mayjun1965

At home in the garden Jack Avedisian has a green thumb.

HereattheshopJack'sthumbisgreen,mauve,yellow, orange, purple and every other color you can think of. .Jack Avedisian, like all our fine craftsmen, has a sure touch with color. It is the skill of these men alone that enables us to turn out superior dye transfer and color control work. ~ PETERSON Color Laboratory, Inc., 10 East 39 St., N.Y. 16, N.Y.· ORegon 9-7360

THE MAGAZINE OF THE COMMUNICATION ARTS

Richard Coyne, editor I art director Wendy Gross, editorial assistant Jay McKendry, typographer Bob Bickford, assoc. typographer

Volume 7, Number 3, 1965

The time and the place

16

On the board . .

20

Onofrio Paccione

26

The girl next door

40

John Peter . . . .

44

Geigy Chemical Corporation

54

Official graphic art of Switzerland

62

A is for apple

64

Stan Dann ..

66

Design in Chicago Printing exhibition

70

San Diego, 5th exhibition . . . .

76

Washington, D. C., 16th exhibition

22

Minneapolis-St. Paul, 11th exhibition

86

Books

96

Club news . . . . . .

101

Call for entries, CA-65

102

Materials, available literature

106

Robert Blanchard, publisher Gale Osborne, circulation Judy Graham , circulation

Editorial offices : 809 San Antonio Road Palo Alto, California 94303 Telephone (415) 326-6040 Advertising offices : Post Office Box 10300 Palo Alto, California 94303 Telephone (415) 327-5461

CA Magazine is pub I ished bi·monthly by Coyne & Blanchard, Inc., 809 San Antonio Road, Palo Alto, Ca liforn ia 94303. Subscription rates : U.S. A. and possessions, one year- $12, two years - $22 , three years - $30. Foreign, one year- $14, two years $26, three years - $36. Single issues : $2 each. '' Coyne & Blanchard , Inc., 1965. All rights reserved. Trademark registered. Second-class postage pa id at Palo Alto, California.

Change of Address : Notificat ion should be sent to CA at least 30 days prior to effective date.

Send both new and old address. If possible, use imprint from CA mailing envelope for old address.

Editorial Correspondence : No responsibility is assumed by the editors or publisher for unsol icited contributions. Manuscripts or other material shou ld be accompanied by self-addressed, stamped envelope.

Cover design by Peter Max Back cover by Gene Hoffman

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The Tim e and the Place

Aalborg Denmark's Modern Furniture Trade Fair will take place in Aalborg at the Aalborg Exhibition-Hall August 12 through August 15. Information is available from Foreningen Mobelbranchens Faellesudstilling, Moensgade 8 st., Aarhus C. Aspen The 1965 International Design Conference at Aspen will be June 20- 25. Registration fee is $85. Mailing address: IDCA, Box 644, Aspen, Colorado.

Chicago A new gallery of design, Gallery 500-D, has opened at the corner of Dearborn and Illinois Streets, Chicago, under the sponsorship of Frederic Ryder Company, Advertising Typographers. Initially, exhibits will present the work of designers from the Chicago area. The gallery will also house a permanent typographic exhibition and will offer "Typographic Clinic 1965," a series of lectures on typography by experts in the field. For information contact Frederic Ryder Company, 500 North Dearborn St., Chicago, Illinois 60610.

Los Angeles The Los Angeles County Museum will show "Birds of Asia," 60 black and white studies of birds of Malaya, India and New Guinea photographed by Loke Wan Tcho, from june 15 to August 31. Through July 5, photographs, maps and artifacts of landscapes, rivers and people of the Canyonlands of Utah will be presented in an exhibit titled "Standing-Up Country."

New York The United States' first museum devoted solely to original prints will open in the fall of 1966 on the East Side of Manhattan. The Museum of Graphic Art, under president Donald H. Karshan, will hold extensive exhibits of works ranging from the fifteenth century to the present and will draw heavily from the print collections of the world's major museums, libraries and private collectors. An introductory gallery explaining the history of graphic techniques and styles will be established along with a graphic art reference library, a print clinic and a print restoration service. Foreign and national advisory councils for the museum are made up of prominent graphic art curators, scholars and collectors throughout the U.S. and Europe. A Founding Membership Plan will be limited to two hundred individuals

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The Time and the Place (cont.)

Win a

or organizations, each contributing one thousand dollars.

For information write The Museum of Graphic Art, Inc., 575 Madison Avenue, New York, N.Y. Five Pratt Graphic Art Center artists will be represented at the New York World's Fair pavilion "The House of Good Taste." Original prints by Ruth Kerkovius, 'Ansei Uchima, Ed Casarella, Seong Moy and Arthur Deshaies will be shown along with the work of Fritz Eichenberg, Andrew Stasik and Michael Ponce de Leon.

Art Direction has announced an entry deadline of July 9 for its 5th Annual Creativity on Paper Show. Entries must have been produced between June, 1964 and June, 1965 and should feature the use of paper as a prime design factor.

Entries, along with $1 per piece entry fee, should be sent to Creativity on Paper, Box 3761, New 17, N. Y. A label on the back of each piece should have the following information printed or typed: 1 ) name and address of entrant, 2 ) name and address of client, 3) name and address of designer, 4) mill name and brand name of paper stock.

Pieces should not be mounted. The show will be judged by I van Chermayeff, Gene Frederico and George Olden and exhibited at the Mead Library of Ideas, New York and Chicago, in October.

see Atlantic Pastel Offset insert opposite page 86

The graphic design of James Ward and Arnold Saks will be on display at Gallery 303 through July 9.

North Dartmouth Southeastern Massachusetts Technological Institute has initiated a two-year graduate program in Visual Design leading to a Master of Fine Arts Degree. The program is under the direction of Professor Alexander Nesbitt and will involve work in aesthetics, typography, calligraphy, communications, graphic design history, color and photography.

All inquiries should be addressed to the Dean of Graduate Studies, Southeastern Massachusetts Technological Institute, North Dartmouth, Massachusetts 02747.

Philadelphia The Photography Department of the Philadelphia College of Art is exhibiting 24 photographic panels interpreting architecture in Philadelphia. The five-foot by ten-foot panels are on display through June at the Architects and Building Center on the first floor of the Boulevard Building. Ray K. Metzger, instructor in photography at the College, supervised the student project.

Pittsburgh The Ivy School of Professional Art Galleries will show advertising and typographic design by George Palatz of Herhick & Held through June. In July the Galleries will feature set design, animation and film work by Jeno Toth of Fahlgren and Associates.

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19

On the board

ADVERTISING'S critics have been exceptionally silent of late. Even the recent weight-reducing scandal didn't stir much action.

Public opinion has undergone a radical, but predictable, change. We must accustom ourselves to a new and strange role of public acceptance.

Now the critics are on the wrong side of the fence.

Only a short time ago, Advertising was consistently damned-from liberal publications, college lecterns, pulpits and even the rostrum of a national political convention. A few of the big time critics even made the front pages of the newspapers.

Most of them weren't exactly qualified as experts on the subject, but that wasn't necessary. Just a mention of "Madison Avenue" and everyone knew what you meant.

No elaboration was required to conjure the grimy images of immorality and irresponsibility that could only be linked with greed, waste, the devil, big business and the opposition party. Powerful puppet masters pulled the strings and the Joneses bought things they didn't need, or really wantlipstick, colored toilet paper, chrome-plated cars.

"Planned obsolescence" and impulse buying was being forced on the public by the cruelest possible means, by preying on their puissant sex drives!

To zero in on this image of Madison Avenue, the public was afforded an insight to the population thereof.

Uniformed in grey flannel suits and "sincere" ties, they indulged in three-hour, martini-soaked lunches. Returning to their committee rooms, they ineptly "ran ideas up flagpoles," danced up and down to idiotic singing commercials, and bowed and scraped to crude executives who spit on the conference table. This typical day closed with a "wet" commute ride back to a debt-ridden standard of suburban living well beyond their means.

How immoral could anyone get?

A few of Advertising's leaders, individual and association, rose up in defense, generally managing to drive public opinion to a new low. It was measured about this time in a private survey conducted by a leading trade publication.

This concluded that most admen weren't really considered bad guys, but most people would prefere not to have their son be one, their daughter marry one, or have one for a neighbor.

It's surprising that some zealot didn't pick up this 20

popular cause and call for a congressional investigation. As a matter of fact, the public believed that ther was one-the investigation of certain disreputable packaging practices.

At this time, I was on a panel before a national convention of educators. A number of these people, who are in a position to shape the thinking of our children, rose to ask me "how could I justify such activities?"

After replying that I certainly couldn't and had never felt the need to, I was made painfully aware of what was really communicated through the press coverage of the investigation.

As absurd and illogical as it may seem when some foreign power with another form of government changes the policy for opinion overnight, it can happen just about as fast here. Heroes can be goats and goats become heroes.

Fences can move. A formerly popular point of view is suddenly on the wrong side as new causes are found for existing evils.

Current economic theory says we can create the 16 million new jobs for the next decade by maintaining a high enough level of consumer spending.

Careful and logical strategy has been mapped. As the new wave of young marrieds breaks over us, they will absorb the small houses and used cars that are suited to their income levels. They will also create a demand for smaller electrical appliances, TV sets and other household basics. The more mature consumers will then be free to quy new cars, bigger houses, luxurious vacations and color TV sets. Both our highways and our paychecks can be kept bulging.

Who's got time to be concerned with planned obsolescence? Or who wants to identify with Vance Packard's little old lady in Maine chopping her own wood? This looks like a pretty good life.

Many of yesterday's attitudes were caught up in this change, or reversal, of opinion. Big business isn't so bad any more. Corporate profits mean plant expansion, more jobs, and more products to buy. Labor unions, particularly the other guy's, deserve more watching. They might be a threat to the G.N.P.!

The time is ripe for better more forceful advertising.

We might even see the advent of the patriotic message} such as: "Chevrolet needs you!"

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On the board (cont.)

But let's not forget that public opinion is fickle. It will change again.

You don't need a crystal ball to predict it. Look to the college campus. The signposts are always there. The kids have a way of sensing the next direction, even before they can define it-or the need, and long before there is the slightest evidence of a forthcoming change in public opinion.

A reactionary wave swept over the campus several years ago. Strange political circumstances have altered the translation. somewhat, but the move to a new view of and appreciation for private enterprise was inevitable. It may seem a cloudy picture of conservatism. Of necessity it had to

"squeeze left" into the mainstream of reality-of urban problems, suburban growth, fast transportation and communication, the megalopolis and the rise of federal and decline of state power. It is still a fact.

Today a new movement is already evident. It's chaotic as yet- disorderly "teach-ins," free speech movements and student demonstrations. Efforts have been made, in support or condemnation, to rationalize it in terms of today. But isn't it the intuitive beginning of a "moralist revolution" aganist the rise of materialism and self-interest of the

afjiuent society?

What's the next move for Advertising?

Under this new found approval, the quality needs to continue to improve very rapidly (as it already has ). Our position in the business community should be strengthened to a professional status and stature. Some indications of this are already evident in the strong movement toward fees instead of the arbitrary system of media commissions.

Maybe in a few years, as the pendulum swings back, public opinion will seek out a new whipping boy.

0

There once ~a.• a. lady hand -letterer ~ho thought of a. progra.D1. to better her

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Glad Hand Preaa, Robert M. Jo:n.ea, prop. ad:rnirerers o f' Cano y let.t.ers.

22

NE OF THE VERY interesting people that I've met in this business is Robert M. jones. And a truly intriguing place to visit, that I never miss when I'm in the area, is the Glad Hand Press, usurper of the garage at Bob's home in Stamford, Conn. Besides the presses and the magnificent collection of old engravings, books and documents that always seem to have enjoyed a recent addition, there's a new collection of the Press' production stacked about or tacked to the walls. Sometimes they are merely sayings, "For perpetuating errors, nothing beats a printing press," or "An evil mind is a constant solace." They also include a range of: posters for a cause (any worthwhile cause backed by almost any group ) ; cartoons; jingles and poems ; new interpretations of the Glad Hand symbol ; real works of art that Bob is experimenting with on the press.

Just the prospect of cold beer and a visit with the Prop. would be sufficient. Bob jones is one of the most amusing and genuine people you would ever care to meet; and the Press is a natural environment that has been built from his own personality. His mode of living is casual, and his home is overfilled with bits of humor and really fine examples of art (usually a combination of both ) that are gifts created by his many artistic friends that gravitate naturally to the Press.

Commercially, jones is art director of Victor Records where he has just won his fourth

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On the board (cont.)

Record Academy "Grammy" award. He was also just elected 1st Vice President of the Art Directors Club of New York. Two years ago he was program chairman of that organization's Visual Communications Conference.

Bob has accepted my invitation to contribute a regular feature, to share some of the creations of the Glad Hand Press with CA's readers. It will commence in the near future- as soon as we have resolved some of the problems such as the title and direction of the content, as to humor, art, old engravings, fine typography, girls, whatever. Perhaps the ultimate and best decision will be to just range over anywhere the Press may go. As for a title, I personally feel it would be enough to ape Robert Benchley's illustrious presentation speech for the Downbeat award to Artie Shaw: "Here."

th~

RTER MAX, cover artist for this issue, was subject of a feature article in the September /October, 1964, CA. Max was also the designer of the Call for Entries brochure and posters for this year's New York Art Directors Club exhibition. I had originally planned the Max cover to run with the past issue that featured the New York medal and merit award winners. Unfortunately, I ran into a head-on conflict with the Laliberte cover when I decided to schedule his feature story in the same magazine. It seemed a more logical decision to hold Peter's back for this one.

GENE HOFFMAN, whose delightful assemblage of an expresso machine graces our back cover and also the lobby of our office, is making his second appearance as a CA cover artist. His rendering of a warlord appeared on our J anury '62 issue. Howard Gossage beat us to the purchase of that one, hung it in his office with a small brass plate inscribed "Our Client."

Gene is a free lance artist in Denver. His current work in assemblages has departed from the rusty can, rag, broken glass and bottlecap school of thinking to exploring the possibilities of shiny, new aluminum.

NEWSPAPER TYPOGRAPHY and proofreading seems to be getting steadily worse. Maybe that's just the San Francisco paper that I struggle with, though I've noticed that it is a problem in other cities too. Occasionally some amusing errors or juxtapositions occur, as per the excerpts in The New Yorker, but it's usually just a confusing irritant that defeats all efforts to maintain reading speed.

The local Palo Alto paper has a much better record, but it did generate one of the more outstanding fiascos recently. It was a review of Anthony Newley's new musical, "The Roar of the Greasepaint- The Smell of the Crowd."

The article was "I" to read, but I found myself pursuing it

with all the fascination of a new game. This sample may drive our own typographer wild trying to set it: ... The score aso incuded two more enjoyabe baads and severa cever patter songs.

Weakest point of the show is the second-act pivot for the ony pot turn there is- when Cocky decides he can win.

He decided the common man and the estabishment must continue to face ife together, but with changed rues.

The musica is a decided change from most of Broadway's musica adaptations of straight pays, noves and biographies. Book, music, yrics and direction are by Anthony Newey and Lesie Bricusse.

Among their ess origina devices in the new show are a chorus of street urchins on stage a tiresome amount of time, and a segment of doubetak with ciches about race reations and prejudices [sic] ...

The shortage in the lower case "I" department must have been some mechanical failure. Each line had been justified to work without these letters. The proofreader, undoubtedly, was on a coffee break.

Fooling around with these things always starts a few wheels turning. This article could be read, with difficulty.

But it was readable and much more so the further I read.

In the consideration of modified alphabets such as the 26 symbol combination of the most readable cap or lower case, very little switch-over adjustment time would be needed, and this would undoubtedly minimize with more back and forth experience. Thinking back to my first experience with the Augmented Roman alphabet, it was only a matter of minutes to read it fluently.

Another thought (probably it's already been done) is the possibility of skipping unessential words to expedite the communication of written information-sort of a speed readers' literary style. Synopses and abridgments can be weak or sometimes even misleading.

ENTRY FORMS for the CA-65 exhibition are on page 102- 3. Additional entry forms are now available by writing to CA. Entries may also be submitted with facsimilies of the forms.

The jury for this year's exhibition will be: Chris Arvetis, Richard Gange!, Morton Goldsholl, Stan Hodge, George Olden, Onofrio Paccione and Adrian Taylor.

This year we are returning to the format of earlier years and will reproduce the entire exhibition in the special November /December issue of CA. A few copies of the casebound CA-64 annual are still available. Check your local art material store or send a request with a check for $15 to CA Magazine, 809 San Antonio Road, Palo Alto, California. Your book will be shipped immediately, postpaid.

Deadline for CA-65 entries is July 10 25

ONOFRIO PACCIONE Creative director, art director, photographer, businessman, Onofrio Paccione has been a consistent producer of brilliant and effective advertising. And he has been almost as consistently a source of controversy along Madison Avenue. He's never been one to pull punches in the ad message, nor has he hesitated to innovate or "change the rules of the game."

Unruffled by the tumult and the shouting, Patch continues to go his own way. If it is an unorthodox way at times, his accounts have accepted it with wholehearted endorsement. Leber Katz Paccione, Inc. has tripled its billing in the three and a half years since he added his name to Leber & Katz. Only two accounts have left in that period, resigned by the agency on grounds of incompatibility or unprofitability or both.

His advertisements, all with Paccione photo credits, have drawn top awards in art directors exhibitions. His photography in the editorial pages of McCall's and Redbook has also collected exhibition awards as well as accolades from the professional photographic magazines.

Much of this is shot in a studio right in the offices of Leber Katz Paccione. When he can't handle it there, he usually does his own location shooting. The reaction among many old line photographers ranges from irritation to dismay, for Patch's activities touch both their pocketbooks and their pride. Reluctantly they have had to accept the phenomenon of art directors turning photographer-Kane, Bassman, Penn, Stern and others, but this advent of the art director /photographer is far more disconcerting. Otto Storch, Bill Cadge and others are also gaining prominence for their photography, without relinquishing their position as art directors.

26

PACCIONE

~c:oh:h •~"'l' ~• hit of )!t. Uin~ u... t:d ln. I h<' no\ k"'

''ill 'iP iuto H J,!r..tdu.llh. Pruh.1hh ... urr \Uih um.: oftht· 'H'Il knmHI''h~hf' ''utcht.·'· Uut unn• ~uu ~tcquin· tht· l•t,h·. if, tinu.o IHr th ..· ridt tutl hod' and char~ll.:h:r of Jfud ... on·, H.l\ Bl·'l Prm:urahk.

(If Hm 'd lll,.t.· tn ,.,,..,. ho\\ toulh UIMii"'t: J.:,rt:dl "coh.:ht ... rau h{•, l~hll' .md lUOlJldrl' .1 iil.!:-!1 r c.1f llud\Hn·, Ba~ "ith a jig:,.:u ul an' of tiH.: utfH.r\.)

Paccione thrives on controversy as do his clients, judging by the agency's record. One of the first ads to create a stir was the one above that Paccione created for Hudson's Bay Scotch. While some magazines rejected the page as being overly-competitive, enough accepted it for publication to incite anguished cries from those competitors whose bottles and brands had received gratuitous exposure.

Paccione has tangled with the guardians of The New 28

Yorker's morals on at least a couple of occasions over his color pages for Marvella Pearls. In rejecting the one at top left on the facing page as being somewhat suggestive, the acceptance committee offered to pay the cost of new engravings from the less emotionally charged pose of the ad at top right.

Paccione's comment when the expurgated version came out: "It's more sexy than the original."

ra.

This time , it's real . All but Marvelique. those intriguing pretender·to-the·throne pearls. In their sultry, mysterious shimmer, all the lure of the fabled Oriental. Magnificent impostors, these ... their pnceless air enhanced by the vivid beauty of real gem·stones.Two·strand coc:ktail·length necklace with genuine turQuoise or oxi>Jood coral , set in clasp of sterling silver washed in gold, $30. Ring to match clasp,$10. Earrings, $10. Prices plus Federal tax. At the finest shops or write Marvella,lnm o 'fvel

This time, it's real. All but MarveliQue. those intriguing pretender·to·the·throne pearls. In their sultry, mysterious shimmer, aU the lure of the fabled Oriental. Magnificent impostors, these ..• their priceless air enhanced by the vivid beauty of real gem·stones.Two·strand cocktail· length necklace with genuine turquoise or oxblood coral, set in clasp of sterling silver washed in gold, $30. Ring to match

clasp,$10. Earrings,$10. PricesplusFederaltax.At the finestshopsorwrite Marvella,lnm

coulditbetherealthing?

Fo f v e l l o . could•tbetherealthing?

("Inflammable," thought The New Yorker ..... . "More sexy, " says Paccione)

(The line between rejection and acceptance is one-eighth of an inch wide) 29

UndreKs a chic woman and whJt do vou sed T he chall enl,(ing chic of Double Dare. PrtWOC<lth•e new bra by PermO'!:· Lift that recogni:ea the f~-rninine facts of life..

Tim.e W3$ when fa.shh.m de5igners WO\lld ha\'t: u& think that the idea l woman had HttJe or no bo!;om ar alt . Or p.erha.ps a rat hc:r monolithic curve of one.

Now couturiet$ have recognized deavagt:.

Neckline& h:we taken the p l un~e. Are wide·anM;Ied. &:o:opedour.

They ~hould h.'\.)'e ~;:hec-ked with the world'!:i great beaudes wbo knew about it all along.

And lhw Double Dan. It fram \"5 a most beautiful

Disappearing Act L .. disappears tran.1-parently!

30

view of bosom. A \'icw mttdt' transparent Magic ln.:>ets that mor~ so ht.cause rhis bnt pn·wide the fa.m()U.S hugs ,·ou at the sides. For the Perma·Lift uplift. And light finn 'iUUng roundnes11 such curves of wire to undet'Sf!ore decolletage deserve~. the 5hape. So get ready lt d.!)e5 aU this in the guise for the nt:W n01:kUne<1. of a mer~ lacy trille. An \Ve Oollble Dare ','tlu. exclusive grapevine lace 0\'tt: ln ·w hite, barely beige over marqulliene. About as white, hl:;ack over beige, 6.00. innocent as a dropped hanky. \Vhat you don't see :.t:t

Perma·Lift.

(l(;y. ,-1,-ll';;;ly . . f'tllr 1·/y ,-Hir·n !Ar.j f'rf'll..

Finish your champagne .

It's getting late.

,llru~ ' tf'a.JJrill; f I'II'Y lr iu

.. IN It n •//ly ,;; I'll' ~yNt .. rfti ,ritt ,1,-,J/jll

( lrrl. r/,-•11 f f'NIIt';;l'lt'yJ/) • • 11111//A,-.;r r/,-11'1( ilf' : /r,-otrlt/trtl 'l~l/llltlit/J .. r /'

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LIFE's Advertising acceptance committee found one of Paccione's photographs for P ermali ft (top left ) too lifelike for their taste. His headline: "Undress a chic woman and what do you see?" went unchallenged, but the picture was considered too realistic for the magazine's readers. It was replaced (top right). In his presentation of feminine

dainties, Paccione has fostered a cult of under-exposure rather than over-exposure, preferring to bring up just one side of the matter.

For this Saga ad (above) in Town & Country, Patch drew fire from Oleg Cassini on the ground that is was an all-too-convincing portrait of a Man About Town.

31

PACCIONE

Even with non-controversial advertisements, Paccione's concepts are often provocative, never dull. Characteristic of all his work is a warmth of human feeling. He believes in "the emotional photograph.''

"When the idea itself has warmth," he says, "a good picture helps."

But a good picture does not necessarily make a good ad, he explains. A good ad must be based on sound marketing principles. If it solves the marketing problem, gets attention and looks pretty good, then the art direction is right in Paccione's book.

An individualist by temperament, he has no traffic with group think, abhors committee control. "Fifteen men sitting around a table can be just as wrong as one man, and waste fifteen times as much time. One man can be wrong, too. But not too often or he loses his accounts."

The agency Paccione admires most is Doyle Dane Bern bach.

"A strong agency almost has to be a dictatorship. Bill Bernbach started out with an idea and stuck with it through all kinds of opposition. He'd rather lose an account than compromise the idea. He understands what's right and what's wrong in advertising, and you can't budge him from his position when he knows he's right."

In creating an ad, Paccione usually starts with a doodle. Some of his best known advertising had its origin on the masthead of The New York Times, sketched on the train from his home in Croton-onHudson. A thumbnail is shown to the client for approval. Once accepted it goes directly to the photo studio. This streamlining speeds production and cuts agency overhead.

The system's success, however, is bound to be contingent on cooperative clients who have the understanding and faith to believe that this scrawl will become a convincing page.

Paccione cites several reasons in support of his position that he be permitted to handle all photography for the agency's accounts. It saves time and money for their clients.

They get good photography at the market rate but are saved considerable expense in studio and set costs. Patch is able to exercise complete control over the execution of the idea, and there is no dilution or distortion of the idea as it passes through hands. On timing, he estimates that he can execute two or three assignments in the time he would 32

expect to spend supervising a single setting in an outside studio.

Frustration prompted Paccione to begin photographing. He was discussing a problem with one of the big names of the business. The photographer stated flatly that what Patch wanted simply could not be done.

"Who says it can't be done?" demanded Paccione.

"Leica says it can't be done. Hasselblad says it can't be done. Eastman says it can't be done. And I say it can't be done."

Paccione promptly went out to buy a camera and prove that it could be done.

His own children were his first subjects. They're still modeling. The four oldest- Phillip, 11; James, 8; Martha, 6; and Dorothy, 3- have been seen frequently in Redbook and McCall's. The youngest, Grace, four months, is expected any moment to join the private Paccione model agency.

Another member of the family, Ronnie, is especially favored by Patch as a photographic subject. As Ronnie Campbell, Mrs. Paccione modeled professionally before her marriage.

In Paccione's expedited process of producing an ad, he has been known to write headline and copy. This is the exception, however, not the rule. He usually leaves copy to other talent in the agency. Nevertheless, he has the distinction of being the first art director ever to receive a citation from the Advertising Writers Association of New York. This was for the Lowenbrau ad "If they run out Lowenbrau- order champagne."

The list of other awards, honors and compliments to this ad is extensive. In a round-up of ten outstanding creative people who were asked by Print magazine to select the best campaign of the year (other than their own), Bill Bernbach singled out the Lowenbrau page.

As Paccione tells it, the inspiration for the headline was one of those rare, once in a lifetime breaks. They had just received the news of being awarded the Lowenbrau account. A group from the agency planned to discuss campaign strategy over lunch. Of course they ordered Lowenbrau.

Apologetically the waiter reported that the bar had just run out of Lowenbrau.

"O.K.," said Paccione, "then we'll order champagne."

He stopped, and then he asked "Why not?"

There were some inevitable why nots, some headshaking.

Someone raised a point, "You know that Hans Holterbosch (U.S. distributor for Lowenbrau) handles champagne, too. He might think this \\las derogatory."

"On the contrary," Paccione argued, "it's a compliment to champagne."

He won the argument and the ad started winning awards.

People get a little silly about their babies' first shoes H he takes off his shoes every chance he getsy they're probably the wrong ones

Taking them off won't make the wrong shoes right. And when shoes are uncomfortable they can start your cbild on a Ufetime of foot problems, the kind 8 out of 10 people have by the time they're grown.

With the right shoes, your young ter hardly knows be's wearing anything at all.

They've been properly fitted.

They're soft, light and

flexible. Such shoes are available. They're called Jumping Jacks. Unlike ordinary shoes, Jumping Jacks are untined. That's why your child will find them noticeably more comfortable the moment he puts them on. They're made from prime leathers, to assure wear without weight.

All through tbe vital growing years, Jumping Jacks give

your chiJd barefoot freedom, exactly what he was after when he took off those other shoes.

Get Jumping Jacks and relax. lf the shoe fits, he'll

ttl

wearit.

"

Jtilii'Piiig:Jacks.

And they should. (But not by hanging them around a car mirror.) Look, those first shoes are half treasure and half magic charm.

If they're the right shoes, they'll bring good fortune to a baby's feet. The wrong shoes may lead to a lifetime of foot problems, problems that 8 out of 10 people bave by the time they're grown.

99% of all babies are born

with perfect feet. To keep them that way, a child should, ideally, go barefoot.

Because your child can't, do the next best thing: Put him in Jumping Jacks. Unlike ordinary shoes, Jumping Jacks are unlined. This makes them softer, lighter, more flexible, and more naturaUy correct.

Prime leathers assure wear without weight. So Jumping Jacks give your child

barefoot freedom all through the growing years. When it comes to your children's shoes, come to your Jumping Jacks store. Nobody there thinks

a

ch.ildren's shoes ares,y.

~

i 1

Jiilii'Piiig·:Jac'i~s.

-

1

"

33

PACCIONE

Ads for Saga Mink, Filterella Cigars, Beacon Manufacturing Co., H.l. S. Sportswear; packages for Favorite Foods Co. and the Israel Trade Commission

Light your first Filterela with your last cig-arette.

Bn•n h tlw t•hain. If ~uu·, ,. an itdt In s\\ itc-h tn dg-ar::-.. \\ '-'llmah.t• it t-a .. y. Filh•n ·la i-. t• .. pt·t·in11,\ nwdt· for

f'h,.rardh) ... mllln·r-.. Tht• IHirt .\ cHI pu1 in )HUr munth i:- I'~Hlntl nnd plinhlc·. llw 'httf)P )ttu'rt• t:lllllfnrtahh•

1 1 1~,il\~· ~!~~ ;!,;; ,'i~~~';: ~~~ i :, :::.(;.·~~~i~,~~·;t,~~~.- ~~::t:~;i: h,~:!:~~~~ ;: ~~i~,\~~l.! ~ i~~tl•l'':.j~~~ :,':~::.','. !,·~!~~;; ,~·j~~;~:~i;~~~~~!,-~d' ;ln,~:(~i,'i~;· llf/!!11MIIIIii4i ~~~~:t: ':·~~I~.~y~;,it~~!;,! ~~ ::~~:~~~.~~~~h:: '~ !::~r,:i,' :;'~:;11~-,~~ ~~~~~~~':;r' :(:~,f~:~!::nt;1•1.r,.~il;(:.·;.~,::~' 1.~~1 ~;;~~~;;~~~'!;;if~~~~~~~~<! ll.lllifi

34

trimster sla<:ks are so slim

you' ve got to take your shoes off toget'em on

35

PACCIONE

Just off the press, these packages for men's toiletries were created by combining two Paccione photographs, seashore and sky, and given different color treatments to change the mood

36

37

PACCIONE

The Harlem Hospital Auxiliary, Incorporated cordially ianitesyouand yourfriend to a nightattherace. .

In 1961, when Paccione left his position as a v.p. and head art director at Grey Advertising, he turned his back on an agency then billing over 58 million to become a third partner in a firm barely breaking two million. He wanted not only to be in advertising, but to own part of an advertising business. And he wanted the responsibility of "maintaining the agency's standards."

In discussing the agency's operation, though, Paccione takes special care to dispel any notion that he is running a one-man show. He gives plenty of credit to the contribution of his partners to the success of Leber Katz Paccione. He considers Lester Leber, the agency's chairman, a brilliant copy man and rates Stanley Katz, the president, as one of the top marketing experts in the business.

Unofficial billing totals had grown to over six million in 1964. The account list includes Argus, Beacon Blankets, H. I. S. Sportswear, Permalift and Paris Belts, Saga Mink and Saga Fox, Empress Chinchilla, Hudson's Bay Scotch, Lowenbrau and Marvella Pearls. Because of the success with Permalift and Paris Belts, the agency recently gained a third division, Paris Toiletries. Another account just acquired is Jumping jacks, a division of United States Shoe Corporation.

Still another new assignment, perhaps the most challenging but surely the least lucrative, is a request from the New York City Department of Health to create a campaign to combat VD. Agency talent is provided gratis and space will be donated by the various media. Sam Eisnitz, director of the agency's youth department, is working with Paccione to reach the most vulnerable sector of society- teen agers.

The approach is not gentle as can be seen in the preview comps (right) that Patch prepared for CA. It is hoped that the impact and shock will get the message through to the kids.

Community projects are nothing new to Paccione. He designed the prospectus this season for "A Night at the Races," a charity benefit for The Harlem Hospital Auxiliary. Last fall he created the handsome brochure for "Captain's Gala IV" benefiting the New York City Division of the American Cancer Society.

One of Patch's personal projects, a Christmas keepsake on "The Ten Commandments Today" was reported in the Nov /Dec issue of CA. Creative director, art director, photographer and executive vice president, age 37, Onofrio Paccione has been a consistent producer of brilliant and effective advertising.

Maybe the reason can be found in one of his own statements.

In bchalfofthe Harlem Ho. pitaiAuxiliary.\\'ednesday night April21, .Dinneratthe Empire Roomat6:00 PostTime8:15atYonker Raceway, YonkcrsA\·enue,Yonkers,:\cwYork.

12.50 each (including admission tot he , ' lubHousc)Tablesforpartiesoffour, six,eightarc arailable.Comcon downwithyourfriends.

The Auxiliary helps to recruit volunteers a·nd it ser\'e as coordinator between th~ Hospital an the communitv.The funds come from a rarietv of a gift ' hop.lt sources which includes .".- . . also extends its scn ·iccs ~ to the wards.

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"Don't call me an art director. I'm an advertising man."

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38

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Too bad she said yes. ) 'OU win. Tails ~'OU stitched. Snlid hra"lme leather sleerhide. The~'ll turn too buckle. Heft~, enough tn tripes. Glme-tanned Harness Hrown. wit for mer The~'llneed nointrodo more than hnld The~ 'II shnwtheirnmhid \ !() , ,.~

de:iit

39

The girl next door

A couple of years ago, Bob Pliskin, Vice President in Charge of Art at Benton & Bowles, showed us several examples of an exercise in non-verbal communication. They were all based on a photograph of a girl, an attractive but typical girl, "the girl next door."

The exercise was in the form of a challenge: do something with this picture, without changing the pose or expression of the girl, that will communicate something about her.

By tearing, crumpling, cutting, pasting paper or objects on the photo, she became many different girls.

40

Since then, when time and inspiration allowed, Pliskin and his colleagues at B & B have added new facets to her character and fate.

Recently Bob made a selection from these and presented a non-verbal speech. Going a step further, he supplemented the slide presentation with film footage featuring scenes like a car running over the photograph. One very striking sequence places the print on a beach. The waves break over it. Receding, they leave an increasing deposit of sand. The following spread is from the many faces of "the girl next door."

,.L,.

THE GlRL NEXT DOOR

42

We try

h.u-dcr.

43

JO N PE ER "Visual improvement of a magazine is too frequently viewed as an art problem. Sometimes it might be, but the day is rapidly passing when a restyling (known in the trade as cosmetics job ) fools either the reader or the advertiser. The problem is usually far more complex, requiring a broadly based solution combining editing, writing and design."

1ohn Peter, who heads 1ohn Peter Associates, communcation consultants in New York City, views magazine design as "the art of communication." A considerable part of his time is devoted to magazine improvement prograil)s, consulting to a number of U ..S. and Canadian publishers.

Much of his broad viewpoint stems from his experience and background in both art directing and editing.

Peter's initial magazine experience occurred during World War II on assignment from the Office of War Information to the European Theater of Operations. Under security arrangements which could have been designed by Ian Fleming, the Political Intelligence Department of the British Foreign Office was producing a series of miniature magazines which were regularly flown, or smuggled, into Nazi-occupied countries of the continent.

"As art director of seven of these publications for which people made so many sacrifices," Peter recalls, "I began to appreciate how important communications could be. I also lost a lot of my fancy conceits as I concentrated on getting the message across."

After the war, he followed Alvin Lustig as Art Director of the Visual Research Division of Cowles Publishing Company, experimenting with new publication formats and communication techniques. In 1946, he became Art Director of McCall's where he pioneered 35 mm candid color covers and early photolettering with a specially designed typeface.

To broaden his experience in the editorial area, Peter moved to Life magazine as an associate editor, writing, editing and producing picture stories. In 1950 he formed John Peter Associates, Inc., a leading consulting firm in the magazine field. He is also under contract as special editor of Look magazine. In mentioning this, however, he hastened to add that it is strictly in an editorial consulting capacity, not as an art director and he should in no way be credited with Look's widely admired design.

An avid interest in architecture has led him to an interesting hobby. Over a number of years Peter has accumulated thousands of hours of taped interviews with outstanding architects of the world. Frequently this has proven useful in business, both in preparing advertising promotions for companies and in the editorial field. It also served him, in his capacity as director of last year's Visual The drawing was a present from Saul Steinberg when Peter opened his own office in 1950

45

JOHN PETER

Communications Conference of the New York Art Directors Club, in preparing the moving and knowledgeable tribute to Walter Grophius (CA, May/June '64).

Peter believes in creative research. "The most important part of a magazine improvement program is improved thinking. We try to do this in our research phase to avoid curbstone opinions and stock solutions. It's impossible to overestimate the importance of this stage. The common complaint of creative people today, 'I don't get time to think,' is a valid one. The scientist has convinced management of the value of thinking time. The artist, with a romantic emphasis on emotion and inspiration, has been hard put to get either the time or the money for research.

"The amount of time necessary will obviously vary considerably from designer to designer and from project to project. Unless there is a firm grip on the problem, however, it is difficult to provide a solution with appropriate form.

"In this business, you also need time to develop a working relationship of mutual respect with the publisher, editor, art director and staff of a magazine. They are the people who know the publication best. The bulk of their decisions must have been right, or the publication wouldn't even be in business.

"A successful improvement program engages everyone in a search for something more than the quick solution. An example of this would be the SAE I ournal, this year's winner of the top award of Industrial Marketing. In its redesign we sought to attack one of the major communication problems of our time- --more and more to read, and less and less time to do it in.

Panorama, 4% x 5%, was distributed in occupied France; G/as Pobede, cover illustration by Robert Fawcett, was published for the Yugoslav resistance; Choix, edited by Graham Green, was a digest size literary magazine to the freed French

Right: Voir, a full size picture magazine, was published for distribution on newsstands in liberated France

Choix LES OCRITS DU MOIS A TII.AVERS LE MONDE SO MM A I R £ O U NU M ~ R O 7

jl

Et mainte.nant, oil aUoru*nous ? . • . . Butrand R11ssell Au retour d'un voyage. r:n Franc:t: .... Hamid Nicolson L'accord de Chapultepec ... .•. oT/u Nt;TD York TitfllU• Laturbinelau .. ..... . ..... •Forume• La famine en Hollande ................ oTJu T11nn• Trois morceaux de pain . , . , . , .......... •Htt Parool~ Le passage du Rhin vu d'un avion ........ S. L. Solon La politique britannique, tquerel~~=~:!':.'auardiam

Prisonnicn dans un camp japonais •Colliu's McvaziJU• .. .. ..... . .. Roherr Wtllingtotl Du travail pour tous . . . . . . . . . . . . Horry A . Wallau Ll suppression du ch6mage et u ponte intemationale {S'"'t•) . . . . . . . . . . . . . . . . . . . Sir William BnMn'tJ,• Le mHsac:re des innocentS . • .......... IV. H. Auden

j ohn Piper

1

6

9 u t8 20

:z)

26 29 37 45 so

61

~:~~:~~~~~~~~~~: ~~ :~~~~ :~~~~jE;s tf~;i; ~~ Beecham

Un chef d'orcbestre anglais : Sir Thomas

.

46

•Lif• •

79

oHarper's•

84

Lldiplomaticam~ricai~lMadrld,r94o-r944

Le maiuc-compas dC' Ia Rayal Air Force

•LondonCalli"'• 93 L 'Ukrainc r~gle. la note. . . •Th• Saturday Evenitt~ P(m • 96 Les avC"nrurcsd'une parachutistcanglaisc : einq mois dam le Maquis .... t Th• Daily Telqraph • toz Hollywood et Ia vic rtellc .......... .. •TTansatlannc· to6 Etatprbentdcs.nations ................ tObJnWT • 109 L'armtedesomhrC'I .. .. .......... •NerJJStaluman • 113 •Canmry RDW• ( Rue de Ia Conscrveric) Johr; Steinbec.lr 117

No. 12

ln1ages du monde d'aujourd'hui

5 francs

JOHN PETER

"The SAE I ournal is the highly respected publication of the Society of Automotive Engineers, the designers of our ground, air and space vehicles. Like most scientific societies, SAE was founded to share knowledge and information among the profession. The I ournal has been a principle means of doing this, publishing the technical papers given by members at society meetings. Over the years, to cope with the expanding research and development, the editors were compelled to move from publishing only the most worthwhile papers to digesting the most significant.

"A little over two years ago, they made the decision to seek new solutions for handling the unprecedented information explosion. Together we took a look at their total communication program. This was important. The key to the redesign of their magazine lay outside the magazine itself, in another service which the society provided-technical reports. These reports were complete meeting papers offered at a fee.

"It was decided that each I ournal article would be based on not one but several technical reports. At the end of each article, code numbers would be keyed to a briefing section and order form at the back of the magazine. The publication became an information machine in print with a built-in data retrieval system. It was a rapid scanning device indexing over the entire field of vehicular engineering, but it also provided an opportunity for the reader with interest in depth in a particular subject to secure more information than any magazine could possibly print."

The data retrieval section, as well as the table of contents, is printed on a dull-finish, yellow stock that separates it from the rest of the magazine. Working closely with the

Old .....

and new

THE SAE

JOURNAL Engineer can be key to industry prof1ts 28 What engine will power tomorrow 's car? 34

48

Computers analyze vehicle frames 33 Three ways to put the " V" in VTOL 40

THE ·S AE

JOURNAL Electronics spark recent FCIM advances 34 Design seats for greater comfort 50 Dollar dilemma threatens the SST 60 Ford Motor's dohc competition engine 68

51\E joumol

CONTENTS

July 1964

" DYNA-STAR " DESIGN SHRINKS PISTON -ENGINE mzE

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themp.e - d.. U-type cyllnder.

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whenfoupro.inoiU-Iypacylinden

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m ---•<Jo,....so.. .._.lltic ..., _t

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1~.

~dnn-ional.ubllk}'oframp~oot'!lOOF,II,b6-,

Thi~pn~partMaohawwbcre

tho material from which ~r&l..... lbaet, and ulnwio:aa an 11111allr &IICIIIeqt~ipmmt. !Didl. Thapartido.U.IItttrlbutiOll Go'O'erll-lt&l;ehCie.andlt.....--1. uwl doemico.l 00111pooidool ara the •niceonppon.dladll&lrial,_..u, -lmportr.at•ariahlalallacdllfjlbe the-.lanr~theatt.entl ... of <k-

aratrpit:alolwbatcaaboUp&ded ladi.ocfo,.pap. Addiw-Jfo<Pnl: lncl,_jdleoOfOIIldprobabiJ.-.11 In m.o.teriai.,.,DO..U.., but fot-.u.pM .A&peoJ>f.Wbdiapdo-ucid· illthedrr.olopmenotofwpe..~ ~w\ticbraallfroaotheloot- ,.....futtherlmpro•-of-.eham1-ofb.ylli..-. n-,....,_ p,_m&&Dd~tWOJkiai"P" ealpropem..U.tM-rlutun. .ha.,...-ltedia-rlroloabliqtlla cntt- r.,.tm.tra~a~IMdilwflillt;....tliqol'S.200Nob.-at· ou!i.yi&klaacl~'-~ -bopartid&Qu.ddt.tribatiool ~ ..-..IW}y in prod~ Don&ati""!.wroqbtb«yUU...ia in5·200...dl-400b..qlli...,.A•11' c:ui"'ODIIIpoooenbS21a.lncliamcw ...... nollllnx:turetudiurtlalpid·

BERYLUUM AND RBERGLASS NEW GAS TURBINE UGHTWEIGHTS? TwolightweightsofferuniQuecharacteristlcsand an opportunity to reduce component weights. Test andstudypn:~~ramsareaforecastoftheMure.

-----------

dmip llllldy wet"&-·~ -..paaj-.tifr•-liai..U.,oolott ladew.lop'-rfllu.illloa..U.W. -m.l for p.hlrbi..~ Thatwo-..jor..,..W...,_-

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R.ahotodal&aft-.u..

warwofapprciabi.Q.U...l'MS. Thapowder-..lhu'l)'pr-fot ~ ,_.,.. b.rJUiiUII ••

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...,.m.... raurdfll4,ttt

~eq.ed_t.!:.=L:.u.u'::

po.i.bilitioooof6bersl-l'l!i11f.....d pl.aotim&J&IIUlreri.ltlforeomp,_ Wed. ud -01"1. El...._ an dl. qctcd.aprodlldac-u.r. ~ef·

BeryDiw.IICNitJI'OI"!fmaufM:tur· lil.-lly,lh.lllliqu.n~lur...d incWdonolol)'coralll.&lionu.d.o-lht,.,alpropettkaoflhoiiMllalw....

-JDUlt:af....,.a-IBNihS...,.I· n.poMJbLa lorliiiiUjorlllarbt,lho lr- - Cenenl Deruia C'ICIOpuootl-n aacleuiadllllriee.

now.......,ytlmeathat ob~l..eodi~tbe

~ppanlcle.U.inS.200bl8-24

• lSin.~oa&witl.l ·l11.waU~

hot preMOd fon~~..

mk:rDN, wbU.t.hate.f l-400b8-10 alcrona.

Thbo.hatdwan-'.mulated uacNai mt.ilacampoooeat procllletloa order F'1J.4tboWIU.. aftl'appropuU.

Wro,.J>I S-200 baryW,.....Maullabla•oMet,pbr.,

loU,fmpap,~udwira.

F''I-2WIIIInol•lb.nlati•e.-n.

Alatcrf~fona, l -tOO,piO"ridaduodyleldlii...,US..&Ddaloole;.ti•

A PASS (

Takeastandardpassenger-car engineering know·how, and a f~ that's hoY{ Chrysler developed

of.....,_aiii&SMS.200tillpbr.

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ofS.DI...II-400,-:allpMl 7S,.,,

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propartl..T!..,Ieabiadic:oote~

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ll•et~forbotbttr.roov..u.dbteral

lenlthattt..ulalpropartia To.d.ieve hip-haolealpropBI'U.U.bochthecircWIIferent:Wu.d

~~doetatheaniootropiclc:har·

aet&l'oft.befor&ed-w.

r-.,.

the-ofthel\lallerialla~

Cln yaler cnglnco=n calclll.ioledlh•t tMir22Seaift. &ulomobileentiM.bad ou1lic:in>l pou r tod rl•·• anl 8-30- lt

3 .......,.._ tJ.., ulti-lre aJ:ialdlrect>o.,ltl.'-lblatot..d<. fo ... fornchturbl""~~~~~.-..;lyratioofS.200utnldeariqwUebcaa~J

ud I~ hll')'li11111 will! ather-

&Qof. 'n..aoq.riorityofbarylliWII Futha-uperu.-t&ticNttbollldr&luh

of intuat to lllrbU.. aompo" '''"

ioapparenl,witbthoueq>t~-o,lalho

d.ipe..._docllltlacklboththem&-

lo .... t.empualllnr&n&eo, olt.beoew

cbanJealal:tuflh..,dductllityJMC•

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..-..,rebo.t..Thr,al.o~t.hat

hlriat:rolled. nlalan.rU.. • JOlo

•-..r-bladoa,dlta,-&Dd ohafa.

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-boolcal iM.Iook"f>IOOmu.cb

tmalaalr...fyi.a-for~roalybent....JDIIrillpa.deytiadon

w.deaat-,.,ra\lUOII1\.II&;iJII..,III

.-cemthe,-.s••eompartaoa~t. ~~rvatioM-ro&edihem

of-.pro.rllliYdr.....Ucliaale&..

to emh.ork on

lnproclucina;rinpol larprdiameter.

F..ither of lh-two l&chaiquoa wouldhloatiaf&CIOI}'fot-produrlat; pa b~rb~ ODDIP._ C&MI ud

1

projen to"''"

tJ.a automi>blla ""l in• -wonhy llera'o.tH!wth•r didlt Tbey • Areedohanunclarlrin&prin ·

cipJ,e : •~ U..U11U..t thclill&lp,.....ol thc boat SJina wu tompdili~.-. Uocy wooaklmCH!ily U..•utomobileenli"" MlittJ..u,...iiM.ThelrliQtmocii6cation -lnothinl - theJmuelr laldU..,..,finaon ill•lde. 'T\U~,it

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ontho~blod<,attboowal<'f"

,...phouaia&.to thaba..oftbeoil filter-1opitl6.6ln.

Newpioolonowenintta!W.The "'"'~prelllonratiQia8.2/ l;dna

t.ha~i"'ca.n liN& wldequality

~

'

"

FIC. 4 toiN . . tiS.l:XI..,..Io< o ..... Oinr<:l n

lllf .-..llrl _

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'

aft~ tcoraplllp in tha cyllndu-b...od....dblod<oiU..a.uomobile •&ina ~n r.,a.o..l wid. bno• con: plllfl- n.. HComobile uJve par .... ~ w\tlo plated

T-

_,_ _t"- ~---

>11 C:tut

.ateral accelera._ _ 9d ) both show some ... ~g~ ~~ vJ. sho.ot. The response times of both modifications compare well with the reference vehicle, even though total

FOR FURTHER INFORMATION The following publication was development of th.io artiele:

used

in

the

640616 (893D) Correlation of Fatigue Design Data on Springs of Many Types, by George W. Kurasz and William R. Johnson, Associated Spring Corp.

~----------------------w )()IM'W.. ORDER ILAHK JULY 1964 lV: Sedlfrll ................

• ........,..._n

NwY.t.N.Y. IOOI7

...... ,.,...,. ,... dldld. """"" .......... ............. ....w- ......

..__,_._w~

.... a..totCIICIII'II-*-d

--... ... - - - - -· - - - --n-........ ., • ..._ .......

~-

To order the publication listed above, elrele the appropriate 6-digit number on the order blank at the end of the yellow pages section.

Volume 72, Number 12

- -· -..

--·--- ~ ~~T~ I =·-.............

--_ ...,.

.... .

49

JOHN PETER

staff, Peter also developed an editorial style book which includes guidelines for writing as well as layout. The results may not win art awards, but they do offer a consistently high level of communication on a limited editorial budget.

Extensive reader surveys made before and after the redesign indicate a remarkable 40 % increase in readership.

Requests for the technical papers (75c to $3.50) is up 120% .

As a promotion tool to increase society membership, the redesigned publication broke a 59-year record for new applications.

Peter is presently working with two other publications in an effort to carry these communication design concepts considerably further. However, as the examples on these pages indicate, he is careful not to advocate this approach as a magic formula for magazine design.

"Magazine thinking has tended to be over-formulated along traditional lines," Peter added. Each magazine, like each person, should have its own character.

"New needs provide new opportunities. As an important part of the 200 billion dollar knowledge industry, magazines have a crying need for designers who are creative communicators."

BUILDING

SUPPLY NEWS The b1g change m wood

Strong photographic covers and well designed pages have helped make Practical Builder the number one building magazine; Claude Zajakowski, art director The bold design of Building Supply News successfully appeals to its merchandising minded readers; Burt Winick, art director

01Sift1 8UTION USA

Put!tng the cart before the customer How leadong dealers sell cons-umers

Packaged homes· Boggest boom on dealer buoldong

50

Where the changing dealer stands today: Aprofile

A CAJJ!>OEHS Pt'HU CATION f:DI1E , 'll EXCLt:. IVE!.Y FOil flUILllhH>'

,Jl LY l96 lf 7 ""

GL".RA Tl:L

I

DESIGN I IDEAS THAT SELL HOUSES

51

JOHN PETER

Progressive krchitecture's cover, shown with backstrap, was conceived as a three-dimesional package for its design conscious subscribers.

Its unusual title page, frontispiece and introduction reflect a book rather than magazine tradition; Carol Bower, art director

o.c..w.r 1964 PROORBIISIVI!I ARCIHITBOTUIUi e D.I. Yli.KJ:N,PUBUSIII!'ICDIItF.CTOit

P. H Hl!IJ.A&DJI....A!SOCIAT1:PUaUSHtll

IIUitTQN' H. HOLMES,AlA,T'!CHNICALEDITOit JAN T. BUIU'(!, J l~ l'ftwSEOITOit JOM'MOUlSOUOft,AIA.T.lJ..ENPEIIY, ILSCMIItlSSNDitD:SI,C.IU.YSWITH EDWAlOK.CAlPDrrU,.USOOATtN&Y

EDITOII

CEOilCELUL\SZ,O)f'YEDITOit JL\MHATTONDUFn',ASSISTAHTTOTlfED>ITOit JOHNBFJI'NtrTSCHW'AitTZWAI'f,ASSISTAHTEOITOI l'IOI)tAHCOPLUf,E.LHALNOS.JI....

W'IUJAMJ. IIIIId;Ull'INF.SS.KAIOLDJ. ROSUI,

CAilOLBOWEN,Ali.TOilECTOit

NICHOU.Sl.05CA120,QI IfYDRAf"T'SXAN JOSEPH!Il.SCANLOI'I,P100\JCT10,'4M.Af'fACE.Il

_...........,.._

w.uto!'f met., IDITOitlAL nooucnos

. . . . . K.ftMl&. .... _ . _ . , .... _

52

Geigy Geigy Chemical Corporation is a complex and diversified enterprise. It has six divisions: Agricultural Chemicals, Industrial Chemicals, Dyestuffs, Pharmaceuticals, Production and Research.

There are also affiliated companies in Canada, England, France, Italy and Switzerland, and the name of Geigy is represented in 86 countries throughout the world.

Geigy's design department, established in 1958, has been given a wide scope in the corporate operations with responsibility for publication . advertising, direct mail, collateral printed material, packaging, exhibits, stationery, signs, vehicle identification and Troller

54

the employee magazine. It acts as well in an advisory capacity in the selection of office furniture and accessories.

The department is a self -contained unit handling all of the creative and mechanical functions usually assigned to an advertising agency or to a design service. The pharmaceutical division retains L. W. Frohlich & Company, Inc. for some advertising functions, but the creative work is done by the Geigy group.

Their approach to design problems is very much Swiss oriented. Five members of the staff, Fred Troller, Theo Welti, Fred Witzig, Markus Low and Rolf Willimann, were born in Switzerland. The other two, John Greiner and John Haines, are from New Jersey and New York respectively.

Fred Troller has been in charge of the design group since 1960, coming here from Zurich where he had been operating his own design studio. He had studied at the School of Applied Arts in Zurich and with stage designer Fritz Butz.

Troller first came to the U.S. in 1953 when he and his wife Beatrice were cast for the part of a young Swiss couple for the documentary "Cinerama Holiday." Following this, he spent a brief period in Mexico as a freelance artist and then returned to Switzerland.

To keep viewpoints fresh, Troller rotates assignments among the designers rather than assigning a specific designer to one of the Geigy divisions.

This also helps insure a corporate visual consistency.

"I feel that the character and philosophy of the company should be visible in everything," Troller states, "no matter whether it is an advertisement, a piece of direct mail or the Corporation's letterhead. Within this philosophy, and within our own graphic style, the designer has the freedom to work out his own solution."

With this freedom Troller also delagates a high degree of responsibilityfor design, illustration, typography and production. Specialization is avoided and the designers were selected for having all-around skills. Troller estimates that not more than 5% of the total production of the department represents the work of outside designers or studios.

Once a year the heads of the design groups of the affiliated companies meet in Basle, Switzerland, for a week-long "Development Panel for Visual Communications. " In previous sessions, Troller has been the single representative of the corporation's design group.

This year his assistant, Theo Welti, will also attend. Another regular member of the international panel is George Giusti who serves as consultant to the Swiss company as well as consultant to Geigy Chemical Corporation. The panel will study the year's accomplishments of each group, weigh competitive efforts, plot strategy and generally offer stimulation for the directness, clarity and simplicity that is so evident in Geigy design.

GEIGY

GEIGY

NEW EVIDENCE CONFIRMS THE MARKED EFFICACY OF TANDEARIL IN PAINFUL SHOULDER

NEW EVIDENCE CONFIRMS UNIQUE EFFICACY OF TANDEARIL IN OSTEOARTHRITIS

(PERITENDINITIS, CAPSULITIS, BURSITIS, ACUTE ARTHRITIS OF THAT JOINT)

GEIGY

Inside the obese diabetic a slim one signals to be let out

release her with

Geigy

Preludin® brand of phenmetrazine hydrochloride Ettect•ve Appettte Suppressant Avotds Excess•ve St•mulat•on Dosage One25mg tablet two or three 11mes datly, or one 75 mg Endurets., prolonged· action tablet once daily Contramd•cat•ons Severe coronary d•sease, hyperthy· roid•sm , severe hypertension , nervous instability, and ag•tated prepsychottc states Precaut•ons ; Use w1th caution in moderate hypertension andcardtacdecompensalion .

Do not usedurmg the first trimesterofpregnancyunless potent•al benef•tsoutwe•gh possible nsks . Do not use w1th otherCNSsttmulants includingMAOinh•b•tors Excessiveusemayresultin restlessness . mood changes . behav1or changes . halluc•nattonsor delus•ons Side Effects . Dryness or unpleasanttasteinthemouth , urt1car1a, and (rarely) overstimulatiOn , 1nsomma. diZZiness , nausea or headache Under hcenselrom Boehrmger lngelhe1m G m .b H. Ge1gyPharmaceut •cals DIVISIOn Of Getgy Chem tcal Corporation Ardsley , New York

56

Ads and direct mai I pieces for the pharmaceuticals division

In Depression

57

GEIGY

c

r\ T A L y

s

T

12

JAPANESE POEMS ol Japa~se !eve of ru1turo

hl!ttt •t M'&n\ed ~o 1augn at decay end

unbitfouOO (tHO<J9hot~1 ar t!'ut:f arh~tle f""ed•a il'lth.<dll19 tlanteal and ~dern

round tt'!e pa:ace e~en the w•Jtef'a ~t\at

EA.P:m~t~

Uer<~tvre Vvef(l~t'f'ttl)' rete4d a ttan~.a

I=Oft ot t;. J.-oan~e ~h,Onichl W(l\t$.1\ in the H)t"> CG1,1J,;r) wtl,,h we 1o1md pat'tlCU" il!\j'OOOJ\J.IIfU'. fl'htl$at!HH11eif.C:tlf)\l(m Ol !l b<l<d !14-'l- 0f1 an ~d\llll:;:i&J l~i'i& Vdf'tu'l ll1i>- fffl.lat:e QMO~M ""''tten ()lte tltouund

yeout.:c..-go n.e boat~ w'&•e c.a~ed w.th a <lfA-Q· Ol'\ , Moo (1:\ tn prow 1\d pamted ., th

:r:e ' ""4ilf!' ~~ -m~c.,ey at t.,~ &lfWl c;:OI'I"'· p;-et<J!V •n the Ow''l :;.e s.IYIO, lt>e bOy~ who maru';e(l tt'ern wtHe a•1 •n Ch,n.-e eo..

1.-me-.nr:r~rhil~'hed\l~'~~"lhOt.gr>s

~.t>bor.,

bt'h !hi Tnt- iake. aa lhf!'~ now rut Q(.lttOWllrQ tne l"')!dd;&Of II &eemfKJ ~mmfl'fl~ largil:. ~ those on board 10

v.bom !ht wtwle (upertencewa$ new and e~:•e.o....s!ye..c.tmg. c;O;..Idf'l.arc:ly bel'e"e

tMI:f1ey.,.etenothe.BU·ngfor'C}ftttW'I· ch!it.<:Mtrbdt!Vld lnthesoftJPnngtun-

$M'l6, tven tM auray trt•l toll from tne ro.,.er~

oett sot:~ $tWt..,. scalt.ef~ P~t­

ats. Ot'ltO H•e wa~eJaU wat~1:11 of me lt~\.,0 At rast me rowttf$ tnougt\l!hem •n oodN :he fO:C~t ttal'll!; of the CMnnet b'9"llo\e&r'l th!\1 two l;~rge ISlands, and o" cloaer

t•·

am·l'\tit~on

l"er C•sco,..ercw:t 10 tho'' a&-

l'glit (h•~ tt•t: shaM ol e~~try lll!e ledge al10cr.gol tti:ffli!t'!Adb&en"''e•r"fulfy devrs!Jda!>,ta:C~amtilr!'IMHAtedthtm w•tnfusbtuttl . Hltfeandtttentml~t:J•s­

taf'CetnetcpMOSI bouqhsofanorch.a.rd snwNedl.bO'o'ethem.st .aheav;lylad~m v.di'lb~lOm.!!:that!llOOked&sl.hougha

bnghtcarpe1we•espreadtf'ttnid a1f Fat a<~~•vtt>eycouldctlCh&•ghtoltheloy•l apartm~nts. m.ttl\edOy tntd~,t)eft}IMl'l5

Ofthe"'JtlOwtwu;"!ill'laft.wl!t'P1tr,.-oourt Y1ttd, and by the sn,m~r of tt'te nower ~tQ orcha,·f,a wf'l;cn~atthl$d'l"tanct seemooto~dlhe.rtragr.-ncearn•dthe

.,.:_ttianurOtlo:.s.lnthe'o\o'OrldOutSJde. the ch:•rry blo10Wm was alm~t OHf' Uut

58

ronJ;iongtheco\l~o&d&

tysandport•Chl

was. a111h bloom, twt not a nowor pa:Siilt t)e&,l, w~.~e hMe wtlttte the tlO;llts wertt l<ltd mounla.in. l(eniu poured Its yeil<l'W bi0$SQ111s ov•l the roel(y r;!tfts in a torrent o! cofQr !!'tat ""'8$ rnttrQrl!ld tf'l the

watt! ot th" 111"-.Q OOklw Water ttiu1s ol man)· kmas pia~ tl\ and out .among tt~e !>(:l;us MQ hunered h·t.-~f and lh1tnor 'N.\1'! t<l'!lJ tw1Q" or tlowfJ!c stm,ys in the'' Here ~~~• l1gur" 1n & PlCtvro of lf;•rylano. they t~pem the da)' gU!I"'Q •n rapture

btta:~s

ln~tyalto.:heJ•p•nesehave

creati)C • tnilgn•hce:f'!• de$Cf•P1tonolt!"tt world ot nature arovnd them Tn,, reached p&t1e<..ttOn rn tnw dewttopment cl tNt uv~nteen-ayU«blt po6hc lorm Ha,J..u a h;qtuy compiP~ art torm ••th 1n!'ler mPanmgs Quile lftiPOIS·bltiO!r~n•''ue_ rnecnatfJ\o:t

mrs poetry doe•

col'tle lhro!J9f'l, however .a.s thf' re3der 11 M·mulateli to P'-'t tvs imCJ.QifUi!IOn to wo(' v.Me!ttC~hvingaligt)tiys.k•tc.he<thterary

pu::tute. fovr e .. ample.t. of tt'iiJ poetry eon--

cero,ng Aufvlfll"' h.~tve: been uanshtfed

Pages from the company publication

13

GOODNEWS FOR HOME GARDENERS

The Spectrac1de Story

Getgyl A.gr•CO!ut'IICt-e~c•ls o.v.aiOn ~s iO"O been a<:h·e '" the ~~ cu.t .... ra •nd.rlr;:fustr••lpntcomrOII•etd Arm)I'IQ the ne• prodltCIS markettd .n rec-~l years :!i .. .., .nsect•c•de !'Old under ,,..~

t..,no approach w.as nefJOI)oj one tn11-t wC\l.d attff,CI• ma.x·mum audoot• ot readers )'fH !)e. (j.t!eHmt lrcm tne m•ny

a{:;e n a j)ttfiC ... o' lt'"it For e(amp\e

mS«I>Ctdf:t $d'\ c.urrentl) ~~-~~ oo

l.ll..-n,

Qardefl paq•s

Ot~~ adi\ .,.., ·~ d~Oled :o tt··e ~ 'A-t'b-

lr&<Sema1k O.ar non'" y,,, Oulstand•ng

CotiSu'lai•On ~·~ G0•9r A.Qr·c,.it... ,at

tnstott;c;;;te na1. tound w•d• •cc•p!~tnce among pest control opttrntors and com

ute~andtQChnH~-<~! persormet "ililte ot"f\· tomotogtsls 31\d counl)' ~tgent!l mAde 1\

merc•al orow.e!$ ~o w;1 bu•\dHlQS crop' end OlJtdOOf' ta.etht:es of a v.•d• \'ar•oty

clear that l''Sec:t p!oblems vanfld from OM area to another 1.1'\.1 horh sum: ;o

ot u-t$eet p~ob-ems

sti'ht Some tOM\..t pests -w~e comrnor< to m~;u"ty artot$ bu! fim"-ed (f!rercmtty ~n

Cont•~1og the ""•lltons (l1 doHers

th.at Betl'ftuda m'tM ch•neh bugs

wet

~~ croer

or lt'e.r ,m~rn:• The fact

WebM-OU't'IS. graHhOP!lf'rt 4Hid numetOl>S

lhlle.lc~commuruly ~adttsownsye<:JIIC

Ol~~r det!H.tC1nre IJ'IMCIS arli'1UII!I)' (:<n.i

aod garden •f\s,.,l prob~mto 1:'• Ck!11&theba\tS tor the$(Jf'Ktrac. a. pro--

tne pubhc •n terms of Jaw'l and garo.n dan'lage 11 IS bt1te wonder ttoat Q1ar rtOn

wu soon recoon•:z.O •• •

!awr~

motl0ft.41campaoqn

Mverl>llng and u·:-•ttofe p•omot1on

t<~pertor

meaosofpttSt<:ontrOftl'lat ·tboth»fe •1"111etlecbwt It wat mt.roc:S~.~e d to tne

hOme ownet •n 1960 under 11\t brand

na.-ne SJ>K;t,ee;ae• The deci!&JOO wat buet: Ott stvtral 1mpoGrtant tactors. The' porentra• man•et f01 SPKtt•Cide n~,~mQflrs more V•en 38 mtlll()n fam•i•M wtth lawnt find q;trdent 1n the- Vn•t&d StAles In 1960 th•S QIO~o~P

Sil•mvct~t

+tlg

"''''" ,.,.,,._,e Phcffl;~t

w.ilter ano 11m i.::er wont help

wormandt>lnc.-.bu;~j:,rOblf!m.!oQe;,·,ng

w•tt t.'"'•nthbtrgs.twa~eAolanedhQwa Srrt'!t:ll& 1m C:4m !~sl iCIJ! bOth ~fled$ ou~ \hf!o tltli 1.nl( )'ltQ iiJW!l l(ldi1 watet

d

.,.d\• h b.;ys tiO.Jl to $uff:\Ct:) eou!d t•e~p hO"''f!! c:vm~s .al'i-".:-ert..lln v.t•emer ttltt$e.

~::~'\,:~: Ht~pot'l~lb:~ for da.m.agmg A.r!~r UOI'I

t""' :u,, covn;~ near!y

•....o It> rd~ o' t~•e ldwen~s,ng ~p-ace •t~e ill!l:ou•lat•"* i\'~ sc lfV'(t+c tone 01 ~he. !TieS'S&Q:O W:l. do•gne-J l (-"Of:'J,f'.GI!I tf\e readf'Jt thad .l.>~t<~·ac,ce

... ;u;. 1!1>!'1 &<~-!e

utltl•ngadJ•nrte•!lpace,'lm!le~teo

etter::,ve

tnt eree!\ were d~e:ded upon LOC:f'•t;et etwaeo 1nclud6d 1"-~ew VOtK C:ty loa A:'l-~la. &11 fn1n~KO, St lOuiS. Ph"$f>f>:

l.:t....-~i:l:ld~4rdeMtn~1pfCbem'

Jaclo.$0rt..-·lle St Peter$Ourg. F• laudt-r dat.;. and (lthl!t'$

nt~t

'"'*~r

tots par\4cvl<~r

Totns~.o~retl'!.ltSper:;'·eedf•wov.'ah"'

ll'f'd. ~~~~ .n &· qarUM ~lilY ~wes o>"~O d>Jpat:m~r'tS.

"''liO'e ptomot on VJas

•Ito l11:1mtt>nd Jobbfl!f utesm~n. ""f"'e supp!11~ .. ,h '""'''S lo:·lsconla!r.•:1g "f'I''Ooo OJ.>w str•ame-rt~ ba~ner'l PO-!tl~ts. ma:U Mo,~ets:. end. Stltot:!fiC'OO pat;t.,'\9-t' drs· pia)1:11Cr t:h&.:rrbuhon to cea:t.~t& Ot-~rtlfff"·

&P90l appfo••ma!.,ly S4 7 ~llton oo law"''

ing ~tr.os <tnd rnwr~ew.s. ""'1!\•li:lfden llY· tnot•l•(!tWf'"t''Jro .. ,tJe-d !or IJ1itl 01"1 !oeal fm;h).ll:f'td l~·flo•r:tlQn $lahw~s.. O.arde-" OOt·

And garden PtOducts, of wrhch about e hut'ldred tntHtan wBnt lor the tonhof of ln$8CI.S

Specttac !!1J poueSHs the

Ar • na ne..r PJt~>NS .<JH f."CC ~n ad read

•dHI

charActenst•<:t for home oae II 11 boll"'

:ems of me Jtlfla ~··l!t~ •t w,i!i !ilctwJvlto<J

effO(t•ve~~t-~~ftV~<ht"t<tfJdoliO•te,ltd

to arpt.a• S(f !'>t;t•c ;j•.lwtng~ of t111tS8

ot 1..,.1, c-~t;~

llhas~maOeeYalabte.ntwocon

•n$«·~-

ven•enl forms-a equid concennate mal

br~•'lf.J ~~d !iJe-1;ng hal"l-'3 P'f'!)t>nlt"d

mnres f!a.S.I}' vHh wa!er tor spra\'o.ng tlfld a re~ylouSI!I granularformuiOIIt•On!or apphc;;•t;on .,...:h a lawn apreadtW In bOth IOITI'\J ScectrltC.de c•n De &AS• 'I pen,

t~e rn;uenal rn 3" tf':ttfMt-ng dr:td mtorm

" br,et h!OtOr)'

•••~o-fJ "'dTit'let

The fut~P119" rt ~tl-f'•por

Old por,ted Olll!h.l! F10:rf lflf ano v.at~r "not tr.e ilfl~w;rr to .au .aw~ and ga:Ce!'!

Too o!tM I"·• probiem

t• a

&QeG '" sma11 qua-nbNt!i. !o su•! ttom•

probtf!f!'S

OWI'\ef'"needs By me ett4 of t962 salet of S~-:.rr• C-.0. were •ncrea'li•nQ stead •Y and 1t d~t-­ S>OnwilS~•detolfunc''• broeil ,.,.,,

pe IOtpes!sm.o~t!a¥etol:!•~>-·'od fl"l~> rea! ot th~ ce>p~ w(!nt Ol'i to to(piurn wl'l.at tt SOrtt:ttacCc"

P•a<;t.aom A 'ea-tst•c. d••'·r"'t.t,..e •d..-~r

C>f"

Qthe(<ld-II'&'I"'E!'!'f'tl!&conen.trl\led no·~ dv.-11 bl.t1'1 "-""1wrt hJ Ci\usl'!dlliM•

59

GEIGY

Ge•gvhastongbeenaleader

Brightener :

1n products lor the wool tndustry and today oilers

• Tmopar WGA -a untque neutral wh•te opllcal bughl·

complete ranges des•gned for wool processtng Oyestulls : • Erto -strong ac•d colors

ener wtth broad appltcatton propertteS Auxiliaries: • Ch loregat· 0-promotes

ollenng level dyetng , stow

even chlormat10n lor

d rawtngcharactensttcs shrtnk-proohng good penetratton , bnghl· • lrgasot · OA a retardant ness and economy lor colors when dye•ng wool • Eno Chrome· top chrome and acryhc blends and metachrome C.)lors rec - • lrgasol SW lacthlates level ommedend lor deep shades apphcatton ol Polar Mtlhng on wool economtcal and and lrgalan-lrganol dyewtthexcellentall-round stu ll stnactddyebaths fastness (pH6) • Gycolan~ · strong ac•d • Mtltn~ FF Htgh Cone nontox•c, durable mothproohng metal complex colors provtdtngleveldyetngwtth agent excellent l astness Aecom· • Tmegal BL-a retardant q~botrdtnes lor level dyetng ac•d colors neutral Recommended lor ltghtly twtsted yarns. woven labncs umonsonwool

Geigy Dyestuffs ... p•g•

All for wool

A sure way to duck your problems Ring Geigy for Service

Geigy Dyestuffs

60

With Geigy Service, everything comes out smelling like roses.

Qelgyo,-tulta.

GelgyC-Icel COrpor•t•on Archlty, NY.

CNrlotll,

c...u.-v•. c.-.

LotAnoe!H, l'tlll.oalphia.

Portl...cii,Oie

c.....

loiOIIIINI,TO<oniO.

Ring Geigy for Service Geigy Dyestuffs

.,

Advertisements for the dyestuffs division

Easing the way for dyestuffs

Geigy's efforts in developing auxiliary products have been directed toward successful application of dyestuffs in the dyebath. Some of the products proven most effective are:

Erionai®NW

for reserving synthetic fibers with Acid or Direct dyestuffs and improving wet fastness of Acid dyestuffs on nylon.

lrgasol®

effective retarding and penetrating agents having widespread use in many fields of wool, silk and nylon dyeing.

Seq uestrene® specialty and all-purpose complexing agents providing the Che I bleacher, dyer and finisher with ®

assured means of controlling trace metals.

Tinegal®

popular retarding, levelling, stripping and dispersing agents that have assisted the dyer immeas:.~rably in applying dyestuffs to wool and nylon.

Tinofix®

organic aftertreating agents for Direct dyestuffs, recommended for improved wet fastness properties.

Geigy Dyestuffs

Your Geigy representative will be pleased to make specific auxiliary product recommendations and assist you with Geigy's dyestuff application "know-how" Ring Geigy for Service

61

-

Official Graphic Art in Svvitzerland A sequ~l to Graphic Art of a Swiss Town (CA Oct. '64) has just been published. This handsome new volume presents nearly 400 examples of the "official" graphics of Switzerland with accompanying text in French, German and English. Walter Bangerter SWB and Armin Tschanen also authored this book, with Bangerter designing.

To represent the tremendous variety of work done in this area of graphics, the editors divided the book according to specific government offices and programs, all federal, semi-official or federally funded concerns. An interesting discussion of the character of Swiss graphics is provided in the introduction by Werner Kampfen, General Manager of the Swiss National Tourist Office. Excerpts from the book, shown here, include: divider pages; symbols for the Swiss National Exposition, Swiss Central Office for Refugee Aid, Swissair, Swiss Radio Corporation, Pro Radio-Television; postage stamp and poster

by Hans Erni for the Federal Department for the Protection of Water; poster for the Inter -Cantonal National Lottery.

Official Graphic Art in Switzerland is distributed in the U.S. by Hastings House, 151 East 50th St., New York 10022. Price is $16.

62

..SRQ

63

A is for apple A short time ago, I was notified that I would be receiving a case of Washington apples. Being very fond of apples, I was delighted, though I hadn't the vaguest idea of why someone would be so thoughtful ... or send Washington apples from Pittsburgh. It turned out to be a promotion conceived by Ketchum, MacLeod & Grove for the Printing Papers Division of Scott Paper Company. Each of their paper merchants received the case, along with a new promotion folder featuring an illustrated history of the English alphabet.

The handsome folder places the standard 26-letter alphabet into historical perspective with hieroglyphics, Chinese calligraphy, pictography, the Greek alphabet and the modern Braille and computer language.

Inside the folder, individual sheets trace the history of each letter- 23 from the Roman Empire, two more from the Christians ( i and j ) , and the twenty -si)\th (w) from the Anglo-Norman scribes. The graphic treatment is in the form of the classic children's alphabet, beginning, of course, with "A is for Apple."

The biography of each letter is presented in chart form on the back of the sheets, tracing its evolution from the Sumerian alphabet to today's letterforms.

Professor Arnold Bank of the Carnegie Institute of Technology supervised preparation of the text.

Professor Bank is a noted calligrapher and one of the world's authorities on the invention and development of writing. The individual sheets will run as trade ads and a limited edition of the brochures is available from Scott's paper merchants.

64

THE ALPHABET SERIES SCOTT PAPER COMPANY

B is for Boy

OJ 01

)o-1 •

Secretary Writing XIII to XIX Century Humanist Bookhand & Early Roman Types XV Century Humanist Cursive & Early Italic Types XV Century English Roundhand XVIII to XX Century

~

~

~

~

~

~~

~

Initial Teaching Alphabet England & U.S.A ., 1962

American Business Hands XIX & XX Century

Egyptians. Clarendons, Slab Serif XIX & XX Century

Rotunda XIII to XVI Century

~

Qpl

Batarde XIII to XVI Century (Caxton)

~

Sans -serif & Grotesk XIX & XX Century

Black letter XIII to XVI Century (Gutenberg)

~

sua

~

Caroline Minuscules VIII to XII Century

~

*

>

~

..

(b

~ ~

(b

1--'

~

~

0

'<

~

~

Half Uncials V to XII Century

0

co

~

Early & Later Latin Cursive I to VII Century

Rustic Capitals I to XII Century

Square Capitals I Century B.C. to XX Century A.D .

Book Script from IV Century

Early Latin B.C.

Uncials Ill to XII Century

s:::-')J

>> >

)>

Greek VI Century B.C.

Phoenician 1200 B.C.

~

)>~

Ancient Seiritic 1850 B.C.

~

m ~

"'

0

Stan Dann When he made the step, four years ago, from art director to illustrator, Stan Dann inadvertently acquired a new hobby in an unusual art form. He had joined the 222 Group to share facilities with John Lichtenwalner and Ed Diffenderfer; and he took on the project of creating an appropriate sign.

This ultimately turned out to be a carved wooden sign.

Fascinated with the medium, Dann began exploring it in many directions-bas relief, high relief, and even three-dimensional sculpture. An appreciative audience and a market for his art rapidly developed. Today, the hobby is blending with his successful career as an illustrator in other, more conventional media. He has already carved some advertising graphics and has several commissions for sculpture in the architectural and decorating field.

The 222 Group was originally named for its address on Kearny Street, though they have moved (with sign ) to 40 Gold Street, San Francisco.

Their Christmas card (left) was designed by Lichtenwalner, executed by Dann and photographed for reproduction.

67

STAN DANN This commercial application (right) of Dann's carving was developed by Guild, Bascom & Bonfigli for Ralston; Peter Mock, art director

Collection of Mr. E. Gorman

68

STA Design in Chicago Printing Exhibition

The Society of Typographic Arts accepted 101 entries for hanging in its 38th Annual Design in Chicago Printing Exhibition. 982 pieces were submitted to the jury. Members of this group were Ron Bradford, A. Richard DeNatale, John Goetz, Bernard Gross and Chad Taylor. Show chairman was Bob Mulcahy.

A representative selection of show pieces are presented here. A sound and color film strip of the 1964 Design in Chicago Printing Exhibition is available through STA, 27 East Ohio Street, Chicago 11, Illinois.

Booklet Title : This Garden England Art directors: Bert Ray, Harry Voigt Designer: Harry Voigt Artist: Parvis Sadichian Client: International Minerals & Chemical Co. Catalog Art director/designer: Bruce J. Kortebein Client: Ravinia Festival Association Annual report Art director: Charles Walz, Jr. Designer: Norman Perman Artists: Charles Smith, Norman Perman Client: Abbott Laboratories Booklet Designer: Richard Logeman Photographers: Steffens Leinwohl/ Ronald Nameth Client: Research Council of the Great Cities Program for School Improvement Book jacket Art director: Greer Allen Designer: Ed Bedno Client: The University of Chicago Press

70

witllll !ny !TI(Ifhtrwho D•~flt 1\l'r eh!!dniiiA p!~e of <:IIndy lor to<ell~fau "It woofl,s. It« 11 WO<k ll•"f)'dil\ . ll!ll'l'tlll110ugll,.1,1llt·l4l!llrl."

Th,.. so~pero"tor~dtt'ltl •nd SO.rd of hiK.oot•on mt>ll'bcrs of thue hfl..:ot'llllrgest o;oly S<.hOOII~$1f'ma• 111 • meer.ng t<l Y""" aoo •n ~thomuc: C•iy, Nt>w Jer•.-~ · d..-.• ded thll lA i< 111b0111 the proot.>mo. of

1dvutoon utlarge ~;rtJ~;I ereas wu IHJIOMJ\ogh Ther .ttl ~1>. w lhl,. lflf" Mil\ 1f1Gt ~••loua ~toltcta , ::n,~::n"" Fnacllot~ prto;;l><;ttl "'h.-en mlfil'll ji'<<»IOe more elle<:t''' 11Kl1.1cltlo'1 for ""'"'·city th•'G•e.,

Ame<k:a't I'"' ell) achOOIIy$1oms llrt'" oetl hol.lble. Th«y tt.ntn't 1110"1" lti~«Y lor 14<\C'Iert and t=nvooms Theh ml!l!r-tot'l scko~>l• arl erow(fed woth ttutl~r.tt who r~uore "'voces wtueh

Tt'"•

'"*

tthooh: htYP 11.. M had lo p•ovld• o., a t.roe. oro.a" t.U sulo. lt.an too lew tHei'U!II, oTUitty o' thtm 1100r11 IH~p.t~ to luth tnt ll>std~I!IIHil:yf>G ert 117 JD>nd they •uc :oJong l'ltiJh &C'hool ltudOI'!$ (droii'Oull)ot pk•~<om«n<~~! r;~~tos.ln ''"'n«rcuy hig~sehoot<J, u many n60"&'*hg lt'lrolt ,., tho tenth o;ar•domertt•opo>~tboloroe<ed~.~«t·fl.l'l .

Thn• 11111 r•ie~td probl""*''' ••• a•voded <Oio lour tr.t;o< categ.or•... Orl! b) ono . ...::h hu boone a11t(.~•d. ll,.d:od. ~·,ll "Jol,ed" _,., thll Jt>n:.e that urban edu<::1110n I'll.,. IHI lh11y kti<IW whoth wty to "o and •h•lwtl JoO'~ But let ll\I<U"IIItty CJI n<uon..~ , thJty htvt:-n'tOC.n•bte :o go vory lut Tt'ltt first •nd'110IIculit.alptobtem. ,,II"UIIIOIMCJ111!t .

'Bo•umort, Aot\Ofl, Bul'fllo, Chit~o. Cl"""tlland. ~iiU'1, tl<>l.llll.m , l.o$ A:'lgOIU. Molw•l.l~l!ot, Ntw Yori<Coty. PI'I,I<ltil)ho#I,P•Ibb•ngii, St.Lu<llt,S•.,Ft•llc••eaW••II•n{l:on.OC

71

Container Corporation of America --------Annu~ Report 1963

DESIGN IN CHICAGO

Annual report Art director: John Massey Designers: John Massey, Robert Lipman Artists: T. Korling, W. Evans, R. Janu Client: Container Corporation of America Book Title: Wood Engravings by lmre Reiner Designers: R. H. Middleton/ Albert Kner Artist: lmre Reiner Client: Apprentice House, Inc. Book jacket Art director: Greer Allen Designer I artist: Larry Klein Client: University of Chicago Press Book Art director: Hal Kearney Designer I artist: Franz Altschuler Client: Scott, Foresman & Co. Booklet Art directors/designers: Walter Kacik/ Vogele Design Associates, Inc. Client: The Ansul Company

~-""·""""~·~··

~r~·~::~.s~~~·~i~~.;: ~::~,~~~:: !::::~t~;i~:.:;:.h~· Cl~•tt-r

Ou tht' hi~h('f or lht'" two l\t•3r!Jy hiii.J \HIS tht> min of ll

~;:~~~=~t~~:~: ~~rl~~~~~; ';~•Iii~:· :'~:~;~~~~:;·:~.rd~ in ;~huudan<'f' hk'<~~{'(l thl" soil of tlw dt•,out P•'A~.mts. lh·n·, .in lhl' southt'rn p:nt of wh:1t wn~ rmet• IlungrJty, lmn:1 Ht"iiWr was hotn on t.ht• tSth of .\u(!w;t, trtOCl, IIi~ fatl~t•r. a11 Au..,trian, w:ts a s('ulptor. stone cutter, ''llgt:tYN and d,..,i~ner - a m:m wlto bdi(•H-d in worL., a rttMI('l" of mau) (',tiling<~. Jib mothf'l' I'Gtnc from the ,~o··:uby town of Tl'mt•war. f'rom ,•,uh· childhood

Urim•r worked -r:-itlwr in th1• ltoml· o( hi~ p.tn•nh or for Hf'.lrhy JW,t~:+nt neighbors. llis d.tv~ wt·n· spt.•nt ill

tlleas:mt ,,.l,rk, his evenings in happ~ houtf•- tiH• .!lmall , IHI>I"ii'St Jnilldlf'-Ci.'l5S lif;• of ll dC,IJl , \\ C'll-()r~UililC·d

''"'nundt•rtht•mk;•fFmnz.jowfL fl'\'11n; \HlN s-mn; r, thednst rosr> lli~h, ~"dli11g m thick cloud.;ilft<-rthr>pea.<anb'\\.lgmts, lumingtiiC !owl~· brown hOCJ"f'$ gta~'· Til('tt' ''>f'tl' wtwdharrows fillnl with trwlous and ~01mh , ~ackj or whNI and

:~:~t~t:~~(~~~~~:~~ :.~~:~'~';~~~:;'!~~~~:~:.t~: ~~~· a~~~i~ry; trc<·<1l,,•peas.mt1\\'l'uthar<'footuntilwintt•rst:uted ; only

72

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l/1/11(\'11:11.'}'1'1' 1""·

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Lile Insurance

:~:~:::.~"::... ""~"' ' H:. ··'• Jl,•

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73

DESIGN IN CHICAGO

Announcement Art director: Melinda Lienhart Designer I artist: Jim Lienhart Client: The Lienhart family Editorial design Art director/ designer: Arthur Paul Artist: Joe Hendrick Client: Playboy Magazine Booklet Art directors/artists: Bradford/Gout Design Client: Aldrich & Aldrich, Inc.

74

THE NEW EBERHARD FABER SLIMLINE WITH THE FEEL, STROKE, BALANCE OF A PEN I

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SAN DIEGO

The CER oceanouraiJhy Series

The Oceanouraohlc Tower

The CER oceanonraony serms

rroiecf Mohole

The Art Directors Club of San Diego recently held its Fifth Annual Exhibition of Advertising and Editorial Art and Design. Judges for the event were: James Cross, designer; Ronald Shaw, creative director of Paterson & Simonson, Inc.; and Kenneth H. Siefried, senior art director for Foote, Cone & Belding. The exhibit was selected from over 340 entries. All distinctive merit winners and a selection of merit awards are shown here.

Distinctive Merit Awards The CEll OceanouraPhY Series

Seawater conversion Plant

Art director/ artist: Don Wright Client: Communicative Arts Art directors: Chapman, McQuiston , Suzuki & Wright Designer: McQuiston Artist : Don Wright Copywriter: Tom Chapman Client: Central Typesetting, Inc. Art director/designer: Tom Gould Photographer: Charles Schneider Copywriter: Martyn Hodes Client: Frye & Smith, Ltd.

CEITUL'S NEW UIIDGED

DlmORm A

READY REFERENCE

FOR BUSY BUSINESSMEN

78

Consider the power of paper used with imagination to entertain restrain

Please do not disturb the

BIRDS contain.

We offer the world's largest selection of commercial pri nt ing papers. And we can help you use them with great imagination. ®

Champion Papers © 1965 The Paper Division of Champion Papers Inc., Knightsbridge/ Hamilton, Ohio

Consider Champion Papers uncoated grades. These superbly strong papers include our bristols

co vers

BIRD GUIDE the children's zoo

GIFT

WRAPPING 3rd floor offsets.

Choose from a multitude of colors-bright ones, pastels and a wide variety of whites. Also a large sele cti on of embossed finishes. Ask your local paper merchant to tell you more about our uncoated grades .

• I

Champion®Papers This is Champion Papers Chalice® Opaque, White, Vellum Finish/80 lb.

SAN DIEGO ACCENT SIUDIOS

Distinctive Merit Awards Art director/designer: D. Keith Kaonis Client: Accent Studios Art director/artist: Tom Suzuki Client: Pig Pen Studio Photographer: Gary Kornmayer Photographer: Harry Crosby Client: Actors' Quarter

I

79

SAN DIEGO

Distinctive Merit Award Art director/ designer: Warren Molentin Artist: Image Art Studio Agency: Barnes Chase Advertising Client: First National Bank Merit Awards TJI£ fiRST N~TIDIIAL BAliK BIIILDING

Art director/artist: Don Smiley Client: Don Smiley Art director/ designer: Don Record Artist: Don Record/ Harry Schneider Client: Neighborhood House Art director/artist: George MacDonald Agency: Champ Advertising Inc. Client: Caliente Race Course Art director/artist: Donovan Maley Client: San Diego Magazine

e

peat graphics!

THE WAY IT WAS In l910. lac f"r :J f:arm t~irl uc Kearny Me.ta v.>a$ full of work. hor1cs. picnic, ud lndl.an fiahtlnt •

-l=elfz oauroan (I pr<osper<o

aflo naeoo

80

, c:rf1 tort.

~ Y,ut·u,- (h.o.lh~t

Now there are four Clarendons

It 's here !

It's here!

It's here!

It's here !

Here is Clarendon Regular- it's just been introduced

into the family.

you know.

And here's the Clarendon Medium

Clarendon Semi-bold, a second new

face, joins them.

Add this face, Clarendon Bold,

and you have the complete family of four. All satisfy titling, sub-head and body copy requirements. Each has great strength, significant clarity and tremendous energy. And each is eminently readable. • All four Clarendons come in a range of 14 sizes, from 8 point small to 60 point, American pica body. Five text sizes, ·from 8 point small to 12 point small are available in Linotype matrices for machine composition.

Specimen sheets on request. Write: Amsterdam Continental Types 276 Park Ave. South, New York, N.Y. 10010-(212} SP 7-4980 • 3319 W. Magnolia Blvd., Burbank, Calif.-(213} VI 9-6319

WASHINGTON, D.C.

3

2

82

The seven gold medal winners from the Sixteenth Annual Art Directors Show of Metropolitan Washington are shown here. Members of the jury were Bob Gage of Doyle, Dane, Bernbach; Bob Peak, illustrator; and William Pensyl of Ketchum MacLeod & Grove. 149 out of 750 pieces submitted were exhibited. Richard L. Parks was show chairman.

4

1 Editorial photography Photographer: Bates Littlehales Client: National Geographic Society

2 Poster Art director: Jack Masey Designer: Chermayeff & Geismar Client: U.S. Information Agency

3 Booklets and direct mail Art director: Robert Sivard Designer: Push Pin Studio Client: U.S. Information Agency

4 Editorial design Art director: Mona Bennett Designer: Dorothy Fall Client: U.S. Information Agency

11~1· ... ~~ ....,,.,.,. 'l~'''lll"'"llj•f 111rt••l<hl "I "~f,,JO>I ·Ill "I~ hl/t1ill:r "••l'flOUI"''fiTr,.o

\Jh~<nlllr-ol~;-

lll•ofl l•lllrl•l<•ftl .• .. 1\\•!fl'k'u\.o~. r

\- ... •

83

WASHINGTON , D.C.

The Plumber

Magazine cover Art director/designer: Joe Baumer Client: U.S. Information Agency Editorial design Art director: Jack Lefkowitz Designer: Winston Marshall Client: Industrial Launderers Cover photography Art director: Jack Lefkowitz Photographer: Alan Berg Client: Food for Peace Council

84

America's top corporations, their printers and advertising agencies count on EAGLE-A business and printing papers for just the right impression!

For samples of the complete color range in EAGLE-A Quality Embossed Cover Papers write for 12 " x 18" sheets or blank dummies made to your own specifications.

AMERICAN WRITING PAPER DIVISION • DEPT. CA •

BROWN COMPANY • HOLYOKE, MASS.

MINNEAPOLIS-ST. PAUL Shown here are selection of winners from Minneapolis/St. Paul's 11th Annual Art Directors Show. The exhibition was judged by five members of the Chicago Art Directors Club--Richard N augler, Herb Pinske, Frank Daniels, Wing Fong and Bernie Rohr. 175 out of 700 entries were hung.

Gold Medal Award, art Poster Art director: Bob Ogren Artist: Roy Mathews Gold Medal Award Company publication Art directors/designers: Wayne Webb, Ron Papparella Photographer: Bill Kinser Client: Revere/Wollensak-3M Experimental Art director I artist: John Keely Agency: RKB Studio Best of Show Television Art director/designer: Dean Koutsky Copywriters: Jim Grymyr, Glen Bammann · Photographers: Wylde Films, Inc. Agency: Knox Reeves Client: General Mills

86

It's free!

Is our illustration a three-color job? A fourcolor job?

Actually, we've used only two impressions~ blue and black. On our Dustie Pink stock.

It's obvious that we've spared no effort in producing this example. But it proves that Atlantic Pastel Offset does give you an extra color dimension. At no extra cost.

Now, you try it. Let your imagination go. You'll be amazed (and so will your clients) at the multicolor effects you can achieve. And at how much further you can make every printing dollar go.

Atlantic Pastel Offset has a uniform, well-closed surface that prints beautifully. It's available in six like-sided shades.

Ask your Eastern Franchised Merchant for samples of Atlantic Pastel Offset in Deep Etch and Suede finishes. Or write us direct-on your business letterhead, please.

....... ATLANTIC PASTEL OFFSET

~

EASTERN FINE PAPER AND PULP DIVISION ·STANDARD PACKAGING CORP. · BANGOR, MAINE

How it was done: To achieve the multi-color effect on the reverse side of this page with only two impressions, a dye transfer print was retouched to lighten those areas where the color of the paper was to show through. Two color separations were made from the artwork. Blue and black inks were used to print by offset on Eastern's Atlantic Pastel Offset, Dustie Pink, Basis 70, Suede finish.

Other colors: Daffodil Yellow, French Cream, Mistie Blue, Smokie Gray, Ocean Green . Deep-Etch or Suede finish.

PHOTO ON REVERSE SIDE BY KAY HARRIS

Win a

in our exclusive design contest open only to art directors, assistant art directors, designers, illustrators, renderers and bu II pen upward-strivers I

Here's what you do 1. Get a free Atlantic Pastel Offset sketch pad by mailing the coupon below.

Place the pad on your drawing board.

2. Create! Design a design. Anything.

But remember that winners will be judged both on originality and effective use of

the color characteristics of Atlantic Pastel Offset. If you've already done a job on this unique stock, send it along. It's eligible, printed or not.

3. Mail ii in by September 30, 1965. Please -no extensions! All entries become the property of Eastern Fine Paper and Pulp Division, Standard Packaging Corporation.

If used for purposes of advertising, they will be paid for at prevailing commercial rates.

Here's what you win 1st Prize-Original color lino-cut, "Tete."

Hand-signed by Picasso, framed. Purchased at $700.

2nd Prize-Original color lino-cut, "Exposition Vallauris -1956." Hand-signed by Picasso, framed. Purchased at $300.

3rd Prize-Original lino-cut, "Toros en Vallauris-1960." Hand-signed by Picasso, framed. Purchased at $160.

Plus Honorable Mention Certificates

for runners-up-perfect to fill that votd on the office wall.

Plus exhibition of all prize-winning designs in New York and principal cities across the country.

So don't just sit there with your pencil in your hand! Send for your Atlantic Pastel Offset Sketch Pad-it's FREEwhether or not you submit an entry.

------------,

I I I

To: Atlantic Pastel Offset Contest Eastern Fine Paper and Pulp Division Bangor, Maine

How can I refuse something for nothing- plus a chance to win an original Picasso? Rush a free Atlantic Pastel Offset sketch pad for inspiration.

NAME

1 -----1 TITLE, IF ANY

I I L

COMPANY NAME

I I I

COMPANY ADDRESS

CITY

STATE

ZIP CODE

I

---------~

MINNEAPOLIS-ST. PAUL

Christmas card Art director/designer: Ty Nelson Photographer: Ty Nelson Copywriter: Jim Stein Agency/client: BBDO

2

2 Art director I designer: Bob Watson Photographer: Bill Gale Copywriter: Qick Ruhme Agency: BBDO Client: First National Bank

3 Sales presentation Art director/artist: Zaccardi Copywriter: Bob McKinley Agency: Ray Tollefson Studio Client: Naegele Outdoor

4 Newspaper ad, black and white Art director/designer: Bob Watson Photographer: Bill Gale Copywriter: Dick Gustafson Agency BBDO Client: First Service Corporation

5 Point of purchase Art director/designer: Harry Heim Artists: Butte, Hyde Agency: BBDO Client: Northern Pacific Railroad

4

3

july: vacation loans ,

5

SUNK?

•

41···•• ··~ ·r ·... ·j: ·····

~ ~ ----

How much does a banker know about corn?

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......... ~-f\,...._'ljo«t

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89

MINNEAPOLIS-ST. PAUL

2

1 Direct mail Art director: Gary MacManus Designer: George Rumsey Artists: Rumsey-Lundquist & Assoc.

Copywriter: Charlie Brown Client: 3M Company 2 Magazine ad Art director I designer: Ty Nelson Photographer: Rudy Muller Copywriter: Dick Ruhme Agency: BBDO Client: George A. Hormel & Co.

3 Experimental Art director/artist: John Keely Agency: RKB Studio

4

UNLESS THEIR KID SISTERS GET TO IT FIRST!

Newspaper ad, black and white Art director I designer: Ron Anderson Artist: Lionel Kalish Copywriter: Mike Kelly Agency: Knox Reeves Client: Minnesota Blue Cross

5

3

Magazine ad Art director/designer: Tom Donovan Photographer: Shigeta-Wright Copywriter: Ron Oakland Agency: Knox Reeves Client: General Mills

6 Trade ad Art director I photographer: Bob Watson Copywriter: Dick Gustafson Agency: BBDO Client: Minneapolis Star & Tribune

7 Calendar Art director: Bob Jensen Artist: Delor Erikson Agency: RKB Studio Client: Ken Sorenson Printing Inc.

90

5

4

Blue Cross pro!ects

the fanners <twghter I

Blue Cross keq>s 'em down on the farm!

What to do when company drops in (td.<.lfttiM>t.t.kel'fi'U'I!b4<Mdtbo:lo)

+mii 6

;;.:!~:~:::~;:r::~::E~:= !f::;!!!:fE0:~=E:!:J;:a!;~~ "_.........._.t,....too;)Qio 11'5<C<>Oe'! "''l«t~.......... ~ ~>;0~--GooM-•!i........ ~., - - ..,,..., ~

7

In 1901, the newsp.opers pub/lslted in this IJulldfn• r ...ched more /llflnne.opolls !tomes titan all otlter f:ntlllslt d.olly publlc.otfons combined. In 1964, the /llflnn. . polls Star and tile Minneapolis Tribune (now published In • modern, blocl<·squ.ore bulldlne) reach ne.orly 9 out of 10 households every day. We hate to pry behind your f•c•de, but how m.ony /111/nne.opolls homes does your TV commercial reach on a •lven day7

91

MINNEAPOLIS-ST. PAUL

Direct mail Art director: Jerry Schultz Designers: Jerry Schultz, George Rumsey Copywriter: George Sandell Client: 3M Company Letterhead Art director/ designer: Dick Sutphen Photographer: Diane Syme Client: Syme/ Anderson

... from perfect brewing water

Outdoor poster Art director/designer: Tom Donovan Photographer: Shigeta-Wright Copywriter: Ron Oakland Agency: Knox Reeves Client: Minneapolis Brewing Co. Experimental Art director/artist: John Keely Agency: RKB Studio

92

Study this reproduction carefully.

Then turn the page

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

Frank Cowan/Hasselblad/135mm. Sonar lens/f.22/Strobe. This insert printed by Offset Lithography: 21112 x 38. Basis 80 lb.

This is TioP-ake; on the job.

Judge for yourself how its high opacity delivers beautiful reproduction on both sides ~f this sheet NTERNATIONAL PAPER Tiopake of-

I fers exceptional printing results in both color and black and white.

Minimum show-through is one important reason. Inspect the highlights on both sides of this sheet and see for yourself.

I-P achieves this high opacity with a careful balancing of additives, so there's no loss of whiteness.

Excellent ink holdout

Another reason Tiopake offers bril-

liant reproduction in color is because of excellent ink holdout. I-P uses no artificial fluorescent dyes for brightness, so you get greater color and shade permanence.

Special data for printers

Tiopake has good porosity to allow fast drying and fast press runs. Feathering and offsetting are no problem.

And strict quality control during manufacturing and packing helps avoid the dust and lint that cause

hickies and picking. High dimensional stability insures accurate register for multicolor work.

New Tiopake Cover

Tiopake is now available in three finishes: A new Bermuda finish, and standard vellum and smooth finishes.

Also new: Tiopake Cover, in Bermuda and vellum finishes, 65-and-80 pound. Ask your I-P merchant now for samples of these new additions to the Tiopake line.

INTERNATIONAL PAPER PAPER DIVISION. 220 EAST 42ND STREET· NEW YORK, N.Y. 10017

The New World

International Design Conference Aspen

June 20-25

The end of the world as we know it is being brought about by an extraordinary pile-up of changes in scale, speed, technique, conduct and motivation.

Contradictions in the emerging new world will be investigated: our growing inability to distinguish between reality and fantasy, while technology rules most human endeavors; the conflict between technique and content: our increasing visual sensitivity in a world filled with man-made ugliness.

For General Information about the conference please write to: International Design Conference in Aspen P.O. Box 664 Aspen, Colorado 81611 Telephone: 925-7553 1965 Program Chairman George Nelson

95

c\'\o\c~:.

Books

i~\l~ERMANENT OR MPORARY 8

ONos Graphic Arts Typebook, Volum es 1 & 2 Reinhold Publishing Corporation, publishers 430 Park Avenue, New York 22, N. Y.

$5.95 each

These two volumes, compiled with the help of Graphic Arts Typographers, Inc., contain over 300 typefonts of machine composition. Volume I offers serifed faces (Old Style, Transitional and Modern ), Volume II offers sans serifs, square serifs and a variety of miscellaneous faces.

Among the many features which make these books valuable references for both students and professionals: range of sizes available for each typeface; companion faces; leading requirements; foreign language accents; contrasting faces which may be mixed mechanically with the face at hand; a two-page spread devoted to each size of each typeface. a full display of the alphabets of the font for each size; a character count chart showing 10 through 30 pica counts for caps, small caps and lower case; alphabet lengths, quad, numeral and punctuation widths; four separate paragraphs of different leading in both roman and italic for each size.

Cross-referenced tables of contents and a consolidated index to both books are included in each volume.

Tkr Ptnto•eAnnu;lll YMurneS8 1965 A re••e• ofthetr;aphte aru Ed r tedby Hubc-r!Spe-o~ur

~-

NOW...

MORE STRENGTH PER SQUIRT!

The Penrose Annua l, Volu me 58, 1965 Herbert Spencer, editor Hastings House Publishers, Inc., publishers 151 East 50th Street, New York, N. Y. 10022

Concentrated and heavy-bodied, this new 3M Brand Spra-MentAdhesive. Sits up on the surface when applied, resists bleeding. Assures high-strength bonds for porous materials like paper, cardboard, fabrics, plastic foams. And that's something the watery-thin sprayon adhesives just can't do.

Makes high-strength permanent bonds for mounting photos, artwork. Makes temporary bonds, too, for frisketing, masking. Just follow label directions. Adhesive bonds a lot more materials besides.

Acetate, other plastic films, metal foils, felt, cork, for example. Even bonds "Styrofoam" without deterioration of the foam. In short-the spray-on adhesive you'll want to stick with. See your 3M Art Products supplier for this new adhesive. a;;J comPANY

II!Jm

Write 3M Company, Dept CXG-15, St. Paul. Minn. 55119, for more information.

96

$14.00

This edition of the Penrose Annual retains the format introduced last year by editor Herbert Spencer. A general theme of education and training in the graphic arts ties together a wide variety of technical and general material.

Among the handsomely presented articles : "Fashion in typography," "Typographical topography," "Photographic training for graphic designers," "Perfumed printing ink," "Poster design as a newspaper image builder," "A revolution in 3D printing," "Type in art." Articles on Norman Parkinson and medical illustration are of particular visual interest along with an outstanding series of photographs accompanying "The Penrose Survey."

Contributors include Germano Facetti, Nicolete Gray, Christopher Bradshaw, Will Burtin, ]asia Reichardt, Michael H. Bruno, Allen Hutt and James Moran. Summaries are given in French, German, Italian and Spanish. This volume impressively fulfills the annual's traditional role as a record of current developments and directions in the graphic arts.

THROUGH AT

• AND

l

SPEEDBALL HAS THE SIZE AND SHAPE YOU NEED! Whatever your requirements, Speedball offers. just the point you need for sharp, precise freehand lettering ... a total of 36 different numbers in 5 · styles . . . plus 4 steel brushes! And Speedball gives you 2 ways to use them: in conventional wooden holders or the efficient pushbutton Auto-Feed that handles like a fountain pen without dipping or dripping! Either way, you get clear, clean lettering that's never fuzzy-always under control. When you do lettering, do it right ... do it with Speedball!

•

S end 10¢ in starnps for comprehensive lettering chart.

Write: Hunt Manufacturing Co., 1405 Locust Street, Philadelphia, Pa.

97

Books (cont.)

Synthetic Painting Media

by Lawrence N. Jensen Prentice-Hall, Inc., publishers Englewood Cliffs, New Jersey $3.95

Inn ovators o f the sensational seller now sweeping th e U.S . " Th e Pentel Sign Pen. "

NEW 7-COLOR

In this compact paperback Mr. Jensen discusses the impact of the new synthetic paint binders and media on the fine arts. This development, he states, is "as important an innovation in our time as the introduction of the oil medium was during the Renaissance."

As a basis for comparison, the traditional media encaustic, fresco, egg tempera, pastel, watercolor and oil are examined in the light of their advantages and disadvantages as techniques. Individual chapters then deal with the six major synthetic media - polymer tempera, acrylic resin paints, ethyl silicate, pyroxylin, vinyl acetate and vinyl chloride acetate. Fiberglass supports are also discussed. Techniques are outlined in detail, chemical formulas are included and paintings in both traditional and new media are shown.

Sources of materials, a bibliography and an index are appended.

SET

Pe ntc l pe ns a rc now avai lable in 7colo rs: Bl ack, red . blue. gree n, ye llow, o ra nge . brow n, with ha ndy pl as tic case.

T he ve rsatil e Pe nte l sign pe n's fi ne po int fibe r tip wr ites a nd draws smooth ly ove r a ny surface, i.e. , p ape r, ph otographs. wood s, pl asti cs, ce ra m ics. glass, e tc. Thic kness of the pen stro kes ca n be va ri ed with a ngle o r press ure a pplied to pen. Ink dri es insta ntl y and is wa te r so lub le . $350 pe r set.

4-co lo r se t also avai lab le.

P E NT E L® "S H A R P 5" Thinnest lead a uto m atic pe nc il in th e world . This penc il ho lds 0.5 mm leadespeciall y deve lo ped for those need in g a fi ne constant le ad po int fo r the ir wo rk . i.e. , acco unt a nts, a rc hitects, a rti sts, bookkee pe rs, draft smen, engin ee rs a nd ge ne ra l office usc. A va il a ble in red . brow n a nd gree n ba rrel co lo rs.

98 · ca.

Furniture in Britain Today

by Dennis and Barbara Young Wittenborn and Company, American distributors 1018 Madison Avenue , New York 21, N. Y.

$10.50

A picture survey of some of the best furniture designed and produced during the last three years in Great Britain. Pieces shown come from large, medium and small manufacturers, individual craftsmen and students of furniture colleges. The material is divided into sections on "Chairs," "Tables and Chairs," "Storage," "Bedroom and Nursery" and "Office Furniture." The editors note the prevalence of "artist-craftsman" thinking, logical approaches to design problems and technical awareness in the 300 examples shown.

The text is in English, French and German, and the work is indexed for designers, manufacturers and photographers.

$1

The Western Heritage of Type Design

by R. S. Hutchins Hastings House Publishers, Inc., publishers 151 East 50th Street, New York, N. Y. 10022

0.5mm LEAD W o rld 's f ines t l ead p oint.

Sp ec ia l le a d c om pos i ti on k ee p s f irm under pressure.

A vai lab le i n HB, H and 2- H ( Bl ac k le ad o nl y.) 50 ¢ p er box ( 12 leads).

PENTEL® SIGN PEN

49¢ ea.

For additional information write on company letterhead to Yasutomo & Co., Dept. c-65, 24 Califo rnia Street, San Francisco, California 94/1 I

98

$7.95

Mr. Hutchings offers an interesting study of the derivation, inter-relationship and representative status of over 70 important typefaces. The alphabets shown are considered by the author to be among the best or most representative examples of type design in the 'latin' tradition, and they are arranged in order of development.

An introductory essay outlines the major steps in the history of Western type design. As further study guides, notes on the sources and availability of the alphabets shown and a bibliography are included.

Appleton ''Speaks Out''

with

9

refreshing

N EW colors

in the popular line of

COLORED ENAMEL AND COVER-GLOSS

with the powerful persuasion of color on color with Appleton's new line of

COLORED ENAMEL AND COVER-GLOSS

Your old printing favorite with a colorful new look!

We've revitalized seven of WooDBINE's most popular colors to give them new tonal clarity, new refreshment of color for better concepts in setting contemporary moods and design techniques. Two entirely new colors of Gray and Orchid have been added for a new WooDBINE repertoire of nine expressive, persuasive colors of relative intensity to challenge the imagination in creative applications of printing color-on-color. Goldenrod and Orange, because of their striking, powerful sales colors, and their perfection of use in the Graphic Arts field of masking, remain unchanged. Line and halftones "speak out" with new fidelity through better ink hold-out on the smooth, level coated surfaces of WooDBINE Colored Enamel and Cover-Gloss ... with benefits of multi-color effects with fewer cost-saving printing impressions.

Black Halftone, 150 Screen.

NEW WOODBINE ENAMEL Colors include:

25 Blue

Orchid

Ivory

Orange

Pink

Canary

Tan

Goldenrod

Gray

India

Green

Matching WOODBINE COLORED COVER is also available in 9 (ex· eluding Goldenrod and Orange) of the new "Speak Out" Colors.

Soon to be announced - New WOODBINE Colors in a delightful array of interesting DUPLEX COLORED ENAMEL combinations, and WOODBINE COLORED ENAMEL-DULL finishes.

25

Yours for the asking ••• Appleton's New WOODBINE COLORED ENAMEL AND COVER-GLOSS Swatch Book - Complete with size and stock information. Demonstration portfolios and other sales promotion aids upon request - on your letterhead, please .

8

APPLETON COATED PAPER CO.

50

75

APPLETON

APPLETON • WISCONSIN

lithographed in USA on WOODBINE Green Enamel-Gloss, Basis 25 x 38 - 80.

Miehle 2 Color Offset I Sheet Size 25 x 38 I 3000 I PH. Halftones - 150 screen.

PMS System Ink Colors: Black, 102 Yellow and 313 Blue.

100

50

75

100

Club News FAMOUS WEBER

5FIXATIFS &VARNISHES ATA The Advertising Typographers Association of America, Inc. elected the following officers at its 39th annual convention: William E. Trevett, Cooper & Beatty, Ltd., Toronto, president; Arthur S. Overbay, Jr., The Typographic Service Company, Indianapolis, vice president; Robert L. Stovall, Jaggars-Chiles-Stovall, Inc., Dallas, treasurer. Walter A. Dew, Jr. is the Association's executive secretary.

In SPRAY CANS BLUE LABEL FIXATIF For mat finish on pastel, charcoal, pencil work. May be worked over.

SPHINX RETOUCHING VARNISH For retouching oil paintings while in progress and for temporary protection.

SYNVAR VARNISH

Chicago The Society of Typographic Arts has formed a Speakers Bureau composed of 26 national and international authorities on all phases of design, typography, industrial design, graphics, film, television graphics, communication, photography, symbols, paper, packaging, posters and marketing. These speakers are available to art directors clubs and graphic arts groups generally for expenses only. Many of the speakers illustrate their talks with slides and other visual material. For information contact George McVicker, Chairman, 520 North Michigan Ave., Chicago, Ill. 60611.

The Graphic Arts Council of Chicago has re-elected Martin Grayson, Printing Developments Inc., president. Other officers are: Robert 0. Pohl, LaSalle National Bank of Chicago, vice president - economics and government relations; Gordon W. Wilson, Oxy-Dry Sprayer Corp., vice president education; Jack Strausberg, Jack Strauberg Studio, vice president - exhibits; Robert Ludford, Chicago Litho Products Co., Inc., vice president - program; John ]. Benshop, L.P. I. U., secretary; Carl H. Gorr, Carl Gorr Printing Co., treasurer; James X. Ryan, Printing Industry of Illinois Association, assistant to the president.

Watercle.ar, synthetic resin coating for artwork. Easily removed with mild solvents.

UNIVAR VARNISH Heavier bodied, permanent protective film for art, hobby and craft work.

DAMAR VARNISH Durable, clear, high gloss for finished paintings.

Removable with ordinary solvents.

16 Oz.... $1.75

6 Oz.... 98¢

Weber Has Enjoyed the Confidence of Fine Artist Painters Since 1853 MAKES WATER COLORS AS PLASTIC AS OILS!

Cleveland The Advertising Art Studios Association of Ohio, Inc. has re-elected president Donald D. Farnsworth, Artists Studios, Inc. Other officers are: William Meese, William Meese Art Studios, vice president; Ted Geddes, Cleveland Ad Art Studios, secretary; Harold Helgesen, freelance, treasurer.

PAINTING

MEDIUM

Dallas The Advertising Artists Association of Dallas has announced the election of officers for the coming year. They are: Phil Martin, Martin Studios, president; Jerald 0. Page, Jerald Page & Associates, 1st vice president; Ed Jordan, Crook Advertising Agency, 2nd vice president; Bill McCollum, Hesse Envelope Co., treasurer; Harland Wright, Hearne & Wright Studio, secretary.

DMAA The deadline for entries in the 1965 Direct Mail Advertising Association's Direct Mail Leaders Contest is August 9.

The competition is open to all creators, producers and users of direct mail. Al Corchia of The Corchia Group, Inc., is contest chairman. For further information write to DMAA headquarters, 230 Park Avenue, New York, N.Y.

Use right from the tube with water colors, Designers mat water colors and most tempera colors.

Gives fine opaque or transparent oil color effects on most any surface. Brush response is buttery and colors more luminous. 1" x 6" tube 95c Mix AQUA/GEL in sufficient quantity, with oil colors too, and 1%" x 6V2" tube $1.50 thin with water only-studio and classroom clean-up is much easier! Try Weber AQUA/GEL!

F. WEBER CO.

••• ~

,, ~

Philadelphia 23, Pa.

101

THE SIXTH ANNUAL EXHIBITION OF COMMUNICATION ART SPONSORED BY CA MAGAZINE

CALL FOR ENTRIES. A distinguished national jury will select the sixth annual exhibition from the year's outstanding examples of communication art.

The entire exhibition will be published in a special November/ December issue of CA Magazine.

25 CA gold awards will also be designated.

Any work produced or published between July 1, 1964 and June 30, 1965 is eligible. There will be no acceptance fees. Each art director, designer, artist and client represented in the exhibition will receive an award certificate.

Deadline for entries is July 10.

Magazine Advertising lA Single ad 18 Campaign ($4) Newspaper Advertising 2A Single ad 28 Campaign ($4) Trade Advertising 3A Single ad 38 Campaign ($4) Coordinated Campaign 4A Multiple media ($4) Poster 5A Outdoor, 24-sheet or larger, including paint 58 Campaign of 5A ($4) 5C Internal company poster 50 Series of 5C ($4) 5E All other 5F Series of 5E ($4) Point of Purchase 6A Record album cover 68 Display, hanger 6C Series of 68 ($4) 60 Menu Company Literature 7A Facilities/ institutional brochure 78 Annual report 7C Product/ service brochure 70 Series of 7C ($4) 7E. Catalog 7F Folder, announcement 7G Series of 7F ($4) 7H Data sheet 7J Series of 7H ($4) 7K Sales presentation kit 7L Exhibit Business Paper BA Letterhead / envelope (mounted) 88 Complete program ($4) Trademark 9A (Indicate company name and nature of business under mark)

Packaging lOA Single package lOB Series of lOA ($4) lOC Label 100 Series of lOC ($4) Self-promotion llA Promotion for artists, agencies, printers, others involved in graphic arts 118 Series of llA ($4) Editorial 12A Consumer magazine page / spread/ section 128 Trade magazine page I spread/ section 12C Company/ association pub. page I spread/ section 120 Company/ association pub., complete unit Book 13A Complete unit 138 Cover qr jacket Illustration 14A Advertising 148 Series of 14A ($4) 14C Editorial / institutional 140 Series of 14C ($4) Photography 15A-15D Same as category for illustration Film 16A 16mm TV commercials ($6) 168 16mm film title ($6) Miscellaneous 17A Christmas card 178 Other greeting card 17C Series of 178 ($4) 170 Anything not covered in previous categories 17E Series of 170 ($4)

FoRM A

THIS FORM AND REMITTANCE MUST ACCOMPANY PACKAGE OF ENTRIES

CA'65.

CA'65 • 809 SAN ANTONIO ROAD • PALO ALTO, CALIFORNIA 94303

COMPANY

ADDRESS

CITY

. @ $2 EACH $_

_ _ __

_ _ _ _ CAMPAIGNS/ SERIES @ $4 EACH $_

_ _ _~

_ _ _ _ SINGLE UNITS .

Submit unmounted reproductions, photos or transparencies.

All film entries must be 16 mm. For posters, display hangers, etc., over 18 x 24, submit only photos or transparencies.

FORM A and remittance must accompany package. If more than one package is mailed, indicate on outside wrapping.

"Package No. _ _ of _ _ packages."

_ _ __ 16MM FILMS

_ _ _ _ TOTAL ENTRIES SUBMITTED

L

FOR CA USE

ATE

FORM B or facsimile must be attached to each entry. If entry is a campaign or series, a Form B must be attached to each piece. If a piece is to be entered in more than one category, a duplicate with its own Form B and entry fee must be submitted.

RECEIVED

J 0D

$ _ _ _ _ _TOTAL FEE

coRRECT REM,mNcE ACKNOWLEDGE

FoRM B

ATTACH THIS FORM OR FACSIMILE TO BACK OF EACH PIECE SUBMITTED

Eligibility ... any piece produced or published after July 1, 1964.

CATEGORY]

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

. . . @ $6 EACH $ _ _ _ __

If this piece is part of a submitted

CA'65

[ORCA USE]

campaign or series, this piece is

[ NUMBER

I LETTER

No. _

SUBMITTED

Return of entries is not possible except for film reels and 4x 5 or larger transparencies which will be returned automatically, uninsured. CA cannot be responsible for damage or loss of any entry.

of _

pieces submitted

BY

L------------------·------------- ------------------------ ----- -------- --- -------------------- ·----------Entry fees ... Single units, $2. each. Campaign and series, $4.

Film titles or commercials, $6. Remittance from countries outside U.S. must be paid in U.S. funds.

FoRM B

ATTACH THIS FORM OR FACSIMILE TO BACK OF EACH PIECE SUBMITTED

No acceptance fees for selected entries.

CA'65

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

Notification of acceptance ... all accepted entries will be notified in advance of publication date and complete credits will be requested. The entire exhibition will appear in the Nov/ Dec issue of CA.

No. _

SUBMITTED BY

Awards ... an award certificate wi II be given to each participant and client appearing in the CA-65 exhibition.

Mail to ... CA-65, 809 San Antonio Road, Palo Alto, California.

Deadline for entries is July 10. Wrap all packages securely.

CA cannot be responsible for condition of entries.

o f _ pieces submitted

COMPANY

FoRM B

ATTACH THIS FORM OR FACSIMILE TO BACK OF EACH PIECE SUBMITTED

CATEGORY]

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

[ NUMBER

I LETTER

No._ of_ pieces submitted

SUBMITTED BY

COMPANY

CA'65

ArtO·Graph projectors speed up, improve quality of art production!

Art-0-Graph uJOOO" Most versatile projector made. 10diameter range, reduction to enlargement. (Auxiliary lens gives 14 diameters.) Projects opaque copy, art, photos, objects, or transparencies right on drawing surface.

No tracings needed. Counter-balanced for quick, easy, fine focusing .

Tessar-type lens. Flip-back, copy pressure plate.

Make photostats, too I New Statmaker converts Model 1000 to photostat machine in two minutes! Makes line copy stats or prescreened halftone prints without negatives. No darkroom needed.

Club News (cont.)

New York The recently established Society of Photographer and Artist Representatives have elected an executive committee comprised of the following officers: William Lawrence Sloan, president; Estelle Mandel, vice president; Stan Carp, secretary; William Ritter, treasurer. All agents of commercial photographers and illustrators are invited to join the organization. For further information contact SPAR, Inc., 210 East 58th Street, New York 22, N.Y. Norfolk Newly elected officers of the Art Directors Club of Norfolk are: Jim Dietrich, president; Harrell Tice, executive vice president; Ron Primm, 2nd vice president; Gretchen Adkins, secretary /treasurer.

Art-0-Graph uBOO" Budget-priced . Ideal second unit for studio or home use . Takes same size copy, uses same lighting system as Model 1000. 8-diameters enlargement to reduction. Easy, manual focusing. Tessar-type lens.

Takes no floor space .

Write for literature and dealer's name

ArtO·Gra/Jh Inc. Dept. CA, Sexton Bldg., Minneapolis, Minn. 55415

Philadelphia The Philadelphia Art Directors Club is making available its 29th annual exhibit in book form. The club's Annual of Advertising and Editorial Design is hard bound, 872" x 11", and reproduces 236 pages of prize winning art. Copies at $8.50 each may be obtained through the book's designer/ editor Elmer Pizzi, Gray & Rogers, Inc., 12 South 12th Street, Philadelphia, Pa. 19107.

The following officers will serve the Artists Guild of Philadelphia during the coming year: Harry Brodsky, president; Morris Guariglia, vice president; Charles Whitman, secretary; and Ben Fisher, treasurer.

PPC The Professional Photographers of California, Inc., will hold its Western States convention July 17 through 20 at the Del Webb Townhouse in Fresno. The conference will include a trade show and print exhibit. Among the speakers are Toni Ficalora and Vincent Tajiri. For registration materials, write to the Professional Photographers of California, Inc., 515 Market St., San Francisco, Calif. 94105.

........ when you draw on Crescent cold press illustration board. Prove it to yourself! Write for free samples.

CRESCENT CARDBOARD COMPANY 1240 N. Homan Avenue I Chicago, Ill. 160651

104

San Francisco The annual Portfolio show of the San Francisco Artists and Art Directors Club will be on view between July 12 and July 26 at the Insurance Securities Building, 100 California St. Tucson The newly formed Tucson Art Directors Club has elected Don Pollen its first president. Other officers are: Ric David, vice president; Ed Henschel, secretary; and Herb Grief, treasurer.

--$- VELVA-GLO® fluorescent color brings vivid new dimension to the graphic arts

Here is an example of the eye-catch ing brilliance that Velva-Gio Fluorescent Color offers the advertiser-fluorescent pigmented inks in full-color process printing.

The purity and radiance of Velva-Gio Fluorescent Colors are available in a variety of forms: Inks, Paints, Pigments and Coated Papers, Cardboards, Plastics and Fabrics.

+

Specify Velva-Gio Fluorescent Colors for your next sales promotion or packaging job.

Write us today for free color card and brochure. • RADIANT COLOR CO. 2800 Radiant Avenue, Richmond, California 94806 D 461 W. Erie Street, Chicago, Illinois 60610 D 249 W. 29th Street, New York, N. Y. 10001

Printed by offset lithography on a 25 x 38, 2-color press.

Materials

a new art

Mighty-Mark A giant-size felt-tip marker with smooth chisel-tip comes in 8 permanent colors, 12 non-toxic water colors. 79c at local art stores. Esterbrook Pen Co., Cherry Hill, New Jersey.

tool

ESTERBROOK

Fiberglass Litebox Vari-Hi Litebox features a 22" x 27" illuminated working surface cooled by accelerated convection ventilation, internal reflectors for uniform light, built-in switch and variable light control. Lighting is bright enough to trace through 110 lb. card stock, can be dimmed 50%. Molded fiberglass base with stainless steel trim. Overall size 23" x 28" x 4" high. $129.95 F.O.B. Rockville. For further information and two-page catalog sheet write American Research and Manufacturing Corp., 640 Loftstrand Lane, Rockville, Md. 20850.

CARTRIDGE

Wonaeriter Try Esterbrook's Wonderiter for smoother, more even sketch ing. For notes and layout lettering, too. Four ink colors write on acetate, paper, anything. Economical cartridge filling. Renewable "Flo-Tip:' $1.00 with 2 ink cartridges

Cherry Hill, N.J. FELT-RITER

FLO-MASTER®

NEW! HI-ART #13

MARKERS

WONDERIT£Rr"'

ONE BOARD for TEXTURE or SMOOTH AREAS!

for Rough Jagged or Highly Textured Work

Artists' Kit New Masters #105 introductory kit contains ten ,72-ounce acrylic-vinyl copolymer (AVC) colors in clear polyethylene tubes, directions for using AVC colors, a 12-page brochure describing New Masters quality line of colors, mediums and Gesso, a full-color swatch pamphlet describing New Masters AVC artist's and illustrator's colors, and complimentary gummed labels for affixing to rear of any canvas to identify artist and medium. Also included is a price list/order form and inventory blank for re-ordering. $3.50 from New Masters Division, California Products Corp., 161 Waverly Street, Cambridge, Massachusetts 02139.

For Smooth Wash Oil Areas Blend well

• 100o/o Rag Facing

Complimentary Samples by MAIL NOW:

------~---~~--------~--------------------~

NATIONAL CARD, MAT and BOARD CO. 4318 WEST CARROLL AVENUE

CHICAGO 24, ILLINOIS

Please send samples of HI -ART #13

Name _________________________________________ Company ______________________________________ Address _______________________________________

City & State'------------------------------- - - - -

106

Mite-E-Lite Projector A sound filmstrip projector with lever-action advance, one knob control of lamp, fan motor, phono-motor, sound level.

Easy filmstrip threading, pre-focused high intensity lamp, built-in screen inside vinyl covered carrying case. Additional information from DuKane Corporation, Audio-Visual Division, St. Charles, Illinois 60174.

Materials (cont.)

Wonderiter "Professional Kit" The kit includes three Wonderiter pens, three cartridge sixpacks (Wonder-black, Wonder-blue, Wonder-red), and two extra "Flo-Tips." Wonder inks write on anything and wash easily off the acetate of audio-visual transparencies. $5.98 at local art stores. Esterbrook Pen Co., Cherry Hill, N . J. Audio-Visual Mechanical Pencils Mars-Lumocolor mechanical pencils and leads, specially created for use with overhead projectors, are now available in a nine-piece set containing one each of every color and packaged in a vinyl pouch. At local audio-visual supply stores. For further information write Dept. 22, J. S. Staedtler, Inc., P.O. Box 68, Montville, New jersey.

Show-Kit II A new exhibitors' kit packaged in a compact, tan leatherette attache case contains claw hammer, steel tape, utility knife, pliers, screwdrivers and other hand tools; electrical supplies including extension cord, plastic electrician's tape, etc.; hardware such as assorted nails, screws, hooks and tacks; special show aids such as a stapler, marking pen, etc. Kit is 10Y2" x 15Y2" x 3", weighs about five pounds fully equipped, has storage space for papers, literature, special tools, show equipment. $19.75 F.O.B. Lexington. Kit-Kraft, Inc., P. 0. Box 112, Lexington, Massachusetts 02173.

Rub-On Metallic Finishes Craftint's new decorative rub-on finishes are available in gold, silver, patina, ebony, antique white, and antique gold.

A % -ounce tube, retailing at 98c, will cover up to 25 square feet. Also available in one-ounce jars retailing at $1.49 each.

Further information from The Craftint Manufacturing Co., 18501 Euclid Avenue, Cleveland, Ohio 44112.

Fujica Mini An 11-ounce 35 mm half-frame precision camera with electric eye exposure control and fixed-lens focusing. Extra sensitive electric eye surrounding the f/2.8 lens insures perfect exposures. Lens is pre-set to eliminate focusing for clear pictures ranging from closeups to scenics. An outside glass shield protects the electric eye and lens from dust and dirt. Eye level film advance for rapid sequence or action shots, automatically counts pictures, winds the shutter and locks against double exposures. Takes up to 72 color or black-and-white pictures or color slides with a single roll of regular 35 mm film-from ASA 25 to ASA 200. $49.95.

For further information contact Fujica Division, Ehrenreich Photo-Optical Industries, Inc., 623 Stewart Avenue, Garden City, Long Island, New York.

Pin Register Kit A $2.00 introductory kit of the Alldis Register System contains eight register pins, 24 register tabs, 12 Foto-Cross Marks, ten Hole Strengtheners ( )4" round) , and instruction sheet. Complete description and price list of the

A THICK BRILLIANT WHITER WHITE What's whiter than white? That's easy •.. Hurlock Royal Crest Illustration Board, of course. You can pay more but you cannot buy better! Try it, and you'll always rely on it.

Ask your dealer for # J 029 Single Thickness . . . and # J 030 Double Thickness. You'// be so glad you did!

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

HURLOCK

BROS.

CO.,

INC.

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

HOW TO GET

M L • I -~~ ecnan1ca s lilltt

WITH

For Overlays And Color Separations

1 . Place Separon over your copy .

Available In Trans parent Ruby Red And Photo Amber

2 . Cut the film with a stencil knife, then peel away from the areas through which light is to pass .

Separon lees you see what you're doing, yet photographs black. Sharper edges result in less negative clean up. Easierto- correct because any part of the film can be replaced.

Eliminates costly separations by engraver or lithographer.

Write for your Free Sample today I

SEPARON COMPANY INC.

56

5

2

N~v~ :o~ ~~-st.

107

Win a

Materials (cont.)

Alldis register products can be obtained by writing Alldis Associated Engineering, 829 Santa Rita Avenue, Los Altos, California 94022.

D

Literature for your files A request on your letterhead to the following companies will bring you the literature described ... free, unless otherwise noted.

see Atlantic Pastel Offset insert opposite page 86

"1965- 66 Art Materials Catalog" .. . a color showing of Eberhard Faber products, including 96 colors in Nupastel color sticks, 48 colors in N upastel Watercolor Markers, Slimline marking pens in four colors, drawing pencils, colored pencils, art erasers, gum cleaners, Nupastel Fixative.

See your local art supply dealer or write Advertising Dept., Eberhard Faber Pen & Pencil Company, Inc., Crestwood, Wilkes-Barre, Pennsylvania 18703.

Consort Cond.

Consort Light Co "Consort" . .. The 42 pt. size has been added to the Consort Condensed and Consort Light Condensed. The present size range of these two weights of the Consort family now is from 12 pt. to 42 pt. Write to Bauer Alphabets, Inc., 305 East 45th Street, New Yor$, N. Y. 10017.

"Talisman Kit" .. . showing samples of a new textured text and cover paper which can be obtained from Simpson Lee distributors or Simpson Lee Paper Co., Vicksburg, Mich.

"Fluorescent Printing Ink Color Card" . . . a card showing new Velva-Glo fluorescent pigmented printing inks in nine colors. Information and recommendations helpful to printers, lithographers, advertisers, artists and package designers comes with the card. Write Radiant Color Company, 2800 Radiant Avenue, Richmond, California.

It identifies the most popular illustration board in America - famous since 1868 for its dependability in practically all mediums, particularly water color.

A t all art suppliers In 22x30" 30x40'' 20 x 30". Single or Double Thick

108

Charles T. Bainbridge's Sons 12 Cumberland Street , Brooklyn 5, N. Y.

"The Sequin Look" ... a printing paper sampler introducing a new Finch paper grade-Finch Sequin Offset.

Contains sample sheets of 60 lb. and 70 lb. stock. From local Finch Paper Merchants or Finch, Pruyn & Company, Inc., Glen Falls, New York 12803. " When White Is R ight" . .. a deluxe 38-page brochure featuring the photography of Art Gore to graphically demonstrate Beckett's white papers. A copy can be obtained from local Beckett Paper Company merchants.

•

actual size

My daddy uses Winsor & Newton

----- ---

...... ..._

~

DESIGNERS' GOUACHE Wide color range (85 colors!), outstanding brilliance, exceptionally smooth flow and great covering power have made WN Designers' Colors the overwhelming choice of professional commercial and technical illustrators and fine artists. 10-tube (No.5 size) Introductory Set: $6.00.

At leading art material dealers.

Winsor & Newton Inc. 881 BROADWAY, NEW YORK, N.Y . 10003 Canadian Agents: The Hughes Owens Co., Ltd., Montreal Californian Dist. : The Schwa bacher-Fr ey Co ., San Francisco, Los Angeles

When it comes to the tools of their trade, highly romantic artists can be purely practical. To cut a caper (or a type-proof, stencil or silhouette) they want the p erfect partner on their drawing board ... one who can follow any twist or turn, whirl or curve, Shown : X-acto artist knife #1 w1th #11 blade, 60¢

no matter how fancy. That's why artists-in-theknow choose urgically-sharp, super-safe X-acto knives. If you're still using razor blades, cut out. Make a date to see the entire economical X-acto line at better art supply stores everywhere, or write to: X-ACTO® PRECISION TOOLS, INC. 48-41 Van Dam St., Dept. M-1, L. l. C. 1, N.Y.

10 9

Index to A dvertisers American Type Founders -------------------------------- 6 American Writing Paper Co. -------------------------- 85 Amsterdam Continental Types ______________________ 75 Appleton Coated Paper Co. ---------------------------- 99 Art-0-Graph ------------------------------------------------------ 104 Charles T. Bainbridge's Sons -------------------------- 108 Bauer Alphabets Inc. -------------------------------------- 13 Arthur Brown & Bro., Inc. ------------------------------ 19 California Products Corp. ------------------------------ 110 Champion Papers Inc. -----------------------------------· 77 Crescent Cardboard Company ________________________ 104

says ordinary ''acrylics" are like

Eagle Pencil Company ------------------------------------ 9 Eastman Kodak Company ------------------------------ 14 Eberhard Faber Pen & Pencil Co. __________________ 81 Esterbrook Pen Company -------------------------------- 106 M. Grumbacher, Inc. ---------------------------------------- 97 John Henschel & Co., Inc. ------------------------------ 16 C. Howard Hunt Pen Co. -------------------------------- 97 Hurlock Bros. Company, Inc. ________________________ 107 International Paper Company ________________________ 93

NEJV

Kimberly-Clark Corporation, Printing Papers Division ________________________

Certainly Not the Artists Who Choose New Masters Acrylic-Vinyl Col ors f or these Importan t Exclusi ve Featu re s:

EXCLUSIVE! Each Illustrator Color dries to a uniform matte finish , perfect for exact reproduction.

EXCLUSIVE! Acrylic-Vinyl Copolymer binder overcomes bubbling , streaks and lumps of ordinary acrylics-colors never bleed .

EXCLUSIVE! Certified pure pigments (no fillers added ) mean colors of unmatched brilliance and clarity.

EXCLUSIVE! Controlled Drying -colors dry quickly or can be kept ~ ~ ~

~~~~~~~~~~~~~-t~r::f~~~:~~~eze ,

Monsen Typographers ------------------------------------ C-3 National Card, Mat & Board Company __ ______ 106 Old Colony Envelope Company ______________________ 8 Oxford Paper Company ---------------------------- ------ 5 Peterson Color Labs ---------------------------------------- C-2 Radiant Color Co. 105 Separon Company -------------------------------------------- 107 Shiva Artist's Colors ---------------------------------------· 21 ]. S. Staedtler Inc. -------------------------------------------- 4 Standard Packaging Corp. ------------------------------ 87 Strathmore Paper Company __________________________ 17

bottle with no-stick flip cap-iden;,,n·····.• tify colors easily-dispense them cleanly. $1.00 FOR ALL 3 EXCLUSIVE! Brushes. are quickly $3.50 VALUE cleaned in water-remain in per- Sen d j u st $1 to cove r .. pos t age a nd h a nd lin g . f ec t con d tttOn. Get 2-o z . bottles of Buy New Masters in any art supply store or mail the coupon for special offer.

= · ·n.·,·····.,·.···:·

Ca dm.iu m S ca r l et a nd C admiu m G ree n and .Bottl e o f M att e Medium .

---------------------------, Send me your Testing Kit. I enclose $1 .00 to cover 1

: I

postage and handling (only one kit per customer) . CA 5· 65 1

I

NAME

I

CITY

I

l

l I L------- -------------------J STREET

STATE

Z IP CODE__

_

NEW MASTERS ART DIVISION 169 Waverly Street, Cambridge, Massachusetts 02139

7

Kimberly-Clark Corporation, Business Papers Division ------------------------ 23 Mergenthaler Linotype Company ________________ __ 10 3M Company, Retail Tape Division ______________ 96

S. D. Warren Company ---------------------------------- 11 F. Weber Co. ---------------------------------------------------- 101 Winsor & Newton Inc. ------------------------------------ 109 X-Acto Precision Tools, Inc. -------------------------- 109 Yasutomo & Company ------------------------------------ 98 D

Address advertising correspondence to Publisher, CA Magazine Post Office Box 10300 Palo Alto, California 94303 Phone: (415) 327-5461