may1961

IMPERIAL

\t.$,•.~'

HIRAM WALKER

a~~ ltliO(OAIIOBOTTUO BYHIRA III WAUI.ERISOIIS. 111C '£OitiA, ILUHOIS - SANfRAH CISCO, CALJf

FROM

CONTINUOUS

PRODUCED

TONE

ORIGINALS

BY THE WEBER PROCESS

from

ZAPF Here are two of the most recent faces from the deft, discerning hand of Europe's leading type designer, Hermann Zapf: distinctive but without any precocity, quietly authoritative.

Optima Melior Zapf's latest letter: an exquisitely simple, strong yet sensitive sans-serif, with fine harmony and a subtle balance between thick and thin strokes.

Unusually versatile, with great individuality and strength in stroke and serif; suitable for fine reproduction in all printing methods.

*

Optima regular, 8 to 48 point

ABCDEFGHi j klmnop q r Melior regular, 6 to 60 point

UVWXYZABcdefghijklm Italic, 8 to 48 point

Italic, 6 to 60 point

*

ABCDEFGHijklmnopqrst

STUVWXYzabcdefghij

KLMNOPQrstuvwxyza

NOPQRSTUvwxyz12345 Semi-bold, 8 to 48 point

Semi-bold, 6 to 60 point

Please write for specimen sheets of these outstanding new typefaces.

BCDEFGHI)Kimnopqrstu Bold condensed, 12 small to 60 point

ll\AMSTERDAM CONTINENTAL TYPES & GRAPHIC EQUIPMENT, INC. ~268 Park Avenue South, New York 10, N.Y. · SPring 7-4980 CA, May '61

HE WANTS ROMAN HE · WANTS GOTHIC Why argue? Everybody wins with SPEEDBALL. Five styles and 36 points . . . 4 Steel Brushes . : . give you the widest choice of lettering combinations or finished drawings with a flair. For professional work specify SPEEDBALL .

I·. . : : "SPEEDBALt'

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PENS

_____.

BRUSHES

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..,~···-.....

FLICKERS

TEXT BOOK

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INKS

C. HOWARD HUNT Pen Co., Camden 1, N.J. 5

NEW ... FAST FLOWING.

GAMMA WHITE Whatever the job ...

• for brush, air brush, artists' pen or ruling pen • for retouching, silhouetting and ruling lines • for sharpening lettering and cleaning-up artwork • for poster lettering and design work • for making tints where chinese white is used • for every place where chinese white is used

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

Tubes ... 3_4" x 31,1s'' ... 35¢ Jars ... 1 oz. (by volume) ... 40¢ Jars ... 4 oz. (by volume) ... $1.25 Jars ... 8 oz. (by volume) ... $2.00

CA, May '61

Some two-color jobs can be more effective by not using black as one of the colors . A green and red combination offers interesting possibilities. Being complementary colors, an overprinting of the two solids produces the near-black demonstrated in the sample at right. Your printer could legitimately flip if you asked him to register text in this black. However, bold heads, color areas or text over a color block are practical. Printing on colored stock should offer even more dramatic possibilities.

At least, this chart could be handy at Christmas.

20o/o

20%

CA COL.OR CHA,RT COPYRIGHT 1961 BY THE JOURNAL. OF COMMERCIAL. ART

•

PRINTED BY L-ITHOGRAPHY USING 150-L.INE L.EVY SCREEN

PHOTOGRAPH BY ART HUPY

CA, May '61

A Short Interview with

Ben Franklin, Printer.

Mr. Franklin, how do you look upon your work as printer in Philadelphia?

of ATA work?

B. FRANKLIN: He that has a trade has an Office of Profit and Honour.

B. FRANKLIN: Well, what's well done is twice done and 'tis a well-spent penny that saves a groat.

Do you feel you worked pretty hard

INTERVIEWER: Have you an opinion on the Adver-

INTERVIEWER:

INTERVIEWER:

at printing?

B. FRANKLIN: Drive thy business or it will drive thee, I always say. Or, you might put it, keep thy shop and thy shop will keep thee.

INTERVIEWER: How do you account for people still buying bad typography when there's a good ATA shop in almost every city?

B. FRANKLIN: Where sense is wanting, everything is

wanting.

INTERVIEWER: After people have been burned once

with bad jobs, they do go ATA. B. FRANKLIN: Experience keeps a dear school, yet

Fools will/earn in no other. Or, Being ignorant is not so much a Shame, as being unwilling to learn. And certainly in the printing trade particularly, promises may get thee friends but non-performance will turn them into thy enemies. My ATA friends keep their printing promises.

INTERVIEWER: What do you consider the true economy

tising Typographers Association of America, Inc., or more familiarly, the ATA? B. FRANKLIN: I hope to smoke a pig if I haven't!

Masters, all of them. Master craftsmen. And as my buddy, Poor Richard, put it, "The eye of a Master will do more work than his Hand."

INTERVIEWER: You started the Saturday Evening Post?

B. FRANKLIN: That's what they say. If I'd a been a little smarter and had more time, I'd a started the ATA, too, back in 1729. A good typographic association would have been right down my alley.

INTERVIEWER: One final question. Have you any inspirational message for our ATA members?

B. FRANKLIN: Here's one I just thought up, "Resolve to perform what you ought. Perform without jail what you resolv.e." Pretty neat, ehP INTERVIEWER: Thank you, Ben Franklin!

It pays to set type right

ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, Inc. CA, May '61

MAY WE SUGGEST a call to the nearest member of the Advertising Typographers Association of America EXECUTIVE OFFICES: 461 Eighth Avenue New York 1, N.Y. AKRON , OHIO The Akron Typesetting Co. ATLANTA, GEORGIA Higgins·McArthur Company BALTIMORE, MARYLAND The Maran Printing Co. BOSTO~ MASSACHUSETTS The Berkeley Press Machine Composition Co. H. G. McMennamin CHICAGO , ILLINOIS J. M. Bundscho, Inc. The Faithorn Corp.

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

9

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

Linocraft Typographers, Inc. Master Typo Company, Inc. Chris Olsen Typography, Inc. Frederic Nelson Ph illips, Inc. Philmac Typographers, Inc. Royal Typographers, Inc. Frederick W. Schmidt, Inc. Harry Silverstein Inc. Supreme Ad Service, Inc. Tri ·Arts Press, Inc. Typographic Craftsmen, Inc. The Typographic Service Co. Kurt H. Volk, Inc.

This Is the thistle, the famous tr.ademark, that stamps all Strathmore Illustration Boards. If this were a sheet of , Strathmore Illustration Board, you would achieve,the best possible results for reproduction purposes from artwork on it employing the following art media: e Air Brush, Brush & Wash, Charcoal, Charcoal & ~ash, Dry Brush, Line & Wash, Pastel, Tempera, Water Color( on the Regular Surface) and Pen & Ink (on the High Surface). e Faced with too; Cotton-Fiber papers, both sides of Strathmore Illustration .Board can be used and will stand much working over witho.ut loss of surface. e The same thistle trademark also guarantees the high quality of Strathmore Dra'l(ing Papers and Boards in Medium and High Surfaces from single sheet to five ply. Write for free Sample BOok, show-

PHILADELPHIA, PENNSYLVANIA Walter T. Armstrong, Inc. Alfred J. Jordan, Inc. Progressive Composition Company Typographic Service, Inc. PITTSBURGH, PENNSYLVANIA Davis & Warde, Inc. PORTLAND, OREGON Paul 0. Giesey, Adcrafters, Inc. ROCHESTER, NEW YORK Rochester Monotype Composition Company

, ing the full line of Strathmore Artist Papers and Boards: Strath· more Paper Company, 10 Front Street, West Springfi~ld, Mass.

SAN FRANCISCO, CALIFORNIA Griffin Brothers, Inc. ST. LOUIS, MISSOURI Warwick Typographers, Inc. TORONTO, CANADA Cooper & Beatty, Limited

CA. May '61

INTEGRATE YOURSE LVES INTO THE WH 0L

A successful Artist warns his fellows that they must put more thinking into their work. "Thinking" is then defined:

10

They must become more versatile, more flexible.

They must learn to integrate their fi~ished work more accurately to the Total Destred Result.

Otherwise they will never survive the Changing Trends.

RIGHT! This is the illustrator's main concern. It's what he discusses. It's the reason he forms societies.

It's the reason for the senseless questions that he asks Guest Speakers.

He wants to know how he can become more innocuous so he'll be able to slip unnoticed into the Ad ArrangerArt Director's meaningless Whole. He wants to know how • he can become even smaller, even more flexible, so he can squeeze under his ever-shrinking masters.

E I

Maybe the illustrator can remember when artists had enough confidence in their own intelligence, insight, talent and ability to accept the responsibility to stir, to communicate, to impress. Perhaps this will give the illustrator strength to raise his flexible body erect for just a second and take a look at the real dimensions of the ArrangerDirector he continually begs advice from. From the illustrator's position even this tiny creature must look. gigantic.

The illustrator has a choice. With ability he can stay erect and become his director's director, or he can become smaller and more flexible, hoping that he will be capable of working under even the tiniest designers. He chooses the latter.

But it doesn't work. Some of his potential masters are built so low to the ground that there's barely room to squeeze even a thin photograph under them safely. They extend themselves to their full height of IA", look down at the illustrator, and squeal, ((We use only photographs. We are just eyes and a mouth. No brains. No guts. Nothing else. We understand nothing. There is no how or what or why, no substance, no comprehension. There are only specks of light hitting our big bug eyes. The camera is perfect automation. A big glass lens in front, a two-dimensional light-sensitive surface in back. A perfect, perfect vacuum in between. How perfect! Science has duplicated our heads!"

CA, May '61

by Marvin Rubin

So the illustrator crawls away respectfully, silently, and flattens himself before the visual-graphic-art-consultant-coordinator-designer-director, who in the manner of a dung-beetle continually covers himself with fresh new titles to disguise his size and identity. He proclaims that he brings simplicity and clarity and order to the world. He starts with nothing and then he simplifies. He gathers up art and bright-colored junk, mutilates it, and leaves neat little trails behind him.

in the filing cabinet comes the illustrator's reverent, squeaky little ((Amen.")

The illustrator, in awe, slithers into the graphic file.

Waiting to be called, he rests patiently among the circles, squares, triangles, hexagons, decahedrons, ink blobs, dots, fists, type sorts, engravings, colored bits of opaque paper, colored bits of transparent paper, rough lines, fine lines, children's drawings, suns, stars, stripes, fingerprints, footprints, lip prints, phrenologist charts; photos and proofs of leaves, bugs, straw, string, pendulum paths, textures, halftone screens, distorted photos, x-ray photos, grainy photos, reprolith photos, photograms and other junk. There is even room in there for some Art, if it's thin enough.

Art goes through the same mutilating machine he uses for type. He cuts it into the simple-minded circles and triangles that are within his ability to make patterns of.

And the Arranger thinks it's all his own because he owns the filing cabinet. His owner gives him money to run down to the corner and buy some art, he pockets half of it and thinks that art is his employee.

He squeezes, punches, mutilates, disfigures and fogs everything he touches.

He caused to be built machines to mutilate the work of the type-designers, so it would fit his senseless patterns.

He arranges meaningless junk and says that he's designed an advertisement. He piles his junk up in three dimensions and calls himself Industrial Designer. He has it blown up fifty times and calls himself Architect. He blows it up a thousand times and calls himself City Planner. He jiggles it and calls himself Cinematographer. (From deep

The Arranger is a frustrated creator whose position, knowledge, and ability allow him the creativity of a carpetweaver. The world's knowledge and man's goals are meaningless to him. Nothing is important if it can't be translated into wallpaper. Books are lines of type. A pine tree and a slice of pie are triangles. The sun and a thumbtack are circles. A man is a hatrack.

When he talks about illustration, he means textures and shapes and weights. Never thoughts. Everything must be subordinate to the meaningless Whole. Even a thought the size of a pinhead might make a lump in his thin, smooth wallpaper.

Instead of stirring ideas, he gives us textures. Instead of beautiful thoughts, triangles. Instead of emotional communications, photos of things and models with burlesque emotion on 20 yards of cardboard. Instead of ideas, puns.

But even this tiny creature looks gigantic in relation to the illustrators groveling beneath him, waiting for his life or death decision-whether there is room in the senseless pattern for them. They could stand up and let him keep his wallpaper, or else give him something meaningful to arrange. That might help him develop appreciation and respect for the material he's paid to move around.

At one time artists must have had confidence and ability. Now they wait patiently to be dug up and displayed, imprisoned under an imaginary lava flow from Mt. Aspen.

1,000 illustrators, quivering, immobile, buried under an ant turd.

CA, May '61

###

11

LETTERS TO THE EDITOR Budgets t hat whisper

Dear CA: As one of the fortunate ones who discovered CA in time to accumulate one each, I regret that I have not previously found time to express my sincere appreciation of this magazine. May you long continue to explore the many avenues of help and counsel that we readers receive from you.

As one who is far removed from the usual channels, it is particularly useful to me. Here in the hinterlands are businesses and enterprises who need us; with budgets that whisper only oh, so softly, yet they would enunciate clearly. CA is not, to me, a collection of examples (even superlative ones!) to ape, but a positive stimulation to one's own vocabulary of ideas.

My warmest personal good wishes for continued success to CA and its staff.

Harry Johnson Designer George Fisher, Printing & Lithography George Fisher, Printing and Lithography Roseville, California

12

Benefits

it happens easier on Crescent!

See your Crescent Quality Dealer for ILLUSTRATION BOARD • BRISTOL BOARD • T.V. BOARD • COLORED DRAWING BOARD•WATER COLOR BOARD • MAT BOARD

CRESCENT CARDBOARD COMPANY 1240 N. Homan Ave./Chicago 51, Ill

Gentlemen: Since subscribing to CA I have been reading with much interest your articles that describe the growth of commercial art in the less commercial art-minded cities (Jan. 49-52 ), and the salaries being paid for services rendered.

Last year I made a decision to leave a Los Angeles art agency in order to work in Arizona where the field seems to be "wide open" for illustrators, like myself, who wish to gain knowledge of printing procedures.

After seeing some very hard-to-reproduce drawings sent to our company by outside art agencies, I can, at last, recognize that a good printing background can benefit the illustrator ... and his client!

Thank you for a reliable guide to better art.

Earl Carpenter Quality Printing Co. Phoenix, Arizona Co lor ch a rts

Gentlemen: I have a suggestion that I think would make your magazine even more enjoyable and useful. It is : to print the CA, May '61

number of the month that appears on the binding edge in the color of the CA color chart that is contained inside.

This seemingly easy-to-make change would greatly increase the magazine's reference value.

Thomas A. Siebers Robert Dunker Studio Milwaukee, Wisconsin

We've considered this but it isn't that easy. Cover colors are usually decided by the designer. Since we may have used that particular color before or need a specific one for editorial use on the same signature as the charts, we'll have to continue as we have.-ed.

Gentlemen: In your Sept. '59 issue, page 29, you ran a western scene illustrating triple tones and duotones and showing uses of percentages of color in your article titled "Windows for Lithography."

I was very surprised to see what I must consider a "direct steal" of your artwork in a local high quality glossy magazine here in New Jersey. I am enclosing the ad. I realize art may have been purchased from you or arrangements made. I realize they have made very slight changes and perhaps this covers them legally if this is a case of "stolen art idea."

At any rate I felt it necessary to call this to your attention should any unethical practices be involved.

Sincerely, Donald Bender Needham & Grohmann Inc. New York City

Whoever did the "direct steal" could have saved himself a great deal of work if he had requested permission to use it. We would have been glad to have made the negatives available.-ed.

HELP WANTED Graphic Designer1Illustrator. Opportunity to get in on ground floor of rapidly . growing Long Island company creating P.O.P. Displays, Visual Aids, Sales Presentations for all types of accounts. Job requires good comps and finished art using exciting variations of techniques . .

Unlimited possibilities for an ambitious artist!

Send complete resume and salary requirements.

Box CA 351 Art Director. Medium size Center City ad agency offers excellent opportunity to AD strong in creativity plus complete knowledge of type and production. Send resume and salary requirements. Nathan Berman, AD Placement Service, 1604 Chestnut Street, Philadelphia 3, Pa.

Thoroughly Wet Hi-Art Illustration Board See how L-0- N-G it takes to dry out Hi-Art stays wet much longer .. . thus it has a deeper working surface

HI-ART is the BEST Illustration Board made today .....

NATIONAL CARD MAT and BOARD CO. 4318 CARROLL AVENUE 11422 S. BROADWAY

• •

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CARD & PAPER WORKS, Ltd. • PETERBOROUGH, ONT.

13 •

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DRY TRANSFER LETTERING

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

No trace of adhesive to sully artwork. Needs no equipment.

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

ARTHUR BROWN & BRO., INC. l

CA, May '61

WEST 46th STREET

NEW YORK 36 . N Y

14

CA, Ma11 '61

15

CA, May '61

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

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

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

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

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

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

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

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

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

ELIGIBILITY SEND ENTRIES TO

Any piece produced or published after July 1, 1960.

16

ACKNOWLEDGEMENT OF RECEIPT OF ENTRY If you wish an acknowledgement of the receipt of your entry, enclose a self-addressed, stamped envelope or postcard. Your entry will be acknowledged immediately, noting the date your entry was received.

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

CA-61 809 San Antonio Road Palo Alto, California Wrap all entries carefully and insure them if you feel it is required. CA cannot be responsible for the condition of any material submitted. There is no time advantage to be gained

by Special Delivery.

Some mailing suggestions are included in ''On the Board'' (page 58). Six copies of Form B are on page 18.

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

DEADLINE FOR ENTRIES IS JULY 21

PLEASE TYPE OR PRINT

This form must be fil led ou t (please type or print) and accompany ch eck or money order with each package of entries.

_ _ single units @ $1 NAME - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

F I R M - - - - - - - - - - - - - - -- - - - - - - - - - - - - -

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

_ _ campaigns @ $3

_ _ film, TV, slides @ $5

Total handling fees

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

• e FOR CA USE ONLY• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Date rec'd _ _ _ __

Return requested

D

Check am't correct

§} ~

CA. May '61

Log numbers - - - - - - - - - -- -

PHOTOMECHANICAL

TONE

LINE

BY E

DS TAN

75

WEST

45

ST

CIRCLE

5 - 6761

N . Y.

Designed by ... . Paul Savitt Studio For their client .. Remington Rand Systems Art Director ..... Martin Goldman Photogra pher .. . . Tony Venti

number letter

DO

If campaign , # _ _ of _ _ _ pieces

If campaign , # _ _

of _ _ _ pieces

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Designer - - - - - - - - - - - - - - - - - - - - - - - -

Designer - - - - - - - - - - - - - - - - - - - - - - - - -

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

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

Agency _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Agency __________________________

Client - - - - - - - - - - - - - - - - - - - - - - - - -

Client - - - - - - - - - - - - - - - - - - - - - - - - -

0 Background info. enclosed

0 Return postage enclosed

number letter

DO

0 Background info. enclosed

0 Return postage enclosed

number letter

If campaign, # _ _ of _ _ _ pieces

DO

If campaign, # _ _ of _ _ _ pieces

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Designer - - - - - - - - - - - - - - - - - - - - - - - -

Designer - - - - - - - - - - - - - - - - - - - - - - - - -

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

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

Agency ___________________________

Agency ___ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _

Client - - - - - - - - - - - - - - - - - - - - - - - - - -

Client - - - - - - - - - - - - - - - - - - - - - - - - - -

0 Background info. enclosed

0 Background info. enclosed

0 Return postage enclosed

number letter

DO

0 Return postage enclosed

number letter

If campaign, # _ _ of _ _ _ pieces

DO

If campaign, # _ _

of _ _ _ pieces

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

Submitted by _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

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

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

Designer - - - - - - - - - - - - - - - - - - - - - - - -

Designer - - - - - - - - - - - - - - - - - - - - - - - - -

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

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

Agency _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Agency _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ __

Client - - - - - - - - - - - - - - - - - - - - - - - - -

Client - - - - - - - - - - - - - - - - - - - - - - - - -

0 Background info. enclosed

0 Return postage enclosed

0 Background info. enclosed

0 Return postage enclosed

Color-aid BACKGROUND PAPERS

ORIGINAL COLOR SYSTEM OF 210 COORDINATED COLORS SIZE 18'' x 24''

Dependshis Color-aid papers are available in 210 coordinated colors, 24 basic hues, 4 tints and 3 shades of each hue, 8 grays, black and white, and 8 NEW colors.

Color-aid fill"id fMHu now in 3 oz. bottle

same price

WITH THE NEW

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AT ALL LEADING DEALERS

''1000''

Color-aid Co. 329E.29St.N.Y.16 19

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

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

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See Your Art Supply Dealer OR WRITE TO:

ART-0-GRAPH, INC. 4837 Emerson Ave. S., Minneapolis 9, Minn.

FAST and USY. Spray it on paper , plastics, pblrtos, and 1tley stick to smooth ~ 1M removed lliCt put blck 1111111 times.

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12&

CA, May '61

THE TIME THE PLACE THE PEOPLE

Aspen Dr. Harold Taylor, educator, philosopher, author and vigorous leader for educational freedom, will deliver the keynote address at the 11th annual International Design Conference, Aspen, Colo., June 18-24. Panel speakers will come from England, Germany, Japan, Russia, and the U.S. Boston The 39th annual conference of the Association of Industrial Advertisers will be held at the Statler Hilton Hotel, June 11-14.

Chicago Outdoor Advertising Inc. has announced plans to sponsor an annual, national art competition devoted to a public service project. The "New Ideas Competition" will be open to students and professionals in the U.S., its objective: to draw new creativity into the communication of ideas. The Advertising Council will select one public service project annually as a basis for the competition on which OAI will give more information soon.

20

in ART MATERIALS and ART BOOKS

James Speyer has been appointed Curator of Contemporary Art for the Art Institute of Chicago. Former Professor of Architecture at Illinois Institute of Technology, Mr. Speyer has spent the past four years as visiting Professor of Architecture at the National University of Athens, Greece.

"Friem's Four Pages," our interesting art newsletter .. .

ijft~l~D}~f~ · VELD XES 1JMA4k-o-1111 St~

142 Greene New York City

CA 8-8440

Los Angeles Group West, Inc., 5455 Wilshire Blvd., new name-new place for the advertising creative service formerly known as Illustrators Group. Staff now consists of Jack Barton, Neil Boyle, Don duBois, Nixon Galloway, Roger Hammond, Jake Lee, Bob Poole, Ren Wicks, Jim Wood, and Chuck Wysocki.

edited by Ernst Haas, through June 2.

"Italia '61," an exhibit of Italian products and crafts, New York premiere, June 5-20.

Gallery 303, 130 W. 46th ... the design work of George Nelson and Co., inducting architecture, product design, graphics, interiors-through May. Museum of Modern Art, 11 W. 53rd ... "Futurism," a comprehensive survey, commemorating the 50th anniversary of the I tali an movement - from May 30 through the summer.

Richmond New officers of the Art Directors Club have been announced: Robert R. Meacham, president; Charles C. Martin, vice president; Ronald L. Siechrist, secretary; Robert A. Stratton, treasurer.

Seattle The 12th Annual Exhibition of Advertising and Editorial Art, sponsored by the Art Directors Society, at the Seattle Art Museum, June 2-25.

Washington, D.C. The 12th Annual Exhibit of the Art Directors Club of Metropolitan Washington, on display at the Statler Hilton Hotel, June 3-9.

Universities/ Schools Illinois, at Urbana . .. has inaugurated a permanent collection of notable photographic work with the purchase of 14 pieces shown at the 1961 Festival of Contemporary Arts (which for the first time formally recognized photography as a creative art).

Rochester Institute of Technology . .. is offering comprehensive special twoweek programs of orientation in the graphic arts for groups from printing and allied industries, in June. Contact Harold Kentner, Director Extended Services, R.I.T., Rochester 8, N.Y.

Los Angeles County Museum ... "The Precisionist View in American Art," through June 18. "American Industry in the 19th Century," through July 31.

Rutgers, at New Brunswick, N.]. ... offering Creative Art Education Workshops, July and August. Write Director of the Summer Session, Rutgers-The State University.

Ne'\VYork Pepsi-Cola Plaza Gallery, Park Ave. at 59th ... "The World" as seen by Magnum photographers, designed and

Stanford, Palo Alto ... has retained Robertson-Montgomery, San Francisco design firm, to provide graphic design direction for the Stanford Pace Program to raise $100 million in 3 years.

CA. May '61

PRO WHITE

BOURGES '61 IN REVIEW . •• Exciting event for the graphic arts in· dustry featured art and its preparation for reproduction, held at the Society of Illustrators, New York City.

BRILLIANT OPAQUE WATER COLOR FOR USE ON PAPER OR ACETATE WITH PEN, BRUSH OR AIRBRUSH

THIS MAJOR EXHIBITION ESTABLISHED ..•

• Bourges as a creative color medium in its own right • Bourges overlays as practical copy /or reproduction The exhibition was a display of practical color artwork with emphasis on illustration and design, most of which could not have been created with any other medium but Bourges. Of particular interest were the works of eminent artists such as: Dr. Frederick Franck, Doris Lee, George Samerjan and Seong May. Their distinguished work demonstrated that Bourges transparent layers with removable color have provided the artist with a new creative tool. The varied exhibit contributed to by artists and platemakers from 'round the world, served as further evidence that Bourges sheets are accurate copy for reproduction. To illustrate these points from both a practical and creative aspect, four individual panels comprised of noted artists, platemakers, production men and printers discussed and evaluated the Bourges Process as a means of giving the artist a more direct way of creating for the printed page, and at the same time simplifies the process of reproduction. All Bourges Colotones~ match standard printing inks.

The creative uses of Bourges sheets was the subject for the meeting sponsored by the Artists Guild, one of the many professional societies who cooperated with Bourges '61. This subject was discussed by a panel of top creative artists and designers: George Samerjan, Jules Maidoff, I rv Koons, Art Eckstein and Jean Bourges herself. The panelists described their own experiences with Bourges, how it is used from initial conception to finished art.

They also indicated that Bourges is a distinctive creative color tool which has brought more color to more areas of the graphic arts.

NEW PALETTE OF ••DESIGNER COLOTONES" ANNOUNCED Mauve, Olive, Teal Blue, Chartreuse, Terra Cotta: the first five colors in a new series of vibrant "Designer Colotones" required for today's more dramatic palette were introduced in both over· lay and adhesive. Same workable Bourges coating-same price -one value only. Available now at your Bourges Dealer.

BOURGES'61 IS

... at Chicago, September 11·22, at the Visual Arts Center.

BOURGES COLOR CORPORATION

Dept. C-1, 80 Fifth Avenue • New York 11, New York Copyrioht 1961. Bouraes Color Corooratlon

CA, May '61

21

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

In Good ART···

As in Putting -,~

Flip-Flop-Flap

A simplified flapping system devised to save time and materials and provide a standardized method of handling, flling and storing artwork. Illustration board, flaps and mats have been precut and all are available in three sizes: 12x15, 15x22, 20x30. The flaps are made of quality heavyweight cover stock in blue, gray, or ecru. A strip of pressure-sensitive adhesive has been applied to the top of each flap. By stripping off the protective coating and folding on the score, the procedure only takes a few moments instead of the time-consuming process of measuring, cutting, folding, taping, trimming. The illustration boards (Hi-Art) are available in two thicknesses and three different surfaces. The system also includes mats and large envelopes which match the flap colors. An introductory pak consisting of 12 boards, 12 flaps, 2 mats, and 1 envelope is being sold by dealers or individual elements can be purchased separately. For literature and a sample, write to National Card, Mat & Board Co., 4318 W. Carroll Avenue, Chicago 24, Illinois.

Velvety smooth, with a perfect affinity for pencil, pen or brush, Hurlock's Illustration Board provides the finest surface for almost any technique. ... Ask for #1029 single thickness . . . or #1030 double thickness ... at leading dealers.

HURLOCK BROS. CO.,

INC.

OFFICE AND PLANT 3436-38 Market St., Philadelphia 4, Pa.

22

Index to Advertisers Advertising Typographers Association of America . . .

Amsterdam Continental Types & Graphic Equipment, Inc. .

Art-0-Graph, Inc. . . .

Berube-Salkin Studio Bourges Color Corp . . .

Arthur Brown & Bro ., Inc. Color-Aid Co. Crescent Cardboard Co. .

Edstan Studio . . .

Esterbrook Pen Co. .

A. I. Friedman, Inc. . .

Grace Letter Co ., Inc. M. Grumbacher, Inc. . .

John Henschel & Co., Inc. C. Howard Hunt Pen Co. Hurlock Bros. Co., Inc. .

8, 9 . 4 . 19 . 20 . 21 . 13 . 19 . 12 . 17 . 13 . 20 . 58 . 5 . 19 . 5 . 22

Panda Oil Pastels Job-N -Velope Co. . . . .

Johnstone & Cushing . .

Keitz & Herndon , Inc. Lucygraf Manufacturing Co. Maker Products Inc. . . .

Mask-0-Neg . . . . . .

National Card, Mat & Board Co. Para-Tone, Inc. . . . . .

C. A. Parshall, Inc. Philadelphia Art Supply Co. Saral Paper Co. Shiva Artists' Colors . .

Steig Products . . . .

Strathmore Paper Co. .

United Artist Material Co. Harry Volk Jr. Art Studio Martin J. Weber

. 57 . 58 . 21 . 56 . 19 . 20 . 13 . 23 . 4C . 57 . 58 . 57 . 21 . 9 . 56 . 57 . 2C

New York Office: David Hartman, Advertising Manager (MUrray Hill 2-1438) The Journal of Commerial Art

15 West J,.J,.th Street New York 36, New York Betty Fairbank, Advertising Dept.

The Journal of Commercial Art 809 San Antonio Road Palo Alto, California

Chicago Office: (JUniper 3-3325)

Joseph Lambin, Sales Representative 1,.037 N. Mozart Street Chicago 18, Illinois

Literature for your files " ... as mentioned in CA" A request on your letterhead will bring you any of the following pieces ... free unless otherwise noted.

Address advertising correspondence to

Palo Alto Office : (DAvenport 6-6040)

Because of a special oil base, these pastels won't dust off or require a fixative. Colors can either be applied in an opaque manner, smoothed or blended with stomps, or diluted with turpentine to act as a wash. Forty-eight colors are available at dealers in various sets or refills. For descriptive literature write to Talens & Son, Inc., Union, N.].

CA, May '61

"Beckett Color Selector" ... a portfolio including fourteen samples of colored Beckett papers with seven sheets of acetate, each printed with a different color reproducing a halftone, four screen tints, and two blocks of copy, one in reverse. By laying the printed acetate sheets over the colored paper, 98 different combinations of colored paper and colored ink can be studied. David Belew, Beckett Paper Co., Hamilton, 0.

"Here is Instant Lettering" ... an 8-page broadside introducing a process which transfers letters from an acetate sheet to any surface by burnishing. Includes samples, instructions and showings of 51 different type faces available in either black or white. Write to Bill Einhorn, Arthur Brown & Bro., Inc., 2 W-est 46th Street, New York City.

"Invisible Printing" ... samples, prices and information on the use of invisible printing in advertising promotion.

Walter Haase, M. E. Moss and Co., 119 Ann Street, Hartford 3, Conn.

"Type Faces" ... the 13th edition of The Composing Room's 54-page oneline specimen book. Shows the design of each face, sizes available, method of composition, rules, borders, ornaments and special characters. Eli Cantor, The Composing Room, Inc., 130 West 46th Street, New York 36, N.Y.

"Variable Plotting Scale" ... a unique statistical tool devised to speed the checking and plotting of charts and maps regardless of the scale used. Fran Tuckscher and Associates, 1417 K St. NW, Washington, 5, D.C. "KVP Litho Parchment" ... samples of transparent vegetable parchment that can be printed by any process, including color, are available in l}eavy and light weights. Mrs. Bertie Hodes, KVP Sutherland Paper Co., Kalamazoo, Michigan.

"Painting the Figure in Water Color" ... a 4-page color brochure describing Herb Olsen's book of procedures.

"Books on How to Draw and Paint" ... a color broadside reviewing books of general and specific interest. "Stepb~&~P~ntin(' ... a~~~~d&~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ eluding an illustrated review of Henry Gasser's "Techniques of Painting."

"Techniques of Drawing and Painting Wildlife" ... a 4-page color folder reviewing Frederic Sweney's book and methods. Write to Larry Van Treese, Reinhold Publishing Corp., 430 Park Avenue, New York City.

"Filmscope literature" ... various pieces describing color films (including audio), filmstrips, prints dealing with natural history and travel available for educational or study purposes. Anne Cotter, Filmscope Inc., Box 397, Sierra Madre, California.

effects at line process costs!

"Drawthinks" by Paul Pinson ... a 48page booklet compiled from past issues of Advertising Age. Provides a simple method to help non-artists develop and communicate their ideas. Includes stick figures, basic expressions, body positions, numerous sketches, ideas, and suggestions. $1 each from Advertising Age, 200 E. Illinois St., Chicago 11, Ill.

PARA-TONE'S

TONE VALUE SHEETS Achieve half-tone reproduction effects by simple line process with Para-Tone's Co-ordinated Dot Patterns. Availa b le in 8 differen t screen densities: 32V2 to 85 linesto-the-inch. Percentage values from 10% to 80% of solid. Zip-aTone or heat-resistant Blu-Zip adhesive. Clear gloss or matte finish; black, white or colors.

"Dux Catalog" ... a 16-page illustrated listing of numerous types of imported precision pencil sharpeners from unique pocket styles to table models. Dealers interested in this line are invited to write for complete information. Fred Baumgarten, 1000 Virginia Ave., Atlanta 6, Georgia.

O r der from your dealer , o r w ri te for catalog .

"Transamatic Photocopier" ... illustrated literature describing a new plug-in copying machine using a no-mix solution cartridge. Will reproduce on white or colored paper from copy up to 12" wide by any length. Paul Coombs, Transcopy Inc., 10 Paterson Avenue, Newton, N.J. "Tableau" ... a sample folder describing a soft, vegetable fiber, block-printing paper suitable for wet or dry printing, available in sheets or rolls. Wm. A. Hermanson, Technical Papers Corp., 25 Huntington Ave., Boston 16, Mass.

PARA-TONE incorporated 512 W. Burl ington Ave. LaGrange, Il linois

CA, May '61

23

typography '61 The Seventh Annual Awards Exhibit of Typographic Excellence sponsored by the Type Directors Club of New York

24

This year's exhibition of 187 pieces was selected from over 2700 entries from the U. S. and Canada. It is well chosen and reflects greater adherence to fine examples of typography and letter form than some of the previous exhibitions. With the lesser concern for the ''current vogue'' and the attention-getting pyrotechnics, the show has a noteworthy absence of cliches and repetition. The work represented is less likely to propagate the trends as it is to fulfill the avowed purpose of the club-'' To raise the standards of typography and related fields of the graphic arts.''

Eugene P. Pattberg was the Chairman of the Exhibition seen through the month of May at the Mead Library of Ideas.

The J·urors of the exhibition:

designer/art director: George Lois agency : Papert, Koenig, Lois, Inc. typographer: T.P.I.

ROBERT SUTTER Graphics Designer, Chairman GEORGE SALTER Book Designer

designer/ art director: George Lois agency: Papert, Koenig, Lois, Inc. typographer: Composing Room

GEORGE LOIS Art Director, Papert, Koenig & Lois

designer: James FitzGerald art director: Robert M. Runyan client/typographer: CA

FREEMAN CRAW Vice President & Art Director, Tri-Arts Press JAMES FOGELMAN Art Director, Ciba

designer: Robert P. Smith art director: Albert Greenberg client: Gentlemen's Quarterly Magazine typographer: Haber Typographers

ALLAN FLEMING Art Director, Cooper & Beatty, Inc. Toronto, Ontario, Canada

24 pieces from the exhibit are shown on the following pages, including (we couldn't resist) our own CA-60 cover.

CA. May '61

Clacklessssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss SSSSSSSSSSSS(HEARTHECRACKLESPTHAT'SWHISKERS COMING OFF.) sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss sssssssssssssssssssssssssssssssssssssssssssss Hummmmmmmmm(HEARTHEHUMPTHOSEWHISKERSAREGONEJ

RONSON"TALKS!' THE NEW CFL MARK II GIVES YOU THE CLEANEST, QUICKEST SHAVE ON EARTH-AND TELLS YOU WHEN YOU'RE DONE. Yotl..,..joutojac~tDitAU..jintAoftutadw"""illlhG..,.oiri~OGTI. Rono.,.•omulti-bladoMiracllcut!M'(IOciariltotl«l.bt/OUT

rAgiAurl) ill~~~ IMTP, mftd 10 ..,.,;u.,. it mmpli/illoohiiiUrl into ..,..nd, Tho ohGving ..,...,. ill thinMT than !hill pu.go (.0018"), g•to tho bladu to U..lxr.Hof the becm:!. Fm~tr Yot~om•ulwlv•illt "''"""' (mt l<utroulwlvo ti,.. to kill•~our wif• goodbt/<).BooogoodiiiU..Mmrkllr R.....,.gmwKpthelhG..,.mlod bolt to mmk•it. R.,..,.bor !hill too. R...,...lllono hAl Supor· 1nmforlm&ghGin, lido!n<T!OI. R.....,.IIIonoilltrod....,"""p-ilObladol~ouroplacemtho....i"10o1Coftdl(thiiiRono<m•!my••lwiTP

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TMOU'-'"OS OP Co\NADIA.N STUDINTa 1PCN0 ttt~.t• IU

4.

PRESENTS

MIIIIJlloOUTOif TH& t DU,tw

Meat swnu.,

TIME has always been edited to the colleae trained mind Today 1t IS dedicated to supportm11 1ts conviction that t he young people of the world by meetlna and exchanalnl Ideas are the ultimate hope for lnternat•onal understand in& Hence the followm& rev•ew of opportunities open to campus travelers m 1960 TOURS - The woold be student t raveler can take the plunae as a tour member expk)nnaa number of countnes m the company of other students Tours come m all s1zes and kmds go almost anywhere and are sponsored by hundreds of commerc•al and norH:ommerclll orpnlza bons wrth w1de drverstftcatton ran ama from teen aae lr'OUPI to spec•al tnps for araduate students-from Hobo Tours

~r::~ ~,o:e;;~p C:t:t!'r~a~!:.~~~~~·~~C:,,":~'~':V:r~o·~~J1~'::~~~~ag;a,':, ~~~sf~~,,~(:,

onentahoncoursesareoffered hvelysemtnars refreshercoursesmlan1uage andvaluablebnetmasonthecountnes to be VISited Depend1n1 upon lenath and ICOPI of the tnp, costs run from $800 to $1700 SPECIAL ADVANTAGES Bemapartofatour assures&Uidance compantonshlp, planneddlversJtyofmterestmg&CtiVitles a chance to sample

!:~~~~~i!.-~M~~c~~~~i'a::S

=~e.O:~~~~~~~~~;.~~!~h ~~~m~;t~r.ak:~~~~C:iFo~~h-:1!:

h:'e of one country gettmg to know 1ts people almost 1s well as their own last year some 1200 students went to 28 coun tries France Sw1tzertand and Italy are most popular but the proaram includes many other adventure spots Students boundfortheumecountryusuallytravet In conducted coedaroupsoften onstudentshfpswh1chotferonentatlon seminars They are about the same aae (for non European countries 19 IS m1n1mum) Once at destmat1on each student moves m w1th a d1fferent family to live 1ts hfe, share its activ1t1es and problems The family (wh1ch w11t have been chosen on the prem1se that 1t offers most to the student and vice versa) may well contam some members close In aae to the ttudent auest Advance correspondence fmtlates friendship and Inmost cases hospltahtyiSJUStthat-wlthnofees Involved After a months homestay the original aroup of t&n reassembles auamented by student members of the fam1hes stayed w1th Then t he&uests tum hosts on a three week cychna or campma tnp to other parts of the country

~~~n(~sw,~e: =~~sro~t,;~;~c~n~·: ~;~·::s ~~~ f:ra Sa~~ ~" ~~~e 1 ~:fst~ n:e~ar!~~~~rs~:s .v:erya:~!~~ree 1

AUDREY HEPBURN MEL FERRER PARIS PURSUIT A LOVE FARCE FEATURING THE PARIS COLLECTIONS

0

SPECIAL ADVANTAGES Uvina the cust oms of the country sharlna 1ts trad1t1ons, aettma to know the people well In t he words of one (l:lrl I may not speak like a Frenchwoman yet but I thmk I could think l1ka one now FOitMAL aTUDY PROGitAMa -Some students may prefer to use the.r summer fo r study There are courses offered by scoresoffore~enun•ve rsitles aswellasanumberofoverseas proaramssponsoredbyCanachancolleJesandum vers1t1es If the student WIShes a local family Will be found for him to hve With wtl1le he IS at school Some courses are brief enough to leavet1me for travel as well others Include travel in the1r plan Yet however presti&IOUS the university selected 11 should not be assumed that the home colle1e Will Crl(ht pomt s for the overseas course The student

!~~t~~~~:;~ $75o~;n$~~s~~~~~~~~~~:• c~!sd~~~~ ~~~rsh;

WITH BUSTER KEATON

DIRECTED BY RICHARD AVEDON

PLUS THE AMERICAN FASHION OPENINGS

'':tctif~~~

rr;:e,: VANTAGES Classmates come from all over the world The student tastes fore~ an edueat•on travels w1thout bemg a tounst and poss1bly earns crect.t points too l.....ueDUfT TIIAVU. -Those who are In thtlt 20 s or who llave traveled abn»d before m1aht prefer to ao on their own There are many excellent aaene\es to help plan a tnp, choose lodam&s and eatm1 places buclaet t1me and funds W1thln Europe well man1aed. econom•cal student cha rter fllahts are ava1lable Moreover Europe Is studded w1th excellent low-cost hostels run by Student Umons and ~tronlzed by travelers from all ewer the wortd Variables m cost are too man1fold to hazard a 1uess But however else he economtzes the student must not th1nk he can save money by working hiS my abroad on a ship or by aettma temporary jobs overseas All expenenced hands aaree that both these 1deas (once practtcal) are now Illusory

:~~er!~~~:!·!~~ ~~~at~ ~~~e c~':.'~~~e;~n s~~~~;eas~ou~p~r:e:~~s~~~~~~~~r~v~:~~~= -Finally 1f he wants to &•ve as much as he llaet out of his summer abroad the student m1aht elect a work camp

~~~h~ ~~sm:~~ ~u~~ o~v!o~:ac~~~~r! :.~:~~n w~~h~ort~~ftr;:t~~~dth~:n~f~~d~: :~1i,:C:~~~~%!e

Apphcants must beln excellent health since the work Is rugged they should be able to payforthe1rowntransporta tlon and msurance (about $550) Typically room and board are furnished but no wages are pa1d Frequently

~n~~rn,~~~~:S~~0 ~tb\~~.!n=~~t ~~da :O~rn~~~~ ~~~ ~.!'~f~Je 2tgurs~~~~~~e~bCA'~~~G~Sn~:Sm~!;S:~~~~; offers the most complete d1vorce from home Co workers w11l be drawn from many countnes w1th a eenulne wish to

~ t~~ sset':d~~~t~~a~~j :r~~~~~n~~!~~~~~~ ~~~~~ to~~~:a~~!:e~~~~~~~:;:no~~~~=~~ S~~~~:~ L:'D:~~ 1

Butldma

1

00

375 R1deau Street Ottawa And 1f those of you who are TIME subscnbers w11l send your IUner~rles six

weeks before your departure to TIME International of Canada ltd 25 Aclela1de West Toronto we will be alad to

see that your weekly cop1es of TIME reach you wherever you may be Remember that when you a:o abroad you are theauthontyonCanada W•thTIMEon hand you can keep up on Canad11n affai rs and represent your country w1th lntelllaence as well as w1th mrmth

designer Louis Klein art director Louis Klein client TIME International typographer Typographic Service Co.

designers Henry Wolf/ Audrey Rosenson art director Henry Wolf client Harper's Bazaar typographer Haber

designer Bill Weinstein art directors John Graham/Rick Levine client National Broadcasting Co. typographer Empire

designer Peter H irsch art director Peter Hirsch client Deering-Milliken Inc. typographer Composing Room

A matter of principle In 1960 the fwe CBS Owned teleVISIOn statwns devoted nearly 14 m1ll10n dollars worth of statwn time and fac1llt188 to non-network publiC affa1rs programs and announcemente The amount m 1teelf i8 not of pr1mary importance But the pm101ple beh1nd 1t _!!. For

designer Mort Rubenstein art director Mort Rubenstein client CBS T elevision Stations

designer Richard W alukanis art director Richard W alukanis client Fortune

the sum (an all-t1me h~gh /) 18 a measure of the emphasiS the f1ve CBS Owned stations place on commumty servwe programming patterned to the h~ghest productwn standarde The result 18 a wide varwty of exceptiOnal programs whiCh won better than 40 awarde

and c1tatwns dur1ng the year

Information programs rang1ng from how--long documentary "spec~als" broadcast dunng pr1rrw-t1me evemng hours, to statwn ed1tor~als, to on-the-spot reports from the Congo and from many other top-mterest locatwns around the world.

In a real sense, the statwns' commercial succeBs makes poss1ble thiS wealth of publiC affa1rs programm1ng. And thus guarantees the program balance wh~eh has always been a guid1ng prmc1ple of.. .

CBS RLEVISieN STA'I'IONS

''oould.a'\18talODC"withoa.ttt. " Bat ool'ee ean be mon LhaD • lMtutiaal roo.r

orU..traditioualb.iall toameal. Combi.Dedwit.blpirisa, • c-tator'71dftllliU'I. Bot or eold, it•aiUperbllllUr Col!'eewithoocnacitu aftu..U..U e1leM, aadln.boo«ee (Lbtreeipe forwbieb, hotaad leed,el-thilartide) hu WVIllf'Mtpopa.larit7.

ud-

.. _

otlauwllieDeL

Our fa.

...ntaberin

112,witlt

porbapolba-oleo«onpoeiallieo,

Ma(Titdi<jorce ""clo<Jrge q •

F -~X B when • &Dd Bare at ri&ht an&!•

(8-10)

Em•p" A proton of velodty r • 10' em/~ S. mo...U..C perpmd.icu.lar to • uniform mqoetie Geld of B - 10,000 pu. u lhoWD in

JPic. &-7. Pathofacharp:lparticlemovinatruave,.. to • u.niform macnetie tleld.

...--- .....r-x

r

/

T

/Y 'ff Js / .. )

Fla.s-7. (a) What will be the mqnltude ud cllioctlon of the fon:oa on the J><Otool (b) Deoeribe the path of the proton .

Ac:cordloato Eq 8-10 , • ~ • 4 8 X lr~ ~0~()1 X 10' • l.fJ X tO-t dyM Aecordin& to ri&bt.-ba.nd rule II, thil forc:e muat be pointed to the left !o Fla. 8-7 and It will alwaya be porpeadlculu to r. TbUI F ita centripetal forca whieh kee.- the proton movmc forever in the tame c=lrek of radiu. R. An ~ eu be obtained for R by equatio& thi omtripetal force to tM m.a.cnede fore..

-;-¥ R-~

(8-11)

For the problem in qu.tlon the maa of thl proton W • 1.11 x to-- em.

Theo R • 1.67 x ~Bx ~}~XXI~ X 10M em

4

or

R • 1.04 em

Ficun H i.o a photoeraph ol a track left hy . , electron travelinr In • uniform macnetic: field which il pointinr out of the pqe. The radiua of the circle ia continuously decreuut~ becaUM the electron il travelinr in a liquid hydro&en bubble chamber. An electron or &DY other charaed particle rradually loaoo ene'IY while travel-

inc throurh matter. 1 Smce the value of B il known, the electron momentum c:an be determined at any point in ita path by meuurinr the radiua or eurvature.

• nc. 8-1. Electron track !o liquid hydropn bubble

eb&mbet. Traek Is curved clue to uniform marnetle fteld pototmc out of the pep. Radtut of eurvature decreu. u electron Is alowed down by liquid hydropo (Pb~ arapb c:ourt..y Alvares croup, Lawrence Radiation Laboratory, Untvenity of California.)

We from the precedin& example and photoeraph that c:haraed particleo can be "trapped" by a macnetic field. Thi.o pnn<1ple i.o UMd in tb- hilh~ particle accelerators that u.e maaneta. lo auch an a.ecelerator the m&&net oupplieo a macnetic field that keepa tho beam ol particl• confined to a circle.

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

(ra'di·O) REDEFINED BY THE

CBS RADIO NETWORK STAIITiliG 10DAY,CBS R.mo brinp ,_

Startinc today, too, a brand-new ICheduie of

Arthur Godfrey Time, Art Link.letter'•

11w:Moec:ow-Socne,Wilh Marvm Kalb;Tiw: \\ft:k m ~ wn.h Ceorcc Hc:nnan, Man andWJe.wtthbcharyScott,A\\bnan's WaUuncwn, with Nancy Haruchman, 11w:

throurh fr~dar. The: Much Milkr Show, johnny Dollar, Gummoke and 1nc: New

....,... .. ...mo. bricht, ..ned...! onformobVo CBS Radoo Houoe l'>ny,Th<CarryMoc.. R.mo Show, be ,......t<d nfht ~ BonrC.,.by-Rol<muyCiooney, •nd the Todon ..n.~ • dw>P>c. the dock ticks. ;;er-lllese five.tNnute procnm~ include ookwful new ln ~ Pf'Qif'lll1\,all Monday

"""""'will

Evenumtheearth'fmnotellrqtan~affect

ourlrws.~soenc::a,oe...nalJOIU,new

pcnonaliuesopenupnewhonzonsandcre-~newdWlcnces-\Veneed,uneverbdOre,

tobebeu«OOOnn.d.

OnlyD<Iiolwthc,...d...dcJobolflexo· bilory., k<cp,... woth oh<oe m..,... And onlyCBSR.motwthc....,..,..,thcpcoplc, tht: pro&n~mmmr to make them lhC'an~ in&fulb-,.,.. .. qwct.ly ...dtobnnc,... aworldcAcottrtaanmentasweD.

Swtmc today, CBS Radio dou~ 1t1 news ~tobnncyouaf'ulltenmmutes

of new• oa the hour, mom•nr throurh evmmr This expaodrd JChedutc: not only meatdrnc:non-the-lpOlnewsa!XIN)'UI

fromaDOVC!"t.ht:warkt.butmQI"eofthe

cdiba-ci ._,.,. dw lw mode the CBS News tam of Edward R MWT'O'Ii', Eric Sevaretd, Howard K m1th, Oourlu

YorkPhllhannon.JConwcdtends.

Our rcddirubOn of r.who'a hei,rhtened re.

~~~.~Colilnpood-and ~~bt!:r~o=~= ln k«pmc wtth our mimn1tton of radio'• role,youwtllflnd~rreatercmphalll

m thecommc year on the eubiJCaff.un

~Tct:~~r~~tarea lncreued~report•nrllscheduled

also. Ten rnorewcekendprocnmsw•ll be heard u ex~ Yankee Jerry Coleman JOinS PhilRmutoandPatSummerallmprovdinr up-ta.the-manutcsporu tnbmatJOnall Wttk lone, fifty two weHs a year: And unportant ...,.._thcO..,..Bowl,thcCot.... Bowl, hone raonr's Tnple Crown, tht: Mastrrs GolfToornament-artallonCBSIUdlo.

,::=;.

advuturrs, 100.

CBS Racbo'• new procnmmmr Jtruetun:

oommands•ncreasedaudicnoeattcnoon,creauncanldea.IAlesJettmaplu.anaJIOC'DbOn w1th the most attracti\OC, mc»t re1pected nameslnbroadc:asonc Andt.henrwCB Rad10 JChedule provKies 1 nnae ~ sdlma

opponuruues monuna to maht. aevm ~ys

aw«k-fromllli1Jic:JCinv:ntrAAnhur Godfrey Time 101 uturabon ca~ Asyouredcfincycurad,•crtlsmaob;cctiva forl961,•-e•nvueyoutoexam.~nct.headvan-­

ta&ft offered by network rad1o. V.~ know youwillfindthat~arenowrt'l(lrercuonJ

designer : Robert P. Smith art director: Albert Greenberg client: Gentlemen's Quarterly Magazine typographer : Haber Typographers

designer/art director: Herb Lubalin client: CBS Radio agency : Sudler & Hennessey typographer: Composing Room

designers: Robert Goff/ Elliot Epstein art director: Robert Goff client: John Wiley & Sons ty pographer: Rand McNally

designer/art director: Hector Robledo client: McCall's agency: Grey

THOMAS BEWICK AND THE ART OF

G

Lll

DIMENSIONS VOLUNI IV NUNIII 2 IUNMII ltll

designer: Sylvia Winter art director: William Stone client: Lee Paper Company typographer: Sequoia Press designer: Acey Silliman art director: Bill Curry client: Ramo-Wooldridge typographer: Monsen Typographers designer/ art director: David Chasman client: Monitor Records typographer: Metro Typographers designers: Ed Blaus/Dick Kline art director: Dick Kline client: Dreyfus & Co. agency: Doyle Dane Bernbach typographer: Provident designer: Jacqueline S. Casey client: President's office, M.I.T. typographer: Machine Composition Company designer I art director: Samuel N. Antupit client/typographer: Morgan Press designer: George J acoma art director: Richard Loew client: WNBQ-NBC Spot Sales agency: Grey typographer: Progressive CA, May '61

~ ~~#hi-t-~ 77~ "UU.ty ~az-d.t .ut'.u-c-a.:t~x, ?tri-4-- • · · t/~ -r=t 'J iJ trit.-c- /ru-~~~ fft-

The President's Report 1960

a ~tf ~urtulu:(r:- ~

J';

..

;f: J.. ~, J.

I

~w~wj~J, ~;; a~:CL ,~ nn:l£ khZftJ ~ tr-1'.-J...t,w-a:ttn..... ~ ~ J!.-t /t/~ 11 ""1-

F~~ Uc.t~z~._

MASSACHUSETTS

'

V.e collect a.noquea.. dareacSou. doric:&. aona. ecrpoans and lat1n1 Our catalope ot typet •ncludes 4) Ylr.. ttOnl tn roman, •tahc, 10lid, open. &haded, shadcrto<ed, outhned •tde, bold Mrrow utr:nded u.~nded., e:klnpted, conde.Ned com prated and omamented type faces from 6 to 211 potnta.

Order from our spec:unm book lhowtnJ 1500 fonu avallabAe for reproductiOn proof

a /..

INSTIT~E oF TECHNOLOGY

designer: Herb Lubalin Brownjohn, Chermayeff, Geismar Lester Beall Gene Federico client/ typographer: The Composing Room, Inc. This is a series of 16-page inserts prepared in New York for Der Druckspiegel, graphic arts magazine, Stuttgart, Germany. Shown is a spread from Number One of the series designed by Herb Lubalin and written by Percy Seitlin.

ABOUT U.S.

1-

experimentel typoaraphy by American deslcners

of 1'"-lnserto ,.prtntocl from

DIR DIIUCUPI<et.L. .,.phlc arts rnepzlne. Stuttprt, Ger,.ny.

Concet'iocl, oclitocl, Ill in type in Nft Yot1c ond prudueocl

34

He blow;hr don't worry••• There's this <'nt he know~ Wing-y frotn'w<~y haek.

Hut he's <1 sadistic and a sqnill·e,not that it matter to \Vi11g-y j,hmone,he got only one arm.

He blow; he don't worry.

Each year this guy send Wing-y Mauoue his Christrtws present in a fancy , hox:onecuff]jnk'

Under the spon-lp Of THE COMI'OSIH ROOM, IIIC.

Pr-ntoclherewith Is Number One In the Series COME HOME TO JAZZ writtenbyPliiCVUJTLIN

cllsiCnoclbyHUI'LUUUII

•

CA, M a11 '61

EXHIBIT - II

r· ·- I

We had been admiring a calendar on our desk for these several months, it having arrived last calendar season from Ed Ember ley of Boston.

Planning to use it in "art for artists" we had studiously blocked each grimy, calendar picking finger that approached. Each page carried a monthly illustration and was printed in two colors, either blue and green or red and orange. Several of the drawings appear on the next page.

-- I

- !

-- I:

.j

L _j

-- I d I

-1 c --J

-·· I ..• j

when you think of Illustration think of ed emberley 755 boylston street boston mass .

January M

w

T

1 2 3 4 5 6 8 9 10 11 12 13 JS 16 17 18 19 20 22 23 24 25 26 27 29 Jl 31

1 14

21 28

35

....... ·ii:i:. ~~..iiicii.~~ . FAsiiioN ..... ·. ································ ···············

CA, May '61

About the time we were scaling it up for our camera, the name Emberley turned up again. This time it was as the artist for a gold medal winner in the Boston A/D Club exhibition, a series of trade ads (Footwear News, 12" x 17") for American Juniors Shoe Co. Each ad in the series (5) was reproduced in two colors, the one at left in black and light purple. Another is shown on the foll owing page.

Arnold & Company, Inc., is the agency, Dick Wilkins the art director.

( .. A·:j·:. ~~..iiicii.~~. FAsiiioN...~ ........................................... ..

Once again Emberley was brought to our attention.

This time by the review copy of a book, "The Wing on a Flea," published by Little, Brown & Company.

Ember ley was the artist and the author.

Presenting a basic concept of design for children (he has two small ones of his own for research purposes), it sells for $2.95. The two spreads are reproduced half-size. The name is taken from the opening lines of the book: A triangle is The wing on a flea, And the beak on a bird, If you'll just look and see.

CA. May '61

37

CA. May '61

( 1

,

\ I

To Chri tma cheer... to mi tlctoc, frost and unpaid bills .. . Bottom up ... lo the t"

binJ ... and t • tics

be retume .To

A holiday toast was one ofthe pieces chosen for the Type Directors Club exhibition. The client, the Lewis family. Credits to Arne Lewis as designer, Anita Lewis as art director.

The typographer was TPI.

38

This special-purpose letterhead was sent to us by the designer, Joseph T. Fornal ofthe ad department of Honeyw ell Electronic Data Processing, Wellesley Hills, Massachu setts.

81;2 x 11, it was printed in two colors, blue and green. We were also intrigued by the accompanying note: My cod is worth a fin or tw o in the ordinary mart.

But is it worth an inch or two in Commercial Art ?

CA, May '61

.t

us.. Donner. cr .. .

Anita and Arne Lewis

39

Another calendar with an honored place among the fabulous collection we have received was created as a joint effort of Patterson & Hall and Charles R . Wood & Associates, lithographers, San Francisco .

AIOTt.T CHA .. I.I[. Al.j..H •

~·TTII • • OOI

6 H .. LL • ""'""ODUCI!O

SEPTEMBER

3 10 17 24

4 11

18 25

5 12 19 26

6 13 20 27

•v Ct<A.Lt:• .. W'OOO 6 •••oci•T••

1961

7 14 21 28

1 8 15 22 29

2 9 16 23 30

1 8 15 22 29

OCTOBER

2 9 16 23 30

3 10 17 24 31

4 11

18 25

5 12 19 26

6 13 20 27

CA, May '61

7 14 21 28

Six pages plus cover, 17"x16", the calendar was plastic bound. The illustration above is by Don Stivers, at left by Charles Allen.

Both are in color. The lead illustration is

a reproduction of a glass mosaic designed and executed by Haines Hall.

Originally, the calendar was conceived

by Tom Hall with four pictures and three months of time per page. When this became a cooperative proJ·ect of the studio and Charles R. Wood, lithographers with a notable reputation for quality printing, two additional pages were added. These are an abstract design by Jane Oka utilizing transparent and opaque colors printed on foil and a photograph by Bob Shaffer printed as a black and gray duotone. As well as adding a fine change of pace to the sequence of illustrations, these pages demonstrated areas of outstanding research and development by the printing firm.

The sixth page, in color, is a mural-type illustration by Haines Hall.

Chet Patterson, co-owner of the studio, made the art assignments with the time, subject and technique left to the individual artist. The only qualification was that the picture be approved by Patterson for pacing and interrelation with the others to be shown.

Patterson & Hall is the largest, and the oldest (1926), complete art facility in San Francisco; their service also includes typography and photography.

Long known as ''the illustrators'' studio, their staff has included many nationally known names such as Haines Hall, Jack Atherton, Stan Galli, Bruce Bromberger, Gib Darling and Charles Allen. Their more recent diversification into all areas is typified by the current addition of Willi Baum to the staff. Baum is best knownfor his workfor Martin (CA, June '60) and the many awards it has won in recent major exhibitions.

The field of mosaics is a new area for commercial art studios. Patterson & Hall began with the premise that commercial artists are well trained in making pictures,

and that mosaics represent merely another medium of expression, utilizing customary competency with design, color, deadlines.

Preliminary investigation and test studies of materials, and time supported the validity ofthe premise. Their first commission was for the London Lodge near Jack London Square in Oakland and depicts the buildings, boats and other symbols found in London's tales of early Western life. Estimates from other sources indicated a delivery time of two to three months. Patterson & Hall, accustomed to more stringent deadlines, produced it in three weeks.

Other commissions are currently in process.

Jane Oka, Barry Weekes and Haines Hall in the mosaic room working on plot plan of a mural.

Hall and Carol Coffin work out the plot plan for a section of the Jack London mural.

Oliver Fox, co-owner of the London Lodge, accepting finished mural from Haines Hall.

42

CA, May '61

A Guest Editorial

A carefully selected sample . .. an inspiration . .. or plain luck can be a factor if you're just comparing a single piece against another. But luck or inspiration can be fickle when the chips are down and deadlines are pressing hard. Experience (granted it is a personal thing, relative to each individual) has a virtue that is di.fficult to rationalize to someone without it. And that someone might well have a better sample than the fourth J·ob done last week by the pro.

Editor W. A. Reedy ofthe Eastman Kodak company publication, ''Applied Photography,'' expressed it very well in the following editorial on the subject of

PROFESSIONALISM The photography is by Alan Fontaine. The two photographs on this page were color. The Old Taylor ad was produced by the Kudner Agency, Inc., George Failes, art director.

43

The photographs which sell a car or move an audience or create a demand for a hamburger sauce-are lucky. For everyone can ((shoot" a picture. Only last Sunday, cousin Suzy ((shot" a wonderful picture of our little boy, didn't she? As good as any.

Forgotten is the fact of professionalism.

Of deliberate creation-today. This hour. This minute. Professionalism ... on-stage regardless of headaches, tragedy, or luck.

Professionalism is a bank account, to be drawn on when needed. And a bank account accrues only upon deposits. Year upon year deposits, with all the sacrifices of an investment of self.

Professionalism is experience. When one buys a professional, he buys, not a piece of film, a tablet of paper, a chunk of canvas. He buys a life lived in love with an ideal of perfection.

This makes things quite muggy for the professional. For, the better he becomes, the higher the standard. And, as he grows, professionally, the starry rainbow extends ever more just beyond reach. His problem is similar to that of the mathematician, for infinity becomes reality. It's lonesome business.

CA, May '61

The photographs on these pages may please some, be ignored by others.

As functional advertising illustrations, only one of them sells anything. The others are worthless. But the one that sells something could not have been born without the experience gained from those which sell nothing.

Again, experience, and a lifetime for sale.

Anyone can be an art director. Take a blank page and put thereon a picture positioned inoffensively. Anyone can write copy. After all, we all studied English, and didn't we all write the most amusing letters?

(So what has Hemingway got except publicity! ) In repetition, so what with photography-didn't Mr. Eastman ((do the rest" for those willing to push a button?

The art director has visual thoughts and an advertising sense which he lived to learn. The photographer lives to learn-lives until his personal perfection is achieved-and then lives tomorrow .again-hard at it.

There is no luck in professionalism that we know of.

45

CA, May '61

OTTO STORCH: MAN AT THE TOP

The National Society of Art Directors in their annual poll of 4,000 members selected Otto Storch as the ((Art Director of the Year."

To merely say "Storch has made an impact on the art field" would be a case of grossly understating fact.

Storch has been Art Director of McCall's Magazine since 1954, having joined the publication a year earlier as Assistant Art Director.

He had definite beliefs of what the functions of an art director could be but had very little opportunity to express them. In 1958, Herbert R. Mayes became Editor and one of his first acts was to cut Storch loose from the editorial bureaucracy that had been stifling this creative philosophy.

From that point on, McCall's began making publishing history.

His superior use of art and photography in page design has helped to raise the standards of both.

His restoration of the art of typographic design has surely earned him the recognition reserved for Cooper, Cleland, Teague, Munder and the select group of other greats.

Upon hearing the news that Storch was to receive the NSAD honor, Mr. Mayes wrote: ((In all the many years that I have been in the business of publishing, I have never come across anybody who tackled a job as Otto tackled his. Obviously, I am predjudiced, but I think this man has made a major contribution not merely to McCall's but to magazine operations in general.

Stimulated by the McCall's example, several major publications are redesigning their formats.

Advertising design, too, has been profoundly influenced.

Storch's imagination has fired the creativity of the whole field of art directing.

CA, May ' 61

St orch receiving the gold T-Square from NSAD pres ident, Arthur Lougee .

the forty-,vinks retlucing plan

This is a plan for growin ·r

. ., 0ict-th

e 011 11· way to lose ·

or perusing the new 811 , .

.

' ar>er, SO Your Wflr\l

k. l!'strnm..rant! ltinrol"'''. tr..crh·ewayto~lough po~ sJs _ota emf('\\'ercalork~ ltim·,,\veilt•\~:rd'-t'-thenlo~te ·. . . off mrlw. l'i by toning llliL<!'I(.,, But thi>),!an ha>'l third ingr<'<lient. wl11l·h supp!Je, wh,lt

some )ugghnl(. and itwon'tlx·acinthform~t!QneaJittleean;.,. 11 will......,lllot household l'llot'P": but for lll'tn\' we "·liuv .1 °~~whoar..lift<tty"""""""'lritk

m<"it plarh laek-a f!'Ciing of eomfort and wcll-ll<!ing while you lo,e. The >t<-ret. a half· h.mr na)l~r~t)' aftern<>m. i Your first rcm·tion rna~· Jx. one of di,helid. You'\'e pmbablv always heard that ,Je<·ping puts on weight, but thi• i< not true-nothing acltb weight except ~ating. \\'hat lt"ot can do for most )lt'<>JII~ is rt'<lllte the compul>ion toea . Tin'<l and tt:n~t.', ~·nu f~l you ltC'Nl the midmorning pa,.,try or midaftl'rnoon .;andwkh for t>nergy lu kc"'J) going: rc"ted an• I relaxed. ;·ou'r·c Je., like!)' to want it. , · Perhap> a nap """m" out <If the qu<>stion-you could nen•r find the tim~. or you couldn't fall ask'~J> in th~ middle of th~ day. Th~se are l'ommon problt·m>: hut often, both tan Jx. sol\'c'\1. ~orne Wtml~n ma) <:hoost• a tinw while the thi!Unm an.· in :-;d10ul or whil<> the baby, ton, nap:-.

Otlwrs may (..nli:-t tlw tr)'•}M:nttiun of anuth~r family ffi(•mbt'r or ex<:hange ~(:'1"\'it·es with a n~ight,>r.lt may nwan<·ullinydownon the time you >)>end <lWr "o!Tee in the morning

inability to fall a'lecp. that tan be rcmc'<lit?d. The excrdRes on pag..,. 78 to 81 should relax ;md ju;t plcasantl.nire )'(JUl' bod;·. and tbe yawning trkk d""c·ribed on 11age M is rwar magic. I No r·eason yo11 shouldn't u,;c it at night. too.) c' We know it'~ea.•y to preJ)are all -;or~; of plans and U>sun1e, imprnrtieally, that all wr.m~n haw the time to follow them.

But we fl't'l this plan has such 'J><'<"ial merit that w~ h<>l><' it can~ tried out by a majority of out' rctulcr~. t-Ier~·:\ what we JWopo~e: At a gin•n time each afternoon. muffle tht.• tele· phone. and retire to your lx>Urmnn. i:'J><>nd aiM>ut twcnt)· minut<-S doing the non~trenuous ex<•rti"'"'· anc!IX' >ure to do them in m·cler Then pull down the 'hadt>s; go through the yawning routine; and sk'el) or, at l~ast, d<>z" for the balancP of the hour. Practi!.'<! this for one week; at th~ end of that time•, we predict you'll be noticeably ~Iimmer and pretti~r. and you will have no gnawing hunger pang• a:, you follow !h<! diet on page t92.

d·'·t

CA. M ay ' 61

' .·

" " ' e 1 ean uemanaged. A!!orj'tl<ll' Qnocmoll

. 47

Under the guidance of Mayes and Storch, McCall's has been making publishing history. In just two short years, advertising revenues rose from $18,390,989 to $31,545,130. Circulation rose from 5,345,245 to 6,387,000. In the second six months of 1960, McCall's average of 6,560,452 placed it first in its field.

That good design is good business has obviously been proved by Storch and McCall's enlightened management. How or why they were able to prove it may not be as obvious without the understanding of what lay behind the Storch approach to design. The calibre of this design and the impact and influence it has had on both magazine and advertising layout has been so significant that it tends to preclude consideration of his planning and predesign thought processes.

48

Magazines have been restyled before, usually with some success but seldom or never of the degree achieved by McCall's. Why? Perhaps it has never been done so well. Probably much of the answer lies in the fact that Storch did not start out to deliberately ~~restyle" McCall's. ~~The solutions we were seeking," states Storch, were better visual communications of ideas and individual stories ... something that would impart more meaning and value to the reader."

It was the total of these solutions, executed with the outstanding art and typographic direction of Storch, that evolved into the ((new" McCall's.

Questioned as to what this dramatic approach to visual presentation required in the tailoring of manuscripts, Storch was quick to point out that McCall's carried more text than any other magazine in its field. This meant a higher ratio of editorial to advertising, sometimes as high as 65% per cent, evidence of the philosophy that has directed McCall's fabulous growth, that permitted Storch to translate his thinking and design into the exciting visual image that is McCall's.

This was an enlightened philosophy, realization that the best road to success lay in greater respect for, and value to, the reader.

CA, May '61

They're light, bright and airy, with cutwork, open backs and sides, and a multitude of pretty straps

by HELEN FREEMAN

58

McColl's, March 1959

THE SHOES THAT BLOOM

49

IN to.•. About $!0. B~ Do Lillo D<l>•

(()p,..U. pag•l BaKth of red and gr<<m, li•d .,. ;,..top, giv• oparkl• to pump ofpal.,t beige c<Uf. About 111. B~ Panora""'

THE

Strap of black pa.tm.t 3lanta dram.aticaUv acr011 iutep of 4 •oft beige pump 11.-ith pat•nt h<el. AbcnLIII6. B~ Rh~thm Stop

A lov• of thr•• oraftS/U, from pal.• to dup, thill high·hulcd, T-otrap .andal hBo a C1<twork vo.mp. AbcnLI $14. B~ Vilc>lil~

ROJ!al-blu. patent UJ go with blue Gnd green prin.U lw.1 cuto1Lt ftdu, narrow ttrap aero•• iJtltep. About 114. BJ! Valentiu

SPRING

&d udfakin, fir•t tign of apri.ng, make• a timple T-atrap •hoe with unbr.akabl• h<el. About I /4. B~ Natural Bridge

De.l«table mo.v.ve tie pv.mp il 'PfJTf•ctfor thU lawnder-minctcd opru.g. About ns. BN Chart.• th Borufffor n...die Footwear

C\ctwork vamp malu• thU oliva..gr~ft kid pv.m.p eqva.Uv right for ,..u, and priKU . About 113. By To.,. and Count~ Shau

T

Yellow a.a butter aJt.dj1at a..t .tmootll., tii.U laiglt.-heelMl cal.f pv.mp h4l ombre-Uather heel and trim. Aboltt $11. B~ Jtuq1Uliu

Ro.~-p1n.k, gercJYtt'"" and red. kid. combiM to ww.ke a gra.ctfu.l

~andal wit.A •lingl>a<k, "P"'

•

McColi's, March 1~59

The first of the new McCall's layouts, March 1959

CA, May '61

59

STORCH runs the show in Room 725 in shirtsleeves. His Assistant Art Director is Samuel Bernstein whom everybody calls HScotty" for some unexplainable reason.

Scotty was recalled from the Grey Advertising Agency (having gone there from McCall's) to fill the position left vacant by William Cadge when he moved over to the first slot on Redbook.

Assistant to the Art Director is Dolores M. Silece, listed on the masthead as an assistant editor.

In addition, there are four other men and one girl on the staff. Milton Forman is production manager, Tony Olivetto and Harvey Gabar are designers, Allan Leff handles lettering, while Barbara Wolff does paste-up, mechanicals and some layout.

50

McCall's glittering success under Storch has set off a wave of talent raiding by agencies and publications. Storch estimates ruefully that he has had a threefold staff turnover in the last two years. The Storch imprint has become such a business asset that he jokingly says he should start a school for art careers.

PHOTOGRAPHY : PHILIP PERRONE/ PAUL DOME STUDIO

Storch believes ideas precede visual expression. His planning starts with the earliest stages when an article or a feature is no more than a bare outline. A discussion with the department head may follow, at which time Storch presents his initial thinking on the approach. Subsequently there may be a three-way discussion between editor, photographer or illustrator, and Storch. But when it comes to shooting, the photographer is guided by the Storch concept, and in the case of illustration the artist is given the situation and setting.

Storch's Hplann:ng ~essions" give his staff full opportunity to participate in the designing of the magazine. These sessions are usually held after hours when the telephones are stilled and interruptions are less frequent. They may last hours or minutes.

Each person participates in making layouts and suggesting solutions to the problem.

Out of these sessions come the rough layouts which determine the final page design.

Through the camera of Philip Perrone, Paul Dome Studio, CA presents

A DAY IN THE LIFE OF OTTO STORCH CA , May '61

51

Delores proposes (a problem), Storch disposes * **An illustrator's portfolio is scanned. Otto holds out one he particularly likes * * * With Scotty, the last spread for June gets a final look.

CA, May '61

52

~~I haven't shown it to The Chief yet, but I like it-I like it a lot"

***Nobody, but nobody, sits** *Arbitration proceedings between Editorial and Art. The plaintiff: Senior Editor Selma Robinson; the referee: Otto Storch.

CA, May '61

53

With Tony, reconciling cold type to Coby Whitmore's lovers*** A ~:~:sandwich" spread is checked out with Milt for color accuracy * * * Already planning August- a tea setting is discussed with George Ratkai, a partner in Paul Dome Studio.

CA, May '61

Otto Storch does not fit the stereotype so often associated with the highly successful art director. He lives with his wife Rita, to whom he has been married for twenty-five years, and his college-age son, in Wayne, New Jersey. He commutes by car to the end of the Lincoln Tunnel and transfers to a bus for the final leg of his journey. His home, on the shore of Pines Lake, allows him to pursue his favorite summer sports of sailing and swimming. In the winter he heads for the ski slopes but, he remarks wryly, "Lately I haven't had much time for skiing."

Prior to joining McCall's, Otto had been Art Editor of Better Living Magazine, AD for ]ens Risom Design, Inc. and a free-lance artist and consultant AD. He studied at Pratt Institute, Art Students League, Art Associates and the New School for Social Research. He is an active member of the New York Art Directors Club, the Type Directors Club and the Society of Illustrators.

Among his many medals and awards, he can count the New York Art Directors Club Special Medal Award "for his outstanding art direction of McCall's Magazine" and the Philadelphia Art Directors Club Special Achievement Gold Medal Award.

54

The calendar may say ~~April," but the layouts spell out ~~July"*** Otto and Ginny Steele, fashion editor, select merchandise for the August back-to-school section. The frock is cute, but it's Miss Kim O'Donnell's dimples that are getting Otto's attention.

CA, May '61

55

Editor Herbert Mayes: HTo find such ability combined with Otto's gentle disposition and his unaffected modesty is something for which I myself will never be able to offer appropriate thanks."

CA. May '61

PRINT THAT MATTERS

SOLD DIRECT ONLY with a ten day money-back GUARANTEE 18" x24" focal plate, 17"x23" copy board.

Four dia. up or down.

Hundreds sold to the nation 's top firms . .. never a return!

~

$19 aoo

complete with Raptar F 4.5 lens

Send for literature today!

LUCYGRAF Mfg. Co. 1929 N. Hillhurst Ave. A. 27, NO. 1-0637

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Things 1apanese are very much to the fore these days. For those who would learn more of 1apanese ways in design by experimenting with their very special techniques, we suggest two books ... not sophisticated, but authentic, elementary fun.

Japanese Brush Painting

By T. Makami. Published by the Japanese Art Center, 960 Bush Street, San Francisco, California. $2.00

This instruction book is based on the premise that anyone, child or adult, can learn Japanese brush painting. With "correct guidance and constant practice", great talent is not required. The six basic tools are described, along with how to use them, how to grind the sumi ink. Pages of fundamental calligraphy strokes are shown. Soon-such beautiful impressions made from so few strokes! (By the brush of a master.) 32 pages.

ADHESIVE BACK 56

ACETATE SHEETS in COLOR Here's a new, quick, accurate way to add matched standard printing ink colors to layouts, sketches and final art.

You can now see precisely what the art looks like in color before making costly plates or pulling color proofs.

T. Makami founded the Japanese Art Center in San Francisco in 1957. He teaches there, is a consultant on Japanese interiors and displays, and also conducts cultural exchange tours to Japan. His television demonstrations of brush painting and original paper folding are shown on National Educational Television tapes and are truly fascinating if you are interested in the techniques and fortunate enough to live in an area with educational TV.

Origami, Japanese Art of Paper Folding, Volume 1

By Tokinobu and Hideko Mihara. Published by Oriental Culture Book Company , 1765 Sutter Street, San Francisco 15, Calif . $1.25

In the preface to this instruction book, which is illustrated with actual folded projects in gay origami colors, we are told that the art of paper folding has been traditionally taught to children by Japanese parents for more than a thousand years. Frankly, in spite of detailed diagrams and three-dimensional models, some American parents (this reviewer included ) couldn't learn in a thousand years, and will have to be taught by the children ... who seem to catch on very quickly.

NOW AVAILABLE FOR THE 1st TIME! 161 different coordinated color sheets in standard percentage tones. Working area 18 x 24 inches.

A packet of origami paper is included with the book, and when this is gone, more can be ordered from the above address. For $1.00 they will send two packages of 6-inch squares and one package of 7-inch squares, 40 sheets per package, in 22 different colors. These colored sheets offer a stunning variety of hue and all kinds of exciting design possibilities.

CA , May '61

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CA, May '61

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ON THE BOARD CA-61

Our first annual exhibition, CA-60, was a satisfying but chaotic experience. Starting late with little advance publicity, we had not geared our preparations for the largest exhibition in the country. 2000 entrants (perhaps the largest of any exhibition) submitted over 5000 entries (published limit of 3 to a customer). We were months digging our way out.

This year, we've had to go to an entry handling fee ( but no limit on entries - no hanging fees!) and we're geared to handle a major exhibition.

Also to respond to requests for special exhibitions. The annual will again be loaded with color and seen by more people than any other art annual published in the United States.

Mailing tips for CA-61 entries

58

In order to insure maximum safety, minimum cost, and assurance that your work has been received, please follow these suggestions when mailing your entries to CA-61.

1) Be sure each piece you submit to CA-61 has Form B or its equivalent securely attached to it. Form A, your remittance, and a self-addressed postal card should be placed in an envelope inside the package.

2) Use two pieces of corrugated cardboard for protection, slightly larger

PARCEL POST-SPECIAL HANDLING CA-61 809 SAN ANTONIO ROAD PALO ALTO CALIFORNIA

DO NOT BEND OR FOLD FRONT

PARCEL POST-SPECIAL HANDLING

DO NOT BEND OR FOLD

BACK

than your work, and wrap with heavy kraft paper. Seal with masking tape.

3) If your entries are mailed on or before July 14, use 1st class if less than 1 lb. If over 1 lb., use ((Parcel PostSpecial Handling." The rates for Special Handling (stamps can be used) are 25.¢' up to 2 lbs, 35.¢' from 2 to 10 lbs, 50.¢' over 10 lbs. A self-addressed postal card included in the package costs less than a return postal receipt.

4) If your entries cannot be mailed until close to deadline time, air mail is advised. (See ((Art by Jet" in the March (61 issue for complete information).

Special Delivery is not necessary.

NSAD re-elects Lougee

Arthur T. Lougee, Executive Editor and Art Director of Ford Times, was re-elected for a two-year term as president of the National Society of Art Directors.

In his post with Ford, Lougee has directed the purchase of American paintings for their consumer publications and the formation of the Ford Times collection of over 7000 paintings by contemporary artists. These paintings have been the source material for 32 traveling exhibitions continuously in use in U. S. museums, colleges, universities and other educational institutions. Twelve exihbitions from this collection have been chosen for circulation throughout the world by the U.S. Information Agency.

A former president of the Art Directors Club of Detroit, Lougee was honored as Art Director of the Year (1953). His work on Ford Times was also recognized by an honorary degree of Doctor of Fine Arts from Colby College (1959).

Other officers elected were Douglas G. Kennedy, first vice president, and Carl F. Klinghammer, second v. p.

Kennedy is AD with Charles Bowes Advertising in Los Angeles and a former first vice president of the Los Angeles Art Directors Club.

Klinghammer, AD with D' Arcy in St. Louis, is former president and presently chairman of the advisory board of the St. Louis club.

CA, May '61

Art Director of the Year

Otto Storch, in acknowledging the NSAD award, made a unique acceptance speech: ((When I think of all the wonderful art work I see these days being turned out by so many Art Directors, it is pretty hard for me to imagine how any group of judges can settle on any one person for an award. I guess a fellow just has to say his prayers regularly, which I do, and then on top of that, be just plain lucky. I guess I am just plain lucky. ((Being voted Art Director of the Year is pretty scary to a fellow like me, because with all the pressures there are in magazine work, I sometimes am surprised that at McCall 's I am even Art Director of the Day. This honor you have given me places a great responsibility- on you. ((Because now every time I sit down at my drawing board in New York, that fellow Mayes I work with is going to look over my shoulder and say (Art Director of the year my eyer wouldn't put that layout in a high school yearbook.' The next thing you know, I am going to be Art Director of a high school yearbook, and you people are going to have to support me. ((But no matter what I do- even making a one minute speech for example - I think I can do it better with a pencil and paper. So here is what I would like to say ... (holding up a piece of drawing board) ((I thank you.

I love you.

I can't ever forget this happy day."

First Financial Communications Exhibit

If you design or prepare printed material for the financial/ stockmarket world you are invited to submit to the first Financial Communications Exhibit, being sponsored by . Mead Papers, Inc. at their Library of Ideas, 230 Park Avenue, New York 17. The display is being selected by experts in the financial and graphic arts fields, and will be open to the public, business days from 9:30 to 5, June 19 through July 21.

This exhibit is ((aimed at showing how the printed word is used to keep investment companies and the general share-owning public informed of important financial news ... " Dwight Rockwell, Jr. is director of the Library.

S I Bulletin

We recently acquired a number of back issues (about a year old) of the Bulletin of the Society of Illustrators of Los Angeles and settled down for an evening of some of the most interesting and entertaining reading we(ve enjoyed in a long time. The staff (Bill Tara, editor; Maxine McCaffrey, features; Harry Garo, news) produced some fast moving 8-pagers.

Among the humorous features, historical quotes from here and there, and the ((Los Angeles-type" ads, were

some really thought provoking articles ... a prominent psychiatrist's study into the psychic difficulties of creating encountered by artists; the contemplation of automation's entrance into the advertising field; an ultimatum to illustrators. We immediately got on the long distance phone about the last item, by Marvin Rubin. It is printed on pages 10-11 this issue. Also from the Bulletin is the cartoon below. The artist, Dick Condor, writes copy for Campbell-Ewald, Detroit, and draws well enough to make artists nervousespecially with subjects like this one.

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•• CA. May '61

California residents add 10 cents for state sales tax.

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

DESIGNING ALOUD

by WALTER LANDOR

INCIPIENT "INTERNATIONAL" STYLE? 60

For the first time in the history of design, everybody knows and sees what everyone else is creating in different parts of the world.

While ease of communication between countries and inter-weaving of cultures generate a powerful stimulus to creativity in the designer, this situation also presents a great inherent danger: the possibility of an incipient ((international" style in product and package design-everyone doing what everyone else is doing.

We would have, then: -A package of ham from the stockyards of Chicago looking almost identical to one from Copenhagen, -A transistor radio looking the same whether from the U.S., Japan or Germany, -A bottle of ale looking as if it could be from London, Boston or New Zealand, -Chocolate bars from Switzerland, Germany or France speaking the same visual language, -And worse yet, design cliches not only crossing national borders, but crossing-and blurring-product category lines as well, so that you have a package which could contain, with almost equal design appropriateness (so vague is the design statement) any one of such things as sparkplugs, toothpaste, typewriter ribbons, or a pharmaceutical sample kit.

As creative designers, we must guard against the danger of watering down or wiping out the vital differences that are rooted in our cultures. If we allow ourselves to drift further in this direction, we shall end up in a morass of sterile mediocrity and sameness that offends no one, pleases no one, moves no one and is bought only because no alternative choice is available.

By all means we should be sensitive and receptive to the design concepts of designers in all parts of the world, and allow ourselves to be influenced by them; but we must filter them very slowly through the innermost crevices of our own person, so that only those elements find their way into our creative act which have truly become a part of us.

In this way we shall not only avoid the trap of design cliches into which even the best designers tend to fall from time to time-but instead we shall create designs which are unique and perhaps new, because they are neither the result of our own personality alone nor someone else's alone. They are a blend, a valid and better blend, because they would never have come into being without the interaction of both.

Let us hope our designs will always convey a special spirit, expressive of whatever part of the world they come from. Because then, and only then, can products and packel:ges be true ambassadors from one country to another. If they are conceived as such, they will sell better at home and abroad. At the same time they should not be oblivious to the viewpoint of the consumer in another area who has been reared in a different environment with different criteria and different symbols.

We should remember that the complex job of the designer is to serve the client-the manufacturer- by stimulating and satisfying the needs of the mass consumer, while gaining personal satisfaction from the creative process of solving the problem as an artist.

Solving the total problem then is to make the design of a product or package project powerfully the essence of its use or its contents PLUS somehow reflecting both the spirit of its cultural origin and the personality of the designer.

CA, May '61