may1960

The Journal of Comm

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

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

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

Advertising Correspondence: Requests for information or other correspondence concerning advertising may be ad· dressed to David Hartman, Advertising Manager, The Journal of Commercial Art, 15 W. 44th Street, New York 36, N.Y., MUrray Hill 2·1438, or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California, DAvenport 6·6040.

ART TRADE SHOP NO . 1

• Volume 2 • Number 5 • May 1960

6

Editorial

8

Letters to the editor

13

Print that matters

17

Baskerville-its current use in advertising

26

Dallas-Big D·

38

Color: duotone chart of red-orange and black

40

The contented ex-AD

42

Exhibit: reproductions of current and choice

55

The Big Scene-outdoor advertising

58

"The dirty work" -done in Philadelphia

61

Type Directors Club Show

70

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

71

The-time-and-the-place

72

On the Board: shop talk

73

Advertisers' index

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CA, May '60

The Concept Robert Blanchard, publisher Richard Coyne, AD / editor Mickey Mulligan, associate editor Ralph Hudgins, associate art director

The Graphics Jay McKendry, typographer Bert Bryce, associate typographer Clarence Philbrook, lithographer Glen Burroughs, litho cameraman Henri Luyckx, associate lithographer

Contributing Editors William Condit, Denver Wendell Davenport, Honolulu Susan Karstrom, Chicago 6

Ruth Long, Houston Tobias Moss, New York James Peck, Seattle Emile Pirro, Canada Ted Poyser, Los Angeles Harold Quiram. Dallas Robert S. Robison, St. Louis

Irwin Caplan, humor editor Graphis 3, photography editors Almonte Bailey, Jack Fields and Bill Hewitt

Advertising

To be this late with an issue is both frustrating and embarrassing.

We take our obligations to you seriously. As this signature goes back on the press (with a fast switch of editorials), these grotesquely unbelievable last two months come into sharp focus.

After the April issue, we gave the staff a long overdue and muchneeded vacation. It was calculated ... ccif we could put out the March and April issues in one month, we could certainly handle the May issue." Then the roof slowly fell in. One delay followed another culminated by a minor catastrophe that cost us two weeks work .... and to top it all, several of our clients (CA is still partially financed by our studio operations) had to get in the act with major brochures.

So, here is the May issue. We can't replace the lost time, but we can offer our apologies. June is going to press now and we expect to be on schedule by August.

One question we are constantly asked ... ((How can you keep putting out a magazine like this for $12 with the amount of color that's in it and the amount of advertising that isn't.?"

We had to. How many artists would go after a major client with egg on his chin and 3rd-rate samples in his portfolio? These first ten issues have had 630 pages of editorial. ((Standard publishing procedures" would have called for 900 pages of advertising to support that much editorial. We had 115. We'll never go the ((standard" route nor violate the color or quality. With our own production facilities and methods plus the support you have given us, we won't have to.

But we must make some concession to reality. Hence, the saddle stitch during this summer's light advertising months.

Now our ((moment of truth" has arrived. In the next two months we will be asking some six thousand of you to renew.

We may be prejudiced, but if you'll compare CA and its price of $12 for 12 issues to Graphis for $28, Gebrauchsgraphik for $20.50, Print for $18, and Art Direction for $6, we hope you'll agree that CA is well worth the price. We wish we could sell it for less, but we can't. The one thing we can do is pass on our billing expenses by extending your subscription an extra issue if you will enclose a check with your renewal. Or in case your income tax refund just arrived, a 5-year renewal (or new subscription) for $45 would not only save you $15 but would bring an additional 5 issues ... and a complete set of 12 color charts!

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

The Office Stephanie Day, circulation Cathleen Ross

•

Carolyn Thompson, editorial assistant

The Cover Richard Coyne CA, May '60

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LETTERS TO THE EDITOR Write Us For Free· Booklet

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8

Dear Mr. Coyne: We feel that our 9th Art Directors Annual is something quite unique and will be of interest to you as well as your readers. We hope you can use this material in The Journal of Commercial Art in the near future.

Many people were involved in compiling this portfolio. The two men who had a great deal to do with the designing and all of the followthrough work were Robert H. Hiers of Liller, Neal, Battle & Lindsey, Inc., and Ralph E. Ricketts, a free-lance artist. These two deserve a lot of credit for a job well done.

After the design was completed, the job of getting it printed was a large undertaking, and a number of people took part in the operation. There were seven printing companies, one paper company, seven different art studios handling the mechanical and production, a typography shop, a box factory, a photography studio, and a silk screen companyeach one doing a different section of the portfolio.

If more information is needed, please let me know, and I will send it along to you.

A sample of the portfolio along with several pictures will be forthcoming in the mail.

Sincerely, Billy B. Tilson Staff Artist- Advertising Dept.

The Citizens and Southern National Bank Atlanta

Here's a partial list of Companies which used Woodcut Artwork in their 1959 advertising : LIBBY, McNEILL & LIBBY .. • PLYMOUTH DIVISION OF CHRYSLER CORP . •• . THE FIRESTONE TIRE & RUBBER CO .•.. JOHNSON MOTORS ... SWIFT & CO .. . . BAUSCH & LOMB OPTICAL CO ....

THE PARKER PEN CO . • . . INTERNATIONAL HARVESTER CO • . • . WILLIAM WRIGLEY JR., CO .... STROMBERGCARLSON CO . ••. EKCO-ALCOA CONTAINERS, INC. . •.

SEAGRAM-DISTILLERS CO . • .. A. B. DICK CO . and by the following Advertising Agencies: Me CANN-ERICKSON, INC. ... BROOKE, SMITH, FRENCH & DORRANCE, INC.. .

BATTEN, BARTON, DURSTINE & OSBORN, INC. • •. J. WALTER THOMPSON CO . . • . N. W. AYER & SON, INC .... TATHAM-LAIRD, INC. and many, many others.

WOODCUT Write for free literature today.

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ART·O·GRAPH, INC. 4837 Emerson Ave. S., Minneapolis 9, Minn.

The Exhibit signature closed before the handsome portfolio arrived. We can't show it, but we can talk about it. This is an intriguing, imaginative job. Instead of a book, it's a silkscreenedfolio box, tied with a ribbon. Inside are award winners. Magazine category is printed on coated stock, newsprint for newspapers, colored text for brochures, etc. A limited amount available at $5 each through the ADC of Atlanta, 230 Spring Street. ed.

• Glad to be of service Gentlemen: CA can take a bow for any success our "New City" piece achieves. The brochure is on a series of seminars to prepare young civic leaders for the metropolitan problems of the sixties. We used a negative-positive duotone technique for the cover that we lifted directly from your article in the "Color" section a few months ago.

Sincerely, Richard A. Barry Director of Public Relations Loyola University Chicago

•

CA, May '60

IN LOS ANGELES AND SAN DIEGO

Letters to the Editor Frebergiana ...

Greetings: Hooray and hallelujah! What a marvelous thing you people did. We couldn't be happier.

Stan says it's the best piece that's ever been done on Freberg, Ltd. I agree ... more able and more thorough and more accurate than Newsweek, Time and Esquire combined.

Please accept our sincere thanks.

Cordially, Bob Klein Freberg, Ltd. Hollywood

BERT L. DAILY, INC. 126 EAST THIRD STREET DAYTON 2, OHIO BALDWIN 3·4121 "We pride ourselves on carrying all the best lines for the commercial artist. Prompt service our specialty."

BOURGES This is the title of a new free booklet on Bourges.

May we send you a copy? Call or write us today.

'--y--/

In this world of ordinary people we're glad there's a Freberg, Ltd. and a Clark Smathers and an Ace Jenkins, etc.-ed .

• A budget watcher ...

YOU'LL FIND IT EASY TO CHANGE THEM TO EXPRESSIONS OF CONTENTMENT AND SATISFACTION ...

Gentlemen: Let me say something about your mag ... out here in the "grass roots" with smaller clients and lower expenditures, budget enters prominently into every job. Why not show more good solutions to low- budget problemsonce in a while. So much of what you show (though very great) is not representative of tight-budget work.

You do an outstanding job with the lush, allout projects, but I'd like to see a little of the good, low-budget stuff, if there is any such thing.

Cordially, Bob Bartlett Harrisburg Ad-Art Camp Hill, Pennsylvania

9

'--v---"

Money can turn our head-some of the time! Yet you should see the ''not so good" shelf. It's stacked high with big budget, four-color-bleed jobs. To clarify, CA selects and shows on this basis: How well the problem was solved.

Whether the artist or AD has shown something new, interesting, tnventive, imaginative, courageous, good. Actually a sizeable percentage of the work shown in the Exhibit section could be termed ''low budget'' in that there were limitations on money, not on thinking.-ed.

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Color for sale Gentlemen: I notice you are offering your color charts only on a subscription basis. Is it possible to buy the charts singly, and if so, how much are they?

James Burrows New York City '--y--/

'Tis possible now. Pleas~ s.ee page 70. ed.

1240 N. HOMAN AVE./CHICAGO 51, ILL.

DISCOVER FOR YOURSELF: Dr. Ph. Martin 's

• CA. May '60

A. I. FRIEDMAN INC. 25 West 45 Street

New York 36, N.Y. J

•

Letters to the Editor Madam , your appellation has no basis in fact Gentlemen: Just opened my April issue and am too indignant to read further. What do I find but an advertisement on the back cover. Arg. I might have known this would h~ppen when you published the rate in your March issue. Surely you don't need $325 that badly? Please-an explanation? Thank you.

therefore, be so kind as to send me a copy of your latest issue.

Very truly yours, Albert Sokol, AD Channel Master Corporation Ellenville, New York '--v-"

Judge for yourself at CA 's accident incidence. The current issue's on its way.- ed.

•

Pris Spires Berkeley

We ' re with yo 'all . ..

p. s. Filthy capitalists!

Gentlemen: . . . It might be interesting and smart for CA to keep an eye on the South. Things are beginning to happen now- new thinking, new talent and expanding industry.

Sincerely, Harry M. Jacobs Richmond '--v--"'

•

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

2 looks before the $12 leap ...

Gentlemen : I recently came across a copy of your December 1959 issue. Frankly, both my staff as well as myself were greatly impressed with the content, the organization and the stimulating art ideas presented inside.

Before I order a subscription, however, I should like further assurance that this issue was not "accidental" so to speak. Would you,

Be assured. CA 's eyes are open and the South is in our line of vision.

We're watching closely work createdfor industrial use. Some of the best functional design ideas seem to be appearing in this area. - ed.

•

10

PHOTOMECHANICAL

VARIATIONS

BY

EDSTAN

CA, May '60

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AKRON, OHIO Metzger Photo Supply 1091-1095 S, Main St.

INDIANAPOLIS, IND. Bates Bros.

201 N. Delaware St.

NEW KENSINGTON, PA. Valley Art Shop 418 lOth St.

OLD SAYBROOK, CONN. Shoreline Art Center 137 Main St.

ATLANTA, GA. Binder's Gift & Frame Shop 74 Broad St. N. W.

JACKSON HEIGHTS, N. Y. Resnick's 84-29 Roosevelt Ave.

NEW ORLEANS, LA. Dixie Art Supplies 532 Poydras St. Norton's Art Supplies 7,38 Poydras St.

ORLANDO, FLA .

O'Neal Branch 3025 Edgewate r Dr.

BOSTON, MASS. E. J. Ardon Co. 98 Huntington Ave. Hatfield's Color Shop 1 61-163 Dartmouth St. George Smith Artists' Materials 35 High St .

BRIDGEPORT, CONN. Koenig Art Shop, Inc. 147 John St. BRONX, N. Y. Jacob Schapiro, Inc. 387 E. 149th St. CHICAGO, ILL. Bower Photo Copy Service 500 N. Parkside Ave. Sheldon's 155 E. Ohio St. CLEVELAND, 0.

Morse Graphic Art Supply Co. 1312 Ontario St. Ohio Art Materials Co. 2174 E. 9th St. DETROIT MICH. J. L. Hudson Co.

JACKSONVILLE, FLA. Reddi Rents 2045 Atlantic Blvd.

NEW YORK, N. Y. Lou Ancess 152 W. 42nd St.

KANSAS CITY, MO. Western Blue Print Co. 909' Grand Ave .

Irving Berlin, Inc. 719 8th Ave.

LOS ANGELES, CAL. Duncan Vail Co. 1601 Burlington Ave. Underwood Supply Co. 820 S. Hoover St. MEMPHIS, TENN. Campbell Blue Print & Supply Co. 2557 Broad Ave. Wray Williams Blue Print Co. 235 2nd St.

Crest Art of Miami, Inc. 1160 W. Flagler St. MILWAUKEE, WISC. Artists & Display Supply Co. 813 W. Wisconsin Ave.

Central Art Supply Co. 1126 Walnut St.

Commercial Art Materials Co. 171 E. 33rd St.

Photo Process Screen Mfg . Co .

409 S. 11th St.

Hamilton Dwight Co. Inc. 136 E. 57th St. Eagle Supply Co. 327 W. 42nd St. Sam Flax 25 E. 28th St.

Karnell & Meisner 115 W. 23rd St. Joseph Mayer Co . Inc. 5-9 Union Sq. W. New York Central Supply Co. 62 Third Ave.

Bobke Paint Co .

4413 W. Lisbon Ave.

The Palette Art Shop 436 Madison Ave.

The Palette Shop 762 N. Milwaukee St.

Abraham Seltzer 1163 Sixth Ave.

FORT LAUDERDALE, FLA. Schramm Galleries 215 S. W. 2nd St.

MINNEAPOLIS, MINN. Artsign Materials Co. 404 Marquette Ave.

GLEN ELLYN, ILL. The Color Corner 433 Main St.

MOBILE, ALA. Mobile Art Center 8 S. Jackson St.

HACKENSACK, N. J. Glick & Triolo 328 Main St.

NASHVILLE, TENN. Griffin Suppry Co. 155 4th Ave. N.

PHILADELPHIA, PA. M. A. Bruder & Sons, Inc. 52nd & Grays Ave.

Concord Artists' Materials 190 Lexington Ave,

E. H. & A. C. Friedrichs Co. 363 Lexington Ave.

MIAMI, FLA. Associated Artists 1822 Biscayne Blvd.

PALISADE PARK, N . J .

Broad Paint Mart 312 Broad Ave.

Sol Art Stationery Co. 147 W. 23rd St. NEWARK, N.J. Artists' Supply Services 1 30 Branford Place Drafting Materials Corp.

29 Central Ave. H. M. Troy 59 Halsey St.

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Jos. E. Podgor Co . Inc. 16-1 8 S. Marshall Henry H. Taws , Inc. 1527 Walnut St. PITTSBURGH, PA. B. K. Elliott Co .

536 Penn Ave. SAN FRANCISCO , CAL. Flax's 255 Kearny St. Schwabacher-Frey Co. 735 Market St. ST. LOUIS, MO. AI J. Bader Co. Inc. 1113 Locust St. SEATTLE, WASH. Seattle Art & Photo Supply, Inc. 616 8th Ave. S. STAMFORD, CONN. Spellco Paint Co. 168 Bedford St. WASHINGTON, D. C. Federal Supply Co. 911 12th St. N. W .

George F. Muth Co. Inc. 1332 New York Ave. N. W .

metuchen, new jersey

Printed on No. 211 Art-Vel . . . also available in No. 220 Art-Vel heavy weight.

PRINT THAT MATTERS Paul Rand: 1946 -1958 Edited by Yusaku Kamekura. Printed in Japan, Published by Alfred Knopf, Inc. $ 13.50

A careful and reasonably complete record of Paul Rand's work in the past 10 years including his non-commercial easel painting.

The book in its entirety was produced in Japan.

Editor Kamekura says, "In the field of graphic design, Cassandre was one of the first to make a deep impression on Japanese designers. Next, Herbert Bayer's work pr-ovided a great stimulus ... Paul Rand's work has been known and appreciated since before World War I I ... we love Paul Rand and his art, not only for their own sake, but as a symbol of the freshness and vitality of American life and culture."

The 131 pages include his posters, newspaper and magazine ads, direct mail, book jackets, covers. There are 150 plates, 31 in color. Comments by Rudofsky, Pintori, Schleger. Biographical notes, photos of Rand and his Connecticut home. Text is in English and Japanese.

How to Cut Drawings on Scratchboard

by Merritt Cutler. Published by Watson-Guptill. $4

This is a manual on how to make the best use of the scratchboard technique.

Text, photographs and drawings illustrate the manner of working with materials and tools.

Work in its progressive stages is demonstrated-the selection of subject matter, the preliminary studies, the transferring to final board, the inking and finally the cutting.

WATER COLORS STAY MOIST READY TO USE INDEFINITELY

Reproduction, photography and woodcuts as they apply to scratchboard are a:lso mentioned.

W atson-Guptill, publishers of self-help material, put this out in 88 pages designed

by Emilio Squeglio.

Illustrators of Childr en's Book s, 1946-1956 Compiled by Bertha Mahony Miller, Marcia Dalphin, Ruth Hill Viguers. Published by The Horn Book, Inc. $20

An appraisal and history of book

A Treasury of Contemporary Houses Published by the F. W. Dodge Corporation. $5.95

illustratiop.s for children, 1946-through-1956.

It is a supplement to the authors' earlier Children's Books 1744-1945.

The authors maintain that the only real standard of judging a contemporary house is this: How does it serve its owners, answer their living problems and meet their aesthetic needs?

There is advice for illustrators or would-be illustrators. For example, color is often undesirable or unnecessary i.n books for little children and definitely is not as important as the message or story line.

Fifty houses were selected from hundreds recently completed. The editors feel these represent the ultimate in house perfection. Each of the 50 is shown in 10 or more photographs, illustrations and plans.

The story is presented simply, with no embeliishments, no technical jargon. The houses illustrate various subjects-open and closed planning, houses that develop the site, houses with vertical expansion, city houses with country privacy, houses for entertaining, country houses, and a lengthy section on houses of the Northwest.

The illustrator is involved in a difficult communications problem. A child is taught by visual methods, and the resulting awareness shapes his life. The illustrator reaches him through portrayals of reality, fantasy and imagination. This means complex and slick designs must be avoided. The real challenge, the authors point out, is the ability to conceive-not an adult masquerade-but a picture the child might do himself.

The book has 215 pages, 600 black and white illustrations. Sadly, the reproduction doesn't match the handsomeness of the houses.

Worth pursuing The May issue of National Geographic for its 23-page feature "Artists Roam the World of the U.S. Air Force," text by Curtis LeMay, generously illustrated with the paintings commissioned by the Air Force showing planes and men on and off duty around the world.

April 23rd issue of Saturday RevieU!; SR's 8th annual advertising award winners and thoughtful stories on advertising, its future, etc.

A section is devoted to the European picture book and the artists who are illustrating them. There is poignancy in' the fact that so much outstanding work in Europe was produced in the years of crisis, the period between 1935-1945. Theoretically, the child is pushed aside in time of war. But the work that came out of oppressed nations seems to belie this theory. Of post-war years there is the feeling that perhaps the booming prosperity that followed had a tendency to stifle the real urge toward creativity.

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

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Write Us for fr ee Boolclet

BOURGES

MAG I C COLOR SHEETS OF 1001 USES As an Authorized Bourges Dealer for many years, we carry the complete line ... all colors, all values, in both the Overlay and Adhesive Sheets. Ample stock. Prompt service our specialty.

One feels that the book would have been doubly fascinating had at least some of the illustrations been reproduced in color.

The latter portion of the volume brings up to date the biographies and bibliographies of all the outstanding artists active in the field.

I

A. I. FRIEDMAN •

INC.

25 WEST 45th ST., NEW YOR K 36, N.Y. CIRCLE 5-6600

13

If fixative odor bothers you, use Blair Low Odor Spray-Fix. It's the best of the low-odor fixes ... a fine companion product to regular Spray-Fix. Whether you prefer low-odor or a regular fix, be sure you specify Blair ... the largest selling brand in the art trade.

Calligraphy byJ. G. Schwandne~ Published by Dover Publications, Inc. $10

This, the first reprinting of a beautiful collection of continental calligraphy, is a source book for anyone in graphics. It was originally published under imperial privilege in Vienna in 1756.

The author defines calligraphy as "the art and manner of writing with beauty and grace." This is very evident in what he displays. Twelve complete alphabets-florid script, block letters overlaid with flourishes, flamed letters with dotted flourishes, etc.

Letters built of architectural, plant and animal motifs. There are 150 ornate calligraphic frames and panels, 75 calligraphic pictures-a temple, cherubs, cocks, stags, lions, greyhounds, etc.

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SHIVA NU-TEMPERA DESIGNERS COLORS

lrvi~-on-Hudson, N. Y.

Airbrush Techniques for Commercial Art

See them at

by Musacchia, Fluchers, Grainer.

Published by Reinhold Publishing Corporation. $4.50

This, though published in 1953, is still one of the few books available on airbrushing. It is designed to help develop and improve the operational skills necessary. The book outlines the fundamental principles and their application to actual production problems and solutions.

There are 13 illustrated "how to" lessons in coordinating the flow of air and paint and the motion of the artist at the proper distance and angle.

HILLHOUSE N

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We carry a complete line of all those famous BOURGES SHEETS ... "Colotone," "Solotone," "Transopaque." Call us for these wonderful products, and all your other art material needs. We have ample supplies, and can fill your orders imme· diately from stock.

BOURGES MAGIC COLOR SHEETS OF 1001 USES This is the title of a new free booklet on Bour~es . May we send you a copy? Call or write us today.

color card.

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SHIV A ARTISTS COLORS 433 W. GOETHE ST. CHICAGO 10, ILLINOIS

Textures and effects as well as photo retouching are discussed and illustrated. It is 128 pages, with loose-leaf binding.

CA Publications CA BLACKS, GRAYS, WHITES $5 A basic set of standard comparisons, 174 airbrushed swatches of major brands of blacks, grays, whites and toning mediums.

Printed on 100•pound vellum and coated stock. CA COLOR GUIDE CHARTS, $9 per year; an annual subscription gives you charts reprinted from the monthly color chart feature on 100-pound coated and vellum, punched for loose-leaf filing. Colors are coded. 12-month subscription gives you 4200 color patches, 48 duotone examples, 12 demonstrations.

II CA, May '60

FOR A SURE SPOT SPECIALIZE! in COLOR PHOTO PRINT

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PROFESSIONAL ART INSTITUTE, 444 CALIFORNIA ST., DEPT. CA 560 SAN FRANCISCO 4, CALIF.

15

For less than the cost of a single rental from an archive . . . the most remarkable collection of advertising calligraphy ever drawn . . .

Schwandner's CALLIGRAPHY (only $10.00)18th century classic, costing $300 on up on rare book market now reprinted; treasury of material suggesting quality and antiquity ...

Schwandner's "Calligraphy" (Calligraphia Latina), first published in Vienna attention, and will set the mood you want. There is nothing better on the in 1756, has long been a legendary book in the graphic arts. Generally market for suggesting high quality, permanence, stability, antiquity, as recognized as the high point of Central European calligraphy, it has never well as for elegant beauty. before' been reprinted, and is one of the rarest books ot its era: copies No permissions, no acknowledgments, no cle~rance fees when you use this material. When you buy a copy of Schwandner, you buy with it rights to bring from $300 on up on the rare book market.

This is the first reprinting of this famous work-complete, unabridged, with reproduce individual material. Archives charge you $15 for the use of a all the marvellous examples of single-line drawing of the original edition. single letter-here you use this wonderful book once and it has more Do not confuse it with script books or lettering books: it contains only the than paid for itself. Money back guarantee. very highest quality ornamental initials and ·flourishes, all drawn and 158 full-page plates, 198pp. 9 x 13%. Opaque paper. engraved by the foremost calligrapher and etcher in 18th century Europe.

Heavy cloth binding. $10.00 This magnificent book contains the following material, all immediately useable for your commercial art: I 12 complete alphabets of ornamental initials (more than 300 1 Dept 300 Dover Publications, Inc. I individual initials), up to 12" high! 3 alphabets of florid scripts, I 180 Varick St., New York 14, N. Y. 5 alphabets of florid scripts overlaid with flourishes, 1 alphabet I Please send me . . . . copies of Schwandner at $10 each.

1 of shaded old-style letters, with superimposed script, 1 alphabet 1 I am enclosing $. . . . . . . . in full payment. Please print.

1 of large flamed letters, with superimposed dots, etc.

I Name ... .. . .. ...... ... . ..... . ........ .... .. .. . .......... I 200 extremely elaborate flourishes, borders, and overdrops.

1.50 very ornate frames, cartouches, drawn with unequalled grace.

75 calligraphic pictures, mostly drawn in a single line! A complete I Address ... ........... . .. . ... ... ..... ..... .. ...... .. . .... . I temple scene, stags, foliated lions, crowns, dodos, cocks, : City .. ... . .... ... ... . .. ... .. .. Zone .... .. . . State . . . . . . . . . I cherubs, ostriches, greyhounds, etc.

GUARANTEE: All Dover books are guaranteed to satisfy you. Order I 5,000 and more calligraphic designs that may be applied anywhere.

I a copy of Schwandner now; use it for 10 days. If you are not I One of these remarkable ornamental letters used on a piece of direct mail, 1 delighted with it, return it for your full money back.

1 magazine advertising, point of purchase, or packaging art will attract

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

,..

.•.......

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

Baskerville About four years ago an art director called and asked, ((you have that face the SatEvePost is using?"

He was referring to the magazine's then new format which included Baskerville in display and body. Today he knows the name and knows it well for the face is in constant use. Since the Post began using Baskerville, there has been a marked revival of serif faces in display advertising typography. Some ads go Baskerville all the way in body, heads, subheads, captions and logo. It's interesting to see it used for the main display line along with another face for body.

Publications are using it too. McCall 's, Better Homes, A merican Home in addition to the Post are setting articles as well as editorial material in Baskerville. Some magazines vary display faces and include it as one of the variants.

There has been considerable publication use of Caslon and Times New Roman as display faces.

Early this year this is how the magazine ads put it to work: Chrysler's Valiant ads use Baskerville in display, and Caslon for Body, while Chevrolet reverses the use

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Baskerville and Standard

(continued)

Baskerville and Caslon 17

B&W

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CA. May '60

Baskerville (cant' d.)

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with Caslon display and Baskerville body. Travelers Insurance did the same as Chevrolet. Pontiac uses Caslon display with Times New Roman body. Studebaker Lark has gone Baskerville all the way.

Ads running in this same period for Westinghouse, Frigidaire, Hotpoin t, Norge, Borden's, M urn, Max Factor's, DuPont Dacron, Betty Crocker, Seagram's, Gordon's Gin, Florida Citrus Commission, Armour Beef Hash and Chef Boy-Ar-Dee all used Baskerville in both display and body.

Post did an ad in Holiday using Caslon. Delta Air Lines, Hartford Fire Insurance, Lane Chests, Regina Polishers also went the Caslon route. Holiday used Caslon for display in their January issue. Marlboro and Toni used Schoolbook and did it very pleasingly. Catalina swimsuits made excellent use of Times New Roman with full-color photography in a two-page spread. Others using Times New Roman in display and body were L'Aiglon, MooreMcCormack, Andersen Window Walls and Nationwide Insurance. McCall's covers are in Times New Roman.

The Baskerville trend continued on into March and April. Look used it for articles and feature material.

Frigidaire used Baskerville in display only and switched to another face for body. So did Flintkote, O'Brien Paints, Land-O-Lakes Butter, Chrysler's Valiant and Dan River Mills, Inc.

18

FROM

ANY POINT OF

VIEW

CA, May '60

Cutex put body copy in Baskerville, used another face for display. Oneida Silverware, American Gas Association, Lib by-Owens-Ford, West Coast Lumbermen's Association, all set their body copy in it. Baskerville for both display lines and body was used by U.S. Steel, Glass Container Institute, National Beer, Bostonian Shoes, Ocean Spray Cranberries, Betty Crocker, General Electric, Studebaker Lark, Lane Cedar Chests, DuPont Dacron, Eastman Kodil Fiber, United Fruit Co., Johnson and Johnson. Chux, Armour Treet and Seagram's.

About seven years ago art directors began getting tired of Futura, Spartan, 20th Century and were looking for something different. Automobiles, furniture and architecture had gone low and wide, so typographic design followed suit with wide type faces. Venus, Hellenic and Fortune became popular. Hellenic, unfortunately, has the shortcoming of spreading like mad and not getting heavier in the larger sizes. Wide Latin and Egyptian Expanded were used fairly extensively. ATF's Franklin Wide came out about the same time as Venus and later News Bold was added.

Craw Clarendon, and more recently the Craw Moderns, have followed the wide face trend. If they came in additional weights, widths and the much-needed italics, the Craw faces would find much greater use. When a foundry (continued)

DIFFERENCE .IN DOUGH

IS MORE THAN SHAPE . . . but the difference between a poor printed piece and a superior one is often merely just the difference in paper. From the original concept forward, Wilson -Rich Paper Co., San Francisco, provides unusual services, artists' aids, and paper to help you achieve superior printing.

O riginally commanded by Q ueen Victoria for her own use, and since rec ognized as the world's finest water color brushes. Made by craftsmen for the craftsman: commercial artist-illustratorretoucher-engraver.

These add up to helping you get more from your paper dollar.

Let us acquaint you with what we mean . Drop us a note or call

WILSON-RICH PAPE R COM PANY ~~

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EX 2-8118

Perhaps you'd like this folder about Chillicothe Paper Co 's Alamo Text and Cover, the papers on which this superior magazine is lithographed . Yours for the asking.

Canadian Agents: THE HUGHES & OWENS CO., LTD. Head office: MONTREAL California Distributors: THE SCHWABACHER·FREY CO., SAN FRANCISCO See your local dealer!

CA, May '60

AHORSE OF ADIFFERENT COLOR

Allied's Colorcraft is definitely "a horse of a different color" ... for it's a completely new idea in colored paper.

Colorcraft is color with reason; not just color for color's sake. Available in ten distinctive new tones-the bright Impulse colors and the subdued Influence colors-each is based on the research of Faber Birren, noted colorist, who designed the Colorcraft line to stimulate physical and mental action ... to create favorable moods ... and to improve direct mail response.

Try Colorcraft on your next promotion pieces. Whether it's a letter, card, or elaborate brochure, you'll be amazed at the results, both in effect and in better returns.

Colorcraft is available through franchised merchants throughout the country. See the one nearest you for more details.

Albuquerque . .. ........ .. Carpenter Paper Company Atlanta .. . .. ... . .. . . . .. . . .. . Whitaker Paper Company Austin . ... . ... .. .. .. . . .. .. . Carpenter Paper Company Baltimore ... . . ...... . . . . ... Stanford Paper Company Garrett-Buchanan Company Billings, Montana .... .... Carpenter Paper Company Chicago .. .... . .. . ... .. .... Carpenter Paper Company Forest Paper Company Cincinnati .. . . . . ..... .. . Chatfield Paper Corporation Cleveland . ... . . ....... Central Ohio Paper Company Columbus ............. Central Ohio Paper Company Dallas . . .. .. . . . ... . ... ... .. Carpenter Paper Company Dayton . . . . .. ... . .... ... Central Ohio Paper Company Denver . . . .. . . . ... . ... . ... . Carpenter Paper Company Detroit . .... . . The Union Paper and Twine Company Des Moines . .... .. .... . . . . Carpenter Paper Company Duluth . .. . . . ....... . .... .. . Carpenter Paper Company El Paso ..... . . . ........... . Carpenter Paper Company Fort Worth . . . . ... . ........ Carpenter Paper Company Grand Island, Nebr • ..... Carpenter Paper Company Great Falls, Montana .... Carpenter Paper Company Harlingen, Texas .. . ... . . Carpenter Paper Company Hartford, Conn • . . ...... Rourke-Eno Paper Company Houston, Texas .. ... . . . . . Carpenter Paper Company Indianapolis .. . .

Central Ohio Paper Company Kalamazoo Bermingham and Prosser Company Kansas City .. ... . .. ..

Carpenter Paper Company Lancaster, Pa . ........... Garrett-Buchanan Company Lincoln, Nebraska .. . .. . . Carpenter Paper Company Los Angeles . . ... ... ...... Carpenter Paper Company Louisville ..... .. .. .. .... ... Chatfield Paper Company Lubbock . .. . .. ........ . . . . Carpenter Paper Company Milwaukee . .. . .....

Standard Paper Company 0

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Minneapolis ............ .. Carpenter Paper Company Missoula, Montana ....... Carpenter Paper Company New Haven, Conn. . ... Rourke-Eno Paper Company New York City .... .. .. Schlosser Paper Corporation Oklahoma City ....... . ... Carpenter Paper Company Omaha .. . ............ . .... Carpenter Paper Company Philadelphia ... 0.... . . Garrett-Buchanan Company Pittsburgh .........

Central Ohio Paper Company Pueblo, Colorado .. . ..... Carpenter Paper Company Reading, Pa . . . .

Garrett-Buchanan Company St. Louis .. . ....

Butler Paper Company Salt Lake City .......... .. Carpenter Paper Company San Antonio ..... .. ....... Carpenter Paper Company San Francisco ....

Carpenter Paper Company Seattle ...... . .....

Carpenter Paper Company Sioux City ....... . .

Carpenter Paper Company Springfield, Mass . ..... Rourke-Eno Paper Company Topeka ..... . .............. Carpenter Paper Company Washington, D.C . ......... Stanford Paper Company Yakima, Washington .... Carpenter Paper Company Montreal. ......... . ................ T. B. Little Papers Toronto ................ . ........ Whyte-Hooke Papers Vancouver ........... Columbia Paper Company, Ltd. 0

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Baskerville (cont'd.) limits the range of a type face, he limits the typographer.

The art director using a face with only one or two variations usually switches to other faces for contrast.

Today, with the increased use of serif faces, I feel we are coming out of the usans serif and gothic only era."

The gothics will remain popular but the serifs are being used more and more. Lest I be misund~rstood, this is not a point against sans serif and for got'hics. It's for serif faces and for using the appropriate face no matter whether it has serifs or not.

Typographic trends, like trends in other fields of design, go in cycles. When upiggy-back" or ustacked" typography first started, most of the faces used were condensed gothic and mostly all caps. Today the rounder, easier-toread serif faces are used in stacked display lines, and there is more use of lower case. An even more recent style is the lapping of letters and the mixing of caps in the middle of the word set in lower case, or a lower case letter inserted in the center of an all-cap word.

Change is constant. There's nothing set about type.

Whicewi'7'QWchoicc,IMke ic tanPr.c.cia- - holida,.-br,.N .-ith Oc:oft Spra, Cranberry S.uct.~tn - •hoklomeand

ddiciouel Wake 111 hYOntc batwith .. )'OW--1

Baskerville all the way ...

Wttva ue for pcoplc .. .not giaJJ! ,...., .,,_,. .......... ,..,.. ...

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Garamont and Baskerville 25

ALIDIO

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WILMINGTON, DEL

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

BOURGES M A GIC C O LOR SH EET S OF 1 00 1 USE S

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

CA. May '60

This is a profile of Dallas. Second of a continuing series. The first was Seattle, and it ran in September. Next due, St. Louis.

26

alias What's doing for leisure activities? ttOutdoor sports and indoor drinking."

Best (clean) Texas joke? ttThe Texan who went to Las Vegas in his $7,000 Cadillac and carne back on a $65,000 Greyhound bus."

Big D-Dallas-financial, industrial and graphic arts center for the Southwest. A driving, growing city of 700,000 with two of the tallest buildings west of the Mississippi and a skyline that appears with an abruptness that shocks the eye-all of a sudden there it is-skyscrapers in the center of the great, dry, rolling plains of Texas.

The area has no natural resources, no navigable water. John Neely Bryan, first Dallas-ite, built his log cabin where the East-West, North-South wagon trails creaked past. The determined men who followed Bryan made capital of this feature, the central location of their village/ town/ city. They accentuated their one positive, steadily and aggressively, until they built Dallas into the trade, service, financial and manufacturing center of the Southwest.

In a traditionally oil-rich state, Dallas county has no oil production. Instead, it is administrative headquarters for the oil industry. Oil-field equipment and machinery are manufactured there. Oil operators and brokers and

contractors abound. Sun, Mobil and Atlantic all picked Dallas for their research headquarters.

With humor rare in banks, The Federal Reserve Bank (11th district), in a business review, puts its finger nicely on a Dallas strong point. ((Dallas holds a commanding position in the Southwest with respect to a product which is universal in all business activity-money and credit."

Dallas banks are big and important. Branch banks are prohibited in Texas. This means that existing banks grow larger. New banks are opening to follow and service the growth of suburban centers. The city of Dallas alone has 26 banks. One of them advertises ttDrive up to the trust department, drive down to the safe deposit vault, drive through to deposit." The Republic National Bank is one of the top 20 in the U.S. and, along with the First National Bank, is one of the important advertisers of the area.

Dominating all the stores is Neiman-Marcus. The outside of the six-story downtown store is unimpressive.

CA, May '60

27

Big D with its skyscrapers driving at a stormy sky. Ed Beardon rendered this watercolor, "Dallas Skyline-Late Afternoon from Stemmons Freeway" for his client Warlick Law, Inc.

Everything else is spectacular. Its advertising, window displays and promotions are watched and copied by stores across the country. This will be the 23rd year for the annual Fashion Exposition. It's an impressive event and is the time when the coveted Neiman-Marcus Designer Award is given to either a European or American designer ((for distinguished service in the field of fashion." A French promotion, followed a year later by a British one, were each backed by 20-plus pages in Vogue in addition to an all-out local advertising effort, fashion shows, displays, demonstrations, etc. Guiding genius of this family-run giant is Stanley Marcus.

In January 1960 there were close to 2,000 manufacturing plants in the city. They are diversified. There's aircraft represented by Chance-Vought, Bell Helicopter, Temco Aircraft. Electronics, by Collins Radio, Texas Instruments. Oil tools- Dresser Industries. Biggest of the growing boat builders is Lone Star Boat. In the food field

there's Fritos, Dr. Pepper, Borden's southern division, Lone Star Beer, Mrs. Baird's Bakeries. Apparel is represented by Nardis of Dallas and Haggar slacks.

Dallas city fathers, those accentuate-the-positive men, are not sitting back even in the face of this healthy roster.

They're out to lure more manufacturing, want to build up consumer-product manufacture and lessen emphasis on industry based on defense spending. These men have formed a non-profit corporation, ((Industrial Dallas," with plans to spend $200,000 annually for three years to attract new business to the city. Funds for the project come from Dallas business and industry.

Big, too, on the Dallas scene, are insurance companies -216 of them. Wholesale trade activity writes paychecks for 11% of Dallas wage earners. Both Safeway and Sear's maintain major depots.

Water? There's plenty for kitchen taps and turbines.

Six dams or reservoirs are in the vicinity, another reservoir

CA. May'60

Dallas (cont'd.)

The big event for all of Texas is the State Fair in October. The tall one ? Big Tex.

The Dallas Theater Center calls this $1,000,000 Frank Lloyd Wright building home.

28

is being built on the Sabine River. One dam, two reservoirs are due in the future. There's an estimated four-year supply on hand, even without rain. The problem lies with distribution facilities. The city has grown so fast that water lines are outmoded. In certain areas pumping stations roar into action to maintain pressure in periods of peak use.

Transportation is excellent. There are three municipally-owned airports. Love Field with its new terminal building is one of the best in the country. Five major airlines use it daily. Braniff Airways makes it headquarters.

Surface transportation includes nine railroad systems, five bus lines, 37 truck lines.

On the other hand, in-city transportation is a problem.

The city transit system is poor. Traffic and parking in the downtown area are problems. Street development is based on an inner-and-outer loop plan. The recently opened Stemmons Freeway helped; next due is an east-west freeway to move through the heart of the city. . Reporting news of freeway wrecks, banking deals, who-wore-what-to-the-opera are two newspapers. The somewhat stuffy News, owned by the Belo family, does a fairly capable job of reporting both local, national and international news. The afternoon Times-Herald is on the sensational side, is less responsible, and lamentably local in its news coverage. It carries the bulk of the advertising lineage, and N ews-Herald employees work in a posh new building with titles on doors and carpets on floors. The Southwest edition of The Wall Street Journal is published in Dallas. Additional communicators-2 TV stations, 11 radio stations.

Despite the Texas lady who said, ((We're very cultured. We leave Texas all the time and go everywhere !", Dallas is rapidly becoming culture-conscious. The Dallas Civic Opera performs in the fall, the Dallas Symphony in the winter, the Metropolitan Opera visits in the spring.

The Dallas Theatre Center functions in the only theatre

designed by Frank Lloyd Wright; there are several active little theatre groups. For the in-betweeners there are 70 movie houses.

The Dallas Museum of Fine Arts and the Dallas Museum of Contemporary Arts both have very active exhibition schedules, sponsor lectures, films, and tours with increasing impact on the community.

The city has more than its share of fine artists. Most prominent are painters Otis Dozier, DeForrest Judd, Wilfred Higgins, Glenn Galaway, Chapman Kelly, and sculptors Octavio Medellin and Heri Bert Bartscht. Most belong to the Dallas-Fort Worth Men of Arts Guild which holds occasional exhibitions at the museums or at one of the 10-or-so-odd galleries in town. There's also a Society of Watercolorists. As in most cities, many of the designers and illustrators are also fine artists, pursue their avocation with great enthusiasm-one, Dick Danne, AD for Clarke, Dunagan and Huffhine, Inc., has a painting show this month, another scheduled for September in Houston.

Major event of general interest is the State Fair, which runs the first two weeks of October, attracting crowds of two- three million people. It's housed in a 40-million-dollar plant. Presiding over the midway is Big Tex, a 52-foot, levi-clad cowboy who drawls a booming welcome to one and all. On the grounds-four museums and the State Fair Music Hall. The latter holds the popular 12-week season of musicals in the summer. This draws top talent and shows, i.e., Marlene Dietrich will appear there this summer.

Everyone talks about it, and in Texas they do something · about it- air conditioning is routine in offices, factories, theatres, many homes and some cars. The hot season runs from June through September. And it is hot. There's little rain-35 inches annually is average.

The climate is not the only dry area. The stranger doesn't belly up to the bar and bawl out his order. He goes

CA, May '60

29

On this page, the direct-mail brochure that was awarded one of the three Gold Medals given at the Dallas-Fort Worth Art Directors Show. AD/ Designer Robert K. Halladay with Photographer Fred B. Shelton showed high imagination and humor in their placement and photography of the Tarascan figures and objects. Client, The Gallery of Modern Art in Fort Worth. Shown above-the ochre cover, two inside pages.

DETAIL OF THE W OUNDED WARR I OR GOD KI NG

CA, May '60

Dallas (cont'd.)

For his black-and-white photograph that nicely caught a familiar childhood scene, Photographer Shel Hershorn was given an Award of Distinctive Merit. AD was Bill Sanders for the agency Bevel Associates.

Also commendable-the copy.

30

to a packaged goods store and buys a bottle, or Texas hospitality being what it is, he drinks in a club with a friendly Texan. Most Dallasites are friendly, and almost all belong to one or two clubs. Legend has it that one agency man, whose breath is ripe with the scent of juniperberries after lunch, has a wallet bulging with 27 club cards, a 1960 short-snorter of impressive dimensions.

The degree of dampness is determined by county option. Dallas has wine and beer. Some counties have nothing at all. Blue laws are due to the powerful influence of the Southern Baptists.

Dallas is a southern city in geography only. Instead of ennui there's action. Their progressive attitudes include the area of integration. The people of Dallas seemingly don't consider it a problem and judging from the results, they've adopted the right attitude.

Almost a city-within-a-city is Southern Methodist University and its 5,000-plus students in the northern part of town. It enjoys an enviable reputation in football, engineering, law, theology. A fairly recent development is its fine arts center established to coordinate work in music, drama, painting, radio and TV. The Graduate Research Center concentrates on pure research for industrial application and was formed to help attract and hold scientists and engineers in the area. There are almost 150 public grade and high schools in the city plus numerous private ones.

There's no school in the area equipped to train the (commercial) artist. This makes it necessary to go either West or East for an art education or to get it via the roughand-tumble process of actual experience. One school, North Texas State in Denton, is beginning to make an honest try in the cause of art. Close to 50o/o of those working in (commercial) art in Dallas are native Texans, so they've either trained themselves or gone out of state for school.

Dallas pays tribute to both the spirit and the body.

There are 800 churches. There is a triple-A baseball team

She hesitated for a lon& time and then she said Mall right,.. in a trembling vokc. And so her baby tooc.h was puUcd. ToniJ)!t she'll put it under her pillow. If the zood fairy doesn't take the tooth away and kave a dime, her unquestionina faith will break in two. She isn't

preparedford~eunupccted.

Are you?

You can be. Why noc have an Employen Casuahy man tell you how you an be completely s.afe and at the same time how you may &et cuh dividends, too!

lii!IOTEIS W/MITY t:f/MMKY

E cc

plus much talk of a major league affiliation ; the Dallas Cowboys, a new National League football team, debuts in the fall; there's the annual New Year's Day Cotton Bowl Game, there's the Big Game - Texas vs. Oklahoma. It's the week -end of the year that hotelkeepers view with both fright and delight. Several wisely use precautionary measures- lobby furniture is removed. No glasses are made available- only paper cups. This is the game where, between halves Colonel D. H. (Dry Hole, his first 50 wells didn't produce) stood up, invited everyone within sound of his voice to dinner. He was disappointed when only a little over 1500 showed up to consume liquor, barbecued beef, elk, deer, moose, bear.

The boat boom is big in Dallas. Three lakes lie within the city limits, three more are within an hour's drive, the Gulf Coast is 300 miles away. Result? Many two-car garages now hold one car, one boat. Golf courses, tennis courts, swimming pools, etc., are numerous. City planning has been liberal with green belts. There are 115 parks and an excellent zoo. Eighteen private golf clubs all have sizable membership rosters. These are some of the reasons why living is good in Dallas. Another is the fact that it costs less than most metropolitan areas. According to FHA figures, a three-bedroom house can be built in Dallas for $5000 under what it would cost in Chicago.

Southern Californians would like this Dallas-plusthere's no haze. Only natural gas is used and this single fact does much to make the air cleaner and clean houses easier to maintain.

There are the Byrd's, Hunt's, Murchison's and Richardson's of Texas, and Dallas is both proud and amused by them and by the tall Texas stories- the man who bought the Cadillac ((because you got lunch, Joe," the one who bought the entire contents of an entire Neiman-Marcus window, the one who wanted those soft coats and walked out with ten $750 vicunas- but Dallas

CA, May '60

Above. Three frames from an animated cartoon for General Mills. AD was Larry LaBelle; Designer, Bob Dalzell; Producer, Keitz & Herndon, all of Dallas.

Agency, Knox-Reeves, Minneapolis. The commercial won an Award of Distinctive Merit.

Left. Exaggerated halftone dots and a dimpled derriere brought a Silver Medal to AD/ Designer George Curt Davison. It's a magenta and black poster done for Texas Instruments.

The photographic credit, The Studio, Inc. I H. Roberts; Agency, Don L. Baxter, Inc.

CA, May '60

31

Dallas (cont'd.)

Christmas goodies went home in this Neiman-Marcus gift package.

AD Art Shipman and Designer/ Artist David Renning went home with a Silver Medal. Kromekote printed in black, magenta and scarlet.

Ingenious scored flaps fold in to give the box dimension.

32

N

and Dallas artists are as even as me-and-thee. They're struggling to build their billing, their reputation, the quality of their work.

Advertising and (commercial) art in Dallas are only beginning to assume the status enjoyed in the older, more established communities of Philadelphia, Chicago, New York.

This maturing period brings definite hardships to the artist. Some of these he perpetuates himself. Primarily the problem is one of education; that is, teaching the advertiser and account people to respect the time and skill involved in preparing a layout or a piece of art.

Instead, there's the endless crush of deadlines. The artist, who after all is responsible for making a major contribution, is at the end of the line- is not given the time needed to fulfill his function. Because the art field is keenly competitive in Dallas, the artist usually goes along under the handicap of a merciless deadline, for if he refuses, he knows someone else will take on the job. Variations of this situation apply in agencies, in studios, and with the considerable group of free lancers.

Yet, despite this all-pervading deadline-fever, much excellent design and art comes from Dallas.

Who is responsible for preparing the graphics and the advertising?

Sixty-four advertising agencies are listed with the Chamber of Commerce. One of the biggest is Tracy-Locke with a lion's share of accounts. In its fold are these big spenders: Chance-Vought Aircraft, Borden's advertising for the South, Fritos, Haggar Slacks, Mrs. Baird's Bakeries, Southern Union Gas. Executive AD is the quietspoken Bill Neal.

Herb Strasser is head AD for the mammoth Rogers and Smith whose administrative office is in Dallas and a sizable branch office in Kansas City. Among their most

M A N

M A R C U S

important clients are Bell Helicopters, First National Bank, Temco Aircraft, Trans-Texas Airways.

Holding the art reins on a number of sizable accounts is senior art director Bryan Leitch for Don L. Baxter, Inc. Theirs: Dresser Industries, Republic National Bank, Texas Instruments, Ideco, Inc. Glenn Advertising has its main office in Dallas, with smaller ones in San Antonio, Fort Worth, Houston, El Paso, Los Angeles. In its Dallas shop are Centex Construction, Lone Star Beer.

Texas Bank and Trust, a sizable advertiser, is serviced by the young, aggressive Clark, Dunagan & Huffhines, Inc. Taylor Norsworthy, Inc. has Lone Star Boat. Dr. Pepper calls Grant Advertising home.

Agency AD salary range is wide, some get $ 6,000, a few over $15,000. Average salary seems to be around $8,500.

Studios have considerable importance in Dallas. Three of the most important are The Studio, Inc., with a staff of 15; their work centers around advertising agencies.

Robbins Caver Page and Associates, in business since 1958, have nine on their staff in addition to the three principals. They tend to work directly with clients, like to play a key part in the planning and creative phases. Ed Bearden Art Studio has a staff of ten, does work with both agency and direct with clients, tends to be strong in illustration, rendering.

CA. May '60

Neiman-Marcus is a not-too-little world in itself.

Advertising to run three weeks in advance is decided at regular Monday-morning meetings of the art director, ad director, copy chief, Stanley Marcus, buyers and their tobe-advertised merchandise. The store runs an average of 3500 lines per week in five newspapers. The bulk (2100 lines) goes into the N ews. And 5% of the News ads run in color. The artists involved- Art Shipman, AD, his staff

America 's civilian space agency proves

IT'S 600D BUSINESS TO EXPLORE SPACE Weather forecasts hatched In space will save billions of dollars a year. Satellite transmitters will beam our television programs around the world. •Jn these and other ways, space will payback themoneyspent on exploration . Makingfactsout oftheseforecastsis part of the job of the National Aeronautics and Space Administration, the engineer·scientist agency that manages U. S. non-military aerospace programs. NASA adds a condition to predictioru of a world space-trade boom: space, it.self, must remain free . This freedom , NASA men know, depends on whether America leads or lags as a space explorer.

888S~S c~;

Two Chance- Vought pieces that took Silver Medals in the Dallas-Fort Worth AD Show. Left. A four-color, consumer magazine ad; ADI Designers were Sam Hollis and Bill Neale; Artist, Charles Allen; Agency, TracyLocke Co., Inc. Below. From a Chance- Vought bro~ hure, a painterly approach to the jet age. Artist/ Designer, William G. Richardson; AD, Martha F. Robbins- both with the art studio, Robbins Caver Page & Associates.

33

CA. May '60

Dallas (cont'd.)

34

A .r ound desk, panelled walls in the second floor, reception room of the Olmsted-Kirk Graphic Arts Center.

Library in the Center is a large, handsomelyproportioned room. Practical touch, the tracing table.

of seven artists, three layout artists (who also do finished art), one paste-up man, seven models. They also turn out a small amount of national advertising, all direct mail, much of the store's packaging, some of the gift wraps.

service is its annual directory. This lists the names, telephone numbers, addresses, talents, etc., for each member artist.

Artists in Dallas, as well as Houston, San Antonio, Fort Worth, have a singular piece of good fortune that is not enjoyed in most parts of the country. Paper merchants are progressive and aggressive, concentrate on informing, showing and, of course, selling to artists and agencies.

Largest is Olmsted-Kirk. They were the first to issue paper cabinets to the artists, currently offer more papers and service than any other firm in the area. Other active firms are Clampett and Carpenter.

Under the direction of Bob Olmsted, Olmsted-Kirk has made an impressive contribution to artists and the graphic industry of Dallas unmatched anywhere else in the country. It is the Graphic Arts Center. Starting from the handsome front door, it is outstanding. The exhibit gallery has 3,000 feet of space for exhibitions. The large, carpeted library has a steady flow of travelling showsfrom annual reports to Paul Rand. In addition, there is a large, well-catalogued permanent library. Artists can use materials there or telephone, and the file they want will be sent to their office. The Center is efficient yet far from machine-like, has such niceties as etched-glass chandeliers, stained-glass windows, walnut panelling.

There is a spacious auditorium with 83 theatre-type seats, projection booth and drop screen. Olmsted-Kirk makes the Center available to any graphics firm; both artists clubs have used it frequently. If not in use furthering the cause of graphics-any civic or business group is free to avail themselves of its facilities, which includes janitor service, sometimes coffee, always the utmost in cooperation and a commendable absence of commercialism.

Two type shops dominate the scene, John A. Scott and J aggar-Chiles-Stovall. Both are tremendous in size with staffs of close to 80. The same duo situation is true

There are two sizable film producing firms in Dallas.

Largest is the Jamison Film Company with some 30 people on staff. Their specialty-industrial films. Second in size is the attractively-housed Keitz and Herndon with 20 people. They concentrate on film for television commercial use, live action and animation; have produced for General Mills, Household Finance, Humble Oil, Red Ball Shoes, Gill's Coffee, etc. Both firms were reluctant/ overworked/ ?/ re a discussion of salary matters.

Last, but in no way least, is the area of free lancing.

Best known-Rod Lambeth, design and illustration; Hal Lindgren in layouts; Carroll Collier, illustration; Walter Ender and Stan Richards, design.

About money. Hourly billing rates stack up as follows: Design, ranges from $10 to $15; layout, $8 to $12; illustration, $12 to $25; mechanicals average out at $7 per hour. Putting it on an annual basis the salaries run from a low of $5,000 up to $15,000 for designers, illustra tors and layout men go from $4,800 to $10,000. Tops for paste-up artists seems to be $7,500.

In the realm of Dallas (commercial) art there are two associations. One is the Dallas-Fort Worth Art Directors Club. Traditionally the two cities are keen rivals; however, in this area the recent merger has resulted in peace, success and prosperity. The club is extremely active, brings top speakers from all over the country for their monthly meetings, exacts the highest dues in the U.S. Their annual show is important. It is regional rather than local, covers the entire Southwest.

The second group is the Artists Club of Dallas. While it is larger than the AD club, it is less active. The main

CA, May '60

TV producers Keitz & Herndon work surrounded by trees, grass, contemporary architecture. Roddy Keitz, partner in the firm, is also president of the Dallas-Fort Worth Art Directors Club.

The Center's compact, completely equipped auditorium seats 83 in plush comfort.

FIFTY MILLION FRENCHMEN CAN'T BE WRONG TEXAS GUINAN Texu Gulnan'.ti happy ahoutof"Helio , Sucker" to every cu.-to mer who entered her restaurant-whether they were

35

••natora, gangatera, or " B ig Butter and Egg Men" from Iowa-endeared her to a generation. She made everyone feel at home In theE,.. of Wonderful Nonsense-and she made them feel at home ae. her eulltomer-a. The heart of Texu Guinan's aaleamanahlp wu In real ent.rtalnment and warm hospitality-the keynote of Balaban. prograrnmlng In ev ery market. WIL epeclaJizea In cr-eatin g the happy mood to buy In the big St. Louie market through the power of dominant peraonalltlee and positive ealaamanahlp.· W IL Ia a powerfu l '(Olea to sell your product. and aervlcee In St. Louie, becau- WIL Ia, above all, a ealeaman.

WIL Ia - flm In Hooper, Nielsen and Puleel

A deep, ultramarine blue, waves and a fish on a bleed page speak with power for the Whitehouse Boat Company. AD/ Designer/Artist was Bill Sanders for Bevel Associates. A Silver Medal winner.

A brilliant green hand flashes from the page, picked off a Silver Medal for Designer Rod Lambeth.

Artists were Lambeth and Barron Storey for Glenn Advertising's client, Balaban Radio Stations.

CA, May '60

Impasto plus printing in yellows, scarlets, browns, blacks-pile up, create impressive impact for the stationery of Gatteys-Evans Printing Inc. Stan Richards was AD/Designer and shared artist credits with his clients. A Silver Medal Award.

36

Left. Harold Quiram, head of The Studio, Inc. and CA 's contributing editor for Dallas did this two-color illustration promoting the Bali Hai Restaurant. AD, Jerry Moore; Agency, Don L. Baxter, Inc. CA, May '60

Above. fllustrator Carroll Collier explains, with exciting color and design, the 15 operating units of his client, Dresser Industries. CA shows three of 12 spot illustrations used in ads and brochures. Each represents a type Qj service the various Dresser units performfrom drilling rigs to nuclear research.

Left. A record sleeve, a Silver Medal Award.

Designer Rod Lambeth used black, ochre, white to swing with Artist Barron Storey's figure. Agency, McKown-Alexander- Wells, Inc. Below. Mary Ellen Kerr designed a booklet of great charm for The St. Michael School. Photographer, N. Bleeker Green, shows children learning, playing, resting.

E xcellent typography on white onionskin sheets alternate with photographic pages printed on white cover stock.

in engraving, Southwestern Engraving and Blanks are generally preferred for translating art to metal. Leading printers seem to be McCullers Press, Padgett Printing and Southwest Printing and Lithography.

Out of the shop, life is active and as anywhere else there are many ways of parting with the folding green.

Clothes, for example. Dallas is a well-dressed city.

The women, including the ones holding down art jobs, are extremely well-groomed due, doubtless, to the NeimanMarcus influence. Men's dress runs two ways, the Brooks Brothers contingent and the sport jacket and slacks group.

The sport shirt is out not in.

Dallas eats well - most popular with artists are Old Warsaw, Arthur's, Cattleman's, La Tunisia, Chateaubriand -all have good food, interesting decor.

Then there are the clubs (drinking/ luncheon/ country). Everyone belongs to at least one-some to five or more. Scotch is the preferred drink.

Most artists seem to own their own homes, give more than passing attention to their lawns. Like Portland, Oregon, lawns are a source of pride and almost everyone does a good job, spends a good amount of time on them.

Leisure activities? Numero uno is boating. Then comes hunting, fishing, golf, swimming. Dance clubs are popular, ((coffee houses" are becoming so. Theatre. There are sports car addicts. Except for the skier, there's something for everyone in Dallas.

CA asked, what's the basic appeal for working in Dallas. One answered, «damned if I know." More typical are these remarks, and they mirror the drive, the zest, the challenge the artist finds in actively participating in his profession: «the tremendous potential in all phases of commercial art," «a chance to build something big from an embryo," «Dallas is a growing town, and the art field is growing with it."

D

F'I

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Above. Dick Danne, AD/or Clarke, Dunagan & Huffhines, took the client's name, First Citizens Bank, as a starting point for his design elementa portrait medallion printed over a spectrum of warm colors. It's shown on the stationery here-also appears on matchcovers, billboards, ads, calendars, checks, etc. Faces of nine first citizens of Texas are used alternately in the medallions.

CA. May '60

37

ca.

COLOR

DUOTONES 10%

30%

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100

CA. May '60

50%

70%

One-color halftone

Duo tone

Normal black and white halftone

10%

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COLOR

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BLACK

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60%

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CA COLOR CHART COPYRIGHT 1960 BY THE JOURNAL OF COMMERCIAL ART

•

PRINTED

CA, May'60

100%

BY LITHOGRAPHY USING 150-LINE LEVY

SCREEN

The Contented Gordon Aymar went to Yale, attended The School of the Museum of Fine Arts in Boston, served with the U.S. Navy in the first world war, married, raised a family, spent 25 years as Art Director for both J. Walter Thompson and for Compton Advertising, Inc., then a few more years for his own firm of design and consultation. Was elected Art Director of the Year, president of the National Society of Art Directors, president of the New York Art Directors Club. Always he set aside Friday for his own purposes. Now he lives in Connecticut, is completely and deeply involved with his purpose. He is doing what he had always wanted to do-paint portraits. And, he says, "I'm content."

40

Carol Hardin Kimball, in watercolor, an "outgiving person, full of emotion and spirit.''

An oil of Raymond Rubicam of Y&R, who said to Aymar, "books mean everything to me."

Judy Erdmann of Connecticut, a watercolor. Aymar "invented the background to su ggest modern surroundings."

CA, May '60

ex-AD

BY GORDON AYMAR

Today I am devoting all my time to portraits, setting aside Fridays to paint whatever I choose. This, at the moment, is scenes of the waterfront and portraits of my large number of grandchildren.

Not long ago, I was asked to give a talk on my portraits at the opening of the beautiful new building of the Cincinnati Art Club. The question period opened with a man asking whether my commercial work had been a help or a hindrance. I replied without hesitation that it had been invaluable for two reasons. First, it had given me a suit of protective armor which is useful not only in the advertising business but, under certain conditions, in painting portraits as well. Secondly, and of far greater importance, it has made me insist on approaching each new commission as a creative challenge. We all know that in commercial work we have to take a banal and hackneyed problem and find a dozen new ways of doing it. That's the fun of it. In portrait painting I cannot bear to settle for those dark sepia backgrounds, the set expression, the hands on the knees and all the other cliches.

The means of making a portrait client go along with your latest idea differs in no way from the art director's performance in the conference room. It simply may be more gentle.

Some artists say they will have nothing to do with portrait painting, that the sitters require complete realism and they prefer to be au courant and paint abstractions.

As far as I'm concerned, there does not need to be a total cleavage between the real and the abstract. I am currently painting abstract paintings along with my realistic portraits. I am painting them for fun and as technical exercises. My real concern, however, is to think abstractly as I paint realistically. This means giving simultaneous attention to design, color harmony and representation.

I like to be able to study a sitter and discover whether his or her most attractive feature is coloring or sculptured form. From that point on it is stimulating to think in terms of the great artists of all time. How about doing a Caravaggio with strong light and shade. Or the broken color of a Van Gogh (I just had to modify the green shadow on one man's face, having thought in those terms.) Or a meticulous Memling with a characteristic background locale over the shoulder. I then immerse myself in the works of these great artists and pray to heaven that I will come up with something roughly approximating the direction in which the master was headed.

I once received a postcard from Florence from a charming Mother whose small daughter I had painted some time before. It read, uJohnny (the brother, 13) has just been to the Pitti Palace with me. As he entered the room full of Renaissance portraits he said, cHey Mom, these guys paint like Mr. Aymar.'" All right. First things first. I'll settle for that. Perhaps I was meant never to be a great painter. Perhaps I am just the art director who has lived on the skill and art of others all his life. I'm content.

41

Nell Carton, a watercolor, "the dress sparked this picture ... the chair was somewhat redesigned to fit.''

Shown are four of Mr. Aymar's portraits. He does three-quarters of his work in watercolor though it takes half again as long as oil.

He likes the results, especially when the subjects are children or ladies. Materials: finest quality imported cold-press paper already mounted on board; imported watercolors in pans, not tubes; brushes are the best camel's hair, numbered 1, 4, 8 and % inches flat for large areas. All colors are transparent colors. He makes copious pencil notes and a life-size color sketch of right or left half of face during the first sitting. Takes dozens of photographs himself to work from. Makes a comprehensive full-size sketch to determine how the picture (not likeness) will look.- Ed.

CA, May'60

EXHIBIT A monthly roundup of things current and choice. And, a request to you.

Yes, you with those proofs in your drawers. We'd like to see good work in the following categories: 1) small space ads, 2) dimensional pieces (point-ofpurchase, packaging, etc.), 3) fashion advertising (retail or national), 4) black-and white photography, 5) storyboards, 6) record sleeves. Now then. Your client may have been concerned with money. We're not. Even if it was one-color on butcher paper and it came on strong-send it! If you please.

42

fllustration from two masters of the line. Above. In a smallspace ad for Michigan Blue Cross and Blue Shield, David Stone Martin shows, with quick dramatic skill, the play of trust and kindness between a doctor and a small boy. Harry Diamond does one of his delightful, happy souls for the Detroit Bank and Trust.

Right. Cover for a 14-page book for the Henry J. Kaiser Co. Jack Galliano, of Kaiser Graphic Arts, was AD and Designer. The booklet tells the story of a steel mill to be built where bananas once grew. Printed in black and orange. Skillful use of duotone combinations gave the impression of three or more colors.

CA. May '60

This br ochure announced a Freeman Craw seminar on typography at the University of Utah. Designed by Craw , it's a handsome demonstration of his conviction that skillfu l use of counters can heighten design effectiveness. Stock is K romekote, printed in golden-ochre, pale-turquoise, black.

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43

In a small town the demands on the commercial artist are as varied as his clients. For example, Peter Wolf of Wolf and Sayre, Santa Barbara. He designed and did finished art for the Soilmoisture Equipment logo; one variation of it is above. Left. For a shop selling expensive women's apparel and its three exacting owners ("make it like Lord & Taylor, like Vogue, like, etc.''), Wolf experimented with various approaches, came up with the look at left. Does it with kitchen matches, ''an excellent tool for the fluid line, a line that has slight texture, too. The match can be razored to a point and act as a 'pen' for finer lines. Fluoro wash goes over the finished art to get automatic drop out. ''

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CA , May '60

Non-existent pockets. Invisible zipper. Lined elasticized waistband. 5 to 15. $14.95 . Lord & Taylor; Rich's; Kaufmann's; Marshall Field & Co.; Sakowitz; I. Magn in & Co.

44

CA, May '60

Left. Of ladies in floppy pants Ogden Nash, commented, ''You look divine as you advance, have you seen yourself retreating?'' Comments on ladies in Pantino's?! i The campaign is a deft, delightful blend of sex and high fashion. AD Joseph Nissen of -Altman-Stoller, Inc., says, "it was a natural, it was a delight; management was enthusiastic." Purpose of the four-color ads running in Vogue and The New

York Times was ''to create a memo'rable image for the manufacturer of women's pants-to emphasize exceptional fit and styling." Wingate Paine was the photographer.

Below. Joseph Magnin approaches the ladies differently in a seven-column-full ad that groups color, pattern, figures for startling impact.

45

CA, May '60

Exhibit

In the retail apparel store thrash of an ad, ads or ads-and-ads-and-ads running every day of the week, three stores stand out for exemplary excellence of advertising-Ohrbach 's, Neiman-Marcus and Joseph Magnin.

While Ohrbach's relies on photography, the other two use art. Betty Brader is responsible in this area for JM. Art Director is George Coutts.

Right. Three figures make the scene.

Brader-isms: the pale lips, the hair, the strong outline, the unusual figure placement. This one was black and white, seven columns full.

46

Below. Red was the second color, Lautrec the influence for this other era ad promoting a new color in lipstick and nail polish. Typography matched the mood of the art and copy. joseph

CA. May'60

''to be able to creep through the eye of a needle ... t,he eye of a human being, or through the eye of a dog, or through the eye of anything, in order to represent an object which is evidence of an intense experience,'' so speaks Octave Landuyt of his purpose in painting. He was born and still lives in Ghent, his paintings have won many awards. His "Sand Dollar" in rich umbers, siennas and sepias-subtle greens and purples has a jewel-like translucence. In black-and-white the artist's technical mastery is evident in his handling of intricate surface and texture. AD, Charles A. Walz, Jr. for Abbott Laboratories' fine publication What's New.

47

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CA, May '60

48

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CA, May '60

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49

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BARBARA CRESSMAN

CA, May '60

Exhibit

Two pages of work by Dave Macinnes, artist and designer fw Gateway Studios of Pittsburg. His Rorschachian fish, left, has an intriguing mouth-die cut, scored and pink-when the folder is opened the mouth opens to reveal the message.

Below left. An announcement for a supper dance. Deep purple ink lithographed on gray stock. Below. An advertisement where art and design meld closely to the copy. · Opposite top. A top-level approach to a hand-fed platen press. The ink disc and rollers were printed in orange.

Client was Edwin H. Stuart, Inc., Pittsburg trade compositors.

Top right. Macinnes printed this announcement for the Duo Decimo Society himself on a Vandercook proof press. Type, a wood cut, a copper engraving were printed in black, red and white on gray Ingres stock.

Opposite below. The Macinnes Christmas card has a small magenta bird, tall black trees. The stock is grey charcoal paper. Below right. Another announcement for the Duo Decimo Society. Type is orange, the cut is black, the stock is pale orange.

50

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CA, May '60

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CA , M ay '60

J e,.ee to111a I ,.,,. 1e 1e 171e1e I

'110., .... .,... .... t ., . . . ao.,

51

.9%e ~~ .9/l~ ~ .YdmineMJ?Wn

* * JU= JG.-'-' * &13anca _per13anch£er[ * * * * 1'T * * * * * *

BANKEN FOR BANKMENN OG FORRETNINGSMENN

~~,

F0:'' :"\ ''';; ~;.-::'-''':;

·,.,;, ,_;:;~~~·;;;

~;':{(';~·-:;,

4..9.r~ ~ ~ -;:ceo;::,, :. .7

·"''

I

:·:

ed 'Uomini 'Y'af{ari_,

LA BANQ.VE PotT.Jl BANqUIEI{S ET HoMMES D' AFFAII{ES ~ie ~an~ fii~ ~an~ie~~ un~ ~eic~iiftj(eute

r

I

De Ban~ "'ool" ~an~\el"s en L..a~en\\eden

~a:, A - \~

~

1.;>., ~

....~

.hfl:: r;-

~J<. ~ ~ .,. '- ~<. 9 J.~ 9 ~ '-' ~ ,.J,.,

'Ee <Banco para 13anqueros lJ <Hombres ~ ~~ocios

52

H TpATT~ZA ~lA TOY~ TpATT~ZITA~' KAI ~TTIX~IPHMATIA~

r

l

V 8tu1co paAa !BMttjue</104- e /IO'WteM4 de N~~

\3a»~ac•n•n '-'4Z ~~ Jlba~n•n•n \3an~as• Home and abroad_ The Irving serves as

.. the Bank for Bankers and Businessmen.. everywhere

IRVING TRUST COMPANY One Wall Street New York tj, N.Y. World-wide Banking Services for Business, Banks and Individuals Capital Funds over $140,000,000 Total Assets over $1 ,700,000,000 G EORGE A. MURPHY, Chairman of the Board

WILLIAM E. PETERSEN, President

MBMBBR FBOBR AL OI!POSIT INSURANCB CORPOR ATION

CA, May '60

Exhibit

Opposite. "The bankfor bankers and businessmen, '' Lettering artist M. M . Davidson spelled it out in 12 languages, did each in a style and character that reflected the flavor of the country. At the same time, he maintained contrast in lettering weight and slope. Agency, J. Walter Thompson.

AD, Andre Divet.

JET TO PARIS

......

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0

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...... ~

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0

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Left. A fresh type treatment for a stereotyped landmark. La Tour Eiffel.

The job went this way. Martin Stevens, AD on Air France for BBDO, asked for a comprehensive sketch. Lettering Artist M. M . Davidson produced it.

Photo Lettering Inc. followed the sketch closely. Their combined efforts produced a clean, bold black-and-white newspaper ad.

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DIRECT~CHICAGO

The111 lllisherellmq•neiChtCICOIOPat•s•n8hout"s and25 mltlutH ~ sw.tt ;.t flllht It's Aft France's new umc. on Bolq 707

tatllounleinP.ns. Andupenence1VotUi!A.rfranc:.plotshrtl flown wei oYif" 5 m~ll.on Jet peuen1., mML Dl LUJEI and Economy .ccommodahons on ewry fll&ht New jet arva d•r«t from Cha,o bet~~"~• on Apnl 24 DHy jats ncJ~W non stop,......, Yor11-P.r•~ For ,...,..,.honi SoMJ'OUI" Trll/'ltApnt or QN Air Frar'IC8: STN 26181

lntet"conhnentll JMs And il 's truly tnt. French and fabuloutl Dtcor,

aerv.ce, WIIIM~htnc'• 11 F~h as the [tflel tower itselt TtiM"e' s~ebWMiolwdthep&Methollrii'IW'ds)'OUotiii'Nftcodt

A IR~ FRANCE t:0[]11J

WO R LD 'S

FA STES T

JETLINER

/

WOR L D ' S

LAR G E S T

AIRLINE

C -I SCO

Below. Denis Kliene, British designer turned Californian, used a European poster feeling to promote, in blithe fashion, a typically California affairthe annual boat show. It is a wood block print and was used as a car card and as a billboard.

a

0

sports a boat show • c 4·

CA, May '60

53

Exhibit

Three trademarks designed by Irwin F . Rickel, Los Angeles. L eft. Symbol for his own .firm, black with a purple dot. Finished art, Peter Fleischner. Center. Trademark for the Transpacific Export Import Co., used on all business paper, some products. Above. "Sophistication and Scandinavia" was wanted in the trademark for Zacho, Scandinavian Imports. The stylized treatment of a Viking ship seems precisely right.

hal licker I 28-02 parsons boulevard I flus/ling 54 I long islandlne10 11ork

54

Two uncommonly good solutions to a common problem-letterheads. Both were designed by Tom Clemente, a New York, free-lance designer. Both have design relationship to the owners occupation, both were adapted for billheads. For a client involved in production, Clemente utilized the registration marks as an integrated design element. Stock is white, inks are black and pale brown. For himself, Clemente used thick, thin and dotted lines, white stock, black and red ink.

TOM CLEMENTE I 1& · 08 188th STREET I FLUSHINO 88 LONQ ISLAND NEW YORK / JA MAICA 8 · 1811

CA, May '60

the

BIG

scene

Need more room?

After Chicago, 10 cities will see the winners of the 28th Annual Outdoor Advertising Art Competition. The event, and a related symposium, were sponsored by the Art Directors Club of Chicago in the Sheraton Hotel in March.

From the 1000-plus entries, 18 judges awarded three medals and eight ((firsts". They are seen here. Greater selectivity was shown this year. Entries were more numerous and fewer prizes given than in previous years.

The exhibit, currently in the Prudential Building Gallery in Chicago, is scheduled to tour St. Louis, Boca Raton, Detroit, Minneapolis, San Antonio, Los Angeles, San Francisco, Seattle, Toronto and Philadelphia.

55

Get a Home Improvement Loan at

BANK OF

AMERICA

1st: Local

Artist : Dan Romano Art Director : Ed Hamilton Agency: Johnson & Lewis, Inc.

1st: B eer

Artist: Pagano Studios Art Director: Gene M. Kowall Agency : D'Arcy Advertising Co .

CA, May '60

Gold Medal Awar d

Artist: Ralph Cowan Art Director: Thomas Gorey Agency: Needham , Louis and Brorby, Inc.

''Abracadabra... '"

56

FORD Silver Medal Award (also 1st: Automobile)

Artists: The Art Group Art Director: Van Stith Agency: J. Walter Thompson Co.

Bronze Medal A ward

Artist: AI Murphy Art Director: Bernard Owett Agency : J. Walter Thompson Co .

CA, May '60

Remember

I Sugar WHERE DO CARS GET "TOTAL PROTECTION"?

57

From the land of sky blue 1st: Foods & Beverages, Embellished Painted Board

Artist: Max Yavno Art Director: Si Lam Agency: Doyle Dane Bernbach Inc.

1st: Gasoline & Oil

Artist: Clem Cykowski Art Director: Clark L. Robinson Agency: McCann-Marschalk

1st: P ainted Board

Artist: Carl Paulson Art Director: Pat Nolan Agency: Campbeii-Mithun, Inc.

Softness is Notthern Northern.

•

.,..

~ • I t "'

'

1st: B read , Flour, Baked Goods

Artists: Charles W. Bracken & Ralph Cowan Art Director : Paul E. Beem Agency: W. E. Long Co.

t\ • 1

1st: Miscellaneous

Artist: Frances Hook Art Director: Sam Fink Agency: Young & Rubicam, Inc.

CA , May '60

May 6, 1960

JEWISH EXPONENT

with suit prices Luria's does the dirty work MEN'S TERRilLY EXPENSIVE CLOTHING, CUT TILL IT HURTS Who's rocking the bo:~t? Us, we hope .

Anybody con buy cheap suits from discounters. Anybody con buy medium-price su its from discounters. But whot about expensive suits, ore they socred, or something? All right, Luria 's is doing the dirty work.

This involves you, you know. Are we simply big talkers? We hove put the facts in this ad you might like to study. Particularly if you ore now paying over $100 each for your suits. We soy every statement is true . Every comp:1rotive price is accurate ond provable. Of course, our tla ims deserve o little investigation around town on your port, too.

As for the moral Issue, you be the judge of thot. Is it fair for ony one store to toke expensive merchandise and offer it to the public at the very lowest prices the store can set them at and still stay in business?

Another thing is the humor of our ods: Humor is interesting. People will read it even if it is quite lengthy. And maybe you never thought of this, -but humor makes you concentrate to get the point. If we can just make people read our ods ond think about whot they're reading, we simply ho.,. to do a tremendous business.

Read on, please. We' ll leave it entirely up to you . ·

,,

men'• 1ulb SIZES: Regular 3~- 52; longs 3752; Extra Longs ~0- ~8; St>orts 35- ~~; St>ort-shorts 36~~ ; Stouts 39-52; and Short-Stouts 39~6 .

The extra si:r:es cost us o little more . 5I) that' s whv they cost

~~.....~~'!,::~, t:=;. kand toil·

ored turkish mohairs, fine WtH' · steds imported fobrk:s . Tr iple pock • t s, perspiration guards

hand ta ilored top and bottom o#

trousers.

$120 suits .................... $7t.tt Mohelr oftd wom..l ..,Its. Latest

Con ANYBODY sove money at

Lur ia 's? Yes, an ybody. W ide, narrow, low, h igh, round , long or what kind of shape : ore YOU in?

stvle1. Continental, sl im line

lapels. $95 suits

Toke o look at our suit price

....... $St.tt

lis t i ngs. R i ght there under " men's suits." Studv those sizes elox o second. Do you know of any Welh Oftd WHr polilhed cotton other men 's shop that con "how slax.

Block, Olive, Tan and An· you so many d ifferent sizes?

0 . . . .. $2.99 Dacron oftd Wool lite we ight slax. Finest creose· holdino pro. pens it les. $12 .95 slox $1.99 tropical• and Dacron and CoMIIM Febric slox to keep you cool ond content. wash 'n' wear suits Ivy or Continental styles.

Troplcah and oll · yeor - rnu..,d $ 10.95 slox $6.99 su its. $79 .50 su its c;,' 5.00 Wash o"d wear cord alex. All Troplcals. All shades, o., K or colors. Sizes 28·-42. light. lr ideKent finishes. Two, $~ . 95 slox .. .. . $J .49 three button continental . Notu· IMportool Prleotloy mol>air slox. rol shoulder.

Reoulors, Lonos and Shorts.

~~~h~~oy~~oc~ ~o~~~.~~~~~~h? ~1~fo'·slox

our

profit

$65 suits

is on

Standard tice for men's stores selling expensive suits is a profit margin of 50% or more. But we work on a 25% margin . You con easily tell how much we paid the manufacturer for any suit in our stock by dividing our price by four . The balance is what we actually paid out. Toke our suits of mohair .

These ore $120 or more in any store in America . We get $79.99. Divide our price by four and you get $20.00, our total profit. The rest, '59.99, is exactly how much we paid the manufacturer.

Other stores pay from $60 to $6'2 each, but by ordering i.n substantial quantities we con 9et them for $59.99 each .

If you multiply $59.99 by two, you get $120, the price these suits sell for in any store that carries them. Yes we break every rule in the book!

or.:.

~:•rr Mondayl~r.

llai. IO:OO A.M.

IOt:JOP .M.

...

$44.00

$39,99 suits

$29.99

Sizes 30 - ~6 . Block, Navy, Grey, Brown.

$25 .00 slox

Donon on4 cotton cord wash ard wear suits.

book

58

. ..

Woth o"d wear su its. All colors and sizes.

open

$30.00 suits

Only The Name Has Been Changed

i Colors:

.........

$5 .95 shirts Short ol••• collar sport Var iety of des;Qns, patterns.

Small, med;um, lortle. $~ . 9S shirts

$2.St or 2 for $J

Von H•uMn cotton short siHve sport shirts.

:!~:J~or.;.t.._ All cotton.

H .95 pajamas .

Gold. Block,

.

::.t~·ftr~bi. $~. ~~.. ISO~

. ... $J.tl to 13. A ll colri~oo hose $.St An hoftot.,.,..., ..._. heRA.,. chiefs. White only, 4 for $1

$2 .95 shirts ..... ...... $2.2t PriRco Iter, Olot Cootlt1l, De·

men'• underwear

to cnoose from . $22 .50 st>lrts ...... ... . $S.tt Cotollne Bonlon sport sh ir ts. $9,95 s~irts $S.tt IMported IRtlloh 2x2 Broadcloth.

loaor oherto. 2x2 Imparted FoMOotl ~Nftol ""'"' tnoRkl. broadcloth, jacquard weave, $3 .95 trunks $2.79 white-on-white and tone-on-tone. 1-porto4 ltelloR otretch Mils. ~:.:; ~tsotlllotlc 'ihiPts. $~·:; $2.50 .. .

7tc -avo . $1.95 shirts $1 .U Loothor laelto. hqu illtol>; de-

sig,..,. sport shirts. Vast variety

Short siHVI dress shirts.

~~n~~9;•r=• ....._ 1s~:i

:'J. 1~1~n '~.'~;or~:.e~:l",'~ ~i&,~· .!~:! ~~t ...... .. $!."

3 for $3 .00 shorts J for $2.J7 ~.c,/,-:"..!~a:ii.. · · J for $1 As.-r~Y·~~~ Lord 50% o!~:, W"oo"'~::r ........ ~~~. .c~":;•. ::.:: ~:::r=! ,.,,;. ....~·~ 50% Carton sport shirts. Regu$2 .95 shirts .. $1 .tt Feotllenroleht 65% Dacron, 50%

Th is is the notorious Ma in line milliona ire, Qu idlip R. S. Thrugger, Ill. He is stand ing on h is soap box thwack ing his palm, admon ish ing you to purchase your cloth ing ot Luria 's. The mon wonts you. We ore simply unable to get his eyes off you . It will do you good to move your head to one side, or jiggle the paper. So you m ight os well drive on over ond buy something from us .

Cotton, Short sleeve dress shirts.

lar pla ids . $6.95 shirts .

.... sa.n

:;'.

•

.

I

10TOAC~

CA. May '60

100<11, sanforiz.ed cotton. $~ . 95 shorts $1.19 C.tteft .... ,...... $3 .95 pann .... .

. .. ........ $4.99

DvftMer cettetl ,...., wat.h and

i'::% ~;: r~•r"iooijj lt...o. Pla ids. All oiz.os. ' ' ' 9~ robes

Ji'..:

... St.tt

'* a. hltltf 'lttmtf

WED., MAR. 18, 1959-P_, 1)3

with suit prices

dorman's does the dirty work

MEN'S TERRIBLY EXPENSIVE CLOTHING, CUT TILL IT HURTS Who's rocking the boat! U1, we hope.

Anybody can buy cheap auita from diocounters.

Anybody can buy medium-price suita from diacounten. But what about expeMive auita, are they aacred or aomethingT We don't know ot one other store in the U.S.A. that is selling $100 to $175 suita tor less than the full rerular price. Somebody bas to bust tho j.>~y~~~~ ~~a~~rk~at it ia. All right, Dorman'• This invoivea fOil, you know. Probably the ftrat

~~~n:;yy~~vt..~.~~:~:~:~~tta~~i~~ ~hr.~~

you might like to study. Particularly it you are now paying over $100 oac:h tor your auita. We aay every statement ia true. Every comparative price is accurate and provable. Ot course, our claims deserve a little inv11tigation aroun4 town on your part, too.

As tor the moral isaue, you be the judge ot that.

Is it fair tor one store to break the prices on luxury clothing and ret the whole market up in armaT Or put it a different way. Is it fair tor any store to take expensive merchandise and otter it to the public at tho very loweat prices the store can set them at and atiil atay in buaineasT Another thing is the humor in our ada. Because we don't take ourselves seriously, aome readers don't take ua seriously either. That is a calculated risk on our part. Humor is interesting. People will read it even it it Ia quite lengthy. And maybe you never thought ot this, but humor makes you concentrate to get the point. It's about that simple. It we can just make people read Gllr ads and think about what they're reading, we simply have to do a tremendous business.

Read on, please. We'll leave it entirely up to you.

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

59

On this page is the medal-winning ad Gene Holt~n and Phil Lansdale created for Dorman's. It ran in the Los Angeles Times on March 18th of last year.

C]f On the left is an ad that ran on May 6th of this year in a Philadelphia weekly, the Jewish Exponent. C]f CA agrees with the sub-head, ''Luria's does the dirty work." C]f Something stronger than words are needed to end this practice.

CA will explore the possibilities .

.,...

,..

Mml. t~nt.fri

/ rttMitol Ja t.ltol

''"""'"' /rflff41J 10 I

CA, May'60

./

Type

Directors Club annual awards show '60

.Jc ·-·--TtborP. his cxperirnental ·work in tashio1 dra\ ·ing and illu!-itration on \·i( \Y at UH S< ........................ of-.•XVisual Arts

A silver cartwheel if you can get through the next six pages without

1

thinking-at least once-

1

' 'wish I'd thought of that.''

This is a representative sampling of the sixth annual exhibit of the Type Directors Club. The judges, whose type tastes are as varied as their ties, eyed 2, 500 entries from the entire U.S. and Canada, selected 220 for hanging. On the juryLester Beall, Oscar Ogg, William Buckley, Otto Storch, Joseph Weiler.

The show has been on view this month at the Mead Library of Ideas in New York. It closes May 31.

Entries were judged on the basis of typographic excellence and inventive graphic expression, not press work or content. The classification

Designer: George Tscherny Art Director: George Tscherny Client;Agency: School of Visual Arts Typographer: The Composing Room

was broad, ''text/editorial and display.''

The Club's stated aim is ''to create an atmosphere of experimentation and visual leadership in the selection of materials for the show."

They have indeed succeeded.

CA, May '60

- - - - - - - - - - TYPOGRAPHY - - - - - - - PRODUCTION PLANNING - - - - INDIVIDUAL CLIENT PRESENTATIONS - - - - - - - - · LIMITED EDITIONS - - - - - - - - - · CALLIGRAPHY - - - - - CREATIVE TYPOGRAPHIC DESIGN - - - - - - - · AWARD CERTIFICATES - - - - · COMPLEX CAMERA MODIFICATION - - - - - - ARCHITECTURAL LETTERING - - - - - - - - DELUXE PERIODICALS -

COLOUR SEPARATION FOR SILK SCREEN ANNUAL REPORTS

THE CANADIAN SOCIETY OF GRAPHIC ARt EXHIBITION. & SALE OF PRINTS, NOV. .21 TO DEC. 10 PREVIEW FRIDAY NOV. 10-Z30iiL 1Q 736 BAY STREET THE ISAACS GALLERY

- - - - MEMORIAL & CORNERSTONE TABLETS - - - - - - - · QUANTITY PROOFING - - - - - - - - - · FILM TITLING -

COLOUR ACETATE PROOFS FOR COMPREHENSIVES TELEVISION GRAPHICS

- - - - - - · FOTOSETTER TYPOGRAPHY - - - - - · TYPOGRAPHIC CONSULTATION - - - - - - - - PROCESS LETTERING - - - - - - - SLIDE PRESENTATIONS - - - - - - - REPRODUCTION PROOFS - - - - - - - - · FOUNDRY LOCKUP - - - - COMPETENT TYPOGRAPHIC MARKUP - - - · METICULOUS MONOTYPE COMPOSITION - - - - · LETTERPRESS/OFFSET CONVERSION - - - RADIO DISPATCHED PICKUP & DELIVERY

62

- - - - · HEADLINERS OF CANADA LIMITED

COOPER & BEATTY, LJMITED type craftsmen 401 WELLINGTON WEST, TORONTO· EMPIRE 4-7272

Designer: Jim Donoahue Art Director: Allan R. Fleming Client/Agency: Cooper & Be~tty, ltd.

Typographer: Cooper & Beatty, Ltd.

CA, May '60

Designer: Jim Donoahue Art Director: Jim Donoahue Client;Agency: The lssacs Gallery Typographer: Cooper & Beatty, ltd.

Designer: Don Ervin Art Director: Don Ervin Client; Agency: Brooklyn Settlement House Typographer: Rapid Typographers

Designer: Alan Fletcher & Jack Hough Client/ Agency: Fortune Magazine Typographer: Fredrick W. Schmidt

63

Designer: Robert Flynn Art Director: Sol Immerman Client/ Agency: Washington Square Press, Inc. Typo~rapher: Empire Typographers, Inc. Designer: West Coast Designers Art Director: West Coast Designers Client/ Agency: Sam Wu Typographer: Monsen Typographers

CA. May '60

Designer: Herbert Levitt Art Director: Arnold Levine Client/ Agency: Esquire, Inc. Typographer: Haber Typographers

64

world championship golf

bob croaby hoat - comment.tor • under, 4 :30 ·5: 30 pm ( nrt) on nbc · t¥ beginning october 18, 1959

Designer: Maurice Mahler Art Director: Andrew Ross Client Agency: N. B. C. TV

Designer: Theo Dimson Art Director: Lee Ram pan Client/ Agency: Art Directors Club, Toronto Typographer: Cooper & Beatty, Ltd.

CA, May '60

DORIC ••••s•r J ••• ,,.u., .. ••••••••'~'•••

·--·-·---..-------w--...-.. _............._....--... __ _ ....-.r-ft'IIOea&ftl'r....... ...

------~---D ---A.-_._.... .,_ ... IIVIIAJr . . . . , .

-~......---

..........

~·

..._ ...... ~---

65

- - - ..... - . . - - . w ' I O - . -

Designer: Aaron Burns Art Director: Aaron Burns Client; Agency: The Composing Room Typographer: The Composing Room

CA, May '60

Designer: Cristos Gianakos Art Director: Cristos Gianakos Client;Agency: Cristos Gianakos Typographer: Rapid Typographers

'Xfrds Sc1ence 66

and the History behind Them

Designer: Walter lorraine Art Director: Walter lorraine Client/Agency: Houghton Mifflin Co. Typographer: Machine Composition Co.

Designer: J. Suplina & C. Gianakos Client/ Agency: Myron Jay Dorf Typographer: Rapid Typographers

CA, May '60

Designer: R. E. Brickner Art Director: R. E. Brickner Client; Agency : System Development Corp.

Typographer: Advertising Composition Co. Designer: Joseph L. Baum Art Director: Joseph L. Baum Client/ Agency: Joseph L. Baum Typographer: New England Typographic Service

Joseph L. &.urn

17 Haynes Street

Hartford 3 Connec.ttc~o~t

CHaoat7-15074

l'lrapl'tlc Art • O.slgn

67

ThtmUJ.J Edward FitzGerald («- June 4, 1959 («- 7 pounds 6 ounces

I

~-------------------------------------) Designer: Allan R. Fleming Art Director: Allan R. Fleming Client/ Agency: Tom Davenport Typographer: Cooper & Beatty, Inc.

Ahead. Rainy days.

Shudder. No fun.

Plastic raincoat ripped.

Designer: James Fitzgerald Art Director: James Fitzgerald Client/ Agency: Shirley Fitzgerald Typographer: James Fitzgerald, Creative Printing

No umbrella.

New toupee shrinks. Horrors !

Umbrella in box.

Delivered. Day saved!

Dandy umbrella.

Get it up.

Only problem.

Designer: Ed Gold Art Director: Ed Gold Client/ Agency: Family & Children's Society Typography: Baltimore Type Modern Linotype

Tricky. let's see.

CA, May '60

Desiener: John Bradford

Art Director: Fran Foley Client;AaeRCY: Marshall Aeld & Co. Typoerapher: Runkle-Thompson-Kovats

THIS SUMMER OF

1959

Roman architect.uie. No play has ever been written-even by

~)

poett born under quite different stan- which does not

Roman god• nand u symbob for human qualities andactivitietandtheirnamesareuaedbypeople entirely unaware of their origin. Apollo and the Muses, Venu• and Cupid represent IJII!· -....

cifw;thoughuandemotionsforthelasttwo

thou~~..ndyea.n .

Had 1 more time I could give you thousand• of other enmples for

and lraveltrJ in !his midw.JI melropolis wt11 see a display of

iu continuou• •urvival, but--u Voltaire ..Y•-"if you want to bore ther~eaderorlistener,tellhimeverything ."

Y.

IwouldlovetoMaralmkaboutthat, bw.IdowvJ.e,._

slilnJ tlult you. must C'OT!Lhnse. I bep to VtuP !tow tutd why you

evalUD.U tM tu~Ciml world and why you. put so much ~mpluuu on il.

Wltat now with tire BIBLE.> Isn't Wtt ~ofinlueu only

68

BookeW for Royalty

for tM pious,fo,. 1M beliewri' AnJ. I Am not a belieuu'

Jlqfdi!V-k>lll-[]

Z.

Seaway Sparklera

iJjunforoldpeopletobelieve, forthemoreorlets~e.nile .

YioTuSI.~

Of coune, you are much too " enlightened" and you think it

Y. (Ambip>W ~unl!)

A Flreoraoker Fair

Z.

&l.U.k>l-Tnld<

But you see I am thinking of the Bible-independent of any

A F..Uve F..Uval

pe:nonal religioUI creed-as the aecond fundamental of Western

0/lM.Aam.,.ll

Civilization for the lut two thOUJ&Dd yean. Th~ great ltories ana

Tile Gamut of

a-

the eternal figures of the Old and New Testament have provided

TuPn.A-YariMr themotif•forcountle.. paintingtandJCUlpturrs , poeuuand

MORE SIGHTS T O SEE !

dn.mu, ontoriot and ope:ru. Each of these art worU hu been

Tile Field'• Speotaoular

createdusomethingoriginalandnew,individual1yinterpreted

•emali1l110Untll.riACI18$3

andformedbytheceniu•oftheartin, bythe•tyleofbiJepocb, by ever changing con~pu . But all paraphnue the same content

worid-widctrn~Uraandwara pthcnd in ~

matter, drawn from the " Book."

tapAeu.thciDaltdietriminati:nca.lieftc:c, fctdlinctJ ifgplayedinthearanlflllaaner0

Don't you realiu that you cannot enjoy the great muter-

thowi!'lftda:r••wcd::at

work~ of the put if you fint have to •truc&le to fmd out their

factualmeaning ?WhowuNoeh,Jonah, Job;whatdidPilate,

Herod , l..azal'UI do? Why the I&Crifa of Isaac, what happwed to

Desiper: Student Staff

Art Director: Philip Grushkin Client/Agency: Cooper Union Art School Typographer: Clark & Way, Inc.

Desiener: Jim Donoahue in the-heart of Metropolitan 7bronto Nohliltleudbu.tle forTbomellfePvttl"eellideatt.JUit.,_,. udeontAntmmt-becaulet1MyanonJ7minut.et.J10ttnft'le.. ttan.dboun.,awt.)' fromwork.Tbilweekendtw'll...t,oortb oft.bet...ld•hridp. S..aftae~tloatruqull,

tne-bordtnd and nlltJ .Wna ia the euet emu. ol Matro, ftltenmiaut. toara)'W'*--Reftt.alllllormaUoa.ontM IIW.

CA. M ay '60

Art Director: Allan R. Aemine Client;Apncy: Thorncliffe Park Typoerapher: Cooper & Beatty, Ltd.

A limited quantity of specimen brochures are available. To obtain a copy, request it on your firm letterhead.

•

IjEXICRAFT TYPOGRAPHERS CO. INC., DEPT. 1E, 111 EIGHTH AVENUE, NE'V YORK 11, N.Y .

0

z

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MATERIALS CA 's work-tested review of both new and existing materials available to the artist.

CA COLOR GUIDE CHARTS New format, subscriptions, and single sets.

sets printed since the January 1960 issue and are mailed out immediately.

After that, two sets will be sent every other month.

Single sets: a number of CA dealers subscribe to the charts so you may select single sets without having to subscribe to all of them.

CA's comments ...

SEALAMIN Myla'r laminating film

At the request of many of you who specialize in 2-color literature, we are adopting the format shown on pages 38 and 39 from now on in order to provide larger swatches and additional combinations of screen percentages.

Subscriptions: the original 3-color format will continue to be available from CA on a subscription basis through 12 issues. Each set consists of the screen combinations of two colors and black, printed on four pages of 100# vellum and 100# coated stock. A demonstration of their combinations and duotoned photographs are included, and all sheets are 3-hole punched. The subscription rate is $9 per year for one set of 12 issues, $12 for 2, $18 for 5, $30 for 10, and $50 for 20 sets. Subscriptions include all

Seal, Inc., makers of dry mounting and laminating presses, have developed a thin transparent, laminating film that can be applied to both sides of almost any type of paper or photograph. If you have one of their presses or access to one, it only takes 15 seconds to do the job, and costs approximately 10c for both sides of an 8Yzx11 sheet. An 11Vs" x 200' roll sells for $13.65 and the 20" x 200' roll for $24.75. Available from your dealer or from Seal, Inc., Shelton, Conn. Their dry-mounting presses come in five sizes handling work from 8x10 up to 26x32 and sell for $61.95 to $359.95.

Complete information and literature can be had by writing to the above address.

CA's comments ...

HOW TO SERVICE, REPAIR, INSTALL PENCIL SHARPENERS Instruction folder CA's comments ...

A four-page folder prepared by Dixon with an illustrated chart showing the symptoms, causes and remedies for sharpener troubles. Also includes instructions for installing cutters and the proper way to sharpen a pencil.

For a free copy, write to Dept. 149, The Joseph Dixon Crucible Company, Jersey City 3, New Jersey.

ORISSA PALETTE HOLDER CA's comments ...

Two metal clamps attach to easel or tripod legs. Adjustable rods support various-sized palettes or boards allowing freedom for hands. $2.95 at dealers or from Orissa, 445 Collingwood St., San Francisco 14, Calif.

If you investigated the Job-N- Velope system reviewed in the April issue, please follow their instructions, not mine. The comment about removing the ticket while working on the J·ob defeats the idea of keeping it where it should be-with the job.

70

Swan Precision Drafting Machine Fast precision alignment . .. for layouts, camps, mechanicals, ruling, perspective, scaling, checking, measuring, Trian~les, T-squares and rulers are replaced by an adjustable protractor with an 18" horizontal scale and a 12" vertical scale ... The Swan machine is easily attached to any board and is balanced at any slope of the board.

I was one-and-twenty

"For art and engineering needs See rnm marty, inc. today!

For drafting aids, consult these folks Who know their business through!"

And I have followed his advice, And oh, 'tis true, 'tis true!

... at a price artists can afford. $39.95 complete with scales.

A. E. Housman on Good Advice

Developed in Sweden and available for the first time from . ..

SAM 25 EAST 28TH STREET •

IVII\n

FLAX

NEW YORK 16, NEW YORK

CA, May '60

marty, inc.

2507 W. Seventh St./Los Angeles 57, Cal if./ DU 8-9386

Leslie

P11rm1-Vop

THE TIME

AND THE PLACE

ADRAWING BOARD

lurfarciiHDg She1it

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

THAT WITHSTANDS A Chicago-The Society of Typographic Arts33rd Annual Printing Design Exhibition, May 21- June 30 at The Art Institute of Chicago, Gallery 11.

Cincinnati-International Biennial of Prints at Cincinnati Art Museum through May 22. 425 prints by 202 artists from 28 countries, ranging from Picasso to lesser-knowns.

Watercolors, grease or litho pencil, even inks wash right off. The sheet won't buckle blister or peel ... it's waterproof!

Los Angeles-Exhibition of Advertising in 19th Century America-69 illustrated posters with delightful and informative captions. May 31 at Los Angeles County Museum, Exposition Park.

Circulated by the Smithsonian Institute.

TIMA (Technical Illustrators Management Association) Exhibition, California Museum of Science and Industry, 700 State Drive, Exposition Park. Through June 19.

AD Club and L.A. Society of Illustrators co-sponsor the AD's annual "auction thing," May 27, Fox Hills Country Club, 5800 W. Clauson Avenue. Admission $1. Feature of the evening-the sale of several hundred "masterpieces" of painting and sculpture created and donated by club members.

Montreal-AD Club's Annual Exhibition opens June 2 at Montreal Museum of Fine Arts.

New York-Type Directors Club Annual Awards Show, during May, Mead Library of Ideas, 230 Park Avenue.

10-5 daily. (see pages 60-66) Philadelphia-AD Club's closing for Annual Show entries is May-limited to 75-mile radius of Philadelphia. Write Donald Davis, Graphic Arts Buyer, 1025 Race Street, Philadelphia.

Blade cuts eventually "heal" themselves shut, leaving a smooth working surface. Will outlast dozens of sheets of what you now use, making it a bargain as well as a convenience.

If your dealer doesn't carry it yet, order direct. Nothing else like it on the market.

36"x48"- $12.50: 24"x36"- $7.25: 21 "x26" - $6.25 Money-back guarantee.

JACKSON DRIVE, WAYNESVILLE, N.C.

WE STOCK ALl MAJOR BRANDS OF QUALITY ART MATERIALS

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

NEW DELUXE

ARTIST PORTFOLIOS

'A completely exclusive idea in distinctiveness by Allied, foremost manufacturer of quality artist's portfolios and cases. These portfolios are truly deluxe in appearance.

Made of vinatex and reinforced with duPont neoprene.

Stands self·supported by rigid 3" width. Fully lined, ' heavy duty center meeting zippers and pocket in lid.

style# inside dimensions price

AG1 AG2 AG3 .AG4

14 X 18 17 X 22 20 X 26 23 X 31

$15.00 available in 21.00 charcoal grey 27.00 or 30.00 redwood brown

If not available at your art dealer, send money order or check for immediate delivery.

Write for free catalog.

ALLIED BRIEF CASE co., INC. 186 FIFTH AVE ., NEW YORK 10, N.Y. •

Dept. CA-5

San Francisco-June 1 is closing date for entries for 8th Annual Western States Print Competition, sponsored by the Professional Photographers of California, Inc. Write to Natalie Rokusek, PPC, 609 Sutter Street, San Francisco 2.

Seattle-AD Society's 11th Annual Exhibition of Advertising and Editorial Art at Museum of History and Industry, through June 30.

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

Please send payment with order.

Leslie Pre»cluc:ts Ce».

314-320 SALEM AVE. DAYTON 6, OHIO CRESTVIEW 7-9389

I CA. May '60

Just found in the back room. Numerous copies of the 1958 San Francisco Art Directors' Annual. A collector's item indeed . 96 pages of good things done in this good city . Write . It's yours for a dollar or not less than 95c.

Send cash/check to Artists and Art Directors Club of San Francisco, 609 Sutter, San Francisco 2, California .

71

ON THE BOARD Report on NY communications conference

Hastings House will publish it all in the fall. Meanwhile, know ye, the conference showed and said much that was significant.

Frank Baker, conference .director and senior AD for McCann-Erickson, Inc., summed it up this way: ((the differences in people are not as important as their samenesses."

Dr. Margaret Mead, noted anthropologist, presented a documentary film showing a family from France, India, Japan, Canada. Her words are worthy of attention. ((There is a need to break down the all or nothing picture of an (enemy' ... If we can develop some way of remembering simultaneously that the members of another society love babies, love their husbands, love nature and want peace ... and at the same time, that their governments are pursuing policies that, unless they are checked by our government, may bring a holocaust on the world-that, it seems to me, is one of the most important tasks facing us."

Broad purpose of this, the Fifth Visual Communications Conference, was to explore the international aspects* of visual communication. *see Gebrausgraphik, April, pp 21-23

Tokyo world design conference

72

Designers, architects and industrial designers from more than 30 countries converged on Tokyo May 11 for the six-day World Design Conference titled ((Our Century: The Total Image."

The U.S. had the largest delegation including Charles Eames, Herbert Bayer, Saul Bass, Lou Dorfsman, Gyorgy Kepes, Herbert Pinzke, C\nd CA's Chicago editor, Susan Karstrom Keig.

Sponsors for the event were the International Designers Association of Japan, Japanese commerce and industry.

A five-million yen gift from the Japanese government in January also helped support the project.

Basic aim of the conference: ((improve knowledge regarding the creative forces which affect design on a world-wide basis."

An important adjunct to the conference will be the Panel Exhibition in a Tokyo museum. Designers from around the world contributed layouts and materials to be mounted on two 35x35-inch panels. One panel to be devoted to the designer's work, the second to his own images, i.e., ((sketches or projects that envision his idea of future images of the coming world." After showing in Tokyo the panels will be exhibited in the major cities of Japan as part of their International Design Year.

in his size and the color of his choice. Using the automobile as an analogy, Froehlich defined the contest words as follows: Commercial Art (Body)- Anything made by an artist for a specific purpose for which he receives financial gain.

Creative Director (Ignition)- Liaison of art, copy and client, who sets the campaign approach; usually not an artist.

Designer (Gasoline) - Specialist in esthetic visual means of communicating with the consumer.

Art Director (Motor) - Administrator and co-ordinator of artists artwork; can also be a designer. Is usually an artist himself.

Artist (Pistons)- One who is skilled in one or more areas of commercial art. (Paste-up, retouching, lettering, isometrics, charts, maps, illustration, layout, and comprehensives) Graphics (Wheels) - Phase of reproducing art into an applicable form to reach a desired audience.

The Wisconsin wit, Mr. Allman, offered these: Commercial Art- What the client settles for Creative Director- Shill ·for a lying-in hospital Designer- Amorous Model Art Director- Shill for a tattoo parlor Artist- Underprivileged Michaelangelo Graphics- Gesticulatory raconteurs How to package potatoes

The problem posed by Crowell Carton was a carton design for a pound of instant mashed potatoes. The winner is shown below- a three-color (sienna, bright blue, black) design that won first place and $100 for its creator, William Bern, 21, a junior at Wayne State University in Detroit.

Sponsors of the contest, Crowell, a division of the St. Regis Paper Co., opened the first annual contest to art students in Michigan universities and colleges. A total of 13 prizes were awarded.

Winners/??Meaning?? Contest/Part I

Lawrence Froehlich, artist from Maywood, New Jersey, wins first prize in theCA define-6-words contest announced in March. Harry C. Allman, artist from Medford, Wisconsin, takes honors for the waggish category.

First prize was a year's subscription to CA, a Webster's Collegiate Dictionary and a suitable-for-framing ((I am a Bright One" certificate. To the wag will go a wig CA, May '60

Contributing editor for Canada

Emile Pirro, partner in the advertising design firm Paul Henry/ Emile Pirro of Montreal, begins this month to serve as CA's contributing editor for Canada. Toronto, Montreal and Vancouver will soon be seen and heard.

Mr. Pirro knows the maple leaf scene, has sixteen years experience in graphics.