit-free, smooth-gliding quality which is possible only in natural graphite that

tests out at more than 99% pure carbon. Also the fact that this graphite is CASTELLSEALED-bonded-in-wood-for immensely greater point strength, with plenty of reserve to prevent the lead breaking or splitting inside the wood under abnormal pressure.

We could go on giving you reasons, but the best way to convince yourself is to try Castell. We'll be happy to send you samples of the degrees you use in your daily work. Fill out the coupon, attach it to your company letterhead and drop it in the mail. Find out what we mean by "slide rule" accuracy.

A.W.FABER-CASTELL Pencil Co., Inc., 41-47 Dickerson Street, Newark 3, New Jersey

r-------------------------------------------------------,I I I I Please send me a sample each of Castell #9000 Drawing Pencils in _ _ _ _ _ _ _ _ degrees for testing purposes.

MY NAME IS

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I'm NOT in a substitute ...

I WANT BAINBRIDGE!!!"

That's the way most artists-pros and amateurs alike-feel about Bainbridge Illustration Board.

And this feeling is well founded. Because they know that the name Bainbridge is synonymous with Quality. They know that every Bainbridge board is hung and dried individually to eliminate warping ... and that every Bainbridge board is minutely inspected to cull out those with the hint of an imperfection.

You'll prefer Bainbridge boards, too, once you've experienced their finer texture and wonderful working ease. In the finished job the board makes the difference- and Bainbridge makes the best!

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EVERYBODY WINS 51.00 KRYLON GIFT CERTIFICATE

BY QUAUFYING

The Krylon label is our distinguished and valuable company image, found in many professions and industries. Our art products are the choice of professionals, and we desire now to identify them with a special label that will appeal to artists and yet be immediately recognizable as a member of the Krylon family of products.

We know that you, our art customers, have strong preferences in such matters, and we want to pay for your ideas! We offer you $2,500 .00 for a design as distinctive-and as effective-as the Krylon art product on which it will be used! (Perhaps you will create a separate label for each Krylon art product?) What's more, every qualifying entrant wins!

TO QUALIFY FOR PRIZES: (1) Your label design must include adequate space for all information that appears on our present label. We invite your suggestions for changes in format, directions, data, uses, etc. (2) Krylon registered trademark (oval) must appear in your design. (3) Label entry must be actual size (8:;.'16 " around x 51Sj 16 " high), unmounted, on material that may be wrapped around a Krylon can. (4) Label and entry must be addressed to Krylon, Inc., Norristown, Pa . and postmarked not later than May 31 , 1964. (5) All label entries become the property of Krylon, Inc. and will not be returned. Entries will be judged by a panel selected by Krylon, Inc. (6) Each entry must be accompanied by the entry form appearing in this ad, or available at art supply stores, certifying that the design is your own creation and with no obligations to others. Your signed entry form contains an assignment to Krylon, Inc. of your entire interest in the label design, including the right to the commercial use thereof. (7) Be sure to sign your name and address on the back of each design entry. (8) To qualify, entries must display creativity in good taste and adherence to these rules, acceptable to Krylon, Inc. The decision of Krylon, Inc. as to qualifying entries and winners will be final.

eeeeeeeeeeeeeeeeeee• • • • • • • • • • • • • • • • • • • • • • •

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KRYLON ART LABEL DESIGN CONTEST ENTRY FORM FILL OUT AND ATTACH TO YOUR DESIGN ENTRY This is to certify that the attached design is my own creation, is offered without obligation to others, and subject to the rules of the contest announced by Krylon, Inc. In consideration or Krylon , Inc. accepting the attached label design as an entry In Lts contest, I hereby assign the entire right, title and Interest In and to the label design , lncludln~ all rights to the commercial u se and exploitation or all or any part thereof, and the right to secure copyright thereon. without any further compensation to me .

(Please Print) STATE,_ _ _ __ OCCUPATION _ _ _ _ _ _ _ __ SIGNATURE,_ _ _ _ _ _ _ _ _ _ __ (this entry form must be signed) Mail To: KRYLON, INC., Norristown, I

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The Time and the Place Aspen The 1964 International Design Conference will be held June 21 through June 27 in Aspen, Colorado. Eliot Noyes, program chairman of the conference, announces that this year's meeting will be titled, ((Design '64: Directions and Dilemmas," sub-titled, ((a discussion of freedoms and restraints in design, architecture and visual communication." Information about the conference may be obtained from Mrs. Merrill Ford, IDCA, Box 1247, Aspen, Colorado. Information on travel and hotel reservations is available through the Aspen Travel Service, Box ((X," Aspen, Colorado.

New York The 9th Annual Visual Communications Conference, sponsored by the Art Directors Club of New York, will be held at the Americana Hotel, May 27 and May 28. Admission to the conference is $75 including luncheon on both days. Reservations may be made by writing to the New York Art Directors Club, 642 Fifth Avenue, New York 19, New York.

The entry deadline for Art Direction's 4th Annual Creativity on Paper Show is July 10. Entries should be sent to Creativity on Paper, Box 3761, New York 17, New York.

The Composing Room, Inc., 130 W. 46th Street, New York City, has announced the opening, to the public, of a new graphics library. It includes much uncommon information about typesetting, typesetters and graphic designers, old and contemporary. The new library offers one of the most complete type specimen collections in the country, and arrangements can be made for copying where required.

Many foreign publications are available, including The Monotype Recorder, Book Design & Production,

Motif, Typographica, Druckspiegel and Graphis. Most of the domestic publications are also included.

An exhibition of the work of the art staff of NBC Television's Sales Planning Art Department will be presented at Gallery 303 under the sponsorship 10

of The Composing Room. The exhibit will feature work by Bob Greenwell, Art Director of the NBC Department, Robert Staples, Assistant Director, and designers Stan Stubenberg and Frank Cataldo. Through May 13.

Norristown Krylon, Inc., producer of aerosol spray paints and protective coatings, is conducting a design contest to select a new label for its line of art products. Cash awards of $2500, $1000, and $500 will be awarded as first, second and third prizes respectively.

Entry forms are available in art supply stores. Closing date is May 31.

The Curtis Paper Company insert is the cover of their new Composite Sample Book which includes all seven lines of their text and cover papers. These are distributed by the Curtis Merchants listed on the opposite page. The book includes their newest line of KISMET and the three new colors which have been added to the TWE E DWEAVE line-Pumpkin (as .shown on the insert), Coral Red and Grass Green.

The seven standard Curtis lines are: COLOPHON

Rochester The Professional Photographers of America, Inc. will hold the 4th Rochester Workshop May 3 through May 5. The Workshop is sponsored by the Portrait Division of the PP of A, and is open to portrait, commercial and industrial professional photographers.

Highlight of the 3-day workshop will be the 4th National Exhibition of Advertising Photography, jointly sponsored by the PP of A and Art Direction Magazine. Competition is open to all photographers in the United States and Canada. Judges will be: Onofrio Paccione, Executive Vice President of Leber Katz and Paccione; W. F. Smith, Director of Advertising Art of Eastman Kodak Company; Bert Steinhauser, Art Director of Doyle Dane Bernbach; and Otto Storch, Art Director of McCall's Magazine. Deadline for en tries is April 15. Prints of any size can be submitted, but mounts of 16x20" are preferred. All entries are to be sent to The Fourth National Exhibition of Advertising Photographers, Professional Photographers of America, Inc., 152 West Wisconsin Avenue, Milwaukee, Wisconsin 53203.

Zurich ICOG RADA- the In tern a tional Council of Graphic Design Associations-will hold its first General Assembly and Graphic Design Congress from September 8 through September 12 in Zurich, Switzerland. The General Assembly, on the 8th, will be open to official delegates and invited observers only. The International Congress, which follows, is open to all those interested in the problems

White and Ivory

CURTIS RAG White and Natural in Laid and Wove, in Offset, Letterpress or Sheet-fed Gravure

CURTIS FLUORO ANTIQUE Fluoro White only

KISMET White, Orchid, Mint, Corn and Rose

SHALIMAR Regular White, Fluoro White, Blue, Green, Pink and Yellow

STONERIDGE White, Gray, Blue, Copper, Green and Red

TWEEDWEAVE White, Ivory, Tan, Yellow Lime, Gray, Chartreuse, Light Blue, Dark Blue , Forest Green, Wine, Dusty Red, Midnight Blue, Brown, Pumpkin, Coral Red and Grass Green

Curtis Paper Company is a small mill manufacturing a wide variety of fine papers. The range of finishes and colors available in regular stock lines indicates the versatility of their operation. In addition to the standard lines shown in this book, Curtis manufactures numerous colors and sizes on special orders when the quantity is sufficient for a manufacturing order.

NEWARK . DELAWARE

Copyright 1964 by Clarence P. Hornung

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Lithographed on Ivory Stoneridge Cover, basis 65. Curtis Paper Company, Newark, Delaware

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From "THE GALLERY OF THE AMERICAN AUTOMOBILE" by Clarence P. Hornung. One of a series of 100 colorplates, greatly reduced in size, chronicling American automotive development from 1853 to 1915.

Pierce-Arrow Touring Car, 1908, was lithographed in six colors on Curtis Ivory Stoneridge Cover, basis 65. Curtis Stoneridge is available in Text and Cover weights in White, Ivory, Gray, Green, Blue, Copper and Red.

Curtis Papers are nationally distributed through these leading paper merchants AKRON, OHIO The Petrequin Paper Company

DETROIT, MICHIGAN Seaman-Patrick Paper Company

MINNEAPOLIS, MINNESOTA C. J. Duffey Paper Company

ROCK ISLAND, ILLINOIS C. J. Duffey Paper Company

ALBANY, NEW YORK W . H. Smith Paper Corporation

EAST RUTHERFORD, NEW JERSEY Bulkley Dunton Linde Lathrop , Inc.

MOBILE, ALABAMA Partin Paper Company

ALBUQUERQUE, NEW MEXICO Graham Paper Company

EL PASO, TEXAS Graham Paper Company

AMARILLO, TEXAS Graham Paper Company

HARTFORD, CONNECTICUT Henry Lindenmeyr & Sons

NASHVILLE, TENNESSEE Clements Paper Company Graham Paper Company

ST. LOUIS, MISSOURI Graham Paper Company Tobey Fine Papers, Inc.

ARKANSAS CITY, KANSAS Graham Paper Company

HARRISBURG, PENNSYLVANIA Wilcox-Walter-Furlong Paper Co.

ATLANTA, GEORGIA Wyant & Sons Paper Company

HOLYOKE, MASSACHUSETTS Plymouth Paper Company, Inc.

BALTIMORE, MARYLAND The Paper Supply Company White-Rose Paper Company

HONOLULU, HAWAII St. Regis Paper Company, Hawaii Division

BETHLEHEM, PENNSYLVANIA Wilcox-Walter-Furlong Paper Company of Bethlehem , Inc.

HOUSTON, TEXAS Graham Paper Company

BIRMJNGHAM, ALABAMA Graham Paper Company BOSTON, MASSACHUSETTS Lindenmeyr Paper Company BUFFALO, NEW YORK Hubbs & Howe Companv CANTON, OHIO Harrington Paper Company CHARLOTTE, NORTH CAROLINA Charlotte Paper Company CHICAGO, ILLINOIS Bradner Smith & Company Chicago Paper Company Empire Paper Company Moser Paper Company Reliable Paper Company CINCINNATI, OHIO Merchants Paper Company, Inc. CLEVELAND, OHIO The Petrequin Paper Company COLUMBIA, SOUTH CAROLINA Epes- Fitzgerald Paper Co ., Inc. COLUMBUS, OHIO Sterling Paper Company DALLAS, TEXAS Graham Paper Company DAYTON, OHIO Hull Paper Company DENVER, COLORADO Graham Paper Company DES MOINES, IOWA Newhouse Paper Company

INDIANAPOLIS, INDIANA Indiana Paper Company, Inc. JACKSON, MISSISSIPPI Graham Paper Company JACKSONVILLE, FLORIDA Jacksonville Paper Company KANSAS CITY, MISSOURI Tobey Fine Papers, Inc. LOS ANGELES, CALIFORNIA Ingram Paper Company LOUISVILLE, KENTUCKY Rowland Paper Company Graham Paper Company LUBBOCK, TEXAS Graham Paper Company LYNCHBURG, VIRGINIA Caskie Paper Company, Inc. MACON, GEORGIA Macon Paper Company MADISON, WISCONSIN Moser Paper Company MANSFIELD, OHIO Sterling Paper Company MEMPHIS, TENNESSEE Graham Paper Company MIAMI, FLORIDA Everglade Paper Company MIDLAND-ODESSA, TEXAS Graham Paper Company MILWAUKEE, WISCONSIN Dwight Brothers Paper Company Reliable Paper Company

ST. PAUL, MINNESOTA C. J. Duffey Paper Company

NEW BRUNSWICK, NEW JERSEY Wilcox-Walter-Furlong Paper Co.

SAN ANTONIO, TEXAS Graham Paper Company

NEW HAVEN, CONNECTICUT Henry Lindenmeyr & Sons

SAN FRANCISCO, CALIFORNIA Wilson-Rich Paper Company

NEWARK, NEW JERSEY Forest Paper Corp. of New Jersey Lindenmeyr Schlosser Company

SAVANNAH, GEORGIA Chatham-Atlantic Paper Company

NEW ORLEANS, LOUISIANA Graham Paper Company

SEATTLE, WASHINGTON West Coast Paper Company SPOKANE, WASHINGTON McGinnis Independent Paper Company, Inc. Spokane Papers, Inc.

NEW YORK CITY, NEW YORK The Alling & Cory Company Miller & Wright Paper Company Andrews/Nelson/Whitehead, Inc. Bulkley Dunton Linde Lathrop, Inc. The Canfield Paper Company Capital Paper Company Crestwood Paper Company, Inc. Forest Paper Company, Inc. Lindenmeyr Schlosser Company Marquardt & Company The Whitaker Paper Company Willmann Paper Company, Inc.

TACOMA, WASHINGTON Allied Paper Company

OKLAHOMA CITY, OKLAHOMA Graham Paper Company

TOLEDO, OHIO Cannon Paper Company

ORLANDO, FLORIDA Central Paper Company

TUCSON, ARIZONA Graham Paper Company

PHILADELPHIA, PENNSYLVANIA Schuylkiii-Hartung Paper Company The J. L. N . Smythe Company Division of The Alling & Cory Co .

Wilcox-Walter-Furlong Paper Co.

WASHINGTON, D. C. Frank Parsons Paper Company, Inc.

PHOENIX, ARIZONA Graham Paper Company PITTSBURGH, PENNSYLVANIA General Paper Corporation PORTLAND, OREGON West Coast Paper Company PROVIDENCE, RHODE ISLAND Providence Paper Company RALEIGH,. NORTH CAROLINA Epes-Fitzgerald Paper Co ., Inc. RICHMOND, VIRGINIA B. W . Wilson Paper Company, Inc. ROCHESTER, NEW YORK Genesee Valley Paper Company

CURTIS PAPER COMPANY

SYRACUSE, NEW YORK Genesee Valley Paper Company

TALLAHASSEE, FLORIDA Capital Paper Company TAMPA, FLORIDA Tampa Paper Company

WICHITA, KANSAS Graham Paper Company CANADA LONDON, ONTARIO Buntin Reid Paper (london) Ltd. MONTREAL, QUEBEC Kruger Paper Company OTTAWA, ONTARIO Buntin Reid Paper (Eastern) Ltd .

TORONTO, ONTARIO Buntin Reid Paper Co., Ltd .

VANCOUVER, B. C. Smith, Davidson & Lecky, Ltd .

ALL EXPORT ORDERSDayton, Price Company New York City, New York

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The time and the place (cont.) of graphic design and visual communication. The main theme, as yet unannounced, will be discussed by experts from different countries. The Congress is to be followed by seminary discussions. Plans are also being made for a one-day session on education and student projects. ICOGRADA was founded in London in April of 1963 by delegates from the world's leading graphic design organizations. The executive board consists of: President W. M. de Majo, Great Britain; Secretary General Wim Crouwel, Netherlands; Vice Presidents Peter Hatch, Great Britain; Hans Neuburg, Switzerland; Jukka Pellinen, Finland; and Professor Dragoslav Stojanovic-Sip, Jugoslavia.

For further information: ICOGRADA, Herengracht 567, Amsterdam, Netherlands.

Schools/Universities Michigan State University ... The School of Packaging and Department of Art of Michigan State University announce a Packaging Design Conference to be held May 27 and 28.

The conference purpose is to consider package surface design and graphics including such topics as: The Problems of Faithful Design Reproduction, Principles of Visual Organization, Color and the Package, and Psychological Aspects of Creativity. Although directed toward packaging designers and commercial artists, the conference is open to all interested persons. For more information contact Dr. Harold Raphael, School of Packaging, Michigan State University, East Lansing, Michigan.

San Francisco Art Institute . .. Over $23,000 in scholarships will be offered by the San Francisco Art Institue for the study of fine arts, design and photography at the Institute's college during the 1964-1965 academic year.

Freshmen, transfer students and continuing students are eligible for scholarships. However, only those students who plan to enroll as full-time students in programs leading to the Bachelor of Fine Arts or Master of Fine Arts degree will be considered for the grants. Application forms and further information on admission and scholarships may be obtained from the San

• Also available on lntertype from 6 to 12 pt.

Francisco Art Institute, 800 Chestnut St., San Francisco, California. Deadline for application is April 25.

University of California Extension ... May 19 through May 21 are the scheduled dates for the University of California Extension workshop on printing art and technology to be held in San Francisco. The workshop is planned for editors, personnel of advertising agencies, designers, commercial artists, publishers, printers, and others who work in the various phases of graphic arts. It focuses on effective

and economical use of graphic arts in printed communication. Speakers will include: Paul Johnson, Dick Coyne, A. R. Tommasini, Charles R. Wood, Richard Hoffman, Donald M. George, Kenneth Bess, Adrian Wilson, Arnold E. Olds, Neemias B. Cole, and Harold Balzer. Workshop participants will meet afternoons and evenings at the San Francisco Extension Center, 55 Laguna Street. Registration is from noon to 1 p.m. May 19. Further information and enrollment forms are available from University of California Extension, Berkeley, Calif. 94 720.

13

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Hifect Enamel is Kimberly-Clark's ultimate instrument for full quality letterpress printing. If offers true fidelity of tonal reproduction -achieves exact visual interpretation-reproduces the crisp, rich blacks and subtle black-to-white gradients that impart definitive quality to a printed piece.

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You save at least one half the price you would pay for comparable equipment because only Lucygraf has been able to maintain through the years a sell direct policy ( no dealers ) . No other "luci" offers th e simplicity, the speed or the razor- sharp performance of Lucygraf. Ev ery unit is sold with an uncondi tional 30 day money-back guar·antee and shipped immediately u pon receipt of order !

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16

A ctivities of clu bs, societies and other graphic organizations .

NSAD Fifteen men have been nominated for the National Society of Art Directors 17th «Art Director of theY ear" award.

The nominees are: Seth Fagerstrom, executive art director and vice president, The Rumrill Company, Rochester; William Field, art director, Polaroid Corp., Cambridge; Stephen Frankfurt, vice president and director of Special Projects Group, Young & Rubicam, New York; Robert Gage, senior vice president and chief art director, Doyle Dane Bernbach, New York; Richard Gangel, art director, Sports Illustrated, New York; Morton Goldsholl, president, Goldsholl & Associates, Northfield, Illinois; Thomas R. Gorey, vice president and art supervisor, Needham, Louis and Brorby, Inc., Chicago; Allen Hurlburt, art director and vice president of Cowles Magazines and Broadcasting, New York; Douglas Murray, vice president and executive art director, Botsford Constantine & Gardner, Seattle; William Noonan, freelance graphic designer, San Diego; Onofrio Paccione, creative director and executive vice president, Leber Katz & Paccione, New York; Leslie Parker, creative director, McCann-Erickson, Atlanta; Paul Rand, designer, typographer, Westport, Conn.; George E. Rumsey, president and art director, Rumsey, Lindquist & Assoc., Minneapolis; Henry Wolf, art director, Sho w Magazine, New York. The winner of this year's award will be announced at NSAD's annual meeting in May. Chicago The Society of Typographic Art's 37th Design in Chicago Printing Exhibition will be hung in the Prudential Building lobby between May 18 and May 31.

director, Needham, Louis & Brorby; Walter Allner, Fo rtune Magazine ; Art Shipman, art director, NeimanMarcus. Winners will be given recognition at an awards luncheon in May and the posters published in a hardcover book, American Poster '64.

Detroit The Art Directors Club of Detroit elected the following officers for 1964: president, Lee Bleifeld, art director, Zimmer, Keller & Calvert, Inc. ; first vice president, Sam Harper, art ·director, ]. Walter Thompson; second vice president, Bruce Cox, McNamara Brothers Studio; secretary, Roy Jackson, art director, Campbe llEwald Co.; treasurer, Bill Hoetger, Lettering, Inc. Milwaukee The Illustrators and Designers of Milwaukee announce the election of the following new officers: president, Harry ]. Bujak, art director, AllisChalmers; vice president, Robert H agen, Slater-Rost Studios; secretary, Nelson Stoffiet, art director, Moebius Printing; treasurer, Syl Sowinski, freelance.

Minneapolis The Advertising Club of Minneapolis will present its first annual OLAF (Outstanding Leadership in Advertising Formation) awards at their April 16 dinner meeting. Trophies will be given to the advertiser and the advertising agency or advertising department in each classification. OLAF Certificates· will go to the individual copywriters and artists.

New York The Art Directors Club of New York has announced its plans for (( Design The 32nd Annual Art Directors Club of Chicago's National Poster Com- '64," the 9th Annual Visual Communications Conference to be held at the petition will be judged by: Arnold Americana Hotel in New York City, Varga, art director, BBDO; Nicolas May 27 and 28. The meeting will Sidjakov, designer; Bert Stern, photographer; Bernie Fuchs, illustrator; feature more than a dozen speakers of international reputation in the Helmut Krone, art director, Doyle Dane Bernbach; George Guido, art . graphic arts field. Listed as speakers

this is the 111agic of Here is a side-by-side comparison of new DAY-GLO one impression 77 fluorescent printing ink with the brightest comparable regular inks we could find.

This difference holds special meaning for advertisers, agencies, publishers, packagers, printers and art directors. Here is visible proof that Day-Glo colors are more than just bright; they are fresh, clean, appealing. Ask yourself which row of colors can do the best job of advertising and selling your own product or service.

These color effects are easily and economically obtainable with a single printing impression. (It used to take two and sometimes three impressions to rna tch this strength and brightness). Regardless of your printing method, costs for this color difference are ridiculously low.

Turn the page for ideas on how you can use new Day-Glo fluorescent colors. Save this sheet for your idea file.

Day-Gio is a registered trademark Contact the nearest office below for complete details: DAY-GLO COLOR DIVISION Switzer Brothers, Inc. 4732 St. Clair Ave., Cleveland, Ohio 44103 9314 E. Fern St., El Monte, Calif. 91733 1441 N . Dayton, Chicago, Ill. 60622 405 Lexington Ave., New York, N :Y. 10017 In Canada, available through : A . R. Monteith, Ltd ., 2615 Wharton Glen Ave ., Cooksville, Ontario, Canada

Don't just say fluorescent color, specify DAY-GLO

DA¥GLO

NEW 77 ONE IMPRESSION PRINTING INKS SLASH THE COST OF COLOR IMPACT!!!!!!

Whatever the printing process, advertisers can now coordinate promotion and merchandising programs with Day-Gio fluorescent inks and coated papers as the color cornerstone. Day-Gio is now extremely practical and inexpensive to use.

Check below for the range of ways Day-Gio can add a sparkle to your future promotions.

NEW POPAI REPORT PROVES DAY-GLO INCREASES SALES!

Until recently, the problems of printing DAY -GLO color by letterpress or lithography required a considerable A recently released POP AI report describes a major cost premium. test conducted in a chain of Indianapolis drug Now, newly developed printing inks stores in which fluorescent signs were approxicut time, labor and equipment oper- mately 50% more productive in making sales ating costs. These new inks provide than regular signs. A copy of the research report better covering properties and higher titled "The Super Drugstore In-Store Displays" fluorescent intensity than ever be- can be obtained for $1.00 from The Point of Purfore. They set faster, dry faster, even chase Advertising Institute, 11 West 42nd Street, in heavy deposits.

New York 36, N. Y. We will send you an abstract Try this test: Print DAY-GLO 77 free if you write. ink at the end of a press run. Check ~------------------'-! the brilliance against other inks.

Day-Glo S trange as it sounds, reproducYou 'll find that never before have adds tion of full color transparencies you been able to get so much fluocan look more like the original rescence for so little cost. sparkle to when special Day-Glo red and

four-color yellow halftone inks are subprocess stituted for standard process

_Packaging & Labels _Point-of-Sale Displays _Sales Promotion Materials _Outdoor Posters and Displays _4-color Process Printing _Gravure Newspaper Prepri nts _ High -Speed Publication Runs _R.O.P. Newspaper _Magazine Inserts

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DAY-GLO COLOR DIY., SWITZER BROTHERS, INC. 4732 ST. CLAIR AVE., CLEVELAND, OHIO 44103 Please send me an i dea fi l e on Day-Gio for:

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DAY-GLO GRAVURE INKS, adding day-glo to PROVEN IN PACKAGES, product creates "extra difference" NOW AVAILABLE FOR New developments in DayPRE-PRINTS, PUBLICA- C/o pigments make it posTIONS &SUPPLEMENTS sible to add extra brightness

new silk screen

ONE IMPRESSION DAY-GLO HEATSET INKS PRACTICAL DFOR MAGAZINE RUNSD A recent issue of Business Week featured a first in publication printing. Day-Glo fluorescent red was printed as part of the regular magazine run on a high speed web press at 17,000 impressions per hour.

This recent development of one impression Day-Glo heatset ink offers a practical way to "steal the book" for either ads or editorial matter. A natural for advertisers who also feature Day-Glo on

Silk screen process has been the best and only way to print brilliant fluorescent colors for outdoor posters and displays that must stand the rigors of weather and sun for a month or more.

New, stronger Day-Gio 66 inks now make outdoor advertising even more effective. Because of the heavier ink deposit by screen process printing, color s are brighter than those on the reverse side of this page. Write for a Day-Glo 66 color card.

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N A M E - - - - - - - - - - - -- -

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magenta and yellow. Flesh tones take on a warm life-like glow.

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The DAY-GLO color effects shown on the reverse side can now be matched on the highest speed gravure presses using conventional 150- line cylinders. This has been demonstrated on a national gravure pre-print run for a lead ing brand . A four-color process run, using DayGio red and yellow recently indicated an even wider potential for advertisers seeking cleaner, brighter color effects.

We'll send you the "before and after" of this test on request.

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to polyethy lene bottles, toys and housewares. Also vinyl coated f abrics and films.

Many companies find that Day-Glo can help create new product lines, make old products into new ones and to diversify into new market areas. The range of new product ideas is limited only by the imagination.

If you will describe your proposed product application, we will be able to supply technical information.

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o Day -Gio Papers

0 Sales Promotion

0 Publication

o Outdoor Adverti sing o Displays o Four Color Process o Other _ _ _ _ _ _ __

ADDRESS>-------------------------C I T Y - - - - --

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H ow it was done : This insert was lithographed in U . S. A . on a 23 x 29 single color p ress at 4,000 impressions per hour on Mead 100 lb . Black and Wh ite. By using sp lit f ountain printing on the reverse side of this sheet, all eight Day-Glo colors were printed at the same time. This page demonstrates the tonal quality obtained by using Day-Glo Aurora Pink halftone ink.

Club News (cont.) for the two-day conference are: Georg Olden, vice president, senior art director, McCann-Erickson; Jack Roberts, executive vice president and creative director, Carson/ Roberts/ Inc.; Gary Smith, TV producer/ designer; Edward Gottschall, former editor of Art Direction Magazine; Gordon Parks, L if e photographer, novelist and soon-to-be motion picture producer; George Lois, first vice president and creative director, Papert, Koenig and Lois; Lester Beall, designer. Other speakers listed are Jules Feiffer, cartoonist; Robert Fawcett, illustrator; Jerry Mason, book publisher; Peter Palazzo, designer of the Sunday Tribune; Allen Hurlburt, art editor of Look Magazine; and Herbert Lubalin, designer. An opening day highlight will be the awarding of the AD Club President's Medal to Walter Gropius, architect and founder/ director of the Bauhaus, Germany's pace-setting design school of the nineteen-twenties and early thirties. Admission to the conference is $75, including luncheon both days. Reservations may be made by writing to the New York Art Directors Club, 642 Fifth Avenue, New York 19, New York.

Gallery 10, the lOth Annual Exhibit of the New York Type Directors Club, will be shown May 4 through May 28 at the Mead Library of Ideas. The judges: Arnold Shaw, designer and typographic consultant, The Composing Room, Inc.; Martin Solomon, designer and typographic consultant, Royal Typographers, Inc.; Freeman Craw, vice president and art director, Tri-Arts Press.

Norfolk The Art Directors Club of Norfolk has elected a new slate of officers for 1964. They are: Bob Benson, president; Jim Dietrich, first vice president; Jack Gosnell, second vice president; Jean Bowman, secretary/ treasurer.

Oklahoma City Organization of The Art Directors Club of Oklahoma City has been announced. The officers: president, Gail Poole, Advertising Illustration and Design; first vice president, Don Loewen, Humphrey, Williamson & Gibson, Inc.; second vice president,

Dick Gilpin, Graphic Art Center; secretary; Jeanie Ruedy, Commercial Art/ Design; treasurer, Ruth Horton, Ruth Horton Art Studio.

Philadelphia The Artists Guild of Philadelphia will display their annual exhibition in the Philadelphia National Bank lobby and Chestnut Street windows from May 2 to May 15. The show jury: Edward G. Cullen, designer/ partner, Dixon, Swanson & Cullen; Domenico Mortellito, design adviser, E. I. DuPont de Nemours Co.; Walter Reinsel, art director, N. W. Ayer & Son; Tom Vroman, designer/ illustrator.

Richmond The Richmond Art Directors Club has elected Robert G. Sanderson, art director, Duncan Advertising as its new president. Other officers are: vice president, Charles K. Moorehead, art director,Thalhimers; secretary, Eileen C. Kindle, art director, Liller Neal Battle & Lindsey; treasurer, Kenneth L. McCray, Martin, Remick & Moore.

St. Louis New officers for the Art Directors Club of St. Louis have been elected.

They are: president, Harry J. Holmes, art director at Ralston-Purina Company; first vice president, Richard Brunell, Washington University School of Fine Arts instructor; second vice president, Robert L. Atkinson, art director, Gardner Advertising Company; secretary/ treasurer, Don C. Daugherty, art director, Southwestern Bell Telephone Company.

San Jose Forrest Horn, art director of KNTV San Jose, was recently installed as president of the Western Art Directors Club. Other officers: vice president, Ralph Thompson, art director of Design Workshop; secretary, Les Peck, assistant art director of Pollock Paper Co.; treasurer, Roger Flanagan, assistant AD of Sunset Magazine.

Washington, D.C. The 15th annual exhibit of the Art Directors Club of Metropolitan Washington will be presented at the Octagon House, the headquarters of the American Institute of Architects, from June 5 through July 31.

19

Club News (cont.)

ro

e Lyric Theater 8:30PM October27

a

Bruce Marks Eleanor d'Antuono

Black Swan Pas de Deux Swan Lake Sebastian Coppelia Tickets Miller & Rhoads Thalhimers

Atlanta The Southeastern Art Directors Exhibition, conceived by the Art Directors Club of Atlant'l, was a cooperative project between the AD clubs of Miami, Jacksonville, Birmingham, Nashville, Knoxville, Memphis, High Point, Charlotte, and Richmond. Jury members Morton Goldsholl, Goldsholl & Associates; Frank Zachary, art director of Holiday; and Dick Coyne, art director/ editor of CA, selected the 17 pieces shown here for Awards of Distinction. The exhibit opened at the Atlanta Art Association galleries, then moved to the cities of the participating clubs.

b

a) Poster John Gilbert, art director/ designer Jack Mitchell, photographer John Gilbert, agency Richmond Ballet, client Richmond b) Outdoor Poster W. Simpson/ J. Payne, art directors Walt Simpson, designer Charles Tombras, agency Knoxville Utilities Board, client Knoxville c) Related series Paul Wynett, art director R. 0. Blechman, designer/ artist McCann-Marschalk Co ., agency South Carolina Dev. Board, client Atlanta d) Institutional ad Charles Moorehead, art director/ designer Richard Athey, artist Thalhimers, client Richmond

CHORES VANISH ... WITH A CLOTHES DRYER I c

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e) Newspaper ad, ROP color Robert Sanderson, art director/ designer Dick Loader, artist Duncan Advertising, agency First Federal Savings, client Richmond

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A. VERY HAPPY NEW YEAR FROM All 3169 OF US WHO ARE' D:ELIGHTED TO SE R'n . YOU ·AT THALHIMERS · DOWNTOWf'f, WESTMORELAND ST.· RIVER ROAD, HULt' ST. . ANO THOSE OF US WHO lOOK .

FORWARD TO SERVING YOU AT OUR NEW AZALEA MALL STORE, OPENING MAY 1963

· ~Mffuntm·

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happiness is a home of your own!

21

Club News (cont.)

b

c ATLANTA (cant)

Polygraph Consultants, Inc • The Hollywood F~er1l Build•ng • Hollywood, F~rida

--

a) Trademark G. Sanderson Knaus, art director Jordan Barnett, designerj artist Millco, Inc., agency Terri Aviation, Inc., client Miami b) Institutional publication Phil Sankey, art director/artist Robert Luckie, agency Canterbury Methodist Church, client Birmingham c) Letterhead Michael Sisson, art director/ designer Bogorad Advertising, agency Polygraph Consultants, client Miami d) Editorial photography, 3 or more colors Jerome Drown, photographer Robert Daniels, art director/designer Atlanta Magazine, client Atlanta e) Editorial photography Bill Diehl, photographer Robert Daniels, art director/ designer Atlanta Magazine, client Atlanta

22

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23

Club News (cont.)

for ·pam & spasm'

Robax1sa1

ATLANTA (cant)

Direct mail Frank Mann, art director John Gilbert, designer J. landau / P. Osso, photographers A. H. Robins Co., Inc., client Richmond Direct mail Paul Wynett, art director Henderson/ Sweney, designer/ artist Art Directors Club of Atlanta, client Atlanta

I I24

BERGSTROM PAPER COMPANY NEENAH, WISCONSIN ---------------------~ Please send me THOR Offset Paper samples.

I am also interested in: 0 IBSEN ® Book Papers 0 ODIN ® Office Printing Papers 0 Safety Papers Name _____________________________ Title _____________________________ Company___________________________ Address ___________________________ City_________________ State _ _ _ ___

~~

Paper for Printing, Publishing, Converting, Banking and Office Communications.

Club News (cont. )

c

ATLANTA (cant) a) TV Ted Morton, art director/ designer Ralph Mark, artist Robert Luckie, agency Southern Bell Telephone, client Birmingham b) TV commercial Donald Brodeur, art director/ designer Lavidge, Davis & Newman, agency Miller Dept. , client Knoxville z,f . llttr~J

c) Institutional Art Alan Tiegreen , artist James Haynsworth, art director/ designer Art Directors Club of Atlanta , client Atlanta

26

No product looks ordinary when photographed with imagination and presented with flair by a master printer using good paper. The paper in this case is Patina. Warren makes it. S.D. Warren Company, Boston, Mass. 02101, manufacturers of fine printing papers for over 100 years.

The best way you can make a name for yourself in this business is to campaign for the best in ideas, design, photography, printing and paper.

Sure, the best may cost a little more but the results are always worth it And remember, quality is remembered long after the price is forgotten.

Club News (cont.)

No. U Braid Bill1

No. U Cherokee

No. aBobby lones

No. 17 Peachtree

No. 13 Bast Lake'

.o. 18 Capital City

ATLANTA (cont) Editorial design , 2 colors Robert Daniels, art director/ designer Henderson/ Sweney, artist Atlanta Magazine, client Atlanta Editorial design Robert Daniels, art director/ designer Ernest Turner, photographer Atlanta Magazine, client Atlanta

No. 2 North Fulton

No. 8 Adams Park

No. 3 But Lake'

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annAL: IT&TVI

UPOIT IIUIIBBJI 2

29

Club News (cont.)

Chicago The Artists Guild of Chicago recently presented awards for their 18th Annual Advertising and Editorial Art Exhibit.

Best of Show and medal winners are shown here. Judges: Robert Dunn, executive art director, MacFarland, Aveyard and Company; Arthur Paul, art director, Playboy Magazine; and John Massey, manager of advertising and design, Container Corporation of America.

John Solarz was exhibit chairman.

a c

a) Best of Show Photographic illustration Bob Amft, photographer Bill Proudfoot, art director Scott Foresman and Company, client b) Editorial illustration Fred Steffen, artist Tom Goetz, art director Encyclopaedia Brittanica, client c) Design of complete unit Edvins Strautmanis, photographer Daniel Czubak, art director Playboy Magazine, client d

d) Editorial illustration George Roth, artist Roth's Ark, client

30

LaJ'ayette•s Headquarters. Chadds Ford. Pennsylvania

ST *...

a device or scheme for obtaining an advantage.

When you print on

PA CHKIN. PRI TING PARCHMENT the advantage is obvious ... they'll remember, for PARCHKIN lends importance to what you have to say.

Parchment has been used through the years for man's most important ... and lasting documents. Its rich feel ... its appearance of stability ... its beautiful textures ... have made it the choice of sages and scribes, philosophers and physicians, kings and conquerors, dictators and presidents, professors and teachers ... whenever they have had something important to say.

Wise men of today use PARCHKIN parchment to lend beauty, individuality and permanence to many important messages ... for advertising brochures that emphasize the advantages of a product of lasting quality ... for greeting cards that show enduring sentiments to loved ones ... for letterheads, menus, business and membership cards, calendars, diplomas and certificates of award.

PATERSON PARCHME BRISTOL, PA. •

NEW YORK, N.Y. •

T PAPER CO.

PARK RIDGE, ILL. •

SUNNYVALE, CALIF.

Would you like a reproduction, suitable for framing, of Lafayette's Headquarters? Write on your Company letterhead and we'll send one. For samples of our complete line of printing parchments, contact your local paper merchant.

PRINTED IN FOUR COLORS BY OFFSET ON PARCHKIN PRINTING PARCHMENT 55-4

#125

PRINTED IN U.S.A.

Club News (cont.) a

c

b

d

CHICAGO (cont)

a) Experimental art David Cunningham, artist b) Experimental photography Jack DeSort, photographer c) Editorial illustration Franklin McMahon, artist Frank J. Follmer, art director The Rotarian Magazine, client d) Humorous illustration Bob Amft, artist/ art director The Lake Shore Club, client

e

e) Editorial illustration Richard Frooman, artist Arthur Paul, art director Playboy Magazine, client

33

Club News (cont.)

San Diego The San Diego Art Directors Club announced their 4th annual award winners at a banquet in La Jolla. Carl Moore, vice president of the NSAD presented the special judges' award for Best of Show and 7 Awards of Distinctive Merit to the pieces shown. Judges were: Burt Gader, art director, BBDO, Los Angeles; John Birdsall, art director of Aero Press, Los Angeles; and John Whyte, president of the Los Angeles Art Directors Club. b

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we exterminate octopi C':lll uii it ~ou'1·e holhuMI hy "oNopU!j tmlld~." You11 timJ us li!:~t~..'l:l tllld••r .ELECTRIC CON1'JtAC1'0 RS iu tlw '!/{'Uow P.'ll;t'~'- \\'p'JI pnf t'~)JWHliPnt outlt>ts IHlY\'h~n· you n•-t.."Cl thPrn.

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a) Best of Show Burt Brockett, art director John Isley, designer/ artist General Dynamics/ Astronautics, client b) Warren Molentin, art director/ designer Bob Marcotte, photographer Barnes-Chase Advertising, agency San Diego Gas & Electric Co. , client c) Warren Molentin, art director/ designer Phil Kirkland, artist Barnes-Chase Advertising, agency Barnes-Chase Advertising, client d) Paul Seaman, art director/ designer Frye & Smith, Ltd ., agency Frye & Smith, Ltd ., client

34

color breakthrough!

• Push-button colors? Not quite- but almost! -A magnificent sweep of 505 ink colors, selected by designers for designers, that you can specify by number to printers, packagers, and publications everywhere ... and that can all be matched exactly from just 10 basic inks.

• The PMS Matching System is today's headline news-for good reason: to assure your getting the colors you want, the identical 505 colors have been printed in two formats: the PMS Color Specifier for designers and producers of graphic material, with numbered tear-out swatches; and a PMS Printer's Edition, with mixing formulas, which is already in use in printing plants throughout the country. To add color excitement to your lithographic or letterpress printed matter, displays, packages, or publication ads, you merely choose any of these creative colors and attach the numbered swatch to your layout. By specifying these controlled ink shades you simplify matching, speed up production, reduce costs. The PMS Color Specifier can be had from your local art supply or printing ink distributor, or send check for $20. *to Pantone Press, Inc., publisher, 461 Eighth Avenue, New York 1, N.Y. *ADD 4 % S . T . IN N . Y . C .

PMS Color Specifier-

505 PMS ink colors, on coated and uncoated stock; 5964 tear-out swatches; with acetate tint and type gauges-$20.

PMS Printer's Edition-

505 PMS ink colors on coated and uncoated stock, with mixing formulas.

A vailable from ink makers-$15.

Club News (cont.)

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SAN DIEGO (cant)

a) Paul Seaman, art director/designer Rene Sheret, photographer Frye & Smith, Ltd., agency Frye & Smith Phoenix, client b) Stan Hodge, art director Phil Kirkland, designerj artist D'Arcy Advertising Co., agency General Dynamics/ Astronautics, client c) James Boynton, designer/ client d) Bob Marcotte, photographer/ client

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36

Any subject, product or texture is expertly handled by. the Weber Process Fine Line Rendering, produced photographically from continuous tone originals for reproduction on news-stock or coated paper in letterpress, lithography or silk screen in one or more colors.

~

Martin ]. Weber Studio

171 MADISON AVENUE , NEW YORK 16, N . Y.

TElEPHONE , LEXINGTON 2 - 2695

Lester Beall A picturesque barn in Brookfield Center, Connecticut, seems an unlikely place to find some of today's most effective design being created; but Dum barton Farm is the business address of Lester Beall, Inc., and a very logical and functional location for this design group.

Comparable working quarters would be impossible to afford in New York City. The atmosphere of beauty and tranquility would be impossible to reproduce in any city.

Commuting is only a matter of minutes for any member of the staff, even less for Lester. More of their time and energy is available for their work. Absence of distraction and interruption makes their time more productive. Liberal use of space makes their work more efficient.

The same reasons for these advantages, however, also portend a disadvantage-distance.

Most of this is overcome with a direct telephone line to New York City, for easier contact with both suppliers and clients. Overnight mail handles most of the delivery problems. If the timing is critical, one of the designers may spend a day or two in New York working directly with typographers, engravers or printers.

Though Brookfield Center is beyond the normal commuting range, it is not too far (particularly in the non-rush hours ) to drive. Beall and his associate designers, Cliff Stead, Jr., and John Young, all try to average at least one day a week in the City. None feels that he has had to miss out on the stimulation that New York has to offer.

Even the traveling can be thoughtful and relaxing.

Chauffeur Jesse Gerraut handles the driving chores. Jesse also drives on the major trips, when Beall's work necessitates visiting a number of divisions or plants for a client, and he assists with art filing and other tasks in the studio.

From the road, it is barely noticeable that the barn is different from any other well-kept barn in the area. Once inside, however, the sense of this even being a barn disappears. The decor is contemporary. Huge windows offer ample light and magnificient views. It is a surprise when you reach one large window in the corner of the main studio room. Instead of the outside, you are looking into

a wing of the barn. There staring back at you, is an elderly Jersey cow (a non-functional pet of the family) and a flock of pure bred Cheviot sheep.

In another wing of the barn, space that once had been horse stalls has been converted to an office for Beall. His secretary occupies the former harness room. The loft now contains washrooms, storage and photographic rooms, a kitchen area and a meeting/work room.

Beall is intensely interested in and thoroughly enjoys his work. Recognizing this as an overpowering factor in his life, he had reasoned that living and working in the same environment would be a natural way of life for him.

He was already living in Connecticut and commuting to a studio in New York when he began to formulate this into plans; and he decided that a rural setting would exceed anything that a permanent studio and residence in the City might offer. It was a considerable time later when he finally located the right farm.

The living and working at Dumbarton Farm is not quite as integrated as you might · suspect. The business phone does not ring in the house. The barn is across the road and down a long drive. (A very brisk walk in overcoat, gloves and muffler on cold winter mornings.) And, despite all of the charm and agreeable working conditions, there still must be times when the office is still The 0 ffice.

Beall maintains a work space in an alcove off his library as a place to get away from it for a couple of hours.

41

Cliff Stead, Jr., 31, has been with Lester Beall for eight years. A graduate of the Rhode Island School of Design, he served two years in the Army in Japan before joining the firm.

John Young, 30, graduated from Pratt Institute. He was with McCall's Magazine for a year, and two years with Lippincott & Margulies, Inc. before joining Beall four years ago.

Cliff, John and Lester Beall operate as a closely-knit working unit. All will be involved in the planning stages of a project, developing ideas together or independently for consideration. When a number of possible directions have been explored, and a decision made to develop one for presentation, the responsibility for contact and supervision may be assigned individually rather than as a group effort. However, all are close enough to the problem to offer suggestions or assistance at any point.

"This design philosophy is particularly suited to what I want to do," Cliff said. "You have an opportunity to be a complete designer. We have a wide range of design projects; and we have no pigeon-holing, or arbitrary divisions of responsibility. The designer controls every phase of the project, from the beginning contact and ideas clear through final production. I believe this is an advantage for our clients too. The designer knows who he's working for, and what the full extent of the problem is. He's in a position to see that nothing is misunderstood, watered-down, or lost in the process."

"Working with Mr. Beall," John added, "this philosophy would exist whether we were at Dumbarton Farm or not. It just so happens that it works a little better here where the atmosphere is more conducive to concentration, and more productive design effort.

"It's easy to take this environment for granted- until you spend a few consecutive days in New York. Then you realize again how great it is."

Both Cliff and John are married. Each is the father of two children; and each freely praises the advantages of living in the country, lower housing costs, more space and no commuting.

ti~e~lex

Trademarks representing a few of the many design programs developed by Lester Beall Inc. International Paper Company Consolidated Natural Gas Company Western Gypsum Products Limited Connecticut General Life Insurance Company New York Hilton at Rockefeller Center Merrill Lynch, Pierce, Fenner & Smith, Inc. Titeflex Inc. Martin Marietta Corporation Beall, a co-judge with this editor of the Trademarks USA exhibition in Chicago, was concerned with the difficulty in evaluating a mark alone and isolated.

He added this comment: "A vital and therefore effective image is created by a controlled and consistent symbol application-plus a distinguished contemporary style that is 'designed' into all types of visual material that, in itself, is a strong contributing factor to the corporate image."

43

A program recently completed by the Beall group for Rock-Hii-Uris, Inc. was the creation of a visual attitude for the new 46-story luxury hotel, the New York Hilton at Rockefeller Center. The complex system of design application involved a multitude of separate items, and working in conjunction with the project's architects and interior designers and a number of specialty suppliers. Among the many items not shown here were uniforms, linen, and signs.

44

DO NOT DISTURB

ADVERTISING ARTS • SEPTEMBER, 1934 DEVOTW TO TH£ DESIGN Of AD'IEITtSING, THE CIEAT10N OF ,.INJtD lltElATIJ.fi, AND THE STYLING Of' MUCH-'N OISE ANO PAClAOfS

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YOU'RE going to BOTH World's fa irs this year

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Title page for Advertising Arts (1934) Ad for The Chicago Tribune (1934) Ad for George Bijur, Inc. (1937) Ad for Time Inc. (1939) Brochures, Sterling Engraving Company (1938)

PHO TOENGRAVING

46

Lester Beall is one of the foremost figures on the design scene today. His work is consistently exhibited among the best being produced. Still, no story about him could be considered complete without considerable attention to his earlier work. Not only was this significant in his own development, it was a major influence on the entire graphic design community.

In a recent speech, Bill Pensyl of Ketchum, MacLeod & Grove recalled a time in the late thirties when he saw

his first copy of a New York Art Directors Club Annual, one with credits in the back of the book. "It struck me as I flipped the pages, that almost every time I thought enough of a design to check back and see who did it, it turned out to be Lester Beall."

Since his work from the '30s and '40s still looks good now, in today's more advanced visual environment, it is not difficult to imagine how it must have stood out twenty to thirty years ago when commercial artists were generally paid to pursue a craft, not to conceive ideas. Even the very title of "designer" relates very closely to Beall. As far as we know, he was the first one in graphics to use it.

Lester was born in Kansas City, Missouri, and grew up in Chicago. He attended Lane Technical School where, in addition to academic courses, he took four years of mechanical drawing and a year each of machine shop, foundry and pattern making. All of this was preparation for a college engineering course and his intention of becoming a research physicist or electrical engineer. He majored in physics at the University of Chicago; but, toward the end of his four years, he switched majors and received a degree in History of Art, planning to make his career in commercial art.

"This upset my father terribly," Beall recalls. "I don't think he ever really got over it."

"He quickly found me a job in the sample room of a Chicago paper company. Jobs weren't easy to get then, but I quit after six weeks. Another fellow and I had rented a studio-actually it was a garage. We made an awful lot of samples in the next six months, but we earned very little."

Then a windfall came Lester's way. He was offered a private school teaching job, two afternoons a week at Kenwood School. Financially flusher, he moved into a oneroom studio in the Loop.

"That was a great struggle," he laughed. "I was married then and Lester, Jr. was born. I took any work I could get, an awful lot of it was lettering. Sometimes I would go as long as two and three weeks without a single job."

"Through all my life as a designer, I have also spent considerable time developing myself as an artist, and I have participated in a number of exhibitions of painting and drawing. I am constantly drawing, with particular emphasis on the figure, which I find fascinating though difficult in terms of evolving something that is not completely abstract but certainly not literal or realistic."

Sometimes when he got tired of ringing doorbells, he would visit the Ryerson Library at the Chicago Art Institute. It was there he first discovered Cahiers d'Art. Through this and Arts et Metiers Graphique and books on Picasso, Dufy and Klee, he became exposed to art forms in both painting and graphics that he had never seen or heard of before. The University of Chicago had not included contemporary painting in its curriculm, even at that late 47

Cover for Fortune Magazine (1947) Poster for the Rural Electrification Administration (1937) Covers and pages from the Upjohn Company publication, Scope, which Beall designed for seven years (1944-50)

48

fore, that tremendous efforu arc being made to

~~b'c~c~!~: ~~~1J~~~~:~h~~c ~~~;:~·: ~) 1 1 ~~~~Ta~~~ :c:~~~ f~;~~~~::v~n~~i~, t~~

di~tase in those who mwt expose themselves to it, and, (5) treatment of active ca.scs. In pcnons who must expose themselves to infected mosquitoes in

::~ar~u~~st~i~~h~i1~~ca~~;.n~iJorpr":!;~~~

will prevent climcal sym.l'toms of the disease from developing in the maJority of the cases but some will not be rerotected . Neither atabrinc nor

a

~~~~;sthC:~~~!~~i~~~ga~~~)yr:r:~~~:;

b

have developed into trophozoite~. The explanation of this strange phenomenon may be that the tporozoitcs do not at once attack. the red blood cells but under~o the first part of their life cycle in some other tassuc.

In laboratories devoted to research on malaria, therefore, it is important to Jtudy both the mosquito capable of transmitting the disease and drugs that p:mibly may be useful in combating it. In the insectaries o( these laboratories, tuch as that at the School of Public Health , University of Michigan, mosquitoesofvariousspecies are ratscd both for the purpose o£ studying their life his-

~~~~a~~~i:~l!~~s~;~fsgk.~o~~~~ai~ ~~J:i~ <t~a~~~Tin~n!:;~~~~c~!tar~r!~~:bfr!ran°J

animal malarias may, however, be transmitted by other species.

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\Vhcn the mosquitoes complete their larval development and reach the pupa stage they arc transferred to emerging cages (a) which consist of two sections: the lower one is a pan which is fitted with a cover in which there is a hole. Over the hole is placed a glass vessel, usually the glass globe for a lantern , which is covered at one end with gauze or screen JO as to admit air but to prevent

~~c::b:f ~:ir";,~~i~~- ~ey~; ~p~~~; the hole in the cover into Ute glass vessel fanning the upper nory of the apparatus. From here they arc transferred to screened cages of varying size.

Those that are to be used for trarumitting variow

have fed on the infected animal , the requisite numbu or days is allowed to trarupirc 10 that the malarial organisms may undergo their life cycle and reach the salivary glands. The mosquitoes arc then in condition to infect other animals which arc tied on the tops of their cages. White mosquitoes can subsist for long pcriodJ of time on plant juices (apllc juice), the female cannot Jay futile eggs unti she has had a blood meal so that thdle mosquitoes which are used for br~

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ann of the keeper prior to depositing their eggs.

In testing various matcriab for their anti· malarial propertin, it is necosary to produce the disease in experimental animals. Fonunatcly it appcan that those drugs which are capable of destroying the human parasites abo destroy the varieties of Plasmodium infecting animals and vice vena. Malarial infcc:tions in birdJ are particularly useful for testing drugs. Both ducklmgs and chicks are used in this type of experimenL

~~ti !Jo:~:nb~~:.~fi~b~~:~:t~-~~~r~~i

1

agent can be standardized with considerable accuracy. The anti-malarial substances are intimately mixed with the bird'• food JO that the amount that each animal obtain• can be estimated. The birds receiving different dosages of the variow tubtta.nces being tested and those acting .ill controls are identified by color mar~ings. Large numbcn of drup are being •ynematieally Jtudied for their anu-malarial properties in this way.

Thote that show promise are further nudied in monkeys which are infected with a Jtrain of malaria very similar to those occurring in human beings. The final test of count, aJter the drug has been shown to be safe for we in man , is the actual clinical test on patients.

Another branch of malarial research which is of great importance is the study of variow meaw for destroyang the mosquito either in the adult or

~~:~r'~~es~~~~~:~:~~ :e~h:l,u~t:::t~~~1~; the infection. Recently insecticides have been de-

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in diameter and about6 to 7 inches tall. They arc

entering sleeping quarten are abo important control measures. Since any important advance in the control of malaria would constitute an important military advantage, the resulu of the vast malaria research program are kept secret.

!~f:lc p~~~~~=r:t:~t~ ofo~n ~~p~g;i~d watered by placing a pl~ct of cotton Ja.turated with water on top of the cage. They arc infected with malaria by tying an in(ectcd animal (c) on top of the cage in place: of the apple. After they

School of Public Ht:alt"Ja , of th~t U"iWTsit"l. of Mit:h· igan, for thi!4Uistanu i" obtaining the 11lwlratiw mal~trialfor ehuearticl~ts on malaria and much advice.

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7

49

date, though Beall thinks he recalls Cezanne being mentioned with warmth on rare occasions.

"The most positive influence in this period," Beall stated, "was my friendship with Fred Hauck, an art director with BBDO. He spent a couple of years in Europe and had studied painting with Hans Hofman in Munich. He had brought a number of Bauhaus books back from Germany that he let me borrow. His encouragement and enthusiasm for my interest in contemporary painting and design had a tremendous effect on me. We had many exciting conversations that developed into a wonderful relationship and respect for each other. Later, Fred joined me and we free-lanced together for more than a year."

Beall did a great deal of experimenting, and began to form his own point of view. He found himself growing very upset with the work he saw around him and a lack of the organization which we now call "design." He began to get more and better work.

However, business dried up in Chicago in the midthirties. Lester began to get tired of hearing people telling him how good he was (but not giving him work) and that he ought to go to New York. In 1935, he did.

"During my early period in New York, I was fortunate enough to work with some outstanding people in the advertising field, such as Laura Hobson and George Bijour. They both respected my individualistic point of view, and frankly permitted me considerable freedom in the design of advertising they were associated with at the time."

Beall maintained studios in New York City until 1955 when he made his move to Dumbarton Farm.

Dorothy Beall has always felt close to her husband's career.

As she says, "I've been a part of it from the beginning. We attended the University of Chicago together. I was present at his graduation and at the ceremony of setting up his first, small studio. Since then, he has always discussed with me his hopes, his aspirations and his problems."

In 1959, she undertook a major effort-one of those necessary but not immediate and therefore usually neglected tasks. A publishing house abroad wanted to have a comprehensive history of Lester's accomplishments. Up to this time, there had been no file kept that could easily serve such a need. Fortunately, there was material stowed in various spots in the studio and in the attic of the house.

Brochure for Columbia Broadcasting System (1940) Photographic illustration of "Dehydration and Fever" for Abbott Laboratories (1940) (right) Packaging for Stanley Electric Tools Brochure for the Mite Corporation Style manual for Connecticut General Life Insurance Company

50

Mrs. Beall asked 1esse to accumulate this in the house, and he responded with wheelbarrow loads, literally. They arranged the material in stacks on the library floor, determining years and placing them into chronological files, cross-referenced with card files. Some amazing statistics were developed (and since added to) on Beall's activities such as: 12 one-man exhibitions, 56 group shows, not counting the regular annual exhibitions; 19 of these were held outside of the U.S.; 57 lectures or speeches by Lester; innumerable awards; a number of articles by him and a number about him.

The Beall's children have responded to their artistic heredity and environment. 1oana Beall Westermann is a sculptor and painter. Lester, Jr., is a furniture designer.

I

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51

PAPER

The International Paper trademark is probably one of the strongest and most functional of all U.S. marks.

A few of the many design applications included stencils on trees, road stakes, shipping cartons, trucks, packaging. (right) A sampling of trademark applications for Titeflex Inc.

53

(left) Package for E. J. Brach & Sons Designs from a packaging program for J. Wiss & Sons Packages from an identity program for Western Gypsum Products Limited (right) Packaging for United Biscuit Company Bottle design and label for the House of Herbs Carton from a design program for Labatt's of Canada Trophy design and display for the Martin Company

54

19!5!5

hundred Pittsburghers are treated (about twice a year seems to be the schedule) to one of the country's most unusual and interesting company publications, ((Pittsburgh Quote." The design and editorial content are consistently good. Published by a printer, it never talks about graphics or printing.

Pittsburgh Quote "The Magazine of Pittsburgh, Its People and Its Institutions" is the sub-title of Quote, and that pretty well defines the format and the philosophy of the publication. It is sensitively tuned to the dramatic growth in civic awareness in Pittsburgh. The mailing list includes all of the area's business, civic, religious and educational leaders.

Though such a long range effort is definitely uncharacteristic of PR by printers, its publishers, Herbick & Held Printing Company, are completely sold on the magazine and plan to continue publishing indefinitely. It also has been effective as a prestige builder to direct purchasers of printing.

Pittsburgh Quote is a project of Herbick & Held's agency- Ketchum, MacLeod & Grove- and was conceived

by Oscar Shetler, Account Supervisor in the PR department, and Tom Ross. Tom designed the early issues and then, pressed for time with his duties as Creative Art Supervisor, was gradually forced to relinquish this pleasant task to other staff members of the KMG staff.

Content has always been Shetler's responsibility. He keeps an eye out for books, articles, speeches, or newspaper stories about Pittsburgh and Pittsburghers, or by Pittsburghers. He scouts second-hand bookstores and digs out volumes like Western Pennsylvania Poets, An Anthology, 1934-35. ("Ironically," he reports, "I find old copies of Pittsburgh Quote at a standard price of fifty cents per." ) The Pennsylvania Room of Carnegie Library has been another source. It houses such diverse items as old college humor magazines, copies of defunct local periodicals, and Roy Stryker's collection of Pittsburgh photographs.

Occasionally, material develops fortuitously. At a recent dinner party, one of the guests was novelist Gladys Schmitt, probably Pittsburgh's best-known author. Someone recalled that poetry was her first love when she started writing in the '30's and asked if she was doing any now.

She replied that she had just finished a cycle of 45 sonnets.

56

1956

THE PAST OF THE POINT

Ill!

1957

the comfortable offites of Al~gheuy Ludlum in theOii\'et Budding.

Hanley SUB,b>e.st¢<1 tbat a wtrer eoJ.oc painting of the Braci<ohridge pla1J<woodd fitni<elyon oneofJhewalls CaJllble •greed and a few days later, after lle\--eral dlscussimu &$to penpective and the site ofthecan\'u, heoomm.lssionedanartistrodo and the Corporate C'ha.ra.ot.er or Alooa

the job.

The W!liter color was finished in about a nronth and Gamble had it framed and deliv-

ered to tbe Oliver Building. La:w- in the day htgotaphonecaUfr:omHanleyandthecon · l'ersation went sotnething Ukc this ~ HA.NU!.Y : That's a l't'ty handsome painting.

t 101M Alroa &iUing rommntUtl l.o 11

•ho u•orts thn~: ''Er~r1o•e iJ so poliu hiJ pl•r~. Th~yet·nr '"l'Thcd yoll 10

rlor whnr tht"J g~t of th~ eln•IIJor.'' the co11rt~yo~Rd frmrdlinut of Afro• ·ne n.untioneJ lo • b11sintnm.n 'll:ho Unl Jtllling: v ·ilh 1M Al11nwt11m Com· r~m~trUtl:

ss I tttke th111 scm of tl#ng for :r•mted D/ il, [ iuvm't met gil] tit th~ rompa•ybt tb,.fiJ 1~arJ." p~nons familiar wilh Alco.t •gru thll1 mir ~tmiabilityof tiN crganiulion flow I 'Jm tht mform.J "opm dqor'' philoJo;b giles fi11.ui grttu to r1.1 :op tXUIItit·e ·t~, b~il tom~ to thin!t

Andy OAMB(..J:l' : )thjnk so, too. GJadyoulikc:it.

ruJeJ hit exea1th·~ duiJionJ . In 11 coruemphtrive mooJ, his ~tppuunrt JN{g<~IIs the JHtn~ tldt~ch-­

llAN.LEY : The artiJt caught the th'e:r ln the

mMI of ttn Amerir.ut lnJ;,, Jcllnlfint a Jisttlnl

foreground ""'!'dfe<:ti•ely.

horizon.

WihonmjoysbriJge, hoo.ii,.irplanelravel, hisjo6, /IA~hore llll<lfliomAnd agooJjok.t. Bitt but of al/IH li.ies people. Hit loyalty to frielf.JJ .mJ ha personal int,esl ;, hii~tJJothllll brin1

GAldaL.E : Y~. }'OU c:an't m.ist.akt the sd.tiftg. ttA.Nt.£Y: The fn:une is Just rqr,ht, too.

GAM8U: Than.k )'OU.

There's juSt one tbJng, though , .. Thk is a pk.1.ure of the PJttsburgh Plate GlaH plont in Brackenridge, not Mlegb<ny lutUum tlow the artist missed the target was never quite established. But it was t)'pical of Hanky that~ found W error amusJDg. nthez than fMNt.Er :

otttthf'beJitnlhouabolllhim.

A16.S, he bristleJ v •ith good he~tllh •Ni main· rains a prrumial optimism 11bCNI the jMtNre. Wh.;t lin •hetul fo r AmHic•, Chief Wilson Ji rmiJ b~/rfi:es, thpe,Js 11pon tbe contimtiNg

irritating.

r.tltmztionofJ/Hinugrityofthti1UiivldNalciti· un.Suchu·.;uhhtheJitiJIIICOmnun.cemrnJatl·

Oespitr the maoy ollk<s be holds and the manyhonorst.'Onferredon ·bJ.m,theoneobvioul: token of ac.'(Ompltsbment he wean is • 8Qld lap<! pin ,...,fying., '"""'Y y.an olsmi<e with AU.gh<nyLudlum.

Jrn.sgir:enfastye~WIIIDMvtnport , low•, toriH

officer~ linJwH t!Hirou.-·n ph~~s. Ch11irs ~uptifm ro.omr lool!. good •U n.-w, for lilt If' nutlleu W41'ti~tg thtrt. anJ >rop'f resput, h1.JI u•ithitt tht borrltf'J "iJ ttnJ comm.ott #RU.

Rmt._

•rpo'l'aUdMrattu,;tisg~ntuzlly~~petd,

hr prrso1tot/ pri~tdpln of AlctHt PrtJi· ~g if'? hiu Wiho,, tall, s/e,dn, tlup.

m of tbt b~tlintu, h ocnr f'" .,J v ·U t

{;' R.lt apt nirktt•mtbtstoweJon him ,JofhiiJOIIJ'Igf'rdst]J. Wi/Jon offHJaninurestingto,ltrllllic~trllllitio~Jalrttf'irao"eoflhebMsintss

\ioJut lliJt/Mn.atsllmini, ht~ conu.U • irk. as 1ightnmg bdmJ talm, .!rno~t

'eatMr~s. His fjRiet m'mntr olf'f'l no hint nleucrR.r-inxforpt!rfertionthlltliomi·

graduating dt~JJtl of St. Ambrou """ M.wlN'tJI

Collegn. H~rt if 11 tignificanl p11t111ge from hi1 Jfnuh:

Friends who know htm and whose caretrs arelllliodtothelutureoiPiu.burghhopethat Ed Hanley wUI be on tbejoblongenough to g<t a """"d 21J.ye;or pin lor hb oth<r lapel .

P~rsonalmttgruywdlpcrmityoutoholdyour

b~ad high; to face eath challt'Oge unafr!\id; to accept rev~rm without falt~ring. lt will provid~ thtcourage that you ne-W: to hold firmly toll princ.ip!e. ltwilleamforyoutbehighregardof your f~llow men, and give you that §Cflow: of selfrespect tha.t maybe your only allyin~meof lif~·s hard places Tod.ay,morethanevc-rbefore,thillconceptof pc-rsonillintegntyandtraditionalmonlityisbe-. ingchallcnged. Manyarednoelopingam.a.te:rialisticoutlookoolif~attitudere,:ul ting ftOm

a code of ethics ln which unchanging principles are denied, and good and evil ar~ consid~red

ro

57

.

1961

Shetler asked if he might look at four, selected by her, of which he would print two. He liked them so well that he asked permission to print all four and they will appear in the next issue.

Shetler estimates that his files now hold enough material to fill the magazine for a decade at the present rate of publication; but he continues to add to it. From this file, they build a sensible mix for each issue. This will include a cover story, normally on a prominent business, civic or educational leader. The next issue. for example, will feature Chancellor Edward H. Litchfield of the University of Pittsburgh, with a cover portrait by Henry Koerner.

Two of the issues have been entirely devoted to special subjects. One was the centennial of the oil industry and the other was Pittsburgh's bicentennial.

As each issue is readied for production, a proposed table of contents is submitted to Herbick & Held.

"They have been remarkably permissive with us," Shetler commented. "They've hardly touched a word of copy in the nine years we've been doing the magazine, have never ruled anything out or dictated anything in."

Everyone connected with Quote withdraws from implying that it has had a specific "effect" on any of the programs in the Pittsburgh civic resurgence. Rather, it seems that Quote itself is one of the manifestations of Pittsburgh's preoccupation with Pittsburgh. As such, it has managed to express many of the thoughts that are of current and paramount interest to the city.

An example of this remarkable timeliness was the latest issue, devoted primarily to the Pittsburgh Symphony and its director, William Steinberg. Hardly had the magazine appeared than charitable trusts came forward with endowments totaling $5 million, contingent on matching funds being raised. To that time, the internationally regarded Pittsburgh was the only major American symphony orchestra without a penny in endowment.

58

'' SNO\X! HAD FALLEN, SNOW ON SNOW ..

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1958

19!57

1959

19!58

1961

Alma.t fwr h•m<ittd Wtlak'!. ,.m..hlt- to l!':SCI'ltlt bteftul!t- $t"ttlt'fflMtt h01d &ro""''tl up 'Vohl<h entttdy aurrourtdcl thll'tll. t('tn&mt"d lndrit:n in th-e fu:tn~ of f.t1t mo\.mtMln.t to thto Y.t,;t of S!1)'<kr t~nd U'utoa ~untJe. Th11t ~~t \\"inter uf tbe cbma Sight«nth Cftltur;o wwt ~w-~ amt dapttate fM \l.>ttnt of food, they bra> e4 tht Mi<ldlt: C~k S«tKm of t1\ltt tt.rri

.nd4own:~valleytummom.tlJ,hunterttohclpnttnn:Uultethebtt.;l.Piftyma\teiPO!ldtd

tory M:mtmc; • bJirnyatd hay-ttack of' a tttttlet. They btokt t..~tOURh tht thlmp. fen~to and

JUldtltllirtedtohuntth~bii!X!.whJI'lthadficltoth('l.fiOUI'lt1lin. lnthettltanti.mernoretnow

trampled to ~ath the (:f!tt!f and •bc:f'l) '>\<ithm t.hr ~lusurt-. The owner and a n64hbot

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Ed Fisher, Art Director of Herbick & Held designed the issue. Robert Alberts of KMG wrote the Steinberg story. He began by interviewing a number of people connected with the orchestra, saving Steinberg for last. This interview took place in his home in a single session lasting two hours. Alberts decided to put Steinberg at ease by speaking to him in his native German. This lasted about three minutes, after which Steinberg decided to put Alberts at ease by speaking to him in his native English.

Steinberg came to Pittsburgh with a reputation for a considerable amount of the European classical musician's reserve.

This has dissolved gradually during eleven years of Pittsburgh informality.

Quote tells the story of his response to a request to ride a fire engine in a fund-raising stunt. Steinberg roared indignantly that he would do no such thing- unless they let him ring the bell and gave him a pair of red suspenders to go with his fireman's hat.

"When Alberts finished the article," Sheffer tells, "it was more than twice as long as anything we'd ever published in Quote before, but no one had the heart to cut that admirable text. So I snipped it apart and pasted it together into six separate sections, changing hardly a word and following what turned out to be six natural divisions produced by Alberts' logical mind."

Herbick & Held decided to print the feature as a 24-page insert, a magazine within a magazine, taking some of the curse off the length. The insert also offered a fine opportunity to demonstrate their new web offset availabilities.

Response to the issue was immediate and overwhelming. The orchestra management ordered an extra run of 10,000 inserts as a supplementary fund-raising and souvenir piece. The State Department placed an order for USIA offices, in connection with the orchestra's forthcoming tour of Europe and the Middle East.

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ILLUSTRATORS '64 This year's SI annual exhibition was chosen from more than 3,000 entries. Editorial illustration dominated the show with 125 of the 300 selected for hanging. 75 advertising illlustrations, 60 book illustrations, and 25 institutional illustrations were also included. The ((unpublished" category, so thin that no awards were given, drew a stinging criticism from Juror Richard Gangel published in Art Direction. It was suggested that the Hexperimentals" be dropped from the exhibit but the decision was that some representation should be continued and a half-dozen or so were hung.

Six Gold Medals and 13 Awards of Excellence were given.

Five juries were involved - one for each of the categories. They were: Advertising; chairman Dean Ellis, David Blossom, Steven Frankfurt, Robert Geissmann, and Robert Wall. Editorial; chairman George Porter, Bill Cadge, John English, Frank Mullins, and Murray Tinkelman. Institutional; chairman Leonard Leone, Herb Ackerman, James Barna, Louis Glanzman, and Mitchell Hooks. Book; chairman Gilbert Evans, Walter Brooks, Harvey Kidder, Harry Schaare, and Thomas Stasink. Unpublished; chairman Bob Peak, Norman Adams, Suren Ermoyan, Richard Gangel, and Frank Mullins.

a) Editorial, "Bernie the Faust" Saul Lambert, illustrator Arthur Paul, art director Playboy, publication b) Editorial, "A Love Letter to the Miramachi" Charles Coiner, illustrator David November, art director Esquire, publication

Show Chairman was Donald Moss, Jury Coordinator was Stevan Dohanos. Jerry McDaniel created the theme graphics.

Bernard Fuchs will edit and Robert Geissmann will design the annual to be published this fall.

c) Editorial, "A Farewell to April" Bernard D'Andrea, illustrator Joan Fenton, art director Seventeen, publication

A special Citation of Merit was given to Jacqueline Kennedy for her painting ((Glad Tidings," one of two tempera paintings Mrs. Kennedy donated to The National Cultural Center to be reproduced as Christmas cards. Proceeds from the sale of the cards go to the building fund.

d) Editorial, "Pro-Football" Bob Peak, illustrator Richard Gange!, art director Sports Illustrated, publication

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63

ILLUSTRATORS '64

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(left, above) Medal Award, editorial "Steinberg at the Races" Saul Steinberg, illustrator Richard Gangel, art director Sports Illustrated, publication

(left, below) Medal Award, editorial "Syracuse Regatta" Harvey Schmidt, illustrator Richard Gangel, art director Sports Illustrated, publication

Medal Award, advertising Gilbert Stone, illustrator Jack Wolfgang Beck, art director Steelways (American Iron and Steel Institute), client

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ILLUSTRATORS '64

b

c

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a) Advertising Frank Bozzo, illustrator Barbara Holdridge and Marianne Mantell, art directors Caedmon Records, client b) Advertising Fred Otnes, illustrator Fred Otnesj Nelson Pollak, art directors Courier Citizen-Uniform Printing, client

d

e c) Advertising Tom Daly, illustrator Kenneth R. Deardoff, art director Riverside Records, client d) Medal Award, advertising Robert Weaver, illustrator Bob Cox, art director Channel 5 (Metromedia, Inc.), client e) Advertising Eugene Karlin, illustrator Bob Jones, art director RCA-Victor, client

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ILLUSTRATORS '64

a

c

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a) Institutiona I Joseph R. Veno , illustrator Ben Black, art director Barker/ Black Studio, Inc., client b) Institutiona I Charles Schorre, illustrator/ art director Architecture at Rice University, publication

THE CO. 'Tl~ .E. 'T: L SOLDIER mt

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c) Institutional George Roth, illustrator/ art director Roth's Ark, publication d) Medal Award , institutional Tom Lovell, illustrator E. C. Denaple, art director Continental Insurance Company, client e) Book, "Poems for Weather-Watching" Gilbert Riswold, illustrator Robert N. Craven , art director Little Owl Books, publication

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Illustrators '64 in Retrospect The vitality of contemporary illustration, and its resurgence in advertising, publications and books, is reflected in the ((Illustrators '64" exhibit. The impressive strength of the editorial and advertising art in this year's show contradicts the lament that these areas are being squeezed out of existence by a diminishing market.

The illustrator is meeting positively the challenges made by those who feel there is no longer a need for illustration; as a result, editorial and advertising art have become more influential on all other areas of illustration. The abundance of creative ideas and new approaches to subject matter has opened up broader markets for the illustrator, particuhirly in the field of book illustration.

The effects of this annual show are seen not only in the United States but also in Europe. The Illustrators Annual is having tremendous success overseas, and recently European representatives have made persistent overtures to have an exhibit of the best of our illustration.

This annual show indicates the trends, the directions-that creative illustrators are pursuing. These trends infiltrate the whole field of illustration and have a stimulating effect upon all illustrators.

It is for this reason that the Society of Illustrators sponsors this annual open competition, despite the fact that the Society's own membership is represented by fewer accepted pieces than those of non-members.

Medal Award, book "Appointment in Samarra" James Hill, illustrator William Gregory, art director Signet Classics, publication Book, "Adventure in Courage" Alex Ross, illustrator Blanche Van Buren, art director Doubleday and Co., Inc., publisher

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This year we have made a concentrated effort to expose this show to those who directly or indirectly influence the use of illustration. We have held two special evenings: one for agency art directors and copywriters, the other for book and editorial art directors. These were very successful initial efforts to bridge the gap that has developed between the illustrator and those who determine whether illustration will or will not be used.

The increasing importance of our annual show is merely one indication that illustration has the vigor to become a greater force in visual art than ever before.

John Moodie President~ Society of Illustrators

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THE SEARCHING EYE The assignment from Eastman Kodak was a film, for their Fair pavillion, that would be meaningfully related to picture-taking but not ((commercial" in the normal sense. This was Elaine and Saul Bass's opportunity to create twenty-two minutes of truly imaginative and exciting cinematography.

Their chosen subject, as the title suggests, was the ((art of seeing" in the broadest definition of ((seeing"observation, perception and imagination. In developing this, they practically ran the gamut of techniques: aerial, underwater, time-lapse, highspeed, and stroboscopic photography, to name a few; plus multi-image and dyna-frame screen techniques. No animation. Ninety-nine per cent is live action shot specifically for this film.

The exceptions are some stock shots of a volcano erupting, a solar prominence, jet aircraft, a solar eclipse, and a moon crater.

Obviously, it is a busy twenty-two minutes; but carefully structured and sensitively edited. In further credit to the imagination and discipline of the designers, the film will appeal to a complete range of age, intellect and visual-orientation.

Eyes of a baby eagle, gorilla, owl, parrot, chick and the boy.

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The premise is that seeing is the tool through which we perceive and learn to know the world. All animal eyes are substantially similar and in many cases duplicate the human eye. The difference is that the human eye is involved not only with sight but also insight.

Many instruments have been devised to extend the limits of our seeing. The telescope penetrates the infinite limits of space. The microscope penetrates the finite limits of matter. The camera records what the searching eye, aided or unaided, has found.

Their vehicle for expressing these ideas is an afternoon in the life of a ten-year-old boy. He is the only character in the story, excepting a brief appearance of an itinerant photographer (played by Saul Bass).

The boy goes to a beach. He does the things that a ten-year-old could be expected to do. He looks. He sees.

The film shows what he sees ... and what a small boy cannot see-the world that is yet to be discovered by him.

Partly, this is the visible world that requires knowledge he does not have to understand what he is seeing. Also there is the world that is not open to direct human vision.

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.;;

One sequence is devoted to what a boy could nsee." He has just built a sand castle. He places a toy soldier in the entrance and this is the cue for his imagination to take over. The scene shifts inside the castle where three huge windows relate this to the exterior. An old-fashioned Errol Flynntype sequence follows, all ·with toy soldiers. The conflict rages and then suddenly a flood of water pours through the crumbling windows.

Outside in reality again, the boy tries vainly to protect his castle from the inrushing tide. Unable to stop the water, he joins in the demolition.

Elaine and Saul had contemplated designing original soldiers for this scene but decided in favor of the more typical dime-store toys- and added special helmets, plumes and shields.

The figures were inanimate. The toys were moved, by various devices on their bases, and photographed in live action. A quick turn, for example, creates a startlingly real illusion of thrust.

Saul built the original castle on the beach at Santa Monica. Wooden forms were made to it and the shooting castles (12 in all ) were recast and finished on the Oregon beach.

Protective barricades had to be set up to hold back the tide and then removed at the right moment when the waves where high enough to strike the castle effectively.

The film's physical format is an interchange of 35mm and 70mm projection. The boy's activities are shown in 35. As some action by him cues an insight exploration, the screen image expands to wide-screen.

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In one sequence, he chases a flock of gulls and then watches their flight with wonder and speculation. Then the film explores the fascination that man has always had about flying. A bird in flight is shown in stroboscopic photography. A gull flies across the screen followed by a winged man flapping alongside. An eagle soars and a glider simultaneously performs the same pattern. In a flock of approaching birds, all similar in frontal view, three turn out to be jets.

Other ((break out" sequences explore such intriguing subjects as the promise of growth, the cosmos, and the depths of the sea.

0 ·

Occasionally, the screen is multi-image, as in one time-lapse sequence. Half of the screen shows the growth of a plant above the ground while the other half shows the simultaneous growth of the roots.

More than fifty boys were interviewed for the part in the film. The one they selected had no previous acting experience.

15 different cameramen, shooting under Bass's direction, exposed 25,000 feet of film for ((the searching eye."

Many of these were specialists in underwater, time-lapse, aerial and other photographic techniques.

Jeff Alexander composed and conducted the score. The film was produced by Saul Bass and Associates, Inc.

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Unaware of the visual excitement surrounding his day, the boy wanders home to close a film we sincerely recommend as worthwhile viewing.

THE SEARCHING EYE

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EXHIBIT

The fourth year advertising class at the Herron School of Art, Indianapolis, was assigned the problem of designing a set of children's blocks and a container to hold them. To be purchased by adults and used by children, these must have an esthetic and functional appeal to both.

Some interesting solutions were developed.

These shown here were designed by: (below) Larry Deuel; (right, top to bottom) Linda Roessler; John Quarterman; Lonnie Beck; and Terry Gaughan.

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EXHIBIT

A Hnew face" for Winsor & Newton Ltd. involved the redesign of hundreds C1J C!l 0 of separate items for packaging, z :u r.l go display, print, signing and advertising. z ~ 1.':1 Designer H. A. Rothholz, FSIA, r.l ~ Cl of London, created and developed 0 < z ~ the identity program. The mark 0 concentrates on the company's initials.

Research showed that the name of Winsor & Newton was a real mouthful for the firm's non-English speaking customers. A griffin, the WN symbol for over a hundred years, was simplified and retained wherever practical. Color coding was developed to establish product lines and the quality grades available within many of the lines. Less confusing to the customers, this also offers help in stocking and ordering-with a further assist from a more prominent and consistent use of series numbers. Copy, too, was subjected to study and frequently modified for clarity and relationship to the use of the product.

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EXHIBIT

Posters designed by Pieter Brattinga for graphic exhibitions at the gallery of Steendrukkerij de Jong & Co. , Dutch printing firm. Mr. Brattinga plans to resume his duties as Design Director of de Jong after completing his present appointment as Chairman of the D ept. of Visual Communication at Pratt Institute.

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86

International Design Conference in Aspen ,June 21-27, 1964. Adiscussion of freedoms and restraints in design, architecture,and visual communications. For all information write to the International Design Conference in Aspen, Box No.1247, Aspen,Colorado

Design'64:Directions &Dilemmas

Poster/ mailer for this year's Aspen Conference, designed by Chermayeff & Geismar Associates.

87

EXHIBIT

uFrom Here to There" is a 9-minute film, in both black and white and color, for the United Ai~ Lines Theater at the Fair. Designed by Elaine and Saul Bass, the film deals, in kaleidoscopic form, with the human experience of travel and the unique visual experience of aerial flight. There is no narration.

Sound by Tony Schwartz; music by Jeff Alexander. Produced by Saul Bass & Associates, Inc.

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\:.:/ MARKS USA Under the auspices of the Society of Typographic Arts, Trademarks/ USA, the first national retrospective exhibition of its kind, opened April 20th at the National Design Center in Marina Towers, Chicago.

193 trademarks, symbols and logotypes, from the period of 1946 to 1963, are being shown. The fourteen marks on these pages were chosen by the exhibition committee to be featured in the various applications of Identity Programs. Over 1600 marks were submitted for consideration of the jury: Lester Beall, Lester Beall Inc.; Charles Coiner, Executive Art Director, .N. W. Ayer and Son; Dick Coyne, Editor/ Art Director, CA Magazine; Sam Fahnestock, Director of Design, Alcoa; Allan Fleming, Executive Art Director, MacLaren Advertising Co. Limited; and Egbert Jacobson, author and former Director of Design, Container Corporation. Larry Klein, Larry Klein & Associates, was Exhibition Chairman. Morton Goldsholl served as Jury Chairman.

Herman Miller & Company, Inc. (1947) George Nelson, designer

Playboy International (1954) Arthur Paul, designer

Martin-Senour Company (1951) Morton Goldsholl, designer

The Ansul Company (1954) Raymond Loewy Associates, designer

CBS Television Network (1951) William Golden, designer

Connecticut General Life Insurance Co. (1956) Lester Beall, designer

89

Abbott Laboratories (1959) George Nelson, designer

International Paper Co. (1960) Lester Beall, designer

Weyerhaeuser Company (1958) Lippincott & Margulies, designer

International Minerals & Chemical Corp. (1959) Morton Goldsholl, designer

Lawry 's Food Products, Inc. (1961) Saul Bass, designer

Container Corporation of America (1958) Ralph E. Eckerstrom, designer

Westinghouse Electric Corp.

(1960) Paul Rand, designer

International Business Machines Corp. (1956) Paul Rand, designer

IBM

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NEKOOSA-EDWARDS PAPER COMPANY, Port Edwards, Wisconsin Mills at Port Edwards and Nekoosa, Wisconsin and Potsdam , New York SALES OFFICES: New York, 375 Park Avenue 1 Chi cago, Prudential Plaza 1 Los Angeles, 4355 Fruitland Avenue 1 Atlanta , Peachtree Building 1 Dallas, 9029 Directors Row LITHOGRAPHED ON WHITE NEKOOSA OFFSET, REGULAR FINISH , BASIS 70 1 2 COLOR OFFSET PR ESS 1 5000 IMPRESS IONS PER HOUR

264

CALL FOR ENTRIES Entries are now being accepted for CA'64, the fifth annual International Exhibition of Communication Art, sponsored by CA Magazine.

u

The entire exhibition, as

selected by the distinguished jury, will be published in a case bound book to be released on November 15th. The medal award winners will be published in the November/December issue of CA Magazine.

u Any example of communication

art produced or published after July 1, 1963 is eligible. Deadline for entries to be

submitted is July 1, 1964.

u The CA'64 jury will be: Lester Beall, Dick Coyne,

Lou Dorfsman, Steve Frankfurt, Allen Hurlburt, Fred Manley and Marvin Rubin.

95

CATEGORIES

Consumer Magazine Advertising lA Single ad lB Campaign ($3)

Newspaper Advertising 2A 2B

Single ad Campaign ($3)

Trade Advertising 3A 3B

Single ad Campaign ($3)

Coordinated Campaign 4A

Business Paper 8A 8B

Outdoor, 24-sheet or larger, including paint Campaign of SA ($3) Internal company poster Series of 5C ($3) All other Series of 5E ($3)

14A 14B 14C 140 14E 14F

Letterhead / envelope (mounted) Complete program ($3)

Trademark 9A

Indicate company name and nature of business under mark

Advertising Series of 14A ($3) Editorial/ institutional Series of 14C ($3) Experimental Series of 14E ($3)

Photography Packaging

15A-15F

lOA Single package lOB Series of lOA ($3) lOC Label lOD Series of lOC ($3)

Point of Purchase 6A 68 6C 60

Book 13A Complete unit 13B Cover or jacket

Illustration

Multiple media ($3)

Poster SA 58 5C 50 5E SF

120 Trade magazine cover 12E Company / association publication pagej spread / section 12F Company / association publication complete unit 12G Series of 12F ($3) 12H Company ; association publication cover 12J Series of 12H ($3)

Company Literature/Promotion 7A Facilities/ institutional brochure 78 Annual report 7C Product/ service brochure 70 Series of 7C ($3) 7E Catalog 7F Folder, announcement 7G Series of 7F ($3) 7H Data sheet 7J Series of 7H ($3) 7K Sales presentation kit 7L Exhibit 7M Permanent sign

Record album cover Display, hanger Series of 68 ($3) Menu

Film 16A 16mm TV commercials ($5) 168 16mm film title ($5) 16C 16mm institutional ($5) 160 Slide set ($5-only one B form required) 16E Film strip ($5)

Self-promotion llA

Promotion for artists, agencies, printers, others involved in graphic arts llB Series of llA ($3)

ENTRY DEADLINE

Miscellaneous

Editorial

JULY 1, 1964

Same as category for Illustration

12A Consumer magazine page ; spread j section 128 Consumer magazine cover 12C Trade magazine pagej spread j section

17A 178 17C 170 17E

Christmas card Other greeting card Series of 17B ($3) Anything not covered in previous categories Series of 170 ($3)

-------------------------------------------------------~------------------------------------------------- ---1

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CATEGORY

CA' 64

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CA' 64

FOR CAUSE

If this piece is part of a submitted campaign or series, this piece is

If this piece is part of a submitted campaign or series. this piece is

No. __ of _ _ pieces submitted .

No. __ of _ _ pieces submitted .

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THIS FORM AND REMITTANCE MUST ACCOMPANY PACKAGE OF ENTRIES

CA' 64

CA MAGAZINE • 809 SAN ANTONIO ROAD • PALO ALTO, CALIF. ----NAME--------------------------

- - C O M P A N Y - - - - - - - - - - - - - - - - PHONE - - - -

Submit unmounted reproductions, photos or transparencies.

If a piece is to be entered in more than one category, a dupli· cat e with its own Form 8 and entry fee must be submitted.

---ADDRESs-------------------------

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FORM A and remittance must accompany package. If more tha n one package is mailed, indicate on outside wrapping, " Package No .___ of___ Packages."

- - SINGLE UNITS .. @ $1.50 EACH - - - PIECES

FORM 8 or facs imile must be attached to each entry. If a campa ign or series , a Form 8 must be attached to each piece.

$ _ __

CAMPAIGNS/ SERIES @ $3 EACH - - - PIECES* • Total individual pieces submitted

16MM FILMS FILM STRIPS

Eligibility . .. any piece produced or published after July 1, 1963.

. . . @ $5 EACH - - - FILMS

SLIDE SETS . . . . . @ $5/ SET .:==~S:_::L~ID~E~S:_*_....:===

Acknowledgment of receipt . . . enclose a stamped, self-addressed envelope or postcard. No other acknowledgment can be made.

• Total individual slides submitted

TOTAL NO. PIECES SUBMITTED - - - TOTAL FEE $ - - -

Return of entries ... indicat e on Form A and Form 8 and in clu de $ 1 f or each piece to be returned (campaigns, series, sets are considered one piece). If insurance is desired, indicate on Form A. Please do not send stamps.

NO . PIECES TO BE RETURNED* - - - @ $1 EACH • As indicated on B forms. Campaigns, series, sets· are 1 piece .

ADD 50c FOR $200 MAXIMUM INSURANCE IF DESIRED

copies of case-bound CA-64 Annual at special entrants' price of $12 (reduced from $15)

Entry fees ... Single units, $1.50 each. Campaigns and series, $3. Ro lls of fi lm or sl ide sets , $5. Remittances from Canada or foreign countri es must be paid in U.S. funds. There is no hanging or acc epta nce fee .

TOTAL REMITTANCE$--··········FO R

Notification of acceptance ... all accepted entries will be notifie d in advance of publication date.

CA US E · · · · · · · · · · · · • · · · · · · · · · · · · · · · · · · · · · · · • · • · • • • • • • • · · · · · · · · · · · · · · · · • RET .

Awards ... an award cert ificate w ill be given to each participant and cli ent appearin g in t he CA -64 case - bound Annual. Gold Med al wi nners w il l also be reproduced in the Nov/ Dec issue of CA Magazin e.

D D

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CA' 64

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If this piece is part of a submitted campaign or series, this piece is No. __ of _ _ pieces submitted .

CA' 64

FOR CAUSE

If this piece is part of a submitted campaign or series, this piece is No. __ of __ pieces submitted .

B Y ---------------------

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SU B M ITTE D

DI R ECT OR - - - - - - - - - - - - - - - - - - - - -

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ART DI R EC TOR - - - - - - - - - - - - - - - - - - - - ' - - - - -

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AR T

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B Y - - - - - - - - --

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On the board

(a)

(b)

RoBERT 0. Gordenier solved a familiar AD problem in an imaginative way. His assignment was a painting for their reception area in the Twin Cities office of MacManus, John & Adams.

Gordenier weighed the problem from a functional as well as esthetic viewpoint and evolved a pertinent new art medium - ad plates. The production department provided the materials. Choosing the Minneapolis skyline as a subject offering local appeal, he cut, filed, and polished the plates and bonded them to a painted Masonite panel (a).

The success of this assemblage started him thinking 98

(c)

(d)

about other uses for the plates. Breaking them into smaller pieces, he created a mosaic (b).

Still exploring the medium, Gordenier tried melting off the lead backing to leave the thin copper shell of electrotype plates. He cut, bent, and soldered these into another work of art (c).

Something was left over. The lead. Melting this in a ladle and throwing it on the floor, he got thin, irregular sheets which he twisted and bonded into a figure (d).

Visitors to the MacManus office have been much impressed, including CA publisher Bob Blanchard.

MEDITATION Alexander Dobki.n Alexdnder Dobkin is better known CIS 11 pdinter, but those interested in printme~king he~ve for mdny ye~~rs ddmired his skill dnd power dS d lithogre~pher. He brings to grdphic e~rt his fine drdughtsmdnship, combined with 11 love for hume~nity.

1

J I

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The Smooth Vellum dnd luxurious Venetidn finishes dSsure shdrp reproduction of linework dnd hdlftones, in monotone or four-color process. And Kimberly Colors dre cdrefully crdfted for swift, superb performdnce on the press.

Kimberly Colors give d refreshing persondlity to pictures dnd text ... dn uncommonly good choice for ddvertising pieces, Cdtdlogs, direct mdil, dnnudl reports, booklets.

Kimberly Colors look d little better, perform d little better thdn their modest price would indicdte.

The 10 Kimberly Colors Me Old Ivory, Mellow Gold, Cool Blue, Crystdl Pink, Fodm Green, Sunburst Yellow, Kond Cordi, Fedther Grdy, Tdngerine dnd Misty Orchid. They dre dVdildble in Smooth Vellum dnd Venetidn finishes, in d wide rdnge of weights dnd sizes.

Colored pdper cdn pldy dn importdnt pdrt in the printed design, right from the stdrt. To help pldn Kimberly Colors jobs more effectively, dn "Artist Ldyout Pdd" is dVdildble.

It cantdins 14" x 17" Sdmples of dll 10 Kimberly Colors.

On your letterhedd, write "Kimberly Colors," KimberlyCidrk Corpordtion, Neendh, Wisconsin.

Kimberlq Colors @ Kimberlq·Ciark THIS IS KIMBERLY COLORS, MISTY ORCHID, 170 SMOOTH VELLUM FINISH. REPRODUCED ON 32" x 42" HARRIS LUB AT 3500 IMPRESSIONS PER HOUR IN PURPLE AND BLUE. KIM-258

On the board (cont.)

F REQUENTLY interviews develop comments and facts that cannot be included in articles. Some of these, for obvious reasons, must remain «not for publication."

Others would be out of context in the story, require extensive background and explanation.

During an interview with Saul Bass (page 73) we read a transcript of another interview. This was a press conference called by Eastman-Kodak to publicize ((The Searching Eye." One part of the discussion centered around the role of the small boy in the film. In the course of a series of questions and answers, the matter of whether «the child was visually father to the man" was introduced by a member of the press. He further expanded his point by saying: ((They say, in regard to some of the top photographers today, the reason they are so good is that they see childlike relationships. Karsh has been mentioned as a photographer who sees like that."

Saul's response: «To talk about Karsh, or any great photographer, as seeing like a child is ridiculous. They are highly sophisticated human beings who have developed their capacities, their senses and their ability to observe.

«What they have is a simplicity of observation which some may confuse with that of children. It is a capacity to bring a complete array of skills to what they do, and awareness which they are uniquely able to compress into a simple concept. The process is highly complicated and sophisticated. No child, given the technical ability to know how to use a camera like Karsh will ever make a Karsh photograph, except by accident.

«This is a romantic concept. Along with this goes the talk about the so-called (primitive eye.' The primitive eye has been over-rated. The average primitive eye doesn't understand a lot of things. When it does-it's not primitive, it's sophisticated (although not necessarily schooled).

«When we look at a piece of African sculpture, we say, (Ah, the primitive eye.' Actually, the sculptor is as sophisticated as Picasso, in his own terms, and in Picasso's terms as well. He is a skilled inhabitant of the world of esthetics.

«The fact that his work may take the particular form of, let's say, the Blacksmith Mask of the Senufo has to do with the primitive reality of his existence as part of his primitive culture. But his ability to see, and his ability to create form is a highly sophisticated act; and that is not given to every primitive being. Out of the whole tribe, there is perhaps one man that makes these things. And out of all of the men in all of the tribes that make these things, there are only some that are good." «... I am not saying that the child is not a thinking human being. You musn't put me in that position because I shed the romantic superstructure with which we endow the primitive and the child. I am not saying that the primitive and the child do not respond to their environment and don't have feelings, ideas and images. I merely say that we shouldn't extend this to the point where it no longer corresponds to any accurate picture of the child."

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101

On the board (cont.)

T HE following comment on the state of the arts was lifted from a talk given by Milton Zolotow at Occidental College. Zolotow's famil iarity with both sides of the fence goes beyond his mentioned educational period. He spent some years as an easel painter before successfully invading the commercial field where he is currently a partner in the Los Angeles firm of Gollin, Bright and Zolotow.

I remember the time when ccART" was clearly different from ((COMMERCIAL ART." We studied art on the top floors of the Art Students League and there we learned that usefulness and ccart" did not mix. We learned this on canvas because canvas was an enduring material and we were addressing ourselves to posterity. On the lower floors of the Art Students League some of us studied commercial art and there we learned that ccart" and cccommerce" didn't mix either. We learned this on illustration board because paper is not an enduring material and we were addressing ourselves only to the photoengraver.

Those were clear cut years. The differences between the practitioners were just as evident as the differences between the arts they practiced. ((Artists" had no market.

Consequently they had no automobiles, no bank accounts, no bills from orthodontists. On the other hand, cccommercial" artists had a market and all the dubious blessings of spendable income.

In the postwar years, the categories of ((fine art" and ((applied art" were severely scrambled. Paintings on canvas were put to new use. Each day some one makes use of paintings in ways which continue to shatter our old notions of usefulness. And these new uses of art have created a new breed of painter. He is beginning to look more like a commercial artist each day. He paints tax

CA'64 ENTRY FORMS Entry forms for the CA'64 exhibition appear on page 95. Additional forms will also be published in our next issue. Facsimiles of the Form B (to be attached to each piece submitted) are acceptable. If you would prefer an additional supply of the printed forms, just fill out the coupon below. Or write us on your letterhead and estimate the approximate number you will need.

CA Magazine, 809 San Antonio Rd., Palo Alto, California

Please send enough CA '64 forms for about _ _ entries.

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102

deductions, status symbols, novelties to be merchandised through chains of distributors, and large neutral areas of decorator colors to match couches in interior decor. He is rewarded with automobiles, bank accounts and bills.

Opposite this transformation of artist to commercial artist, another transformation is taking place. Commercial artists persist in pursuing values they regard as enduring.

Once an anonymous hand, the commercial artist has now begun to take arrogant positions reminiscent of the upper reaches of the Art Students League. He wants to produce good art and often this pursuit brings him into conflict with his client.

Moving towards each other from opposite directions our two men become undistinguishable in many ways.

They both wear heavy mustaches, see the same Italian films and frequently steal each others tools.

The commercial artist-painter finds photomechanical tools very handy for the production of commodity paintings in large quantity. Why paint Elizabeth Taylor 25 times when you can silk screen her image on canvas with a 55 line screen? Why copy a comic strip by hand when you can borrow a Lucy?

The artist-commercial artist has rediscovered casein emulsions, egg tempera and glazing. He makes woodcuts, engravings and just plain drawings for the photoengravers camera. And the camera doesn 't discriminate against his painterly techniques.

D R. Ray Schwalm's cover painting for this issue had us all guessing. We couldn't be sure how it had been done.

Obviously, it was a watercolor of some sort. The technique was wet, transparent, brilliant color on a black background.

It didn't really look like a photoprint, but it was on photo paper. And the color was impervious to moisture.

A query to Dr. Schwalm at Western Washington State College substantiated some of our speculations. This was an original painting, executed on Fotorite rapid processing paper. The medium was concentrated liquid watercolors. This can be painted, Schwalm reports, in subdued room light. The expos ure is five seconds with a #2 photoflood lamp and the processing is eight seconds through a Fotorite rapid print proc ssor. This particular spontaneous treatment of subject was arbitrary. You can utilize practically any technique and degree of control with brushes, pens, sponges, cotton, fingers, etc. The co lor is retained because the wet paint neutralizes the ernul ion . If you want white area , use white pigment or water on the ernul ion.

He second-guessed our next question. How about standard photo papers? They have to be painted in a darkroom. By the time you expose them for a minute or more, fix for thr e to five minutes and wash for fifteen minutes, you can't xpect much color to be left.

Experiments with other mediums - aniline dyes, colored inks and alcohol colors have developed less atisfactory r ults. All have less durability and frequently cause crinkling of the em ulsion.

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Comprehensive lettering chart on request, for only 10¢ in stamps. Write: Hunt Manufacturing Co., Camden 1, New Jersey.

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With Liquitex, the designer and illustrator can achieve effects- and speed of handling-not obtainable with any other colors or media.

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Use them on any surface, even on plastics, with no advance ground preparation.

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Liquitex Colors thin with water or with Liquitex Medium. NO NEW TECHNICS need be learned but whole new fields may be explored through the great versatility of Liquitex.

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103

On the board (cont.)

The effect may or may not survive the printing process (we haven't seen the printed cover at this time) but the original has a marked depth dimensional quality, enhanced by the bright colors and the black background.

This hearkens back to theories we were taught in school about colors cpming forward or receding. However, some early investigations at the college suggest that these generalities ain't necessarily so. Everyone doesn't perceive this illusion the same way. Testing on a number of students indicates a possible correlation with nearsightedness and farsightedness with the illusion reversing itself.

Dr. Schwalm is Professor of Industrial Arts and Coordinator of College Printing at Western Washington.

W ESTERN lore never seems to wear out its appeal or its market. No other geographic region of the world can boast more than a fraction of the literature published about the American West. Even a supersaturation of film and TV fiction, exploiting this brief few years of histo.ry, couldn't kill off the interest. And now the time has arrived when the «authentic" can exploit the years of the fiction and folklore.

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104

The American West is a new quarterly published by the Western History Association and distributed by Lane Book Company (Sunset). It is edited by Dr. Russell Mortensen of the University of Utah Press and designed

by Keith Eddington of Circuit & Eddington, Salt Lake City. The credits in the first issue have a proper scholarly ring - conference papers, keynote speeches, luncheon addresses at historical society meetings. They also suggest the content might have been drawn from the readily available. However, the material is interesting and it is well presented visually, .A.1v.[ERXCA..N "WEST including a photo essay by Philip W. Sultz. It's a good product; and its initial subscription of 35,000, well over expectations, suggests a bright future and the wherewithal to develop plenty of material.

Subscriptions are $6.00 per year from Lane Book Co., Menlo Park, California.

O NE more appeal. Please, if you want us to publish the award winners of your club exhibition, give us something to work with. Proofs preferably. If proofs are not available, then usable photographs. We've seen everything - gold stickers, entry forms, numbers, creases, rubber stampings, push pin shadows and footprints on the photos of these pieces; also weird parallactics and unbelievably bad lighting. Trying to make do with these doesn't help us ... you ... or our readers. Although proofs are usually available when we write and ask for them, this causes delays. Sometimes our only choice is to wait ... or forget the show.

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Print that Matters A Source Book of French Advertising Art Compiled by Irving Zucker George Braziller, Inc., Publisher 215 Park Avenue South, New York 3, N. Y.

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This collection of over 5000 line engravings from early French sources is completely copyright-free. The cuts have been reproduced on extra heavy, opaque paper stock to allow artists and designers to reproduce them directly from the book itself, eliminating the need for any intermediate camera work. Many cuts are presented in three and four sizes, and are arranged in convenient subject categories for fast reference.

Included are a wide variety of cuts: sports and amusements, coats-of-arms and military motifs, vehicles of transportation from the bicycle to the biplane, amusing French menus and gastronomical devices. Large sections include mortised cuts and trade cuts of many sizes. There is a chapter on animals ranging from the most domestic to the most exotic, and a unique collection of book ornaments.

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Design and Form: The Basic Course at The Bauhaus

by Johannes ltten translated by John Maass Reinhold Publishing Corporation, Publishers 430 Park Avenue, New York, N. Y. 10022 $12

The book is a complete description of the famous Basic Course at the Bauhaus, in Weimar, Germany, written by the teacher who organized it at the invitation of Walter Gropius in 1919.

The Basic Course was set-up as a trial semester to judge the students with their varying educational backgrounds. The purpose was three-fold: to determine the creative talents of the students; to facilitate the students' choice · of career; and to teach the fundamental principles of design as a basis for future careers in the arts.

I tten describes his methods for encouraging the student to highly individual and creative uses of light and dark, color, material and texture, rhythm, expressive and subjective form.

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108

On color he says: ((In the study of color I eliminated all searching for form. The first assignment consisted of composing color spots side by side and overlapping each other."

On material and texture Itten says: ((At the Bauhaus I had long chromatic 1 rows of real materials made for the 1 tactile judging of different textures. I The students had to feel these textures with their fingertips, their eyes closed.''

On rhythm he notes: ((First I had the students walk in march rhythm, beating time with their hands. The rigidity of this simplest rhythm was to take hold of the whole body. Then I counted off a triple ryhthm, so that the stress fell first on the right foot, then on the left. Various changes followed ... Then these rhythms were drawn; the march rhythm was represented by stressed and unstressed strokes, the triple rhythm by circular elements."

The book contains nearly 200 illustrations, each with a detailed description. 190 pages.

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Typographic Directions Advertising Directions 4 Trends in Visual Advertising Edward M. Gottschall, editor Art Directions Book Company, Publisher 19 West 44th Street, New York 36, N. Y.

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Fourth in a series of commercial graphic art books, the volume traces the development of advertising typography from the Bauhaus period to the present. The execution and thinking behind the typography of both today and the early 20th century is discussed, and an analysis made of typography in all fields.

A number of leading typographers, designers and art directors have contributed to this history of type's usage.

The list includes: Freeman Craw, Hal Zamboni, Mahlon Cline, Karl Fink, Aaron Burns, Klaus Schmidt, Robert Pliskin, Georg Olden, Bob Jones, Ivan Chermayeff, Art Schlosser, Louis R. Glessman, Otto Storch, Art Paul, Al Greenberg, William Cadge, and Allen F. Hurlburt.

The book also includes commentary from a series of seminars and lectures sponsored by the Type Directors Club of New York. Over 450 illustrations, 248 pages.

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ccLietz Catalog No. 82" . . . a 48-page catalog of drafting and engineering supplies describing 800 items including drawing papers, vellums, drawing instruments, films, slide rules, miscellaneous supplies. A . Lietz Company, Box 3633, San Francisco, California. ccDePauw Process Color Guide" ... literature describing a set of screen combinations reproduced on process red, blue and yellow .002 3M Color Key film, plus an overlay film of black screen percentages. De Pauw Color Guide Systems, 18 Edgewood Hills, East Peoria, Illinois. ccRogers Sp ec ial Effect Contact Screens" .. . literature and examples of 65-line straight, spiral, wavy-line, contour, mezzotint, cross-line, steel engraving, and etching screens available in 8x10; 11x14, and 14x17 sizes. John Rogers, Photo Research and Development, 623 Brickell Avenue, Miami 32, Florida. ccCaprock Special Effect Contact Screen" . .. a descriptive price sheet including mezzotint, pebble-grain and straight line patterns, the latter with rulings from 50 to 133 lines and sizes up to 19x23. Information on gravure screens and pre-angled 250-line dot screens also available. Caprock Developments, 165 Broadway, New York 6, New York. ccExhibitkit" ... a 20-page brochure describing a do-it-yourself displaymaking assembly kit which includes F orne-Cor panels and locking cogs.

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111

John Peter of John Peter Associates, Communications Consultant and Director of the Ninth Annual Visual Communications Conference, discusses

de-sign ( di-zi'n' )

' A specialist has been defined as a man who has done one thing too long. Despite this rather critical evaluation, our society places a fancy premium on specialization. Any reader of this magazine knows how quickly one can become pigeonholed as an ((expert" in a given field. Frequently one outstanding job is sufficient to channel a wide talent in a single branch of design for a lifetime. Yet the sheer amount of know-how required in any field of endeavor today may make specialization inevitable.

In each of the learned societies or professional associations with which I work as a communications consultant there is the growing awareness that the unprecedented expansion of knowledge in depth has been accompanied by a severe loss of knowledge in breadth. In each of them, specialization is now prompting an opposite, if not yet equal reaction. They are making widespread efforts not only to keep their specialists in touch with the work of specialists in adjacent fields but also to re-examine their common origins and valid traditions.

In programming the 1964 Visual Communications Conference held by the New York Art Directors Club, Bob Jones and I have sought to do the same for our own profession. Design '64 to be held May 27th and 28th at the Hotel Americana in New York has been developed as the most concentrated, most comprehensive conference of communications crafts ever produced. It has been structured to index over each of the special fields. One demonstration of this is the wide range of talents possessed by those who have generously offered to speak.

The speakers will include designers Herbert Bayer, Herbert Lubalin, and Lester Beall whose talks will run from the corporate image to typography and packaging; Gordon Parks from photography to cinematography; Jerry Mason on the photographic book and Robert Fawcett on the art of illustration. Agency art directors George Lois and California's Jack Roberts will discuss advertising design while editorial art directors Allen Hurlburt and Peter Palazzo will speak of their magazine and newspaper work.

Georg Olden and Gary Smith plan to deal with television from the advertising and program side. The talks of these men whose everyday performance is marked by award winning technical skill and creative imagination will be made highly visual with slides and films.

112

If I were an architect or an industrial designer, I would owe everything to Gropius. Not only because he was the great educator, but also he showed in actual work done, what could be done. He was a better architect as early as 1911 (and certainly in 1925 when he did the Bauhaus B uilding in D essau) than most are today.

B ut, I am not an architect. All I can do is sink to my knees to him. His leadership has directly and indirectly insp ired teaching, industrial design, pottery, weaving, stage design, painting, typ ography, layout and, of course, architecture.

I fo rgive him the Pan Am Building.

George Lois

B auhaus ? In the days when the money I spent for art books was not an income tax deduction, due to the fact that I had no income, I bought a book by Moholy-Nagy . It was marked down.

I didn't read the text but I enjoyed the pictures very much. They certainly had their effect on my w ork.

Georg Olden

At the time that the Bauhaus influence was bringing ornament-free clarity to the design and typography of European publications, American editors were ex ploring new ways to use words and pictures to project ideas. These two forces combined to give modern magazines the typo-visual aspect that we take for granted in today 's publications. It is difficult to identify the direct influence of the Bauhaus in modern magazines because so many forces have followed it, but these changes have not made its influence less real nor our reaction to it less significant.

Allen Hurlburt

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I doubt if there is anyone in our generation who has not been influenced one way or another by Bauhaus design, either consciously or unconsciously. However, I feel the influence is waning in this country and we are entering a period of true American originality in concept and design.

Peter Palazzo

113

de·sign ( di.zin')

In addition to these designers we will have the opportunity to hear communicators who will comment on our profession in relation to the fine arts, the modern sciences, and our American society. They are Aline Saarinen, long known for her perceptive writings on art and architecture who, on nationwide television, has gained a new audience of admirers; Dave Garroway of Today show fame whose less known dedication to scientific learning has led him to make a widely heralded series of science films for classroom and educational TV; Jules Feiffer, the talented man with a sharp and sophisticated pen who has satirized the world in which we live.

In the midst of our examination of Design '64 we will pause to pay a long overdue debt to the past. At the luncheon on May 27th the President's Medal will be presented to Walter Gropius, internationally renowned architect and

first director of the Bauhaus which was founded at Weimar, Germany in 1919. He will accept the award in the name of the Bauhaus teachers and students who, in fourteen too brief years, reshaped the world of design. In the perspective of time we have come to truly appreciate that incredible assembly of talents: painters-Paul Klee, Joseph Albers, Wassily Kandinsky, Lyonel Feininger; sculptor-Gerhard Marcks; designers-Laslo Moholy-Nagy and Herbert Bayer; weaver- Anni Albers; architects-Walter Gropius, Marcel Breuer, Ludwig Mies van der Rohe. An appropriate appreciation of the Bauhaus contribution by six of the speakers at this year's conference are reproduced here along with recent examples of their own work.

With a glance back and all around us, Design '64 is intended to keep communications open among the communicators. Like the Bauhaus, the conference hopes ((to bring beauty and unity into the chaos of our time."

The Bauhaus influence on American graphics was relegated to a few outstanding designers who were in a position to make use of its concepts without going broke. In the late thirties and early forties most of us were so busy trying to make a living in a profession that our American society couldn't care less about that we hadn 't the time or the inclination to be influenced by Bauhaus concepts.

Abstract design could be accepted by a European culture that for centuries had been educated to appreciate all forms of artistic innovation. But, in this country, where "vogue light" was an edition of a magazine with only a few advertisers, the Bauhaus laid a big egg as far as a mass audience was concerned.

However, it awakened in some of us the realization that if European designers had found a way to elevate design standards without excommunicating themselves, there was the possibility that within the framework of our anti-aesthetic society there was also a way.

The Bauhaus, therefore, having put us in the position of being design followers rather than leaders indirectly provided us with the impetus to seek out ways of reaching and selling Americans by less aesthetic but equally rewarding means.

Herbert Lubalin

I first became acquainted with the Bauhaus in 1931 when Fred Hauck who had been studying with Hans Hoffman in Munich returned with some early Bauhaus books. I was especially stimulated by the photograms and photography of Moholy-Nagy. And I was struck by the typographic design and the use of bold block letters because they suggested a relationship in feeling to old American posters and handbills which I admired so much. No thoughtful designer would today work in the Bauhaus style of the 1920 's and yet the influence of the Bauhaus is still very evident.

Lester Beall

'84

114